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You may have already guessed that this slideshow for hoDS would be the follow up to last year's NoDS slideshow. Yes, this year we're going to be focusing on the entire script for hoDS because, well, it's only fair that hoDS get its due. Midnite and I may not be the film's biggest fans, but the film definitely has its share of fans in general fandom as well as here on the forum. And even though Midnite and I aren't the biggest fans when it comes to the overall film, we do realize that hoDS does have several things to offer, including, say, great work from both John Karlen and Nancy Barrett, to name but two (but more on performances like theirs later). Plus, like NoDS, there are somewhat different versions of the hoDS script in circulation, so we'll be sharing or at least referencing alternate versions of scenes when possible.
And, just as is the case with NoDS, considering the Internet as we know it was only but a dream in someone's head back in '70, we'll also be sharing press releases and articles detailing the production and release of the film.
So, hopefully everyone will have almost as much fun as we had with NoDS...
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Looking forward to it!
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As am I.
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Congratulations! You have already found a film still I don't recall having seen before.
I look forward to this new series! I really think you must have magical powers to find the time for this work in the midst of your busy schedule!
Happy New Year!
G.
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I think people who have never seen the early draft of the script for this film are going to be a bit surprised by several of the differences between its opening scenes and the opening scenes in DC's script, which is apparently the second draft. But we're going to leave getting into the early draft until after getting into several of the opening scenes in DC's script. And so it begins:
FADE IN:
1 EXT: COLLINWOOD - NIGHT 1
LONG LENS SHOT of the somber, EEIRE CASTLE as the
rain pours down. FADE IN EEIRE THEME MUSIC. The
house is suddenly illuminated by a violent flash of
lightning. At the same time we hear LOUD MENACING
THUNDER. The CAMERA STARTS TO MOVE IN on the great
house. There is a second flash of lightning and we
up MAIN TITLES.
DARK SHADOWS
Credits continue over the following:
SLOW DISSOLVE TO:
2 INT: MAGGIE'S ROOM - NIGHT 2
CAMERA FRAMES BED IN FOREGROUND. O.S. we hear the
sound of a DOOR OPENING. The CAMERA PANS UP to
MAGGIE EVANS in the doorway. She is young, pretty,
plainly dressed, as befits a governess. She sees a
note on the bed. She crosses to it, picks it up.
CAMERA TIGHTENS ON her face.
3 INSERT SHOT - NOTE 3
Maggie's hands holding note. It is written in red
ink and in a childish scrawl.
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And that's when today's quote -
Page 1/Scene 3 - Maggie (reading): '‘It's all your fault. You'll be sorry.’'
comes up.
End of scene.
And as far as the note's contents go, we know that's how it reads because there are obviously stills featuring it.
And when it comes to the descriptions and directions for Scene 1, there is no rain pouring down, nor is the house suddenly illuminated by a violent flash of lightning or is there the sound of anything even resembling thunder, loud, menacing, or otherwise. However what is heard is some sort of nightbird, and what is seen is the camera moving in on the house. But when it comes to Scenes 2 and 3, we have no way at this point of knowing if what's scripted is how things actually played out because those scenes are no longer in the film and appear to be lost.
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dom, Uncle Roger, and Gothick, I'm glad you're looking forward to this new slideshow. I think it's going to be fun. [santa_smiley]
You have already found a film still I don't recall having seen before.
Hopefully there will be more stills like that to come. [santa_wink]
I really think you must have magical powers to find the time for this work in the midst of your busy schedule!
If only I did have magical powers - I'd be able to do even more during my day. [santa_grin]
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Moving on to the current scene:
4 INT: SECOND FLOOR CORRIDOR - NIGHT 4
LOW ANGLE
Maggie closes the door to her room, starts down the
long hall. CAMERA TRUCKING BACK in front of her.
She stops in front of David's door.
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And that's when today's quote -
Page 1/Scene 4 - Maggie: 'David?'
- comes up, followed in the script by:
goes
CAMERA PANS WITH HER as she looks into the dark room.
A flash of lightning illuminates it. She hesitates,
walks in, goes to the closet, opens the door, looks
in. No one is there. She comes back to CAMERA as we
GO INTO CLOSE UP
CUT TO:
CONTINUE CREDITS:
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End of scene as scripted. However, as all the cross outs suggest, the scene is greatly reworked in the film - more so than even the script indicates.
So, as far as the dialogue, the descriptions, and the directions go, indeed the beginning of the scene doesn't include anything that's been crossed out, though it does begin with a low angle shot down the long corridor -
(http://www.dsboards.com/hoDSquoteimages/0102hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0102hoDS_aa.jpg)
- and then, as she becomes more visible while moving down the corridor toward the camera and looking about, Maggie suddenly hears music (Back at the Blue Whale, though on the HoDS/NoDS Soundtrack it's called David's Radio) coming from David's room, and she actually begins to say -
(http://www.dsboards.com/91quoteimages/0102ds91_0.jpg)
"David, where have you been? I've been looking for you."
(http://www.dsboards.com/91quoteimages/0102ds91_0a.jpg)
- and when she reaches David's room and starts to enter, she does not find it in darkness because it's fully lit -
(http://www.dsboards.com/hoDSquoteimages/0102hoDS_b.jpg)
- and there's no David in the room - and after Maggie finds that David's transistor radio is mysteriously playing by itself, she goes over to his bureau and shuts -
(http://www.dsboards.com/hoDSquoteimages/0102hoDS_c.jpg)
(http://www.dsboards.com/hoDSquoteimages/0102hoDS_ca.jpg)
- it off - and then she moves to exit the room -
(http://www.dsboards.com/hoDSquoteimages/0102hoDS_d.jpg)
- but unlike how DC added to his script, the shot of Maggie never goes into close-up.
And I must say, if somehow the Bronte sisters ever became aware that the dress Maggie is wearing "befits a governess," they must have been rolling over in their graves!! [snow_cheesy] And I'm almost afraid to contemplate what that is hanging over David's bedpost?! [snow_strange] [snow_laugh]
And it definitely has to be noted that Scene 4 actually plays in the film after Scene 8 - but more on that after we reach Scene 8 in the script...
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Another still I don't recall having seen before. Nice shot of Louis with glasses!
I am already enjoying this new topic so much. Thanks MB for all your hard work!
cheers, G.
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Nice shot of Louis with glasses!
And, of course, a glass of brandy! [snow_wink]
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And now moving through a couple scenes (well, they're considered two scenes in DC's script) so that we can reach/set the current scene:
6 INT: FIRST FLOOR STAIRWAY - NIGHT 6 - 5
Maggie ENTERS SHOT, comes downstairs. As she reaches
first floor corridor she turns left. CAMERA PANS with
her, TRUCKS IN BACK of her until she reaches the open
card room door. She stops. Through the open door,
with Maggie in f.g., ROGER COLLINS can be seen. He
is an austere, proud man in his forties and David's
father. He sits in an armchair by the fire, sipping
brandy and reading Proust. Absorbed in his reading,
he does not take notice of her.
MAGGIE EVANS - CLOSE UP - 6
She is trying to decide whether to tell him David is
missing. She makes her decision, is about to move
toward him.
7 INT: CARD ROOM - NIGHT - 2 SHOT 7 - 7
ROGER - MEDIUM SHOT
as he senses someone in the room, looks up, sees her.
He lowers his book.
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And that's when today's quote -
Page 2/Scene 7 - Roger: 'Yes, Miss Evans? Something I can do for you?'
comes up.
And when it comes to the dialogue, the descriptions, and the directions for these scenes, we have no way at this point of knowing if what's scripted, crossed out, and/or added by DC are how things actually played out because the scenes are no longer in the film and appear to be lost.
However, I do have a still to share from Scene 6/DC's Scene 5:
(http://www.dsboards.com/hoDSquoteimages/Mag_Rog.jpg)
And here is the full version of the still I cropped for today's graphic for Scene 7:
(http://www.dsboards.com/hoDSquoteimages/Rog_Read.jpg)
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Those are both wonderful photos. Any info to share on provenance and/or publication? Don't go digging... sheer idle curiosity prompts the question.
Those script pages remind me of how intrigued I was by references to the "card room" in "Marilyn" Ross's hoDS novelization. I wonder if the room that would have been the study in the TV series Collinwood (or so I would think) was called the card room in the movie because that was how this room was known at Lyndhurst. Another completely pointless question... I had completely forgotten my pondering of this detail until I just now looked at those pages you posted.
Best, G.
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Wrapping up Scene 7:
MAGGIE EVANS - MEDIUM CLOSE UP
She hesitates for a moment, then decides not to tell
him.
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And that's when today's quote -
Page 2/Scene 7 - Maggie: 'No -- nothing, Mr. Collins.'
comes up, followed in the script by:
MAGGIE - ROGER
She turns and exits up the hallway. CAMERA STAYS ON
Roger, then MOVES INTO A MEDIUM CLOSE UP as he shakes
his head in disgust, sips his brandy and goes back to
his reading.
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And when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing if what's scripted and/or crossed out are how things actually played out because the scene is no longer in the film and appears to be lost.
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Those are both wonderful photos. Any info to share on provenance and/or publication?
Unfortunately, I not not completely sure about the history of the photos because they were given to me by a friend when he was moving into a much smaller apartment, didn't have room to store all his DS collection, and decided to give away/sell a good deal of it (he only sold stuff that I already had, and stuff I didn't have he gave me because that way he could still "visit" all of it [snow_wink] [snow_cheesy]). I'm pretty sure the photos have never been published anywhere - at least not that I've ever seen.
And speaking of the publishing of rare photos, believe it or not, the only place that I *think* the photo I used for today's graphic -
(http://www.dsboards.com/hoDSquoteimages/Mag-1.jpg)
- was published was in the National Enquirer, of all places, when they did a story on hoDS. Unfortunately, it was back when that rag was published as a newspaper, so all the photos in the article are newspaper quality. (And incidentally, the article is one of the things that my friend gave me.) (And I can't believe that so many fans make fun of the contemporary fashions on the daytime DS - particularly the ones in 1970PT - but I've never seen anyone make fun of the monstrosity Maggie wears in the beginning of the film!! [snow_shocked] In color it's even worse, as the captures already posted testify!! [snow_sad])
Those script pages remind me of how intrigued I was by references to the "card room" in "Marilyn" Ross's hoDS novelization. I wonder if the room that would have been the study in the TV series Collinwood (or so I would think) was called the card room in the movie because that was how this room was known at Lyndhurst. Another completely pointless question... I had completely forgotten my pondering of this detail until I just now looked at those pages you posted.
Perhaps. Or maybe the Library (the room adjoining the Card Room at Lyndhurst) could be considered as a study. It's interesting that in hoDS Roger reads in the Card Room, yet in NoDS Quentin reads in the Library...
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I like this sequence, as it establishes David as a definite problem child, as well as showing that there is already some tension between Maggie and Roger.
And, yes, that is quite an outfit on Maggie. It's like several outlandish fabric remnants competing for attention. Still, KLS must have liked it somewhat because I've seen a couple of shots of her wearing it elsewhere. Outside the studio, I think. Unless [snow_wow] [snow_wow] [snow_wow], it actually happened to be hers!
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Moving on to the current scene:
8 INT: FIRST FLOOR STAIRS - NIGHT 8
(SEEN FROM THE SECOND FLOOR LANDING)
Maggie is halfway up the stairs as DAPHNE BUDD,
Elizabeth's secretary, comes downstairs. She carries
ledger books. They meet on the landing.
8 CONTD CONTD 8
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And that's when today's first quote -
Page 3/Scene 8 - Maggie: 'Daphne, have you seen David?'
- comes up, followed by today's second quote -
Page 3/Scene 8 - Daphne: 'No.'
- coming up.
And when it comes to the dialogue, both quotes are delivered exactly as scripted. (Considering that in NoDS there was often a great deal of variation from the scripted dialogue, it'll be quite interesting to see how much variation there is in hoDS. But then, in her chapter for the DS Movie Book, Kate Jackson specifically mentions that on NoDS DC made changes as they rehearsed scenes and that they "were not married to every single word in the script" - so that explains it and is pretty much as understatement, as we definitely saw in the NoDS topic.)
And when it comes to the descriptions and directions, though it's a minor point, rather than meeting on the landing, as we can see in today's captures -
(http://www.dsboards.com/91quoteimages/0105ds91_0.jpg)
(http://www.dsboards.com/91quoteimages/0105ds91_1.jpg)
- Maggie and Daphne actually meet on the stairs.
-
Wrapping up Scene 8, beginning with today's first quote -
Page 3/Scene 8 - Maggie: 'He's not with Mrs. Stoddard?'
- coming up, followed by today's second quote -
Page 3/Scene 8 - Daphne: 'No, I just left her room.'
- coming up, followed in the script by:
Daphne goes down the stairs. CAMERA TIGHTENS on
Maggie as she looks up the stairs.
CUT TO BLACK
CONTINUE CREDITS:
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And when it comes to the dialogue, both quotes are delivered exactly as scripted. However, after Daphne's line, Maggie delivers an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0106hoDS_a.jpg)
Okay. Thanks.
And when it comes to the descriptions and directions, everything there plays as scripted.
And it was definitely a smart move to put Scene 8 in the film before Scene 4 because, with all the "Hanging David" material cut, Scene 8 is the perfect way to set up that Maggie is looking for David, even if we don't know quite why.
And tomorrow we'll be dealing with the first bit of material in the script that was never shot. But more on that then...
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Setting up today's scene and moving one scene past it:
9 INT: STAIRCASE TO TOWER ROOM - NIGHT 9
A shaft of light can be seen as the door opens. Maggie,
holding a flashlight, looks up the stairs. She hears a
sound.
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And that's when today's quote -
Page 3/Scene 9 - Maggie: 'David, if you're hiding up there, please come down!'
- comes up, followed in the script by:
There is more thunder and lightning. She starts slowly
up the stairs. CAMERA HOLDS HER in TIGHT SHOT, TRUCK-
ING IN FRONT OF HER. She enters the tower room. A
flash of lightning illuminates her face and startles
her. There is a DEAFENING ROAR OF THUNDER. Maggie
shines her flashlight around the room.
10 INT: TOWER ROOM - MAGGIE'S P.O.V. 10
CAMERA SLOWLY PANS with her flashlight. We see piled
up books, old furniture, strange shapes and shadows.
MAGGIE - CLOSE UP
A look of exasperation on her face. She turns to leave.
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End of tower sequence.
And when it comes to the dialogue, the descriptions, and the directions for these two scenes, we have no way of knowing if anything might have changed or things might have played as scripted because in DC's script he drew a box around them and put a big "X" in it, writing "REPLACE THIS" down the left side of the box. But in the end it appears that the scenes just weren't shot and nothing replaced them. But shades of NoDS with a shaft of light being seen as the tower room door opens by itself. What a foreshadowing of NoDS that might have been. But alas...
Coming up next: the opening scenes in the original draft of the script. And as I said, I think people who've never seen that script will be surprised by how different some of the scenes are because there's no Roger and no Daphne - only Maggie searching for David - but not in quite the same ways/places as in DC's script. And there are also fewer scenes...
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There's one thing that I have always wondered about the early drafts of HODS. Was the heroine always Maggie? Was the heroine ever Victoria Winters?
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FADE IN:
1 EXT: COLLINWOOD - NIGHT 1
LONG LENS SHOT of the somber, EEIRE CASTLE as the rain
pours down. Lights show from the lower windows. FADE
IN EEIRE THEME MUSIC. The house is suddenly illuminated
by a violent flash of lightning. At the same time we
hear LOUD MENACING THUNDER. The CAMERA STARTS TO MOVE
IN on the great house heading for one lit room on the
second floor. There is a second flash of lightning and
we up MAIN TITLES.
DARK SHADOWS
Credits continue over the following: When the CAMERA is
TIGHT on the window, we see a bedroom, and though one
light burns, it is deserted.
2 INT: MAGGIE'S ROOM - NIGHT 2
The CAMERA MOVES THROUGH the window into the pleasantly
furnished bedroom. The room is not lavish, but a cut
above the cook's or the maid's room. On the bed lies a
note. We ZOOM IN on the note and see the red inked
childish scrawl:
"It's all your fault.
You'll be sorry."
O.S. we hear the sound of a DOOR OPENING. The CAMERA
PANS UP to MAGGIE EVANS in the doorway. She is young,
pretty, plainly dressed, as befits a governess. She
looks around the room, angry, concerned.
MAGGIE
David?
She frowns, then sees the note on the bed. She rushes
to it, picks it up, reads it. There is a LOUD CLAP OF
THUNDER, A FLASH OF LIGHTNING. The light in the room
goes out. Maggie moves to a table, lights a candelabra,
and turns, the note in one hand, the candles in the
other. She runs from the room.
3 INT: SECOND FLOOR CORRIDOR - NIGHT 3
LOW ANGLE
Maggie closes the door to her room, starts down the long
3 CONTD CONTD 3
hall. CAMERA, TRUCKING BACK in front of her. In the
flickering candlelight, we can see the disapproving
faces of the Collins' family portraits. She passes four
doors, opens the fifth.
MAGGIE
David?
4 INT: SECOND FLOOR CORRIDOR - NIGHT 4
CAMERA FRAMES the bed in the f.g. as Maggie looks into
the dark room. A flash of lightning illuminates her.
She hesitates, walks into the room. It is a boy's
room--a boy of about twelve. There are pennants,
posters, a bow and arrow, records, etc. Maggie goes to
the closet, opens the door, looks in. No one is there.
She goes to the door, leans against the closet, thinking.
CUT to BLACK. Actually this in int. dark storage room.
5 INT: STORAGE ROOM - NIGHT - BLACKNESS 5
Flash of lightning illuminates the room. We see it
crammed with trunks, statuary, dress form, old furniture.
There is another flash of lightning. Then it is black
again. There is the SOUND OF A DOOR OPENING as the light
from Maggie's candelabra illuminates the room. Maggie
ENTERS THE SHOT.
MAGGIE
Please, David! If you're hiding here--
There is a LOUD CLASP OF THUNDER.
6 INT: UNUSED PARLOR - NIGHT 6
The formal Victorian parlor in the unused West Wing. The
furniture is all covered with sheets. The chandelier is
wrapped in sheeting, The effect is of a ghost room.
Heavy draperies hang at the windows. The lightning
flashes. Maggie enters through the great oak doors. A
little frightened now, she looks around the room.
7 MAGGIE'S POV - THE ROOM 7
CAMERA PANS THE ROOM, STOPS SUDDENLY, when one of the
heavy drapes moves. ZOOM IN.
8 MAGGIE - EXTREME CLOSEUP 8
MAGGIE
David Collins, I have had enough of
this!
CAMERA TRUCKS BACK AND PANS HER to the drapery, she
pulls it back. No one is there. But there is a flash
of lightning, and we see that one of the glass panes is
missing. She stares down at the broken pane. Her anger
has turned to a kind of desperate concern: Where is the
child?
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And that's it for now because that brings us up to the same point we currently are in DC's script.
And isn't it interesting how some of the descriptions and directions were originally much more detailed. I love how originally the zoom in to the window in the opening shot of the film was supposed to be a zoom in to Maggie's bedroom window and the camera was supposed to have moved through the window and into the bedroom. Though of course, the window the camera focuses on in the actual opening of the film -
(http://www.dsboards.com/hoDSquoteimages/0107hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0107hoDS_b.jpg)
- is not even the window to Maggie's actual bedroom - nor is it the window in the stairwell where Maggie and Daphne meet (in fact, in the zoom the window on that landing doesn't even show light coming from it) - but of course we're not suppose to realize any of that! [snow_wink] And speaking of Maggie's bedroom, as I'm sure we're also all aware by now, her bedroom in the film is actually Lyndhurst's Master Bedroom, so its description in the first draft as "a cut above the cook's or the maid's room" is an understatement. But most likely when the first draft was written, they weren't even aware they would be shooting at Lyndhurst, which is also probably why the rewrites tailored the scenes to Lyndhurst's actual rooms. Though I have to say it's too bad they scraped the scene in the old Victorian parlor because scenes in the unused West Wing were always such a staple of the daytime DS. And I'm also kind of disappointed that they dropped all the thunder and lightning, not to mention Maggie exploring with a candelabra because those were staples of the daytime DS, too, not to mention the Gothic genre in general. Though, of course, DC was hardly going for mere Gothic - he wanted blood and gore - and more blood and gore - and then more blood and gore - and then even more blood and gore... [snow_rolleyes]
But be all that as it may, coming up later today we'll get back to DC's script and a couple of scenes leading up to tomorrow's scene in the slideshow...
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There's one thing that I have always wondered about the early drafts of HODS. Was the heroine always Maggie? Was the heroine ever Victoria Winters?
It certainly seems as if it was Maggie from the very beginning...
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The two scenes leading up to tomorrow's slideshow:
11 INT: MAGGIE'S ROOM - NIGHT 11
Maggie enters her room. She puts down her flashlight,
stares out the window. Could David be outside? She
suddenly knows very well that he could be and probably
is. She goes to her closet, opens the door.
11. (CONT'D)
There is a flash of lightning.
MAGGIE - FAST ZOOM TO CLOSE UP - FROM INSIDE CLOSET
She screams (Runs out)
CONTINUE CREDITS
12. INT. CLOSET - MAGGIE'S POV
We see the SHADOW OF A BOY'S BODY hanging there. It
is DAVID. ZOOM IN CLOSE UP. His neck appears to be
broken.
LAST CREDIT
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And when it comes to the dialogue, the descriptions, and the directions for these scenes, we have no way at this point of knowing if what's scripted is how things actually played out because the scenes are no longer in the film and appear to be lost. But to help visualize, here's a rarely published still from the moment after David is discovered:
(http://www.dsboards.com/hoDSquoteimages/Dav_Hang_Mag.jpg)
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And here's the way the two scenes are done in the first draft:
9 INT: MAGGIE'S ROOM - NIGHT 9
Maggie enters her room. She puts down the candelabra
down. Then she stares out the window. Could David be
outside? She suddenly knows very well that he could
be and probably is. She makes the decision to go after
him. She goes to her closet, picking up the candelabra.
She opens the door of the closet. There is a flash of
lightning.
MAGGIE - FAST ZOOM TO CLOSE UP
She SCREAMS
10 MAGGIE'S POV - INT. CLOSET 10
We see the SHADOW OF A BOY'S BODY hanging there. It is
DAVID. ZOOM IN CLOSE UP. His neck appears to be broken.
LAST CREDIT.
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-
Setting up the current scene:
13. INT. CORRIDOR - NIGHT
Maggie runs from the room and down the hall SCREAMING.
MAGGIE
Mrs. Stoddard....Mrs. Stoddard....
LIZ comes out of her room into two-shot.
LIZ
Maggie! What is it?
MAGGIE
David -- David --
They start moving toward her room. MRS. JOHNSON enters,
ad-libbing.
ROGER enters up the stairs, ad-libbing.
MAGGIE
Mr. Collins! It's David....
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And that's when today's quote -
Page 4/Scene 13 - Liz: 'What about David, Maggie?'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing if what's scripted is how things actually played out because this scene is no longer in the film and appears to be lost. Though one thing we do know thanks to the stills for Scene 14 is that Daphne was substituted for Mrs. Johnson, quite possibly because, with Clarice Blackburn not being available, Mrs. Johnson hadn't been cast yet when the scene was shot...
-
But here's how things play in the first draft:
11 INT. CORRIDOR - NIGHT 11
Maggie, still holding the candelabra, runs from the room.
SCREAMING. MRS. JOHNSON, a dour woman dressed in the
black uniform of a housekeeper, runs from the room next
to Maggie's. INTO TIGHT TWO SHOT.
MRS. JOHNSON
Maggie! What is it?
MAGGIE
David...David...
She points inside her room, unable to say more. Mrs.
Johnson looks at her sharply, starts to the room as ROGER
comes down the hall. Roger, a stern, proud, impressive-
looking man in his forties, is David's father.
ROGER
My dear Miss Evans, why are you
screaming? I find Proust difficult
enough to read without --
11 CONTD CONTD 11
MAGGIE
Mr. Collins! It's David --
ELIZABETH STODDARD enters down the hall in the opposite
direction from Roger. She is the grande dame of the
Collins' family, and Roger's sister. She is still quite
beautiful.
LIZ
What about David, Maggie?
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To be picked up tomorrow...
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Hanging David! One of the most infamous moments in DS history... there was a much more widely circulated photo that showed up in many mags way back when. Kind of funny that they wound up deleting the scene after all that exposure.
That's an incredible still you found, MB. Congratulations!
Best, G.
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It's interesting that seemingly in most of the stills from the discovery of David, his eyes are open, yet in that one they're closed. I wonder which it actually was in the film?
The story I've always heard is that all the "Hanging David" material was originally in the film and was actually shown during a preview screening. But the feedback from the audience to David hanging himself was so negative (many felt kids would try to recreate the scene themselves) that the decision was made to cut practically all of it so that it seems Maggie looks for David but doesn't ever come across him until the scene in which he locks her in a room at the Old House. Boo-hiss!! [snow_mad] But we can't do anything about it now... Though, of course, every bit of blood and gore was deemed perfectly fine for kids, with any younger than 13 simply having to ask their parents' permission to see the film. Though, honestly, how many theaters really policed that? [snow_rolleyes]
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Well, I was 12 when I saw hoDS and my sister was 11, and neither of our parents came to see the movie with us. We were dropped off and then picked up afterwards.
I really can't recall if the movie gave me nightmares. My Mom hated DS so it seems remarkable that she allowed us to go.
G.
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Wrapping up Scene 13, beginning with today's quote -
Page 4/Scene 13 - Maggie: 'He's dead -- he's dead!'
- coming up, followed in the script by:
TRUCK into TIGHT TWO-SHOT (L to R). PAN them as they
rush to the room.
|
End of scene.
And when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing if what's scripted and/or crossed out is how things actually played out because this scene is no longer in the film and appears to be lost.
And here's how the scene is scripted to conclude in the original draft:
MAGGIE
He's...he's...dead!
ELIZABETH - ROGER
FAST TRUCK BACK TO GROUP SHOT. PAN them as they rush to
into the room. Mrs. Johnson leading the way.
|
Not all that different from the final version - though I am a bit disappointed that Roger's line from back in reply #23 was dropped. But I suppose it is possible that it might have been used as Roger's ad-libbing as he enters up the stairs. Though, sadly, we'll never know... And when reading DC's script, one probably presumes the "(L to R)" reference means left to right - but given the indication of a two-shot of Elizabeth and Roger in the original draft, I wonder if it actually means Liz to Roger?
-
But most likely when the first draft was written, they weren't even aware they would be shooting at Lyndhurst, which is also probably why the rewrites tailored the scenes to Lyndhurst's actual rooms. Though I have to say it's too bad they scraped the scene in the old Victorian parlor because scenes in the unused West Wing were always such a staple of the daytime DS.
When I read the reference to the "West Wing", my first thought was: How in the world can Lyndhurst be thought of as having a "West Wing"--let alone any wings at all? It's so tiny! (Relatively speaking, of course...)
-
I've said the same thing, too. In fact, I'd often told people that in no way could I accept Lyndhusrt as possibly being Collinwood because the place barely has enough room for all the people who lived there in hoDS, let alone space to be deserted wings. But over the years somehow I've gotten over that somewhat... And Lyndhurst does have being an architectural wonder going for - it's breathtaking. But still, give me Greystone or Seaview as Collinwood any day...
-
Setting up today's scene:
14 INT: MAGGIE'S ROOM - NIGHT 14
CLOSE UP - ROGER
He sees nothing in the room.
|
And that's when today's quote -
Page 5/Scene 14 - Roger: 'What the devil are you talking about?'
- comes up.
And again, when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way of knowing if anything might have changed or things might have played as scripted because blah, blah, blah...
And once we finish this version of the sequence and I post the original draft, it will be interesting to compare things with the way they were originally scripted because in this rewrite, not only is there new dialogue, but original lines are moved all around...
-
Picking up where we left off with Scene 14:
SHOT WIDENS as everyone stares at Maggie. She points
to the closet.
|
And that's when today's quote -
Page 5/Scene 14 - Maggie: 'There -- there -- the closet.'
- comes up, followed in the script by:
CAMERA PANS Roger to the closet.
MAGGIE
We -- we had a fight about his
homework --
looks in
Roger opens the closet door. There is a flash of
lightning. He looks in as Liz and Mrs. Johnson enter
shot. them
|
And again, when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way of knowing if what's scripted and/or crossed out is how things actually played out because blah, blah, blah... Though we do know that Mrs. Johnson is replaced by Daphne...
-
I can see why all of this was either never shot, or cut. I presume DC excised most of this before he even delivered his completed print to MGM.
I of course would have loved to have seen it all, especially Roger complaining that nobody would leave him in peace and quiet to get on with his Proust... and brandy.
G.
-
Actually, everything we've covered in DC'd script so far, except for Scenes 9 & 10 (
Reply #16
), were in the print DC delivered to MGM for the preview screening. It wasn't until after the preview that all but Scenes 4 and Scene 8 were cut...
It's really too bad that further cuts were made because, if they stuck to the script, some of Roger's best lines in the film were taken out. [snow_sad] But then, it would appear that too many characters had some of their best stuff (or at least best stuff in the script) left on the cutting room floor...
-
Wrapping up the current scene and moving forward, beginning with today's first quote -
Page 5/Scene 14 - Roger: 'I don't know what you expected us to see. Miss Evans.'
- coming up, followed in the script by:
15 CLOSET - THEIR POV - ZOOM IN 15
It is empty.
16 MAGGIE 16
She is confused, not understanding. CAMERA TRUCK her
to GROUP SHOT.
MAG. P.O.V - GROUP IN F.G. - TRUCK IN AS THEY PART - SEE
CLOSET
|
And that's when today's second quote -
Page 5/Scene 16 - Maggie: 'He was hanging there --'
- comes up.
And once again, when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way of knowing if what's scripted, crossed out, and/or added are how things actually played out because blah, blah, blah... But one other thing that DC added to his script besides the notes included above is that he added "(O.S.)" after Maggie's name for today's second quote.
-
Continuing with DC's Scene 16:
They move aside, as she goes to the open door. She
shakes her head, not understanding.
CLOSE UP MAG.
MAGGIE
He was!
She turns to them as SHOT WIDENS. They stare at her.
|
And that's when today's quote -
Page 5/Scene 16 - Mrs. Johnson: 'It was one of David's tricks. That's what it was.'
- comes up.
And once again, when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way of knowing if what's scripted, crossed out, and/or added are how things actually played out because blah, blah, blah... But one thing we do know, which is obvious in today's graphic -
(http://www.dsboards.com/91quoteimages/0113ds91_0.jpg)
- is that Mrs. Johnson was replaced with Daphne.
-
And continuing DC's Scene 16:
And that's when today's quote -
Page 6/Scene 16 - Roger: 'I think, dear sister, that Miss Evans needs a vacation. Obviously her nerves have gotten the better of her.'
- comes up.
And once again, when it comes to the dialogue for this scene, we have no way of knowing if what's scripted is how things actually played out because blah, blah, blah... Though I must say that today's quote is probably the one that I'm most disappointed doesn't appear in the film. It's classic Roger, I can't imagine they would have altered or dropped it, and I'm sure Louis Edmonds must have delivered it brilliantly in Roger's patented condescending snip. But alas... Not to mention it explains the relationship between Roger and Liz, something that is never explained in the film as it is now, and something that many in the audience who weren't DS fans (including many film critics) were quite confused about...
-
I can hear Louis saying this with that perfect touch of icy disdain. These pre Barnabas scenes establish the Collins household as a dysfunctional but somehow functioning family unit. Wouldn't it cool if Big Finish were to do an audio version of the complete script?
-
[pointing-up] Now, THAT would be something! [snow_cool]
-
Roger's dialogue explains something else that always throws me for a loop whenever I watch this film. Obviously, at some point there was a scene where Maggie informed Roger and Liz that she was resigning. Then Barn turns on the charm at the ball and Maggie suddenly changes her mind. The ball scene doesn't really make sense unless you already know the story since there has been nothing shown or said about Maggie leaving up till that point. There's at least a hint here that Roger thinks it would be a good idea for Miss Evans to go on a "vacation."
Another reason why these early scenes would have been helpful from a narrative point of view is that they establish who is who--as you've pointed out. In Elvira's rap about the movie (her clips talking about it, I guess from when she ran it on her show, are on Youtube), she keeps saying, "Who are all these people anyway?" Initially I thought she was just being characteristically sassy. But if you've never seen the show, the movie really tells you very little about just who anybody is and why they're there.
G.
-
Two upcoming parts of the script relate directly to Maggie's decision to leave. In DC's script they're Scene 21 and then Scenes 68 through 68C - and needless to say, in both cases they were shot but DC, in his infinite wisdom, left them on the cutting room floor. [snow_rolleyes]
Quotes from Scene 21 will be coming up in the slideshow from January 24th through the 27th. Quotes from Scenes 68 through 68C won't be coming up until sometime in late February though early March. We don't have specific dates for those because, even though we've already done a breakdown of the script for the entire year (what pages/scenes are assigned to each month), we haven't picked out the specific quotes for February and March yet...
-
Page 5/Scene 16 - Mrs. Johnson: 'It was one of David's tricks. That's what it was.'
Oh, it would have been wonderful BOTH if Clarice Blackburn had been in the film and that this scene had remained. I can hear Blackburn's delivery of this line very clearly in my mind!
-
Yes, same here! [snow_smiley]
-
Lisa Richards really made out here. Not only does Daphne fill in for Mrs. Johnson but she also [spoiler]gets some of the staging intended for the Nancy Hodiak scene[/spoiler]. Was Daphne originally a much smaller part in the script?
-
So far Daphne has only come up in the script in the scene on the stairs when Maggie asks her about David. I honestly haven't checked to see how big her other stuff in the script is. But we will certainly see...
-
Wrapping up Scene 16 and moving a bit forward. First up, Roger's next move and Maggie's reaction:
He starts to leave the room. Maggie is astonished.
|
And that's when today's first quote -
Page 6/Scene 16 - Maggie: 'Aren't you even going to go look for him?'
- comes up, followed by today's second quote -
Page 6/Scene 16 - Roger: 'No. And if you do, don't come running to me with any more tall tales.'
coming up, followed in the script by:
17 He exits. Liz looks at Maggie and Mrs. Johnson. 17
A look which says this is not finished yet.
LIZ
He'll look for him.
She exits as CAMERA TRUCKS INTO TIGHT SHOT OF MAGGIE.
|
End of sequence.
And again, when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way of knowing if what's scripted is how things actually played out because blah, blah, blah...
Coming up next is the remainder of the first draft of the sequence...
-
And here's how the rest of "Hanging David" plays in the first draft:
12 INT. MAGGIE'S ROOM - NIGHT - CLOSE UP MAGGIE 12
CAMERA TRUCKS her to closet.
MAGGIE
We had a fight about his home-
-work. Then, I couldn't find him.
I was getting my coat to go out...
in case he had gone to the cot-
tage...I opened that door.
WIDER
As Roger opens the closet door. There is a flash of
lightning. He looks in, as Liz and Mrs. Johnson enter
shot.
ROGER
I don't know what you expected us
to see, Miss Evans.
13 THEIR POV - CLOSET - ZOOM IN 13
It is empty.
14 MAGGIE 14
She is confused, not understanding. CAMERA TRUCKS her
to GROUP SHOT.
14 CONTD CONTD 14
MAGGIE
He was hanging there --
They move aside, as she goes to the open door. She
shakes her head, not understanding.
MAGGIE
He was!
She turns to them.
15 GROUP SHOT 15
MRS. JOHNSON
It was one of David's tricks. That's
what it was.
ROGER
I think, dear sister, that Miss Evans
needs a vacation. Obviously her
nerves have gotten the better of
her.
He starts to leave the room. Maggie is astonished.
MAGGIE
Aren't you even going to go look
for him?
ROGER
No. And if you do, don't come
running to me with any more tall
tales.
16 He exits. Liz looks at Maggie and Mrs. Johnson. 16
A look which says this is not finished yet.
LIZ
He'll look for him.
She exits as CAMERA TRUCKS INTO TIGHT SHOT OF MAGGIE.
|
End of sequence. Some is different - much is exactly the same. Originally Roger never asks "What the devil are you talking about?" after he enters Maggie's room and sees nothing - and Maggie originally says much more than "We -- we had a fight about his homework --" - but then, prior to delivering that, she gets new dialogue when "There -- there -- the closet" is added in the rewrite.
Interestingly, the sequence that will begin on Monday is set in a totally different location in DC's script than it is in the original draft. But more on that after we finish the first scene in DC's script's version of that sequence...
-
I know I'm unduly fussy about this stuff, but IMO, had Clarice played Mrs. Johnson, the line would have sounded properly in character if she had said Davy, not David.
When she spoke to him, I remember her calling him Davy. But that could be a misremembering...
G.
-
Nope, you're not misremembering - that exactly what she always called him - at least when he was younger...
-
Before we get to the scene featuring today's quote, I want to post the scene leading up to it and its counterpart in the original draft so everyone can see how totally different it is, and not just with regard to its location.
First up, DC's script:
18 EXT: COLLINWOOD - STABLE AREA - NIGHT 18
Maggie comes along the drive, enters through the
archway. There is thunder and lightning. She crosses
to the stable door, opens it, goes inside.
|
And now the original draft:
17 INT. WILLIE'S COTTAGE - NIGHT 17
WILLIE LOOMIS, a thin, seedy young man in a chauffeur's
uniform puzzles over an old piece of paper.
WILLIE
The three Graces spin...high above...
The Lion's head looks down at the dove.
And in the womb beneath the hill...
The secret fire glows bright and still.
17 CONTD CONTD 17
He obviously can't fathom the meaning. He takes a pint
of whiskey from the table, drinks it. He has been
drinking steadily.
18 EXT. COTTAGE DOOR - NIGHT 18
Maggie knocks on the door.
|
Quite interesting, no? I mean, who knew Willie was originally supposed to be the Collins' chauffeur??!! [shkdg] And what I find even more fascinating is that Scene 17 in the first draft is so much like Scene 23 in the pilot for the '91 DS:
...
23 INT. WILLIE'S GARRET ROOM - NIGHT
Where WILLIE LOOMIS, 30, slovenly and nasty-looking, sits
hunched over a small desk, scribbling notes on a piece of paper.
In front of him are aged, open reference books, paper, an
antique map, etc. ... Also a half-empty bottle of bourbon.
At the moment, he’s trying to figure something out, puffing
excitedly on a cigarette, muttering:
|
And that point is when Friday's quote -
Page 10/Scene 23 - Willie: '"...three Graces spin-- high above-- lion looks at the dove..."'
- comes up. However, unlike the script, Willie isn't puffing on a cigarette (though there is one burning in an ashtray on his desk) and after delivering the above quote, Willie takes a swig of his liquor and in a moment that's unscripted, he excitedly repeats "Lion looks at the dove!"
Who knew that not only did DC "borrow" from the final version of the hoDS script, he also "borrowed' parts of the first draft that had been deleted from subsequent drafts of the script?! But then, does that really surprise any of us?! I mean, really?! ::)
And another thing, many fans don't realize that Maggie's path to the stable in DC's script's Scene 18, while not shot exactly the same way, is sort of an homage to Vicki's path to Matthew Morgan's cottage in Ep #13 in the daytime series:
(http://www.dsboards.com/hoDSquoteimages/Stables_1.jpg)
(http://www.dsboards.com/hoDSquoteimages/Stables_1a.jpg)
(http://www.dsboards.com/hoDSquoteimages/Stables_2.jpg)
(http://www.dsboards.com/hoDSquoteimages/Stables_2a.jpg)
(http://www.dsboards.com/hoDSquoteimages/Stables_3.jpg)
And as we can see, an homage right down to the trenchcoats... And probably the only reason Scene 18 isn't staged exactly like Vicki's version is because Lela Swift and not DC directed it. As we know only too well, DC is not above using his previous stagings over and over and over and... But considering that in many respects, on the film Lela is for all intents and purposes the co-director of hoDS, I suppose DC figured he really shouldn't rip off, er, of course I mean "borrow" from her work...
And as far as Scene 18 in the film goes, once again there is no thunder and lightning. [sad10]
-
Amazing that I have been in DS fandom for all these years (hell, all these decades ) and still find there are things that I haven't seen before. Very impressive, MB!
-
Setting up today's new scene:
19 INT: STABLE - NIGHT 19
Maggie crosses to a stairway which leads to Willie's
apartment.
|
And that's when today's quote -
Page 6/Scene 19 - Maggie (calling up the stairs): 'Willie! Willie Loomis!'
- comes up.
And there's nothing to comment on because everything plays pretty much exactly as scripted.
-
Amazing that I have been in DS fandom for all these years (hell, all these decades ) and still find there are things that I haven't seen before.
Well, so far as Willie being a chauffeur in the first draft, we have to recall that at the time it was written, John Karlen was no longer on DS because he'd moved to LA after his exit from the 1897 storyline and he was pursuing work there. They may have thought they wouldn't be able to get Karlen for the film and would have to recast the role so they decided to take Willie in a somewhat different direction. But then when they were able to get Karlen back and he returned to the fold starting at the end of Leviathans (and continuing throughout the rest of the show), adjustments to the script were made accordingly...
Truthfully is was wonderful that they could get Karlen because Willie is one of the few fantastic things about hoDS. And that's probably why Karlen looks back so fondly on hoDS while many of the other actors do not...
-
Continuing with DC's script's Scene 19:
There is no answer. She turns to leave when suddenly
a figure jumps out at her from the darkness. She
SCREAMS. We hear the sound of WILLIE'S INSANE LAUGHTER.
MAGGIE
Willie!
She moves from him. He starts toward her.
MAGGIE
What's the matter, Maggie, I scare
you?
19 CONTD CONTD 19
He tries to put his hands on her shoulders. She pulls
away from him.
|
And that's when today's quote -
Page 7/Scene 19 - Maggie: 'Don't touch me, Willie! How many times have I told you? Don't you touch me!'
- comes up.
And when it comes to any differences in the dialogue, the descriptions, and the directions, Maggie doesn't actually turn to leave after there's no answer from Willie because she continues to look and shine her flashlight around -
(http://www.dsboards.com/hoDSquoteimages/0117hoDS_a.jpg)
- and she calls out another time -
(http://www.dsboards.com/hoDSquoteimages/0117hoDS_b.jpg)
Willie.
- shortly before Willie jumps out at her - and Willie actually tries to put his hands on Maggie's arms, not her shoulders - and afterward Maggie actually tells him a slightly different "Don't touch me, Willie! How many times do I have to tell you? Don't you touch me!"
-
Truthfully is was wonderful that they could get Karlen because Willie is one of the few fantastic things about hoDS. And that's probably why Karlen looks back so fondly on hoDS while many of the other actors do not...
I would venture to say that of all performances in the film, Karlen's is the very best. He's a very fine actor, and I really enjoy watching him on DS. (I also did not know that he was gone from DS when the film was being written. How fortuitous that they were able to get him back! I just can't imagine the film, or the rest of DS, without him.)
-
Willie Loomis, chauffeur.
That seems somehow more horrifying, at least potentially, than anything that happens onscreen in hoDS. LOL!
Brilliant captures, MB! I have to watch some 1966 shows again!!
Bouncily, G.
-
There's one thing that I have always wondered about, though I'm not sure how or if it will pertain to the slideshow: the Easter blizzard of 1970. KLS alludes it somewhat in Scrapbook Memories and the movie book. I wonder how much of an impact that storm actually had on the filming and if that might be the reason that some scenes were rewritten or simply not filmed at all.
-
You bring up an interesting point. It's always been my understanding that the original intent was to begin the shoot at Lyndhurst to shoot all the Collinwood exteriors, then follow with the interiors, then to shift locations to Beechwood (the Schoales Estate) to do the Old House exteriors and interiors (mostly interiors), then to switch locations to Wilton, CT and the Three Bears Restaurant to do the exteriors and interiors of the Collinsport Inn, and to make the final location switch to the Lockwood-Mathews mansion to shoot the abandoned monastery interiors. And for the most part, I believe things stuck to that. However, when it snowed while they were still doing Lyndhurst/Collinwood exteriors, they simply juggled things a bit and moved inside to shoot interiors instead and then moved back outside once the snow was cleared.
I have a copy of the original shooting schedule (which I do intend to share at some point) but believe it or not, I've never compared it to KLS' diary. But I definitely intend to compare the two here (again, at some point).
-
I don't have Scrapbook Memories in front of me but I seem to remember KLS relating a story about how the weather prevented everyone else but her from making the trek to Tarrytown. I know that she can be the patron saint of selective memory but I suspect that in this case her memory may be more accurate.
-
That would conflict with her diary because in that she says something like on the first day of shooting after the blizzard only Louis Edmonds missed making it to Tarrytown (because he was snowed in) and after DC had a fit that Louis couldn't make it, he gave all Louis'/Roger's lines for that day's shooting to Dennis Patrick/Sheriff Patterson.
I'd trust the diary more than Scrapbook Memories because the diary was written on the day. But then I don't trust much in Scrapbook Memories. The photos are wonderful and make it well worth owning, but that book should really be title Ben Martin's Fantastic Photos and Kathryn Leigh Scott's Faulty Memories Of Dark Shadows...
-
Willie Loomis, chauffeur.
That seems somehow more horrifying, at least potentially, than anything that happens onscreen in hoDS. LOL!
[lghy]
I haven't read the first draft in so long that I don't recall if there are any other references to Willie working as the Collins' chauffeur. But I would suspect not because, well, Willie's life is about to undergo quite the radical change very soon!! [wiseguy]
-
Continuing with more of DC's script's Scene 19, beginning with Willie's response to Maggie reminding him not to touch her:
WILLIE
Aw, c'mon, Maggie, you know you
like it. Why else you here?
|
And that's when today's first quote -
Page 7/Scene 19 - Maggie: 'I'm here to find David.'
- comes up, followed by today's second quote -
Page 7/Scene 19 - Willie: 'I ain't seen him.'
- coming up.
And when it comes to the differences in the dialogue, Willie actually says "Aw, what's the matter, Maggie, you know you like it. Why else would you come here?" - and Maggie actually says, I'm looking for David" - and Willie actually replies with "Well, I ain't seen him."
And when it comes to Willie's lines that weren't quoted from this portion of the script, quite honestly I would have loved to have included them in the slideshow - but because the credits block so much of those on screen moments, getting a capture of it would have been worthless because -
(http://www.dsboards.com/hoDSquoteimages/0118hoDS_a.jpg)
- you can't even see what's going on. [sad1] (And that's one thing that's quite nice about NoDS: the credits don't take away from what's happening on screen. [thumb])
-
And continuing with yet more of DC's script's Scene 19, beginning with Maggie's reaction to Willie saying he hasn't seen David:
x between her and door
She turns to go. He moves toward her.
WILLIE
Maggie, c'mon, I didn't mean it.
Don't go.
MAGGIE
I'm going to find David, Willie!
WILLIE
Forget David!
He grabs her. She tries to pull away from him.
WILLIE
No, wait! Look at this -- look!
He takes out a very old piece of paper.
|
And that's when today's first quote -
Page 7/Scene 19 - Willie: 'I found this in an old book. It's where the missing jewels are.'
- comes up, followed by today's second quote -
Page 7/Scene 19 - Maggie: 'Oh, please, Willie!'
- coming up.
And as far as any differences in the dialogue go, Willie actually says "Hey, Maggie, please don't go, uh, uh" - and Maggie actually replies "I'm going to find David", without the "Willie" - and after Willie tells her to forget David, he actually follows up with "Wait! Look at this -- look at this!"
And as far as the directions and descriptions go, instead of moving between Maggie and the door, as DC added to his script, Willie actually grabs Maggie's arm then rather than later as scripted, though she pulls her arm free - and whether it was intentional or just in the moment because Willie is supposed to be drunk, I love how spit flies from Willie's mouth when he tells Maggie to forget David and Maggie flinches -
(http://www.dsboards.com/hoDSquoteimages/0119hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0119hoDS_b.jpg)
- and as we can see in today's first capture, Maggie does look down -
(http://www.dsboards.com/91quoteimages/0119ds91_0.jpg)
- at the paper after he takes it out.
-
Wrapping up DC's script's Scene 19, beginning with today's quote -
Page 7/Scene 19 - Willie: 'No, I swear -- please listen! (he reads) ‘The three Graces spin -- high above. The Lion's Head looks down at the dove. And in the womb beneath the Hill. The secret fire glows bright and still.’'
- coming up, followed in the script by:
19 CONTD (2) (2) CONTD 19
MAGGIE
Willie, you're drunk!
goes by him
She starts to go. Willie follows her.
WILLIE
No, you don't understand -- that's
where they are -- As soon as I
figure it out, just think of the
money, Maggie. I'll cut you in --
ROGER (OS)
Loomis!!
|
End of scene - though certainly not end of sequence.
And as far as any difference in the dialogue goes, first Willie actually says "Oh, no, honest. Would you listen -- please! (he reads) ‘The Madonnas rest -- high above. The Lion's Head watches the dove. And in the womb beneath the Hill. The secret flame glows bright and still.’" - and then after Maggie says he's drunk, he actually says "Maggie, no, you, you don't understand. I mean, that's where they are. As soon, as soon as I figure it out-- Hey, Maggie, just think of the money, huh. I'll cut ya in, huh" - and Roger's shouting at Willie is not delivered off screen.
And as far as the directions and descriptions go, Maggie doesn't go by Willie, as DC has written in his script because Maggie actually turns away from Willie and starts to go, as scripted, until once again Willie follows and grabs her by the arm and stops her - and when Willie offers to cut Maggie in, he's unaware that Roger has arrived and watches as Willie tries to touch Maggie's face as he offers to cut her in but -
(http://www.dsboards.com/hoDSquoteimages/0120hoDS_a.jpg)
- she quickly turns her head away before Roger shouts at him.
-
And now we can get into how Scene 19 plays in the original draft:
19 INT. COTTAGE - NIGHT 19
Willie, frowning, opens the door. He sees Maggie. He
immediately smiles.
WILLIE
So you finally decided to accept my
invite.
MAGGIE
(she enters)
I'm hunting David, Willie.
WILLIE
Oh come on, Maggie. We got more to
talk about than him.
MAGGIE
(turning)
If he's not been here --
WILLIE
(stopping her)
Why aren't you nicer to me? We
could make life here one hell of a
lot better.
MAGGIE
I don't think so, Willie.
He grabs her, holds her.
WILLIE
Leave with me. I'm going to get the
missing jewels. Steal them right
away from those jerks up in the big
house. Look, I found this...in an
open chest...it hadn't been opened
in a hundred years. I bet I'll
figure out where they are. I swear
I will. Then we can go away --
ROGER (O.S.)
Loomis!
|
End of scene. And in ways what is to come with rewrites is still close to what originally was. Originally, Willie doesn't read the riddle to Maggie because he's already read it before she arrives - but he comes on to Maggie, he claims he's going to figure out where the missing jewels are, and he wants Maggie to go away with him once he does...
-
Setting up the new scene:
20 CAMERA WHIP PANS to the door. Roger stands there. 20
CAMERA TRUCKS BACK TO THREE SHOT. Willie looks at
Roger resentfully.
|
And that's when today's first quote -
Page 8/Scene 20 - Roger: 'Loomis, go upstairs and get your flashlight. You are going to look for David.'
- comes up, followed by today's second quote -
Page 8/Scene 20 - Willie: 'He's your kid. Find him yourself!'
- coming up.
And as far as any difference in the dialogue goes, Roger's arrival startles Willie and he lets out an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0121hoDS_a.jpg)
"Huh?!"
- and Roger drops the "Loomis" and contracts "you are" for "Go upstairs and get your flashlight. You're going to look for David."
And as far as the directions and descriptions go, almost immediately after calling out, Roger walks over to Maggie and Willie, though we don't see Willie give Roger a resentful look - and after giving Maggie a disgusted look -
(http://www.dsboards.com/hoDSquoteimages/0121hoDS_b.jpg)
- (apparently blaming her as much as Willie for the behavior he witnessed even though Maggie pulled away) Roger, still in close- up, as we can see in today's first capture -
(http://www.dsboards.com/91quoteimages/0121ds91_0.jpg)
- Roger delivers his lines to Willie - and it's nice to see Willie out of the shadows and in a lit close-up when he delivers his lines back -
(http://www.dsboards.com/91quoteimages/0121ds91_1.jpg)
- which is also when we actually see Willie's resentful look.
-
I thought it might be fun at this point to see when each of the first 20 scenes were scheduled to shoot on the original shooting schedule:
| | | | | | | |Day of | | | | |
| Scs. #s: | |Location: | |Pages: | |Description: | |Shoot: | |Date: | |Cast: |
| ===== | |=============== | |===== | |========== | |==== | |====== | |======== |
| 1 | |Ext. Collinwood (N) | |2/8 Pg. | |Establishing | |5th | |Fri. 3/27 | | |
| | | | | |shot | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 2 - 3 | |Int. Maggie's Room (N) | |2/8 Pg. | |Maggie finds | |12th | |Tue. 4/7 | |MAGGIE |
| | | | | |David's note | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 4 - 5 | |Int. David's Room (N) | |4/8 Pg. | |Maggie checks | |8th | |Wed. 4/1 | |MAGGIE |
| | | | | |David's room | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 6 - 7 | |Int. Ground Floor (N) | |5/8 Pg. | |Maggie looks | |6th | |Mon. 3/30 | |MAGGIE |
| | | | | |for David - | | | | | |ROGER |
| | | | | |finds Roger | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 8 | |Int. 1st. Floor | |3/8 Pg. | |Maggie asks | |8th | |Wed. 4/1 | |MAGGIE |
| |Stairway (N) | | | |Daphne about | | | | | |Daphne |
| | | | | |David | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 9 - 10 | |Int. Tower Room | |6/8 Pg. | |Maggie searches | |8th | |Wed. 4/1 | |MAGGIE |
| |& Stairs (N) | | | |for David | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 11 - 12 | |Int. Maggie's Room (N) | |3/8 Pg. | |Maggie finds | |12th | |Tue. 4/7 | |MAGGIE |
| | | | | |David hanging | | | | | |DAVID |
| | | | | |in her closet | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 13 | |Int. Hallway(Maggie's | |5/8 Pg. | |Maggie tells | |12th | |Tue. 4/7 | |MAGGIE |
| |Room) (N) | | | |them David is | | | | | |ROGER |
| | | | | |dead | | | | | |ELIZABETH |
| | | | | | | | | | | |Daphne |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 14 - 17 | |Int. Maggie's Room (N) | |4/8 Pg. | |David is not | |12th | |Tue. 4/7 | |MAGGIE |
| | | | | |in the closet | | | | | |ROGER |
| | | | | | | | | | | |ELIZABETH |
| | | | | | | | | | | |Daphne |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 18 | |Ext. Stable (N) | |1/8 Pg. | |Maggie enters | |4th | |Thu. 3/26 | |MAGGIE |
| | | | | |the stable | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 19 - 20 | |Int. Stable (N) | |3 Pgs. | |Roger fires | |16th | |Mon. 4/13 | |MAGGIE |
| | | | | |Willie | | | | | |WILLIE |
| | | | | | | | | | | |ROGER |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
You'll notice that even though Scenes 9 and 10 were never shot, they did appear on the shooting schedule - at least the original schedule. And you'll also notice that where Mrs. Johnson was to appear in Scenes 13 through 17, I replaced her name with Daphne's because that was how it was actually shot.
And it would certainly be interesting to compare this to KLS' diary. One thing we definitely know is that all of Scenes 6 and 7 weren't actually shot on March 30 because that was the day Louis Edmonds was snowed in and couldn't make it to Lyndhurst. And speaking of that day, I misremembered because Roger's lines weren't permanently given to the Sheriff - they shot around Roger/Louis with Dennis Patrick standing in for Roger/Louis, and then Roger's/Louis' parts were shot at a later time...
-
Picking up Scene 20 where we left off:
And that's when today's quote -
Page 8/Scene 20 - Roger (very quietly): 'All right, Loomis, you can pick up your pay in the morning.'
- comes up.
And as far as any differences in the dialogue, the directions, and the descriptions go, the only thing that's different, and is also quite apparent in today's capture -
(http://www.dsboards.com/91quoteimages/0122ds91_0.jpg)
- is that Roger does not get an extreme close-up because it remains exactly as it has been throughout the scene.
-
Wrapping up DC's script's Scene 20:
MAGGIE - WILLIE - TWO SHOT
MAGGIE
Mr. Collins!
PAN with
SHOT WIDENS as Willie starts slowly, walks past Roger,
looking at him with contempt.
|
And that's when today's first quote -
Page 8/Scene 20 - Willie: 'All right -- I'll pick up my pay in the morning.’'
- comes up, followed in the script by:
He continues to just outside the door.
|
And that's when today's first quote -
Page 8/Scene 20 - Willie: 'But I'll pick up a lot more, too, before then.'
- comes up.
End of scene - though not the end of the sequence as scripted. But more on that starting tomorrow...
And as far as any difference in the dialogue goes, Maggie actually says "Oh, Mr. Collins, he..." before she's cut off by Willie's first response to Roger, which is actually delivered as "(snickers) All right -- I'll pick up my pay in the morning. (snickers)", and then Willie actually follows up with "But I'll get a lot more than that, too, before then."
And as far as the directions and descriptions go, there is no two shot of Maggie and Willie, as DC added to his script, because first there's a close-up of Willie -
(http://www.dsboards.com/hoDSquoteimages/0123hoDS_a.jpg)
- and then there's a three shot of Maggie, Roger and Willie as -
(http://www.dsboards.com/hoDSquoteimages/0123hoDS_b.jpg)
- Willie begins to move toward Roger, though unlike what DC added to his script, the camera does not pan but remains stationary - and as we can see in today's first capture -
(http://www.dsboards.com/91quoteimages/0123ds91_0.jpg)
- Willie actually stands right up to Roger as he delivers the first part of his response before he moves on to just outside the door and turns, as we can see in the second of today's captures -
(http://www.dsboards.com/91quoteimages/0123ds91_1.jpg)
- to deliver the second part.
-
And here's how Scene 20 plays in the original draft:
20 CAMERA WHIP PANS to the door. Roger stands there. 20
WILLIE - MAGGIE
Maggie breaks away. CAMERA TRUCKS BACK to THREE SHOT.
Willie turns to Roger, hating him.
WILLIE
What the hell do you want?
ROGER
You're going to look for David.
WILLIE
Find him yourself.
They stare at each other and then.
ROGER - EXTREME CLOSE UP
ROGER
All right Loomis, pick up your pay
in the morning.
MAGGIE
Mr. Collins!
WILLIE
Pick up my pay, huh? Okay you
son of a bitch --
ROGER
He is nearly apoplectic.
BACK TO SCENE
WILLIE
I'll pick up my pay. But I'll pick
up a lot more, too, before I leave
this hell hole.
|
End of scene. And again, even the rewrite is still close to what originally was. Although, originally Willie was more angry:
- He demands to know "what the hell" Roger wants after Roger first arrives. Though for him to see Roger in his room from out of nowhere without Roger bothering to wait to be let in or to even knock before entering would anger anyone. (But then, that's classic Roger behavior because on the daytime show he always acts as if he owns everything despite the fact that Liz owns Collinwood. Although, in the film we really have no idea who owns Collinwood. It could be Liz. It could be Roger. Or it could be both, for all we know. It's never explained. But then, who owns Collinwood isn't much of a point to the plot, like it was on the daytime DS and in the Depp/DS film.)
- Willie calls Roger a "son of a bitch" - and it's really too bad that didn't survive the rewrite because then John Karlen could have had the distinction of not only being the only DS actor to say it, but to say it in both original films. [wink2]
- And he characterizes Collinwood as a "hell hole." And it's too bad that we never really get an idea of why he would call it that - well, beyond the fact that David thinks nothing of playing vicious pranks on Maggie - but that doesn't affect Willie beyond perhaps his sympathy for her under the circumstances. We just have to presume that Roger must be pretty much an ogre to nearly everyone around him - and at least with Maggie, we'll get hints of that in upcoming Scene 21...
-
Setting up the current scene:
21 Willie moves off into night. Roger stares after 21
him, then turns to Maggie. CAMERA TRUCKS INTO
TIGHT TWO SHOT.
MAGGIE
You didn't have to fire him.
he turns to her
ROGER
Your attitude also leaves much to
be desired.
|
And that's when today's quote -
Page 9/Scene 21 - Maggie: 'You've been against me ever since I came here.'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing if what's scripted and/or crossed out are how things actually played out because the scene was left on the cutting room floor and the footage was apparently destroyed. But then, as we'll see it's purely a character scene that doesn't advance anything that DC was interested in, so from that perspective it's no surprise it was left on the cutting room floor. If only the scene had appeared a bit later, and after having been released from the coffin, the occupant had shown up during Maggie and Roger's conversation and proceeded to chase them around the stable, maybe then and only then might it have survived! [snow_wink] [snow_rolleyes]
One thing that is worth mentioning, though, is that DC indicates in his script that Scene 21 would begin with a three shot and then switch to the tight two shot of Maggie and Roger - however, the thing is that when Willie leaves the stable, Maggie isn't even part of that shot in Scene 20 because it's actually only -
(http://www.dsboards.com/hoDSquoteimages/0123hoDS_c.jpg)
- a two shot of Roger and Willie. So, it's highly unlikely Scene 21 actually begins as a three shot...
-
HODS Maggie is somewhat more bold than TV Maggie or Vicki. Regardless of how p.o.'ed she is at Roger (and it's obvious that she is extremely angry) she is still an employee and speaking to him like that would be enough to get her fired. But I suppose it was necessary to make her consider leaving, though that really is no longer a major plot point in the final cut.
-
If you think Maggie is being bold there, just wait until you see what the rest of the scene is like! [snow_wow] Actually, I think it's amazing that Roger doesn't fire her. Though perhaps he couldn't because, even though it's not spelled out in the script, perhaps Sam Hall and Gordon Russell were operating under the premise that, as with the daytime show, Liz had hired Maggie, so she was the only one to fire her. Plus, as we'll see later on in Scenes 68 through 68C, the script wants Maggie to make her own decision to leave...
-
Continuing with more of DC's script's version of Scene 21, beginning with yesterday's first quote, Roger's response to Maggie saying Roger has been against her, -
Page 9/Scene 21 - Roger: 'Then why do you stay?'
- coming up, followed by yesterday's second quote -
Page 9/Scene 21 - Maggie: 'That's a question I'm beginning to ask myself, Mr. Collins. Quite frequently.'
- coming up, followed in the script by:
She starts for the door. x by him 2 steps
|
And that's when today's first quote -
Page 9/Scene 21 - Maggie: 'I'm going to the old house to look for David. Would you like to come with me?'
- comes up, followed by today's second quote -
Page 9/Scene 21 - Roger: 'No, Miss Evans, I would not.'
- coming up.
And when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing if what's scripted and/or added are how things actually played out because the scene was left on the cutting room floor and the footage was apparently destroyed.
And on Friday we'll get what is perhaps Maggie's best line in the scene...
-
Poor doomed Willie called Collinwood a hellhole. If only he had known...
G.
-
Wrapping up DC's script's Scene 21, beginning with today's quote, Maggie's reaction to Roger not wanting to go to the Old House to look for David -
Page 9/Scene 21 - Maggie: 'You are incredible, Mr. Collins.’'
- coming up, followed in the script by:
They stare at each other. He is speechless with rage.
She turns and exits.
|
End of scene - and end of sequence.
And when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing how things actually played out because the scene was left on the cutting room floor and the footage was apparently destroyed. But I would practically kill to have been able to see the expression on Roger's face at the end of this scene!!
-
And now for the original draft's version of Scene 21:
21 Willie races from the house. Roger stares after 21
him. Then he turns to Maggie. CAMERA TRUCKS
into TIGHT TWO SHOT.
ROGER
You seem to be unable to avoid
trouble, Miss Evans.
MAGGIE
You didn't have to fire him.
21 CONTD CONTD 21
ROGER
And your attitude leaves much to
be desired.
MAGGIE
You've been against me ever
since I came here.
ROGER
Then why do you stay?
MAGGIE
That's a question I'm beginning
to ask myself, Mr. Collins. Quite
frequently.
She starts for the door.
MAGGIE
I'm going to the old house to look
for David. Would you like to come
with me?
ROGER
(at the window)
No need to go there. The storm's
going to start again. He'll come
back before it does.
MAGGIE
You are incredible, Mr. Collins.
They stare at each other. He is speechless with
rage. She turns and exits.
|
And the first change in DC's script's version was only necessitated because of the location change from Willie's cottage to the stable. Who knows why Roger's first line was dropped? And the changes to Roger's other line near the end of the scene might be do to the deemphasizing of the storm - or better still, because they wanted to make Roger look like more of bastard. Perhaps the rest remains basically to exactly the same because they felt those parts are perfect as they are. But at any rate, none of it much matters when DC decided to leave the scene on the cutting room floor...
-
Too bad this stuff was not in the final cut. It firmly establishes Roger as a bastard and shows that Maggie isn't quite a pushover. And, as with other incarnations of DS, the scenes before Barnabas arrives are some of the best stuff.
-
I really don't understand why all the scenes leading to Maggie making her decision to leave had to be cut. Sure, the "Hanging David" stuff contributes to her decision, but, as we'll see with Scenes 68 through 68C, and as can already be easily seen with Scene 21, they can also stand alone without any of that. The only excuse I can see DC giving is that in his opinion they slowed down all the action and mayhem surrounding the release of the occupant of the coffin, and to a lesser degree, David terrorizing Maggie at the Old House. But hello, it's actually nice to slow things down a bit here and there to give the audience a breather and to show who your characters actually are. But character stuff just wasn't what DC was about with this film - for him it was all action and mayhem and then later the blood and gore and to hell with character. And when it comes to the mainstream press, the film got some pretty bad reviews because of it. But I'm sure DC could have cared less about that - especially because the horror press lapped up every bit of blood and gore with a spoon... Though many of the actors, particularly Jonathan Frid, shared the mainstream press' view, with Frid once criticizing the film as "one sledgehammer scene after another" - and that was while he was supposed to out promoting it! But then, if I was one of the actors and I saw that some if not most of my best character stuff ended up getting cut, I would have been upset too...
-
Setting up the new scene:
22 EXT: CEMETERY - NIGHT 22
LONG LENS SHOT of the dark, gloomy, ancient cemetery.
though the rain has stopped, there is the DISTANT
RUMBLE OF THUNDER. Suddenly, from the trees, a shadowy
distant figure appears. He carries a flashlight.
There is a flash of lightning. CAMERA SLOWLY ZOOMS
into a TIGHT SHOT of Willie, trying to read the note.
He flashes the light on a MAUSOLEUM. CAMERA PANS with
light to the marble facade of the pediment which tops
the mausoleum. We see, carved, the THREE GRACES.
|
And that's when today's quote -
Page 9/Scene 22 - Willie (OS) (reciting from the paper): 'The three Graces spin high above.'
- comes up, followed in the script by:
22 CONTD CONTD 22
WILLIE
He runs to the iron gate of the mausoleum. He opens
the gate and enters.
|
End of scene - though just the beginning of the sequence.
And as far as any difference in the dialogue goes, as was the case before, Willie actually reads "The Madonnas rest high above."
And as far as the directions and descriptions go, there is no indication of thunder of lightning - and we immediately see a shot of Willie in the cemetery -
(http://www.dsboards.com/hoDSquoteimages/0128hoDS_a.jpg)
- with his flashlight - and after searching around a bit, he takes out his bottle of liqueur -
(http://www.dsboards.com/hoDSquoteimages/0128hoDS_b.jpg)
- but seeing that it's empty, he throws and smashes it against a nearby wall - and then we actually see Willie running -
(http://www.dsboards.com/hoDSquoteimages/0128hoDS_c.jpg)
- through the cemetery - and soon he reaches something that -
(http://www.dsboards.com/hoDSquoteimages/0128hoDS_d.jpg)
-makes him quite excited - whereupon he takes out the paper, and after reading the first line, he shines his flashlight on the Madonnas -
(http://www.dsboards.com/hoDSquoteimages/0128hoDS_e.jpg)
- on the pediment - and after putting the paper back in his pocket, he moves to the iron gate as scripted.
-
I like the movie but it would definitely benefit from better character development. Who are these people? How are they related to each other? And why should the audience care? Fans of the show could fill in some of the blanks but moviegoers had their work cut out for them.
Interesting (to me, anyway) that this is the only incarnation of DS that starts with the heroine already employed at Collinwood. No money in the budget for filming on a train?
-
And now the only reason I'm posting Scene 22 from the original draft is because, as with other scenes we've seen, the original version is a bit more descriptive:
22 EXT. CEMETERY - NIGHT 22
LONG LENS SHOT of the dark, gloomy, ancient cemetery.
Ivy covers the crumbling tombstones. Though the rain
has stopped, there is the DISTANT RUMBLE OF THUNDER.
Suddenly from the trees, a shadowy, distant figure ap-
pears. He carries a flashlight. There is a flash of
lightning. CAMERA SLOWLY ZOOMS into a TIGHT SHOT of
Willie, trying to read the note. He flashes the light
on a MAUSOLEUM. CAMERA PANS with light to the marble
facade of the pediment which tops the mausoleum. We
see, carved, the THREE GRACES.
WILLIE(O.S.)
(reciting from the paper)
The Three Graces spin high above.
22 CONTD CONTD 22
WILLIE
He is so excited, he ignores the WARNING CLAP OF THUN-
DER the flash of lightning, and runs to the iron gate
of the mausoleum. CAMERA TRUCKS with him. He opens
the gates, then the huge doors, enters.
|
-
Fans of the show could fill in some of the blanks but moviegoers had their work cut out for them.
To say the least, which is one of the biggest complaints the mainstream critics had with the film.
Interesting (to me, anyway) that this is the only incarnation of DS that starts with the heroine already employed at Collinwood. No money in the budget for filming on a train?
I suppose they figured they didn't want to deal with Maggie's story/background, so the easiest way to avoid that is to have her already ensconced and working at Collinwood. That's one of the few thing I don't have a problem with.
-
Dealing with the new scene:
23 INT: MAUSOLEUM - NIGHT 23
CLOSE UP of Willie's face as he enters. He is fright-
ened. The CAMERA TRUCKS IN BACK of him and PANS what
he sees with his flashlight: the two marble caskets
in the center of the room. The wall with the indi-
vidual vaults and, high above the door, a CARVED STONE
DOVE.
|
And that's when today's quote -
Page 10/Scene 23 - Willie: 'The Lion's head watches the dove.'
- comes up, followed in the script by:
Quickly, he jerks his flashlight's beam to the oppo-
site wall. WHIP PAN to the LION'S HEAD, with the ring
in its mouth. DOLLY IN TO CLOSE UP.
WILLIE (OS)
And in the womb beneath the hill,
The secret flame glows bright and still ...
WILLIE
He frowns, shaking his head, not knowing what to do.
CAMERA PANS him as he walks around tentatively. He
settles against the wall. His eye falls on the lion's
head and the ring. He touches it. It moves. He is
surprised. He pulls the ring out of the mouth. There
is the SOUND OF A WALL MOVING. He releases the ring,
as SHOT WIDENS. The wall is a secret door that has
opened. Willie slowly, tentatively approaches it.
He stands in the dark opening, shining his flashlight
inside.
|
End of scene - though just the beginning of the parts inside the mausoleum.
And what's interesting as far as the dialogue goes, Willie actually reads "The Lion's head watches the dove", which is what he actually said in Scene 19 and which is actually written on the paper when we see him read from it in Scene 22 (though it's weird that in Scene 19 it's scripted as "The Lion's Head looks down at the dove" and the last lines are scripted as "And in the womb beneath the Hill. The secret fire glows bright and still", yet they're scripted as "And in the womb beneath the hill, The secret flame glows bright and still", which is also how they read on the paper in scene 22. Although, Willie saying those last lines is dropped in this scene.
And where do we start with all the differences with the directions and descriptions? We do not see a close-up of Willie's face when he enters the mausoleum because we see him full body, descending stairs -
(http://www.dsboards.com/hoDSquoteimages/0129hoDS_a.jpg)
- and shining his flashlight around while the camera is quite obviously in front of him and not behind him, as scripted - and once he enters the crypt, two marble caskets are nowhere to be seen because it's a room with -
(http://www.dsboards.com/hoDSquoteimages/0129hoDS_b.jpg)
- vaults on the walls - and after Willie discovers the lion's head, there is no dolly in to a close-up of it, and he simply goes over to it and almost immediately, which is when it's actually in close-up -
(http://www.dsboards.com/hoDSquoteimages/0129hoDS_c.jpg)
- pulls the ring in its mouth (if there was any frowning, shaking of his head, not knowing what to do, walking around tentatively, settling against the wall, and eventually Willie's eye falling on the lion's head and the ring, all of that was cut) - and we also don't see Willie slowly, tentatively approach the door or stand in the dark opening, shining his flashlight inside because he simply smiles excitedly -
(http://www.dsboards.com/hoDSquoteimages/0129hoDS_d.jpg)
- and moves to go inside -
(http://www.dsboards.com/hoDSquoteimages/0129hoDS_e.jpg)
And even though it won't be a part of the slideshow this time around, Willie reciting the last two lines of the clue was a part of the original hoDS slideshow -
(http://www.dsboards.com/moviesquoteimages/0112hoDS_0.jpg)
hoDS: Scene #23 - Willie (Off Screen): 'And in the womb
beneath the hill, A secret flame glows bright and still.'
- because they're included on the Fest's 1999 Movie Calendar of quotes for January 12th.
And believe it or not, with just a couple of exceptions for a bit more descriptive phrasing, the original draft of Scene 23 is nearly exactly the same as it appears in DC's script, so I'm not even going to bother to share it. One thing, though, is that the scene concludes by saying that there is a zoom in to a close-up of Willie before he goes through the door because presumably his flashlight has apparently revealed something inside, but that was dropped in both DC's script and the film...
-
We need to deal with two dialogue free scenes before tomorrow's entry in the slideshow comes up:
24 INT: SECRET ROOM - WILLIE'S POV 24
On a marble stand there is a very old coffin, criss-
crossed with heavy chains.
WILLIE - MEDIUM ANGLE
as he enters the secret room he flashes his light
along the coffin surface. His face is greedy, shrewd.
The jewels must be in there. Willie walks slowly to
the coffin, touches the chains. They are very secure.
CUT TO:
25 CROWBAR - CLOSE UP 25
CAMERA PULLS BACK. Willie strains to break the chains.
CHAINS
as they snap. CAMERA PANS them to the floor, then
PANS UP to Willie. He is very tense, nervous.
WILLIE'S HANDS
as they touch the coffin lid. CAMERA TRUCKS BACK as
he starts to push up the CREAKING coffin lid. When
the lid is up, Willie looks down. We do not see what
he does as CAMERA FAST ZOOMS to Willie's horrified
face. A hand grabs him.
|
End of scene - and end of sequence. However, it definitely needs to be pointed out that in the film Scene 25 does not play after Scene 24 because in the film at this point things jump around. As always, the slideshow will be following along with the order as scripted - but in the film Scene 24 jumps all the way up to Scenes 38 and 39 to Scenes 41 through 44A to Scenes 25 through 37 and then back in order to Scene 52 and onward. And yes, obviously Scenes 45 through 51 are missing - and that's because in DC's version of the script they no longer appear. However, unlike other instances when there has been scenes omitted from the scripts, this time around copies of Scenes 45 through 51 do indeed appear in the original draft and we will get into them after we conclude Scene 44A in DC's script. (And it's also interesting to point out that two lines of dialogue from Scene 46 were actually included in the original hoDS slideshow because they appear on the Fest's 1999 Movie Calendar.)
And obviously, since there isn't any dialogue in Scenes 24 and 25, we have nothing to get into on that front.
But as far as any differences with the directions and descriptions go, in Scene 24, after Willie shines his flashlight around the darkness of the secret room, before he goes over to the coffin, he discovers a torch on the wall -
(http://www.dsboards.com/hoDSquoteimages/0129hoDS_f.jpg)
- and lights it - and Willie grunts in anger as he also discovers that the chains on the coffin -
(http://www.dsboards.com/hoDSquoteimages/0129hoDS_g.jpg)
- very secure - and in Scene 25, it isn't until after Willie pushes off the chains that he opens the coffin's lid - and as DC added to his script, after opening the lid, a hand -
(http://www.dsboards.com/hoDSquoteimages/0129hoDS_h.jpg)
- reaches out of the coffin to grab Willie's throat, though there is no fast zoom to Willie's face.
And speaking of how Scene 25 concludes in the film, ever since first reading the script I've been quite surprised that the grabbing of Willie's throat isn't actually scripted, given what an iconic moment it is in the daytime show...
-
MB, has it ever been established if that was Frid in the casket? I know that George DiCenzo doubled for him in several sequences but is that Jonathan's hand?
-
Scene 25 was shot on March 23rd, the first day of shooting, before Frid arrived at the Lyndhurst location (his first day of shooting was supposed to be March 24th but they never actually used him - so his first day was actually the 25th when they shot Barnabas' walk with Maggie with Julia spotting them from her vantage point atop the tower). The shooting schedule listing for Scene 25 has Cast Working as WILLIE, Barnabas double.
-
Thanks, MB! That's something that I had wondered about.
-
I'm sharing the original draft's versions of Scenes 24 and 25 more for an opposite reason as to why I've been sharing the original draft's scenes: not because of what was more descriptive in the original draft, but rather because of what's missing in the original draft - particularly when it comes to DC's script's Scene 24:
24 WILLIE'S POV - INT. SECRET ROOM 24
On a marble stand there is a very old coffin, criss-
crossed with heavy chains. They are very secure.
DISSOLVE TO:
25 INT. SECRET ROOM - NIGHT 25
CLOSE UP of the CROWBAR attempting to break the chains.
CAMERA PULLS BACK. Willie strains at his work.
CHAINS
as they snap. CAMERA PANS them to the floor, then
PANS UP to Willie. He is very tense, nervous.
WILLIE'S HANDS
as they touch the coffin lid. Then with a sudden now
or never move, he starts to push up the CREAKING coffin
lid. When the lid is up, CAMERA TRUCKS BACK as Willie
looks down. We do not see what he does as CAMERA FAST
ZOOMS to Willie's horrified face.
|
It's also interesting that it was originally a dissolve to Scene 25 rather than a cut. I honestly think the dissolve would have been a better way to show the passage of time. But as it is the film actually switches to Scenes 38, 39, and 41 through 44A with Maggie at the Old House between Scenes 24 and 25, so using a dissolve versus a cut is immaterial...
-
Dealing with the new scene:
26. INT FIRST FLOOR CORRIDOR NIGHT
Daphne and Liz.
DAPHNE
I'm ready to leave. Unless
you want me to help look for
David.
LIZ
It's not necessary. I'm sure
everything will be allright.
DAPHNE
I hope so, Mrs. Stoddard. Oh=
I left the first of the month
checks for you to sign. I may
be late in the morning.
|
And that's when today's first quote -
Page 11A/Scene 26 - Liz: 'Let me send you home in the car'
- comes up, followed by today's second quote -
Page 11A/Scene 26 - Daphne: 'I drove this morning. Thanks, anyway. Goodnight, Mrs. Stoddard'
- coming up, followed in the script by:
End of scene, which also happens to be a rewrite, as we'll soon see...
And as far as the dialogue goes, the first thing Daphne actually says "I'm ready to go" - and the first part of Liz' actual reply is "Oh, that won't be necessary" - and when it comes to the first part of Daphne's reply, she simply says "I hope so", dropping the "Mrs. Stoddard", and she actually ends that bit with "I may be late tomorrow" - and when it comes to today's first quote, Liz actually asks "Would you like me to send you home in a car?" - and to that Daphne actually responds "Thank you, I drove" before she starts to leave but hesitates and then actually turns back to ask an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_c.jpg)
"Are you sure there's nothing I can do?"
- to which Liz replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_d.jpg)
"Nothing. Thank you, Daphne."
- and it isn't until then that Daphne wishes Liz goodnight and Liz does the same to her. And yes, all the irregular spacing for the dialogue and the missing periods and even that equal sign are exactly how things appear in the script.
And there aren't any directions or descriptions in the rewrite, so obviously there's nothing to get into there. However, though the scene does indeed start off with Liz coming down the last few stairs into in the first floor corridor -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_a.jpg)
- soon she enters the office where Daphne -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_b.jpg)
- sits at the desk - and after Daphne tells Liz that she drove, as seen in today's second capture -
(http://www.dsboards.com/91quoteimages/0130ds91_1.jpg)
- she leaves the office and we get a close-up of Liz -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_e.jpg)
- watching after her.
-
And here's the original draft's version of today's scene:
26 INT. FIRST FLOOR CORRIDOR - COLLINWOOD - NIGHT 26
Liz comes down the corridor and CAMERA PANS her into
the office where DAPHNE BUDD, Liz's secretary, finishes
working on the checkbook. Daphne closes it, rises,
starts to exit. CAMERA TRUCKS into TIGHT TWO SHOT.
DAPHNE
Mrs. Stoddard, will it be all
right if I come in a little late
tomorrow?
LIZ
Of course, Daphne. Take the day
off if you want.
DAPHNE
To much work to do. The first
of the month's bills are in.
She is at the door.
LIZ
Do let me send you home in the
car.
DAPHNE
Thanks but I enjoy walking through
the woods after a rain. I guess
I'm the last of the romantics.
Unfortunately. Goodnight.
She exits quickly.
|
End of scene for the first draft. But guess what - there's a second draft that was done before the rewrite in DC's script, and it also appears in DC's script. However, the only things that are different come after Daphne mentioning that the first of the month's bills are in:
She moves to the door.
LIZ
Do let me send you home in the
car.
DAPHNE Thanks I drove here
Thanks but I'd rather walk.
today - my car's at the stable
They both exit by the camera down the hall.
|
And it's interesting that 1)DC crossed out Liz' line about sending Daphne home in the car, yet it's included in the rewrite and in the film, and 2)DC changed Daphne's last line but they decided to go with nearly a complete rewrite of the entire scene instead...
-
The last time I watched the film (which was many years ago now, on my VHS tape from the old Laserdisc--a friend made the tape for me since I have never owned a laserdisc player), I noted one moment when Joan is turning to look at Daphne where she gave one of those looks that made me think of the old Liz from '66-'67.
Wonderful captures MB!
In one of JF's interviews from the 1980s--I think it was the one that was published in a Baltimore weekly which I used to read when I was a student at Hopkins--he referred to hoDS as "practically pornographic." I think he found it all really distasteful. My perception, rightly or wrongly, is that JF's career went into hibernation for several years because he really did not want to do horror projects or be associated in any way with the genre and that was the kind of work that would have been available to him.
I'm sure most have heard of this, but Malia Howard's career biography of JF has been reprinted now. For those interested in finding out more about what he did after DS, I am sure it is the best source available.
G.
-
Oops, it's happening again - last night I forgot to mention that even though it's not a part of the slideshow this time, this line from Daphne -
(http://www.dsboards.com/moviesquoteimages/0113hoDS_0.jpg)
hoDS: Scene #26 - Daphne: 'I may be late in the morning.'
- was a part of the original hoDS slideshow because it appears on the Fest's 1999 Movie Calendar of quotes for January 13th.
-
From topic "CAMPY FUN WITH DARK SHADOWS: HEIRESS OF COLLINWOOD"
Interestingly, though, especially in light of the recent discussions about HoDS, my vague (admittedly, very extremely vague) memories of the novelization of that movie make me think that the novel is actually quite superior to the movie, in regard to storytelling and characterization.
It most definitely is because it includes everything in the script that ended up getting cut, plus a few tidbits thrown in to help to strengthen the characters even more than the script does. IF ONLY the movie was as good as the book. But alas...
Truthfully, reading the novelization and seeing how all the cut stuff would have played into and greatly enhanced the story was one of the chief influences that caused me to almost instantly look down on the movie as much as I do.
-
Maybe I'm jumping the gun on this a little but I was wondering if the ending in the book was ever part of the HODS script or if it was something that Marilyn/Dan Ross came up with.
-
And now we need to deal with many, many dialogue free scenes in DC's script before tomorrow's entry in the slideshow comes up:
27 EXT: COLLINWOOD ENTRANCE - NIGHT 27
WIDE ANGLE
Daphne exits the house and starts walking along the
drive. There is the SOUND OF DISTANT THUNDER.
27 CONTD CONTD 27
DAPHNE - CLOSE UP
CAMERA TRUCKS IN FRONT OF HER as she walks along drive.
There is more thunder. She stops, looks up at the sky
and starts walking again. This time a little faster.
She hears the DISTANT SOUND OF A DOG HOWLING. She
quickens her pace.
28 EXT: COLLINWOOD DRIVE - NIGHT 28
WIDE ANGLE
to the stable
LONG LENS THROUGH THE MAIN GATES of Collinwood, with
Daphne in the distance walking rapidly towards camera.
She wants to reach the lighted main road that runs
parallel to the grounds.
29 EXT: WOODS - NIGHT 29
Daphne can be seen through the trees walking rapidly
along the drive. CAMERA TRUCKS keeping pace with her.
It is as if someone is moving with her and watching her
through the darkness from the trees.
DAPHNE - MEDIUM ANGLE
CAMERA TRUCKS IN FRONT OF DAPHNE as she suddenly stops.
She senses something in the woods and AS she turns to
camera right looking into the woods, CAMERA TRUCKS
BACK ARCING TO ITS LEFT FRAMING HER IN THE FOREGROUND
SILHOUETTED against the woods. There is the SOUND OF
THE HOWLING DOG. This time CLOSER. Sensing danger
she suddenly starts walking very fast exiting the shot.
CAMERA HOLDS ON WOODS for a beat and then
CUT TO:
30 DAPHNE'S FEET 30
CAMERA TRUCKING ALONG SIDE THEM. Suddenly the camera
stops. The feet exit the shot and we truck in to the
bushes at the side of the road until a pair of MEN'S
BOOTS fill the FRAME. The boots begin to walk through
the underbrush.
DAPHNE'S FEET - TRUCKING SHOT
as she walks faster and faster, CAMERA SLOWLY ALLOWS
her to get in front of it, PANNING up her back and as
she looks around she is framed in CLOSE UP. Hearing
the SOUND OF THE FOOTSTEPS in the underbrush, she
starts running as fast as she can.
STABLE
31 EXT: COLLINWOOD DRIVE - NIGHT 31
LONG LENS THROUGH THE GATES AS Daphne is running full
speed toward camera. CAMERA STARTS SLOW ZOOM until it
holds her in as tight a closeup as it can. Picture
is suddenly blacked out by something stepping between
the camera and Daphne. In actuality it is the back
of her PURSUER. SHE SCREAMS.
CUT TO:
31A CLOSE UP OF DAPHNE'S HEAD AND SHOULDERS 31A
A MAN'S HAND with a large black ring on the forefinger
has her by the throat. She is SCREAMING in terror.
CUT TO:
DRIVE
32 EXT: ROAD OUTSIDE COLLINWOOD GROUNDS - NIGHT 32
LONG LENS up the road as headlights of an approaching
car enters the shot.
33 INT: MOVING CAR - NIGHT 33
JEFF CLARK, a handsome young man, is behind the wheel.
STABLE
34 COLLINWOOD GATES - JEFF'S POV 34
(THROUGH THE WINDSHIELD)
The headlights illuminate the gates as the car
approaches them and then passes through them.
35 EXT: CAR - HOOD MOUNT SHOT 35
as Jeff's face suddenly registers alarm.
36 INSERT SHOT 36
His foot hitting the brake.
|
And that's it for now. But coming up we'll get into what in the film is different in all that...
-
Maybe I'm jumping the gun on this a little but I was wondering if the ending in the book was ever part of the HODS script or if it was something that Marilyn/Dan Ross came up with.
We shall see... [snow_wink] [snow_lipsrsealed]
-
Is it safe to assume that HODS Barnabas bypassed munching on the local livestock and headed directly for the jugular of the ingenue?
-
And now the differences between the DC's script's versions of Scenes 27 through 36 and how they actually play in the film:
Scene 27: We don't see Daphne exits the house and starts walking along the drive - and there is no sound of distant thunder anywhere in the scene - what we do see at first is Daphne on the drive from a distance -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_f.jpg)
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_fa.jpg)
- and Daphne's close-up is more of a medium shot - and when she stops, she doesn't look up at the sky because she looks to both the right and left of her -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_g.jpg)
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_h.jpg)
- as we hear the sound of a dog howling.
Scene 28: Rather than seeing anything having to do we Daphne, we simply see her car on the other side of the gate -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_i.jpg)
- to the stable.
Scene 29: Here is where we actually see Daphne's feet -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_j.jpg)
- but soon Daphne comes to an immediate stop as she hears the loud call -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_k.jpg)
of a night bird - and soon after she begins to move again she hears more of the howling dog -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_l.jpg)
- which causes her to stop again and this time look behind her - then as she walks along the drive we seem to see her as if from the P.O.V. of someone -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_m.jpg)
- in the bushes.
Scene 30: Here rather than seeing Daphne's feet we see her legs -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_n.jpg)
-as she quickly walks along the drive, but as the dog's howling can be heard again, the camera pans up to Daphne's frightened expression -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_o.jpg)
- as she stops yet again but soon begins to move even faster - and then we see the men's boots (and a cane) as they walk -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_p.jpg)
- through the underbrush - and Daphne does indeed begin to walk faster and faster while looking about her, and once she hears the sound of footsteps in the underbrush, she does indeed begin running as fast as she can, at one point dropping her coat and purse -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_q.jpg)
- but leaving them behind as the camera lingers on them on the ground -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_r.jpg)
- as they get farther away, until...
Scene 31: We do indeed see Daphne running full speed toward camera -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_s.jpg)
- but rather than a slow zoom to hold Daphne in as tight a closeup as possible, the camera actually zoom back to show Daphne is running to her car -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_t.jpg)
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_ta.jpg)
- in the foreground - and after Daphne rushes to get inside -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_u.jpg)
- her car, the camera then zooms in as she locks the driver's side door and turns to attempt to -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_v.jpg)
- lock the passenger side door, but her pursuer opens the passenger door, momentarily blocking view of her, though we hear her screams.
Scene 31A: Though we soon see a man's hand with a large black ring on the forefinger has Daphne by the throat -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_w.jpg)
- as she continues to scream in terror.
Scene 32: Plays exactly as scripted and changed by DC.
Scene 33: Plays exactly as scripted. Though from the outside we also see the car turn a corner and then go back to Jeff inside the car.
Scene 34: However, we do not see the gate through Jeff's windshield because what we actually see is Daphne illuminated by headlights -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_x.jpg)
- in front of Jeff's car.
Scene 35: And as we see Jeff's face suddenly register alarm in this scene, it is not shot with a hood mount but exactly as Scene 33 -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_y.jpg)
- was shot.
Scene 36: And this scene is not an insert shot of Jeff's foot hitting the brake but is a shot through the windshield of Daphne as she -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_z.jpg)
- is blinded by the cars headlights.
[whew] That post was a workout to compose! But it was also a good deal of fun. [nodassent]
And coming up before too long (after I have something to eat): the version of all that as it plays in the original draft. And as we'll see, much of it is similar - but much of it is also different, too...
-
Is it safe to assume that HODS Barnabas bypassed munching on the local livestock and headed directly for the jugular of the ingenue?
I would say that it is indeed quite likely that he bypassed the local livestock. [nodassent] Either that or he was awfully, awfully, awfully thirsty if he had livestock as well as Willie and Daphne!! [b003]
-
And here's the original draft's version of Daphne's stalking, attack, and her discovery by Jeff:
27 EXT. WOODS - NIGHT 27
Daphne walks through the woods. There is the SOUND OF
DISTANT THUNDER. There is a flash of lightning.
Daphne stops, looks at the sky, begins walking a
little faster. As she does she hears the SOUND OF
SOMETHING - OR SOMEONE - IN THE BUSHES at her side.
She stops, turns, looks.
DAPHNE'S POV - THE BUSHES
The branches move as if someone has passed by. But
then again, it could have simply been the wind.
28 DAPHNE 28
CAMERA TRUCKING IN FRONT OF HER. She starts to walk
quickly. Not running. She hears the SOUND OF A DOG
HOWLING. THE SOUND IS SO MOURNFUL that she stops.
Then she hears the sound OF A TWIG SNAPPING behind her.
The bushes RUSTLE. She suddenly is afraid. She runs
TOWARD CAMERA.
29 EXT. ROAD LEADING TO MAIN GATE - COLLINWOOD - 29
NIGHT
SHOOTING THROUGH GATES LONG LENS. Daphne running down
the lane to the gates, opens them. She passes through
them, closes them carefully.
30 EXT. COUNTRY ROAD - OUTSIDE MAIN GATES - 30
NIGHT
Daphne approaches a bench by the side of the road. Ob-
viously this is the bus stop. She looks up the dark
road for signs of the bus. She checks her watch ner-
vously. There is THUNDER, LIGHTNING.
31 SERIES OF FAST CUTS 31
Daphne looks up the road, hoping desperately to see
lights. She hears the SOUND OF THE GATES CREAKING.
She turns to them.
One of them is now open.
Daphne starts to walk toward Collinsport. She walks
very fast. The CAMERA TRUCKS ALONG SIDE of her. We
see her in profile as she strides along the road.
CAMERA STOPS TRUCKING with her as she EXITS SHOT.
- it ZOOMS into the bushes to a PAIR OF FEET - MALE
- IN BOOTS. The feet do not move.
Daphne's feet as they walk along the roadside.
31 CONTD CONTD 31
The boots, starting slowly to walk. They step on a
twig. BREAK it.
Daphne hears the sound.
The boots walking.
Daphne, a SOB ESCAPTING HER LIPS. She starts to run.
The boots quickening their pace. The SOUND OF THE
HOWLING DOG is CLOSER.
CAMERA is in front of Daphne. She hears the NOISE OF
RUNNING in the bushes, looks over her shoulder.
32 REVERSE - ZOOM TO CLOSE UP DAPHNE 32
as she sees someone or something. She stops, frozen
with fear. A HAND with a RING on it, a large unforget-
table ring, worn on the first finger, grabs her by the
throat. She is SCREAMING, struggling. A SECOND HAND
joins the first. The hands are strangling her. The
SCREAMING stops.
33 EXT. CEMETERY - GATES 33
LONG LENS THROUGH THE GATES, UP THE ROAD, HEADLIGHTS
beam into CAMERA.
34 EXT. CAR - NIGHT - HOOD MOUNT SHOT 34
JEFF CLARK, handsome, young, drives his convertible,
listening to the ROCK and ROLL BLARING FROM THE RADIO.
His face suddenly registers alarm.
35 INSERT SHOT 35
His foot hitting the brake.
36 JEFF'S POV THROUGH WINDSHIELD 36
A woman staggers across the road.
|
Maybe it's just me, but I actually find the series of shots section to be rather thrilling. But when it was changed to Daphne having brought her own car, that obviously eliminated the need for her to go out to wait for a bus and all that followed there. And if Jeff had been listening to music in his car, I wonder what Robert Cobert tune would have been playing? And it's interesting that both here in the original draft and in DC's script's version there is supposed to be a hood mount shot with Jeff and an insert shot of Jeff's foot hitting the break peddle of his car, but nothing like either makes it into the film. And I also find it interesting that Scene 36 here in the original draft is actually very close to how Scene 36 actually plays in the film...
-
Setting up the current scene:
37 JEFF'S POV THROUGH WINDSHIELD 37
OVER JEFF'S SHOULDER
as Daphne on the road, he skids to a halt and runs
to her. She turns, sees him, screams and tries to
run from him.
|
And that's when today's quote -
Page 13/Scene 37 - Jeff: 'Hey, wait! What's wrong?'
- comes up.
And when it comes to the dialogue, Jeff actually says "Hey, Daphne!", and he actually says the -
(http://www.dsboards.com/hoDSquoteimages/0130hoDS_z.jpg)
"Hey"
- part at the end of Scene 36 and the -
(http://www.dsboards.com/91quoteimages/0131ds91_0.jpg)
"Daphne"
- part as she collapses on the ground, which actually does a number on the way the rest of the scene is scripted. But we'll see more about that tomorrow...
And when it comes to the differences in the directions and descriptions, we can barely hear the sound as the car skids to a stop, and because it's so dark, we can barely see Jeff as he gets out of the car - and because Daphne is already collapsing as Jeff calls out her name, we don't see her turn, we don't see her see him, we don't hear her scream, nor does she try to run from him.
-
But when it was changed to Daphne having brought her own car, that obviously eliminated the need for her to go out to wait for a bus and all that followed there.
But my god, are the Collins family so cruel that they make their employees park a half mile away from the house? (And why is their stable so far away anyway???)
-
Wrapping up Scene 37:
DAPHNE
(running from him)
Don't touch me! Don't touch me!
37 CONTD CONTD 37
She runs. She trips and falls.
Daphne
lies there on the ground sobbing hysterically as Jeff
enters the shot. Jeff recognizes her as he turns her
to him.
JEFF
Daphne!? What is it!? What's
happened!?
CAMERA TRUCKS into a TIGHT SHOT of her face and neck.
|
And that's when today's quote -
Page 14/Scene 37 - Jeff (O.S.): 'Oh my God!'
- comes up, followed in the script by:
We see the blood pouring from the two gaping holes in
her neck.
|
And when it comes to the dialogue, with the exception of today's quote, all the rest of the dialogue was dropped in the film - and as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/0201ds91_0.jpg)
- Jeff actually says his "Oh my God!" on screen.
And when it comes to the differences in the directions and descriptions laid out above, obviously Daphne doesn't run from Jeff because as we pointed out yesterday, she has already collapsed on the ground - and since she's already on the ground, we don't see her trip and fall - and as she lies on the ground, we don't actually hear her sobbing because she seems to have passed out - and given that he'd already called out her name, Jeff had already recognized her before he got out of his car - and while the camera does indeed go into a tight shot of Daphne's face and neck, DC has a note that the camera would zoom in on the holes in her throat (Dick Smith's fantastic makeup) -
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_c.jpg)
- which is indeed what happens (though previous to that it also zooms in on Jeff), but as we've already gotten into, Jeff's line is not delivered off screen during the shot of the wound but with Jeff in close-up.
And coming up shortly, the original draft's version of Scene 37 as well as Scenes 38 and 39 because, unlike DC's script's version, the original version is scripted over multiple scenes...
-
But my god, are the Collins family so cruel that they make their employees park a half mile away from the house? (And why is their stable so far away anyway???)
Excellent questions!! Although, at least Liz did offer to send Daphne home in the car. But maybe Liz should have actually offered the car to give Daphne a ride all the way to her car!! [b003] But then, think of the thrilling sequence we would have missed out on if Liz had offered that ride...
-
And here's the original draft's version of Jeff discovery that Daphne has been attacked:
37 EXT. CAR 37
as it skids to a halt. Jeff jumps out as the CAMERA
TRUCKS him to the woman. She turns sees him, SCREAMS
and runs.
JEFF
(running after her)
Wait, what's wrong?
37 CONTD CONTD 37
DAPHNE
(running from him)
No...no...
38 EXT. ROAD - NIGHT - LONG SHOT 38
Illuminated by the headlights, Jeff catches the woman.
She fights him.
SERIES OF INTERCUTTING CLOSE UPS
DAPHNE
Don't touch me!
JEFF
Daphne. It's Jeff, what's happened?
JEFF - DAPHNE
He turns her to him. She is crying.
JEFF
My God!
39 JEFF'S POV - DAPHNE 39
CAMERA starts on her tear stained face, then PANS down.
We see her neck, with two fang marks. Blood runs from
the open wound. With a MOAN, she faints, her face
passing the CAMERA as she goes down.
|
-
And now we need to deal with several scenes in DC's script that come up before the ones in which tomorrow's quotes appear:
38 EXT: OLD HOUSE - NIGHT 38
an upper window
From the door of the OLD HOUSE, we see the glare of a
flashlight approaching. There is a flash of lightning.
Maggie carries a flashlight.
39 MAGGIE'S POV - OLD HOUSE 39
It is a dark, deserted, somber old house.
40 MAGGIE - MEDIUM - APPROACHES DOOR 40
as she hesitates, suddenly a little fearful. Then
resolutely, goes to the door. She opens it, flashes
her light in the dark interior. The CAMERA PANS with
the flashlight. We see the remnants of what once
must have been a beautiful house. There is furniture;
some covered with dust sheets, some not. The paint
and paper are peeling. Maggie walks a few steps inside
the house, leaving the door open.
41 INT: OLD HOUSE - NIGHT 41
as Maggie enters. We see her apprehensive, worried
face above her flashlight.
MAGGIE
David!
There is no answer. Maggie enters the drawing room,
flashing her light around the room.
41 CONTD CONTD 41
MAGGIE
David!
she turns to cam
42 INT: STAIRS - SHOOTING DOWN 42
1st
Maggie comes up the stairs.
x to next stairs
|
End of scenes - though certainly not the end of the sequence.
And when it comes to what is different with the dialogue, Maggie actually calls out -
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_h.jpg)
"David!"
- at the doorway before she even enters the house rather than after entering - and she doesn't call out to him a second time after she enters the drawing room.
And when it comes to what is different with the descriptions and directions, what we actually see in the exteriors is only bits and pieces of what's described in the script because we actually see Maggie walking -
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_d.jpg)
- with her flashlight - and as the camera pans with her, the Old House -
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_e.jpg)
- becomes visible - after which we then see Maggie from the side, shot from what does appear to be an upper window of the house (could it be David watching?) -
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_f.jpg)
- as she walks along - however, at no point in any of this is there lightning.
And once we get to the interiors, Maggie does appear and hesitate at the doorway -
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_g.jpg)
- but there's no opening of a door or even an indication that a door still exists - and when Maggie enters the house, we can't tell that it must have once been a beautiful house because we don't really see anything except for dilapidation, no furniture covered with dust sheets, or not, and no paint and paper peeling, not even when Maggie looks in the drawing room because all we see is Maggie shining her flashlight around -
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_i.jpg)
- but nothing of what she sees - and we don't see Maggie turn to camera at the end of that scene as DC wrote in his script that she would - and it isn't until Maggie begins to go up the stairs that we see sheets -
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_j.jpg)
- but we can't really tell what they cover - and as Maggie ascends the stairs, unscripted, a cat jumps at her and frightens -
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_k.jpg)
- her and she screams, after which the cat -
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_l.jpg)
- meows from the shadows (possibly laughing at her in its own way [b003]), and Maggie tries -
(http://www.dsboards.com/hoDSquoteimages/0201hoDS_m.jpg)
- to pull herself together - but we only see her go up the first set of stairs about halfway, so we never see Maggie reach the top and cross to the next set of stairs as DC wrote in his script that she would.
And coming shortly, how all that plays in the original draft...
-
And here's the original draft's version of the first part of Maggie at the Old House, much of which is identical, some of which is not:
40 EXT. OLD HOUSE - NIGHT 40
From the door of the OLD HOUSE, we see the glare of a
flashlight approaching. There is a flash of lightning.
Maggie carries a flashlight.
41 MAGGIE'S POV - OLD HOUSE 41
It is a dark, deserted, somber old house.
42 MAGGIE 42
as she hesitates, suddenly a little fearful. Then
resolutely, goes to the door. She opens it, flashes
her light in the dark interior. The CAMERA PANS with
the flashlight. We see the remnants of what once
must have been a beautiful house. There is furniture;
some covered with dust sheets, some not. There are
cobwebs. The paint and paper are peeling. Maggie
walks a few steps inside the house, leaving the door
open.
43 INT: OLD HOUSE - NIGHT 43
From the drawing room the CAMERA catches Maggie's
light. We see her apprehensive, worried face above it.
MAGGIE
David!
There is no answer. Maggie enters the drawing room,
flashing her light around the room.
MAGGIE
Don't hide, David!
Maggie hears a LOW MOAN. She turns toward the stair-
case. She frowns, listens. She hears the MOAN again.
It is from upstairs. Maggie runs to the stairs.
44 INT. STAIRS - SHOOTING DOWN 44
MAGGIE
(loudly)
David, I'm coming.
Maggie runs up the stairs.
|
I do like the additional description of the cobwebs because in the film there are plenty of those.
And is it only me, but the "LOW MOAN" and the "coming", well...
-
And now here's a chart of when Scenes 21 through 40 were scheduled to shoot on the original shooting schedule:
| | | | | | | |Day of | | | | |
| Scs. #s: | |Location: | |Pages: | |Description: | |Shoot: | |Date: | |Cast: |
| ===== | |=============== | |===== | |========== | |==== | |====== | |======== |
| 21* | |Int. Stable (N) | |6/8 Pg. | |Roger argues | |16th | |Mon. 4/13 | |MAGGIE |
| | | | | |with Maggie | | | | | |ROGER |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 22 | |Ext. Cemetery (N) | |4/8 Pg. | |Willie enters | |1st | |Mon. 3/23 | |WILLIE |
| | | | | |the mausoleum | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 23 -25 | |Int. Mausoleum (N) | |1 & | |Willie finds | |1st | |Mon. 3/23 | |WILLIE |
| | | |1/8 Pgs. | |the coffin | | | | | |Barnabas' |
| | | | | | | | | | | |hand |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 26 | |Int. 1st. Floor Hallway | |5/8 Pg. | |Liz offers | |8th | |Wed. 4/1 | |LIZ |
| |& Office (N) | | | |Daphne a ride | | | | | |Daphne |
| | | | | |home | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 27 - 31 | |Ext. Collinwood (N) | |1 & | |Daphne gets | |5th | |Fri. 3/27 | |Daphne |
| | | |2/8 Pgs. | |attacked | | | | | |Barnabas |
| | | | | | | | | | | |Double |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 32 - 35 | |Ext. Collinwood (N) | |4/8 Pg. | |Jeff drives | |5th | |Fri. 3/27 | |JEFF |
| | | | | |his car | | | | | |Jeff's car |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 36 | |Insert Shot | |1/8 Pg. | |Jeff's foot | |5th | |Fri. 3/27 | | |
| | | | | |hits break | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 37 | |Ext. Road(outside | |5/8 Pg. | |Daphne babbles | |5th | |Fri. 3/27 | |JEFF |
| |Collinwood nr. | | | |Jeff sees marks | | | | | |Daphne |
| |stable) (N) | | | | | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 38 - 40 | |Ext. Old House (N) | |3/8 Pg. | |Maggie enters | |18th | |Wed. 4/15 | |MAGGIE |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
(*Scene 21 was shot at the same time as Scenes 19 and 20.)
You'll notice that even though Scene 36 was never shot, it did appear on the shooting schedule - at least the original schedule.
And as far as KLS' diary goes, I never realily noticed until today that there are no entries in it for the time she shot at the Schoales Estate/Beechwood/The Old House. How strange...
-
And now today's scenes in the slideshow:
43 INT: CORRIDOR AT THE TOP OF THE STAIRS - NIGHT 43
The CAMERA is at the far end of the corridor. Maggie
comes toward the camera. Maggie stops at an open
door. She hears a sound inside.
|
And that's when today's first quotes -
Page 15/Scene 43 - Maggie: 'David! Are you in there?'
-comes up, followed in the script by:
HALL
44 INT: BEDROOM - NIGHT 44
CAM IN BEDROOM - MAG COMES DOWN HALL
The room is a bedroom. It is in shambles, but fur-
nished. Maggie flashes her light around the room.
The CAMERA PANS with it.
David, I heard you - I
know your in here
|
And that's when today's second quotes -
Page 15/Scene 44 - Maggie: 'David, I am not going to punish you. Just let me take you home.'
-comes up, followed in the script by:
There is no answer, just thunder and lightning. A
LOOSE SHUTTER BANGS AGAINST THE WINDOW.
|
End of scenes - though still not the end of the sequence.
And when it comes to what is different with the dialogue, today's first quote is never delivered as scripted because what actually happens is Maggie starts to say the -
(http://www.dsboards.com/91quoteimages/0202ds91_0.jpg)
"David"
- part of the line that DC added to his script, and then she says -
(http://www.dsboards.com/hoDSquoteimages/0202hoDS_c.jpg)
"I heard you"
- at the doorway as she enters the bedroom, however the "I know you're (as opposed to DC's your) in here" is actually dropped in the film - and soon, instead of the full second quote, Maggie actually says "David, I'm not going to punish you. I just want to take you home."
And when it comes to the differences in the directions and descriptions, the actual location/camera angle used for Scene 43 and the beginning of Scene 44 are the same. We see Maggie start down the hall and when she comes to an open door, she shines -
(http://www.dsboards.com/hoDSquoteimages/0202hoDS_a.jpg)
- her flashlight inside to investigate - but as soon as she hears the sound of a door close, she immediately looks in its direction -
(http://www.dsboards.com/hoDSquoteimages/0202hoDS_b.jpg)
- and shines her flashlight in the direction of another room, of which, as we saw above, she moves to - and as soon as she enters, as we can see in today's second capture -
(http://www.dsboards.com/91quoteimages/0202ds91_1.jpg)
she looks around. However, as per usual, there is no thunder or lightning. And there is also no sound of a loose shutter banging against the window.
-
And before tomorrow's quote in the slideshow comes up, we have a lot more stuff to deal with. First up, what we must deal with in DC's script:
44A Suddenly a closet door flies open and a FIGURE 44A
runs out hitting Maggie's arm. The flashlight
drops, goes out. It is David. He runs out the
door, slamming it. Maggie, in the room, begins to
pound on the door.
MAGGIE
David! Let me out. David!
She stops, as she hears the CLICK OF A KEY BEING
TURNED IN THE DOOR LOCK. The CAMERA PANS down to the
keyhole, then up to her as she begins pounding again.
MAGGIE
Open this door!
She stops pounding. There is silence.
MAGGIE
David!
She hears a DOOR SLAM IN THE DISTANCE. She slumps
against the door, What can she do now? She turns,
Rev. 3/25/70
44A CONTD CONTD 44A
Sees a flashlight on the floor, picks it up. It will
not work. There is a flash of lightning. She suddenly
thinks she might see David outside. She runs to the
window, looks out CAMERA IN TIGHT.
45-51 DELETED
|
End of scenes. But that's only as far as DC's script goes. Coming before too long, we'll get into the above scene as it appears in the original draft. And then after that we'll get into Scenes 45 though 51 in the original draft to see what was dropped. And the reason we need to do that today is because tomorrow's quote in the slideshow comes from DC's Script's Scene 52...
But before all that, as far as any differences in the dialogue, the directions, or the descriptions go here, Maggie actually shouts her first -
(http://www.dsboards.com/hoDSquoteimages/0202hoDS_d.jpg)
"David!"
- as she runs to the door - and then once she reaches the door she pounds on it and says "David! Let me out. David!", as scripted - and after Maggie hears the key turn in the lock, we simply see her face in a panic -
(http://www.dsboards.com/hoDSquoteimages/0202hoDS_e.jpg)
- there is no camera pan down to the keyhole then back up to Maggie as she begins pounding again. In fact, absolutely nothing of the rest of the scene as scripted appears in the film. And note that the end of the scene appears to be a rewrite that was done on March 25 (and a rewrite that will last right through Scene 68B), so it will be interesting to see how things played in the original draft. If the entire scene is quite different or just the ending. I haven't checked yet, so we'll learn together...
-
And is it only me, but the "LOW MOAN" and the "coming", well...
Ooh, kinda racy for a GP movie! [snow_grin]
-
Were the upstairs scenes in this sequence filmed at Lockwood-Mathews? The architecture seems to fit with that house. (I know that the scene of Julia giving Barnabas an injection was filmed there--in a bathroom, IIRC. Where the crew damaged a marble fixture.)
-
And here's the original draft's version of the next part of Maggie at the Old House. And again, much of it is identical to DC's script's version, but some of it is not:
45 INT. CORRIDOR AT THE TOP OF THE STAIRS - NIGHT 45
The CAMERA is at the end of the corridor, next to a
door. There is a MOAN from within the door. Maggie
enters the corridor, runs toward the camera. There is
another MOAN from within the room. Maggie stops at
the door, open it, runs into the room.
MAGGIE
David! Are you all right?
46 INT. BEDROOM - NIGHT 46
The room is a bedroom. It is in shambles, but fur-
nished. Maggie flashes her light around the room.
The CAMERA PANS with it.
MAGGIE
David, I'm not going to punish
you. Just let me take you home.
There is no answer, just THUNDER and lightning. A
LOOSE SHUTTER BANGS AGAINST THE WINDOW. Then she
thinks she hears something in the hall. She
whirls around, flashing her light at the door.
Her back is to the window and the CAMERA.
The drapery behind her moves. A FIGURE lunges
from the drapery, hitting Maggie's arm. The flash-
light drops, goes out. Maggie GASPS. It is David.
46 CONTD CONTD 46
MAGGIE
David!
He runs through the darkness to the door. Maggie
runs after him. He runs out the door, slamming it.
Maggie, in the room, begins to pound on the door.
MAGGIE
David! Let me out. David!
She stops, as she hears the CLICK OF A KEY BEING
TURNED IN THE DOOR LOCK. The CAMERA PANS down to
the keyhole, then up to her as she begins pounding
again.
MAGGIE
Open this door!
She stops pounding, hears FOOTSTEPS WALKING down
the steps.
MAGGIE
David!
She hears a DOOR SLAM IN THE DISTANCE. She slumps
against the door, What can she do now? She turns
sees the flashlight on the floor, picks it up. It
will not work. There is a flash of lightning. She
suddenly thinks she might see David outside. She
runs to the window, looks out.
|
Well, the end to Scene 46 is pretty much identical to DC's script's Scene 44A. About the only thing missing is the camera going in for a tight shot at the very end. Though it's interesting that Scene 46 combines both Scene 44 and Scene 44A in DC's script. And it's also interesting that, just like in the film, in Scene 46 here, Maggie also calls out a "David!" before she goes to the door and shouts "David! Let me out. David!" And as we've already seen, that's not the first time some small thing that had been dropped from the original script actually made it into the film.
-
Were the upstairs scenes in this sequence filmed at Lockwood-Mathews? The architecture seems to fit with that house.
I don't honestly remember. I'll have to check the shooting schedule...
-
And now here's what's missing from DC's script as it appears in the original draft:
45 MAGGIE'S POV - OLD HOUSE GROUNDS
There is nothing but the rain and darkness.
46 INT. BEDROOM - NIGHT
Maggie turns back to the room, beginning to feel a
little desperate. She sees a half burnt candle on a
bureau. She finds matches in her pocket. She lights
the candle, sits down to wait.
47 INT. DRAWING ROOM - COLLINWOOD - NIGHT
TIGHT SHOT - DAPHNE'S NECK - THE WOUNDS
enters the corridor, runs toward the camera. There is
A HAND is gently washing the blood from around the
wounds. The CAMERA PULLS BACK. JULIA HOFFMAN, an
attractive, chic woman, finishes her chore. Jeff Clark
watches her.
JEFF
Doctor, you must have some idea!
JULIA
None. Do you?
He shakes his head that he doesn't.
JULIA
You saw nothing? No animal?
JEFF
Animal? What kind of animal could
it be?
JULIA
(preparing a hypodermic)
We'll have to find that out, won't
we?
48 INT. FOYER - COLLINWOOD - NIGHT
CLOSEUP - LIZ
LIZ
I wanted to send Daphne home in the
car --
49 CAMERA PULLS BACK to GROUP SHOT. CAROLYN STODDARD,
Liz's beautiful, young daughter, with her handsome
fiancee TODD have just come in, heard the news. Mrs.
Johnson watches from the staircase.
CAROLYN
Now, mother, it's not your fault.
LIZ
With David out there...Oh thank God
you're home.
TODD
I'll go out and look for David, Mrs.
Stoddard.
LIZ
Do be careful, Todd.
MRS. JOHNSON
You won't find him. I know David
Collins. He's hiding somewhere as
safe as he can be. It's Maggie Evans
I'm worried about.
Jeff enters from the drawing room.
JEFF
What about Maggie?
LIZ
She went hunting for David. Roger
told her not to --
JEFF
(very worried)
Where? Where did she go?
50 EXT. OLD HOUSE - NIGHT - LONG LENS
The only light is from a candle in the upstairs bedroom
window. SLOW ZOOM in on the light.
|
The end there. And I must say a few things:
Who knew Todd is really a woman (he's referred to as Carolyn's "fiancee" rather than fiance. That must mean Carolyn is actually supposed to be a lesbian in the film. Who knew that - or that the Collinses were way ahead of their time and accepting of gay marriage. The things you learn.
And you can certainly tell that the original draft was written before they knew they would be shooting at Lyndhurst because it would have been an amazing achievement for Mrs Johnson to have been able to see and watch the goings on in Lyndhurst's foyer from her perch on Lyndhurst's staircase!
And speaking of Mrs. Johnson, it's quite a shame that she never got to deliver the lines originally written for her, particularly with Clarice Blackburn delivering them - it would have been a perfect move for Mrs. Johnson and Clarice in the film. But alas...
Which actually brings us to something else because that scene actually had a rewrite before it was removed entirely. Not only were Mrs. Johnson's lines split between other characters, and some of Liz' lines given to Carolyn, and the location of the scene changed to Lyndhurst's card room, but the scene was extended quite a bit - and an additional scene was added between it and the scene of the candle in the Old House's bedroom window (making the full 7 scenes beginning with Scene 45 and ending with Scene 51):
49 INT. CARD ROOM - NIGHT
(I'm not repeating what's exactly the same from the beginning but starting off where Mrs. Johnson's lines are handed over.)
Roger enters the room.
ROGER
You won't find him. I know my son.
He's hiding somewhere as safe as he
can be.
CAROLYN
It's Maggie I'm worried about.
Jeff enters from the drawing room and crosses to
Carolyn anxiously.
JEFF
What about Maggie?
CAROLYN
She went hunting David.
JEFF
Where? Where did she go?
ROGER
We don't know. I consider it foolish
of her to go out on such a wild goose
chase. David can take care of him-
self!
JEFF
(angrily)
You should be grateful that she's so
concerned for the boy.
LIZ
We're not doing Maggie any good
standing here arguing. Someone
should try to find her and bring her
back.
CAROLYN
You're right.
JEFF
(to Roger)
How could you let Maggie go out
alone on a night like this?
ROGER
(annoyed)
She went without consulting me! I'd
thought I'd made that clear.
JEFF
I'll see if I can locate her.
He starts out to the hall. All the others follow, with Liz
ad libbing suggestions of where Maggie might be.
50 INT. FOYER - NIGHT
Jeff and Liz enter the foyer. Carolyn, Todd and Roger
follow. Jeff opens the front door. David is standing
there framed by the wet darkness.
DAVID
I've come back.
51 EXT. OLD HOUSE - NIGHT - LONG LENS
The only light is from a candle in the upstairs bedroom
window. SLOW ZOOM in on the light.
|
And there are a few things interesting about all these scene because in some cases they either repeat or contradict future scenes in the March 25th rewrite, which is no doubt why they were dropped. Though it's a shame that we didn't get to see Roger lie through his teeth to Jeff because, even in the original draft, Maggie tells Roger that she is going to the Old House to look for David and asks if he wants to accompany her - though, of course, Roger being Roger, he declines in some not very polite Rogerly ways. So, he knows damn well where Maggie's gone. But he's not about to let it look like he's in any way at fault - not our Roger!! [ghost_nowink]
-
Just for the fun of it, I checked the novelization and discovered that not only did it use the rewritten/extended version of Scene 49, it used the above versions of Scenes 45 through 48 and Scenes 50 through 51. Apparently "Marilyn" Ross wasn't given a copy of the original draft of the script for the novelization, but Ross wasn't given the latest version either, which could prove interesting down the line. I'm going to have to keep comparing to see where things are different - and if I find anything, whether or not it's worth mentioning...
-
Here's today's scene as it plays in DC's script (and keep in mind that it's part of the March 25th rewrite):
52 WIDE SHOT - MAGGIE SITTING ON BED 52
She hears the MUFFLED THUD OF A DOOR SLAMMING.
She goes to the door. She hears a second DOOR SLAM.
NEARER NOW.
|
And that's when today's quote -
Page 16/Scene 52 - Maggie (SHOUTING): 'All right, David. That's enough. Let me out of here, David!'
- comes up.
End of scene.
And as far as any differences in the dialogue, the directions, or the descriptions go here, while Maggie is sitting on the bed, she checks the flashlight -
(http://www.dsboards.com/hoDSquoteimages/0203hoDS_a.jpg)
- (which is something we never saw her do in Scene 44A) and after she sees it doesn't work, she casts it aside on the bed and takes in the darkness -
(http://www.dsboards.com/hoDSquoteimages/0203hoDS_b.jpg)
-around her (because the whole bit about her having found a candle is gone - which is no doubt why Scene 51 was dropped from the script) - and after she hears the muffled thud of the door and she goes to the door of the bedroom and soon hears the sound of another door, she actually says a plaintive -
(http://www.dsboards.com/hoDSquoteimages/0202hoDS_e.jpg)
"David."
- rather than the shouting that is scripted. It's as if the opening bits of Scene 52 would seem to be something of a reworking of some of the second half of Scene 44A that never made it into the film...
-
And here's the original draft's version of the above, as well as one more scene, of which we'll see makes up for the added scene in the original rewrite because that rewrite sort of has a bit of the upcoming second scene here and the original rewrite's "added" scene (of which now I can say without confusing the hell out of everyone is really just the moving and reworking of an already existing scene in the original draft):
53 INT. OLD HOUSE BEDROOM - NIGHT 53
Maggie is by the window with the candle. She hears
the MUFFLED THUD OF A DOOR SLAMMING. She goes to the
door. She hears a SECOND DOOR SLAM. NEARER NOW.
MAGGIE
All right, David! That's enough.
Let me out of here. David!
54 INT. FOYER - COLLINWOOD - NIGHT 54
GROUP SHOT - JEFF, LIZ, CAROLYN, TODD and MRS.
JOHNSON
JEFF
How could you let Maggie go out
alone on a night like this!?
The main door opens. DAVID stands there.
DAVID
I've come back!
|
And that will be it for the original draft for a while because DC's version of the script will next be dealing with the March 25th's rewrites of some of Scenes 45 through 51 (though not in the order they appear in what I shared) and his version of the script won't meet up to what's coming up next in the original draft until DC's script reaches its Scene 54D, which, as far as the slideshow is concerned, is two script pages, 11 quotes, and 9 days from now...
-
And now two scenes (which are quite different from the way deleted scenes 48/49/Rewrite 49 and Rewrite 50 play) to catch us up in DC's script to today's quote:
53 EXT: SIDE ENTRANCE COLLINWOOD - NIGHT 53
David at side door, sneaks into house.
54 INT: HALLWAYS - NIGHT 54
David closes the door carefully. He hears Liz's
voice. He freezes. - She sits in a chair
|
And that's when today's quote -
Page 16/Scene 54 - Liz (O.S.): 'I've tried to call Roger everywhere. He should be here!'
- comes up.
End of scene - but certainly not the end of the sequence.
And as far as any differences in the dialogue, the directions, or the descriptions go here, while it's not listed in the Movie Book as either being missing or never shot, Scene 53 doesn't appear in the film - Scene 54 actually begins with a shot of the closed side door -
(http://www.dsboards.com/hoDSquoteimages/0204hoDS_a.jpg)
- and then David opens it -
(http://www.dsboards.com/hoDSquoteimages/0204hoDS_b.jpg)
-and comes in, after which he hears Liz' voice (and only the part of Liz actually saying "Where can Roger be? I've tried to reach him everywhere" is delivered off screen), but he doesn't freeze as scripted because he actually moves slowly and carefully to stand by the doorway to the Card Room -
(http://www.dsboards.com/hoDSquoteimages/0204hoDS_c.jpg)
- to peer in - and, as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/0204ds91_0.jpg)
(http://www.dsboards.com/91quoteimages/0204ds91_0a.jpg)
- we see Liz standing by the window, not sitting in a chair, as DC added to his script, and saying the "He should be here!" part of her quote onscreen - and then we see David as an extremely pleased with himself smile -
(http://www.dsboards.com/hoDSquoteimages/0204hoDS_d.jpg)
- comes over his face.
-
Setting up the next scene:
54A INT: CARD ROOM - NIGHT 54A
Carolyn comes to her mother.
|
And that's when today's quote -
Page 16/Scene 54A - Carolyn: 'Mother, don't worry. We'll find them.'
- comes up.
End of scene - but certainly not the end of the sequence.
And as far as any differences in the dialogue, the directions, or the descriptions go here, what Carolyn actually says is "Don't worry, Mother. We'll find them." However, as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/0205ds91_0.jpg)
- Carolyn actually delivers her line off screen, and, in fact, we hear Carolyn say her "Don't worry" part while the camera is still on David's mischievously smiling face - and as it also obvious, the scene itself is not shot inside the Card Room but still from the vantage point of the hallway, despite the fact that DC has a notation in his script that there would be a medium shot of Carolyn that would pan to Liz for a 2 shot.
-
And now the next scene:
54B INT: HALLWAY - NIGHT 54B
David is pleased with himself over the
trouble he has caused. He starts for the
staircase. He ducks back as Carolyn
enters shot.
Rev. 3/25/70
54B CONTD CONTD 54B
|
And that's when today's quote -
Page 17/Scene 54B - Liz's Voice (O.S.): 'Carolyn, they have been gone too long. One of them should have been back by now.'
- comes up, followed in the script by:
David HEARS THE FRONT DOOR SLAM. He darts under
the stairs, hiding.
|
End of scene - but certainly not the end of the sequence.
And as far as any differences in the dialogue, the directions, or the descriptions go here, as we can see in today's capture, Liz actually does sit down in the chair -
(http://www.dsboards.com/91quoteimages/0206ds91_0.jpg)
- that's visible through the doorway as she delivers today's quote, which Liz actually delivers mostly on screen as "They've been gone so long. One of them should have been", all on screen as Carolyn moves closer to her, "back by now", off screen - and David actually plasters himself fully against the wall -
(http://www.dsboards.com/hoDSquoteimages/0206hoDS_a.jpg)
- after Carolyn does so - but when David hears the door slam, the smile disappears from his face -
(http://www.dsboards.com/hoDSquoteimages/0206hoDS_b.jpg)
- and rather than darting under the stairs, as scripted, he darts into the shadows -
(http://www.dsboards.com/hoDSquoteimages/0206hoDS_c.jpg)
- outside the door to the Card Room just before we see Todd -
(http://www.dsboards.com/hoDSquoteimages/0206hoDS_d.jpg)
(http://www.dsboards.com/hoDSquoteimages/0206hoDS_da.jpg)
- coming down the hall and, after spotting Liz and Carolyn in the Card Room, instantly moving toward the other hallway door to that room.
-
And now setting up the next scene (where we'll actually be for several slideshow days):
54C INT: CARD ROOM - NIGHT
TODD enters the Card Room. Carolyn moves to
him.
|
And that's when today's first quote -
Page 17/Scene 54C - Carolyn: 'Any luck, darling?'
- comes up, followed by today's second quote -
Page 17/Scene 54C - Todd (Shaking his head): 'I checked the gate house.'
- coming up.
And when it comes to any differences in the dialogue, the directions, or the descriptions, the only thing that's different is Todd actually says "No, I checked the gate house."
-
And picking up Scene 54C with today's quote -
Page 17/Scene 54C - Liz: 'The Old Swimming Pool. David plays there.'
- which, with the exception of adding "And" to the beginning of the first sentence, is delivered as written - but, as we can see given today's capture -
(http://www.dsboards.com/91quoteimages/0208ds91_0.jpg)
- it's actually delivered off screen.
-
I was always a little perplexed at the designation "card room." I don't recall that term being used on the show or later incarnations. Was it a Lyndhurst term and DC and company just went along with it?
-
Yes, that's how the room is known at Lyndhurst. [nodassent] I suppose it got its name because Jay Gould and perhaps earlier owners used the room to play games of cards. The name is even used on many floor plans of the house...
-
And picking up Scene 54C with today's first quote -
Page 17/Scene 54C - Todd: 'I was there too, Mrs. Stoddard.'
- coming up, followed in the script by:
Todd turns, his back is to the door. Through
the open door, we see David, delighted, sneaking
upstairs.
|
And that's when today's second quote -
Page 17/Scene 54C - Todd: 'I even drove down the back road.'
- comes up.
And when it comes to any differences in the dialogue, the directions, or the descriptions, for the first quote Todd actually says "I looked there too, Mrs. Stoddard", and even though DC has a notation in his script that Todd crosses to Liz when he says that, as can be seen in today's first capture -
(http://www.dsboards.com/91quoteimages/0209ds91_0.jpg)
- he actually walks toward the other doorway - but something in DC's script notations that is right that can also be seen in today's first capture is the camera widens to a 3 shot - and when the camera angle shifts back to shooting from the hallway, we actually see Todd stop to pound on one of the bookcases while we also see -
(http://www.dsboards.com/hoDSquoteimages/0209hoDS_a.jpg)
- a delighted David emerge from the shadows - however, unlike what's scripted, David does not sneak upstairs because when Todd grabs onto the door frame -
(http://www.dsboards.com/hoDSquoteimages/0209hoDS_b.jpg)
- David panics and soon moves back into the shadows and remains there as Todd delivers today's second quote exactly as scripted, though, as can be seen in today's second capture -
(http://www.dsboards.com/91quoteimages/0209ds91_1.jpg)
- only his hand on the door frame is visible - but when the camera angle moves back to the 3 shot in the Card Room, as he walks back to Liz and Carolyn, a completely visible Todd adds an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0209hoDS_c.jpg)
"If Maggie and David are out there, I don't know where
they are."
- which DC also has written into his script, though he has the beginning as "If he and Maggie are out there".
-
That last capture above is a particularly wonderful one of Don. A great Friday gift, MB! Thanks! [snow_kiss]
-
Don's part of hoDS ranks as one of the few things I like about the film. Though a good deal of that is probably because I look on hoDS as his last real DS hurrah because after shooting it he only appeared in one more ep of the daytime show...
-
And picking up Scene 54C with today's first quote -
Page 17/Scene 54C - Liz: 'Something has happened, I know it.'
- which is actually delivered as "Something has happened to them, I know it.", and DC has added the "to them" in his script - DC also had a notation in his script that Liz would deliver the line in close-up, but that was partially erased, no doubt because, as we can see in today's first capture -
(http://www.dsboards.com/91quoteimages/0210ds91_0.jpg)
- Liz is barely even seen delivering the line in favor of seeing David starting to sneak off toward the staircase - and today's first quote is almost immediately followed by today's second quote -
Page 17/Scene 54C - Carolyn: 'Now, Mother, the sheriff and his men will be here soon.'
- which is delivered exactly as written, and, as can be seen in today's second capture -
(http://www.dsboards.com/91quoteimages/0210ds91_1.jpg)
- the camera returns to shooting as a 3 shot with Carolyn moving to sit on the arm of the chair and putting her arm around Liz as she reassures her - and after that we see a snickering David ascending the second set of stairs -
(http://www.dsboards.com/hoDSquoteimages/0210hoDS_a.jpg)
- to the second floor.
-
Wrapping up Scene 54C, beginning with today's first quote -
Page 17/Scene 54C - Todd: 'Are Doctor Hoffman and Jeff still with Daphne?'
- coming up, followed in the script by:
Rev. 3/25/70
54C CONTD CONTD 54C
|
And that's when today's second quote -
Page 18/Scene 54C - Liz (nodding): 'I didn't even have a chance to tell Jeff about Maggie. They carried Daphne upstairs...What can be out there?'
- comes up, followed in the script by:
She is at the window.
LIZ
What can have attacked her?
|
End of scene as scripted.
And as far as any differences in the dialogue, the descriptions, and the directions go, interestingly enough, DC has a notation in his script that before Todd asks today's first quote, Liz would rise, cross to the window and look out, but as can be seen in today's first capture -
(http://www.dsboards.com/91quoteimages/0211ds91_0.jpg)
- quite obviously that wasn't actually the case in the film because Liz remains sitting - and Liz doesn't nod as she actually answers Todd with "Yes, I didn't have a chance to tell Jeff about Maggie", with all the rest of today's second quote being dropped - and again, interestingly enough, unlike another notation in DC script that says Liz would turn from the window to Carolyn and Todd before answering Todd, Liz doesn't actually do so as she's still sitting - and the rest of the scene supposedly involving Liz at the window and asking "What can have attacked her?" is also dropped in the film - however, what we do see after Liz says her portion of today's second quote is David looking down over the top of the banister -
(http://www.dsboards.com/hoDSquoteimages/0211hoDS_a.jpg)
- and looking quite pleased with himself and then moving off the staircase.
-
Just curious, does Daphne make any further appearances after the scene with Jeff?
-
Yes - and not before too long...
-
Once again, before tomorrow's quotes in the slideshow come up, we have a lot more stuff to deal with. And also again, first up is what we must deal with in DC's script:
54D INT ROOM - OLD HOUSE - NIGHT 54D
CLOSEUP MAGGIE
She is at the door, listening intently O.S.
We hear FEET MOVING DOWN THE HALL.
She is afraid.
MAGGIE
David?
55 INT CORRIDOR OUTSIDE BEDROOM - NIGHT
TIGHT on booted feet stopping outside Maggie's
door. The CAMERA PANS UP SLOWLY to the door knob.
A MAN'S HAND, with the same ring we saw when
Daphne was strangled, reaches out, touches the
door knob. He does not turn it.
56 INT - BEDROOM - NIGHT
Maggie knows the footsteps have stopped there.
MAGGIE
David!
57 INT. CORRIDOR - NIGHT
The hand turning the knob.
58 INT. - BEDROOM - NIGHT
Maggie stares at the turning knob. She is terrified.
59 INT. CORRIDOR - NIGHT
The hand as it moves to the key in the lock.
|
And as far as any differences in the dialogue, the directions, or the descriptions go, Scene 54D does not appear in the film after Scene 54C because right after the end of Scene 54C we go right to seeing the booted feet moving down the hall portion of Scene 55 - but that is all because things then switch to Scene 54D in which we do see Maggie in close-up as she calls to David as scripted, but we also see her call an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0211hoDS_b.jpg)
"David?"
- with the camera shooting her from behind - and after that we return to Scene 55 with more of the booted feet walking until the camera does indeed pan up to show the hand with the ring reaching out, however, we do not see the doorknob, so obviously nor do we see the hand touch it - then we switch to Scene 56 in which once again Maggie calls out to David questioningly, rather than the way it's scripted, and once again with the camera at her back - however, in close-up Maggie also says an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0211hoDS_c.jpg)
"Answer me, David, I know you're there."
- then things switch to Scene 57, soon followed by Scene 58 where, after seeing the knob turn on her side of the door, Maggie begs an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0211hoDS_d.jpg)
"David, please."
- and we follow that with Scene 59 as we see the hand not only as it moves to the key in the lock, but also as it begins to turn the key.
And yes, the ways in which the scenes appear in this post are exactly the ways they're typed in the script...
-
Even though we've reached the point where DC's script once again has material that's also in the original draft, it's a case that what's in DC's script is so similar to the original draft that it's not worth sharing the original draft's version. But I will point out that in the original draft this portion of DC's Scene 54D is correctly typed as -
She is at the door, listening intently. O.S.
we hear FEET MOVING DOWN THE HALL.
|
- with the period properly placed after "intently" and "O.S." beginning a new sentence - and in the same scene the word "tentatively" -
MAGGIE
(tentatively)
David?
|
- is added to indicate how Maggie is supposed to deliver her line - and Maggie's line -
- is nowhere to be seen in the original version of DC's Scene 56.
-
Just in case anyone is wondering why there's a NoDS capture with today's hoDS quote, it's because at the moment I'm experiencing some computer issues and I'm unable to get new hoDS captures. But I'm working on it...
-
Today's capture is finally up, so if you're still seeing the NoDS capture, you need to clear your browser's cache. [snow_smiley]
-
And now yesterday's scene in the slideshow and one other:
Rev. 3/25/70
60 INT BEDROOM - NIGHT
Maggie gasps as she hears the CLICK OF THE KEY BEING
TURNED IN THE LOCK. The door starts to open.
She stares at it in horror, beginning to back away.
|
And that's when today's first quote -
Page 19/Scene 60 - Jeff's Voice (O.S.) (from downstairs): 'Maggie! Where are you?'
- comes up, followed in the script by this notation from DC:
After which is when yesterday's second quote -
Page 19/Scene 60 - Maggie (A scream): 'Jeff!'
- is scripted to come up, followed in the script by:
61 INT - CORRIDOR - NIGHT
The booted feet as they run down the hall from the
door. The CAMERA FOLLOWS them in the opposite
direction from which they have come.
|
And as far as any differences in the dialogue, the directions, or the descriptions go, Maggie doesn't begin to back away form the door so much as she turns her back to the door (a stupid move if ever there was one) and sobs - and, as can be seen in yesterday's first capture, she sobs an unscripted -
(http://www.dsboards.com/91quoteimages/0212ds91_0.jpg)
"Oh, David."
- just before she hears Jeff simply call out "Maggie!", with the "Where are you?" part dropped - and then thing become quite different from scripted because things shift to Scene 61, but instead of seeing the booted feet as they run down the hall from the door with the camera following them in the opposite direction from which they've come, we see the figure quickly -
(http://www.dsboards.com/hoDSquoteimages/0212hoDS_a.jpg)
- dart away and out of sight - and then, as can be seen in yesterday's second capture -
(http://www.dsboards.com/91quoteimages/0212ds91_1.jpg)
- we see Maggie turn around as she calls out to Jeff.
-
And similar to what was the case previously, there's no need to share how things appear in the original draft because in this case things are written exactly the same in DC's script's versions of Scenes 60 and 61 as they are in the original draft.
-
And now here's a chart with the available info regarding when Scenes 41 through 60 were scheduled to shoot on the original shooting schedule:
| | | | | | | |Day of | | | | |
| Scs. #s: | |Location: | |Pages: | |Description: | |Shoot: | |Date: | |Cast: |
| ====== | |================= | |====== | |=========== | |===== | |======= | |======== |
| 41 | |Int. Old House (N) | |2/8 Pg. | |Maggie looks | |18th | |Wed. 4/15 | |MAGGIE |
| | | | | |for David | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 42 | |Int. Old House (N) | |1/16 Pg. | |Maggie walks | |18th | |Wed. 4/15 | |MAGGIE |
| | | | | |up stairs | | | | | |Cat |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 43 - 44 | |Int. Old House | |4/8 Pg. | |Maggie looks | | ??? | | ??? ??? | |MAGGIE |
| |Hallway (N) | | | |for David | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 44A | |Int. Old House | |4/8 Pg. | |David locks | | ??? | | ??? ??? | |MAGGIE |
| |Bedroom (N) | | | |Maggie in | | | | | |DAVID |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 52 | |Int. Old House | |2/8 Pg. | |Maggie hears | | ??? | | ??? ??? | |MAGGIE |
| |Bedroom (N) | | | |doors slam | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 53 - 54 | |Int. Hallway, Card | |2/8 Pg. | |David returns | |6th | |Mon. 3/30 | |CAROLYN |
| |Room & Stairs (N) | | | | | | | | | |TODD |
| | | | | | | | | | | |DAVID |
| | | | | | | | | | | |ELIZABETH |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 55 - 59 | |Int. Old House | |4/8 Pg. | |Maggie hears | | ??? | | ??? ??? | |MAGGIE |
| |Bedroom & | | | |noises | | | | | |Barnabas |
| |Hallway (N) | | | | | | | | | |Double |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 60 | |Int. Old House | |2/8 Pg. | |Maggie hears | | ??? | | ??? ??? | |MAGGIE |
| |Bedroom & | | | |Jeff call out | | | | | |JEFF |
| |Hallway (N) | | | | | | | | | |Barnabas |
| | | | | | | | | | | |Double |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
You'll notice that Scenes 54A through 54D are not listed on the schedule and that may be because all the 54 scenes were considered as one.
You'll also notice that Scenes 43 through 44A, Scene 52, and Scenes 55 through 60 don't have a Day of Shoot or Date listed. And that's because, as KMR suspected -
Were the upstairs scenes in this sequence filmed at Lockwood-Mathews? The architecture seems to fit with that house.
- those scenes were shot at the Lockwood Mathews Mansion but the copy of the original shooting schedule that I have ends with the 21st day of shooting, perhaps because the rest of the shoot hadn't been planned out yet. However, even though KLS' movie diary doesn't supply the actual dates of those scenes shooting, we do know they were shot near the end of April (along with the wedding finale material)...
-
The reason why I haven't been posting anything here lately is because my beloved computer of the last 7 years died on me recently - and when I say died, not only did the motherboard die but so did the CPU - but they went out in a blaze of glory! And honestly, 7 years is the longest I've ever used the same computer. Normally, I've upgraded every 3 to 4 years if not even more frequently. But I was so satisfied with the way the computer worked that I never saw any need to upgrade. But alas, computers don't last forever...
But anyway, I'm currently using a friend's computer that he no longer needs because he upgraded about 6 months ago to a new computer. Eventually I will upgrade on my own, but I don't just walk into a store and buy off the shelf because I've yet to ever find an off the shelf computer that has all the features that I like to have, so I buy all the hardware separately and put everything together myself. I've started looking around for what I want, but apparently I'm not the only one who has wanted what I want because nearly everything that I want to buy is currently out of stock due to high demand. So, it looks like I may be using my friend's computer for longer than I would like. But hey, things could be much worse - I could have no computer to use while I wait to get exactly what I want. But on the other hand, I'm having a hard time getting this computer to do things that I totally took for granted with my sadly departed one, like play huge Blu-ray quality MKV files (that I created to get screen caps of the Blu-ray versions of the two original films because it's not possible to get captures directly from the Blu-ray discs). I can play them, but for reasons I haven't quite figured out yet, the video and sound are out of sync (which they never were when played on my computer) - and that makes it rather hard to get captures of short bits of dialogue that might be needed to explain what's different - and in particular what's different in Scene 62, which is next to come up after where we left off - which is why I've yet to pick up where we left off. But today I came up with a few different ideas to try to fix the problem, and hopefully one will work. If not, I'm not going to hold off posting here much longer because I don't want to fall too far behind. In the future I'll simply go back to whatever I post to add whatever I can't currently do...
-
Good luck getting it all worked out, MB! Life happens...
Saluting, G.
-
Take your time. I'm sure it will be worth waiting for.
-
I *think* one of my ideas is actually going to work. It may not work perfectly, but so long as I can get captures from the short bits of dialogue that I need to use to explain what's different, it'll be all the success I need for now...
It's going to take more than eight hours for the computer to reencode a new hoDS file. and by the time that finishes I won't even be home because I have plans to go out tonight. But once I get home, one of the first things I'll be checking is to how see how the file turned out. preliminary tests went well, so I'm extremely hopefull...
-
Finally moving on to Scene 62 as it appears in DC's script:
62 INT - CORRIDOR - NIGHT
Maggie, hysterical, comes running from the
room. She is crying.
MAGGIE
David-
Jeff and Todd run in. Maggie runs to
Jeff's arms.
|
And that's when February 13th's quote -
Page 19/Scene 62 - Maggie: 'David...down the hall...I was so frightened. Why do I let him frighten me so...He opened the door---'
- comes up, followed in the script by:
JEFF
Who did?
MAGGIE
David- Todd go and get him.
he's in there
|
And that's when February 14th's quote -
Page 19/Scene 62 - Todd: 'Maggie, Jeff caught David sneaking into his room ten minutes ago.'
- comes up, though in the script it's like:
I TODD
Maggie, Jeff caught David sneaking
into his room ten minutes ago. just a few minutes
ago
MAGGIE
Maggie She is shocked and horrified.
|
But even if we ignore the typos and other oddities that whoever typed the page brought in, we know that the scene doesn't play that way in the film because an hysterical Maggie does indeed run from the bedroom, however she calls out an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0213hoDS_a.jpg)
"Jeff!"
- rather than calling out David's name - and Jeff calls an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0213hoDS_b.jpg)
"Maggie."
- to which Maggie calls out another unscripted -
(http://www.dsboards.com/hoDSquoteimages/0213hoDS_c.jpg)
"Jeff!"
- and Jeff follows with another unscripted -
(http://www.dsboards.com/hoDSquoteimages/0213hoDS_d.jpg)
"Maggie."
- as she reaches him - and as we can see, Todd is not with Jeff (quite possibly because the shooting of Scene 62 took place subsequent to the taping of Ep #1001 of the daytime series, which was Don Briscoe's last ep before the incident that caused him to abruptly leave the daytime show, so it may have also caused him to be unavailable for the shooting of Scene 62 of the film) - and rather than delivering the 13th's quote, what Maggie actually says is -
(http://www.dsboards.com/hoDSquoteimages/0213hoDS_e.jpg)
"It's David. David. He locked me in there."
- to which Jeff replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0213hoDS_f.jpg)
"Come on, Maggie, calm down."
- and so then Maggie simply says -
(http://www.dsboards.com/hoDSquoteimages/0213hoDS_g.jpg)
"David."
- which Jeff questions with -
(http://www.dsboards.com/hoDSquoteimages/0213hoDS_h.jpg)
"David?"
- rather than the scripted "Who did?" - and Maggie explains -
(http://www.dsboards.com/hoDSquoteimages/0213hoDS_i.jpg)
"David. He locked me in there. He locked me in there.
He's in there, Jeff. He's in there."
- rather than what's scripted instructing Todd to get David or even what it was changed to in DC's script - and since there is no appearance of Todd in the scene, rather the 14th's quote, Jeff actually gets to say -
(http://www.dsboards.com/hoDSquoteimages/0214hoDS_a.jpg)
"Maggie, I just caught David sneaking into his room back
at Collinwood."
- to which an extremely confused Maggie replies with -
(http://www.dsboards.com/hoDSquoteimages/0214hoDS_b.jpg)
"Someone-- Someone was--"
- and then Jeff says -
(http://www.dsboards.com/hoDSquoteimages/0214hoDS_c.jpg)
"Now come on. Todd's downstairs looking for you."
- (which is an interesting nod to the original intent of Todd being a part of the scene) and Jeff begins to lead Maggie away as she repeats -
(http://www.dsboards.com/hoDSquoteimages/0214hoDS_d.jpg)
"Someone was--"
- and Jeff comforts her by saying -
(http://www.dsboards.com/hoDSquoteimages/0214hoDS_e.jpg)
"Take it easy."
-
And before we get into DC's script's version of Scene 63, here's the original draft's version of Jeff (and Todd) finding Maggie:
INT. STAIRWAY - OLD HOUSE - NIGHT
Jeff and Todd race up the stairs.
INT. CORRIDOR - NIGHT
Maggie, hysterical, crying, runs from the room.
MAGGIE
Jeff!
Jeff and Todd run in. Maggie runs to Jeff's arms.
JEFF
You're all right?
MAGGIE
(crying, incoherent)
David...he was outside the door. He
wouldn't answer me. He -- he ran
when he heard you.
Jeff and Todd look at each other.
JEFF
Maggie, David's been back at Collin-
wood for ten minutes.
MAGGIE
She is shocked, horrified.
|
It's quite interesting that in the original draft there is a scene of Jeff and Todd running upstairs. It's also interesting that Jeff's original line explaining David's whereabouts is given to Todd in DC's script's version but then goes back to Jeff in the film because of Todd's absence. But what's also quite interesting is that the intermediate version of the script that was used for the novelization version is identical to the original draft with both the stairway and corridor scenes but for one exception: Jeff's line is already given to Todd. But what's most interesting is that, unlike Scenes 45 through 51, which are indicated as having been deleted in DC's script, there's no such indication for the stairway scene...
-
Now here's DC's script's version of Scene 63:
63 INT - JULIA'S ROOM COLLINWOOD - NIGHT
63.
Sheriff examines Daphne's wound. Julia adjusts the blood transfusion
bottle. Nurse watches.
|
And that's when February 15th's quote -
Page 19A/Scene 63 - Sheriff: 'It almost looks like a human bite.'
- comes up, followed by February 16th first quote -
Page 19A/Scene 63 - Julia: 'No human made those punctures, George.'
- coming up, followed by February 16th second quote -
Page 19A/Scene 63 - Sheriff: 'Well, I don't know any animal that could do it either. Do you think she'll be all right?'
- coming up, followed by February 17th first quote -
Page 19A/Scene 63 - Julia: 'I don't know. She's lost an enormous amount of blood.'
- coming up, followed by February 17th second quote -
Page 19A/Scene 63 - Sheriff: 'How? All from this one wound.'
- coming up, followed by February 18th first quote -
Page 19A/Scene 63 - Julia: 'I know. I don't understand it either. I'll move her to the hospital tomorrow for a central venous pressure test. That may tell us more.'
- coming up, followed by February 18th second quote -
Page 19A/Scene 63 - Julia (to nurse): 'I'll sleep in the next room tonight. If there's any change, wake me.'
- coming up.
Tomorrow we'll examine the few things that are different, make some observations, and get into not one but two previous versions of the scene...
But before all that I'll leave with a still that shows the opening of the scene from a totally different angle than the film uses:
(http://www.dsboards.com/hoDSquoteimages/Julia_bends.jpg)
-
I love this, MB!!!-❤💚💜💙💛
-
Now, wait--is "punctures" said in the final film? I certainly wouldn't describe the wounds in this movie as "punctures"!!!
-
And as for the differences in Scene 63 compared to DC's script's version: the Sheriff never examines Daphne's wound - in fact, he never goes near her during the entire scene - and we never see Julia adjust the blood transfusion bottle - nor do we ever really see the nurse except for brief glimpses that I'll point out below.
As for what we do see and hear: as can be seen in February 15th capture, the scene actually begins with a shot of Daphne though -
(http://www.dsboards.com/91quoteimages/0215ds91_0.jpg)
- a quatrefoil cusp opening of Julia's bed as Julia tends to Daphne's neck and the sheriff is actually heard to say "It almost looks like a human bite, doesn't it?" - and then as Julia shrugs as she moves away from the bed to the sheriff, as we can see in February 16th's first capture -
(http://www.dsboards.com/91quoteimages/0216ds91_0.jpg)
- she does indeed remark "No human made those punctures", but dropping addressing the sheriff as "George" - and as we can see in February 16th's second capture, Julia moves toward the mirror in her room (where we start to see reflections of the nurse) -
(http://www.dsboards.com/91quoteimages/0216ds91_1.jpg)
- while the sheriff continues to look toward Daphne as he actually remarks "Yes, well, I certainly don't know any animal who could have done it either", but then turns to Julia to ask "Do you think she'll be all right?" - and then, as we can see in February 17th's first capture, Julia has turned back and -
(http://www.dsboards.com/91quoteimages/0217ds91_0.jpg)
- she answers with "I don't know. She's lost an enormous amount of blood", exactly as scripted - and as we can see in February 17th's second capture, a puzzled sheriff actually asks -
(http://www.dsboards.com/91quoteimages/0217ds91_1.jpg)
- "But how? Just from that one wound?" - and after Julia nods in the affirmative, as we can see in February 18th's first capture, Julia actually responds with -
(http://www.dsboards.com/91quoteimages/0218ds91_0.jpg)
- "I know", and then pauses a bit before actually saying "I'll move her to the hospital tomorrow. They'll do a central venous pressure", with the "I don't understand it either" part and "test" dropped, and actually following that with "That'll tell us more" - and in the script, among the many weird things going on with the typing (way too many to actually get into here), "venous" is misspelled "venus" (and leave it to nurse extraordinaire Midnite to spot that [wink2]) - and then as we can see in February 18th's second capture, Julia moves back toward the bed -
(http://www.dsboards.com/91quoteimages/0218ds91_1.jpg)
- as she actually addresses the nurse with "Miss Shepherd. I'll stay in the room next door tonight. Wake me if there's any change" - and then both Julia and the sheriff move to leave the room.
And next up we'll get into the first of the two previous versions of the scene...
-
You certainly didn't disappoint! I love this even more than I thought that I would.
-
Before we get into DC's script's earlier version of Scene 63 (yes, there are two versions of the scene in his script), here's the original draft's version of Julia and the sheriff discussing Daphne:
INT. DRAWING ROOM - COLLINWOOD - NIGHT
CLOSE UP - DAPHNE
Her eyes are half closed. CAMERA PULLS BACK.
SHERIFF PATTERSON leans over her. Julia watches.
SHERIFF
Surely you remember something, Miss
Budd?
Daphne begins to cry, shaking her head that she
doesn't.
JULIA
Wait until tomorrow, Sheriff.
He looks at Julia, sighs, moves to the door. She
follows. CAMERA TRUCKS them.
SHERIFF
You're taking her to the hospital?
Julia nods.
SHERIFF
What do you think, Doctor?
JULIA
What I think will be determined by tests
at the hospital.
SHERIFF
But what kind of an animal would
attack...?
JULIA
(interrupting)
The marks are not unlike those of a bat.
He looks at her.
|
One thing that's interesting is that the novelization is almost identical to the original draft - it uses all the exact same dialogue - but in the novel the scene is set in Julia's bedroom (as it is in subsequent versions), not in the drawing room. It's also interesting that in this version the sheriff tries to question Daphne, whereas she's unconscious in the other versions.
And another thing that's interesting, and is something I alluded to in an earlier post, is that Julia's line -
JULIA
(interrupting)
The marks are not unlike those of a bat.
|
- appears on the Fest's 1999 Movie Calendar as the entry for January 22nd. Presumably that could indicate that the novelization and the 1999 Movie Calendar used the same intermediate version of the script...
-
And now here's DC's script's first version of Scene 63:
63 INT. - JULIA'S ROOM COLLINWOOD - NIGHT
Rev. 3/25/70
63 CONTD CONTD 63
It is later. We come in on the unconcious Daphne.
She is receiving a blood transfusion. A nurse
sits by the bed. The Sheriff is bending over
looking at the fang marks.
SHERIFF
I don't understand those marks,
doctor.
Julia is replacing bandage
JULIA
Neither do I, Sheriff.George
They x to mirror
SHERIFF
It looks almost as if it could
be a human bite. |____________________________ CU Julia
JULIA
Except for the two fang marks,
yes. those two punctures on either side
I don't know of any SHERIFF |___________________ CU Sheriff
There's no animal around here that
would make that mark. could leave a
mark like that|________________________________ CU Daphne
Daphne stirs JULIA 2SHOT NURSE
No. It's all very curious. I don't understand it. and Daphne
How could she She lost an enormous amount of
have lost blood. And just from this one
such wound. Well, we'll move her to
the hospital tomorrow. I'll be
able to make more tests then.
They move toward the door. Julia to the nurse:
JULIA
I'll sleep in the next room tonight.
If she becomes conscious again, wake me.
When she regains ness
SHERIFF
Why didn't she remember anything?
Why?
|
It's fascinating that even with all those changes, and then changes to the changes, they still ended up doing another rewrite before the scene was shot, which, for what it's worth, was originally supposed to be on April 1st. Though I do suspect that the reason why they switched from Julia not completely understanding Daphne's condition to the sheriff being the one who's totally puzzled is because even at the point of this scene, given some of Julia's body language, it seems as if she could have her suspicions.
And yes, the first instance of "unconscious," as in "We come in on the unconcious Daphne" is misspelled in the script...
-
When was the Nancy Hodiak sequence eliminated?
-
In an Afternoon TV interview done very soon after she moved from DS to Another World: Somerset and while hoDS was still shooting, Marie Wallace said that she may have lost a part in the movie simply because she left DS for a different show (and given how DC behaved, it's not hard to imagine that was true). And even the DS Companion says that the Nancy Hodiak sequence was dropped because Marie moved on from DS. So, considering that hoDS began shooting on March 23rd, Marie has said that she auditioned for AW:S soon after she taped her final DS ep on March 16th, and that AW:S debuted on March 30 and at best most soaps taped one to two weeks ahead of time, one could easily draw the conclusion that dropping the Nancy Hodiak sequence was a decision made very close to when production on hoDS began...
-
That was remarkably petty of DC, though certainly completely in character. He likely would have rescheduled the entire shoot around the availability of Roger David. Still, it seems like Lisa Richards really benefited from the schedule conflicts with both Marie and Clarice Blackburn.
-
Now here's DC's script's version of Scene 64:
64 INT UPSTAIRS CORRIDOR - NIGHT
up the stairs
Roger and Liz are coming toward the room.
|
And that's when February 19th's quote -
Page 20/Scene 64 - Liz: 'Well, it was a terrible time for you to disappear. I shan't forgive you for it, Roger.'
- comes up, followed in the script by:
Rev. 3/25/70
64 CONTD CONTD 64
|
And that's when February 20th's quote -
Page 21/Scene 64 - Roger: 'How was I to know all this would happen?'
- comes up.
And as we can see in February 19th's capture, Liz and Roger are indeed -
(http://www.dsboards.com/91quoteimages/0219ds91_0.jpg)
- coming up the stairs, rather than the originally scripted coming toward Julia's room - and what Liz actually says to Roger is "It's a terrible time to disappear", with the "I shan't forgive you for it, Roger" part dropped - but with the exception of adding "Well" to preface it, Roger delivers his line exactly as scripted.
And I'm going to hold off sharing what in the original draft compares to the entire sequence of Scene 64 through 66 in DC's script because some similarities extend though all those scenes in DC's script...
-
Now here's DC's script's version of Scene 65:
65 Julia and Sheriff come from the room.
LIZ
Is she resting quietly, Julia?
Julia nods.
|
And that's when February 21st's quote -
Page 21/Scene 65 - Roger: 'Do you have any more theories what could have attacked her?'
- comes up, though it appears this way in the script:
ROGER
Do you have any more theories about
what could have attacked her?
|
And the script continues with:
Sheriff shakes his head no.
|
And that's when February 22nd's first quote -
Page 21/Scene 65 - Liz: 'Obviously whatever did was after Maggie.'
- comes up, followed by February 22nd's second quote -
Page 21/Scene 65 - Roger: 'Nonsense, XXXXXX. It's my guess Miss Evans imagined her little experience'
- coming up, though it appears this way in the script:
ROGER
Nonsense! Maggie. It's my guess ( I haven't yet heard
she Miss Evans imagined her little ( of any animal that
experience ( could open doors. Anyway
|
And that's when February 23rd's first quote -
Page 21/Scene 65 - Liz: 'Is it? Well, I don't believe that. You and I must decide what to do about David -- I think --'
- comes up, though it appears this way in the script:
LIZ
Is it? Well, I don't believe that.if she did - you can
You and I must decide what to do blame David.
about David -- I think -- He practically frightened
him. her to death. Roger,
|
And that's when February 23rd's second quote -
Page 21/Scene 65 - Roger: 'Whatever you think can wait till tomorrow, Elizabeth.'
- comes up, though it appears this way in the script:
Whatever we must decide ROGER
Whatever you think can wait till
tomorrow,^Elizabeth. un
|
And the script continues with:
LIZ
(after a beat) Alright Roger I'm to
There's no point arguing about it tired to argue with
tonight. We all are tired. Goodnight you now.
Sheriff, Julia.
george
SHERIFF
Goodnight, Mrs. Stoddard. Elizabeth
Julia nods. Roger ad libs
|
And that's when February 24th's quote -
Page 22/Scene 65 - Liz: 'Roger, we must decide tomorrow how we are going to punish David. We simply cannot ignore what he has done tonight.'
- comes up, though it appears this way in the script:
LIZ
Roger, we must decide tomorrow
how we are going to punish David.
We simply cannot ignore what he has
done tonight.
|
And the script continues with:
Rev. 3/25/70
65 CONTD CONTD 65
She leaves. JULIA GOES BACK
TOWARD HER ROOM
|
And as for what's different, all that will wait for another time...
-
He likely would have rescheduled the entire shoot around the availability of Roger David.
Ya think? [wink2] ::)
Still, it seems like Lisa Richards really benefited from the schedule conflicts with both Marie and Clarice Blackburn.
Well, there is that.
Interestingly enough, the Nancy Hodiak sequence is the next one coming up in the slideshow. It starts tomorrow...
-
And now what's different about Scene 65 in the film:
Once Liz and Roger reach the top of the stairs, for an instant Liz turns to her right as if to go down the corridor but soon turns to her left as Roger addresses Julia with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0221hoDS_a.jpg)
"Julia."
- and moves toward the direction of the Gallery whereupon Julia and Sheriff Patterson soon appear in the corridor leading from the Gallery, not leaving Julia's room - and at that point Liz, who has also moved to them, asks an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0221hoDS_b.jpg)
"Will she be all right?"
- to which Julia replies with a reworking of what was originally intended as Liz' question -
(http://www.dsboards.com/hoDSquoteimages/0221hoDS_c.jpg)
"I hope so. She's resting quietly."
- after which Roger actually asks the sheriff "Have you any more theories about what could have attacked her?", a slight reworking to what was added to the script - and the sheriff replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0221hoDS_d.jpg)
"I don't know. The men have searched the grounds, found
nothing."
- rather than simply shaking his head no as scripted - and after Liz actually offers "Well, obviously whatever it was was after Maggie", Roger insists "Nonsense! I never heard of any animal that could open doors" and after a slight pause adds "Anyway, I think she imagined the whole thing", both of which are more slight reworkings of what was added to the script - and to that Liz actually replies "Well, if she did - you can blame David. David practically frightened her to death. Roger, we must decide what to do about him", which is close to what was added to the script - and Roger actually replies with "Well, whatever we decide, Elizabeth, can wait until tomorrow", which is also close to what was added to the script - and to that Liz actually says along the lines of what was added to the script "All right, I'm too tired to argue tonight. Goodnight", dropping addressing anyone specific - and as Liz turns to leave them, rather than nodding as scripted, Julia responds with a simple and somewhat embarrassed smile -
(http://www.dsboards.com/hoDSquoteimages/0223hoDS_a.jpg)
- and the sheriff actually says -
(http://www.dsboards.com/hoDSquoteimages/0223hoDS_b.jpg)
"Goodnight, Elizabeth."
- exactly as was changed in the script, though also with a touch of embarrassment at what he just witnessed - but then Julia actually says an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0223hoDS_c.jpg)
"I'll see you tomorrow, George, when I take Daphne to the
hospital. Goodnight."
- and with Roger looking none to please at the way Liz addressed him and then left, Julia then turns to Roger with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0223hoDS_d.jpg)
"Goodnight, Roger."
- and as Julia turns away to move back toward her room, Roger bids her an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0223hoDS_e.jpg)
"Goodnight, Julia."
- as does the sheriff -
(http://www.dsboards.com/hoDSquoteimages/0223hoDS_f.jpg)
"Goodnight, Julia."
- (it's almost like watching the end of a The Waltons ep [lghy]) - and then presumably Roger's ad lib is -
(http://www.dsboards.com/hoDSquoteimages/0223hoDS_g.jpg)
"See you to the door, George."
- after which Roger and the sheriff exit in the direction of the stairs as Julia continues to her room - and considering both that Liz has already left the scene and her slideshow quote from February 24th is completely crossed out in the script, obviously those lines are never delivered in the film.
-
(http://www.dsboards.com/hoDSquoteimages/0221hoDS_d.jpg)
"I don't know. The men have searched the grounds, found
nothing."
I forgot to mention that I love the look on Julia's face as the Sheriff says he has no idea what could have attacked Daphne. It's like her mind might have its own possibility.
Also, unlike with Scene 63, it's interesting that with Scene 65 they went with the changes they added to the script rather than doing a completely new rewrite.
-
Next up is February 25th's quote -
Page 22/Scene 66 - Sheriff: 'You're lucky Doctor Hoffman is staying here with you. She doesn't think Daphne would have lived if Jeff hadn't found her the exact moment he did.'
- which is taken from DC's script's March 25th rewrite - but this is how the scene appears in the script:
66 INT STAIRCAST - NIGHT
Roger and Sheriff coming down the stairs.
It's lucky for Daphne SHERIFF Julia's
You're lucky Doctor Hoffman is
staying here with you. She because I don't think
doesn't think Daphne would have
lived if Jeff hadn't found her the she would of had
the exact moment he did. a chance
|
End of scene.
And we'll never know if the Sheriff actually would have said "It's lucky for Daphne Julia's staying here with you because I don't think she would of had a chance" because this scene is one among the many that ended up on the cutting room floor and whose footage was subsequently destroyed...
And yes, apparently it took place on a staircast. [sad7] Whoever typed the March 25th revision to the script certainly didn't make their living as a typist...
-
Now here's the scene in the original draft that correlates to DC's script's Scenes 64 through 66 (and as you will recall, the previous scene in the original draft took place in the drawing room as the sheriff and Julia discussed Daphne's attack):
INT. FOYER - NIGHT - GROUP SHOT
Sheriff has just entered from the drawing room.
Liz and Carolyn come toward him.
LIZ
Is she going to live?
SHERIFF
(nodding)
You're lucky Doctor Hoffman is staying
here.
The door opens. Jeff and Todd and a disheveled
Maggie enter.
LIZ
Thank God!
TODD
Sheriff, get some men down to the old
house right now. Someone was just there.
He ran away when we came in. Whoever
it was may still be around.
SHERIFF
We have your permission, Mrs. Stoddard?
LIZ
Of course.
Sheriff starts for the door but turns back to add:
SHERIFF
I suggest no one else go out tonight, Mr.
Collins. And you should make sure the
windows and doors are locked.
ROGER
We will, Sheriff.
Sheriff exits. Maggie turns to Liz.
MAGGIE
Mrs. Stoddard, we must talk. You - Mr.
Collins - me. About David. About what
we're going to do about David.
LIZ
(sighs)
Yes. You're quite right. We must.
ROGER
(brusquely)
But when all of this is over. Surely it
can wait until then. Goodnight, Miss
Evans.
Roger takes Liz up the stairs with him. In exasper-
ation, Maggie watches them go.
|
One thing that's interesting is that the novelization is identical to the original draft - but what is more interesting is that on the Fest's 1999 Movie Calendar the sheriff's line -
SHERIFF
And you should make sure the
windows and doors are locked.
|
- appears as one of Jeff's lines and as the entry for January 23rd. We even used it in the original hoDS slideshow:
(http://www.dsboards.com/moviesquoteimages/0123hoDS_0.jpg)
hoDS: Scene #?? - Jeff: 'Mrs. Stoddard, you should make
sure the windows and doors are locked.
Apparently it was reassigned in a subsequent rewrite that appears in the intermediate script used for the calendar.
And it's also interesting that the sheriff's initial line in the scene above -
SHERIFF
(nodding)
You're lucky Doctor Hoffman is staying
here.
|
- was reworked for Scene 66 in DC's script -
66 INT STAIRCAST - NIGHT
Roger and Sheriff coming down the stairs.
It's lucky for Daphne SHERIFF Julia's
You're lucky Doctor Hoffman is
staying here with you. She because I don't think
doesn't think Daphne would have
lived if Jeff hadn't found her the she would of had
the exact moment he did. a chance
|
- with the sheriff addressing Roger rather than Liz.
-
OMG. People were actually writing "would of" 47 years ago?!? [snow_sick]
(in reference to scene 66)
-
And now the next two scenes in DC's script's March 25th rewrite (and when it comes to the first, we didn't pick any quotes from it):
67 INT. CARD ROOM - NIGHT
SHERIFF'S P.O.V.
Maggie, Jeff and Carolyn sit there drinking coffee.
SHERIFF
Feeling any better, Maggie?
MAGGIE
A little, Sheriff.
SHERIFF
I want to talk to you tomorrow.
I'll drop by in the morning.
She nods. Sheriff and Roger continue down the hall.
68 CAROLYN - JEFF - MAGGIE
|
And that's when February 26th's quote -
Page 22/Scene 68 - Sheriff's Voice (O.S.) (Moving Down Hallway): 'I've stationed two men on the grounds, Mr. Collins. No point in taking any chances.'
- comes up, followed in the script by:
Jeff comes to the silent, still in shock, Maggie.
|
And that's when February 27th's quote -
Page 22/Scene 68 - Jeff: 'Maggie, you've got to stop thinking about it.'
- comes up, followed in the script by:
Rev. 3/25/70
68 CONTD CONTD 68
CAROLYN
Yes, Maggie, You must.
|
And that's when February 28th's quote -
Page 22A/Scene 68 - Maggie: 'Who could have been at that door? Who?'
- comes up, followed in the script by:
Roger enters X to table
ROGER
Now there's no need for further
post mortem's tonight.
JEFF
You may be able to forget this,
Mr. Collins. But I certainly
won't, and neither will Maggie.
|
And when there's a February 29th, that's when its first quote -
Page 22A/Scene 68 - Roger: 'If there was anyone at the old house, he's been frightened away by now.'
- comes up, followed by its second quote
Page 22A/Scene 68 - Jeff (Angrily): 'If there was.'
- coming up, followed in the script by:
MAGGIE
Jeff, please.
gets up X to the side of table
He cools it. She goes to Roger
|
And that's when March 1st's first quote -
Page 22A/Scene 68 - Maggie: 'Mr. Collins, we won't discuss tonight. But we should talk about tomorrow. I will have to deal with David then.'
- comes up, though it appears this way in the script:
must david
| |
v MAGGIE v
Mr. Collins, we won't discuss tonight.
But we should talk about tomorrow. I
will have to deal with David then.
|
And that's when March 1st's second quote -
Page 22A/Scene 68 - Roger: 'Miss Evans, I do not blame David. I know he needs discipline. That's why I hired you. You have failed.'
- comes up, though it appears this way in the script:
Miss Evans we all ROGER it's not news that the boy
know david needs Mriss Evans, I do not blame David.
discipline - that's I know he needs discipline. But
why I hired you - obviously That's why I hired you. You have n't
you haven't done your job. failed. made a very good job of it
|
And the script continues with:
Jeff takes a few steps toward him. He is about to
say something. as he bring the Camera to Maggie
|
And that's when March 2nd's quote -
Page 22A/Scene 68 - Maggie: 'Then I'll give my notice now, Mr. Collins.'
- comes up, followed in the script by:
Jeff and Carolyn both react.
Rev. 3/25/70
68 CONTD CONTD 68
|
And that's when March 3rd's quote -
Page 22B/Scene 68 - Roger: 'I think that's an extremely sensible decision. Good night.'
- comes up, followed in the script by:
CAROLYN
Uncle Roger! steps
toward
Roger
|
End of scene - though not the end of the sequence.
And we'll never know if things actually played out as changed because those two scenes are among the many that ended up on the cutting room floor and whose footage was subsequently destroyed...
And yes, any missing punctuation is because that's the way it appears in the script...
-
OMG. People were actually writing "would of" 47 years ago?!? [snow_sick]
Looks like DC or whoever wrote in his script did - and apparently he/she considered it correct speech as well to use it in the sheriff's Scene 66 dialogue...
Actually, nothing that appears as part of the March 25th rewrite surprises me...
-
And now here's the final three scenes in DC's script's March 25th rewrite (two of which have no quotes taken from them):
68A Roger exits.
She turns to them. X back to Maggie
CAROLYN
He'll feel differently in the
morning, Maggie.
Maggie turns away. Jeff looks at Carolyn.
Leave it to him.
Carolyn nods. Exits.
68B Jeff crosses to her. She does not turn to him.
MAGGIE
It's an impossible situation.
JEFF
Don't go, Maggie.
She crosses away.
68C. (CONT'D)
go
|
v
MAGGIE
I have to, Jeff. I'm not
doing any good here.
He follows her.
JEFF
Maggie I want you to stay. I need you here
He turns her to him. They look at each other.
JEFF
I wouldn't like it in Collinsport
without you. Sooner or later I've
got to start selling my paintings.
Then you can worry fulltime about me.
|
And that's when March 4th's quote -
Page 23/Scene 68C - Maggie: 'Oh, Jeff! I just can't stay here any longer.'
- comes up, followed in the script by:
JEFF
Well, at least I've got two weeks to
change your mind.
He kisses her. Well, what if I ever gave two weeks!
notice when I couldn't finish a even I had trouble
painting. I'll change your mind.
|
End of the main part of the scene as typed and also added to. But after the bit of typed dialogue added just above but also crossed out, there's quite a bit of handwritten dialogue. Most of it I can decipher - but parts are questionable. So once again I'm scanning a notation to present for our resident handwriting deciphering expert to see if he can make out what it all says:
(http://www.dsboards.com/hoDSquoteimages/Note_P23.jpg)
(The part that I can decipher seems to say:
"Look what if I always gave notice
every time I had a little trouble with
a painting.
You know actually I'm pretty good
you know - I might even sell one
some day then you can take care
of me."
But I really have no idea what the written part that's crossed out says...)
But, of course, we'll never know if things actually played out as changed because those three scenes are among the many that ended up on the cutting room floor and whose footage was subsequently destroyed...
And actually, I wonder if they were only supposed to be two scenes (68A and 68B) and someone mistakenly turned the second page of Scene 68B into Scene 68C? (How could 68C be continued when there was no previous part to it?) But I suppose we'll never really know...
-
I can make out of it. I believe it says Yes, sooner or later they're gonna start selling. Which seems to match up with a part of Jeff's dialogue that is printed but crossed out later on.
-
Yes! You're a marvel at deciphering people's handwriting. [snow_wink] [snow_cheesy] Thanks! [snow_smiley]
-
You're welcome, MB. It's something that I picked up during my years at OTB, where I had to decipher some extremely odd penmanship.
-
And now here's the Nancy Hodiak sequence as it appears in both the original draft and DC's script (and recall that in the original draft Maggie has tried to discuss David but she was rebuffed by Roger - and none of the discussion about Maggie leaving has taken place yet):
69 EXT: JEFF'S STUDIO - NIGHT 69
LONG SHOT
It is the following evening. It is raining. From the
bluff above we see Jeff's studio. A road runs along
the bluff. A STATION WAGON ENTERS THE SHOT. Its
headlights are on. It drives until it is parallel
to the lighted studio. It stops at a winding path
that leads down the rugged descent to the house itself.
CAMERA PANS TO CLOSE UP of the driver of the car.
NANCY HODIAK is a pretty matron. She looks from the
car window down at the house.
70 INT: JEFF'S STUDIO 70
TIGHT SHOT of an oil portrait of Nancy Hodiak. The
CAMERA TRUCKS AROUND the portrait and WIDENS TO INCLUDE
Jeff adjusting a new wire on the back of the frame.
Maggie watches him.
MAGGIE
We'll never discuss David. I know
it. And it's not David we need
to talk about -- it's their attitude.
I'm not doing any good in that house.
That's why --
She stops. Jeff quits working, looks at her.
JEFF
That's why what?
MAGGIE
I'm going to give my notice tonight.
He starts to come to her.
MAGGIE
Go back to Boston --
Jeff takes her in his arms.
JEFF
I won't let you do that.
She looks up at him. They kiss. There is a knock at
the door.
JEFF
Damn! It's Nancy Hodiak. I'll
talk you out of it later.
Maggie smiles, shakes her head. He won't be able to.
He opens the door.
71 JEFF 71
Come in, Nancy. It's all ready.
MRS. HODIAK
Hello, Jeff, Maggie.
She goes to the portrait, admiring it.
|
And that's when March 5th's quote -
Page 23B/Scene 71 - Mrs. Hodiak: 'Oh, look at at. I love it, Jeff. It takes some ego to give your own portrait to your husband for his birthday. But that's the way I am. You better wrap it. I don't want it to get wet.'
- comes up, followed in the script by:
Jeff smiles. Starts to wrap it.
72 EXT: JEFF'S STUDIO - NIGHT 72
LONG SHOT
LONG LENS from the bluff, as if someone were standing
there, looking down at the studio.
The door to the cottage opens. Light spills out as
Mrs. Hodiak, carrying the wrapped portrait, and Jeff
can be seen in the door. There is a flash of light-
ning, a CRACK OF THUNDER. We see Jeff close the door.
SLOW ZOOM down to Mrs. Hodiak, as she starts up the
path to her car. Lightning flashes.
The CAMERA HOLDS HER TIGHT, as she climbs. There is
the NOISE OF BUSHES BEING PUSHED APART, TWIGS STEPPED
ON. She hears this, stops, frowns, looks around.
The CAMERA PANS the dense undergrowth.
Mrs. Hodiak starts to walk faster. The NOISE SEEMS
TO FOLLOW HER. She looks over her shoulder. She is
positive that there is someone -- or something -- in
the undergrowth. She runs up the twisting path.
She drops the picture.
73 PORTRAIT - CLOSE UP 73
as booted foot steps on it ripping through it.
74 NANCY HODIAK - CLOSE UP 74
LONG LENS HOLDS HER TIGHT as she runs toward camera.
WHIP PULL BACK to WIDE ANGLE showing that CAMERA IS
SHOOTING THROUGH car window which FRAMES her as she
runs for the car and into a TIGHT SHOT as she yanks
74 CONTD CONTD 74
open the door and jumps in. lightning and THUNDER
CRASH as she frantically locks her side of the car.
As she reaches across to lock the other door, it
violently swings open, as the CAMERA ZOOMS IN on her
terrified, horrified face. She SCREAMS.
75 EXT: BLUFF - NIGHT 75
HIGH ANGLE
Police cars are parked around Mrs. Hodiak's station
wagon. An ambulance is parked farther away. A
covered stretcher is being picked off the ground by
two white uniformed ATTENDANTS. They start for the
ambulance. Mrs. Hodiak's car doors are open. The
rain is pouring down. As Mrs. Hodiak's body is placed
in the ambulance
CUT TO:
76 PORTRAIT - CLOSE UP 76
It is ripped and muddied. During the following,
CAMERA TRUCKS BACK to show Jeff holding the portrait.
Maggie is with him. They are holding umbrellas and
talking to a POLICEMAN.
|
And that's when March 6th's first quote -
Page 23C/Scene 76 - Jeff (OS): 'We didn't hear anything. I came out to take Maggie back to Collinwood ... We saw her car still here ... How did it happen?'
- comes up, followed by March 6th's second quote -
Page 23C/Scene 76 - Policeman: 'She was strangled. But the crazy thing is, it looks like some kind of an animal bit her first.'
- coming up.
Sadly, the sequence was dropped - though as we discussed earlier, some of the camera shots and set ups were used for Daphne's attack (as well as being recycled for the '91 series' Daphne's attack).
-
It's interesting that the version of the Nancy Hodiak sequence that I've shared has so little dialogue once she actually shows up. However, what's more interesting is that the novelization versions has loads more dialogue. Could this mean that the version of the script the novelization used contained one of the infamous intermediate rewrites that we've already come across several times? Or did Dan "Marilyn" Ross embellish the scenes himself? The fact that DC's script doesn't have a rewrite of the sequence may mean nothing because, considering he wasn't planning on shooting it, DC may have simply wanted a copy that contained the camera shots and set ups that he wanted to use for Daphne's attack. But whatever the case, I thought I'd share how things play in the novel just in case it's based on some intermediate rewrite:
We begin with the novel's version of Scene 70, just to show how close it is to the script:
Inside the house Jeff was busy framing a recently com-
pleted portrait of Nancy Hodiak. Everything was done
except for attaching a new wire to the back of the frame.
Maggie was there watching him work and in a worried
state of mind.
She said, "We'll never discuss David. I know it. And
it's not David we need to talk about. It's their attitude.
I'm not doing any good in that house. That's why --"
She hesitated, leaving her sentence unfinished.
Jeff finished working and gave her all his attention.
"That's why what?"
She gave him a sober look. "I'm going to give my
notice tonight." Jeff moved nearer to her. "I'm going back
to Boston."
He took her in his arms. "I won't let you do that."
She looked up at him. They kissed. She was still in his
arms when there was a knock on the door.
Jeff released Maggie reluctantly. "Damn! It's Nancy
Hodiak. I'll talk you out of it later."
Maggie smiled wanly and shook her head. "Don't
count on it."
|
So, the only bit of dialogue in that that doesn't appear in the script is Maggie's "Don't count on it" - but that paragraph in the novel is in keeping with the script saying "Maggie smiles, shakes her head. He won't be able to." And as we've seen in past rewrites, it's not at all unusual to add lines. However, when it comes to Scene 71's version in the novel, there's quite a bit of new material added:
Jeff opened the door. "Come in, Nancy. I wonder you
took a chance coming down that steep embankment on
a night like this."
She smiled. "I had to. I couldn't wait to see the por-
trait. Anyway, I was careful and picked my steps."
Jeff smiled. "I suppose I shouldn't have built down
here, but it's such a perfect spot otherwise. You know
Maggie?"
"Of course," Nancy Hodiak said brightly. "Hello
Maggie. Awful weather, isn't it?"
"It surely is," she agreed. She'd met the wealthy young
matron a few times and had found her pleasant.
Jeff said, "The portrait is complete, even to a frame and
a wire to hang it with."
"Wonderful!" Nancy exclaimed happily. Let me see
it."
Jeff went over and held it up for her. "I hope you like
it."
"Oh, look at it!" Nancy said with delight. She turned
to Maggie. "Isn't it well done?"
"I think it's one of the best things Jeff has turned out,"
she agreed.
Nancy told him, "I love it, Jeff. It takes some ego to
give your own portrait to your husband for his birthday.
But that's the way I am. You better wrap it. I don't want
it to get wet."
"It won't take a minute," Jeff promised.
Nancy turned to Maggie again. "My husband doesn't
like me driving alone on these dark stormy nights. But I
had to pick this up. I want to surprise him."
"Your husband is bound to like it," Maggie assured
her.
"I hope so," Nancy said, looking around the room
and taking everything in. "I like this place. It's so, well,
so artistic!"
"Jeff has made it comfortable."
"More than that," the young matron said. "It has the
feeling of being a creative place."
"He has good taste," Maggie agreed.
Jeff came back to them with the wrapped portrait.
"I've wrapped it doubly to be sure the rain doesn't get
at it."
"Wonderful!" Nancy said.
"I'll see you up to the road," Jeff suggested.
"No," Nancy protested. "That's not necessary."
"I don't mind."
She moved to the door with the portrait in her hands.
"I won't allow it. Enjoy your company." She gave Maggie
a special smile. "I managed getting down and going up
is much easier. After all, it's not Mount Everest!"
Jeff smiled. "I'm so used to it I don't think anything
about it."
"I'll manage nicely," the young matron said. "Good-
night, Maggie. Nice to see you again."
Maggie said goodnight to her and Jeff saw her to the
door. When he came back in he told Maggie, "You won't
believe this but I heard another roll of thunder just now.
When these storms begin they never come to an end!"
|
Scenes 72 through 75 are pretty much like the script - but once we get to the novel's version of Scene 76 things soon deviate again:
A short distance away on the fringe of the macabre
scene, Jeff and Maggie, holding umbrellas against the
heavy rain, were talking to a police officer in raincoat.
Jeff was holding the ruined portrait and studying it
with obvious distress.
"This is unbelievable," Jeff declared.
The officer's bony face was sober. "You didn't hear
anything that could have been a scream?"
"No," Jeff said,staring at the damaged painting in a
dazed way and then finally lowering it.
"Jeff offered to escort her back to her car but she
refused," Maggie volunteered.
"That's true," Jeff recalled. "I almost insisted on it,
but she didn't seem to want me to go with her."
The officer frowned. "You're sure she was alone" She
had no one in the car with her?"
Jeff and Maggie exchanged glances. "I don't think so,"
he told the officer, "though I really don't know. Why did
you ask?"
The officer's eyes were cold. "She might have had some-
body in the car with her that she didn't want you to discover.
And it could have been that somebody who did this."
"I hadn't thought of that," Jeff admitted. "But I doubt
if that was her reason. I think she just didn't want me
going out in the rain on what she considered a needless
errand."
"It didn't turn out that way," the officer said grimly.
Jeff shifted his umbrella to the other hand. "No, it
didn't," he said quietly. "She was my friend as well as
my client. I'm badly upset by her murder."
"We wouldn't have known about it yet if Jeff hadn't
come out to get his car to take me home," Maggie said
earnestly.
Jeff nodded. "It was then I saw her car still here and
knew something was wrong. So I called you people."
"It's a bad business," the officer said. "We'll want to
talk to you later and get detailed statements."
"We'll do anything we can," Jeff said soberly.
"What about her husband," Maggie asked. "He'll have
to be told. She was giving him the portrait for a
birthday present."
The officer looked bleak. "We've already sent a message
out to him but he can't be reached. He's out of the area
tonight. We'll have to locate him."
Jeff said, "How did it happen? I mean, how was she
murdered?"
"She was strangled," the officer said in his dry voice.
"How awful!" Maggie gasped.
The officer gave her a sharp glance. "But the crazy
thing is, it looks like some kind of an animal bit her
first."
|
And there you have it...
-
Marie enacted the Nancy Hodiak scene at the 2014 festival. Sort of. There's a short clip of it on YouTube which is Marie doing the chase scene, to the very much monotone narration by Jim Pierson. She lets out a huge shriek at the end but the clip has none of the dialogue with Nancy, Jeff and Maggie.
-
What about the scripted dialogue from Scene 71? Was that included in 2014? Or did they merely enact Scenes 72 through 74? If the latter was the case, quite unfortunately, that wouldn't tell us anything regarding a possible intermediate rewrite...
-
It's not in the clip and, unfortunately, I wasn't in the ballroom when they did this. I watched the clip again and it seems that Pierson is reading from the KLS movie book.
-
One thing that *might* lend credence to the extra novel dialogue for Scenes 71 and 76 actually coming from some version of the script is that once we reach Scene 80 there's also more dialogue in the novel than appears in both the original draft and DC's script and the really interesting thing there is that a line that appears on the Fest's 1999 Movie Calendar for Scene 80 doesn't appear in any other source that I have of the film. And as I've said, the Fest explains that all the dialogue that appears on the calendar was taken directly from copies of the hoDS and NoDS scripts...
But we'll get deeper into that after the current slideshow reaches its last quote from Scene 80 as it appears in DC's script - and that will be on the 17th...
-
I watched the clip again and it seems that Pierson is reading from the KLS movie book.
That book contains the versions of Scenes 69 through 76 that I shared in post #170.
-
I found it kind of amusing that the presentation seemed to be more about JP than Marie.
-
Before we actually catch up to the current scene in the slideshow, we have to deal with a few other scenes:
77 EXT: COLLINSPORT INN - NIGHT 77
CLOSE UP of the police car's flashing red light.
PULL BACK to see car stopping in front of Collinsport
Inn. A policeman SETH gets out of the car.
|
It's obvious from the way things are typed that what's upcoming for Scene 78 and the first section of Scene 79 is another rewrite, but this one isn't dated.
78. INT. LOBBY - INN - NIGHT
TODD is putting coins in the cigarette machine. Seth
brushes past him, entering.
TODD
Hi, Seth.
Seth nods, walks to the registration desk. CAMERA TRUCKS
him to TOW SHOT. The manager, BUD, is behind it.
SETH
Evenin', Bud. The chief wants a
list of your guests the last two
nights. Another woman's been
attacked out on Beach Road.
Todd, passing the desk, frowns.
( SETH )
Yeah (Same kind of attack as Daphne)
(Budd's yesterday. )
|
TODD |
Another one? |
|
SETH v
(turning to Todd)
Yeah, only this one's dead.
79. INT. COLLINSPORT INN-DINING ROOM - NIGHT
Todd's
CAMERA is TIGHT on Carolyn Stoddard's face.
CAROLYN (VO)
She was strangled?
CAMERA PULLS BACK. Todd sits beside her. They are on
a banquette against the wall.
TODD
Yes, but the weird thing is that she was
also bitten like Daphne. Finish your
drink. I'll take you home.
She shakes her head, very upset. She doesn't want anymore.
|
And we'll leave things there for now.
And what's different when it comes to the dialogue, the descriptions and directions is that Scene 77 doesn't appear in the film because it was never shot - in Scene 78 Todd actually says "Hey, Seth. How are ya?" while he's bending down to retrieve his cigarettes and -
(http://www.dsboards.com/hoDSquoteimages/0307hoDS_a.jpg)
- the manager is hanging up the phone - and Seth actually says "Good evening, Joe" (perhaps the real name of the manager who might be playing himself) - and Todd actually asks -
(http://www.dsboards.com/hoDSquoteimages/0307hoDS_b.jpg)
"What happened?"
- and as indicated in the script, two bits of Seth's dialogue are combined as he turns to Todd actually saying "Same kind of attack as Daphne Budd's yesterday. Only this one's dead" - and in Scene 79 Todd actually says "Yeah" rather than "Yes" after Carolyn delivers "She was strangled?" off screen as added to the script, and he taps the table -
(http://www.dsboards.com/hoDSquoteimages/0307hoDS_c.jpg)
- as he does so - and then Todd actually says "But the weird thing is she was bitten", then he pauses and adds "just like Daphne" - and then he taps Carolyn's hand and actually says -
(http://www.dsboards.com/hoDSquoteimages/0307hoDS_d.jpg)
"Come on, let's get out of here"
- rather than the scripted "Finish your drink. I'll take you home", so we don't actually see Carolyn shake her head no - and then Todd pulls the table aside so that -
(http://www.dsboards.com/hoDSquoteimages/0307hoDS_e.jpg)
- Carolyn can get up easily.
-
I found it kind of amusing that the presentation seemed to be more about JP than Marie.
Who would ever think such a thing possible... [b003]
-
I drove past the former Three Bears Restaurant, alias the Collinsport Inn, about a week. It looked like they were doing some construction on the property, maybe an addition of some sort. The Chabad Lubavitch, which purchased the building back in 2009, has done a lot of renovating the interior but has made no changes to the exterior.
-
And now I'm also going to share the novelization's version of the beginning of Scene 79 because it also contains material not in the original draft or in DC's script:
Todd still found it hard to accept the news, especially
after Seth told him all the police had discovered. He went
on in to the somewhat dimly lighted dining room of the
Collinsport Inn and sat beside Carolyn on the banquette
against the wall to tell her the tragic news.
Carolyn stared at him. "Nancy Hodiak!"
"Yes," he said. "What do you think of that?"
"You're sure it's true?"
"Yes," Todd said. "Maggie and Jeff found her. Finish
your drink and I'll take you home."
"How awful!"
"I know," Todd agreed.
"Poor Maggie!" she said. Then she started to rise,
but suddenly stopped, staring at the corner banquette.
|
It's interesting that stuff is added but there's also stuff missing. There's no repeat of the fact that not only was Nancy Hodiak strangled, but she was bitten like Daphne. Though quite frankly, had the Nancy Hodiak sequence actually been in the film, we certainly wouldn't have needed to hear that detail repeatedly driven into our heads in multiple scenes...
-
Yesterday I forgot to post that we've had a lot of fun on the "Complete This Phrase / Fill In The Blank(s) - house of Dark Shadows" board with this capture from Scene 78:
(http://www.dsboards.com/SMF/index.php?action=dlattach;topic=25680;attach=39596)
house of Dark Shadows
An instance where the VHS framing is more fun because the DVD/Blu-ray transfer cuts off the bottom frame too high...
-
Picking up Scene 79 where we left off:
She starts to rise, stops, staring at the corner banquette,
as CAMERA TRUCKS TO CLOSE UP.
TODD (V.O.)
Carolyn, what is it?
CAROLYN
Willie Loomis!
79 CONTD CONTD 79
SHOT WIDENS. As Todd stands next to her, the CAMERA TRUCKS
Keeping them PANS to their POV. They see Willie Loomis talking to
in left frame someone whose back is to them. They cannot tell who
it is. But the man's hand holding a cane has a ring
on it. The cane has a curious and very distinctive
SILVER WOLFHEAD HANDLE.
CAROLYN
I'm going to speak to him. He
never picked up his pay.
REVERSE - WIDE ANGLE
With Willie in the extreme f.g. he looks up, sees her
coming. He mutters something we cannot hear to his
companion. Willie rises, moves quickly to Carolyn,
meeting her halfway. She still cannot see his com-
panion. CAMERA TIGHTENS with him to a TIGHT TWO SHOT.
Willie seems completely different from the last time
we saw him. He wears a turtleneck shirt under his
coat.
WILLIE
Miss Carolyn --
|
And that's when March 7th's quote -
Page 26/Scene 79 - Carolyn: 'We've been looking for you, Willie.'
- comes up, followed in the script by:
WILLIE
You didn't think about looking here,
huh?
She shakes her head. He shrugs, at a loss to explain
himself.
|
And that's when yesterday's quote -
Page 26/Scene 79 - Carolyn: 'Roger has your pay envelope ready.'
- comes up, followed in the script by:
WILLIE
Oh. Yeh. I guess he does. Well,
I'll get to it. I -- I been busy.
I got a new job.
He is carefully moving so she cannot see his
companion.
|
And that's when today's quote -
Page 26/Scene 79 - Willie: 'This -- this opportunity, it came up kind of fast like ... And I took it.'
- comes up, followed in the script by the rest of that bit of Willie's dialogue:
WILLIE
Well, nice seeing you
Miss Carolyn. See you around.
|
And as far as what's different about this section of Scene 79 when it comes to the dialogue, the directions and the descriptions, that will wait until another post...
-
Hmmm. Clearly, Todd was in the mood for cake that evening. No wonder he was so anxious to get Miss Stoddard safely stowed away with Mother at home.
MB, many thanks for printing extracts here of the "Marilyn" Ross novelization. They brought back the feeling of bafflement as to just what was going on when characters, incidents and dialogue showed up in the book I had no memory of seeing either in the film, or in the profuse coverage of it we enjoyed in our monster mags back in '70.
Best,
G.
-
At the end of HODS, does Todd survive or does he succumb to his girlfriend's "advances"? I don't recall Todd's ultimate fate in the film.
-
At the end of HODS, does Todd survive or does he succumb to his girlfriend's "advances"? I don't recall Todd's ultimate fate in the film.
Maybe he finally wound up with Seth?
-
[pointing-up] One never knows! But the question begs for an answer in a sequel - or at least some fan fiction!! [b003]
-
And now any differences in the portion of Scene 79 that we covered in reply #183:
Todd doesn't actually address Carolyn by name when she suddenly stops in her tracks - and it's isn't until after Carolyn solely on her own walks while actually saying "It's Willie Loomis" and moves in the direction of where Willie is seated and the camera reveals him, though not in the reverse angle that the script indicates, that Carolyn turns to look back in Todd's direction to tell him -
(http://www.dsboards.com/hoDSquoteimages/0309hoDS_a.jpg)
- that she's going to speak to Willie - and as can also be seen in the above capture, at that same time is when Willie actually sees Carolyn and begins to get up, but all we see of the person with Willie is an arm and a hand on a table - we don't see that the hand is holding a cane because it isn't, or really that it has a ring on it, or quite obviously that the cane has a silver wolfhead handle, though we do see Willie say something to his companion before he leaves the table - and Willie actually adds a "Hello", as in "Hello, Miss Carolyn" when he greets her - and almost immediately Willie makes sure to step in front of her every time Carolyn tries to see who Willie left sitting at the table - and after Carolyn says they've been looking for Willie, what he actually asks is "How come you didn't think to look in here, huh?" - and Carolyn, as is more appropriate, actually refers to Roger as "Uncle Roger" when she tells Willie that his pay envelope is ready - and Willie actually explains "Oh, he does? Well then, I'll go get it. See, I been busy. I got a new job" and "This -- this opportunity came kind of fast like and I took it", but nowhere along his explanation does he shrug at a loss to explain himself because he does indeed explain himself, and Carolyn doesn't actually nod to him until after he's said all of that - and I love how Willie fiddles with his turtleneck collar shortly before -
(http://www.dsboards.com/hoDSquoteimages/0309hoDS_b.jpg)
- and while he actually says "Well, I'll see you around, huh, Miss Carolyn."
-
One never knows! But the question begs for an answer in a sequel - or at least some fan fiction!! [b003]
Should I ever get around to writing said fan fiction, it will definitely be done mostly from the POV of Seth! [snow_wink]
-
KMR, that sounds excellent. I'm already thinking of some imagery but we're not allowed to post even fic snippets here so I will forebear...
My guess is that Seth and Todd had a "history."
Best, G.
-
KMR, that sounds excellent.
I agree - telling things from Seth's POV could be quite interesting. Actually, I'd imagine that seeing all the events of hoDS through Seth's eyes would bring a whole fresh perspective to them...
-
It certainly would. Was Seth posed in such a way to show off his, shall we say assets, to their best advantage. [snow_huh] [snow_smileydevil] [snow_huh]
-
Continuing with Scene 79 with Willie's scripted actions after saying goodbye to Carolyn:
79 CONTD (2) (2) CONTD 79
He bobs, half bowing, all very ideal servant. Carolyn
is puzzled. Willie rejoins his companion as Todd takes
Carolyn's elbow, takes her to the door.
|
And that's when yesterday's quote -
Page 27/Scene 79 - Carolyn: 'Something's happened to him.'
- comes up, followed in the script by:
Todd looks at her.
TODD
What do you mean?
|
And that's when today's quote -
Page 27/Scene 79 - Carolyn: 'He's completely different.'
- comes up.
And as for what's different when it comes to the dialogue, the descriptions, and directions, thank heavens Willie doesn't bob, half bowing, all very ideal servant. In fact, after he says goodbye to Carolyn is when Todd actually comes up, somewhat scaring Willie by his sudden appearance because Willie is not only focused on stopping Carolyn from seeing who's sitting at the table he came from but also on the collar of his turtleneck (and we know why even if not everyone in the audience does), and Todd says an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0310hoDS_a.jpg)
Hey, Willie.
- to which Willie replies with a nod and an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0310hoDS_b.jpg)
Hello, Todd.
- and then after a few seconds turns to go back to the table, upon which Todd doesn't actually take Carolyn's elbow or turn her to the door because, as can be seen in yesterday's capture, a puzzled Carolyn turns to Todd -
(http://www.dsboards.com/91quoteimages/0310ds91_0.jpg)
- to tell him that she thinks something has happened to Willie - and as Willie rejoins his companion while Todd asks what she means, Carolyn then delivers her response as "He's", takes a pause, and then adds "completely different" as, as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/0311ds91_0.jpg)
- Willie continues to look over at them.
-
And continuing with more of Scene 79:
They stop at the door as Carolyn looks back, still
unable to see anything of the companion but the hand
and the cane.
|
And that's when today's quote -
Page 27/Scene 79 - Todd: 'Who's that he's with?'
- comes up.
And as for what's different when it comes to the dialogue, the descriptions, and directions, as can be seen in today's capture, Carolyn and Todd -
(http://www.dsboards.com/91quoteimages/0312ds91_0.jpg)
- are not at the door to the Collinsport Inn and Carolyn is not looking back and trying to see who Willie's companion is because both Carolyn and Todd are still standing in the exact same spot and Carolyn is looking up at Todd as he actually asks "Who's that with him?", which is much more conversational - not to mention it doesn't end with a preposition ([wink2]) - and during these moments none of Willie's companion is really even visible, not the hand and certainly not the cane, which we've already mentioned the hand isn't even holding...
-
Wrapping up Scene 79, beginning with yesterday's quote -
Page 27/Scene 79 - Carolyn: 'I don't know.'
- coming up, followed in the script by:
They exit and the CAMERA ZOOMS IN on the hand, the
ring, the cane.
|
And as for what's different when it comes to the dialogue, the descriptions, and directions, as we can see in yesterday's capture, Carolyn turns to look back toward Willie when she says -
(http://www.dsboards.com/91quoteimages/0313ds91_0.jpg)
- she doesn't know who Willie is with - and Carolyn and Todd don't actually exit the Collinsport Inn because they simply exit the shot as Willie continues to watch in their direction and -
(http://www.dsboards.com/hoDSquoteimages/0313hoDS_a.jpg)
- then the camera zooms in on the hand and the ring -
(http://www.dsboards.com/hoDSquoteimages/0313hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/0313hoDS_c.jpg)
(http://www.dsboards.com/hoDSquoteimages/0313hoDS_d.jpg)
- but still no cane.
-
When it comes to what's different in the original draft versus DC's script, once again it's not worth sharing the whole scene because the differences are minor:
- After Carolyn says she sees Willie, Todd originally replies with a surprised "Willie!" But that was dropped.
- And after Willie brings up his new job and before he explains that the opportunity came up suddenly, Carolyn originally asks "A new job?" But that was dropped.
- And as they are originally leaving, Todd asks "Did you find out who he's with?" But that was reworked, first for the worse in DC's script and then for the better in the film.
- And originally Carolyn's simple reply is "No." But that was reworked.
-
Setting up the current scene:
80 INT: COLLINWOOD - GALLERY ROOM - NIGHT 80
WIDE ANGLE - from left corner of window
Liz, Roger, Carolyn and T. ELOIT STOKES, a suave,
meticulous man, in his forties. Slightly apart from
them, Julia Hoffman sits reading an ancient ledger.
|
And that's when today's quote -
Page 27/Scene 80 - Roger (to Carolyn): 'So you saw Loomis! I daresay he is different. I finally managed to penetrate that thick skull. He's evidently so afraid that he's never even picked up his pay.'
- comes up.
And because this scene is also among the ones that sadly ended up on the cutting room floor, it appears that once again the audience was deprived of another of Roger's best lines (poor Roger - it's a complete delusion and an inflated belief in his own self-importance for him to think he had anything to do with the changes in Willie [snow_wink] [snow_cheesy]). But we'll never know Roger's lines were actually delivered as scripted because, not only was this scene cut, but its footage was subsequently destroyed...
-
Continuing Scene 80, first with yesterday's quote -
Page 27/Scene 80 - Liz: 'How is Daphne today, Julia?'
- coming up, and followed by today's quote -
Page 27/Scene 80 - Julia: 'She seems to be getting stronger. But she still doesn't remember anything.'
- coming up.
And we'll never know if that exchange actually played out as scripted because this scene is among the many that ended up on the cutting room floor and whose footage was subsequently destroyed. And it's also unfortunate that in the film we never do get any update on Daphne's condition. I suppose DC presumed the audience would just think she recovered but never remembered what happened to her...
And something else I should definitely mention is that on the Fest's 1999 Movie Calendar yesterday's quote from Liz is actually attributed to Stokes. And considering the remarks he'll be making in tomorrow's quote, having Stokes originally inquire about Daphne makes quite a bit of sense. But tomorrow that will become much clearer...
-
Is this the final mention of the character in all of the scripts?
-
I believe so.
-
And wrapping up Scene 80 as it appears in DC's script:
And that's when today's quote -
Page 28/Scene 80 - Stokes: 'It's vital that she does. The police have no clues as to what killed Nancy Hodiak.'
- comes up, though it appears in the script like this:
STOKES
It's vital that she does. The
police have no clues as to whatever
killed Nancy Hodiak.
|
But we'll never really know how or if Stokes' line might have played in the film (though shouldn't "what" have been changed to "whatsoever"? ::) Especially for a character like Stokes who would definitely be speaking correctly) because, while this scene was shot, it's among the many that ended up on the cutting room floor...
However, even though this is the end of Scene 80 in DC's script, the scene is much longer in the novelization. And all of that will be coming up later...
-
Picking up the novel after Stokes' line, which appears as scripted, not as changed:
"And you think Daphne might provide the answer?"
Julia asked quietly.
Stokes cleared his throat. "Wouldn't you agree that
both women were attacked by the same monster?"
Roger spoke up in his arrogant way. "Certainly this
must be true. Aren't the marks on Daphne's throat identi-
cal to those on the throat of Nancy Hodiak?"
"I didn't examine Nancy Hodiak's throat, "Julia said carefully.
"But I expect they were similar."
Roger stood up with a gesture of dismissal. "Well, there
you are!"
Elizabeth looked concerned. "Must we talk of nothing
but the murder? I've heard enough about it."
Roger smiled at her sarcastically. "We're all aware of
your sensitivity, Elizabeth. But the fact is, some sort of
murderous monster is loose around here and we need to
think about it until this thing is captured or eliminated
and we're free to breathe safely again."
Carolyn said, "The police are following up the attacks."
T. Eliot Stokes looked skeptical. "The trouble with the
police," he said, "is that they lack imagination."
Dr. Hoffman gave him a sad smile. "Which is one thing
no one can say about you, Professor Stokes."
He looked pleased. "Well I do have a certain flair, a
kind of talent for solving mysteries."
Roger offered the professor a bleak look. "Then why
don't you go ahead and solve this one."
Stokes became flustered. "You misunderstood me,
Roger. I didn't say I could solve any mystery. I
stated that I had a flair for detecting facts that were
often overlooked by the police."
Roger glared at him. "I don't know what you mean by
that but I can tell you it spells nothing to me."
Julia smiled to herself and began reading again.
|
And as I said previously, some if not all of that additional material *may* have indeed been in some previous version of the script because a line of Liz' that does not appear in DC's script or even in the novelization -
(http://www.dsboards.com/moviesquoteimages/0131hoDS_0.jpg)
hoDS: Alternate Version of Scene #80 - Liz: 'Every time
there's someone at the door, I think something else has
happened.'
- does indeed appear on the Fest's 1999 Movie Calendar as the entry for January 31st (and it appeared in the original hoDS on that date), so at some point there was more to the scene than appears in DC's script and that version of the script is the one that was used by the Fest for the calendar because they make a point of stating that all the quotes on the calendar come directly from hoDS and NoDS scripts. And if what appears in the novelization really was also a part of a previous script, it's yet another example of some great Roger material not making it to the film - not to mention some material that was a wonderful set up for Stokes...
-
And now here's a chart with the available info regarding when Scenes 61 through 80 were scheduled to shoot on the original shooting schedule:
| | | | | | | |Day of | | | | |
| Scs. #s: | |Location: | |Pages: | |Description: | |Shoot: | |Date: | |Cast: |
| ====== | |=============== | |===== | |========== | |===== | |====== | |======== |
| 61 - 62 | |Int. Old House | |6/8 Pg. | |Maggie runs | | ??? | | ??? ??? | |MAGGIE |
| |Hallway (N) | | | |to Jeff | | | | | |JEFF |
| | | | | | | | | | | |Barnabas |
| | | | | | | | | | | |Double |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 63 | |Int. Julia's Room (N) | |6/8 Pg. | |Julia wonders | |8th | |Wed. 4/1 | |JULIA |
| | | | | |about the | | | | | |SHERIFF |
| | | | | |wound | | | | | |Daphne |
| | | | | | | | | | | |Nurse |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 64 - 65 | |Int. 2nd. Floor | |1 & | |Sheriff says | |8th | |Wed. 4/1 | |JULIA |
| |Landing (N) | |2/8 Pgs. | |Daphne's will | | | | | |ROGER |
| | | | | |live | | | | | |SHERIFF |
| | | | | | | | | | | |ELIZABETH |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 66 | |Int. 1st. Floor | |2/8 Pg. | |Sheriff says | |6th | |Mon. 3/30 | |ROGER |
| |Staircase (N) | | | |Daphne's | | | | | |SHERIFF |
| | | | | |lucky | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 67 | |Int. Card Room (N) | |2/8 Pg. | |Sheriff | |8th | |Wed. 4/1 | |MAGGIE |
| | | | | |questions | | | | | |JEFF |
| | | | | |Maggie | | | | | |CAROLYN |
| | | | | | | | | | | |SHERIFF |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 68 - 68D | |Int. Card Room (N) | |3 & | |Roger won't | |7th | |Tue. 3/31 | |MAGGIE |
| | | |3/8 Pgs. | |talk about | | | | | |JEFF |
| | | | | |David - Maggie | | | | | |CAROLYN |
| | | | | |quits | | | | | |ROGER |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 69 - 76 | |DROPPED | |4 & | |Nancy is | |NOT | |SHOT | | |
| | | |5/8 Pgs. | |killed | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 77 | |Ext. Inn (N) | |1/8 Pg. | |Police car | |21st | |Mon. 4/20 | |Seth |
| | | | | |drives up | | | | | |Police |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 78 - 79 | |Int. Dining Room | |2 & | |They see a | |21st | |Mon 4/20 | |BARNABAS |
| |- Inn (N) | |7/8 Pgs. | |stranger with | | | | | |CAROLYN |
| | | | | |Willie | | | | | |WILLIE |
| | | | | | | | | | | |TODD |
| | | | | | | | | | | |Seth |
| | | | | | | | | | | |extras |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 80 | |Int. Gallery (N) | |4/8 Pg. | |They discuss | |14th | |Thu. 4/9 | |JULIA |
| | | | | |Nancy's death | | | | | |CAROLYN |
| | | | | | | | | | | |STOKES |
| | | | | | | | | | | |ROGER |
| | | | | | | | | | | |ELIZABETH |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
As was the case before, we have no idea when the Old House scenes were shot at Lockwood-Mathews. Scenes 69 through 76 were dropped before shooting on the film began. And Scene 77 was ultimately never shot. And it's interesting that apparently Frid seems to have done Barnabas' hand himself in Scene 79 rather than them using a double - but that may be because Frid was already at the Three Bears Inn location to shoot upcoming Scene 194.
-
Before we can deal with tomorrow's upcoming scene in the slideshow, we need to deal with one other scene:
81 EXT: COLLINWOOD - NIGHT 81
LOW WIDE ANGLE
BARNABAS COLLINS enters the f.g. of the shot. He
stops. We cannot see his face. After a beat, he
walks toward the door. CAMERA TRUCK IN BACK OF HIM.
|
And the scene plays mostly as scripted -
(http://www.dsboards.com/hoDSquoteimages/0317hoDS_a.jpg)
- however, once Barnabas begins to move again, he doesn't walk toward the door because he actually walks off to the side -
(http://www.dsboards.com/hoDSquoteimages/0317hoDS_b.jpg)
- so the camera doesn't truck behind him because it's actually slowly zooming in closer to the house -
(http://www.dsboards.com/hoDSquoteimages/0317hoDS_c.jpg)
- and then begins to dissolve into the actual setting for -
(http://www.dsboards.com/hoDSquoteimages/0317hoDS_d.jpg)
- most of Scene 82.
-
Setting up today's scene:
82 INT: HALLWAY - NIGHT 82
Mrs. Johnson comes down the hallway. She hears the
doorbell, frowns. Who could this be? She continues
to the door. Barnabas stands there with his back to
camera. She opens the door.
|
And that's when today's quote -
Page 28/Scene 82 - Barnabas: 'Is Elizabeth Collins Stoddard in?'
- is scripted to come up.
However, quite a bit of that is not how things play in the film because the scene actually begins, not with Mrs. Johnson in the hallway, but with Barnabas' P.O.V. of the outside -
(http://www.dsboards.com/hoDSquoteimages/0318hoDS_a.jpg)
- of the main door - and neither we nor Mrs. Johnson hear the doorbell when -
(http://www.dsboards.com/hoDSquoteimages/0318hoDS_b.jpg)
- Barnabas pushes the button - and the first we see of Mrs. Johnson is when she exits from the hallway to -
(http://www.dsboards.com/hoDSquoteimages/0318hoDS_c.jpg)
- make her way to answer the door - and after she opens the door she actually asks an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0318hoDS_d.jpg)
"Yes?"
- before Barnabas actually inquires in voiceover if Liz is home.
-
MB, thanks for all those pages of material from the script that was cut, plus the long passage from the Ross book. I read that 47 or so years ago but have no memory at all of this scene and this answers another question I've wondered over the years--why was Professor Stokes over at the house that evening? Odd to see that Stokes fancied himself some sort of Miss Marple to the family. His words have a sadly ironic ring given how it all ended.
Best, G.
-
Odd to see that Stokes fancied himself some sort of Miss Marple to the family. His words have a sadly ironic ring given how it all ended.
Very ironic - which is why their loss in the film is such a shame. But even if the longer version of Scene 80 had survived to DC's script, DC probably would have cut most of it anyway because it was character rather than blood and gore oriented, so...
-
after she opens the door she actually asks an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0318hoDS_d.jpg)
"Yes?"
- before Barnabas actually inquires in voiceover if Liz is home.
I forgot to mention yesterday that that opening from Mrs. Johnson does actually appear in the original draft of the script as well as in the novelization. Another example of something being dropped somewhere along the way still making it into the films...
-
Wrapping up Scene 82, starting with yesterday's quote, Mrs. Johnson's only scripted reply to Barnabas -
Page 28/Scene 82 - Mrs. Johnson: 'Who shall I say is calling?'
- coming up, followed by today's quote -
Page 28/Scene 82 - Barnabas: 'I am Barnabas Collins. A cousin from England.'
- coming up, followed in the script by:
Mrs. Johnson stares at him, a little doubting, a little
perplexed. She nods for him to come in. He does.
She turns and leaves quickly. We will not see his
face until he is in the gallery.
|
End of scene, though not end of sequence.
And when it comes to what's different with the dialogue, the directions, and the descriptions, when Barnabas introduces himself, he drops the "I am" and simply says "Barnabas Collins. A cousin from England" - and to that Mrs. Johnson doesn't simply reply with a nod to come in because she actually replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0320hoDS_a.jpg)
"Won't you come in, please."
- and after Barnabas actually replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0320hoDS_b.jpg)
"Thank you."
- and then enters the house, looking up at a family (though actually Jay Gould) portrait on the wall of the foyer, Mrs. Johnson begins to move off but then she actually stops and tells him an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0320hoDS_c.jpg)
"Wait here a moment. I'll tell her you're here."
- before making her way to the hallway and disappearing as Barnabas watches her move off.
-
Before we get to the next scene in the slideshow, we need to deal with two other scenes in the script:
83 INT: DRAWING ROOM - NIGHT 83
Barnabas stands in the doorway, looking around the
room.
84 INT: ORGAN ROOM - NIGHT 84
Barnabas enters, crosses to the organ, remembering.
|
However, that's not entirely how things play in the film. For example, as Barnabas moves toward the organ room, he turns to look down the hallway that Mrs. Johnson just went down and he sees her -
(http://www.dsboards.com/hoDSquoteimages/0320hoDS_d.jpg)
- reach the stairs and begin to go up them - then Barnabas goes right into the organ room with no looking into the drawing room whatsoever, and given the way things are shot entirely from his P.O.V., it would certainly seem that there was no intent to ever check out the drawing room - and as his checking out of the room gets to the organ, he reaches out and -
(http://www.dsboards.com/hoDSquoteimages/0320hoDS_e.jpg)
- presses one of the keys as the sound of the note seems to fill not only the organ room but the surrounding rooms as well.
And that's still not the end of the sequence...
-
Setting up the current scene:
85 INT: FOYER - NIGHT 85
Barnabas comes from the organ room. Roger enters the
shot, coming down the hall as camera tightens on him.
|
And that when today's quote -
Page 28/Scene 85 - Barnabas (OS): 'Good evening, I am --'
- comes up.
And when it comes to the dialogue, the descriptions and the directions, things play somewhat differently in the film because the scene actually begins with Roger being seen coming off the stairs and -
(http://www.dsboards.com/hoDSquoteimages/0321hoDS_a.jpg)
- into the hallway - and as the sound of the organ's note continues to be heard, a puzzled Roger makes his way -
(http://www.dsboards.com/hoDSquoteimages/0321hoDS_b.jpg)
- down the hallway - but his expression begins to change as he first lays eyes on Barnabas -
(http://www.dsboards.com/hoDSquoteimages/0321hoDS_c.jpg)
- and particularly, as can be seen in today's capture, as the still mostly off screen and completely out of focus Barnabas actually greets him with -
(http://www.dsboards.com/91quoteimages/0321ds91_0.jpg)
- "Good evening", dropping the "I am --"
-
I was just checking out the hoDS novel to see how it compares to the last two posts I've made and it's extremely close to what's in the script with the exception of one oddity:
Left alone, the man moved across the entrance hall and
stood gazing into it, as if taking stock of all its furnishings.
After standing there a moment he turned and went to
the door to the organ room. He entered it and crossed to
the organ, touching it as if it were familiar and had
memories for him. He lingered in the organ room no
longer than he had in the drawing room but moved on in
the silence of the old house like a restless phantom.
|
Hmmm - we know that Scene 83 exists in the script, but how could Barnabas in the novel have "lingered in the organ room no longer than he had in the drawing room" when there's no mention in the novel whatsoever of him going anywhere near the drawing room prior to going to the organ room? [hdscrt]
Actually, if it wasn't for that reference to the drawing room being in the novel, things in the novel would play close to the way they do in the film. But because the novel was written without access to the film, there's no way Dan "Marilyn" Ross would have known that, so the omission of any prior mention of the drawing room comes off as somewhat of a goof more than anything else. But then, what would any sort of DS material be without at least one goof? [b003]
-
And wrapping up Scene 85:
And that when today's quote -
Page 29/Scene 85 - Roger: 'There's no need for you to say. If I weren't seeing you with my own eyes, I wouldn't believe it.'
- comes up.
And when it comes to the dialogue, what Roger actually says is "If I didn't see you with my own eyes, I wouldn't believe it", with the "There's no need for you to say" part dropped.
And though there aren't any descriptions or directions for this part of the scene, what actually happens is that after Roger delivers his line with Barnabas still out of focus, as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/0322ds91_0.jpg)
- the camera racks focus and it's Roger who goes out of focus while Barnabas' hand/ring and his cane (which we never saw at the Collinsport Inn*) comes into focus -
(http://www.dsboards.com/hoDSquoteimages/0322hoDS_a.jpg)
(* The scene at the Collinsport Inn was shot almost three weeks after Scene 85, so more than likely they had no idea that the cane wouldn't be seen as scripted in Scene 79 for whatever reason. Who knows, maybe they just forgot to bring it...)
-
Something that's interesting when it comes to the novelization's version of Scene 85 is that Roger's lines are: "There's no need for you to say. If I weren't seeing you with my own eyes, I wouldn't believe it. Come with me and meet the others!" Other than that, the dialogue plays just like DC's script. However, before Barnabas delivers yesterday's quote starting to introduce himself, the novelization says he bows - but as we know that's neither in DC's script nor the actual film.
But what I think is ever more interesting than any of the above is that the Fest's 1999 Movie Calendar includes four lines from Scene 85 that are nowhere to be seen in any versions of the scene that I have:
For February 2nd:
(http://www.dsboards.com/moviesquoteimages/0202hoDS_0.jpg)
hoDS: Alternate Version of Scene #85 - Roger: 'But
there...there is no Barnabas Collins.'
For February 3rd:
(http://www.dsboards.com/moviesquoteimages/0203hoDS_0.jpg)
hoDS: Alternate Version of Scene #85 - Barnabas: 'I shall
have to tell my friends in England that.'
For February 4th:
(http://www.dsboards.com/moviesquoteimages/0203hoDS_0.jpg)
hoDS: Alternate Version of Scene #85 - Roger: 'For a
moment I thought the portrait had come to life.'
and for February 5th:
(http://www.dsboards.com/moviesquoteimages/0205hoDS_0.jpg)
hoDS: Alternate Version of Scene #85 - Barnabas: 'I feel as
if I've come home.'
Though when I put together the original hoDS slideshow, I replaced the calendar's quote for February 4th with today's quote in the current slideshow...
-
Setting up today's scene:
86 INT: GALLERY - NIGHT 86
The portrait of Barnabas Collins hanging on the wall.
The CAMERA PULLS BACK. Barnabas is standing near the
portrait. We see his face for the first time. Liz
is staring at him, then at the portrait.
|
And that when today's first quote -
Page 29/Scene 86 - Liz: 'The likeness is extraordinary, isn't it, Carolyn?'
- is scripted to come up, followed by today's second quote -
Page 29/Scene 86 - Carolyn: 'Yes --'
- as it's scripted to come up.
And when it comes to the dialogue, in the film things don't play quite like they're scripted, but we'll get into that after tomorrow's quote comes up in the slideshow...
And when it comes to the descriptions and the directions, I'm a bit surprised that DC didn't cut from the shot of Barnabas' hand/ring and cane in Scene 85 to a similar opening shot of Barnabas' hand/ring and cane in the portrait in Scene 86 and then pull back. It seems like what he would do. But he opens the scene with just a simple shot of the portrait -
(http://www.dsboards.com/hoDSquoteimages/0323hoDS_a.jpg)
- and we do not see Liz at all, not staring at Barnabas or staring at the portrait.
-
And we continue Scene 86 with today's quote -
Page 29/Scene 86 - Liz: 'It's as if the portrait had come to life.'
- as it was scripted to come up.
But as I alluded to yesterday, in the film things at this point don't play quite like they're scripted. And that's because this is how things appear in this section of DC's script:
LIZ
The likeness is extraordinary, (She X)
isn't it, Carolyn?
I'VE NEVER SEEN ANYTHING LIKE IT
The CAMERA PULLS FURTHER BACK to include them all.
CAROLYN
Yes --
LIZ
It's as if the portrait had come
to life. - IS'N it Carolyn
Carolyn ------------------>
Yes
|
So, the way all that actually plays in the film is that off screen Liz says "The likeness is extraordinary" while the audience see Barnabas standing by the portrait -
(http://www.dsboards.com/hoDSquoteimages/0323hoDS_b.jpg)
- and then she adds the part that been added to the script -
(http://www.dsboards.com/hoDSquoteimages/0323hoDS_c.jpg)
"I've never seen anything like it"
- while Barnabas simply stands there, but the camera does not pull back to reveal everyone else in the room as Liz actually does cross to him -
(http://www.dsboards.com/hoDSquoteimages/0324hoDS_a.jpg)
- to deliver today's quote before Liz turns to Carolyn -
(http://www.dsboards.com/91quoteimages/0324ds91_0.jpg)
- to actually add the "isn't is Carolyn?" and then for Carolyn -
(http://www.dsboards.com/91quoteimages/0323ds91_1.jpg)
- to actually answer "Yes --" - and as the captures clearly show, unlike as scripted, the only people we've seen in the room so far are Barnabas, Liz, Carolyn, and an out of focus Julia.
And as I mentioned back when we were running the original hoDS slideshow, I can understand why Roger's "For a moment I thought the portrait had come to life" was dropped from Scene 85. If it and Liz' line from Scene 86 had stayed in, it would have made Liz' comment repetitious. Of course, it's more likely possible that it was deliberately dropped from Scene 85 and that scene was reworked so that a slight variation of the line could be given to Liz in Scene 86. Having Liz say "It's as if the portrait had come to life" while the audience sees a shot of Barnabas standing beside the portrait is much more effective than having Roger refer to a portrait that the audience hasn't even seen yet.
-
Continuing with Scene 86, beginning with yesterday's quote -
Page 29/Scene 86 - Roger: 'We had no idea we still had family in England --'
- coming up - and as we could see in yesterday's capture -
(http://www.dsboards.com/91quoteimages/0325ds91_0.jpg)
- it's the first we see of Stokes and Roger in the scene and there is still no shot that has shown everyone at once - and that quote is followed by today's quote -
Page 29/Scene 86 - Barnabas: 'I am the last, I'm afraid.'
- coming up.
And when it comes to the dialogue, with the exception of Roger adding a "that", as in "We had no idea that we...", both quotes are delivered in the film exactly as scripted. However, once again the 1999 Movie Calendar contains bits of dialogue from this scene that don't appear in any version of the scene that I have. But we'll get into all that once we conclude with this scene...
-
Continuing with Scene 86, beginning with Monday's quote -
Page 29/Scene 86 - Roger: 'We knew of course that the original Barnabas Collins had gone to England in 1797 --'
- coming up, followed by Tuesday's quote -
Page 29/Scene 86 - Julia: 'I've been trying to find out what he did there. But there's no further mention of him in any of the family journals --'
- coming up, followed by yesterday's quote -
Page 29/Scene 86 - Liz: 'Doctor Hoffman has taken a sabbatical from her practice to write a history of our family.'
- coming up, followed by today's quote -
Page 29/Scene 86 - Barnabas: 'I shall be glad to help you, Doctor. If I can.'
- coming up.
And when it comes to any differences in all that dialogue, the first change is that in his line Roger says "went" instead of "had gone" - and the second is that Julia adds a "been", as in "there's been no" - and the third is that Liz changes "a sabbatical from her practice to write a" to "a sabbatical from her practice and has been writing a". But believe it or not, Barnabas' lines are delivered in the film exactly as scripted. However, after Barnabas offers his help, Julia replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0330hoDS_a.jpg)
"Thank you."
-
I just love Roger's disdainful chin-tilt in today's photograph.
Gosh, I miss Big Lou...
Thanks again for everything, MB.
G.
-
Continuing with Scene 86:
And that's when Friday's quote -
Page 30/Scene 86 - Stokes: 'Do you come from London, Mr. Collins?'
- comes up, followed in the script by:
BARNABAS
Yes, Professor Stokes.
|
And that's when yesterday's first quote -
Page 30/Scene 86 - Stokes: 'A city I remember with great relish. Where did you live there?'
- comes up, followed by yesterday's second quote -
Page 30/Scene 86 - Barnabas: 'Cadogan Square.'
- coming up, followed by today's first quote -
Page 30/Scene 86 - Stokes: 'Do you by any chance know the Bromwells? They're at 33, I believe.'
- coming up, followed by today's second quote -
Page 30/Scene 86 - Barnabas: 'Excuse me.'
- coming up.
And when it comes to the dialogue there are a few minor changes. When Barnabas answers Stokes' question about London, he actually says "Yes, I do, Professor Stokes" - and in Stokes next line he changes "did" to "do", as in "do you live" - and then after Barnabas replies with Cadogan Square, Stokes actually asks "Do you, by chance, know the Bromwells? They're at number 33, I believe."
-
I just love Roger's disdainful chin-tilt in today's photograph.
As in this look:
(http://www.dsboards.com/91quoteimages/0401ds91_0.jpg)
-
Picking up Scene 86 where we left off with Barnabas excusing himself to avoid Prof. Stokes' question about possibly knowing the Bromwells:
He crosses to a portrait on the other side of the room.
|
And that's when Monday's first quote -
Page 30/Scene 86 - Barnabas: 'Naomi Collins, isn't it?'
- comes up, followed by Monday's second quote -
Page 30/Scene 86 - Liz: 'Yes. The first Barnabas's mother.'
- coming up, followed in the script by:
From his pocket, he takes a small velvet box.
|
And that's when yesterday's quote -
Page 30/Scene 86 - Barnabas: 'I so hoped there would be someone like you to wear this.'
- comes up, followed in the script by:
He hands it to Liz.
LIZ
Why, thank you.
CAROLYN
What is it, Mother?
|
And that's when today's first quote -
Page 30/Scene 86 - Liz: 'Look at this. Isn't it beautiful?'
- comes up, followed in the script by:
She holds up the necklace. It is the same one that Naomi
wears in the portrait.
|
And that's when today's second quote -
Page 30/Scene 86 - Carolyn: 'I've never seen anything like it.'
- comes up, followed in the script by:
However, when it comes to the dialogue, the directions and the descriptions, things don't quite play like that in the film. Barnabas does indeed cross to the portrait and ask if it's Naomi - but then in an unscripted move Liz crosses over to him as she answers exactly as scripted - though as we've seen all along, Barnabas has been holding a box -
(http://www.dsboards.com/91quoteimages/0403ds91_0.jpg)
(http://www.dsboards.com/91quoteimages/0403ds91_1.jpg)
- and one quite obviously too large to have ever fit in his pocket - and while the only change to Barnabas' next line is that he changes "there would" to "there'd", he doesn't actually hand the box to Liz because, as we can see in yesterday's capture -
(http://www.dsboards.com/91quoteimages/0404ds91_0.jpg)
- he simply begins to open it in front of her - and Liz' "Why, thank you" is dropped because her first reaction upon seeing the necklace inside the box is actually a reworked and startled "Oh, it's beautiful" as she reaches -
(http://www.dsboards.com/91quoteimages/0405ds91_0.jpg)
- to take it out of the box - and then Carolyn begins to come over behind Liz as -
(http://www.dsboards.com/hoDSquoteimages/0405hoDS_a.jpg)
- she actually asks "Mother, what is it?" - and then Liz holds up the necklace as she says an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0405hoDS_b.jpg)
"Roger, Carolyn, look."
- (though in the script DC has a note that the camera would pan up to a close-up of Liz - but that doesn't happen) and Julia gets up and moves closer for a better look as she let's out an equally astonished -
(http://www.dsboards.com/hoDSquoteimages/0405hoDS_c.jpg)
"Oh!"
- and then Carolyn actually replies with -
(http://www.dsboards.com/91quoteimages/0405ds91_1.jpg)
"Oh, it's exquisite."
- rather than the scripted "I've never seen anything like it" - (though in the script DC has a note that the camera would rack focus to Carolyn - but that doesn't happen either).
-
Things get interesting in DC's script when it comes to the contuation of Scene 86 because there are two different versions in his script.
The beginning of the first version:
86. (CONT'D)
ROGER PAN TO
The missing jewels! Naomi's necklace. C U Rog
Barnabas, where did you find them? PAN SLOW
There's a legend that they were lost PAST JULIA
during the Revolutionary war. TO C U
PROFILE BARN
LIZ
It's absolutely magnificent.
|
And the beginning of the second version:
Rev. 4/14 Rve. 4/14/70
86 CONTD
ROGER PAN TO
The missing jewels. Naomi's necklace. CU Rog
Barnabas, where did you find them. SLOW PAN
PAST JULIA
LIZ TO CU
It's absolutely magnificent. PROFILE BARN
ROGER
Legend had it they were buried in
the revolutionary War and never
found again.
|
And so far as what was chosen for quotes, this is today's first quote:
Page 31/Scene 86 - Roger: 'The missing jewels! Naomi's necklace. Barnabas, where did you find them?'
And this is today's second quote:
Page 31/Scene 86 - Roger: 'There's a legend that they were lost during the Revolutionary War.'
However, when it comes to how the dialogue plays in the film, things are almost entirely identical to the 4/14 revision because the only difference is that Liz says "They're" rather than "It's".
And when it comes to DC's notation, that's exactly how the camera moves.
And incidentally, Scene 86 was originally scheduled to shoot on the 14th day of filming, which was April 9th - but considering that the revision wasn't done until the 14th, obviously that wasn't the case - well, at least not for the entire scene...
-
And DC's script contains two versions of today's quote.
The first version:
BARNABAS
History is so much more romantic
than reality. Naomi gave them to
my ancestor when he left Collinwood.
For she knew she would never see him
again. They were his share of the
estate.
|
And the second version:
BARNABAS
Legend is so much more romantic than
reality. Naomi gave them to my ancestor when
he left Collinwood. They were his share of the
estate.
|
The latter version is the one used as today's quote:
Page 31(A)/Scene 86 - Barnabas: 'Legend is so much more romantic than reality. Naomi gave them to my ancestor when he left Collinwood. They were his share of the estate.'
And when it comes to how the dialogue plays in the film, things are more similar to the second version with Barnabas actually saying "Well, legend is always more romantic than the truth. Actually, Naomi gave them to my ancestor when he left Collinwood. They were his share of the estate."
-
And DC's script also contains two versions of today's quote.
The first version:
CAROLYN
Mother, you must put them on.
She fastens them and comes around to look
|
And the second version:
CAROLYN
Mother, you must wear them .
|
The former version is the one used as today's quote:
Page 31/Scene 86 - Carolyn: 'Mother, you must put them on.'
However, when it comes to how the dialogue plays in the film, things are delivered exactly as the latter is scripted. Though the descriptions and directions play out as DC's notation in the first version reads - although Carolyn fastens the necklace as Roger delivers tomorrow's quote and then comes around to look as Liz delivers an upcoming unquoted line. But we'll get into that as each incident comes up...
-
Once again DC's script contains two versions of what we're about to discuss.
The first version:
ROGER
We understood the Old House belonged
to him too.
BARNABAS
I'm most anxious to see it. The
first Barnabas wrote a fascinating
description of it ... years later.
He loved that house so ...
ROGER
We must take you through it.
|
And the second version:
ROGER
I remember reading she gave him the
Old House too.
BARNABAS
I'm so looking forward to seeing it.
The first Barnabas wrote a fascinating
memoir about his life there. I've always
dreamed of living in that house.
LIZ
It's in shocking condition we've not kept
it up I'm afraid.
ROGER
With work it could be made livable again.
Why don't we take you though it?
|
The second version is used for Sunday's quote -
Page 31(A)/Scene 86 - Roger: 'I remember reading she gave him the Old House too.'
- and Monday's quote -
Page 31(A)/Scene 86 - Barnabas: 'I'm so looking forward to seeing it. The first Barnabas wrote a fascinating memoir about his life there. I've always dreamed of living in that house.'
- as well as in the film.
And when it comes to the dialogue, Roger actually says "I remember she gave him the Old House too", dropping "reading" - and the only thing different about Barnabas' lines is that the first sentence is delivered as "I look forward to seeing it" - and Liz actually says "I'm afraid it's in shocking condition. We haven't kept it up" (and it's rather odd how whoever typed Liz' line in the 4/14 revision was apparently ignorant of how to use any sort of punctuation other than a period) - and while Roger says his next line as scripted, he prefaces it by saying "Oh", but he says the second line of that section exactly as scripted.
And as I alluded to last time around, after Liz turns her back to her, Carolyn doesn't begin to fasten the necklace around Liz neck until Roger brings up -
(http://www.dsboards.com/91quoteimages/0409ds91_0.jpg)
- how Naomi gave the "first" Barnabas the Old House - and Carolyn doesn't come around to check the necklace until Liz admits -
(http://www.dsboards.com/hoDSquoteimages/0410hoDS_a.jpg)
- that they haven't kept up the Old House.
-
Before we move on we have a bit of old business to deal with. After Barnabas simply excuses himself to Stokes and as Barn walks over to Naomi's portrait, DC has a notation that "as they exit shot go in to CU of Stokes", which would seem quite logical given Barnabas blew him off without answering. However, that close-up doesn't take place. As Barnabas hesitates to answer all we see is Carolyn looking over at Barn with curiosity -
(http://www.dsboards.com/hoDSquoteimages/0402hoDS_a.jpg)
- and Julia out of focus in the background - and then after Barn moves out of the shot, we see Liz watching him -
(http://www.dsboards.com/hoDSquoteimages/0402hoDS_b.jpg)
-and Stokes and Roger out of focus in the background. But when we do see a close-up of Stokes is in what we've just covered because a close-up of him comes up as Liz says they haven't kept up the Old House -
(http://www.dsboards.com/hoDSquoteimages/0410hoDS_b.jpg)
- and Roger begins to say that with work it could be livable, and given how uninvolved Stokes is in that discussion yet he was quite involved in the previous one, it seems an odd place to decide to place/move a close-up. But then, quite possibly only DC knew why the change was made - and we know how odd it often is to fathom DC's thinking
-
Wrapping up both version of Scene 86 in DC's script.
The first version:
Liz has placed the necklace around her neck. Barnabas moves to
Liz, kisses her hand.
Carolyn notices the ring on Barnabas' finger, reacts to it.
BARNABAS (O. S)
You are as beautiful as she.
|
And the second version:
Carolyn has fastened the necklace around Liz's neck. She looks down at it.
LIZ
I don't really know how I can accept this.
BARNABAS
(As he takes her hand Carolyn sees the ring)
You must. You are as beautiful as she.
|
The second version is used for yesterday's first quote -
Page 31(A)/Scene 86 - Liz: 'I really don't know how I can accept this.'
- and yesterday's second quote -
Page 31(A)/Scene 86 - Barnabas: (As he takes her hand Carolyn sees the ring) 'You must. You are as beautiful as she.'
- as well as in the film.
And when it comes to the dialogue, Liz actually says "I'm afraid I can't possibly accept this" - and Barnabas second response is actually "You're as beautiful as she."
And the shot of Carolyn noticing the ring doesn't come until Barnabas says -
(http://www.dsboards.com/hoDSquoteimages/0411hoDS_a.jpg)
- "You're as beautiful as she", after which the camera racks focus to -
(http://www.dsboards.com/hoDSquoteimages/0411hoDS_b.jpg)
- the ring.
-
And something else that I alluded to earlier is that once again the Fest's 1999 Movie Calendar includes bits of dialogue for a scene that aren't in any other version of the scene that I have. Here are the bits on the calendar for Scene 86:
For February 7th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #86 - Julia: 'Barnabas
Collins? I was just reading about him in 1797.'
For February 9th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #86 - Barnabas: 'You were
reading of my ancestor, Madam.'
For February 10th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #86 - Barnabas: 'How
much you look like that portrait. Naomi Collins, isn't it?'
For February 15th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #86 - Roger: 'A costume
party for Cousin Barnabas. Eighteenth Century. How
perfect. He can meet everyone.'
Though when I put together the original hoDS slideshow, I replaced the calendar's quotes for February 7th, 91th and 10th with their comparable quotes from the 4/14 revision. The only one that has no compliment is Roger's quote about the costume party. But as I said in the original hoDS slideshow topic:
It's funny how the whole idea of holding a costume party to welcome Barnabas into the family was cut and the first we even hear of the party is when Carolyn goes to see Barnabas at the Old House and simply comments to Willie that Barn can't be late for the party because he's the guest of honor. But then, actually establishing the party beforehand was apparently something DC felt was completely unnecessary - just like he felt that establishing the fact that Maggie was quitting was unnecessary. After all, was anyone bitten, beaten and/or impaled in those scenes? Did blood flow, spurt and/or pool? No - so snip snip snip. ::)
-
Another thing that we need to get into before moving on to Scene 87 is the novelization's version of Scene 86 because in many ways it's so different:
He stood there, a distinguished figure. He had a handsome
if somewhat shallow face with deep-set keen
eyes. A lock of brown hair fell carelessly on his broad
forehead, giving him a Byronic appearance. There was
an air of worldliness about him and an air of sadness, too.
Roger led him to the portrait of the original Barnabas
Collins hanging on the wall. Barnabas stood back survey-
ing it with a thin smile. The portrait might have been a
mirror likeness of him. Elizabeth gasped as she studied
him and then the portrait.
"The likeness is extraordinary, isn't it, Carolyn?" she
said.
"Carolyn spoke for everyone when she said, "Yes--"
Elizabeth made a small frustrated gesture and inter-
rupted her daughter. "It's as if the portrait had come to
life."
Roger was in an interested and amiable mood, which
was rare for him. He said, "We had no idea that we still might
have family in England."
Barnabas smiled gravely. "I am the last, I'm afraid."
"We knew of course that the original Barnabas Collins
had gone to England in 1797."
"I'm glad that he is still remembered," Barnabas said.
"Remarkable person," Roger observed. "Not entirely
the conventional type if all the records are correct. But
that is aside from the point. We surely do know about
him."
Doctor Julia Hoffman came forward to explain to the new-
comer, "I've been doing some research on the Collins
family. I'm writing a history of their arrival here until
the present day."
Barnabas lifted his eyebrows, "An awesome task, I
fear."
"I'm enjoying it," she assured him. "But there are
certain personalities and facts that have become blurred
over the centuries."
"That almost always happens, doesn't it," Barnabas in-
quired pleasantly. He had a charming manner.
"Shouldn't have here," Roger interposed. "We've been
careful to preserve all the family records. I've turned most
of it over to Dr. Hoffman."
Julia Hoffman said, "There are still blanks to be filled.
As an example, I've been trying to find out what Barnabas
did in England. There's no further mention of him in any
of the family journals."
Elizabeth said, "We're so delighted that Dr. Hoffman has
taken a sabbatical from her practice to write a history of
our family."
"I'm amazed your interested," Barnabas said to
Julia.
"I am, I assure you," she answered.
"I shall be glad to help you, Doctor," Barnabas said.
"If I can."
"I'm sure you can," Julia said.
Now Stokes came over to Barnabas. "Do you come
from London, Mr. Collins?"
"Yes," said Barnabas, turning his deep-set hypnotic
eyes on the pompous man. "It is Professor Stokes, isn't
it?"
"Yes, indeed," the stout man said heartily. "I have
been a world traveler and I am very fond of Europe.
But I think London is perhaps my favorite city."
"Indeed?" Barnabas said politely. "I'm sure that I
agree. But then I suppose I'm prejudiced, since it's my
home. But I also like Paris and Rome."
"Ah, yes," Professor Stokes said, "each of the great
cities has a special character. I always say that, don't
you?"
"Of course," Barnabas said, seeming amused by the
professor.
"I spent some years at Cambridge," Professor Stokes
went on. "Would you know any of the present faculty
there?"
"I'm afraid not," Barnabas Collins replied in his
pleasant voice. "I'm an Oxford man."
"Indeed. Too bad!" Professor Stokes was let down.
"I don't recall having any friends at Oxford. Well, no
doubt there are some mutual acquaintances in other
circles if we can just hit on them."
Barnabas asked, "Have you ever visited Venice?"
"Indeed I have," Stokes said. "Fantastic place. I take
it to be a favorite of yours?"
"I have been there many times," Barnabas said.
"To return to London," the professor said, "since it is
a city I remember with relish. Where did you live
there?"
"Cadogan Square," Barnabas said quietly.
"Well, there you are," Professor Stokes said. "I knew
we'd hit on something. Now do you by any chance know
the Bromwells? They're at 33, I believe."
"Excuse me," Barnabas abruptly and crossed to
the other side of the room to examine a portrait, leaving
a startled Professor Stokes behind him.
Elizabeth said, "That portrait interests you?" She had
moved over to Barnabas.
He was staring at it intently, a strangely tender look
on his handsome melancholy face. "Naomi Collins, isn't
it?" he asked, his eyes not leaving the portrait.
"Yes."
Barnabas glanced at her. "Of course you know who
she was."
Elizabeth smiled. "Yes. She was the mother of the
first Barnabas.
"That is right," Barnabas said quietly. And at the
same time he reached in a pocket and extracted a small
velvet box. "You may find this interesting."
"Oh?" Elizabeth raised her eyebrows.
"I so hoped there would be someone like you to wear
this," he said, as he handed her the box.
"Why thank you," Elizabeth said, touched and pleased.
She opened the box and then registered astonishment.
She turned to the others and said, "Roger! Carolyn!"
"What is it, Mother?" Carolyn asked as she joined
them.
Elizabeth held up a necklace. It was identical to the
one shown in the portrait of Barnabas' mother. "Recog-
nize it?"
"It's Naomi's necklace," Carolyn gasped.
"Incredible!" Roger added his surprised comment as
he came close to study the necklace.
Barnabas gave him a sharp look. "Why do you say
incredible, Cousin Roger?"
Roger's stern face registered embarrassment. "Of course
I couldn't expect you to know. It has to do with our
branch of the family."
"Indeed?" Barnabas said.
"That necklace is part of the missing jewels," Roger
told him.
Barnabas was listening closely. "Oh?"
Roger went on, "There's a legend that they were buried
during the Revolutionary War, and never found again."
"History is so much more romantic than reality," Barn-
abas commented with a smile flickering on his lips.
Elizabeth asked, "Why do you say that?"
"Naomi gave them to my ancestor when he left Collin-
wood," Barnabas said.
"They vanished," Roger acknowledged, "and there
seemed to be no explanation of where they'd gone. I
assume that is how the rumor that they were buried to
save them during the Revolutionary War came to be."
"No doubt," Barnabas said. "As I have heard it, the
mother of my ancestor knew she would never see him
again. She gave them to him as his share of the estate."
Roger nodded. "That could well be."
Elizabeth turned to her brother. "That wasn't the only
legacy, Roger. Remember?"
Roger looked blank for a moment and then appeared
to understand. He turned to Barnabas. "Of course. We
believe that the old house belonged to the original Barnabas
as well."
"I'm most anxious to see it," Barnabas said with a
haunted expression on his noble, sallow face.
"It's still here," Elizabeth assured him.
"Not in the best of repair, but it has stood up to the
years remarkably well," Roger said.
"The first Barnabas wrote a fascinating description of
it years later," the man in the caped coat said. "I feel that
I know it. Just from reading his account."
"How interesting," Elizabeth said with a smile. "He
must have been very fond of the old place."
Barnabas set his deep-set eyes on the attractive
matron. "He was,"
"And how sad he was never able to return to it
again," she went on.
"True," Barnabas said. "I'm positive that he planned
to come back one day."
Elizabeth looked sad. "But he died before he could
fulfill his dream."
"You might say that," Barnabas agreed quietly. "Other-
wise he would have come. He loved the house so."
"We must take you through it," Roger said.
"I'd appreciate that," Barnabas said.
Carolyn moved over to her mother and said, "Let me
fasten the necklace around your neck."
Elizabeth smiled. "If you like."
Roger looked on approvingly as Carolyn did this. When
it was in place, he said, "Looks lovely, Elizabeth."
"Lovely," Barnabas echoed in a warm voice. And he
went to Elizabeth and with his burning eye fixed on hers
lifted her hand and kissed it. At that same moment Carolyn
noticed the ring on Barnabas' finger and remembered
the hand with the same ring she'd seen at the Collinsport
Hotel restaurant. The hand which had belonged to Willie
Loomis' mysterious companion.
As Barnabas said to her mother, "You are as beautiful
as she," Carolyn stared at him with a mixture of baffle-
ment and alarm showing on her pretty young face. She
found it hard to believe that this charming stranger, a
cousin of the family, had been in the company of Willie.
And yet she was positive the ring she saw now was iden-
tical with the one she'd glimpsed at the hotel restaurant.
Could it be merely a coincidence? if so, it was surely a
very strange one!
As conversation continued comfortably in the gallery
of the mansion, Carolyn tried to convince herself that
she'd made a mistake. perhaps the two rings had merely
looked alike. Yet these rings were of such a strange de-
sign it appeared dubious that this could be the solution of
the mystery. Barnabas came to her and chatted in such a
friendly manner that she forgot her suspicions about him.
"It is pleasant to meet a new generation of our family,"
he told Carolyn as they stood apart from the others.
Carolyn smiled. "And I find it fascinating to discover I
have a British cousin."
Barnabas noble face had an expression of warm good
will. "I trust we'll get to know each other better," he
said.
"We must," she agreed. "You'll be our house guest,
of course."
His brow furrowed. "I'm not positive of that."
"My mother and Uncle Roger will be upset if you
don't," Carolyn told him.
"I don't question their hospitality," Barnabas said. "But
I dislike intruding."
"You won't be," Carolyn assured him.
He glanced over where Roger and Elizabeth were
standing with Professor Stokes and Dr. Julia Hoffman.
And he said, "I would like to take a look at the old
house."
"It's interesting," she agreed.
"Your uncle Roger mentioned giving me a tour of it,"
Barnabas said. "But apparently he's forgotten. Do you
suppose he'd show it to me tonight? Perhaps the request
sounds odd. But I am impatient to look at it."
Carolyn said, "He can take you there. It's not far
from here. Do you want me to mention it to him?"
"That would be kind of you, "Barnabas said with one
of his winning smiles.
So Carolyn left him studying some of the other ancient
portraits in the gallery while she crossed to her Uncle
Roger to remind him of his promise to Barnabas. She
had just about decided that she'd been wrong about the
ring. For a moment she'd been on the verge of asking
Barnabas whether he had been at the restaurant with
Willie Loomis. And then she'd felt it to be a stupid
question. Best to put the whole matter out of her mind.
She touched Roger's arm to get his attention. "Uncle
Roger," she said, "are you going to show Barnabas the
old house?"
Her uncle's stern face registered surprise. "At this
hour?"
She glanced over where Barnabas was standing before
the portrait of Naomi. "He's impatient to see it. He's
full of romantic notions about the place."
"Obviously," Roger said in a dry voice, "or he wouldn't
expect me to take him there tonight."
"Would it be so much bother?" Carolyn asked.
"Bother enough," Roger said. "Let him wait until
tomorrow."
Elizabeth came to join in the conversation. "Now just
what is this important discussion?" she wanted to know.
Roger gave her an annoyed look. "This fellow, Barna-
bas, expects me to take him over to see the old house now."
"Why not?" Elizabeth smiled. "He's been so charming
and don't forget the valuable gift he's given me. It
wouldn't put you out all that much. I'd say it would be
fun to visit it at this hour."
"There's no electricity," Roger reminded her.
"The old house looks its best by candlelight," Eliza-
beth said. She turned to Carolyn, "Tell Barnabas we'll
be glad to show him around tonight."
"I will," she said.
Roger continued to look annoyed at the idea. "I'll do
it," he said grudgingly. "But I regard it as a lot of non-
sense."
Elizabeth smiled at her brother. "You talk like that
about almost everything," she chided him.
Carolyn went back to join Barnabas. he was still
standing before the portrait of Naomi Collins, mother
to the original Barnabas. Carolyn came up beside him to
gaze at the portrait.
"She has a lovely face," Carolyn said. "I think she
must have been a very kind woman."
Barnabas continued to stare at the painting. "She was,"
he said with deep feeling. And then he turned to her and
explained, "At least that's what I've gathered from
the letters my ancestor left."
Carolyn nodded. "I have good news. Uncle Roger is
ready to take you to the old house whenever you like."
The burning deep-set eyes showed excitement. "I'd
like to go there at once."
|
If any of the extra parts were once part of a script, it's too bad some were dropped - especially the conversations between Barnabas and Carolyn. They certainly help to establish a better connection between Barnabas and Carolyn, which makes Carolyn's interest in him not feel so much out of left field as it might otherwise come across in the upcoming scenes in which she goes to the Old House, questions Willie about Barnabas, and pretty much flirts with Barnabas. They also help to soften Barnabas and draw the audience into his character. But alas, as we know, DC's main interest was not to develop character and character relationships...
It's also interesting how there's no mention in the novelization either about plans for the costume party...
-
So, the 1795 Barnabas was not entirely the conventional type? That wacky Roger!
-
And as a goodbye to Scene 86, my favorite behind the scenes still from the shooting of the scene:
(http://www.dsboards.com/hoDSquoteimages/Necklace.jpg)
-
So, the 1795 Barnabas was not entirely the conventional type? That wacky Roger!
It's too bad they didn't elaborate. [easter_wink]
-
When it comes to the 4/14 revision in DC's script, things go so far as -
- when it comes to Scene 87. But thankfully the full version of the latest version of Scene 87 before it was dropped is also included in his script. So finally setting up the current scene in the slideshow:
87. INT. FOYER - OLD HOUSE - NIGHT
Barnabas, Liz and Roger enter. Roger carries a flashlight.
|
And that's when yesterday's quote -
Page 31/Scene 87 - Liz: 'We've never had electricity put in.'
- comes up, followed by the first part of today's quote -
Page 31/Scene 87 - Roger: 'It's a strange house. When I was a boy, I used to play here. But' (MORE)
- followed in the script by:
And that's when the second part of today's quote -
Page 32/Scene 87 - Roger: (Contd) 'I always felt as if I were trespassing. As if it belonged to someone else.'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing how things might have actually played out because in DC's infinite wisdom and despite him having added shot setups for it in his script, the scene was never shot.
-
I didn't think to do this earlier, but I just checked the original shooting schedule for the film and Scene 87 had been scheduled to shoot on the 18th day of production, which would have been Wednesday, April 15th. So the decision to drop Scene 87 completely wasn't made until some point after the original shooting schedule was put together and before or on April 14th...
-
Continuing with Scene 87, picking up with yesterday's first quote -
Page 32/Scene 87 - Liz: 'You see the moldings and the fireplaces are original --'
- coming up, followed by yesterday's second quote -
Page 32/Scene 87 - Roger: 'Everything is. That's the trouble.'
- coming up, followed in the script by:
Barnabas is staring around the room, lost in his own
thoughts, barely listening to them.
|
And that's when today's first quote -
Page 32/Scene 87 - Barnabas: 'I should like to live here.'
- comes up, followed by today's second quote -
Page 32/Scene 87 - Liz: 'I'm afraid you'd be most uncomfortable.'
- coming up.
And when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing how things might have actually played out because the scene was never shot...
-
Wrapping up Scene 87, beginning with yesterday's quote -
Page 32/Scene 87 - Barnabas: 'No, I'm serious. I'd like to restore it as it was then --'
- coming up, followed by today's first quote -
Page 32/Scene 87 - Roger: 'That would cost a fortune.'
- coming up, followed by today's second quote -
Page 32/Scene 87 - Barnabas: 'It would be worth it.'
- coming up, followed in the script by:
They both look at him.
LIZ
Well, you're certainly more than
welcome to it.
DISSOLVE TO:
|
And when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing how things might have actually played out because the scene was never shot. Though DC did make a note that before and/or as Barnabas explains that he's serious, he would cross to the stairs and go up some...
And coming up later on I'll be sharing the novelization of Scene 87 because there's a bit more to the scene in the novel than there is in DC's script...
-
The novelization's version of Scene 87:
Roger opened the door for the others and stood by
as they entered. Then he followed them inside. The air
in the hallway had a stale, damp smell which made it
apparent that the building had long been deserted.
Elizabeth said, "We've never had electricity put
in."
Roger let the beam of the flashlight wander to expose
the decay that had set in the ancient structure. "It's a
strange house," he said. "When I was a boy, I used to
play here. But I always felt as if I were trespassing. As
if it belonged to someone else."
They moved into the drawing room with its atmosphere
of phantoms. The dust covers on various items of the
furniture stood out in the semi-darkness like squat ghosts.
Everywhere there were dust, cobwebs and the dank smell
of age and corruption. Roger shone the flashlight on the
fireplace.
"We probably should have torn it down long ago," he
said.
"I'm glad you didn't," Barnabas answered quietly.
Elizabeth spoke up, "You see the molding and the
fireplaces are original."
"Everything is,"Roger grumbled. "That's the trouble."
Barnabas was standing in the near darkness staring
around the room. He seemed lost in his thoughts, barely
listening to them. Elizabeth decided he was probably
comparing the stories he'd been told about the house
with the rather drab reality.
At last he turned to them and said, "I should like to
live here."
Roger's mouth dropped open. "Surely you're joking?"
"Not at all."
"I'm afraid you'd be most uncomfortable," Elizabeth
said. "We have forty rooms at Collinwood. There is no
need for you to stay here."
"Exactly," Roger said. "We want you to be our house
guest."
Barnabas shook his head. "No, I'm serious. I have an
idea about this place. I'd like to restore it as it was then."
"That would cost a fortune," Roger protested.
"It would be worth it," Barnabas said quietly.
There was a moments silence as they both stared at
him. Rather than seeming appalled at the wretched con-
dition of the house, he appeared to accept it as a chal-
lenge. There could be no doubt that he must be both
very wealthy and extremely fond of the ancient place.
At last Elizabeth said, "Well, you're certainly more
than welcome to it."
|
-
"I'm afraid you'd be most uncomfortable," Elizabeth
said. "We have forty rooms at Collinwood. There is no
need for you to stay here."
Perhaps as many as forty if you include bathrooms, alcoves, basement rooms, etc. ...
-
"I'm afraid you'd be most uncomfortable," Elizabeth
said. "We have forty rooms at Collinwood. There is no
need for you to stay here."
Perhaps as many as forty if you include bathrooms, alcoves, basement rooms, etc. ...
No kidding!! When it comes to hoDS, one definitely has to summon up a large dose of suspension of disbelief to believe Lyndhurst is the size that Collinwood is supposed to be. That was always one of my biggest problems because there's no way anyone could seriously believe Lyndhurst has any of Collinwood's closed off sections!! [nodno] It barely has enough bedrooms for the people who live there!! The idea that Barnabas could be a house guest is hysterical! Yeah, maybe if he bunks in with Roger!! [lghy] (And even if Barnabas was human, could you even imagine that?! [ghost_nowink]) But eventually I got over that and just came to accept Lyndhurst as some sort of alternate Collinwood completely unrelated to the daytime show's version.
-
We need to deal with two scenes before we catch up to the slideshow:
88 EXT: OLD HOUSE - DUSK 88
Carolyn enters the shot and approaches the house as
the sun is setting. She knocks on the door. There
is no answer.
89 INT: HALLWAY - OLD HOUSE - DUSK 89
Carolyn enters the house.
CAROLYN
Barnabas!
Carolyn
Barnabas!
|
End of scenes as scripted. However, in the film things don't quite play entirely as scripted. When it comes to Scene 88, while there is a dissolve (though from Scene 86) to -
(http://www.dsboards.com/hoDSquoteimages/0418hoDS_a.jpg)
- Scene 88, there's no appearance of Carolyn whatsoever in the scene because it simply consists of a shot of the exterior of -
(http://www.dsboards.com/hoDSquoteimages/0418hoDS_b.jpg)
- the Old House with the trees slightly moving in the breeze. And when it comes to Scene 89, while Carolyn does indeed let herself into the Old House and call out to Barnabas, she quickly moves to the doorway to the drawing room where she calls out an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0418hoDS_c.jpg)
"Anybody home?"
- (rather than the added call out to Barnabas again), and then after she turns -
(http://www.dsboards.com/hoDSquoteimages/0418hoDS_d.jpg)
- to look behind her, she quickly moves toward the stairs (and I love how the camera shifts to a shot of Carolyn's reflection in the glass covering a painting -
(http://www.dsboards.com/hoDSquoteimages/0418hoDS_e.jpg)
- as she comes up the stairs), and once she's reached the second floor, she moves to the doorway to a room and calls out an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0418hoDS_f.jpg)
"Hello?"
- and after standing looking puzzled -
(http://www.dsboards.com/hoDSquoteimages/0418hoDS_g.jpg)
- for a few seconds, Carolyn moves on and after coming across a door and opening it, she calls out an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0418hoDS_h.jpg)
"Barnabas?"
-
The idea of Collinwood having 40 rooms occurs throughout the Ross novels. It even comes up in dialogue a few times. Presumably, he just carried that notion into the HODS adaptation.
-
[pointing-up] Most likely. And it also might be likely that he had no idea that Lyndhurst had been picked to be Collinwood. And I know nowhere in the film do they say there are 40 (or more) rooms or closed off sections. But as fans of the daytime show, that's our ingrained expectation because it's so much a part of the type of house that Collinwood is on the daytime show, so it's an unspoken expectation with the films that eventually fans must let go of to fully accept Lyndhurst as Collinwood. Though thankfully the original movies are the only versions of DS in which dozens of rooms and closed off sections aren't expressly a part of Collinwood's history...
-
I forgot to mention that when it comes to the novelization of Scenes 88 and 89, the novel follows the script practically letter for letter.
Though, of course, when it comes to comparing the novelization to the film, it's a very different story because the film deviates quite a bit from the script...
-
Setting up the current scene:
90 INT: BASEMENT - OLD HOUSE - DUSK 90
Willie appears at the foot of the stairs. He reacts.
|
And that's when today's quote -
Page 33/Scene 90 - Carolyn (OS): 'Anybody home?'
- comes up.
And as far as differences with the dialogue, the directions, and the descriptions go, Willie is actually at a far end of the basement when he reacts to hearing Carolyn, and as she calls out today's quote, as can be seen in today's capture, Willie -
(http://www.dsboards.com/91quoteimages/0418ds91_0.jpg)
- frantically runs through some cobwebs before stopping as Carolyn calls out an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0418hoDS_i.jpg)
"Barnabas?"
- from off screen and then he runs to the stairs.
-
Wrapping up Scene 90 and setting up the current scene:
Willie races up the stairs.
91 INT: OLD HOUSE HALL, TOP OF STAIRS - DUSK 91
Willie enters. Carolyn looks at him. The scene will
be played next to glass doors leading to basement.
CAROLYN
Oh, Willie, I'd heard this is
the job you'd gotten.
|
And that's when today's quote -
Page 33/Scene 91 - Willie: 'Yeh, well, Mr. Barnabas -- he ain't here --'
- comes up.
And as far as differences with the dialogue, the directions, and the descriptions go, the beginning of Scene 90 isn't played against the doors at all because it isn't until Scene 90 that Willie actually runs up the stairs, and as he's running up is when Carolyn says his name, dropping the "Oh" -
(http://www.dsboards.com/hoDSquoteimages/0419hoDS_a.jpg)
- and it's when Willie just about reaches the top of the stairs that Carolyn mentions -
(http://www.dsboards.com/hoDSquoteimages/0419hoDS_b.jpg)
- that she'd heard he'd gotten this job - and as can be seen in today'd capture -
(http://www.dsboards.com/91quoteimages/0419ds91_0.jpg)
- the camera continues to shoot from below as Willie and Carolyn are still standing in the open doors to the basement when Willie actually says "Yeah" (as opposed to "Yeh") and pauses before actually adding "If it's Barnabas you want, he ain't here."
-
Wrapping up Scene 91, beginning with Carolyn's response to Willie having told her that Barnabas isn't there:
CAROLYN
Oh? The guest of honor should be
getting ready for the party.
WILLIE
That's what you should be doing,
ain't it? takes her in other room
Carolyn looks beyond Willie to the basement doors.
She senses his nervousness.
|
And that's when today's first quote -
Page 33/Scene 91 - Carolyn: 'What's down there, Willie?'
- comes up, followed by today's second quote -
Page 33/Scene 91 - Willie: 'Nothing -- just the basement --'
- coming up.
And as far as differences with the dialogue, the directions, and the descriptions go, I'll get into all that later...
-
When it comes to the dialogue in the second half of Scene 91, the only thing that's different is that Willie actually actually replies at the end with "Nothing, nothing -- just the basement --"
And when it comes to the directions and descriptions, one thing that's different with the second half of Scene 91, as is obvious from Thursday's second capture, Willie does take Carolyn by the arm to move her -
(http://www.dsboards.com/91quoteimages/0420ds91_1.jpg)
- away from the doorway to the basement, but he doesn't actually take her to another room as DC's note indicates - plus Willie does so at the end of Scene 91 not after he tells her she should be getting ready for the party - and something that's very interesting about that is that DC's note for taking Carolyn to another room was originally written in his script after Willie tells Carolyn it's only the basement, but it was erased and moved up, yet it ends up taking place at the end of the scene anyway. And as is obvious from Thursday's first capture, Carolyn doesn't look beyond Willie to the basement doors because she and Willie are still standing in the open doors -
(http://www.dsboards.com/91quoteimages/0420ds91_0.jpg)
- when she actually turns to look down the stairs and ask what's downstairs. Also, DC has a notation in his script that there would be a close-up of Carolyn when she asks what's downstairs and that would pan to a close-up of Willie when he tells her it's only the basement - but obviously no such close-ups appear in the film.
-
Finally setting up Scene 92 (none of which appears in the slideshow):
92 INT: BASEMENT - OLD HOUSE - DUSK 92
Carolyn and Willie are silhouetted in the glass of the
doors at the top of the stairs. Their conversation can
be heard over the following action. CAMERA SLOWLY
TRUCKS BACK until a closed coffin is framed in f.g.
WILLIE (OS)
I was just cleaning up.
CAROLYN (OS)
Tell me, Willie, how did you meet
Barnabas?
92 CONTD CONTD 92
The coffin slowly starts to open. Barnabas rises
from the coffin.
WILLIE (OS)
Oh, I just kind of ran into him
at the Blue Whale.
|
And as far as differences with the dialogue, the directions, and the descriptions go, I'll get into all that later...
-
When it comes to the dialogue for Scene 92, after telling her in Scene 91 that it's just the basement, Willie actually tells Carolyn "I was, you know, just, like, cleaning up" - and then once Carolyn, exactly as scripted, asks Willie how he met Barnabas, Willie's first response is an unscripted "Huh?", which he follows with "Just sort of ran into him at the Blue Whale." But the really interesting thing is none of that dialogue takes place off screen. As Willie is telling Carolyn he was sort of cleaning, he begins -
(http://www.dsboards.com/hoDSquoteimages/0420hoDS_a.jpg)
- to close one side of the door - then as Carolyn asks how he met Barnabas, Willie stands -
(http://www.dsboards.com/hoDSquoteimages/0420hoDS_b.jpg)
- at the other side of the door - then as he replies with a -
(http://www.dsboards.com/hoDSquoteimages/0420hoDS_c.jpg)
"Huh?"
- he's just about closed the other side - and as he answers that he met Barnabas at the Blue Whale, we finally see both their silhouettes -
(http://www.dsboards.com/hoDSquoteimages/0420hoDS_d.jpg)
- centered in the pains of glass on each side of the door.
So, when it comes to the directions and descriptions, it isn't until after Carolyn and Willie complete all their dialogue that the camera slowly trucks back to show the closed coffin -
(http://www.dsboards.com/hoDSquoteimages/0420hoDS_e.jpg)
- framed in the foreground - and then we hear creaking as Barnabas' hand -
(http://www.dsboards.com/hoDSquoteimages/0420hoDS_f.jpg)
- comes from inside the coffin and his arm reaches up to -
(http://www.dsboards.com/hoDSquoteimages/0420hoDS_g.jpg)
- completely open the lid - though at no point does Barnabas rise from the coffin (most probably because it isn't Frid in the coffin - but we'll get into that once we see what the shooting schedule might say...).
-
Finally setting up the first part and the beginning of the second part of Scene 93 (as it's scripted and amended in DC's script, and none of which appears in the slideshow):
93 INT: HALLWAY - OLD HOUSE - NIGHT 93
Willie moves toward the drawing room. Carolyn follows.
CAROLYN
And he offered you a job? You
Break and Barnabas at the Blue Whale.
speech That's a scene I just can't quite
here_________picture.| Why didn't Barnabas come
pick up to Collinwood as soon as he came
in Drawing to town, Willie?
room
WILLIE
I don't know, Carolyn.
CAROLYN
What do you know, Willie?
|
And as far as differences with the dialogue, the directions, and the descriptions go, I'll get into all that later...
-
When it comes to what's different in the portions of Scene 93 that we've covered so far, at the outset of the scene, Willie and Carolyn are actually seen up on the second floor against the doorway to the basement, not down in the hallway/foyer moving in any way toward the drawing room. In fact, Carolyn never says "And he offered you a job?" because the scene actually begins with Carolyn chuckling -
(http://www.dsboards.com/hoDSquoteimages/0421hoDS_a.jpg)
- and then she actually marvels "You and Barnabas having dinner together?" - and after Willie responds with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0421hoDS_b.jpg)
"Yeah"
- nodding his head and looking somewhat insulted, Carolyn chuckles again -
(http://www.dsboards.com/hoDSquoteimages/0421hoDS_c.jpg)
- prompting Willie to say an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0421hoDS_d.jpg)
"Come on, Carolyn. Come with me."
- and then walk off, leaving Carolyn to actually observe that -
(http://www.dsboards.com/hoDSquoteimages/0421hoDS_e.jpg)
- "That's a scene I still can't quite believe", and then to shake her head and smile -
(http://www.dsboards.com/hoDSquoteimages/0421hoDS_f.jpg)
- to herself before also walking off.
Then things immediately switch to the drawing room where we see Willie examining -
(http://www.dsboards.com/hoDSquoteimages/0421hoDS_g.jpg)
- some of his tools while off screen Carolyn asks exactly as written why Barnabas didn't come to Collinwood as soon as he came to town - but Willie actually feigns -
(http://www.dsboards.com/hoDSquoteimages/0421hoDS_h.jpg)
- "Well, I don't know, Carolyn", prompting Carolyn to pointedly ask Willie, as scripted, -
(http://www.dsboards.com/hoDSquoteimages/0421hoDS_i.jpg)
- what he does know?
-
Wrapping up Scene 93, beginning with Friday's quote -
Page 34/Scene 93 - Barnabas (OS): 'Carolyn! What an unexpected pleasure!'
- coming up, followed in the script by:
CLOSE-UP BARNABAS
At the drawing room door. He crosses to Carolyn.
|
And that's when Saturday's quote -
Page 34/Scene 93 - Barnabas: 'Have you come to see how we're doing? I don't think you need to work any longer, Willie.'
- comes up, followed in the script by:
Willie exits up the stairs.
|
End of scene - though certainly not end of sequence. And as usual things don't quite play exactly that way in the film.
When it comes to the dialogue, it's actually all delivered as written. However, beyond the differences in the directions and descriptions, there's actually a lot more to them. To start off, Carolyn immediately turns her head to -
(http://www.dsboards.com/hoDSquoteimages/0421hoDS_j.jpg)
- the doorway upon hearing her name called from off screen - but then as can be seen in Friday's capture for the slideshow, Barnabas comes on screen, though not in close-up, as he moves toward Carolyn -
(http://www.dsboards.com/91quoteimages/0421ds91_0.jpg)
- while telling her what an unexpected pleasure it is to see her, after which there's a close-up of Willie looking as if he's -
(http://www.dsboards.com/hoDSquoteimages/0421hoDS_k.jpg)
- quite concerned for Carolyn's safety - and then while Barnabas asks Carolyn if she's come to see how they're doing -
(http://www.dsboards.com/hoDSquoteimages/0422hoDS_a.jpg)
- he looks at her, but after she nods in the affirmative, Barn, as can be seen in Saturday's capture for the slideshow, turns toward Willie to -
(http://www.dsboards.com/91quoteimages/0422ds91_0.jpg)
- tell him he needn't work any longer - and after Carolyn also -
(http://www.dsboards.com/hoDSquoteimages/0422hoDS_b.jpg)
- turns toward Willie, he nods and picks up a paint can, and he still has -
(http://www.dsboards.com/hoDSquoteimages/0422hoDS_c.jpg)
- the expression of concern on his face. And that's the actual end of Scene 93. Willie does not leave the room quite yet...
-
Setting up the first part of Scene 94 (as it's scripted and notated in DC's script), beginning with Sunday's quote -
Page 34/Scene 94 - Carolyn: 'I'm fascinated, Barnabas. We all are. The restoration is really coming along.'
- coming up, followed in the script by:
BARNABAS
Thank you, Carolyn.
CAROLYN
Tell me ... did the original
Barnabas live in that house on
Cadogan Square?
94 CONTD CONTD 94
BARNABAS x to look at Willie's work
No, he settled in Coventry. The
family place was destroyed during
the war.
|
And that's when Monday's first quote -
Page 35/Scene 94 - Carolyn: 'I shall be in London this summer. You must give me people to look up --'
- comes up, followed by Monday's second quote -
Page 35/Scene 94 - Barnabas: 'I'll be delighted to --'
- coming up.
And as far as any difference in the dialogue goes, the only thing is that Carolyn adds the word "some" to Monday's quote, as in "...give me some people to look up." And I have to say I've always been fascinated by Barnabas replying to that by saying he'd be delighted to. Just what was Frid's subtext when he said that as Barnabas because quite obviously Barnabas couldn't give Carolyn anyone to look up. Did he justify it by presuming Barnabas played along for the moment but later he would simply come up with some excuse? Or did he think Barnabas was as fascinated with Carolyn as she obviously was with him and he already had in the back of his mind that he'd take care of her too overt interest in him by attacking her?[spoiler]Though if he reasoned Barnabas' hope was the latter, that will certainly backfire on him!![/spoiler]
And when it comes to the direction in this part of the scene, after Carolyn mentions to Barnabas that she's fascinated, we see Willie stop to turn back -
(http://www.dsboards.com/hoDSquoteimages/0423hoDS_a.jpg)
- to look at them while Carolyn continues to explain that they're all fascinated, and it isn't until after she says that that Willie actually leaves the room (we don't see him go up the stairs) - and as Carolyn remarks that the restoration is really coming along, as can be seen in Sunday's capture for the slideshow, she turns -
(http://www.dsboards.com/91quoteimages/0423ds91_0.jpg)
- to look around the room - and even though DC has a note in his script that Carolyn would begin to "walk around" as she remarks on her fascination with the restoration, it isn't until after she completes all of Sunday's quote that she starts to do so - and it's quite interesting how there's a shot of Barnabas keeping a careful eye -
(http://www.dsboards.com/hoDSquoteimages/0423hoDS_b.jpg)
- on her (as if he's possibly already aware that Carolyn's fascination extends not just to the house but to him as well and she could prove to be a problem (there's that question of subtext again)) while she asks if the "original" Barnabas lived on Cadogan Square as she examines a piece -
(http://www.dsboards.com/hoDSquoteimages/0423hoDS_c.jpg)
- and unlike DC's notation in the script, Barnabas does not cross to examine Willie's work because he's off screen as he explains how the "original" Barnabas lived in Coventry and that house was destroyed (such a convenient detail to throw in!! [wink2]) as on camera Carolyn moves to begin to examine a chair -
(http://www.dsboards.com/hoDSquoteimages/0423hoDS_d.jpg)
- more closely before she turns back to look at Barnabas, as depicted in Monday's first capture for the slideshow, while she mentions that -
(http://www.dsboards.com/91quoteimages/0424ds91_0.jpg)
-she'll be in England and asks for some people to look up (and DC's script has a note for that that Carolyn would cross to Barnabas when she asks that, but she actually remains at the chair) - and Barnabas, as depicted in Monday's second capture for the slideshow, not betraying a thing, simply walks over to another chair in the room -
(http://www.dsboards.com/91quoteimages/0424ds91_1.jpg)
(http://www.dsboards.com/91quoteimages/0424ds91_1a.jpg)
- and says he'd be delighted.
-
Wrapping up Scene 94 (as it's scripted and notated in DC's script), beginning with Tuesday's first quote -
Page 35/Scene 94 - Carolyn: 'You know, we're all very surprised that you decided to settle in Collinsport.'
- coming up, followed by Tuesday's second quote -
Page 35/Scene 94 - Barnabas: 'When you know me better, you won't be.'
- coming up, followed in the script by:
CAROLYN
I'm beginning to wonder, cousin
Barnabas, if I should ever know you
at all?
He doesn't understand -- or pretends not to. She sees
his confusion.
|
And that's when today's quote -
Page 35/Scene 94 - Carolyn: 'There is so much about you that I'm dying to know.'
End of scene and sequence.
And as far as any difference in the dialogue goes, it's delivered basically as scripted with only a couple words here or there different, but nothing really worth getting into. Though Barnabas delivers his response off screen after Carolyn mentions everyone one is surprised that he's decided to settle in Collinsport.
And when it comes to the direction in this part of the scene, as can be seen in Tuesday's captures, Carolyn moves to the other side of the room as she -
(http://www.dsboards.com/91quoteimages/0425ds91_0.jpg)
- brings up how everyone is surprised that he's decided to settle in Collinsport, and she walks back to where she was when the drawing room portion of the scene began -
(http://www.dsboards.com/91quoteimages/0425ds91_1.jpg)
- as Barnabas replies off screen that they won't be once they get to know him better, which prompts Carolyn to -
(http://www.dsboards.com/hoDSquoteimages/0425hoDS_a.jpg)
- chuckle and then to remark that she wonders -
(http://www.dsboards.com/hoDSquoteimages/0425hoDS_b.jpg)
- if she shall ever know him - and considering that Barnabas is still mostly off screen, we don't see any indication whatsoever that he doesn't understand or simply pretends not to or that she sees his confusion because what actually happens is that she doesn't turn toward him until, as we can see in today's capture, she's -
(http://www.dsboards.com/91quoteimages/0426ds91_0.jpg)
- telling Barnabas that there's so much that she's dying to know about him - and his reaction to that is anything but -
(http://www.dsboards.com/hoDSquoteimages/0426hoDS_a.jpg)
- that of a man who doesn't understand.
-
Such a delight to see Mrs. Pettibone in her finery today.
Thanks, MB!
G.
-
Poor Carolyn... she asked way too many questions and made the mistake of using the expression "dying to get to know you" around her mysterious new cousin...
It's a shame Nancy wasn't more effectively used in either film. She did have a little more of substance to do in NoDS which is another reason why it's the better film...
G.
-
I was surprised to notice for the first time (after how many times I've seen the film?) how much the layout of the drawing room matches the one in the original series--at least in one of the screencaps here. But the room might very well be so different overall that the one angle is a fluke. Perhaps it's time for yet another viewing! [easter_smiley]
-
[pointing-up] In Scene 94 the layout does resemble the drawing room of the original series, right down to the wingback chair in front of the fireplace. It's too bad we never see Barnabas sitting in it...
-
Poor Carolyn... she asked way too many questions and made the mistake of using the expression "dying to get to know you" around her mysterious new cousin...
[lghy]
It's a shame Nancy wasn't more effectively used in either film. She did have a little more of substance to do in NoDS which is another reason why it's the better film...
She did get some excellent reviews for hoDS for her vampire scenes. One might have expected that in the horror press, but even Variety was impressed. Though I think she's just as effective in scenes like the ones we've just featured...
As for NoDS, I love her work in that, but I'm always disappointed that so much of her part either ended up on the cutting room floor or wasn't even shot. I do still hold out some slim hope that one day we might see Darren's restoration - though even with that we won't see Scene 87 (the discussion about the two Angelique portraits) because the footage from that remains lost and possibly destroyed...
-
Before we can set up the current scene in the slideshow we need to deal with Scene 95:
95 INT: COLLINWOOD - CAROLYN'S BEDROOM - NIGHT 95
TIGHT on ballgown laid out for the party that night.
CAMERA PULLS BACK. Carolyn comes from her bathroom.
She wears a robe. She hears a SOUND OUTSIDE HER
WINDOW. She looks toward the window, sees a bat.
She GASPS. The bat disappears. She turns back to
the dress. She sees Barnabas standing there. His
gaze is so hypnotic that suddenly she finds she cannot
speak.
INTERCUT - THEIR EYES
BARNABAS
He bares his fangs, bends to bite her neck.
|
Obviously the scene doesn't appear in the slideshow because there is no dialogue.
And when it comes to any differences with the the directions and descriptions, there are several because the scene doesn't begin with a tight shot of Carolyn's dress laid out on her bed, nor do we see Carolyn actually come from her bathroom (see a bathroom with the original cast - NEVER!) because the scene begins with Carolyn coming from -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_a.jpg)
- near her window and walking over to her bed to examine the dress -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_b.jpg)
- and smooth it out - but when she hears a noise that sounds like the latch on one of the windows (not the sound of a bat), she turns to see the silhouette of a figure -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_c.jpg)
- (not a bat, nor does she gasp, nor does the nonexistant bat disappear) in her window - and she screams and moves to try -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_d.jpg)
- to get away, but she soon stops in her tracks without making another sound -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_e.jpg)
- and when the figure emerges from the shadows, it turns out to be Barnabas -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_f.jpg)
- who then moves closer to Carolyn and stares -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_g.jpg)
- at her, and she back at -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_h.jpg)
- him as the intercutting of eyes in the script goes back and forth until Barnabas does indeed bare his fangs but doesn't so much bend to bite her as swoops to bite her as she seemingly falls back onto the bed.
And the interesting things about the attack is that some people seem to love the way it's shot, while others think it's far too honky. I guess I come down somewhere in the middle because I sort of like it but I can see why others may not. Though I've often wondered what Frid thought of it because it was different from the way they mostly insisted Barnabas attack his victims on the daytime show - and as we all know, Frid hated how they made Barnabas do it there. But here's an animated gif of the sequence [spoiler](http://www.dsboards.com/hoDSquoteimages/Bite_Car.gif)
For people with slower connections, the first time though will likely take a while to download because the file is 10.2MB (118 frames) - but all the better to watch the GIF load frame by frame. [easter_smiley][/spoiler]so you can judge for yourself. [easter_wink]
-
Dealing with today's scene in it's entirety as it appears in the script:
96 INT: FOYER - NIGHT 96
The CLOCK IS STRIKING NINE O'CLOCK. The foyer is lit
with candles. Mrs. Johnson, dressed in eighteenth
century costume, has just let in MRS. PETTIBONE, an
aged lady who looks quite at home in her costume.
Roger, dressed as JOSHUA COLLINS, is smiling down at
her. During the following dialogue and Roger's ad-
libbing, Roger will lead Mrs. Pettibone to the main
body of the party which has overflowed from the
drawing room into the organ room into the card room.
|
And that when today's quote -
Page 36/Scene 96 - Mrs. Pettibone: 'Believe me, Roger, only a party at Collinwood would have made me leave my house tonight. All those dreadful attacks.'
- comes up.
End of scene as scripted - though certainly not the end of the sequence.
And when it comes to the adlibbing and the differences in the directions and descriptions in this scene in the film, there's a lot more than the script indicates. So much so that it's getting too late for me to get into all of it tonight, so it'll wait until tomorrow...
-
That's a very cool gif, MB. Fabulous work!
This scene was shot in such a cinematic, fluid way, and the music used counterpointed what was happening beautifully.
G.
-
Such a delight to see Mrs. Pettibone in her finery today.
And a much better capture -
(http://www.dsboards.com/91quoteimages/0427ds91_0.jpg)
- this time around than last -
(http://www.dsboards.com/moviesquoteimages/0221hoDS_0.jpg)
At least this time she has her eyes open. [easter_wink]
-
Well, it'a lot later than the "tomorrow" I referred to, but I've finally gotten back to explain the differences between the scripted version of Scene 96 and they way it plays in the film.
One thing that's different from the very outset is that the clock isn't striking nine o'clock in the film, or any other time, nor is a clock even seen. Mrs. Johnson actually appears coming down the corridor -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_i.jpg)
- before we ever see her anywhere near Mrs. Pettibone, and then as guests mill about she crosses the foyer to Mrs. Pettibone, where she gives an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_j.jpg)
"Ah, Mrs. Pettibone."
- greeting, to which Mrs. Pettibone responds with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_k.jpg)
"Oh. Good evening. How are you?"
- to which Mrs. Johnson replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_l.jpg)
"Very well."
And is anyone surprised that Jeff gets worked into things? He approaches Roger, shakes his hand and delivers an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_m.jpg)
"Good evening, Mr. Collins. Has Maggie comes down yet?"
- to which Roger responds with and unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_n.jpg)
"No, I haven't seen her yet."
- and Jeff replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_o.jpg)
"Okay. Thank you."
- as he moves into the party. And then Roger turns his attention to Mrs. Pettibone as he greets her with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_p.jpg)
"Good evening, Mrs. Pettibone. How nice to see you."
- before Mrs. Pettibone delivers her scripted lines, although she actually delivers them as "Believe me, Roger, only a party at Collinwood would have gotten me out of my house tonight. All those dreadful attacks" - but Roger reassures her with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_q.jpg)
"Oh, there's nothing to them, I'm sure."
- (Hello! Did he not see Daphne?!) and brings Mrs. Pettibone over to Liz with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_r.jpg)
"You remember Elizabeth."
- and Mrs. Pettibone says and unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_s.jpg)
"Hello."
- to which Liz greets her with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_t.jpg)
"Good evening, Mrs. Pettibone."
- and Mrs. Pettibone responds with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_u.jpg)
"How are you?"
- and then Roger moves on with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0427hoDS_v.jpg)
"Excuse me."
- as the scene begins to dissolve into the next one in the film, though not to the next one in the script, as we'll soon see. But other than what we've just covered, there's no other adlibbing. [easter_cheesy] Scene 96 surely has to be the most adlibbed scene in the entire film! What's actually a surprise is that DC didn't have Jeff and Todd adlibbing too!! [easter_grin]
-
Somehow I doubt if any of those extras is Chip Coffey!
-
He has a couple more chances...
-
Four scenes left on the cutting room floor:
97 Roger leaves her and exits into the hallway at the 97
bottom of the stairs. THE CAMERA WILL TRUCK ALONG
HALLWAY keeping pace with him. He arrives at the
foot of the stairs. Coming up the stairs from the
lower level of the house, David enters the shot.
|
And that when Friday's quote -
Page 36/Scene 97 - David: 'Look father! I'm Daniel Collins! These are really his clothes!'
- comes up, followed in the script by:
Roger puts his hands on David's shoulders, turns him
around, adlibbing approval. David's attention is
drawn to the second floor landing directly over his
head. He looks up. Pan up to see Carolyn
98 CAROLYN - DAVID'S POV 98
She is standing at railing on second floor landing.
99 DAVID - ROGER 99
DAVID
Carolyn, you look great!
Roger adlibs his agreement, exits.
100 CAROLYN - DAVID'S POV 100
CAMERA PANS HER SLOWLY DOWNSTAIRS until she reaches
the middle landing at the window. She stops momentarily.
|
And because all this ended up on the cutting room floor, when it comes to the dialogue, the descriptions, and the directions for these scenes, we have no way at this point of knowing how things might have actually played out in the film... Though we do know that Roger does excuse himself after bringing Mrs. Pettibone to Liz and he starts to move off...
-
And now here's a chart with the available info regarding when Scenes 81 through 100 were scheduled to shoot on the original shooting schedule:
| | | | | | | |Day of | | | | |
| Scs. #s: | |Location: | |Pages: | |Description: | |Shoot: | |Date: | |Cast: |
| ====== | |=============== | |===== | |========== | |===== | |====== | |======== |
| 81 | |Ext. Collinwood (N) | |1/8 Pg. | |Barnabas walks | |3rd | |Wed. 3/25 | |Barnabas |
| | | | | |to the door | | | | | |double |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 82 - 85 | |Int. Ground Floor (N) | |7/8 Pg. | |Barnabas | |8th | |Wed. 4/1 | |BARNABAS |
| | | | | |arrives | | | | | |ROGER |
| | | | | | | | | | | |Mrs. Johnson |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 86 | |Int. Gallery (N) | |3 Pgs. | |Barnabas meets | |14th | |Thu. 4/9 | |BARNABAS |
| | | | | |the family | | | | | |JULIA |
| | | | | | | | | | | |CAROLYN |
| | | | | | | | | | | |STOKES |
| | | | | | | | | | | |ROGER |
| | | | | | | | | | | |ELIZABETH |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 87 | |Int. Old House (N) | |1 Pg. | |They come to | |18th | |Wed. 4/15 | |BARNABAS |
| | | | | |the Old House | | | | | |ROGER |
| | | | | | | | | | | |ELIZABETH |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 88 | |Ext. Old House (N) | |1/8 Pg. | |Carolyn knocks | |18th | |Wed. 4/15 | |CAROLYN |
| | | | | |on the door | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 89 - 90 | |Int. Old House | |2/8 Pg. | |Carolyn looks | |19th | |Thu. 4/16 | |CAROLYN |
| |Hallway (N) | | | |for Barnabas | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 91 - 92 | |Int. Old House | |6/8 Pg. | |Barnabas | |19th | |Thu. 4/16 | |BARNABAS |
| |Cellar & | | | |rises | | | | | |CAROLYN |
| |Hallway (N) | | | | | | | | | |WILLIE |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 93 | |Int. Drawing Room | |1 & | |Carolyn | |18th | |Wed. 4/15 | |BARNABAS |
| |-Hallway (N) | |5/8 Pgs. | |questions | | | | | |CAROLYN |
| | | | | |Barnabas | | | | | |WILLIE |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 94* | |Int. Stairway & | |1/8 Pg. | |Carolyn | |15th | |Fri. 4/10 | |CAROLYN |
| |Hallway(Carolyn's) (N) | | | |returns | | | | | | |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 95 | |Int. Carolyn's Room (N) | |3/8 Pg. | |Barnabas bites | |15th | |Fri. 4/10 | |BARNABAS |
| | | | | |Carolyn | | | | | |CAROLYN |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 96 | |Int. Foyer into | |3/8 Pg. | |Mrs. Pettibone | |10th | |Fri. 4/3 | |JEFF |
| |Card Room (N) | | | |arrives at the | | | | | |ROGER |
| | | | | |costume party | | | | | |ELIZABETH |
| | | | | | | | | | | |Mrs. Johnson |
| | | | | | | | | | | |Mrs. Pettibone |
| | | | | | | | | | | |extras |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 97 | |Int. 1st. Floor | |3/8 Pg. | |David dressed | |10th | |Fri. 4/3 | |ROGER |
| |Hallway (N) | | | |for the party | | | | | |DAVID |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 98 -100 | |Int. 2nd. Floor Landing | |3/8 Pg. | |David spots | |10th | |Fri. 4/3 | |CAROLYN |
| |& !st. Floor Hall (N) | | | |Carolyn | | | | | |ROGER |
| | | | | | | | | | | |DAVID |
| | | | | | | | | | | |extras |
| _______ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
A few things to get into here. As we've already mentioned Scene 87 was (sadly) never shot. Apparently, according to this schedule, Frid was to be the one to open Barnabas' coffin for Scene 92. At the time this schedule was put together, it wasn't intended for Todd to be seen in the background for Scene 96. Originally, until DC added his notation to Scene 97 for the camera to pan to see her, Carolyn wouldn't have been seen until Scene 98. *But quite interestingly, although in DC's final script Scene 94 is a continuation from Scene 93, on this version of the shooting schedule it was an entirely different and separate scene altogether of Carolyn at Collinwood making her way to her room - and there's no hint in DC's script or the original draft of the script that such a scene was ever to take place.
-
I just checked and the Scene 94 on the shooting schedule that I shared is actually in the novelization. Though it's so short that if you blinked you might actually miss it on the page:
After her talk with Barnabas she hurried back to Collin-
wood, realizing she barely had time to dress for the
costume ball they were giving to honor Barnabas that
evening. She raced up the broad stairway and went to
her bedroom to quickly disrobe and take a shower. Barn-
abas still puzzled here, even though she continued to
find him charming.
|
And probably needless to say, in the novelization Scene 97 is barely anything like it is in the film. The only things that are different from the script is that Dan "Marilyn" Ross decided that Roger's adlibbing would be for him to say, "So pleased to have you with us, Mrs. Pettibone," to which she adlibs, "This is truly an occasion!" And then Roger adlibs, "We hope it will be," and follows that with, "Allow me to escort you in," before Mrs. Pettibone delivers her scripted dialogue. Also, before he moves on to the next scene, Roger shows Mrs. Pettibone "to a group of friends" rather than to Liz.
-
One more scene left on the cutting room floor:
101 DAVID - CAROLYN 101
David in f.g. at bottom of stairs. Carolyn starts down
steps toward him.
101 CONTD CONTD 101
|
And that when Saturday's first quote -
Page 37/Scene 101 - David: 'Carolyn -- what's wrong?'
- comes up, followed by Saturday's second quote -
Page 37/Scene 101 - Carolyn: 'Nothing -- nothing at all -- Is Barnabas here?'
- coming up, followed in the script by:
And because this ended up on the cutting room floor, when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing how things might have actually played out in the film...
-
I've heard that Denise Nickerson was on the set in costume during the party sequence. Have any pictures of that surfaced? Was she going to be some incarnation of Amy? Or simply an extra?
-
I've never seen any - but that doesn't necessarily mean she wasn't a part of the party. The party took two and a half days to shoot but so little of what was shot ended up in the film. And according to the shooting schedule, many of the scenes that were shot included extras, so who knows who might have turned up in some scenes if all that was shot had actually been used? One thing that is interesting is that Mrs. Johnson and Mrs. Pettibone were supposed to show up in at least one more sequence - but we'll get into that when I do the next chart for the shooting schedule...
The only person I've regularly spotted in the background is producer Robert Costello - but I've read that other production personell from the daytime show were also extras for the party...
-
Finally a scene that gets us back to the slideshow (though this one also has material that ended up on the cutting room floor):
102 INT: DRAWING ROOM - NIGHT 102
SERIES OF SHOTS
Carolyn stands near French doors. She is surveying
the crowded room, obviously looking for Barnabas.
The CAMERA FOLLOWS her gaze. She sees Stokes, dressed
as a working man, talking with Liz, who is dressed as
Naomi Collins and wearing the necklace Barnabas gave
her. FIVE OR SIX PEOPLE WE DON'T KNOW stand in the
center of the room. AD LIBBING about the attacks in
town. Carolyn sees Todd at the bar in the organ room,
talking with a LIVERIED BARMAN behind the bar. Jeff
Clark stands beside him. Suddenly the group in front
of Carolyn breaks up, and she sees Barnabas, dressed
as his portrait, talking to Julia, an eighteenth
century lady. They are entering the room from the
foyer. Carolyn smiles, is about to start for Barnabas
when Todd sees her, moves to her. He kisses her cheek.
Her eyes do not leave Barnabas.
|
And that when Sunday's quote -
Page 37/Scene 102 - Todd: 'You're beautiful.'
- comes up, followed in the script by:
BARNABAS - JULIA
JULIA
After an afternoon at the hospital,
I'm not sure I can make this tran-
sition.
BARNABAS
How is Miss Budd?
But before Julia can answer, Carolyn comes up to them,
dragging Todd behind her.
CAROLYN
Good evening, Julia.
(then with special look)
Cousin Barnabas ...
BARNABAS
Good evening, Carolyn.
102 CONTD CONTD 102
BARNABAS
as he looks O.S.
|
And I'll deal with what's different a bit later - though it's easy to see a lot that is not in the film - and stuff that's in the film but is not in the script...
-
The only part of the beginning of Scene 102 that survived its way into the film is Carolyn surveying the drawing room:
(http://www.dsboards.com/hoDSquoteimages/0430hoDS_a.jpg)
Quite unfortunately we don't see hide nor hair of the five or six people standing in the center of the room and ad libbing about the attacks in town. And it's interesting that we were to see Carolyn spot Todd at the bar in the organ room as he talks to a liveried barman and Jeff was to be standing beside him because we do see something very similar in the background of Scene 101. Who knows if DC staged them there in Scene 101 because he had no intention of us seeing the group ad libbing about the attacks? After all, any extras that speak get paid.
After we see Carolyn, things immediately transition to Barnabas and Julia entering the drawing room and Barnabas complimenting Julia by offering an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0430hoDS_b.jpg)
"I'm sure your under-clothes are charming under that
costume!"
- oh, wait, wrong film (though I do think Barn might have looked better in a bustier and fishnets) - no, Barnabas actually says an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0430hoDS_b.jpg)
"Your dress is charming. You look lovely."
- to which Julia replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0430hoDS_c.jpg)
"Thank you."
- and then she continues off screen with her scripted lines about making the transition after spending the afternoon at the hospital while on screen we see Todd and Carolyn interact. However, the sequence between Carolyn and Todd is changed from the script because his "You're beautiful" line is completely dropped in favor of Todd simply kissing -
(http://www.dsboards.com/hoDSquoteimages/0430hoDS_d.jpg)
- Carolyn's forehead - Carolyn angrily pulling her shoulder away -
(http://www.dsboards.com/hoDSquoteimages/0430hoDS_e.jpg)
- from him and beginning to move away, leaving poor Todd confused and embarrassed and -
(http://www.dsboards.com/hoDSquoteimages/0430hoDS_f.jpg)
- wondering if anyone else saw Carolyn's reaction.
And after Carolyn interrupts Barnabas' question about Daphne by extending her greetings, Todd notices Julia's costume and offers an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0430hoDS_g.jpg)
"Dr. Hoffman, you're stunning."
- and after Julia replies "Oh, thank you. Thank you very much" off screen, Todd goes on to say an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0430hoDS_h.jpg)
"That's some costume."
- and while all that is going on is when something off screen catches Barnabas' eye...
And that's the end of Scene 102. However, I have two more things that I want to get into regarding the scene, but they have to wait until I've created two animated GIFs to share...
-
Thanks to picking out captures for the previous post, I learned two things that I'd never realized as often as I've watched hoDS though the years:
One is that the extra in this production candid:
(http://www.dsboards.com/hoDSquoteimages/Maid.jpg)
does indeed appear as a maid in one of the party scenes:[spoiler](http://www.dsboards.com/hoDSquoteimages/Maid.gif)
For people with slower connections, the first time though will likely take a while to download because the file is 8.81MB (79 frames) - but all the better to watch the GIF load frame by frame. [easter_smiley][/spoiler]Though she goes by so fast that it can be very easy to miss her - especially if someone, like me, is paying more attention the main characters in the scene. Plus her head gets cut off along the way.
And the second is that I've always thought that none of Stokes' material from the party made it into the film. And quite sadly that is the case when it comes to his scenes with dialogue. But after I scanned this still -
(http://www.dsboards.com/hoDSquoteimages/Party-1.jpg)
- with the intent of using it for an upcoming party scene, I spotted Stokes actually going by in Scene 102:[spoiler](http://www.dsboards.com/hoDSquoteimages/Stokes.gif)
For people with slower connections, the first time though will likely take a while to download because the file is 10.8MB (100 frames) - but all the better to watch the GIF load frame by frame. [easter_smiley][/spoiler]Though if one doesn't know what sort of costume he's wearing, it can be very easy to miss him - especially, as I said, if someone is paying more attention the main characters in the scene.
So, there's Stokes walking in the background, Barnabas and Julia in the midground, and the maid in the foreground - it only seems natural that one if not two of those areas in the scene are going to get lesser amounts of attention. [easter_cheesy]
-
I've never seen that picture of the extra with a copy of Variety before but I love it to death! Thank you so much for posting it!!!
-
To my knowledge, that still of the maid reading Variety was only published once, in the August 1970 issue of TV Star Parade. And the funny thing is the article is all about a visit to the daytime studio and how a DS ep is produced - but all the photos are from behind the scenes of the production of hoDS. I guess they thought people wouldn't realize. [easter_rolleyes] But anyone who'd been following along with the many articles that were being published at the time about the production of hoDS would have easily known. [easter_cheesy]
-
Very, very interesting. I wonder how many other pictures from long gone magazines are still out there waiting to be discovered. If they weren't Ben Martin or ABC pictures, they may be hard to track down at this point. I remember one magazine ran a contest where the winner could choose their prize from dresses modeled by Nancy Barrett and Kathryn Leigh Scott. I've never seen those photos surface anywhere and I have long since forgotten which magazine they appeared in. Do you recall ever seeing these?
-
Everyone has probably seen the hoDS behind the scenes photos of Nancy Barrett studying her script while sitting on one of Lyndhurst's antique benches, Joan Bennett getting her make up applied in the makeshift make up room in Lyndhurst's kitchen area, and KLS, Roger Davis and Grayson Hall in period costume and seemingly talking over the script in another room on the same level of Lyndhurst. But what I'm about to share has to be the wackiest behind the scenes photo from that TV Star Parade article:
(http://www.dsboards.com/hoDSquoteimages/Nap.jpg)
Who knows who that is taking a nap on the window seat in the Gallery while one of the party extras sits nearby?! But I believe the party extra may be "John," who's seen talking to Maggie when Barn spots her -
(http://www.dsboards.com/91quoteimages/0501ds91_0.jpg)
(http://www.dsboards.com/91quoteimages/0504ds91_0.jpg)
- and who later has Jeff called over to meet him -
(http://www.dsboards.com/hoDSquoteimages/John-1.jpg)
(http://www.dsboards.com/hoDSquoteimages/John-2.jpg)
And just to digress from hoDS to daytime DS for a moment, KLS makes the following remarks in the TV Star Parade article:
Kathryn told us that she sees Dark Shadows "as a complete put-on when viewing"
Hmmm - can we ever imagine the KLS of today saying that?
And just for some perspective, the interviews for the article were done while DS was in the final month or so of the 1970PT storyline...
-
I remember one magazine ran a contest where the winner could choose their prize from dresses modeled by Nancy Barrett and Kathryn Leigh Scott. I've never seen those photos surface anywhere and I have long since forgotten which magazine they appeared in. Do you recall ever seeing these?
It doesn't ring a bell off the top of my head. But back in the day there so many articles like that...
-
I think that KLS would claim that she was misquoted if it was mentioned to her today or simply dismiss the matter entirely by referring you to one of her books. [easter_wink] [easter_rolleyes] [easter_wink]
-
Considering we were cheated out of it in the film, I thought I'd share what Dan "Marilyn" Ross thought the group of people in the drawing room had to say about the attacks:
She was conscious of perhaps a half-dozen strangers
near her and could hear the babble of their voices as if
from a distance. She tried to keep her mind clear as she
heard random phrases from the strangers in different
voices. Her head was spinning as she listened to their
comments about the recent attacks in the town.
"Dreadful!" a high-pitched elderly female was say-
ing. "I don't dare venture out at night alone any longer."
"Nor do I," a harsh-voiced younger woman agreed.
"We're buying a watch dog. A great, angry creature."
"The police are too lax," a droning male voice insisted.
"They ought to have found out who murdered Nancy by
now."
"What about the artist?" Another ancient male voice
asked maliciously. "I still think he may have had some-
thing more to do with it than he has admitted."
"The most vicious kind of killing," a throaty young
feminine voice deplored. "I'm terrified!"
"What sort of creature would commit such a bloody
crime?" a young man inquired indignantly.
|
I would have loved to have seen Barnabas make mincemeat of the great, angry creature of a watch dog! Well, figuratively, not literally. He'd have had the poor thing crawling away with its tale between its legs before it knew what had hit it!! [lghy] But even better would have been if Jeff had been arrested for Nancy Hodiak's murder and he'd spent a good deal of the film off camera and in jail. But alas...
But seriously, it could have been fascinating seeing Carolyn hear and subtly react to all their complaints and theories while all the while she knows who the "creature" really is and she thinks he's anything but... But obviously it wasn't something DC cared for us to see.
-
Those Lyndhurst behind the scenes photos are awesome! Brilliant finds! Congratulations, MB! I would love to know who played "John"!
And what a laugh that KLS described the show as a "put-on"! Clearly, that was before she realized her life's work was going to be serving as professional Queen of Dark Shadows!
I wonder if copies of the hoDS novelization ever show up at less than extreme prices? It would be fun to read it again. His descriptions of those scenes are such a camp hoot!
cheers, G.
-
Moving on to the next party scene:
103 MAGGIE - BARNABAS' POV 103
as she enters the foyer from opposite end of the hall.
She is dressed as JOSETTE DU PRES, the first Barnabas'
great love.
|
And that when Monday's quote -
Page 38/Scene 103 - Barnabas (OS): 'Who -- who is that girl?'
- comes up.
End of very brief but important scene. However, things play slightly differently in the film because we see Maggie already in the foyer -
(http://www.dsboards.com/91quoteimages/0501ds91_0.jpg)
- and talking to someone ("John") - and Barnabas actually asks "Who is that girl?" with the "Who --" part dropped.
-
Those Lyndhurst behind the scenes photos are awesome! Brilliant finds!
I've always thought they're a hoot. [nodassent]
I would love to know who played "John"!
I checked IMDb because a lot of times they list uncredited actors. Unfortunately, though, he's not listed - nor are many of the other guests or the maid or the barman. I wonder if Darren might have any documentation on them? But as far as "John" goes, he gets quite a bit of screen time, including an, uh, memorable moment of him dancing during a montage. The sad thing is the way the party sequence is edited he gets more screen time than many of the principal actors. [easter_rolleyes] (Which might lead one to wonder if he was another of DC's man crushes? [easter_undecided])
Clearly, that was before she realized her life's work was going to be serving as professional Queen of Dark Shadows!
Clearly! [b003]
I wonder if copies of the hoDS novelization ever show up at less than extreme prices?
Whenever I've seen it offered, it's always been for a ridiculous price. Blame the photos insert...
-
Continuing with next party scene:
104 CAROLYN - JULIA - BARNABAS - TODD 104
Carolyn and Julia turn to look.
|
And that when Tuesday's quote -
Page 38/Scene 104 - Julia (OS): 'Maggie Evans. She's David's governess. Have't you met her?'
- comes up, followed in the script by:
Barnabas does not take his eyes from Maggie. He shakes
his head.
CAROLYN
|
And that when Wednesday's quote -
Page 38/Scene 104 - Carolyn: 'What a shame ...'
- comes up, followed in the script by:
BARNABAS PAN TO CLOSE UP BARN
Still staring at Maggie.
|
And when it comes to the dialogue, the directions, and the descriptions, what Julia actually says to start off is "Oh, that's Maggie Evans" - and unlike how the script indicates it, as can be seen in Tuesday's capture, she delivers -
(http://www.dsboards.com/91quoteimages/0502ds91_0.jpg)
- all of her lines on screen, not off - and she delivers the rest of them exactly as scripted - and there's a notation in DC's script that Julia would start to move between saying the words "governess" and "Haven't", though move where is not indicated, and what actually happens in the film is that Julia simply turns -
(http://www.dsboards.com/hoDSquoteimages/0502hoDS_a.jpg)
- back to Barnabas - and from that things switch to 3 shot of Barnabas with Carolyn and Todd somewhat out of focus as -
(http://www.dsboards.com/hoDSquoteimages/0503hoDS_a.jpg)
- Barnabas nods no - and after Barnabas does so, as can be seen in Wednesday's capture, the camera actually racks focus from Barnabas -
(http://www.dsboards.com/91quoteimages/0503ds91_0.jpg)
- to Carolyn when she says it's a shame he hasn't met Maggie, and she says so in such a deliciously bitchy manner! But, unlike DC's added notation to his script, after that there is no pan to a close-up of Barnabas still staring at Maggie.
-
Oh yeah MB "John" has gotta be one of DC's crushes!--er, I mean, guys he liked to hang out with. LOL!
When I learned of his huge "admiration" for Roger Davis, it suddenly explained a lot.
Is John the guy seen doing the twist when the dance had gone out of fashion about five years before?
Nancy was so brilliant in this sequence. I loved how they did her hair for it, too.
G.
-
And setting up the beginning of the next scene:
105 MAGGIE - BARNABAS' POV 105
She crosses from foyer into organ room bar.
|
And that when Thursday's first quote -
Page 38/Scene 105 - Julia (OS): 'This is her last night at Collinwood, isn't it.'
- comes up.
And we're going to leave it there for now because up to this point everything plays pretty much exactly as scripted - though party guest "John" is still -
(http://www.dsboards.com/91quoteimages/0504ds91_0.jpg)
- seen with Maggie as she moves off toward the organ room. The only new thing that's different is Julia adds a "Yes," before her scripted line. But after this point things in the film are altered from the way they appear in the script - including things crossed out in the script actually taking place in the film...
-
Picking up with Scene 105:
CLOSE UP - CAROLYN PROFILE
She is aware that Barnabas is experiencing something
importa-t.
MAGGIE - WIDE ANGLE
She is at the bar. Jeff joins her.
BARNABAS
|
And that when Thursday's second quote -
Page 38/Scene 105 - Barnabas: 'Let me get you some champagne, Carolyn.'
- comes up, followed in the script by:
105. (CONT'D)
Barnabas as he moves toward Maggie and Jeff at the bar.
JEFF
(to Barman)
Scotch and Soda and a dry
Rob Roy.
|
And that when Friday's quote -
Page 39/Scene 105 - Maggie: 'Quite a crowd. Doesn't everyone look great!'
- comes up, followed by Saturday's first quote -
Page 39/Scene 105 - Man (V.O.): 'Jeff!'
- coming up, followed by Saturday's second quote -
Page 39/Scene 105 - Jeff (as he sees his friend): 'Maggie, I'll be right back.'
- coming up.
And we're going to leave things there because there's quite a bit to get into because the film doesn't quite play like that. There is no close up in profile of Carolyn where the script combined with DC's notation indicates because there's simply a few seconds shot with the same camera set up as before with -
(http://www.dsboards.com/hoDSquoteimages/0504hoDS_a.jpg)
- Barnabas, Carolyn and Todd as Carolyn continues to stare at Barnabas and his gaze shifts to presumably spotting Maggie in the organ room (and speaking of that shot, the "Yes, this is her last night at" portion of Julia line is delivered over the shot of Maggie as she moves off toward the organ room, whereas the "Collinwood, isn't it" portion is delivered over the above shot) - and then, despite the fact of the portion of the script that says we would see Maggie at the bar and Jeff joining her being crossed out, something very similar does indeed appear in the film because things switch from Barnabas, Carolyn and Todd to Maggie entering the organ room, seeing Jeff in costume while another woman in the room watches them, and then Maggie blurts out an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0505hoDS_a.jpg)
"Oh, Jeff!"
- (and l love how not only Barnabas is watching them from the drawing room, but -
(http://www.dsboards.com/hoDSquoteimages/0505hoDS_aa.jpg)
- so is Julia) - and Jeff laughs as Mrs. Johnson appears -
(http://www.dsboards.com/hoDSquoteimages/0505hoDS_b.jpg)
- and moves towards the drawing room and the other woman begins to move toward the bench before Maggie moves to hug Jeff and remark an unscripted -
(http://www.dsboards.com/91quoteimages/0505ds91_0.jpg)
"Oh, you look great!"
- rather than what appeared in the slideshow as Friday's quote: "Quite a crowd. Doesn't everyone look great!" - and then "John" appears at the door to the organ room as Jeff asks Maggie and unscripted -
(http://www.dsboards.com/hoDSquoteimages/0505hoDS_c.jpg)
"Want a drink?"
- and soon after John comes into the organ room and -
(http://www.dsboards.com/hoDSquoteimages/0505hoDS_d.jpg)
- the other woman smiles at him and he soon moves toward her before Maggie answer Jeff with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0505hoDS_e.jpg)
"Yes."
-
and then things actually do go back to Barnabas, Carolyn and Todd in the drawing room as Barnabas turns to Carolyn and offers to get her a drink, though rather than champagne, he actually offers "Let me get you some punch, Carolyn" - and after he moves off is when we actually see Carolyn looking quite none too pleased as she -
(http://www.dsboards.com/hoDSquoteimages/0505hoDS_f.jpg)
- definitely knows something important is afoot with Barnabas. And yes, "important" is actually spelled as "importa-t" in the script.
And even though there's more to get into when comes to the part of the script that I've shared, I'm going to hold off and do what's left in another post so as to give everyone a chance to absorb what's covered in this post before embarking on even more changes and unscripted additions in the remainder...
-
Picking up with the next section of Scene 105, we do indeed see Barnabas in the backgroud as he makes his way into the organ room as Jeff places his order with the barman, however, the order is not the same as scripted because what Jeff actually says is -
(http://www.dsboards.com/hoDSquoteimages/0506hoDS_a.jpg)
"All right, one punch and nothing for me."
- (apparently a dry Rob Roy may not be Jeff's drink of choice) and I do love how Barnabas comes to a stop and -
(http://www.dsboards.com/hoDSquoteimages/0506hoDS_b.jpg)
- carefully waits for an opportunity (and this time around not only is Julia watching from the drawing room, but, naturally, so is Carolyn) - and apparently since Maggie had already complimented Jeff in the earlier unscripted section, she doesn't get to say "Quite a crowd. Doesn't everyone look great!" at all as that's dropped completely - and then, again unlike the script, instead of it being a man's voice calling out to Jeff, it's the other woman in the room who is then heard to say an unscripted -
(http://www.dsboards.com/91quoteimages/0506ds91_0.jpg)
"Jeff, I'd like you to meet John."
- as Maggie and Jeff turn to look behind them and Jeff presumably sees the woman who's actually his friend - and then Maggie and Jeff turn back to each other as Jeff actually says -
(http://www.dsboards.com/91quoteimages/0506ds91_1.jpg)
"Excuse me a second."
- rather than the scripted "Maggie, I'll be right back" as "John" looks over behind them - and Maggie quickly responds with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0506hoDS_c.jpg)
"Okay."
- as Jeff turns to go over to the man and woman behind them.
And that brings us up to all the changes and additions to the part of the script that I'd posted earlier. But if you think those are all the changes and additions to Scene 105, don't fool yourself because there's more to come next time...
-
Wow. Nancy conveys more with just her facial expressions than any dialogue ever could.
-
Continuing with Scene 105, beginning with Jeff's action after he excuses himself to Maggie:
He exits as Barnabas comes up to Maggie.
CAROLYN
as she reacts with a definite burn. During the following
INTERCUT HER REACTIONS.
BARNABAS - MAGGIE
|
And that's when yesterday's quote -
Page 39/Scene 105 - Barnabas: 'I beg your pardon. I am Barnabas Collins.'
- comes up, followed in the script by:
MAGGIE
Oh, Mr. Collins, how nice.
|
And in the script Barnabas and Maggie's conversation continues from there - but as we'll see shortly, DC had other ideas.
And when it comes to the differences in the dialogue, the directions, and the descriptions, after Barnabas comes up to Maggie, we do not see Carolyn as she reacts with a definite burn and during Barnabas and Maggie's upcoming conversation there are no intercuts with her reactions - though there will be something with Carolyn coming up. The moment Jeff moves to the people who called him, as we can see in yesterday's capture, Barnabas swoops in -
(http://www.dsboards.com/91quoteimages/0507ds91_0.jpg)
- and delivers yesterday's quote, though he actually delivers it as "I beg your pardon, I'm Barnabas Collins" - and Maggie actually replies with "Hello, Mr. Collins" - but from there things switch to the drawing room with Todd and Carolyn, with her looking decidedly anxious if not actually frightened by what's transpiring between Barnabas and Maggie, and with him pointedly asking her an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0507hoDS_a.jpg)
"What's wrong with you tonight?"
- but her only answer is to turn to him -
(http://www.dsboards.com/hoDSquoteimages/0507hoDS_b.jpg)
- and then turn to walk away from him -
(http://www.dsboards.com/hoDSquoteimages/0507hoDS_c.jpg)
- once again leaving poor Todd -
(http://www.dsboards.com/hoDSquoteimages/0507hoDS_d.jpg)
-even more confused.
-
Wow. Nancy conveys more with just her facial expressions than any dialogue ever could.
Especially when it comes to her reactions to Todd in this scene. You can pretty much feel the temperature drop 30 degrees in the room. [easter_wink]
[spoiler]And it's sad to think that the above exchange is apparently their last interaction before her death. What must have he been thinking while he mourned her and through the funeral? Though little did he know that a huge "surprise" would be coming for him after her funeral...[/spoiler]
-
I don't think Carolyn looks anxious or frightened. Just jealous as hell.
Nancy is a brilliant actress and deserved more opportunities in her career. Grayson said more than once that she thought Nancy was the best actress, bar none, in the group.
G.
-
I don't think Carolyn looks anxious or frightened. Just jealous as hell.
She definitely looks jealous as hell in the captures in replies 287 and 290 - but I can see anxiety in her first capture for 293.
Nancy is a brilliant actress and deserved more opportunities in her career. Grayson said more than once that she thought Nancy was the best actress, bar none, in the group.
(Nancy has always said she was just too "lazy" to pursue more work than she did. Sad for those of us who are her fans. But if she was happy, I suppose that's all that's important.
Other than a lot of theater, did she do anything after appearing in the film Belizaire the Cajun? Being a film, more people would have been able to see that. And I was lucky enough to get to record it when it was aired on PBS. Although I think there's a special anniversary DVD edition available now...)
-
Apparently that was her last screen appearance. Her last soap role was Debra Van Dryden on OLTL in 1982. She's done theatre intermittently as well as her cabaret act. And she did reprise Carolyn with the Collinsport Players in Tarrytown last summer.
-
Moving through more of Scene 105, beginning with yesterday's quote -
Page 39/Scene 105 - Barnabas: 'Your dress -- you must have found it here.'
- coming up, followed by today's quote -
Page 39/Scene 105 - Maggie: 'In an old trunk upstairs. It was made in Paris.'
- coming up.
And when it comes to yesterday's quote, Barnabas delivers it exactly as scripted, but it can't go without saying how wonderfully DC directorial style captured Barnabas delivering it -
(http://www.dsboards.com/91quoteimages/0508ds91_0.jpg)
- as well everyone else in the scene in those moments. (Yeah, right! [easter_rolleyes]) And when it comes to Maggie's quote for today, what she actually says is "Yes, I did. I found it in an old trunk in the attic. It was made in Paris, I think." I wonder if they decided to adjust her lines or KLS decided to pad them on her own? [easter_cheesy] But either way she does look beautiful in today's capture -
(http://www.dsboards.com/91quoteimages/0509ds91_0.jpg)
- so it's easy to understand how Barnabas could become mesmerized by her...
-
Beginning the wrap up of Scene 105, starting with today's quote, Barnabas' story about Maggie's dress -
Page 39/Scene 105 - Barnabas: 'Yes -- and if I'm right, it belonged to Josette Du Pres who came here to marry my ancestor over one hundred years ago.'
- coming up, followed in the script by:
^
| CU
|
|
They look at each other.
| INTERCUT - W MAG
| CONTINUED
|
|____
REV. - 3/13/70
105. (CONT'D) | CU Barn
|
| BARNABAS
| There's a portrait of her at the
| Old House wearing that dress. You
| look very much like her.
|___
|
End of scene - though certainly not end of sequence.
And when it comes to the dialogue, the directions, and the descriptions, as we can see in today's capture -
(http://www.dsboards.com/91quoteimages/0510ds91_0.jpg)
- Barnabas is shot more over the shoulder than in a single close-up when he tells Maggie about her dress (and he changes the end of his lines to "marry my ancestor almost 200 years ago"), and he's seen on camera for the entirety of his delivery, so there isn't any intercutting with Maggie there - but what is cut in is a shot of Jeff becoming aware of their conversation as he and -
(http://www.dsboards.com/hoDSquoteimages/0510hoDS_a.jpg)
- "John" look over - and Barnabas is shot the same way as he tells -
(http://www.dsboards.com/hoDSquoteimages/0510hoDS_b.jpg)
- Maggie about the portrait, but before he tells her she looks like it, Maggie actually comments with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0510hoDS_c.jpg)
"I've never seen it."
- as we see Jeff moving in the background, and then as Jeff's moves to the barman's table -
(http://www.dsboards.com/hoDSquoteimages/0510hoDS_d.jpg)
- and retrieve's Maggie's drink -
(http://www.dsboards.com/hoDSquoteimages/0510hoDS_e.jpg)
- is when we hear Barnabas in voice over say that Maggie looks very much like Josette. So not only aren't there any true close-ups of Barnabas, he's actually intercut with both Maggie and Jeff. And even though it was never specifically indicated, it's easy to tell from the way it was typed that the 3/13/70 revision actually began with Page 39 of the script (we're ending Scene 105 on Page 39A).
-
We have one more scene in the script to deal with before we can wrap up this sequence and before the next sequence at the party comes up in the script:
106. JEFF - GROUP OF PEOPLE
He turns from his group, is suddenly aware of some kind
of electricity between Barnabas and Maggie. CAMERA PANS
WITH HIM as he hands her a drink.
MAGGIE
Thank you, Jeff. Oh, do you know
each other
Barnabas and Jeff both nod rather formally. They know
they are rivals. Roger X in B.g. to david in Foyer
|
As we can see, in the film the beginning of Scene 106 actually overlaps with the end of Scene 105. However, when Jeff comes to Maggie with her drink, he delivers an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0510hoDS_f.jpg)
"Maggie, your drink."
- and then after Maggie thanks Jeff and then asks if they know each other, Jeff replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0510hoDS_g.jpg)
"Yes, we do."
- which begs a lot of questions that we may never know the answers to (but we just might get a clue once we reach/deal with an upcoming scripted scene) - and then Barnabas offers an unscripted
(http://www.dsboards.com/hoDSquoteimages/0510hoDS_h.jpg)
"Excuse me. I'll see you later in the evening."
- which Maggie replies to with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0510hoDS_i.jpg)
"Yes, of course."
- and as that goes on a man also comes to join "John" and the woman and the second man apparently has some news that excites the woman - and after that the woman stands up looking more excited, and as that happens Barnabas begins to move off -
(http://www.dsboards.com/hoDSquoteimages/0510hoDS_j.jpg)
- and as the group begins to move off to wherever they're going, Jeff and Maggie -
(http://www.dsboards.com/hoDSquoteimages/0510hoDS_k.jpg)
- watch Barnabas move off... But rather than the notation that DC added to his script saying that we would see Roger in the background crossing to David in the foyer (the next scene in the script begins with Roger and David), something quite different happens in the film. Something that an animated GIF can only do justice to, so one will be showing up later tonight...
-
And here's the animated GIF of what follows in the film from the above post:
[spoiler](http://www.dsboards.com/hoDSquoteimages/Laugh_Dance.gif)
For people with slower connections, the first time through will likely take a while to download because the file is 28.2MB (288 frames) - but all the better to watch the GIF load frame by frame. [easter_smiley][/spoiler]
True dancing talent at its finest, right?! [easter_wink] [easter_cheesy] Though it actually looks much better without the music that plays over it in the film because that music so does not go with those moves!
(And I only just realized after creating that GIF what a mistake those of us who attended the '89 Fest party at the Red Zone made. Sure, hoDS hadn't even been released on VHS yet, much less DVD/Blu-ray, but back then it was always shown on TV in October for Halloween and most of us owned our own recorded-off-of-TV VHS copy. So there was no reason that we didn't all coordinate through the various fanzines (no Internet, remember) to learn the bounce up and down and the wave your arms and nod your head while you snap your fingers moves of the hoDS dancing sequence. Then we could have all shown off our moves once dancing at the Red Zone began. But, no - did any of us think of that as a tribute to DS? NO! Foolish us!! [easter_sad])
-
Everybody goes to parties. They dance this mess around. [easter_rolleyes] [easter_rolleyes]
I remember the night at the Red Zone very well. I don't think I have ever heard a more lackluster selection of music at a club before or since. Nothing with a beat. No dance music. No soul. No Motown. I can only guess who selected the music. [easter_huh]
Excellent job on the gif!
-
Wow, MB that is a truly excellent gif! John had great eyebrows and clearly, great hips. It looks as if he's trying to start something funky with that other dude, another unknown.
You wonder if the scene behind what's in the script with the woman getting excited by John's news was somehow scripted and blocked by Lela (who was actually doing a lot of the hands-on directing, while DC was working on shot set ups and tech stuff, from what I have read) or if it just somehow happened.
If you have any theories about where Barnabas and Jeff had met previously, would love to hear them!
G.
-
Setting up the next sequence at the party:
107. INT. FOYER - NIGHT
ROGER - DAVID - They are near the door to the organ room.
|
And that's when today's quote -
Page 40/Scene 107 - Roger: 'David! What are you still doing downstairs?'
- comes up, followed in the script by:
DAVID
Can I stay down? I've done all
my homework.
ROGER
David,(I told you, you could
only stay a while.) You have that
test tomorrow. We're going to
get your grades up, young man.
WIDEN TO INCLUDE BARNABAS, MAGGIE, JEFF.
DAVID
Well, at least I'm going to say
goodbye to Maggie.
ROGER
Alright, but hurry up.
David runs to Maggie. Barnabas crosses to Roger.
ROGER
(to Barnabas)
That boy's going to be the
death of me.
|
And we stop there for now.
Interestingly, there were notations about how to shoot Roger and Barnabas after David runs to Maggie and Barnabas crosses to Roger, but DC almost completely erased them, so apparently he changed his mind. And what's weird is there's no explanation why DC put Roger's "I told you, you could only stay a while" in parentheses.
And this is yet another party scene to find itself ending up on the cutting room floor (as do the three directly following scenes in the script). And because of that, when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing how things might have actually played out in the film...
-
I remember the night at the Red Zone very well. I don't think I have ever heard a more lackluster selection of music at a club before or since. Nothing with a beat. No dance music. No soul. No Motown. I can only guess who selected the music. [easter_huh]
Funny, I don't remember the music at all. (Perhaps that's simply because it was my first Fest event and I was too dazzled by the extraordinary access we all had to the stars. You could literally just turn around and join and/or start a lengthy conversation with them as we all milled about.)
Excellent job on the gif!
Wow, MB that is a truly excellent gif!
Well, I can't take too much credit for it because I simply have software that can pull the frames from the film and manipulate them so that I can use another piece of software to create the GIF with them. The only thing I have to do is adjust the timing in between frames so that they play at the same rate as the film. And now, after creating quite a few GIFs for both this film and NoDS, that's becoming quite easy to do.
It looks as if he's trying to start something funky with that other dude, another unknown.
That guy has quite a bit of screen time too. Not as much as "John" - but he's also someone who has more of it that some of the principal actors! [easter_rolleyes]
You wonder if the scene behind what's in the script with the woman getting excited by John's news was somehow scripted and blocked by Lela (who was actually doing a lot of the hands-on directing, while DC was working on shot set ups and tech stuff, from what I have read) or if it just somehow happened.
That's an interesting theory that Lela might have staged it. I do think someone staged it and that it didn't just happen because the extras came up with it themselves.
If you have any theories about where Barnabas and Jeff had met previously, would love to hear them!
My theory will be coming up after we deal with one of the upcoming deleted scenes...
-
I really want John's frock coat.
G.
-
I wore something similar for a Halloween party two years ago.
(Ever since a friend has been having yearly parties, I decided I wanted to wear my fantasy outfits through the centuries. I started out with the mid-16th century with something very similar to this (https://images-na.ssl-images-amazon.com/images/I/61%2B6PSXghJL._UX385_.jpg), and then moved to 17th century with something like this (http://artifexlohn.com/wp-content/uploads/2015/03/man_1692.jpg), complete with curly wig, then to the 18th century with something very similar to this (https://s-media-cache-ak0.pinimg.com/736x/56/5b/fa/565bfa8f28b2b5b29a4bcd0767e9315d.jpg), complete with three cornered hat with huge plums (because the bigger the plums, the bigger the...). Last year it would have been the early 19th century with something like this (https://s-media-cache-ak0.pinimg.com/736x/37/cc/3d/37cc3d1d7594d0a725b7a56d325fb398.jpg), but at the last minute the party had to be canceled so hopefully it will be this year's outfit. And after that I'd like to go early 19th century/Edwardian, with something like this (https://www.historicalemporium.com/store/media/outfit_020_450.jpg). I haven't thought beyond that...)
-
Wrapping up David, Maggie and Roger's part of Scene 107:
Roger crosses to David and Maggie. Barnabas looks to them.
DAVID
Oh Maggie...
MAGGIE
Yes, David. ----- Barn enters B.G
of SHOT
ROGER
Alright, young man...
|
And that's when today's quote -
Page 40/Scene 107 - David: 'I'm sorry, Maggie, for all the things I've done. I never expected they'd make me say goodbye to you.'
- comes up, followed in the script by:
He looks so miserable. Maggie is touched. -------------- CuBarn
P.O.V
ROGER
Goodnight, David!
CONTINUED
107. (CONT'D) 40A
DAVID
Goodbye, Maggie...
And David leaves the room.
ROGER
(to Maggie)
There's going to be a new
regime in this house, believe me...
CONTINUED
REV. - 3/13/70 41.
107. (CONT'D)
David impulsively kisses her on the cheek. Turns and
leaves the room. To the foyer
Jeff, knowing she's upset, touches her arm. - PAN
Roger exits through the card room door WITH ROG.
as:
|
End of David, Maggie and Roger's section.
And because this scene ended up on the cutting room floor, who knows which version of the end of the scene, if either, was used in the film, the version on Page 40A or the version on Page 41? Though it would have been unfortunate if Roger didn't get to turn to Maggie to twist the knife by saying "There's going to be a new regime in this house, believe me..." And, of course, also because the scene ended up on the cutting room floor, when it comes to the other dialogue, descriptions, and directions for this scene, we have no way of knowing how things might have actually played out in the film with all that either...
-
I just checked out David, Maggie and Roger's part of Scene 107 in the novelization and it's certainly different from DC's script's version - much, much shorter - so apparently it must have been based on some other intermediate script like several other scenes in the novelization had to be:
A little later, Roger Collins and his son, David, were
playing a familiar scene in the foyer. They were arguing
at the door to the organ room where Roger had finally
caught up to the boy.
David was protesting, "But I don't want to go to bed!"
"You must," Roger said sternly. "That is all there is
to it. And I don't want you sneaking downstairs again.
I mean it. There's going to be a new regime in this
house!
As the argument between them went on, Barnabas,
Maggie and Jeff came by. Maggie half-turned and David
saw her. At once he ran to her and threw his arms
around her. He was all penitent little boy now.
"Oh, Maggie, I wish you wouldn't go!" he pleaded.
"I'm going to miss you so. I wish I could go back and
not do some of those things I did. Honest! Then maybe
you wouldn't go!"
Maggie hugged David. "I'm really not angry with you,"
she said.
|
Roger's regime change comment in DC's script plays much more interestingly being delivered to Maggie than it does being delivered to David in the earlier incarnation...
-
Thanks, MB, for that quote from the Dan Ross book. That FINALLY makes sense of Barnabas's telling Maggie that even David wants her to stay, in that scene in the film as we have it now. I always find myself waiting for her to snap-turn and ask him, "Bitch are you for REAL?" when he says that. Of course that would be the Burton/Depp remake version...
Your costume selection is awesome! I hope the party happens this year!
Best, G.
-
Picking up Page 41 with the first section of the second part of Scene 107:
Pan
CUT TO: The three people moving between Barnabas and with
Maggie. from middle of D.R. and x through them
Organ Room to Card Room
FIRST MAN
Well, I don't understand why the See
police haven't come up with even Julia
one suspect --
COMES Pull
As Barnabas starts to move away, Julia ENTERS SHOT. Back
TO HIM out of Card room A Bit
|
And that's when today's first quote -
Page 41/Scene 107 - Julia: 'Oh, Mr. Collins, I do want to hear more about that memoir you mentioned. You can give me information on the family in England. Are you free for lunch tomorrow?'
- comes up, followed by today's second quote -
Page 41/Scene 108 - Barnabas: 'No, unfortunately. I must go to Bangor. On business. My investments --'
- coming up, after which DC's script has a notation that Barnabas looks at Julia.
And, naturally, this section all ended up on the cutting room floor as well, so we have no way of knowing how the dialogue, the descriptions, and the directions might have actually played out in the film...
-
Wrapping up Scene 107 as it appears in the script, beginning with today's first quote -
Page 41/Scene 107 - Julia: 'The next day, perhaps?'
- coming up, followed by today's second quote -
Page 41/Scene 107 - Barnabas: 'I'm not sure when I'll be back.'
- coming up in the script, followed in the script by:
He turns to look at something off screen.
|
End of scene as scripted. However, there's some confusion as to how the end was really intended to play out. But an explanation of that will wait until after we start to deal with Scene 108. Or as well of an explanation as we might be able to deduce because Scene 107 ended up on the cutting room floor, so we have no way of knowing how the dialogue, the descriptions, and the directions might have actually played out in the film...
-
In order to fully illustrate the confusion with the end of Scene 107, we need to backtrack just a bit to show what the script looks like:
_______________________________
_______________________ / \
| | BARNABAS |
| |I'm not sure when I'll be back.|
| rt \______________________________/
| He turns^to look at something off screen.
|
| 108. MAGGIE AND JEFF - BARNABAS' POV
|
| They are on the other side of the room enjoying each
| other's company.
| JULIA (O.C)
| Mr Collins - did you hear me?
| When will you be back
|_______________________________>
|
One thing that's probably apparent is that Barnabas line about not knowing when he would be back was to be delivered after Julia's added lines. However, were Julia's lines supposed to be a part of the end of Scene 107 and were simply written on the script page as part of Scene 108 because that's where there was space for them at the bottom of the page, or were they supposed to part of Scene 108. If it's the latter, then Barnabas line was taken out of Scene 107 and put into Scene 108. And what complicates things further is that it's unclear what the "^" between the words "turns" and "to" and the added "rt" above it means. [hdscrt]
But anyway, regardless of how things were meant to play, we have no way of actually pinning it down because Scene 107 ended up on the cutting room floor.
And while Scene 108 probably survives in the film as the interlude after Scene 106 of Maggie and Jeff laughing together and "John" and other extras dancing -
(http://www.dsboards.com/hoDSquoteimages/0514hoDS_a.jpg)
- and milling around, who knows if it was originally DC's intent to have Julia's added lines play off screen during Scene 108 and then to have Barnabas' reaction to seeing Maggie and Jeff play either on screen or simply as dialogue off screen as with Julia. And as it stands in the film now, no one would have any idea whatsoever that Scene 108 was scripted to be Barnabas' P.O.V. as he watches Maggie and Jeff...
Also, I do wonder if Jeff was supposed to be drunk it that Scene 108 interlude or is his seemingly falling over onto Maggie for some other reason? Check out the GIF I posted back in reply 301 to see what you think...
-
Setting up the next sequence at the party and the current scene in the slideshow:
REV. - 3/11/70
ORGAN ROOM
108A. INT. FOYER - NIGHT
Elizabeth and Stokes join Barnabas. Barn sees them
and is delighted to change the subject
BARNABAS
Cousin Elizabeth, looking at you,
I can almost believe we are back
in time.
STOKES
She is Naomi, and you are the
original Barnabas, of course.
Barnabas looks at him. Turns to Elizabeth.
|
And that's when today's quote -
Page 41A/Scene 108A - Barnabas: 'Thank you so much for this lovely party.'
- comes up.
However there's the addition of "It is most enjoyable" to Barnabas lines in DC's script. Though, because this is yet another scene that ended up on the cutting room floor, when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing how things might have actually played out in the film...
-
Continuing Scene 108A with today's quote -
Page 41A/Scene 108A - Elizabeth: 'I've been worried about it. Between those attacks and Maggie leaving.'
- coming up.
However, those lines are all crossed out in DC's script. At first they were to be replaced with "I hope so. You know I almost canceled it because of those numerable attacks." But that was almost completely erased and replaced with "I hope so. The time didn't seem right for a party - those attacks...Maggie leaving..." But because this is yet another scene that ended up on the cutting room floor, who knows what Liz might have actually said in the film...
-
It would be interesting to estimate just how long the costume party sequence (or "bal masque" sequence as they used to say in the old horror books) would have lasted, had all the excised bits been kept. Around ten minutes? Fifteen? It may not be possible to come up with a very precise estimate.
Fascinating to see all these bits together in one coherent narrative. Thanks again, MB!
G.
-
In order to fully illustrate the confusion with the end of Scene 107, we need to backtrack just a bit to show what the script looks like:
_______________________________
_______________________ / \
| | BARNABAS |
| |I'm not sure when I'll be back.|
| rt \______________________________/
| He turns^to look at something off screen.
|
| 108. MAGGIE AND JEFF - BARNABAS' POV
|
| They are on the other side of the room enjoying each
| other's company.
| JULIA (O.C)
| Mr Collins - did you hear me?
| When will you be back
|_______________________________>
|
One thing that's probably apparent is that Barnabas line about not knowing when he would be back was to be delivered after Julia's added lines. However, were Julia's lines supposed to be a part of the end of Scene 107 and were simply written on the script page as part of Scene 108 because that's where there was space for them at the bottom of the page, or were they supposed to part of Scene 108. If it's the latter, then Barnabas line was taken out of Scene 107 and put into Scene 108. And what complicates things further is that it's unclear what the "^" between the words "turns" and "to" and the added "rt" above it means. [hdscrt]
I'm reading the image as saying Barnabas turns to the right (his right? the audience's right?) at the end of 107. It looks like a circle around Barnabas' line, with an arrow placing it down below Julia's line in 108.
At least, that's how I interpret this. (MB, I applaud your efforts to reproduce annotated script pages with HTML! [easter_smiley])
-
I'm reading the image as saying Barnabas turns to the right (his right? the audience's right?) at the end of 107.
That's definitely one way to interpret it, and most probably the correct way too. [easter_smiley]
It looks like a circle around Barnabas' line, with an arrow placing it down below Julia's line in 108.
That's what I was thinking is most likely, but who knows? Of all the scenes that ended up on the cutting room floor, I wish that one between Julia and Barnabas had been in the film. But alas...
I suppose it might be understandable why David's apology didn't make it because we never saw the "Hanging David" scene. But we did still see David locking Maggie in the room at the Old House, so it's not like David's apology would have made no sense. But ours is not to try to fathom DC's choices...
(MB, I applaud your efforts to reproduce annotated script pages with HTML! [easter_smiley])
It's not always easy - but it is a fun challenge. [easter_wink]
-
Wrapping up Scene 108A, beginning with today's quote -
Page 41A/Scene 108A - Stokes: 'We can do nothing about the attacks. But surely, someone can talk Maggie into staying.'
- coming up, followed in the script by:
Elizabeth shakes her head. She abviously has tried.
Barnabas looks to Maggie.
(CUT TO SC. 109)
|
Interestingly, while this is Scene 108A in the script, DC wrote over the "8" and made it a "7," changing it to Scene 107A - and he changed the scene that would be cut to, to "SC 108". Perhaps the reason why will become clear when we start Scene 109 in tomorrow's slideshow...
Also interestingly, the Fest's 1999 Movie Calendar has a Stokes' quote from Scene 108A that doesn't appear in any other version of the script that I've seen. We actually featured it in the original hoDS slideshow as the February 28th installment because that's the date it appears on the calendar:
(http://www.dsboards.com/moviesquoteimages/0228hoDS_0.jpg)
hoDS: Alternate Scene #108A - Stokes: 'Perhaps we are
being watched by eyes we cannot see.'
I would love to know in what context that came up in an alternate version of the scene. As I observed originally, it's too bad that they dropped it because, without knowing it, Stokes would have been perfectly assessing the way Barnabas keeps watching Maggie. Though, considering that regardless if it was Scene 108A or 107A, the scene ended up on the cutting room floor, I suppose we were destined to never know (well, unless one of us can get our hands on a copy of that alternate version of the script)...
-
Also quite interestingly, I just noticed that Scene 108A doesn't appear in the novelization at all. Apparently the March 11th revision didn't simply revise what may have been original scenes, it revised a newer scene that wasn't even in the version of the script that was used for the novelization (most probably the scene in which Stokes speaks about being watched by eyes they cannot see). Which brings me to the speculation about how Jeff and Barnabas might have met prior to Maggie asking them if they had. Perhaps rather than scripted Scene 108A, there was a scripted or improvised/ad libbed scene, one similar to Scene 108A that might have involved not only Barnabas, Liz and Stokes, but also Jeff? There is that still that I posted in reply 276 of Jeff with Liz and Stokes:
(http://www.dsboards.com/hoDSquoteimages/Party-1.jpg)
It could simply be a publicity shot that has no bearing as a scene in the film - but it's just as possible that it was meant to be a scene in the film - and it's possible that at some point Barnabas joined them to thank Liz or whatever and that scene was meant o appear in the film prior to Maggie asking Jeff if they had met each other. But who knows? Especially given that in the novelization of Scene 106, Jeff and Barnabas also indicate that they have met but just as in the film there's no hint in the novelization of where or how they did. Maybe we were simply never meant to know where and how they'd met previously, only to accept it. It certainly comes across as something DC would expect the audience to accept rather than "waste time" (to his mind) actually depicting it for them...
-
Setting up the next sequence at the party and the current scene in the slideshow:
109. INT. LIBRARY - NIGHT
It is later. We pick up with Maggie and Barnabas at library
window. There is no one else in the room. The SOUNDS
OF THE PARTY can be heard in b.g. An occasional guest
can be seen through the open door.
|
And that's when today's quote -
Page 41B/Scene 109 - Maggie: 'Mr. Collins, we shouldn't have left.'
- comes up.
However, because this is even yet another scene that ended up on the cutting room floor, when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way at this point of knowing how things might have actually played out in the film... Although, there is a notation in DC's script that Maggie would deliver the quoted line off camera.
-
Wrapping up Scene 109, beginning with yesterday's quote -
Page 41B/Scene 109 - Barnabas: 'Why not? I'm sure the real Barnabas and Josette did once.'
- coming up, followed by today's quote -
Page 41B/Scene 109 - Maggie: 'But we're not them.'
- coming up, followed in the script by:
She smiles at him. Barnabas looks at her quite
sseriously.
BARNABAS (x to her)
Tell me about yourself.
MAGGIE
You really want to know, don't you?
He nods that he does. _ _
/ INTERCUT \
BARNABAS (takes 1 1/2 steps rt) | A CU OF |
Yes I do.| I want to know \_ BARN HERE__/
everything about you.
MAGGIE
Well, that would take a long, long / INTERCUT \
time. <------------------------------------------------|HER CU HERE/
(x's away)
You know I'm leaving.
He crosses aw ay from her.
BARNABAS
Maggie...listen to me for a moment.
CONTINUED
|
And even though it says it's continued, that's the end of Scene 109 as it appears in DC's script. Though it makes sense that it would end up there given how things pick up between them in upcoming Scene 111. However, because this is even yet another party scene (though the last one) that ended up on the cutting room floor, when it comes to the dialogue, the descriptions, the directions, and DC's notations for this scene, we have no way at this point of knowing how things might have actually played out in the film...
One notation that isn't seen above is that in yesterday's quote, after Barnabas asks "Why not?", DC indicates that Barnabas would cross to Maggie as he delivers the rest of his quoted lines. And another notation is that as all that is happening the camera would pan Barnabas to a 2 shot of him and Maggie...
And yes, any typos above are included in the script.
-
I just checked Scene 109 in the hoDS novel and again it's the case that the novelization of a scene contains more material than what's in DC's script:
Barnabas finally managed to get Maggie away
from the crowd. He took her into the library where
sounds of the party could be heard in the distance and
an occasional guest went by the door. Maggie was
surprised by Barnabas' determination to be alone with her.
His sudden strange interest in her brought her some
uneasiness.
As they stood together at the library window she said,
"We shouldn't have left."
"Why not?" he asked. "I'm sure the original Barn-
abas and his Josette did once too."
"But we're not them," she said with a smile.
He eyed her seriously. "Tell me about yourself."
"You mean that, don't you?" she said.
"Of course I do."
"You want to hear. So many people ask and don't,
really. But you do."
"I do," he said quietly.
"I'm not all that interesting."
"You are to me. I hope I have time to get to know
you."
"But you know I'm leaving."
Barnabas didn't reply but moved away from her to
stand in the shadows for a moment.
|
Whenever I read that scene in DC's script, it seems to me as if expected dialogue is missing - and perhaps there is if the extra dialogue in the novelization really did appear in the version of the script that was used for the novel. What is there, even with respect to the descriptions and directions, IS nearly word for word like DC's script.
One thing that is interesting to see is even the novelization ends with Maggie reminding Barnabas that she's leaving (though Barnabas' request in the script that she listen for a momen doesn't appear). But perhaps what might have been the continued portion that doesn't appear in DC's script was simply the description/direction explaining that Barnabas moves away from her. And that does make sense within the script because when upcoming Scene 111 returns to them, Barnabas is indeed standing on the other side of the room and then makes his way back to her...
I also think it's interesting that the novel uses "original Barnabas and his Josette" rather than DC's script's "real Barnabas and Josette," with "real" seeming an odd choice of word. If the wording in the novel really is the way it was in the script originally, who knows why they changed it? And it would have been fascinating to see which wording Frid used in the film when Barnabas delivered that line. But alas...
-
Considering I've already mentioned a few times that the script doesn't return to Barnabas and Maggie until Scene 111, that must mean there's a Scene 110 - and here it is:
110 INT: CARD ROOM - NIGHT 110
Carolyn enters from organ room. CAMERA PANS her to
exit which leads to hall. As she crosses frame from
left to right, Barnabas can be seen in shot through
the open door to the library. Carolyn stops, looks.
Barnabas is obviously talking to someone Carolyn
cannot see. Carolyn cannot hear him. He exits the
shot as he crosses back to Maggie.
|
End of scene. And if one paid attention to the dance interlude GIF in reply 301, one already knows that as Carolyn is about to enter the Card Room in this scene, who should already be in the room but "John," in yet more screen time for him, as he's seen making his way to exit the room though the doorway to the hallway...
-
Setting up the current scene:
111 INT: LIBRARY - NIGHT 111
BARNABAS AND MAGGIE
|
And that's when today's quote -
Page 42/Scene 111 - Barnabas: 'You belong here. You must not leave. Maggie, I watched you with David tonight. He's so fond of you. And you of him. Everything can still work out. Believe me.'
- comes up, followed in the script by:
Pans him to
CAMERA BACK TO TWO SHOT.
|
And when it comes to the dialogue, what Barnabas actually says is "You mustn't leave. You know, I was watching you and David earlier this evening. He's so fond of you, and you are of him. Now, things can still work out, believe me."
And DC's script has a note that Barnabas delivers his lines "as he crosses to her", and that is exactly how things play in the film, just as DC's other note that the camera pans him to a 2 shot is exactly how things play. (Actually what is odd is that before it was partly crossed out, the script said "CAMERA BACK TO TWO SHOT", which must refer to how the scene was originally supposed to start with a 2 shot of Barnabas and Maggie before Maggie was crossed out, but at no point does the script say that 2 shot changes to something else. So, from what would the camera go "back" to a 2 shot?)
-
Continuing Scene 111, with Maggie's reaction to Barnabas' belief that things can still work out:
as Maggie looks at him, trying to figure out what she
is feeling.
MAGGIE
I do.
That surprises her. She x in front of him.
|
And that's when today's quote -
Page 42/Scene 111 - Maggie: 'I feel as if I've known you forever so long. But we've just met --'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, I do love how Maggie looks at Barnabas while he's saying things can still work out -
(http://www.dsboards.com/hoDSquoteimages/0522hoDS_a.jpg)
- it's almost like who-is-this-guy-who-knows-nothing-about-me-telling-me-things-can-work-out? - and as in the script, Maggie's "I do" in agreement that she believes Barnabas is dropped, so there's no reaction of surprise with regard to that, though as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/0522ds91_0.jpg)
- Maggie does have a reaction of surprise, however, when she actually says "We've just met, and yet I feel as if I've known you for so long" (an indication that she really is Josette's reincarnation, contrary to the characters who think otherwise?) - but unlike DC's notation, Maggie doesn't cross in front of Barnabas quite yet...
-
Continuing Scene 111, picking up with Maggie's scripted actions after she tells Barnabas she feels as if she's known him for a long time:
She turns to look at him
They look at each other. He smiles down at her.
There is an intensity in his looks that frightens her.
She turns away.
|
And that's when today's quote -
Page 42/Scene 111 - Barnabas: 'Go tell Cousin Elizabeth that you will stay. She wants you. David does. I do --'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, considering that Maggie has yet to cross in front of Barnabas, she doesn't actually turn to look at him because, as can be seen in today's capture, she and Barnabas -
(http://www.dsboards.com/91quoteimages/0523ds91_0.jpg)
- are still standing face to face - and as Barnabas tries to persuade Maggie to stay by actually saying "Go tell Elizabeth that you'll stay. She wants you. David does" and then with special emphasis he adds "I do", there doesn't really seem to be anything about him that frightens her because what she does as he speaks is look at him, then down in thought, and then back at him as she's surprised by his emphasis at how much he wants her to stay - and after all that is when she actually -
(http://www.dsboards.com/hoDSquoteimages/0523hoDS_a.jpg)
- crosses in front of him as she's still deep in thought, and to that DC has yet another notation after Barnabas' dialogue that she crosses, only this time she really does...
-
Interesting sequence--thanks, MB!
I actually found myself wondering looking at the photo of Davis with Joan and Thayer if DC would have changed the 1795 story to have Davis, as an altruistic version of Nathan Forbes, in a more heroic role. A thought stimulated by the fact to which I stupidly never paid attention that Jeff is wearing Nathan's uniform here, or so it would seem. KLS's diary does say that DC wanted Davis to become KLS's new love interest after the wrap-up of the PT 1970 story and she did not react at all well to that news. And who can blame her. The original sequel to hoDS was reportedly planned to be set in the 18th century, at least in part. Undoubtedly a version of the Angelique curse narrative would have been the plot focus.
Another thought I had reading through what you shared is that this time around, one may presume that Maggie did realize that Barnabas's interest in her was romantic. It's been so long since I last saw the film, and my short term memory is so patchy now, that I can't recall whether the subsequent scenes of them having dinner and spending time together while Jeff is out of town include cues that she acknowledges and accepts that Barnabas is courting her. My memory, for what it is worth, is that the scenes have Maggie's reactions ambiguous. Is she simply touched that somebody as worldly as Barnabas is interested in her, or does she realize that he has romantic feelings for her. And, in turn, does she reciprocate?
Given DC's determination to give priority to the standard horror narrative that kicks in fairly quickly, it may all be left undefined and uncertain. Because, as you say, DC would be thinking, "nobody's gonna waste time wondering what emotional stuff is going on here before we get to THE FANGING and THE BLOOD."
cheers, G.
-
It has always seemed a little odd to me that Maggie would continue to see Barnabas socially after the negative reaction that Jeff had to him at the party. Was their relationship less secure than it appeared?
-
Continuing Scene 111, picking up with another of Maggie's scripted actions - this one after Barnabas says he wants her to stay:
She turns and looks at him.
|
And that's when today's quote -
Page 42/Scene 111 - Barnabas: 'Things will be different ... very different.'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, considering that in the film Maggie has just crossed in front of Barnabas, as we can see in today's capture, she actually remains -
(http://www.dsboards.com/91quoteimages/0524ds91_0.jpg)
- with her back to him, which is no doubt why the indication that she turns to look at him is crossed out in DC's script - and in this instance, what Barnabas is quoted as saying in the film is actually what he says.
-
Continuing Scene 111, picking up with a notation that DC added to his script -
- just before yesterday's quote, Maggie's reply to Barnabas saying things will be very different -
Page 42/Scene 111 - Maggie: 'You make me believe they can be.'
- comes up, followed by today's quote -
Page 42/Scene 111 - Barnabas: 'I'll see that they are.'
- coming up.
And when it comes to the dialogue, the descriptions, and the directions, as we can see in yesterday's capture, Maggie does indeed -
(http://www.dsboards.com/91quoteimages/0525ds91_0.jpg)
- turn to look at Barnabas before she delivers yesterday's quote, which she actually delivers as "You almost make me believe they can be" - and when Barnabas delivers today's quote exactly as scripted, one thing that isn't scripted but can be seen in today's capture, he's in -
(http://www.dsboards.com/91quoteimages/0526ds91_0.jpg)
- extreme close-up.
-
Wrapping up Scene 111 and starting Scene 112, picking up with Maggie and Barnabas' action after Barnabas says he'll see that things are very different:
111 CONTD CONTD 111
They are looking at each other again.
|
And that's when today's quote -
Page 43/Scene 111 - Carolyn (OS): 'Well! I am intruding. Obviously.'
- is scripted to come up, followed in the script by:
112 CAROLYN 112
She stands at the library door, fuming.
|
And when it comes to the dialogue, the descriptions, and the directions, Maggie and Barnabas are indeed looking at each other, with Barnabas with a big smile on his face, well, until Carolyn interrupts, after which I love the look he shoots at her (which we'll see below) - and obviously, given today's capture (which we'll also see below) Carolyn doesn't deliver all of her quoted lines off screen or even in Scene 111. The way things play are that first we see -
(http://www.dsboards.com/hoDSquoteimages/0527hoDS_a.jpg)
Carolyn (OS): "Well! I am"
- and that is followed by -
(http://www.dsboards.com/91quoteimages/0527ds91_0.jpg)
"intruding. Obviously."
- and that dialogue and that moment of Carolyn in the doorway is definitely my favorite Carolyn moment in the film, if not my favorite Carolyn moment, period, and certainly up there as one of my favorite moments in the entire film!! [nodassent]
And while I normally try to ignore such things, for those who love to spot them, notice the boom shadow on the frame of the doorway. It's pretty hard to miss. But then, what would any production with the original cast be without boom shadows?! [b003]
I can hear a voiceover* for an Honest Trailer for hoDS on YouTube now: "House of Boom Shadows ... Nobody gives a care ..."
(* Instead of the real "House of Dark Shadows ... Nobody lives there ...")
-
Great line and beautiful capture of her as she says it.
G.
-
it seemed like Curtis hired another on set hairdresser for the film than the one used on the series. the "dos", and in particular the one Carolyn wears here, have a different hand.
-
You are correct. [easter_smiley] Because the daytime DS was still in production at the time hoDS was shot, they needed to bring in someone new for the film. That someone was Verne Caruso. He(She?) never worked on the daytime DS, and hoDS was one of his(her?) first films, having only worked on The Subject Was Roses and The Boys in the Band prior. After hoDS, however, he(she?) did dozens of film and TV projects...
-
Continuing with Scene 112, picking up with a notation from DC about how the camera would handle Carolyn:
MAGGIE - BARNABAS Pan her to them
Maggie is in some confusion as Carolyn ENTERS THE SHOT.
CAROLYN DEL ON X
She X Mother wants to talk with you,
Maggie.
BARNABAS
And Maggie has something to say
to her, don't you.
|
And that's when today's first quote -
Page 43/Scene 112 - Maggie: 'How did you persuade me? How?'
- is scripted to come up on screen, followed in the script by:
Barnabas smiles down at her.
|
And that's when today's second quote -
Page 43/Scene 112 - Maggie: 'Oh Carolyn, I'm going to stay.'
- is scripted to come up on screen, followed in the script by:
Carolyn turns and gives Barnabas an icy, jealous stare.
|
And when it comes to the dialogue, the descriptions, and the directions, as we saw with one of yesterday's captures, Maggie is seen from behind when Carolyn appears in the library, so we do not see any sign from Maggie that she is in some confusion when Carolyn comes in - and would anyone care to hazard a guess as to what "DEL" is an abbreviation for because I have no clue what DC meant by it - and while Carolyn actually says "Maggie, Mother wants to talk with you", Barnabas delivers his dialogue exactly as scripted - but as we can definitely see from today's first capture, Maggie isn't -
(http://www.dsboards.com/91quoteimages/0528ds91_0.jpg)
- on screen when her reply to that comes up, and what she actually says is "Yes, I do. You've persuaded me" (and I love the look on Carolyn's face as she waits for the shoe to drop) - and that is followed by Maggie actually adding, also off screen, "Carolyn, I'm going to stay", dropping the "Oh", while Carolyn -
(http://www.dsboards.com/91quoteimages/0528ds91_1.jpg)
- gives Barnabas that icy, jealous stare and nods her head no, all of which Maggie is apparently oblivious to noticing. And DC's script had a notation that Carolyn would be in close-up when Maggie says she's staying, but it was mostly erased, and obviously she isn't in close-up in the film.
-
I was wondering about that stage direction too. Maybe it means that Carolyn was supposed to deliver her dialogue while making the crossover?
-
[pointing-up] Hmmm - that makes sense. [nodassent]
-
Wrapping up Scene 112 as scripted:
Maggie takes Carolyn's arm. With a backward glance
of fury at Barnabas, they exit. Barnabas stands there,
staring after Maggie.
|
And that's when today's quote -
Page 43/Scene 112 - Barnabas (lowly): 'Josette ... Josette ... you have come back to me.'
- comes up.
End of scene - end of party.
And when it comes to the dialogue, the descriptions, and the directions, before Carolyn is taken by the arm, Maggie delivers an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0529hoDS_a.jpg)
"Come on."
- and it isn't until after Carolyn is taken by the arm that we see Maggie again as she and Carolyn both look back at Barnabas -
(http://www.dsboards.com/hoDSquoteimages/0529hoDS_b.jpg)
- though for very different reasons - and after they're gone, Barnabas delivers today's quote exactly as scripted.
-
Before we move on to Scene 113, I want to share the novelization of Scenes 111 and 112 because not only are there some different actions and some different and additional dialogue, but there's a glaring omission:
Barnabas came back to Maggie with a weary look on
his gaunt face. "You belong here," he said. "You must
not leave. Maggie, I watched you with David tonight.
He's so fond of you. And you of him. Everything can
still work out. Believe me."
Maggie was gazing at him in wide-eyed wonder. "I do
believe you," she said, surprised at the way she felt --
at the intensity of her feelings for this man she'd known
for such a short while.
"You see," he said.
"I feel as if I've known you for ever so long," she
went on. "But we just met."
They studied each other with deep affection. Barn-
abas smiled down at her, There was a hypnotic some-
thing in his face which all at once broke the spell and
frightened her. She turned away.
Barnabas was close to her. He urged, "Go tell Cousin
Elizabeth that you will stay. She wants you. David does.
I do."
She turned and looked at him. "You do?"
"Things will be different. Very different.!"
"You make me believe they can be," she said,
the magic of his eyes taking hold of her once more.
"I'll see that they are," he promised her.
They were gazing at each other silently again when
Carolyn strode into the room. She stood by the library
door fuming. In a taunt voice she said," Mother wants
to talk with you, Maggie."
Barnabas took it calmly. "And Maggie has some-
thing to say to her." He glances at Maggie. "Don't you?"
Maggie was staring at him. "How did you persuade me?
How?"
Barnabas smiled. "It is your own decision."
Maggie turned to Elizabeth's daughter and exclaimed,
"Oh, Carolyn, I'm going to stay!"
Carolyn took Maggie's arm and with a backward
glance of fury for Barnabas she said, "You'll have to
discuss that with Mother!" And the two girls left the
room.
Barnabas stood alone in the shadows and in a low
voice murmured, "Josette! Josette! You have come back
to me."
|
So, apparently what's missing wasn't always a part of the script. But thanks heavens it was eventually added at some point after the version of the script that was used for the novelization was done...
-
Something that I forgot to mention that in the film, what with Barnabas' extreme close-up, it's almost as if during this portion of Scene 111 Barnabas was attempting some sort of supernatural influence over Maggie, which seems to be the way the novelization interprets it:
"Things will be different. Very different.!"
"You make me believe they can be," she said,
the magic of his eyes taking hold of her once more.
"I'll see that they are," he promised her.
|
But, to me anyway, it doesn't really come across that way in the film.
Also, it's interesting to see the novel use "for ever" rather than "forever" here:
"I feel as if I've known you for ever so long," she
went on. "But we just met."
|
When I saw that the script uses "forever" rather than "for ever", it seemed like it could be wrong to me - but a check of Google showed that using "forever" is apparently the correct use in the expression "forever so long". And when I thought about it, that does seem to make sense because if one drops the "so long" part what would be correct would be to say "I've known you forever" not "I've known you for ever". So it's odd, then, that the novel uses "for ever"...
-
Setting up the new scene:
Rev. 4/27/70
113 INT. JOSETTE'S ROOM - NIGHT 113
COME IN ON Music Box. We see Barnabas and Willie.
|
And that's when today's quote -
Page 44/Scene 113 - Barnabas: 'I gave her this music box here, Willie, 180 years ago. This was her room. It's exactly the way it was the night we were to marry. I'll never allow it to be changed. That's why I have never allowed anyone in here. But now, plans must be changed.'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, things transition from Scene 112 to Scene 113 with a dissolve from Barnabas standing in the library to -
(http://www.dsboards.com/hoDSquoteimages/0530hoDS_a.jpg)
- Barnabas carrying the music box as he moves to place it on the mantle in front of -
(http://www.dsboards.com/hoDSquoteimages/0530hoDS_b.jpg)
- Josette's portrait - and what he actually says as he's doing so and afterward is "I gave her this music box 180 years ago. This was her room. It's exactly as it was the night we were to be married. And I'll never allow anyone in here, Willie. I won't even allow you. But now plans must be changed" - and DC has one notation that Barnabas starts to cross to the gown before he says that plans must change, and that's exactly how things play out in the film - and DC has another notation that Barnabas crosses into a 2 shot, which brings up that we don't actually see Willie until Barnabas -
(http://www.dsboards.com/hoDSquoteimages/0530hoDS_c.jpg)
- gets closer to the gown because Willie is standing next to it.
Also take note that this is a 4/27 revision of Scene 113. Originally Scene 113 takes place in the basement of the Old House and plays somewhat differently, as we'll see later on. And part of the previous version of Scene 113 is actually in DC's script in the Movie Book...
-
When I saw that I'd accidentally taken a capture from the beginning of this scene that I knew I didn't want to use here, I soon realized it's perfect for the "Complete This Phrase / Fill In The Blank(s) - house of Dark Shadows" and "Caption This! - house of Dark Shadows" boards:
house of Dark Shadows
house of Dark Shadows
-
Is that room at Beechwood, or Lockwood Mathews?
it's so long since I last saw the movie, I did not even recall the wedding dress being there or Barnabas having dialogue where he spoke of it.
G.
-
I believe that except for the foyer/staircase (which I absolutely LOVE), the Old House interiors were filmed at Lockwood Mathews. But I could be wrong, of course.
As many times as I've seen the movie, I'm so ashamed to admit that I don't remember the wedding dress dialog myself!
-
I actually found myself wondering looking at the photo of Davis with Joan and Thayer if DC would have changed the 1795 story to have Davis, as an altruistic version of Nathan Forbes, in a more heroic role. A thought stimulated by the fact to which I stupidly never paid attention that Jeff is wearing Nathan's uniform here, or so it would seem.
Considering that in the 1790 sequence of the '91 DS DC combined Peter Bradford with Nathan Forbes, I wouldn't be the slightest bit surprised if that might of been the way a direct sequel to hoDS might have gone.
Another thought I had reading through what you shared is that this time around, one may presume that Maggie did realize that Barnabas's interest in her was romantic. It's been so long since I last saw the film, and my short term memory is so patchy now, that I can't recall whether the subsequent scenes of them having dinner and spending time together while Jeff is out of town include cues that she acknowledges and accepts that Barnabas is courting her. My memory, for what it is worth, is that the scenes have Maggie's reactions ambiguous. Is she simply touched that somebody as worldly as Barnabas is interested in her, or does she realize that he has romantic feelings for her. And, in turn, does she reciprocate?
All very interesting questions. And if one is to presume that the dialogue in which Maggie says she somehow feels as if she's known Barnabas "for so long" really is a subtle way of conveying that Maggie actually is Josette's reincarnation (which is something that never actually occurred to me until after going through that scene so closely for this slideshow) it could make sense that her connection to Barnabas is so strong, if even only on an unconscious level, that Jeff's dislike of Barnabas and the way it may look to others for her to be spending so much time with Barnabas while Jeff's away aren't things that even enter her mind. In the film it certainly doesn't look as if they do. And she'd have to have a complete and total lack of perception not to pick up on Barnabas' feelings for her. He's hardly subtle about them...
-
I got the assumption that Jeff was not especially successful as an artist. Maybe he made enough money to make ends meet but not enough to support a wife or family. Dates with Jeff would likely have been nights at the Blue Whale, the movies or bowling. So when this sophisticated gentleman who apparently has some money, Maggie is quite flattered that he's paying attention to her. Dinner at the Collinsport Inn likely impressed her big time.
Plus, I think that Maggie's self esteem was at a low point. She seems to have had ongoing issues with David. And Roger had been against her from the beginning. It's hard to say what her relationship with Jeff had been like previously but Barnabas seems to have charmed her completely, albeit for his own reasons.
Would Maggie and Jeff have broken up if Barnabas hadn't arrived?
-
it's so long since I last saw the movie, I did not even recall the wedding dress being there or Barnabas having dialogue where he spoke of it.
As many times as I've seen the movie, I'm so ashamed to admit that I don't remember the wedding dress dialog myself!
I remember it because it and Barnabas' whole opening monologue in the scene are things that several of my DS friends and I often poke fun at. Jokes like how the dander in the mantle dust holds the essence of Josette and Barnabas will never allow Willie to dust it. [b003] And how Josette may have never gotten to wear the wedding dress but Barnabas has often put it on and pretended to be her, but now that he's found Maggie he won't need to do that anymore. [ghost_nowink]
Is that room at Beechwood, or Lockwood Mathews?
I believe that except for the foyer/staircase (which I absolutely LOVE), the Old House interiors were filmed at Lockwood Mathews. But I could be wrong, of course.
I have no idea. The shooting schedule has Scene 113 as it was originally to be staged in the Old House's basement, and we know the basement scenes were shot at Beechwood. But you were correct, KMR, that the bedroom Maggie is locked in is at Lockwood-Mathews, so you may also be correct that Josette's room is there as well. I suppose only the fans who have been inside both houses can tell for sure...
-
And speaking of wearing Josette's wedding dress, let's continue with Scene 113:
Barnabas at the wedding dress.
|
And that's when we come to today's quote -
Page 44/Scene 113 - Barnabas: 'This was her wedding gown, Willie and she never got to wear it.'
- and who knew that Willie even had a desire to wear it?! Considering the way the quote is written in the script (with a blatantly missing comma), Barnabas certainly seems to imply as much. [nodassent]
But when it comes to what Barnabas actually says in the film, he says "This was her wedding gown", whereupon Willie comes around to -
(http://www.dsboards.com/hoDSquoteimages/0531hoDS_a.jpg)
- Barnabas' other side, and then Barnabas mournfully adds "She never got to wear it." No hints about Willie's desires...
-
Jokes like how the dander in the mantle dust holds the essence of Josette and Barnabas will never allow Willie to dust it. [b003] And how Josette may have never gotten to wear the wedding dress but Barnabas has often put it on and pretended to be her, but now that he's found Maggie he won't need to do that anymore. [ghost_nowink]
[a1f5] [a1f5]
The shooting schedule has Scene 113 as it was originally to be staged in the Old House's basement, and we know the basement scenes were shot at Beechwood. But you were correct, KMR, that the bedroom Maggie is locked in is at Lockwood-Mathews, so you may also be correct that Josette's room is there as well. I suppose only the fans who have been inside both houses can tell for sure...
Hmm... I thought the basement scenes were at Lockwood-Mathews? I remember my tour guide there telling me that one of the things the film crew did that upset the house's management was that they painted the basement. At least I do know for sure that the staircase down to the basement was definitely at Lockwood-Mathews, but I can't be sure about the basement itself. Maybe something else was filmed down there? (Can't think of what, though...)
-
- and who knew that Willie even had a desire to wear it?! Considering the way the quote is written in the script (with a blatantly missing comma), Barnabas certainly seems to imply as much. [nodassent]
[easter_grin] OK, now I'm really feeling that I'm overdue for another viewing of this film. There's going to be SO much fun stuff to look out for! [easter_grin]
-
I seem to remember the guide telling us that there were scenes filmed in the basement at Lockwood Mathews. The basement was off limits for tours when I was there, so I have nothing to actually to back up that statement.
-
Well, what I'm basing what I said on is that in Scenes 89 through 92 we see Carolyn in Beechwood when she goes from the stairs to the double doors that lead to the basement - and then when we see Willie run from the basement up to Carolyn, and they talk in front of them, and then the camera pans from them down to Barnabas' coffin, the double doors appear to be the same ones. Plus, all those scenes were scheduled to shoot while the production was at Beechwood. But who knows...
-
Continuing with Scene 113, starting with today's first quote, Willie's questions after Barnabas says that Josette never got to wear her wedding gown -
Page 44/Scene 113 - Willie: 'Why, Barnabas? What happened?.'
- coming up, followed by today's second quote -
Page 44/Scene 113 - Barnabas: 'When we first fell in love, My Josette and I, I was as you are, Willie, but when this curse was put upon me, there was only one way I could have her.'
- coming up.
And when it comes to the dialogue, Willie actually asks a simple "What happened, Barnabas?" - and perhaps significantly because of the changes to one phrase, Barnabas replies with ""When we first fell in love, My Josette and I, I was as you are, Willie, but when they put this curse upon me, there was only one way I could have her."
And DC's script has a notation that after Barnabas tells Willie he was as Willie is when he fell in love with Josette, Barnabas would cross to a sofa. But while Barnabas does move away from Willie, if he goes anywhere near a sofa, we don't see it because the shot of Barnabas -
(http://www.dsboards.com/hoDSquoteimages/0601hoDS_a.jpg)
- is too tight.
-
I always found the line about "they" putting the curse on Barnabas to be extremely interesting. Who could he referring to? A coven? Is there an Angelique anywhere in this timeline? There's certainly no indication that HODS Barnabas and NODS Angeliqueeven know each other? Does that alter Barnabas significantly? Is the all who love him must die still part of his curse? Or is it different altogether?
-
Is there an Angelique anywhere in this timeline? There's certainly no indication that HODS Barnabas and NODS Angelique even know each other?
Although, she died in 1810 and Barnabas was cursed in 1797, so if Angelique was involved in Barnabas' curse, it's not impossible that the same Angelique was somehow involved in the backstories of both hoDS and NoDS. After all, Barnabas does like 'em young!! [b003]
Does that alter Barnabas significantly? Is the all who love him must die still part of his curse? Or is it different altogether?
All interesting questions that we'll probably never know the answers to. Though one interesting thing about NoDS that we touched on while doing that film is that it's stated that Joshua built Collinwood in the late 1600s, so obviously, if hoDS and NoDS take place in the same time band, that Joshua couldn't have possibly been Barnabas' father. Though there could have easily been another Joshua who was that Joshua's descendant.
Barnabas will mention shortly that his father chained him in the coffin, so at least that part is the same...
-
Well, what I'm basing what I said on is that in Scenes 89 through 92 we see Carolyn in Beechwood when she goes from the stairs to the double doors that lead to the basement - and then when we see Willie run from the basement up to Carolyn, and they talk in front of them, and then the camera pans from them down to Barnabas' coffin, the double doors appear to be the same ones. Plus, all those scenes were scheduled to shoot while the production was at Beechwood. But who knows...
I'll have to look at the film again sometime to see what's going on here, but I do know for certain that the shot looking up the stairs at Carolyn and Willie was filmed at Lockwood-Mathews. The door that gets closed at the top of the stairs isn't really a door to the stairway, but is across the small room that is at the top of the stairs. (I can't recall exactly what the configuration is there, and I can't find any images of the floor plan for that detail of the house.) If there's a scene from Carolyn's level showing her coming up to the doors, then either (1) that was filmed at Lockwood-Mathews, not Beechwood, or (2) there are doors at both places that look enough like each other to fool us into thinking they're the same, or (3) the doors at both places are identical (that would be an incredible coincidence!), or (4) the film crew temporarily took the doors from Lockwood-Mathews and installed them at Beechwood for one shot. (Maybe that's another reason the LMM people weren't awfully happy with the production crew! [easter_wink])
-
Continuing with more of Scene 113, starting with today's first quote, a remark from Willie to Barnabas after Barnabas has explained that there was only one way he could have Josette after he'd been cursed -
Page 44/Scene 113 - Willie: 'You were going to kill her. Make her as you are.'
- coming up, followed by today's second quote -
Page 44/Scene 113 - Barnabas: 'I came to her that last night to offer her eternal life, eternal love. This is when she found what our wedding was to be. She ran from me.'
- coming up.
And when it comes to the dialogue, Willie's quote is completely dropped in the film, and I actually think that was a good thing because it certainly undercuts the notion that Barnabas offered Josette "eternal love", which is one of the few things in the film that actually sounds like something the daytime Barnabas would say - and when it comes to Barnabas' quote, what he actually says is "I went to her that night and offered her eternal life, eternal love. That's when she found out what our marriage was to be", with the "She ran from me" part dropped. And it's interesting that Barnabas seems to be saying that he went to Josette on the same night he was cursed, which would definitely be different from their backstory from the daytime show.
And DC's script has two notations for this section of the scene. The one that's for Willie's quote indicates that he goes to Josette's portrait after he completes his quote, but obviously that never happens (and we'll actually see where Willie is in the room in tomorrow's first capture). And the one that's for Barnabas' quote indicates that the camera would pan Barnabas as he joins Willie at the portrait for a 2 shot with the portrait in the background, but obviously that doesn't happen either. Though Barnabas does walk over to Josette's portrait and he explains the part about Josette finding out the truth of what their marriage was to be -
(http://www.dsboards.com/hoDSquoteimages/0602hoDS_a.jpg)
- while standing in front of the portrait.
-
Moving on through more of Scene 113, beginning with yesterday's first quote, Willie's next question -
Page 44/Scene 113 - Willie: 'How did she die?'
- coming up, followed by yesterday's second quote -
Page 44/Scene 113 - Barnabas: 'The cliff at Widow's Hill. I could not stop her. They found her body on the rocks below. And then they found me. My father could not bring himself to destroy me. So he chained me in that coffin for what he thought would be eternity. I never thought I would see her face again. But I have been given a second chance. (MORE)'
- coming up.
And when it comes to the dialogue, the description, and the direction, Willie's quote is delivered with one word added "Well, how did she die?", and as we can see in yesterday's first capture, Willie is still on -
(http://www.dsboards.com/91quoteimages/0603ds91_0.jpg)
- the other side of the room and nowhere near Josette's portrait - and when it comes to Barnabas' quote, it's delivered so closely to what's scripted that it's not even worth going into the differences.
And DC's script has more notations for this section of the scene. One indicates that after he explains that they found him, Barnabas crosses to the bed in Josette's room as he explains about his father chaining him in the coffin, but so far as we can see, that's doesn't exactly happen. Barnabas does walk away from the portrait -
(http://www.dsboards.com/hoDSquoteimages/0603hoDS_b.jpg)
- but he simply seems to walk into the middle of the room (maybe they couldn't afford to dress the room with a bed [b003]). And another indicates that after Barnabas says he's been given a second chance, he turns to Willie, and while he does turn to Willie, he actually does so before he brings up his second chance. And the third notation indicates that after Barnabas turns to Willie, there would be a tight 2 shot of them, however their 2 shot is actually extremely fleeting because it's more of a -
(http://www.dsboards.com/hoDSquoteimages/0603hoDS_c.jpg)
- pan from Barnabas to Willie than anything else. And interestingly enough, while DC made those three notations, he didn't make any for the fact that after Barnabas mentions that they found him, there's a shot of Willie before -
(http://www.dsboards.com/hoDSquoteimages/0603hoDS_a.jpg)
- Barnabas begins to seemingly move to the center of the room...
-
Is that room at Beechwood, or Lockwood Mathews?
I believe that except for the foyer/staircase (which I absolutely LOVE), the Old House interiors were filmed at Lockwood Mathews. But I could be wrong, of course.
I have no idea. The shooting schedule has Scene 113 as it was originally to be staged in the Old House's basement, and we know the basement scenes were shot at Beechwood. But you were correct, KMR, that the bedroom Maggie is locked in is at Lockwood-Mathews, so you may also be correct that Josette's room is there as well. I suppose only the fans who have been inside both houses can tell for sure...
Well, actually, there is another way to find definitive proof that Josette's room is part of Lockwood-Mathews and I found it today.
After I saw the shot of Willie standing in front of the rounded bay windows, it struck me that Lockward-Mathews has such features:
(http://www.dsboards.com/images/LockwoodMathewsMansion.jpg)
So, I did a search for Lockwood-Mathews which brought up this great Web site (https://www.lockwoodmathewsmansion.com/) - and on the site an entire section is devoted to the room that was used as Josette's room: Moorish Room (https://www.lockwoodmathewsmansion.com/moorish-room/)
There's no doubt whatsoever that it's the room. [ghost_nowink] The photos not only feature almost the exact same ceiling view as the capture of Willie in reply 369, but the slideshow also features the fireplace. And quite possibly the rounded bay window featured in the exterior photo that I've posted in this topic is indeed the room from the outside...
It would be interesting to see if anyone with some extra time on their hands could browse the site to see if they could find proof that any of the other suspected rooms/areas at Lockwood-Mathews were indeed used in hoDS. Obviously we know they shot in the rotunda, but maybe those cellar doors could be found... Or the room Maggie was locked in...
-
That's a great discovery, MB!
I seem to recall that there was a week of shooting at Lockwood after all the work at Lyndhurst had been done, so all of this came at the end of the work on the film, which is interesting to know.
G.
-
Wrapping up Scene 113:
Rev. 4/27/70
113 CONT'D 113
|
And that's when yesterday's first quote -
Page 45/Scene 113 - Barnabas (cont'd): 'Because tonight I found her, Willie. Tonight, I found Josette and this time there will be that wedding.'
- comes up, followed by yesterday's second quote -
Page 45/Scene 113 - Willie: 'What are you talking about, Barnabas? You don't mean Maggie Evans, do you? Barnabas, she's not some reincarnation of Josette. Even if she does look like her.'
- coming up.
End of scene - though certainly not end of sequence.
And when it comes to the dialogue, directions, and notations, Barnabas' quote is actually delivered as "Because tonight I have found her again, Willie. I have found my Josette. And this time, there will be that wedding", and as we can see in yesterday's first capture, rather than the 2 shot that DC's notation mentioned yesterday indicates, Barnabas is seen -
(http://www.dsboards.com/91quoteimages/0604ds91_0.jpg)
- in a single shot - and Willie is also seen in a single shot while he delivers -
(http://www.dsboards.com/hoDSquoteimages/0604hoDS_a.jpg)
- the first part of his quote as "Hey, you don't mean Maggie Evans?" before we see a shot of Barnabas with his expression showing that he clearly does -
(http://www.dsboards.com/hoDSquoteimages/0604hoDS_b.jpg)
- mean Maggie - and DC has a notation that indicates Willie would then cross to Josette's portrait, which he does do as the camera pans him as he crosses -
(http://www.dsboards.com/hoDSquoteimages/0604hoDS_c.jpg)
- in front of Barnabas as he actually says "Barnabas, now, she ain't no reincarnation of Josette" and, as we can see in yesterday's second capture, he finishes up standing in front -
(http://www.dsboards.com/91quoteimages/0604ds91_1.jpg)
- of the portrait - and we're going to hold off on the rest of Willie's quote because it was moved to play over the very beginning of Scene 114...
-
Setting up the current scene:
114 The DOOR SWINGS open. Carolyn enters.
|
And that's when yesterday's quote -
Page 45/Scene 114 - Carolyn: 'I won't let you do it, Barnabas.'
- comes up.
And when it comes to the dialogue, the directions, the descriptions, and the notations, what actually happens is that we see Carolyn at the door while Willie -
(http://www.dsboards.com/hoDSquoteimages/0605hoDS_a.jpg)
- delivers the last part of his lines that are scripted to take place in Scene 113 before any of Scene 114 happens, and he actually delivers that last line as "I mean, even if she does look like her" - and one thing that's interesting is that DC has a notation that there would be a whip pan from Willie to Carolyn, but quite obviously that isn't how things play in the film because as we can see above and in yesterday's capture, Carolyn simply -
(http://www.dsboards.com/91quoteimages/0605ds91_0.jpg)
- pushes the door open, which also makes it obvious that the door doesn't swing open before we see Carolyn - and when it comes to Carolyn's quote, she delivers it exactly as scripted.
And when it comes to the missing whip pan, it would be interesting to know why it and a lot of similar camera work/tricks in DC's notations in his script never do appear in the film. Were they never shot because Lela Swift talked DC out them? Were they shot but Arline Garson, who was the Film Editor, simply chose not to use them and/or to edit around them? Or were they in the film at one time but both Arline Garson and DC decided the film worked better without them? I suppose that most likely we'll never know...
And speaking of Arline Garson, I just discovered that she passed away on September 5th of last year. Her NYT obit describes her as a "cutting edge film editor."
-
This sequence is quite interesting to me. Though Carolyn is certainly in his thrall, she is nowhere near as passive and submissive as most of his other victims. The TV vampires seem to be much more in control of their prey than the HODS Barnabas. Nor does he have any success in controlling [spoiler]vampire Carolyn [/spoiler].
-
That's quite an interesting observation, Uncle Roger. So the movie version of Barnabas seems more ruthless and violent, but at the same time less powerful...
-
OK, I took a look at the Blu-ray last night, and checked out the staircase to the basement of the Old House. In "real life" this staircase is directly below the lower flight of the grand staircase in Lockwood-Mathews (that's the stairs that we see Maggie walking down to Barnabas who stands on the fog-covered floor of the rotunda). The door that Willie closes at the top of the basement stairs is actually a door to a small room directly across from the top of those stairs. That room has a semicircular wall, just like in Josette's room--but it's on the opposite side of the house.
I've attached an image that I found online, showing the exterior of that side of the house. (I don't know how to insert the image into the post.)
-
[pointing-up] Very interesting KMR! I wonder if there are any photos on the Lockwood-Mathews Museum Web site that show those doors?
And thanks for attaching the photo - I don't think I've ever seen that side of the house...
-
This sequence is quite interesting to me. Though Carolyn is certainly in his thrall, she is nowhere near as passive and submissive as most of his other victims. The TV vampires seem to be much more in control of their prey than the HODS Barnabas.
I've wondered about that too. Could Carolyn's violent objection to Barnabas wanting to become involved with Maggie have anything to do with the fact that Carolyn was already majorly obsessed with Barnabas before he attacked her? When it came to the vampire victims on the daytime show, few were even the slightest bit (no pun intended) obsessed with their vampire attackers. One could say that probably the only one who had an obsession was[spoiler]Lamar for Roxanne[/spoiler]but that didn't last long enough for[spoiler]Lamar to become jealous of some other relationship Roxanne might have had...[/spoiler]
-
Continuing with Scene 114, starting with yesterday's first quote, Barnabas' first admonishment of Carolyn -
Page 45/Scene 114 - Barnabas: 'How dare you follow me to this house? I did not summon you!'
- coming up, followed in the script by:
And that's when yesterday's second quote -
Page 45/Scene 114 - Barnabas: 'Don't you dare enter this room!'
- comes up.
And when it comes to the dialogue, the directions, the descriptions, and the notations, DC has a notation right after Carolyn's quote from Monday that indicates that Barnabas would be seen in close-up when he delivers yesterday's first quote, the only thing of which he changes is "do not" to "don't", however, as can be seen in yesterday's first capture, Barnabas is seen in what would more likely be described as -
(http://www.dsboards.com/91quoteimages/0606ds91_0.jpg)
- a medium shot (and note that behind him it does look like there's a bed in the room) - and when Barnabas delivers yesterday's second quote, which he actually delivers as "Don't come in this room!" (which is too bad because I like "Don't you dare enter this room!" better), as can be seen in yesterday's second capture, it's Carolyn who's -
(http://www.dsboards.com/91quoteimages/0606ds91_1.jpg)
- on screen and not Barnabas.
-
Continuing with Scene 114:
And that's when yesterday's first quote -
Page 45/Scene 114 - Carolyn: 'You love me, Barnabas. Not her.'
- comes up, followed by yesterday's second quote -
Page 45/Scene 114 - Barnabas: 'I will not have you speak of love here!'
- coming up.
And when it comes to the dialogue, the directions, the descriptions, and any notations, it's interesting that the script doesn't mention, nor does DC have a notation that indicates that Willie tries to block Carolyn's advance toward Barnabas but Carolyn pushes Willie -
(http://www.dsboards.com/91quoteimages/0607ds91_0.jpg)
- out of the way - and when it comes to yesterday's quote, they're each delivered exactly as scripted, which is a rarity of late...
And it's funny that until doing captures for this scene, I'd never noticed that there's a decanter of liquor on top of the circle settee, or that that top could apparently be used as a table...
-
It strikes me as odd that Carolyn is able to be so openly defiant of Barnabas here and that he is largely unable to exert control over her. While we don't see enough of Daphne to see how she behaves, I think it's interesting that Carolyn is able to defy Barnabas but, at this point, Willie is not. [spoiler]The attacks on Roger and Eliot occur offscreen, so it's very difficult to assess their victim phase. But Maggie reacts completely differently than the others. While the TV Maggie seemed to be fighting a losing battle at times, she wasn't as passive as HODS Maggie. It's like he slipped her a roofie. It would have been interesting to see what kind of vampire she would have made.[/spoiler]
-
[spoiler]While the TV Maggie seemed to be fighting a losing battle at times, she wasn't as passive as HODS Maggie. It's like he slipped her a roofie.[/spoiler]
[spoiler]Yes, who knows why she's seems to be completely catatonic?![/spoiler]
Perhaps Barnabas' bite was somehow able to exert different controls of his choosing. And when it came to Carolyn, given her already existing obsession, he didn't think he needed to go as far with her as he did with Willie. If so, that decision certainly backfired big time!!
[spoiler]It would have been interesting to see what kind of vampire she would have made.[/spoiler]
Most definitely!!
-
Perhaps the bite was more powerful when Barnabas was simply trying to control one victim at a time. His control seemed less secure when he was attempting to control Willie and Carolyn simultaneously. Vampires apparently can't multitask.
-
Moving on with Scene 114, picking up with Carolyn's threat in Thursday's quote -
Page 45/Scene 114 - Carolyn: 'I'm going to tell Maggie Evans everything about you. I won't let you touch her. I won't!'
- coming up, followed in the script by:
BARNABAS
Suddenly, very close to her, he opens his mouth, baring his fangs,
goes to her neck.
|
And when it comes to the dialogue, the directions, and the descriptions, the only difference in the way Carolyn delivers her quote in the film is that she say's "gonna" instead of "going to" - and unlike in the script, Carolyn actually turns away from Barnabas and begins to move away -
(http://www.dsboards.com/hoDSquoteimages/0608hoDS_a.jpg)
- from him before he reaches out -
(http://www.dsboards.com/hoDSquoteimages/0608hoDS_b.jpg)
- to pull her back to him - and one thing that I've always found interesting, as in strange, is that Barnabas already has blood in his mouth and on his fangs before -
(http://www.dsboards.com/hoDSquoteimages/0608hoDS_c.jpg)
- he attacks Carolyn (maybe it's a heretofore unknown revelation that vampires secrete blood in their mouths when they're intensely angry - or maybe it's only a certain vampire, like only Barnabas [b003]).
-
Continuing with Scene 114:
WILLIE
Horrified, but frozen in his tracks.
CAMERA PANS with him as he runs to Barnabas, begins hammering on
his back.
Rev. 4/27/70
114 CONT'D 114
|
And that's when Friday's quote -
Page 46/Scene 114 - Willie: 'Stop it... stop it...'
- comes up.
And when it comes to the dialogue, the directions, and the descriptions, things don't quite play as laid out in the script because Barnabas throws Carolyn down on the circular settee -
(http://www.dsboards.com/hoDSquoteimages/0609hoDS_a.jpg)
- before he moves in to attack her while Carolyn cries out an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0609hoDS_b.jpg)
"Willie! Willie!
- and at first Willie just stands there in horror -
(http://www.dsboards.com/hoDSquoteimages/0609hoDS_c.jpg)
- before, unlike Friday's quote, he finally screams out -
(http://www.dsboards.com/91quoteimages/0609ds91_0.jpg)
"Barnabas!
- and while Barnabas is munching on Carolyn, Willie screams -
(http://www.dsboards.com/hoDSquoteimages/0609hoDS_d.jpg)
"What are you doing?"
- and then as he lunges to them without the camera panning him, he screams -
(http://www.dsboards.com/hoDSquoteimages/0609hoDS_e.jpg)
"Barnabas!"
- and as Willie desperately tries to pull Barnabas off of her, Willie screams -
(http://www.dsboards.com/hoDSquoteimages/0609hoDS_f.jpg)
"Carolyn--"
- and after Willie is able to pull Barnabas off (no hammering involved) as he screams -
(http://www.dsboards.com/hoDSquoteimages/0609hoDS_g.jpg)
"Stop it!"
- we see Carolyn's limp body just lying there, blood all over her throat and on her scarf...
-
Wrapping up Scene 114, as scripted:
Barnabas suddenly straightens up with a roar and Carolyn falls
to the floor in a faint. He slashes Willie viciously across
the face. Blood runs from Willie's mouth. Barnabas turns,
looks at Carolyn. She lies there sobbing.
|
And that's when Saturday's quote -
Page 46/Scene 114 - Barnabas: 'Get her out of here. She has desecrated this room. Get her out!!!'
- comes up.
And when it comes to the dialogue, the directions, and the descriptions, again, things don't quite play as laid out in the script because Barnabas doesn't quite roar when he straightens up, nor does he viciously slash Willie across the face - though what Barnabas does do is grab Willie by the lapels of his coat and -
(http://www.dsboards.com/hoDSquoteimages/0610hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0610hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/0610hoDS_c.jpg)
- violently swings him about until, still holding Willie by the lapels, Barnabas delivers the first sentence of his quote -
(http://www.dsboards.com/91quoteimages/0610ds91_0.jpg)
- which he actually delivers as "Get her out, Willie", and then after turning to look -
(http://www.dsboards.com/hoDSquoteimages/0610hoDS_d.jpg)
- down at Carolyn, who obviously didn't fall to the floor in a faint after Willie pulled Barnabas off of her because, as we already mentioned last time, she's lying on the circular settee, Barnabas delivers the "She has desecrated" part of the second sentence in his quote as we see -
(http://www.dsboards.com/hoDSquoteimages/0610hoDS_e.jpg)
- a closer shot of Carolyn and her bleeding wound, followed by Barnabas seen holding Willie from a different angle as he finishes -
(http://www.dsboards.com/hoDSquoteimages/0610hoDS_f.jpg)
- the second part of the second sentence of his quote with "this room" before pushing Willie away (and since Willie wasn't slashed across the face, we do not see any blood running from Willie's mouth) and beginning to run from the room as -
(http://www.dsboards.com/hoDSquoteimages/0610hoDS_g.jpg)
- he shouts the third sentence from his quote "Get her out!!!" - and then the camera moves into a close-up of -
(http://www.dsboards.com/hoDSquoteimages/0610hoDS_h.jpg)
- Josette's music box on the mantle...
-
Considering that Scenes 113 and 114 are quite different before the 4/27 revision, I figured I'd share the novelization version of them:
Shortly afterward Barnabas and Willie entered the
basement of the old house. Barnabas was in a mood of
elation, while a troubled Willie moved along at his side
carrying a candelabra. It was now nearly dawn.
"I found her again, Willie," Barnabas exulted. "Tonight
I found my Josette."
Willie frowned. "But it's crazy. Maggie Evans ain't
no reincarnation of some French dame who lived two
hundred years ago."
Barnabas looked at him with surprise. "You don't
understand!"
"I understand more than you think!" Willie said stub-
bornly.
"This is beyond your experience," Barnabas protested.
"You gotta be careful," Willie warned him.
"I don't mind risking everything for Josette!"
"Now, Mr. Barnabas," Willie said, "don't you go
startin' nothin' with Maggie. You're in trouble enough
without hurting her."
"I won't hurt her."
"You say that. But it ain't so."
"I mean it," Barnabas told him. "I am going to offer
her what no other man can. Eternal life. Eternal love."
Willie looked at him blankly. "Whatever that means!"
"You'll find out," Barnabas promised.
"She ain't gonna pay no attention to you. She ain't."
Barnabas hesitated and gave him an angry look. Then
slowly he asked, "Do you intend to try and stop her?"
"Now wait a minute," Willie protested, moving back.
"Answer me!" Barnabas demanded menacingly.
"I don't mean no trouble," Willie pleaded.
"It sounded like it," Barnabas said, still glaring at the
unhappy Willie.
"No. No," Willie managed. "It's just that she's got that
Jeff Clark."
"I don't want to hear about him," Barnabas said
angrily and he moved closer to Willie in a threatening
manner. But he stopped in the midst of his angry gesture
at the sight of a shadow on the wall. Someone was stand-
ing on the stairs, hearing all that they were saying.
Alertness and panic crossed his gaunt face. He swung
around quickly.
"Where--where you going?" Willie asked.
But there was no reply from the suddenly tense Barn-
abas. He was standing at the bottom of the stairs look-
ing up, ready to deal with the intruder. His lips worked
with emotion and there was a fire of anger in those
hypnotic eyes.
Carolyn's image could be seen through the glass doors
at the top of the stairs. Barnabas called out in a compel-
ling tone, "Carolyn!"
There was a short delay, as if Carolyn were trying to
pit her will against his, but it was a losing game for her.
Slowly the door opened and the angry and hurt young
woman came down the stairs reluctantly. There was a
stubborn look on her pretty face.
"I won't let you do it," she warned him.
Barnabas was all command. "Come here."
She went to him and said, "You love me. You must
love me! I'm going to tell her everything, All about
you."
"Are you?" Barnabas asked with a tinge of sarcasm.
"Yes," she replied, but her defiance was giving way
to nervousness.
"We shall see," he said.
"You're forcing me to do it." Then she saw the look
that had come to his gaunt face. She took a fearful step
to one side, but he was quick to block her way. He stood
threateningly before her.
Frightened but still defiant, she cried, "Don't look at
me! I'm not going to let you stop me. I won't let you
touch her. I won't!"
Barnabas was suddenly very close to her. He opened
his mouth, baring his fangs, and then went down on her
neck. Carolyn gasped but surrendered in his arms.
Willie looked on in frozen horror as Barnabas held
her in the vampire embrace. At last he came out of his
stunned state and ran forward to Barnabas and began
hammering on his back. "Stop it! Stop it!" he shouted.
Barnabas reacted by straightening up with a roar. He
allowed Carolyn to slump to the floor in a faint as he
turned to Willie in a rage. He slashed Willie viciously
across the face so that blood spurted from his mouth.
Willie staggered back, screaming hysterically, "You were
going to kill her! You were!"
The distorted, angry expression gradually drained from
the noble, gaunt face of Barnabas Collins. He looked
shocked at what he had just done and there was the
suspicion of trembling in his hands. It was clear there
were separate forces working within him and opposing
each other . . . and this inward struggle was taking its
toll of him.
Grimly he stared at the unconscious Carolyn. In a
taunt voice he said, "Get her out of here!"
Willie gladly came forward. "Yes! Right away!"
"I never want to see her again."
"I understand," Willie agreed meekly as he bent by
the girl.
"Get her out!" Barnabas seemed ready to slip back in-
to that formidable rage at any moment.
"I will," the handyman said, picking Carolyn up.
"She will tell no one," Barnabas informed in his
authoritative way. "No one. Both of you are mine. Both
of you must do as I say!"
Willie half-carried, half-dragged Carolyn up out of the
cellar,
|
What a huge surprise it is (NOT!!) that DC had all trace of Barnabas' shock removed from Scene 114. ::) After all, having hoDS Barnabas shocked at his actions would never do. That would be so daytime Barnabas. And considering Frid thought hoDS Barnabas was much too much of a monster, I can't imagine he was too happy about no longer being able to play that aspect of the scene, even as brief as it was...
One thing I do like about the revision, though, is Barnabas' notion that Carolyn desecrated Josette's room...
-
Oops - I forgot to mention that the Fest's 1999 Movie Calendar's entry for March 6th is this bit of dialogue from the earlier version of Scene 113:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #113 - Barnabas: 'I am
going to offer her what no other man can...Eternal life...
Eternal love!'
Though for the original hoDS slide I substituted what Barnabas says in the 4/27 revision:
(http://www.dsboards.com/moviesquoteimages/0306hoDS_0.jpg)
hoDS: Scene #113 - Barnabas: 'I went
to her that night and offered her eternal life, eternal love.'
-
Thanks again, MB, for the excerpt from the Dan Ross novelization. Interesting to read. Willie calling his master "Mr. Barnabas" suddenly makes me wonder if he had been briefly possessed by the spirit of Ben Stokes.
I think the scene plays much more effectively in Josette's room. The final camera close-up on the music box is a very forceful statement about the fate of anyone Barnabas chooses to love.
G.
-
Willie calling his master "Mr. Barnabas" suddenly makes me wonder if he had been briefly possessed by the spirit of Ben Stokes.
I had the same thought. And I don't think there's any other place that Willie refers to Barnabas that way - not when he talks about him or even addresses him directly.
I think the scene plays much more effectively in Josette's room.
I do too - even with Barnabas' shock at his actions being cut. Though it's interesting that, unlike in the 4/27 revision, in the earlier version there's no mention of the curse being put on Barnabas so, therefore, there's no confusion about how it was put on him. However -
The final camera close-up on the music box is a very forceful statement about the fate of anyone Barnabas chooses to love.
Is the all who love him must die still part of his curse? Or is it different altogether?
- given events in the film, one could argue that the anyone who loves him will die angle could be a part of the curse because[spoiler]that's certainly the case when it comes to Carolyn and Julia. Though not Maggie. So one could wonder if she actually ever is in love with Barnabas.[/spoiler]Though getting into any of that with regard to the film is really reading things into the film from the daytime show because nowhere in the film is the anyone who loves him will die angle specifically mentioned or even implied. It's always a danger to bring elements from the daytime show into the film if they weren't specifically transferred from the daytime show into the film. The film really should be approached strictly on its own terms...
-
Dealing with Scene 115:
115 EXT: DRIVE TO COLLINWOOD - NIGHT 115
TRUCKING SHOT
Willie is half carrying, half dragging Carolyn. Blood runs
from the wounds in her neck down her dress. Willie sees the house
ahead.
|
And that's when Sunday's quote -
Page 46/Scene 115 - Willie: 'I can't take you in. Can you make it?'
- comes up, followed in the script by:
She starts to fall, then walks a few halting steps.
|
And that's when Monday's quote -
Page 46/Scene 115 - Willie: 'Don't...don't you ever come to Barnabas. Carolyn, he'll kill you. I swear he will. Don't you ever come back.'
- comes up, followed in the script by:
Willie runs into the woods. Carolyn, barely able to walk, slowly,
weavingly makes her way toward the house.
|
And when it comes to the dialogue, the directions, and the descriptions, Willie actually delivers Sunday's quote as "Oh, I can't... I can't take you in, Carolyn. Can you make it, huh? Oh...", and as he does so we hear howling in the distance as he reaches into his pocket for his handkerchief, unfolds it, and -
(http://www.dsboards.com/hoDSquoteimages/0611hoDS_a.jpg)
- starts to wipe the blood running from Carolyn's wound - and he follows that with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0611hoDS_b.jpg)
"Oh. Oh."
- as he reaches to tap Carolyn's cheek - then turns to -
(http://www.dsboards.com/hoDSquoteimages/0611hoDS_c.jpg)
- look at the house before delivering an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0611hoDS_d.jpg)
"Oh, my."
- as he continues to dab the blood - and then Willie actually delivers the first part of Monday's quote as "Carolyn, don't you ever come back to Barnabas" before he taps Carolyn's cheek with -
(http://www.dsboards.com/hoDSquoteimages/0612hoDS_a.jpg)
- the bloody handkerchief and follows with the second part of Monday's quote as "He'll kill you. I swear he will. Don't you ever come back", all the while still dabbing the blood - and after we hear more howling in the distance, Willie finally stops dabbing and delivers an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0612hoDS_b.jpg)
"Go on in, honey. Go on."
- and then rest of the scene progresses as scripted...
-
Oops - again I forgot something - well, two things, actually:
I wanted to mention that even though Scene 115 is listed in DC's script as part of the 4/27 revision, the novelization of it plays exactly as scripted in DC's script.
And I don't know how I could have forgotten to praise John Karlen's masterful work in Scene 115. Willie's intense nervousness and his desire to help Carolyn all that he can just leap off the screen. If it was all his idea to ad lib all the nonscripted parts, Karlen took what might have played as an average scene and made it spectacular...
-
My thoughts exactly.
-
Dealing with today's scene:
116 INT: FOYER COLLINWOOD - NIGHT 116
Mrs. Johnson has just finished cleaning up after the party. She
is carrying the last tray of glasses from the drawing room. The
door suddenly opens. Carolyn
CONTINUED
116 CONTD CONTD 116
walks in, but so slowly, so haltingly that Mrs.
Johnson knows something is wrong.
|
And that's when today's quote -
Page 47/Scene 116 - Mrs. Johnson (putting the tray of glasses down): 'Carolyn!'
- comes up, followed in the script by:
Carolyn looks at her, but she is too far gone to see
her. With a terrible SIGH, Carolyn falls to the floor.
Mrs. Johnson looks down at her, SCREAMS. CAMERA ZOOMS
IN to CLOSE UP of Carolyn. SHE IS DEAD.
|
But when it comes to the dialogue, the directions, and the descriptions, practically none of that is how the scene actually plays in the film. First off, Mrs. Johnson doesn't come from the direction of the drawing room because, strangely (given the kitchen, where one would presume the dirty glasses would be being taken, is in that end of the house), Mrs. Johnson carries a tray of glasses down the long hallway from the dining room -
(http://www.dsboards.com/hoDSquoteimages/0613hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0613hoDS_b.jpg)
- (but then we know how DC just loves his people coming down the long hallway shots [b003] - and honestly, unless one is familiar with Lyndhurst, one wouldn't even be aware that Mrs. Johnson is walking away from the kitchen rather than to it), and suddenly comes to an abrupt stop -
(http://www.dsboards.com/hoDSquoteimages/0613hoDS_c.jpg)
- only to drop the entire tray onto the floor -
(http://www.dsboards.com/hoDSquoteimages/0613hoDS_d.jpg)
- as the glasses seemingly shatter into a million pieces and what liquid remained in them explodes into the air and onto the floor - and after the camera cuts to Mrs. Johnson in total shock -
(http://www.dsboards.com/91quoteimages/0613ds91_0.jpg)
- (with nary a word being said by her), the camera whip pans to show Carolyn -
(http://www.dsboards.com/hoDSquoteimages/0613hoDS_e.jpg)
- slumped on the floor and against the door - and as the camera does actually begin a slow zoom in on her, at a point we start to hear -
(http://www.dsboards.com/hoDSquoteimages/0613hoDS_f.jpg)
- a bell tolling - and the shot suddenly holds once it reaches a close-up of the obviously dead Carolyn -
(http://www.dsboards.com/hoDSquoteimages/0613hoDS_g.jpg)
- whereupon it eventually begins to dissolve into the next scene's opening shot -
(http://www.dsboards.com/hoDSquoteimages/0613hoDS_h.jpg)
- which we'll get into when we begin to deal with Scene 117...
And the reason why the beginning of Scene 116 doesn't align with the rest of the scene is because that beginning was typed on the same page as the end of the 4/27 revision, which apparently ended with Scene 114 because, as with Scene 115, the novelization of Scene 116 plays exactly as scripted in DC's script. Well, up to a point. But more on that later...
-
OK - here's the end of the novelization of Scene 116 and it will be quite obvious when it reaches the part that deviates from DC's script's version:
Carolyn looked at her blankly, much too far gone to
see her. With a terrible sigh she crumpled on the floor.
Mrs. Johnson screamed and knelt down by her.
"Carolyn, speak to me!" the housekeeper begged her.
But Carolyn lay there motionless. With horror or her
face, Mrs. Johnson felt for a pulse beat and then drew
back from the fallen body, ashen pale.
For a moment she stood frozen, staring down at
Carolyn. As realization of what had happened finally got
through to her, she wheeled around and began racing
down the corridor screaming, "She's dead! Miss Carolyn
is dead!"
|
It's too bad the end of the scene was dropped somewhere along the way. And not that I hold anything against Barbara Cason because she did well with what she was given to do, but it's too bad that Clarice Blackburn didn't get to play Mrs. Johnson. If so, perhaps what was dropped from Scene 116 wouldn't have been because I can just see Clarice's Mrs. Johnson racing down the corridor and screaming, "She's dead! Miss Carolyn is dead!" A classic Mrs. Johnson moment that never was...
And one other thing that I'd like to share in the post is perhaps my favorite hoDS teaser poster - one that certainly relates to the parts of the script we've dealt with today:
(http://www.dsboards.com/hoDSquoteimages/didnt.jpg)
-
There's so much to deal with when it comes to today's scene that I'm going to break it up into two posts:
Part 1, as scripted:
117 EXT: CEMETERY - DAY 117
HIGH ANGLE
The TOLLING OF A GREAT CHURCH BELL can be heard in the
distance. It is a cold dark day and rain is falling.
A GROUP OF MOURNERS is gathered under umbrellas out-
side a mausoleum. We hear the DISTANT INTONING OF A
MINISTER. CAMERA SLOWLY MOVES IN toward the group.
The TOLLING OF THE BELL continues. The INTONING OF
THE MINISTER BECOMES MORE DISTINCT until we are able
to make out the words of the twenty-third psalm.
|
And that's when today's quote is scripted to -
Page 47/Scene 117 - Minister: 'He leadeth me in the paths of righteousness for his name's sake. Yea, though I walk through the valley of the shadow of death I will fear no evil.'
- come up.
However, while many things do play out in the film in a similar fashion, there's much more in the film than is scripted and at times what is scripted happens in different orders. So, without further ado, this is how the first part of Scene 117 plays in the film:
The scene actually begins as Carolyn's death stare dissolved into a shot of the face -
(http://www.dsboards.com/hoDSquoteimages/0613hoDS_g.jpg)
(http://www.dsboards.com/hoDSquoteimages/0613hoDS_h.jpg)
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_a.jpg)
- of an angel statue as the sound of the bell continues to toll. The camera soon pulls up to a high angle to reveal a group of mourners gathered under umbrellas around a coffin as the rain pour down upon them - there is no view of a mausoleum at this time. Almost immediately we hear the minister intoning an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_b.jpg)
"Precious in the eyes of the Lord is the sight of those of his
children..."
- and as the camera moves in on the mourners, he continues with -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_c.jpg)
"...who have followed his way and led a good and upright
life."
The camera shot then dissolve to begin to show the mourners as they do indeed stand outside the Collins mausoleum as the minister continues with -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_d.jpg)
"Asleep, O Lord, far from thee thy kinderd in their graves
may be..."
- and the camera circles around the various mourners as the minister continues with -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_e.jpg)
"...but there is still a blessed sleep..."
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_f.jpg)
"...from which one ever..."
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_g.jpg)
"...wakes to keep."
And then after completing his prayer, the minister proceeds with his eulogy with -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_h.jpg)
"Carolyn Stoddard, loving daughter of Elizabeth Stoddard..."
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_i.jpg)
"...niece of Roger Collins, devoted cousin of David Collins,
beloved fiancee of Todd Blake. May she find peace as she
enters into life eternal. Amen."
And at that the mourners begin throwing their flowers onto Carolyn's coffin -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_j.jpg)
- and today's quote has yet to come up in the scene. But we shall see when it does in Part 2. But before we wrap up this part, I have to say I found it interesting that Carolyn was Elizabeth's loving daughter, David's devoted cousin, and Todd's beloved fiancee - but apparently she was just a plain niece to Roger. I guess that means that if anyone Carolyn loved or who loved her was going to be slated to die after she comes back, seemingly Roger is free and clear. [b003]
-
Her beloved fiancee apparently doesn't rate an umbrella. [easter_cry]
-
And now:
Part 2, as scripted:
During the minister's speech, the CAMERA PANS the
solemn faces of the mourners: Roger, David, Julia
Todd, Maggie, Jeff, Stokes, the Sheriff and VARIOUS
OTHER RELATIVES and FRIENDS.
MINISTER (OS)
For thou art with me, thy rod and
thy staff they comfort me; Thou
preparest a table before me in
the presence of mine enemies:
Thou anointest my head with oil;
my cup runneth over. Surely good-
ness and mercy shall follow me all
the days of my life; and I shall
dwell in the house of the Lord
forever.
WIDE ANGLE - MOURNERS
The pallbearers raise the coffin, carry it toward the
mausoleum.
117 CONTD CONTD 117
LIZ AND MAGGIE
as they watch the pallbearers. In a moment we hear
the BIG IRON DOOR BEING CLOSED AND BOLTED and we know
that Carolyn is gone.
|
End of scene.
And when it comes to the dialogue, the directions, the descriptions, and the notations, well, as we've seen the camera has already panned all the mourners - but what does come up next in the scene following where we left off in Part 1 is a shot of David as the minister begins, not the second part of the twenty-third psalm (which would be hard given we haven't heard the first part yet - or today's quote), but we actually hear the start of the twenty-third psalm -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_k.jpg)
"The Lord is my shepherd, I shall not want. he maketh me to
lie down in green pastures."
- and after that the camera pulls back to reveal the pallbearers already carrying Carolyn's coffin as we hear the minister finally deliver today's quote as the various pallbearers and the minister come into view -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_l.jpg)
"He leadeth me in the paths of righteousness..."
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_m.jpg)
"...for his name's sake."
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_n.jpg)
"Yea, though I walk through the valley of the shadow of
death..."
- and the minister wraps up today's quote as he begins the rest of the prayer as laid out in this post -
(http://www.dsboards.com/91quoteimages/0614ds91_0.jpg)
"...I will fear no evil. For thou art with me..."
And after the pallbearers and minister have passed by we see David, Maggie, Liz and Julia (though who knows who the man seen between Liz and Julia is?) watching after them as we hear the minister continue with -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_o.jpg)
"...thy rod and thy staff, they comfort me."
- and then the camera switches to shooting from behind everyone as we see the pallbeaers making thier way to the mausoleum and hear the minister continue with -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_p.jpg)
"Thou preparest a table before me in the presence of mine
enemies."
- and, unlike the script, before the minister is even done things switch to a shot of Maggie and Liz huddling together -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_q.jpg)
- and after Liz looks down as if she can't bear to watch any more, we hear the minister continue with -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_r.jpg)
"Thou anointest my head with oil..."
- and then the shot switches to the cemetery caretaker starting to open the iron gate to the mausoleum as the minister continues with -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_s.jpg)
"...my cup runneth over."
- and with the gate open the pallbearers move closer to the mausoleum as the minister continues with -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_t.jpg)
"Surely goodness and mercy shall follow me all the days..."
- and the camera switches to a shot of the caretaker holding the iron gate as the minister continues with -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_u.jpg)
"...the days of my life..."
- and the camera moves into the darkness as the minister's words begin to echo -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_v.jpg)
"...and I shall dwell in the house of the Lord forever."
- and finally things end with a loud bang.
-
Her beloved fiancee apparently doesn't rate an umbrella. [easter_cry]
All the better for that soaking wet lock of hair to hang down his forehead...
Though as I said in a previous post, given the way things apparently ended with Carolyn and Todd at the party, what can Todd be thinking and feeling now that Carolyn is dead?! It doesn't take a ton of empathy to discern the subtext in Briscoe's performance here - it's perfectly palpable...
Though on a much lighter note, I've drawn the conclusion that there really isn't any goof when it comes to Todd's last name. Yes, the minister refers to him as Todd Blake while the closing credits list him as Todd Jennings - but you see, when the eulogy was being written, for reasosn known only to him, Todd insisted that he be referred to by middle name as well. After all, Blake can be both a surname and a first and/or middle name. Problem solved! [nodassent] Yup, that's the explanation exactly! [wink2] His full name is Todd Blake Jennings. [lghy]
-
My favorite passage from KLS' diary for this day shooting the funeral has to be:
"I overhear the camera crew talking. One of them says Dan has a great way of bringing unity to the set--everyone hates him. And this is the first day?"
Yup, that sounds just like our DC! [easter_grin] And a close second has to be:
"On the third take, Dan cuts 2 lines from the 23rd Psalm. The Assistant Director mutters, "Great. Now he's editing God."
-
While I was looking for an article about the shooting of Scene 117 (an article I didn't find - but it's around somewhere) what did I come across but a folder of hoDS and NoDS stills I completely forgot I have (some of which are very rare stills of deleted scenes). And one of those stills, which is also pretty rare, is one of Nancy Barrett/Carolyn for the photo shoot for the teaser poster I shared yesterday:
(http://www.dsboards.com/hoDSquoteimages/Carolyn_Wound.jpg)
Better to find it a day late than never. But I suppose that's what happens when one has so much DS stuff stored all over in different spots because it doesn't all fit in one spot. I do try to keep it as organized as possible, but still, it's a wonder I remember that I have even half of it!! [lghy]
-
Though on a much lighter note, I've drawn the conclusion that there really isn't any goof when it comes to Todd's last name. Yes, the minister refers to him as Todd Blake while the closing credits list him as Todd Jennings - but you see, when the eulogy was being written, for reasons known only to him, Todd insisted that he be referred to by middle name as well. After all, Blake can be both a surname and a first and/or middle name. Problem solved! [nodassent] Yup, that's the explanation exactly! [wink2] His full name is Todd Blake Jennings. [lghy]
We kinda addressed that in the HODS parody skit, via a fake article in a real magazine, Film Comment. "The ambiguity of the idea of the character of Todd contributes to the film's dreamlike quality." . It got the expected laugh in the skit. And it gave me a private laugh later that weekend when i overheard some guy claiming that he bought the magazine in the dealer's room.
-
That's a wonderful production publicity still of Nancy in her about-to-be-Undead makeup in front of Lyndhurst. Great find!
Nice to see shots of Michael Stroka in those captures. I usually missed him altogether when I used to watch this on my VHS tape.
G.
-
That's a wonderful production publicity still of Nancy in her about-to-be-Undead makeup in front of Lyndhurst. Great find!
One of the other stills I found is of David, Maggie and Jeff when David is saying goodbye to Maggie at the costume party. It's probably the best still I've seen from that sequence and it's too bad that we've dealt with it already. But I'll probably redo one of the graphics from Scene 107 once it comes around again in the slideshow.
And one other still is of Quentin and Claire when they save Tracy from Angelique in NoDS. I really have no idea how I forgot about that one. I may not remember all my hoDS stuff, but I rarely forget about the NoDS stuff that I have. But like the David/Maggie/Jeff hoDS still, I'll probably redo one of the graphics from NoDS Scene 227 once it comes up in that slideshow again...
Nice to see shots of Michael Stroka in those captures. I usually missed him altogether when I used to watch this on my VHS tape.
I just had a thought! Given that Stroka's pallbearer is standing next to Mrs. Johnson at the funeral, sharing an umbrella with her, and quite possibly even supporting her, wouldn't it be a hoot and a half if Stroka is secretly playing Harry Johnson?! [a1f5] Who knew?!
-
I don't remember where i read this now, probably in one of the KLS books but apparently there was an actual funeral there that day and they had the bad timing to arrive when DC was trying to film. He had the audacity to tell them to wait because it wasn't like they'd be going anywhere.
-
Setting up today's new scene:
118 EXT: CEMETERY DRIVEWAY - DAY 118
FULL SHOT
The mourners solemnly emerge from the cemetery and go
to their respective cars, which are parked in the
driveway.
JULIA AND STOKES
as they approach her car.
STOKES
I must speak to you -- alone.
JULIA
We can talk in the car on the way
into town. I have to go to the lab.
|
And that's when today's quote -
Page 48/Scene 118 - Stokes: 'I'll come to the lab later. I asked Sheriff Patterson if I could drive in with him. I suspect the police and I may have two entirely different theories.'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way of knowing if anything might have changed or things might have played as scripted because in DC's script he drew a box around it and put a big "X" in it, which obviously means he didn't shoot it. Interestingly, though, before that decision was made he made some notations for the way he was going to shoot it. But those are all in the second half of the scene, so they won't come up until tomorrow...
-
As per usual, yesterday I forgot to mention that this quote from the Fest's 1999 Movie Calendar was the March 8th installment for the original hoDS slideshow:
(http://www.dsboards.com/moviesquoteimages/0308hoDS_0.jpg)
hoDS: Scene #117 - Minister: 'Yea, though I walk through
the valley of the shadow of death, I will fear no evil.'
And I also completely forgot all this time that we've been doing this topic that KLS' original version of My Scrapbook Memories of Dark Shadows includes dozens and dozens of behind the scene photos from the production of hoDS. Photos that were never reprinted in the DS Memories book (though that book has behind the scenes and official still photos from hoDS that weren't in Scrapbook Memories - but that's an entirely different story). So, I decided that because Scrapbook Memories is out of print, I should be sharing the hoDS photos in this topic for the people who might never see them otherwise. And I'll start that off as soon as I get the time to scan some pages from the funeral and to post them.
(I'll go back to all the stuff pre-funeral when this slideshow starts over again next year.)
-
Love the idea of sharing some of those Scrapbook memories photos here, MB.
My absolute favorite candid shot from the entire hoDS production was published in that book. I don't know if she ever included it elsewhere. It was taken at the funeral and involves three actresses... for now, that's all I will say...
G.
-
Oh, and I love the idea that Michael Stroka was playing Harry Johnson! I'm already imagining the scenes now. He would have been marvelous in that role.
G.
-
Love the idea of sharing some of those Scrapbook memories photos here, MB.
Here are the first three pages of funeral shoot photos:
(http://www.dsboards.com/hoDSquoteimages/Page-94.jpg)
(http://www.dsboards.com/hoDSquoteimages/Page-95.jpg)
(http://www.dsboards.com/hoDSquoteimages/Page-96.jpg)
My absolute favorite candid shot from the entire hoDS production was published in that book. I don't know if she ever included it elsewhere. It was taken at the funeral and involves three actresses... for now, that's all I will say...
That particular photo will be coming up in the next batch...
-
Wrapping up Scene 118:
open Pan
Julia looks at him curiously, then starts to open her C U J
car doorand gets in pan her in
car and into
2 shot.
|
And that's when today's first quote -
Page 48/Scene 118 - Stokes: 'Oh, by the way -- do you happen to know why Barnabas Collins didn't attend the funeral?'
- comes up, followed by today's second quote -
Page 48/Scene 118 - Julia: 'He doesn't know. He's out of town.'
- coming up, followed in the script by:
PAN CUSTOKES
STOKES
I see. widen
closes as he closes
He opens the car door for her. it
|
And when it comes to the dialogue, the descriptions, and the directions for this scene, we have no way of knowing if anything might have changed or things might have played as scripted because, as I said, this scene was never shot. And normally I get upset about such things, but in this case there really isn't anything all that important in the scene that won't get covered in the next scene when Stokes joins Julia in the lab. The only thing that won't be gotten into is Stokes asking about Barnabas and Julia telling him Barnabas doesn't know about Carolyn because "he's out of town" - though unless someone has read the script, they don't even know that Barnabas evades Julia's desire to get together with him by saying he's going out of town because that's one of the many scenes from the costume party that ended up on the cutting room floor.
And when it comes to DC's notes, it's interesting that he's crossed out that Julia opens her car door but then seemingly put it back...
-
And now here's the second and last batch of funeral shoot photos:
(http://www.dsboards.com/hoDSquoteimages/Page-97.jpg)
(http://www.dsboards.com/hoDSquoteimages/Pages-66_67.jpg)
Click for a 1446X1024 image: Pages-66_67.jpg (http://www.dsboards.com/hoDSquoteimages/Pages-66_67.jpg)
-
Three ladies Three... Thanks!
I really love today's capture. Great choice!
G.
-
I've been told by a couple of people who knew her well that Grayson was a REALLY aggressive driver. I'm just imagining the out-takes if they had attempted to do a scene where Julia was driving Stokes through Collinsport and the language that might have been heard from the respectable, scholarly Dr. Hoffman. LOL!
G.
-
Before we move on to today's scene in the slideshow, I want to share the novelization of Scene 118 because the version of the scene in the script used for the novel is somewhat different/longer than what appears in DC's script:
The funeral over, the mourning group broke up rather
quickly. They left the cemetery with sober faces and
made their way to their respective cars, which had been
parked along the driveway. Julia Hoffman and Professor
Stokes were in the vanguard of the group as they headed
to her car.
Professor Stokes seemed concerned as he told her, "I
must speak to you alone."
Julia said, "You sound upset."
"I am," he agreed. "I must speak to you at once."
"Why not in the car on the way into town?" she sug-
gested, studying his troubled countenance. "I have to go
to the lab."
"That won't do," Stokes said unhappily.
"Why?"
"I asked Sheriff Patterson if I could drive in with him. I
hesitate to change my plans at the last minute. He might
wonder.
Julia raised her eyebrows. "About what."
"I'll explain that later," Professor Stokes said. "I'll
come to the lab shortly."
"I'll expect you."
He frowned. "I suspect the police and I may have two
entirely different theories."
Julia stared at him curiously. "Really?"
"I'll go into it in detail at our meeting."
"I'm interested in hearing what you think," the woman
doctor said, standing by the open door to her car.
Stokes gave her a sharp glance. "Oh, by the way. Do
you happen to know why Barnabas Collins didn't attend
the funeral?"
She said, "He doesn't know about Carolyn."
"Doesn't know?"
"He's out of town," she explained.
"I see," he said with a veiled expression on his face
as he helped her into the car and closed the door for
her. His tone suggested that he had some other thoughts
on the subject.
|
To me it seems like some of the best moments from the scene were dropped from the script along the way - particularly moments like Julia raised eyebrows and her curiosity at Stokes' theory. But I suppose that doesn't matter because ultimately the scene wasn't going to get shot anyway.
None of the dialogue from this longer version of the scene made it to the Fest's 1999 Move Calendar. On the other hand, the calendar contains several quotes from an earlier version of upcoming Scene 119, the same version that was used for the novelization. And we'll get into all of those after we've dealt with DC's script's version of Scene 119...
-
I've been told by a couple of people who knew her well that Grayson was a REALLY aggressive driver. I'm just imagining the out-takes if they had attempted to do a scene where Julia was driving Stokes through Collinsport and the language that might have been heard from the respectable, scholarly Dr. Hoffman. LOL!
Another reason it's a shame nothing like that was ever shot!! [easter_wink] [easter_grin]
-
Setting up today's new scene:
119 INT: HOSPITAL LAB - DAY 119
Julia removes a tray of blood samples from inside a
refrigerator, carries them to a work table, begins
examining them under a microscope. After a moment
119 CONTD CONTD 119
she looks up with a frown. She begins to re-examine
those she's already looked at. There is a KNOCK AT
THE DOOR.O.S Door opens - Stokes enters
JULIA Stokes
Come in. it
looks like that storm
as the door opens, Stokes enters. will never end
I'm still chilled
JULIA from the cemetery
I'll be with you in a minute, Eliot.
He crosses to the table and looks at the labeled blood
samples in the box.
STOKES x to end of table
Do you have blood samples of all
the victims?
JULIA
Yes.
STOKES
Have they revealed anything to you?
JULIA - EXTREME CLOSE UP
JULIA
(a puzzled frown)
Yes, but I don't know what to make
of it. |_______________________PROFILE PAN
HIM TO HER
STOKES (OS)
What do you mean? x ____ and
Table to her
CAMERA BACK TO TWO SHOT
as he CROSSES to her.
|
And that's when today's quote -
Page 49/Scene 119 - Julia: 'I've discovered a cell in these samples that I've never seen before. It obviously must have entered the bloodstreams of the victims while they were being attacked.'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions for this scene, it would be fascinating to know if the main reason DC didn't shoot Scene 118 was because he'd already envisioned shifting in editing from the blackness at the end of Scene 117 -
(http://www.dsboards.com/hoDSquoteimages/0614hoDS_v.jpg)
- to the blackness of the interior of the refrigerator before Julia opens it to retrieve the blood samples -
(http://www.dsboards.com/hoDSquoteimages/0617hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0617hoDS_b.jpg)
- (a transition he ripped off, er, paid homage to in the 3rd hour of the '91 DS when the action shifted from Daphne's funeral to Julia at the lab - but in that case the transition was specifically written into the script with no scene in between) - and there's actually the sound of thunder as Julia carries the blood samples to her work table - and we don't actually see Julia frown after first looking at the blood samples or her going right back to them again because she doesn't actually look up until Stokes arrives - but before all that what we do see is Julia check a file and frown -
(http://www.dsboards.com/hoDSquoteimages/0617hoDS_c.jpg)
-at it - and we see Julia check a few other things -
(http://www.dsboards.com/hoDSquoteimages/0617hoDS_d.jpg)
-around the lab before she actually settles down at the microscope -
(http://www.dsboards.com/hoDSquoteimages/0617hoDS_e.jpg)
- to begin work - and as we can see in the script, Stokes' knock, Julia's "Come in" and her "I'll be with you in a minute, Eliot" were all dropped in favor of Stokes letting himself into -
(http://www.dsboards.com/hoDSquoteimages/0617hoDS_f.jpg)
-the lab - and soon what he actually says is "Doesn't look like that storm will ever end", to which -
(http://www.dsboards.com/hoDSquoteimages/0617hoDS_g.jpg)
- Julia smiles and then goes back -
(http://www.dsboards.com/hoDSquoteimages/0617hoDS_h.jpg)
- to looking through the microscope before Stokes then says "I'm still chilled from that cemetery" - and after that Stokes actually says "I see you're still working on the blood samples of the victims", and Julia answers "Yes" - and it isn't until after that that Stokes walks over to her at the lab table -
(http://www.dsboards.com/hoDSquoteimages/0617hoDS_i.jpg)
- where he does indeed ask "Have they revealed anything to you?" - but Julia's extreme close-up, her "Yes, but I don't know what to make of it", delivered with a puzzled frown, and Stokes' "What do you mean?" are dropped in favor of the camera, as we can see in today's capture, never leaving -
(http://www.dsboards.com/91quoteimages/0617ds91_0.jpg)
- their 2 shot and Julia going directly into today's quote, which she delivers the first part exactly as scripted but the second part as "It obviously must have entered the body of the victims when they were being attacked."
-
I really love today's capture. Great choice!
Thanks - I like it much better than what I had to use for the original slideshow. This time around Midnite was able to provide me with the entire quote so I was able to show Julia's face. For the original slideshow I wasn't able to do that because the quote on the Fest's 1999 Movie Calendar for March 10th was simply:
(http://www.dsboards.com/moviesquoteimages/0310hoDS_0.jpg)
hoDS: Scene #119 - Julia: 'I've discovered a cell in these
samples that I've never seen before.'
-
Continuing Scene 119:
She puts her eyes back to the microscope. Stokes
pauses deliberately.
STOKES - CLOSE UP
CU Stokes
|
And that's when today's first quote -
Page 49/Scene 119 - Stokes: 'Julia -- do you believe in the existence of vampires?'
- comes up, followed in the script by:
REV. 4/13/70
119. CONTD.
JULIA - ZOOM IN CLOSE UP
|
And that's when today's second quote -
Page 50/Scene 119 - Julia (jarred, looking at him): 'You're not -- really serious --'
- comes up.
And when it comes to the dialogue, the descriptions, the directions, and the notations for this scene, we don't actually see Julia go back to looking through the microscope after completing her quote from yesterday because what I neglected to mention is that the camera has already shifted to Stokes' close-up when she says "when they were being attacked" - and while it is indeed a close-up, as we can see in today's first capture, Stokes' close-up is -
(http://www.dsboards.com/91quoteimages/0618ds91_0.jpg)
- more of a medium version - and it seems odd that DC would add a notation to the script that Stokes would be seen in close-up when the script already indicates that to be the case, but I suppose he wanted to be doubly sure that is how it would be shot ;) - though what is interesting is that Stokes doesn't really deliberately pause before her asks today's first quote - and the camera does not zoom in to Julia's close-up, nor does she appear jarred because she actually looks quite amused when -
(http://www.dsboards.com/91quoteimages/0618ds91_1.jpg)
- she asks her quote more as "You're not really serious?", as if he might be joking - and when we come to Julia's quote, we're at the start of yet another revision to the script...
-
Continuing with more of Scene 119:
PAN TO CLOSE UP - STOKES
STOKES You know there are many
I am. I'm familiar with many
documented case histories -- some
even in the Twentieth Century.
TWO SHOT
|
And that's when today's first quote -
Page 50/Scene 119 - Julia: 'Eliot, I'm familiar with certain legends about vampires -- supposedly they can only exist at night -- and they have no reflection in a mirror --'
- comes up, though in the script it appears as:
J Well know the
JULIA
Eliot, I'm familiar with certain
legends about vampires -- supposedly about
they can only exist at night -- and
they have no reflectionsin a mirrors--
|
And then that's followed by today's second quote -
Page 50/Scene 119 - Stokes: 'We are not dealing with legend, Julia! Carolyn's body was almost completely drained of blood. There are no animals in this area that attack people for their blood!'
- coming up, though in the script it appears as:
STOKES
We are not dealing with legend, Julia! In Carolyn's
Carolyn's body was almost completely ---> death +
drained of blood. There are no animals the other
in this area that attack people for like were
their blood! or strangled - at no!
the bodies
were almost
|
And when it comes to the dialogue, the descriptions, the directions, and the notations for this scene, the camera doesn't switch to a close-up of Stokes because it remains -
(http://www.dsboards.com/hoDSquoteimages/0619hoDS_a.jpg)
- in the same 2 shot as Stokes actually says "I am. You know, there are many documented case histories -- some even in the Twentieth Century", as indicated in the script with DC's notations - and, as we can see with today's first capture, the shot remains in the same 2 shot rather than -
(http://www.dsboards.com/91quoteimages/0619ds91_0.jpg)
- switching to a 2 shot when Julia actually delivers today's first quote as "Well, I know about the legends -- that they exist only at night and -- they have no reflections in a mirror", very similar to how it was changed in the script - and in that same 2 shot, as can be seen in today's second capture -
(http://www.dsboards.com/91quoteimages/0619ds91_1.jpg)
- there's more thunder as a variation of today's second quotes comes up with Stokes actually getting so far as saying is "We're not dealing with legend, Julia! In Carolyn's death and the other, the bodies were" before the camera switches to a close-up of Julia in deep thought -
(http://www.dsboards.com/hoDSquoteimages/0619hoDS_b.jpg)
- as Stokes actually continues with "almost entirely drained of blood" and then the camera switches to a close-up of Stokes as -
(http://www.dsboards.com/hoDSquoteimages/0619hoDS_c.jpg)
- he actually continues with "There's no animal in this area that attacks people for their blood!" before switching back to Julia's close-up with her still in thought and then turning -
(http://www.dsboards.com/hoDSquoteimages/0619hoDS_d.jpg)
- to him before returning to Stoke's closeup for him to -
(http://www.dsboards.com/hoDSquoteimages/0619hoDS_e.jpg)
- actually conclude with "There's no animal that strangles its victims", all of which is sort of what DC changed things to in his script.
-
I love this scene and I love these two in anything. Thanks for the great images!
G.
-
Moving on with more of Scene 119:
JULIA - CLOSE UP
She gives him a very disturbed look.
|
And that's when today's first quote -
Page 50/Scene 119 - Julia: 'What do the police think of this theory of yours?'
- comes up, followed in the script by:
And that's when the first part of today's second quote -
Page 50/Scene 119 - Stokes: 'If I told the police that the creature they're looking for lives by night and sleeps in a coffin' (MORE)
- comes up, followed in the script by:
CONTINUED
119 CONTD (3) (3) CONTD 119
|
And that's when the second part of today's second quote -
Page 51/Scene 119 - Stokes (Contd): 'during the day, they might question my sanity.
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, the camera does indeed give Julia a close-up as she actually delivers the first quote as "And what do the police think about this theory of yours?" - and after the camera does indeed go back to a 2 shot, in reply Stokes turns away from Julia, moves away from her down the table, and stares down at the table while actually offering as an answer "If I told the police that the creature they are looking for lives by night and sleeps in a coffin by day, they would question my sanity", as he also fiddles with his hands, most of which can be seen in today's second capture -
(http://www.dsboards.com/91quoteimages/0620ds91_1.jpg)
- though he turns to look back at Julia while delivering the last phrase.
-
And moving on with even more of Scene 119:
Julia turns back to microscope, thinking.
|
And that's when today's first quote -
Page 51/Scene 119 - Julia: 'Assuming that you're right, the cell I've discovered would indicate to me that this creature, whoever it is, might be curable.'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, the camera actually switches back to Julia's close-up (though from a small amount of distance back than previous close-ups) when she does indeed look to -
(http://www.dsboards.com/hoDSquoteimages/0621hoDS_a.jpg)
- the microscope before she delivers today's quote - and she actually delivers the quote as "Assuming that you're right, this cell that I've discovered would indicate that this creature, whoever it is, might be curable", as she nods her head in the affirmative at the end - but what the script doesn't indicate in any way and as today's capture shows as the end result is that the camera pushes in on Julia as she delivers the quote -
(http://www.dsboards.com/91quoteimages/0621ds91_0.jpg)
- and I've always loved the expression on her face once she realizes she might be able to cure the "creature."
-
Wrapping up Scene 119, beginning with today's quote, Stokes' declaration to Julia's notion that the "creature" might be curable -
Page 51/Scene 119 - Stokes: 'Vampirism isn't a disease, Julia. Vampires are the living dead.'
- coming up, followed in the script by:
JULIA
How could you possibly prove such
a thing?
STOKES
I expect the proof will be forth-
coming very soon.
High - Wide
She looks at him, having no idea what he means. Shot
Slow
SLOWLY THE SOUND OF A BALL BEING BOUNCED AGAINST A dissolve
WALL STARTS TO FILTER IN.
|
And when it comes to the dialogue, the descriptions, the directions, and the notations, Stokes actually delivers today's quote as "Vampirism is not a disease, Julia. Vampires are icky" - oh, no, wait, that's on a different board on the forum - what he actually says in the film is "Vampirism is not a disease, Julia. Vampires are the living dead", and next to that quote DC has a notation that Stokes goes back into close-up when he delivers it, though as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/0622ds91_0.jpg)
- unlike Julia's most recent close-up, the camera goes in no closer on Stokes than it has been for the entire scene so far - and then when Julia actually asks "How in the world are you going to prove that?", Julia's close-up reverts back to -
(http://www.dsboards.com/hoDSquoteimages/0622hoDS_a.jpg)
- its original distance - and when Stokes actually replies "I'm afraid the proof with be forthcoming very soon", once again the camera goes back to -
(http://www.dsboards.com/hoDSquoteimages/0622hoDS_b.jpg)
- Stokes' close-up - however, afterward we do not see Julia looking at him, having no idea what he means, because the shot almost immediately begins the slow dissolve into the opening shot of Scene 120 -
(http://www.dsboards.com/hoDSquoteimages/0622hoDS_c.jpg)
- and unlike what the script indicates, beginning with Julia question about how Stokes will prove his theory and right through to the final fade-out of Scene 119, instead of a ball being bounced against a wall starting to filter in, we slowly become aware of the first iteration of tomorrow's quote from Scene 120 - but more on that tomorrow...
-
And now I want to share the novelization of Scene 119 because, as I brought up previously, some of the dialogue in the version of the scene in the script that was used for the novel is different - and as was the case with the novelization of Scene 118, the scene is also a bit longer due to dialogue that was eventually dropped somewhere along the way and does not appear in DC's script:
When she returned to her lab after the funeral she at
once went back to work on a problem which had been bother
-ing her. From a refrigerator she removed a tray of blood
samples, which she carried to a lab table. Then she be-
gan to carefully check each sample under a microscope.
She took her time with this. After a while she looked
up with a thoughtful frown, then began to re-examine all
the specimens once more.
She was busily engaged in this task when there was a
knock on the lab door. She called out, "Come in."
The door opened and Professor Stokes entered. He
said, "I got here as soon as I could."
"I'm glad," she said.
He crossed to the table and stared at the labeled blood
samples in a box. "I'm not interrupting you?"
"It's all right," she said, staring into the microscope.
"I'll be able to give you my full attention in a minute,
Eliot."
"Do you have blood samples of all the victims?"
She raised her head and looked at him. "Yes."
His eyes met hers. "Have they revealed anything to
you?"
A puzzled frown shown on her attractive face. "Yes,
but I don't know what to make of it."
"What do you mean?" he asked, coming over to her.
She sighed and gestured toward the samples. "I've dis-
covered a cell in these samples that I've never seen
before. It obviously must have entered the bloodstreams
of the victims while they were being attacked." And she
put her eyes back to the microscope.
There was a pertinent pause between them before Pro-
fessor Stokes asked warily, "Julia, do you believe in the
existence of vampires?"
She gave him a startled look. "You're not really seri-
ous?"
Stokes nodded gravely. "I am."
"And you think?"
"I'll tell you what I think in due time," he said, his
expression serious. "I'm familiar with many documented
case histories--some even in the twentieth century."
"I too am familiar with the legend of vampires."
"Then you'll realize all of the classic symptoms are
present in the attacks that have occurred here."
"Julia heard him with widened eyes. She knew all about
the vampire theories. But here in this white-walled
modern hospital lab they seemed to have no place. She
found it difficult to believe that this mystery facing them
had its roots in the murky world of ancient witchcraft.
Swallowing hard, she said, "But, Eliot, vampires are only
legend."
Professor Stokes stared at her grimly. "Julia, Carolyn
Stoddard's body was almost completely drained of blood.
Isn't that correct?"
"Yes."
"Do you know of any animals in this area that attack
people for their blood?"
She stared at him with a disturbed expression on her
attractive face. "Professor, this theory of yours will sound
utterly fantastic to most people."
"I know it."
"What do the police think of it?"
He looked bleak. "If I told the police that the creature
they're looking for lives by night and sleeps in a coffin
during the day, they might question my sanity."
"There's no question about that," Julia agreed.
"Yet I believe it true."
Julia turned back to her microscope, thinking. "Assum-
ing that you're right, the cell I've discovered would in-
dicate to me that this creature, whatever it is, might be
curable."
Stokes frowned. "Vampirism isn't a disease, Julia. Vam-
pires are the living dead."
"How could you possibly prove such a thing?"
"I expect the proof will be forthcoming very soon,"
he said enigmatically.
Julia stared at him, having no idea what he meant.
|
-
And something else that I alluded to earlier is that once again the Fest's 1999 Movie Calendar includes dialogue for a scene that aren't in any other version of the scene that I have other than the novelization - and one isn't even in that in its entirety. So without further ado, here are those sorts of entries on the calendar for Scene 119:
For March 13th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #119 - Stokes: 'All of the
classic symptoms are present in the attacks that have
occurred here.'
For March 14th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #119 - Julia: 'But, Eliot,
vampires are only legend.'
For March 15th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #119 - Stokes: 'Do you
know of any animals in this area that attack people for their
blood?'
For March 17th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #119 - Stokes:
'Impossible. Vampirism isn't a disease, Julia. Vampires are
the living dead.'
Though when I put together the original hoDS slideshow, I replaced the calendar's quotes for March 13h, 14th, 15th and 17th with their comparable quotes from what appears in DC's script:
For March 13th:
(http://www.dsboards.com/moviesquoteimages/0313hoDS_0.jpg)
hoDS: Scene #119 - Stokes: 'You know, there are many
well documented cases for it -- some from the Twentieth
Century.'
For March 14th:
(http://www.dsboards.com/moviesquoteimages/0314hoDS_0.jpg)
hoDS: Scene #119 - Julia: 'Well, I know about the legends.'
For March 15th:
(http://www.dsboards.com/moviesquoteimages/0315hoDS_0.jpg)
hoDS: Scene #119 - Stokes: 'There's no animal in this area
that attacks people for their blood.'
For March 17th:
(http://www.dsboards.com/moviesquoteimages/0317hoDS_0.jpg)
hoDS: Scene #119 - Stokes: 'Vampirism isn't a disease,
Julia. Vampires are the living dead.'
-
Before we completely leave Scene 199 and move on to today's scene, I have to say that this time around is probably the first time I ever noticed something in Julia's lab - and it's a complete hoot and a half that it's there:
(http://www.dsboards.com/hoDSquoteimages/skull_S119.jpg)
But then, with two powerhouse actors like Grayson Hall and Thayer David doing the scene, it really didn't come as a surprise to me that it took 47 years for me to notice the skull watching the proceedings from the counter behind them! [ghost_nowink] Normally 110% of my attention is completely on them!
-
Dealing with today's new scene:
120 INT: ABANDONED INDOOR SWIMMING POOL - DAY 120
It is late afternoon, just before dinner. The storm
has ended. David is bouncing a ball in the empty
pool. This is a place he comes to often to play, but
the sadness of this day still has him in its grip and
his heart really isn't in what he's doing. Almost
subconsciously, he begins to chant as he bounces the
ball up against the wall.
|
And that's when today's quote -
Page 51/Scene 120 - David (sing-songy): 'If I catch this one, Carolyn isn't dead -- if I catch this one, Carolyn isn't dead --'
- comes up, followed in the script by:
He bounces the ball again and this time, instead of
hitting the wall it catches a corner, makes a high
bounce. It bounces out of the pool, into foyer.
David HEAVES A SIGH and goes out after it.
|
And when it comes to the dialogue, the descriptions, and the directions for this scene, the beginning of the scene plays pretty much exactly as scripted, however, David's chant is not only sing-songy, but it echos throughout the empty swimming pool building, and he repeats it 5 times before he loses control of the ball - and after that happens we see a close-up of David as he watches the ball fly over his head -
(http://www.dsboards.com/hoDSquoteimages/0623hoDS_a.jpg)
- but in this scene we don't yet see completely where the ball goes because it's still bouncing, nor does David heave a sigh - though we do see David turn and run in the direction of where he sees the ball is going.
-
And now here's a chart with the available info regarding when Scenes 101 through 120 were scheduled to shoot on the original shooting schedule:
| | | | | | | |Day of | | | | |
| Scs. #s: | |Location: | |Pages: | |Description: | |Shoot: | |Date: | |Cast: |
| ====== | |=============== | |===== | |========== | |===== | |====== | |======== |
| 101 | |Int. 2nd. Floor Landing | |3/8 Pg. | |Carolyn asks if | |10th | |Fri. 4/3 | |CAROLYN |
| |& 1st. Floor Hall (N) | | | |Barnabas is | | | | | |DAVID |
| | | | | |there | | | | | |extras |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 102 - 106 | |Int. Card & Organ | |3 Pgs. | |The party- | |11th | |Mon. 4/6 | |BARNABAS |
| |Rooms (N) | | | |Barnabas meets | | | | | |JULIA |
| | | | | |Maggie | | | | | |MAGGIE |
| | | | | | | | | | | |JEFF |
| | | | | | | | | | | |CAROLYN |
| | | | | | | | | | | |STOKES |
| | | | | | | | | | | |ROGER |
| | | | | | | | | | | |TODD |
| | | | | | | | | | | |DAVID |
| | | | | | | | | | | |ELIZABETH |
| | | | | | | | | | | |Mrs. Johnson |
| | | | | | | | | | | |Mrs. Pettibone |
| | | | | | | | | | | |extras |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 107 | |Int. Foyer (N) | |4/8 Pg. | |David asks | |11th | |Mon. 4/6 | |BARNABAS |
| | | | | |Maggie to | | | | | |JULIA |
| | | | | |stay | | | | | |MAGGIE |
| | | | | | | | | | | |JEFF |
| | | | | | | | | | | |CAROLYN |
| | | | | | | | | | | |STOKES |
| | | | | | | | | | | |ROGER |
| | | | | | | | | | | |TODD |
| | | | | | | | | | | |DAVID |
| | | | | | | | | | | |ELIZABETH |
| | | | | | | | | | | |extras |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 108 | |Int. Foyer (N) | |5/8 Pg. | |Julia wants to | |11th | |Mon. 4/6 | |BARNABAS |
| | | | | |meet with | | | | | |JULIA |
| | | | | |Barnabas | | | | | |MAGGIE |
| | | | | | | | | | | |JEFF |
| | | | | | | | | | | |CAROLYN |
| | | | | | | | | | | |STOKES |
| | | | | | | | | | | |ROGER |
| | | | | | | | | | | |TODD |
| | | | | | | | | | | |DAVID |
| | | | | | | | | | | |ELIZABETH |
| | | | | | | | | | | |extras |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 108A | |Int. Organ Room (N) | |6/8 Pg. | |Barnabas thanks | |11th | |Mon. 4/6 | |BARNABAS |
| | | | | |Elizabeth for | | | | | |JULIA |
| | | | | |the party | | | | | |MAGGIE |
| | | | | | | | | | | |JEFF |
| | | | | | | | | | | |CAROLYN |
| | | | | | | | | | | |STOKES |
| | | | | | | | | | | |ROGER |
| | | | | | | | | | | |TODD |
| | | | | | | | | | | |DAVID |
| | | | | | | | | | | |ELIZABETH |
| | | | | | | | | | | |extras |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 109 | |Int. Library (N) | |6/8 Pg. | |Barnabas talks | |7th | |Tue. 3/31 | |BARNABAS |
| | | | | |to Maggie | | | | | |MAGGIE |
| | | | | | | | | | | |exrtras |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 110 | |Int. Card Room (N) | |2/8 Pg. | |Carolyn spots | |7th | |Tue. 3/31 | |BARNABAS |
| | | | | |Barnabas | | | | | |CAROLYN |
| | | | | | | | | | | |exrtras |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 111 - 112 | |Int. Library (N) | |2 Pgs. | |Banabas | |18th | |Wed. 4/15 | |BARNABAS |
| | | | | |convinces | | | | | |MAGGIE |
| | | | | |Maggie to stay | | | | | |CAROLYN |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 113 - 114 | |Int. Josette's Room (N) | |2 & | |Barnabas | | ??? | | ??? ??? | |BARNABAS |
| | | |5/8 Pgs. | |explains / | | | | | |CAROLYN |
| | | | | |attacks | | | | | |WILLIE |
| | | | | |Carolyn | | | | | | |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 115 | |Ext. Collinwood Drive | |4/8 Pg. | |Willie brings | |3rd | |Wed. 3/25 | |CAROLYN |
| |(N) | | | |Carolyn home | | | | | |WILLIE |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 116 | |Int. Foyer (N) | |4/8 Pg. | |Carolyn dies | |9th | |Thu. 4/2 | |CAROLYN |
| | | | | | | | | | | |Mrs. Johnson |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 117 | |Ext. Cemetery (D) | |1 & | |The funeral | |1st | |Mon. 3/23 | |JULIA |
| | | |1/8 Pgs. | | | | | | | |MAGGIE |
| | | | | | | | | | | |JEFF |
| | | | | | | | | | | |STOKES |
| | | | | | | | | | | |ROGER |
| | | | | | | | | | | |TODD |
| | | | | | | | | | | |DAVID |
| | | | | | | | | | | |ELIZABETH |
| | | | | | | | | | | |Mrs. Johnson |
| | | | | | | | | | | |Minister |
| | | | | | | | | | | |Pallbearer |
| | | | | | | | | | | |Mourner |
| | | | | | | | | | | |extras |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 118 | |Ext. Cemetery (D) | |1 Pg. | |Stokes wants to | |1st | |Mon. 3/23 | |JULIA |
| | | | | |meet with Julia | | | | | |STOKES |
| | | | | | | | | | | |extras |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 119 | |Int. Lab (D) | |3 Pgs. | |They discuss | |16th | |Mon. 4/13 | |JULIA |
| | | | | |vampirism | | | | | |STOKES |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 120 | |Ext. Pool (D) | |3/8 Pg. | |David plays | |2nd | |Tue. 3/24 | |DAVID |
| | | | | |catch | | | | | | |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
Thanks to KLS diary we know that one thing is definitely different from the shooting schedule because at least some part of Scenes 109 though 112 were actually shot on the 11th day of shooting, April 6th. And we have no idea when Scenes 113 and 114 were shot because they were done at Lockwood Mathews and none of those days are on the shooting schedule that I have. And I'd completely forgotten how "Mourner" is listed among the characters slated to appear in the funeral scene. We know, of course, that Michael Stroka played the Pallbearer, but the Mourner isn't listed in the credits. I wonder if it was intended to be one of the DS actors/crew but that person couldn't make to the cemetery that day? But I guess we'll probably never know. And it's very interesting that even though it wasn't shot, Scene 118 is listed on the schedule, so obviously at the point the shooting schedule that I have was put together DC hasn't already the decision to skip it so as to shift in the editing from the blackness at the end of Scene 117 to the blackness of the inside of the refrigerator in the opening of Scene 119...
-
Before we can set up today's new scene, we need to deal with this one:
121 INT: FOYER, SWIMMING POOL BUILDING - DAY 121
David appears and begins looking for the ball. He
moves with caution, for the floor in this area has
collapsed and there are only two large planks leading
from the pool room to the front door. David is walk-
ing along the planks looking down below the collapsed
floor for his ball. Suddenly he loses his footing
and falls, hitting his head. The blow knocks him
unconscious.
|
And when it comes to the descriptions and the directions, we don't see the ball come bouncing in until the beginning of -
(http://www.dsboards.com/hoDSquoteimages/0623hoDS_b.jpg)
- this scene - and it falls to lodge itself in the dirt -
(http://www.dsboards.com/hoDSquoteimages/0623hoDS_c.jpg)
- somewhere - and after David appears it doesn't seem at all that the only support in the area comes from two planks because, in fact, it looks like David is walking on a cement block - and after David sees that the ball is down in the dirt from where he's standing, he gets down on his knees to try to reach for it - but in the attempt he begins to panic as he loses -
(http://www.dsboards.com/hoDSquoteimages/0623hoDS_d.jpg)
- his balance, falling off of the cement block and down into the hole, where he hits his head on a broken off piece of cement and then rolls -
(http://www.dsboards.com/hoDSquoteimages/0623hoDS_e.jpg)
- over unconscious.
-
As Elvira put it, he fell on his head, so he was okay.
-
[pointing-up] [lghy] But all Collinses seem to have very hard heads - in more ways than one...
-
Setting up today's new scene:
122 INT: DOWNSTAIRS CORRIDOR - COLLINWOOD - DUSK 122
We see Maggie coming down the corridor toward the
dining room. As she passes the stairs, she sees Roger
descending.
ROGER
Maggie, we'll be having dinner in
a few minutes. Everyone else is
in the gallery. Have you seen
David?
|
And that's when today's first quote -
Page 52/Scene 122 - Maggie: 'He was terribly upset after the funeral. I told him he could take a nap. I'll go and get him.'
- comes up, followed by today's second quote -
Page 52/Scene 122 - Roger: 'No, never mind. Let him be. This has been a shattering experience for him. Somehow children think that only old people die -- never someone like Carolyn.'
- coming up, followed in the script by:
He is choked up and trying not to show it.
|
And when it comes to the dialogue, the descriptions, and the directions, unlike how the scene is scripted to open, Maggie is too occupied checking mail -
(http://www.dsboards.com/hoDSquoteimages/0624hoDS_a.jpg)
- and doesn't become aware of Roger until he calls out to her, at which point she stops as waits as Roger -
(http://www.dsboards.com/hoDSquoteimages/0624hoDS_b.jpg)
- comes into sight as he descends the stairs - and when Roger reaches Maggie he delivers his unquoted dialogue exactly as written, whereupon Maggie actually replies with "Yes, he was terribly upset after the funeral, so I suggested he take a nap. I'll go and get him if you'd like" - and Roger actually replies to that with "No, never mind. Let him be. It's been a shattering experience for him", with the "Somehow children think that only old people die -- never someone like Carolyn" dropped - and given the manner that Roger has been behaving up to this point, it's a surprise to see that Roger -
(http://www.dsboards.com/91quoteimages/0624ds91_1.jpg)
- does actually feel emotion and can empathize with anyone...
-
Wrapping up Scene 122, as Roger continues with today's quote -
Page 52/Scene 122 - Roger: 'My son is better off sleeping.'
- coming up, followed in the script by:
He is aware that Maggie is staring strangely at him.
aware that she has never known that he has feelings.
He turns and goes into the card room. - She exits up
the stairs
|
And when it comes to the dialogue, the descriptions, and the directions, what Roger actually says is "I think he's better off sleeping" - and while I love the expression on Maggie face in today's capture -
(http://www.dsboards.com/91quoteimages/0625ds91_0.jpg)
- her expression after Roger leaves -
(http://www.dsboards.com/hoDSquoteimages/0625hoDS_a.jpg)
- is even better because she's like what the hell just happened, the man does have a heart - and as we'll see when we do Scene 123, Roger doesn't actually go to the card room (though more on that tomorrow) - and if it was shot, unlike DC's notation, we don't actually see Maggie exit up the stairs (but more on why that might be tomorrow) - as things stand in the film, all we see is Roger leave and Maggie's reaction to him, and then things cut to the next scene in the film...
-
I'm sharing the novelization of Scene 122 because the version of the scene in the script used for the novel is a bit different and longer than what appears in DC's script:
It was around dusk when Maggie came along the
ground floor corridor of Collinwood toward the dining
room. As she passed the stairs she happened to see
Roger Collins descending.
Roger said, "Maggie, we'll be having dinner in a few
minutes. Everyone else is in the gallery. Have you seen
David?"
"No," she said. "He was terribly upset about the
funeral."
David's father nodded bleakly. "I sensed that."
"I told him he could take a nap."
"Sound idea."
"I'll go and get him," she suggested.
Roger Collins cleared his throat. "No, never mind. Let
him be. This has been a shattering experience for him."
"It really has."
Roger looked sad. "Somehow children think that only
old people die. Never someone like Carolyn."
"I think that's true," she agreed. "Carolyn was young
and so close to him."
"My son is better off sleeping," he said with emotion
in his voice.
Maggie couldn't help staring at him in surprise. She had
never believed him capable of much deep feeling and
his present sorrowful state came as a shock. She saw
him glance at her rather guiltily as if ashamed he had
revealed himself as an ordinary human subject to all the
ordinary emotions.
Roger turned from the girl and hurried off into the
card room.
|
-
Setting up and wrapping up today's new scene all in one post:
123 INT: CARD ROOM - NIGHT 123
LIBRARY
As Roger enters. He see Liz sitting alone by the
window. He approaches her.
ROGER
It's time for dinner, Elizabeth.
123 CONTD CONTD 123
LIZ
I'd like to sit here alone for
awhile. I don't think I could
eat, Roger.
Roger takes her hands and gently pulls her to her feet.
He is quite warm and tender with her.
|
And that's when today's quote -
Page 53/Scene 123 - Roger: 'She is gone, Elizabeth. But we are still here. The task now is to resume our lives. You belong at the head of the table.'
- comes up, followed in the script by:
He puts his arm around her and leads her out of the
room.
|
And when it comes to the dialogue, the descriptions, and the directions, we really have no way of knowing how things might have played in the film because this scene ended up on the cutting room floor. And unlike how I wasn't all that upset that Scene 118 was never shot, I'm extremely upset that this scene was cut. There's no doubt that it would have been a great scene, and I'm sure Louis Edmonds and Joan Bennett would have played it to perfection. But no. DC, in his infinite wisdom, could have cared less that it might have been some of the best work each of them might have done in the film, and particularly that it would have really shown that Roger has a different side to him, even more so than Scene 122 does. But, again, no! Let's move on to[spoiler]Carolyn's attempted attack on David[/spoiler]as soon as possible because who cares about a great character scene. But then, as I've already said a few times, it's no wonder that both Louis Edmonds and Joan Bennett were displeased with the final film. Who wouldn't be when some of your best work ends up on the cutting room floor simply to place more emphasis on a film's violence and gore and to get to it faster...
-
And as if it isn't bad enough that the version of Scene 123 as it appears in DC's script was cut, who knows who's bright idea it was to rework the scene from the way it appears in the version of the script used for the novelization:
Roger turned from the girl and hurried off into the
card room. There, he discovered Elizabeth sitting alone
by the window. He went over to her and in a sympathetic
tone said, "It's time for dinner, Elizabeth."
"I'm not hungry," she said.
"You must try and manage some food," her brother
insisted.
She looked up at him sadly. "I'd like to sit here alone
for awhile. I don't think I could eat, Roger."
He took her hands and gently pulled her to her feet.
His manner was warm and tender in contrast to his usual
coldness. "I have never thought of you as a weak per-
son, Elizabeth."
"I have tried not to be."
"All the problems of Collinwood and all the personal
grief and trouble you've experienced have never broken
you."
She looked away. "This is different."
Roger was speaking in a low, convincing manner, as
he told her, "This may be your major challenge. Don't
allow it to change your gallant philosophy of life."
"I could lose everything and remain courageous,"
Elizabeth said. "But not Carolyn."
"She is gone, Elizabeth," he said. "But we are still
here. Collinwood is still here. We need you and Collin-
wood needs you."
"It doesn't matter."
"But it does," he insisted. "The task now is to resume
our lives. You belong at the head of the table." And he
put his arm around her and led her out of the room.
|
Can't you just picture how amazingly Louis Edmonds and Joan Bennett would have played that scene?! But alas, even if it had remained in the script, it still would have ended up on the cutting room floor...
-
A huge loss, to be sure. While Roger does have some screen time coming up,
[spoiler]poor Elizabeth settles into a largely catatonic state for the rest of the film. I suppose that we and Joan Bennett could consider us fortunate that DC didn't make her into a vampire.[/spoiler]
-
I really wish that scene between Liz and Roger had been kept. What a beautiful moment.
Thanks for sharing the version Dan Ross preserved for us, MB.
G.
-
The entire scene is wonderful on so many levels, but I really wish we could have seen Louis Edmonds and Joan Bennett play:
"I could lose everything and remain courageous,"
Elizabeth said. "But not Carolyn."
"She is gone, Elizabeth," he said. "But we are still
here. Collinwood is still here. We need you and Collin-
wood needs you."
It just seems like it would have been a moment that we could all point to and say it's classic DS. Plus, it would have helped to compensated for all the blood and gore and ripping and tearing in the rest of the film. But no - DC just didn't see it that way. But then, we've often said that when DS was great it was so often in spite of DC, not because of him - and here's a perfect example of where he got things very wrong...
-
Moving through the next scene and setting up today's new scene:
HIGH ANGLE FROM BALCONY
124 INT: FOYER OF SWIMMING POOL BUILDING - NIGHT 124
David is still lying where he fell. Now he begins to
stir and moan. He opens his eyes, winces as he puts
his hand to his head. Then he struggles to his feet
and climbs up on the planking. He stands there a
moment, wondering how long he was out. He moves along
the planking and looks into the swimming pool area.
125 INT: SWIMMING POOL AREA - NIGHT 125
David stands there looking up at the broken skylight
through which the moon bathes the pool in eerie light.
He has no idea what time it is, but he figures he'd
better get back to the house right away. He turns to
go but before he can take a step, he hears a strange
VOICE in the distance. It seems to be coming from the
far end of pool.
|
And that's when the first part of today's first quote -
Page 53/Scene 125 - Carolyn (OC): 'David!!'
- comes up, followed in the script by:
David spins around and stares into the darkness of the
cavernous room. For a moment he is afraid to answer.
|
And that's when the second part of today's first quote -
Page 53/Scene 125 - Carolyn (OC): 'David!!'
- comes up, followed by today's second quote -
Page 53/Scene 125 - David: 'Who is it! Who's calling me!'
- coming up.
And when it comes to the dialogue, the descriptions, and the directions, things don't play exactly as scripted. Scene 124 does indeed begin with David lying where he fell, opening his eyes, wincing as he puts his hand to his head, struggling to his feet, and climbing up on the cement block (not planking) - though one thing we don't see is David retrieving his ball, which was the whole reason for his fall (but that *may* be because the framing of the scene doesn't do down far enough to see David actually pick the ball up - however, it doesn't really look like it because we do see his hands and they never hold the ball) - and as he stands there he brushes -
(http://www.dsboards.com/hoDSquoteimages/0627hoDS_a.jpg)
- himself off - and then, unlike in the script, soon thereafter still in Scene 124 he hears the voice calling to him, and as we can see in today's first capture -
(http://www.dsboards.com/91quoteimages/0627ds91_0.jpg)
- this shocks him and soon he turns -
(http://www.dsboards.com/hoDSquoteimages/0627hoDS_b.jpg)
- and then he walks to the doorway -
(http://www.dsboards.com/hoDSquoteimages/0627hoDS_c.jpg)
- but unlike in the script, Scene 125 doesn't begin with David standing there looking up at the broken skylight through which the moon bathes the pool in eerie light, nor does he decide to get back to the house so he turns to go only before he can take a step, he hears a strange voice in the distance that seems to be coming from the far end of pool - and none of that takes place because Scene 125 actually begins with David going though the doorway part way and he hears -
(http://www.dsboards.com/hoDSquoteimages/0627hoDS_d.jpg)
(http://www.dsboards.com/hoDSquoteimages/0627hoDS_da.jpg)
- the voice call him a second time - and after moving out a bit more -
(http://www.dsboards.com/91quoteimages/0627ds91_1.jpg)
(http://www.dsboards.com/91quoteimages/0627ds91_1a.jpg)
- is when he delivers today's second quote.
-
Picking up with more of Scene 125 and wrapping it up, beginning with Carolyn's off camera response to David asking who's calling him:
CAROLYN (OC)
I'm here, David -- come and see me!!
125 CONTD CONTD 125
David's eyes widen in astonishment as he recognizes
her voice. He moves slowly along the walkway.
DAVID
Carolyn! Is it -- is it really
you? he starts moving
|
And that's when today's first quote -
Page 54/Scene 125 - Carolyn (OC): 'Keep coming to me, David -- I want so much to see you --'
- comes up, though it's in the script as:
Come CAROLYN (OC)
Keep coming to me, David -- I
want so much to see you --
CAMERA TRUCKS with David as he moves along the walkway,
past each of the giant pillars.
|
And that's when today's second quote -
Page 54/Scene 125 - David: 'Carolyn -- I knew you weren't dead. I knew it. I knew it.'
- comes up, followed in the script by:
CAROLYN (OC) Keep coming to me
Over here, David -- over here. ...
I'm waiting for you.
David reaches the end of the walkway and peers into the
darkness.
|
End of scene - though certainly not end of sequence.
And when it comes to the dialogue, the descriptions, the directions, and the notations, not everything plays as scripted. Carolyn's actual response to David is "I'm here, David. Just come to me" - and we don't see David's eyes widen in astonishment as he recognizes her voice, though if they did we wouldn't be able to see them anyway because it's too dark and he's too far away in the shot - instead we simply see David question if -
(http://www.dsboards.com/hoDSquoteimages/0628hoDS_a.jpg)
- it's her, though what he actually says is "Carolyn, is that you?", and then as we see his POV -
(http://www.dsboards.com/hoDSquoteimages/0628hoDS_b.jpg)
- he asks "Is it really you?", but unlike DC's notation in the script, David doesn't begin moving - and then the camera goes back to a long shot of David as we hear what is different still from the way DC changed it in his script -
(http://www.dsboards.com/hoDSquoteimages/0628hoDS_c.jpg)
(http://www.dsboards.com/hoDSquoteimages/0628hoDS_ca.jpg)
- as Carolyn actually begins with "Just come to me, David. I want so much" and she concludes with "to see you", back over a closer shot, as can be seen in today's first capture -
(http://www.dsboards.com/91quoteimages/0628ds91_0.jpg)
- and as David then moves along the walkway through a series of double exposure and single exposure shots -
(http://www.dsboards.com/hoDSquoteimages/0628hoDS_d.jpg)
(http://www.dsboards.com/hoDSquoteimages/0628hoDS_e.jpg)
- David doesn't say today's second quote because it was dropped, but we do hear Carolyn actually say "Over here, David, over here. Just keep coming to me" - and then we see a final double exposure as David nears the end of -
(http://www.dsboards.com/hoDSquoteimages/0628hoDS_f.jpg)
- the walkway until the camera switches back to a single exposure as David comes to a stop and peers into the darkness and asks an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0628hoDS_g.jpg)
"Carolyn?"
-
Moving through today's new scene (and at first I'm going to do it by including minimal notations) and wrapping up the sequence:
126 DAVID'S POV David from in back of him 126
From out of a dark corner he sees her emerge and step
into a shaft of moonlight in a long, diaphonous gown,
her face deathly pale. She moves toward him slowly,
her arms outstretched to him.
DAVID AND CAROLYN
As she slowly moves towards him, he start to inch
backwards.
|
And that's when today's first quote -
Page 54/Scene 126 - Carolyn: 'You mustn't be afraid, David. I'm not going to hurt you -- you know I'd never do anything to hurt you --'
- comes up, followed in the script by:
She is very close to him now. Suddenly she opens her
mouth, baring two glistening fangs and makes a grab
for him. The horrified David jumps out of the way
and SCREAMS at her.
|
And that's when today's second quote -
Page 54/Scene 125 - David: 'Stay away from me!! You're dead.'
- comes up, followed in the script by:
He turns and runs for dear life back along the walkway.
|
End of scene and sequence, mostly as scripted. However, a good part of the scene actually appears in DC's script like this:
her arms outstretched to him.
David
DAVID AND CAROLYN Carolyn - where are you
- I can't see you
As she slowly moves towards him, he start to inch where are
backwards. you
CAROLYN Carolyn
You mustn't be afraid, David. I'm here David
not going to hurt you -- you know just come to me
I'd never do anything to hurt you -- I'm here
She is very close to him now. Suddenly she opens her David
mouth, baring two glistening fangs and makes a grab Oh Carolyn
for him. The horrified David jumps out of the way I knew it
and SCREAMS at her. I knew it
I knew you were
DAVID alive
Stay away from me!! You're dead.
He turns and runs for dear life back along the walkway.
|
And when it comes to the dialogue, the descriptions, the directions, and the notations, as per usual, things don't play exactly as scripted. Scene 126 does indeed begin by showing Carolyn emerge into the light in a long -
(http://www.dsboards.com/hoDSquoteimages/0629hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0629hoDS_b.jpg)
- diaphonous gown, a shroud, actually (and "diaphonous" isn't even the word for it, at least not when watching the Blu-ray on a big screen TV because as the scene progresses one can see parts of Carolyn's body that I've never noticed in any other transfer of the film - I don't think I'd even noticed them on the movie screen back in the '70s) - and at first David is happy to see Carolyn -
(http://www.dsboards.com/hoDSquoteimages/0629hoDS_c.jpg)
- and as one can clearly see, Carolyn's face isn't deathly pale (and thanks heavens that make-up artist from the daytime show didn't do Carolyn's make-up here or perhaps she would have had Roxanne's blue hue) -
(http://www.dsboards.com/hoDSquoteimages/0629hoDS_d.jpg)
- nor are her arms outstretched to David - and as Carolyn slowly moves towards him, David does start to inch backwards with an uneasiness -
(http://www.dsboards.com/hoDSquoteimages/0629hoDS_e.jpg)
- clearly beginning to show on his face - and as Carolyn continues to move even closer as -
(http://www.dsboards.com/91quoteimages/0629ds91_0.jpg)
- today's first quote comes up and which she actually delivers as "You mustn't be afraid, David. I'm not going to hurt you -- you know I would never do anything to hurt you --" as David backs aware from her with even more unease -
(http://www.dsboards.com/hoDSquoteimages/0629hoDS_f.jpg)
- showing in his face - and just as Carolyn moves closer and closer to a point where she begins to raise her arms and she would have -
(http://www.dsboards.com/hoDSquoteimages/0629hoDS_g.jpg)
- bared her fangs, David immediately screams out -
(http://www.dsboards.com/91quoteimages/0629ds91_1.jpg)
- today's second quote exactly as scripted and then quickly pulls back into the shadows -
(http://www.dsboards.com/hoDSquoteimages/0629hoDS_h.jpg)
- to get away from her, and things instantly cut to the next scene. But as we'll get into a bit later, there was stuff shot that should have been where those last two cuts take place...
And as you can see, at no point did I reference any of the dialogue that DC added to his script, and that's obviously because none of it appears in the film.
-
I loved Elvira's take on this bit. Carolyn's not really dead. They just slapped a bunch of Gold Medal Flour on her face.
-
I'm sharing the novelization of Scenes 124 through 126 because once again it's the case that the version of the sequence in the script that was used for the novel is somewhat different and has a bit more dialogue than what appears in DC's script:
Darkness had cloaked the ancient estate. And the
shadows covered David in the deep hole by the indoor
swimming pool where he'd toppled earlier while playing
with his ball. Now he began to slowly stir and moan.
After a little he opened his eyes. His head was aching.
Aching as he'd never known it to before. He touched his
hand to it and winced at the pain. Gradually he began
to sort out what had happened in his mind and where
he was.
Faint and dizzy, he struggled to his feet. The darkness
of the deserted building frightened him. Fortunately he
knew his way around it fairly well from his many visits
there. He laboriously climbed up on the planking. Then
he walked along the planks and looked into the swim-
ming pool area.
David stood there still somewhat stunned. He glanced
up at the broken skylight through which the moon bathed
the pool with an eerie blue light. he had no idea what
time it was, but he knew it must be late. And he ruefully
though of his father's rage at his disobeying him by
coming to the pool and the reception he might expect at
Collinwood. He'd missed his dinner and probably upset
everyone as well. The sooner he got back home the
better. He turned to leave.
Suddenly from the distant shadows there came a thin,
ghostly voice. "David!"
The boy spun around and stared into the grim dark-
ness of the cavernous place. he was too startled to utter
a sound.
The voice came again and now it had a familiar ring.
"David!"
He didn't dare believe his ears. Finally managing to
speak, he cried, "Who is it? Who's calling me?"
The phantom replied, "I'm here, David. Come and see
me!"
David's eyes widened with astonishment. It was
Carolyn! Carolyn, whose body he had seen carried into
the mausoleum only that afternoon! Carolyn, who was
dead!
He stared in the darkness, a frightened boy. Carolyn?
Is it really you?
"Yes. Keep coming to me, David," the thin voice said.
"I want so much to see you."
David began to move slowly along the walkway through
the shadowed gloom. He moved past the giant pillars
which reflected the faint moonlight, then hesitated for a
moment.
"Carolyn, I knew you weren't dead! I knew it! I knew
it!"
The thin voice beckoned him. "Over here, David.
Over here. I'm waiting for you."
David reached the end of the walkway and peered into
the darkness. From out of a shadowed corner he saw her
emerge and step into a shaft of moonlight, in a long trans-
parent gown, her face deathly pale. She moved toward
him slowly, her arms outstretched to him. David watched
her with growing fear. Without understanding, he knew
that this strange manifestation of Carolyn posed a threat
for him.
"Go away," he said in a tremulous tone as he started
to inch back from her.
Carolyn came closer to him. "You mustn't be afraid,
David!"
"You're not really Carolyn," he pretested in a fright-
ened voice as he tried to escape her. His eyes fixed on
her in eerie fascination.
"I'm not going to hurt you," she said, her pale face
showing a weird blank look, and her voice thin and un-
real.
"I don't believe you," the boy protested, ready to make
a break for it and run at the first opportunity.
Carolyn coaxed, "You know I'd never do anything to
hurt you."
Now she was very near him. Suddenly she opened her
mouth to reveal two glistening fangs as she made a grab
for him. Horrified, David jumped out of the way and
screamed.
"Stay away from me!" he cried. "You're dead!"
And with that he turned and ran wildly back along the
walkway.
|
Interesting how Carolyn's shroud was originally referred to as being "transparent" rather than "diaphanous" (or diaphonous, as it is misspelled in the script). Thankfully they didn't go with a transparent shroud - for Nancy Barrett's sake, anyway. [lghy] Though as I said, in Blu-ray HD, what she is wearing doesn't exactly leave much to the imagination in certain instances...
-
In certain publicity stills, it's quite obvious that Carolyn is indeed going commando. I guess it depends on the lighting.
-
And before we move on to Scene 127, I'd like to share some stills from Scene 126. Obviously, the shots of Carolyn baring her fangs to David and then making a grab for him are no longer in the film. But I'm pretty sure they were in the film - at least when I saw it in September of 1970 and then again in October. We all know how NoDS was edited more even after its release and I'm thinking the same happened to hoDS. And I'm not simply relying on my what could easily be a faulty memory at this point for this because after I'd seen hoDS the first two times, the second two times I went to see it I took notes so that I could write up a summary of the film relying on my notes for visuals and a tape recording for the audio (who knew there would be a Paperback Library novelization?). Unfortunately, I no longer have the audio tape - but I do have the notes - and they clearly mention the baring of the fangs and the making a grab. So, unless somehow I hallucinated those things happening (and you never know because I'm sure I was high on candy/sugar from the concession stand), they were in the film...
But be that as it may, at least these two stills do exist. First, Carolyn baring her fangs -
(http://www.dsboards.com/hoDSquoteimages/C_fangs.jpg)
- which as far as I know had only been published once in a 1970 article from a now defunct magazine called TV Radio Show (and it was published after the film had already opened, which is what they know Nancy Barrett gives "a socko performance") before a more detailed and better quality version was finally published in 2012 in the Return to Collinwood book - and secondly, David turning to run from Carolyn's attack -
(http://www.dsboards.com/hoDSquoteimages/CD_attack.jpg)
- which as far as I can recall has only been published as part of an article Tiger Beat did on the film as well as one of the photos in the center of the novelization. Though it was sort of reworked for one of the teaser posters:
(http://www.dsboards.com/hoDSquoteimages/where.jpg)
-
In certain publicity stills, it's quite obvious that Carolyn is indeed going commando. I guess it depends on the lighting.
The revelations I've recently discovered are above the waist...
-
Yes! I don't think that i would ever ask Nancy to sign it but i do have an 8x10 where it's extremely obvious.
-
And we still have one more thing to deal with before the slideshow switches to DC's script's version of Scene 127 - and that's the beginning of the novelization's version of Scene 127, which, similar to Gallery Scene 80, where there is small talk before Barnabas shows up to be introduced, apparently in the version of the script that was used for the novelization, there is small talk before David makes his big revelation at dinner:
The atmosphere in the dining room of Collinwood was
solemn. Mrs. Johnson served with a sad expression on
her matronly face. Seated at the table were Elizabeth,
Roger, Todd, Julia, Stokes and Maggie. No one seemed
to have any desire for conversation. As a result there
were frequent long periods of silence.
For all the poignant grief she felt, Elizabeth managed
to maintain a very good front before the others. She in-
quired if the roast beef was sufficiently well done and
urged them all on to enjoy the meal. She even kept up
the pretense of eating, although little of the food on her
own plate disappeared.
Roger showed none of his usual coldness. He was also
solicitous of their guests and did his best to keep the
conversation going. "I'll trust we'll have no more wet
weather for a while," he said.
Julia Hoffman picked up the cue. "So do I," she
agreed. "More rain could be ruinous to the farm crops
and we've had quite enough of it."
"Especially the thunder and lightening storms," Maggie
spoke up, trying to do her part. "They frighten me."
Professor Stokes offered her one of his dignified smiles.
"I don't want to upset you, Miss Evans. But I believe the
long term weather reports predict that this year we shall
have more than the usual amount of thunderstorms. So
you may expect one soon again."
Roger said, "Then I don't put too much stock in
weather reports. They are too often wrong."
Professor Stokes looked affronted. "I'm referring to the
New York Times long term weather report, to be precise.
And over the years I've seldom found it wrong."
Todd, looking pale, said grimly, "We have plenty of
things to worry about besides the weather." They became
silent, all thinking about Carolyn.
"It has been a tragic year for us at Collinwood," Eliza-
beth agreed quietly. "But then this is only a very small
part of the world."
Todd's boyish face was almost reproachful. "It happens
that this small area is the nearest and dearest to
us," he said. "So what takes place here holds the most
importance to our group."
"And rightly," Professor Stokes nodded wisely.
Roger glanced Jeff's way. "Done any painting lately?"
"No," he replied rather awkwardly, "not since"--he
hesitated, too late realizing what he was saying--"not
since Nancy Hodiak was murdered."
There was an unhappy silence. Then Roger said
solemnly, "That was the start of the tragedies here."
Julia Hoffman said quietly, "You are forgetting the
attack on Daphne Budd."
"Of course," Roger admitted with some embarrass-
ment, I don't know why I did that."
Elizabeth sighed "So much has happened in so short
a time."
"True," Stokes said. "It is my opinion that the police
are not able to cope with this type of criminal."
Julia flashed him a warning glance across the table.
"None of us are too well qualified to follow your esoteric
deductions. I think you should save them for some other
time."
The stout man took the hint and his face flamed
crimson. "Sorry. The table is not the place to discuss
such matters. My apologies to you all."
Elizabeth's attention had been caught and she sur-
prised the others by telling the professor, "I think you
have a perfect right to talk about your deductions con-
cerning the crimes at any time. After all, we are close
friends. We are all of us part of a close circle. No one
should take offense. And I, for one, would be interested
in anything you have to offer."
Professor Stokes looked both pleased and embarrassed.
"That is most kind of you, dear lady," he said. "But I
believe Julia is right. What I have to offer is of such small
importance it is better postponed."
Roger, with a shade of his old stern manner said, "I
think the police are criticized too often in instances like
this. We mustn't be too quick to condemn them."
Todd commented unhappily, "Still I maintain there
have been enough unsolved crimes in the area. The police
should come up with something."
|
I doubt many of us missed much of that. But what is interesting is that Jeff was originally a part of the scene. And honestly I've always wondered why he isn't a part of it in the film. Just where did he have to go. And why wouldn't he be there at the very least to support Maggie. But I suppose only DC knows for sure why Jeff was dropped from the scene - especially given how much DC loves RD!!
-
Setting up today's new scene:
REV. - 3/13/70
127. INT. DINING ROOM - NIGHT
WIDE ANGLE - Roger picks up bottle of wine. Crosses
around and pours for Elizabeth and from the right of Julia.
CAMERA HAS TRUCKED with him until we are framed between
Julia and Stokes. (Pouring from right frame.) A hysterical
David appears. Present at the table are Liz, Roger, Todd,
Julia, Stokes and Maggie.
|
And that's when today's quote -
Page 55/Scene 127 - David: 'I saw Carolyn! I saw Carolyn!'
- comes up.
But when it comes to the dialogue, the descriptions, and the directions, very little of that is how things actually play in the film. The scene actually opens with everyone mentioned sitting at the table in silence and Mrs. Johnson doing -
(http://www.dsboards.com/hoDSquoteimages/0630hoDS_a.jpg)
- wine pouring duty (and interestingly enough, it's Stokes who's smoking and not Julia) - and as Mrs. Johnson makes her way around the table, Stokes, Julia and Roger all -
(http://www.dsboards.com/hoDSquoteimages/0630hoDS_b.jpg)
- take sips of wine, but it's Julia who gets Mrs. Johnson's attention and quietly says an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0630hoDS_c.jpg)
"I'd like some more, please."
- and after Mrs. Johnson finishes pouring for Julia, we suddenly see -
(http://www.dsboards.com/hoDSquoteimages/0630hoDS_d.jpg)
(http://www.dsboards.com/hoDSquoteimages/0630hoDS_da.jpg)
- David appear at the far end of the hallway - and soon as he runs down the hallway he begins screaming today's quote -
(http://www.dsboards.com/91quoteimages/0630ds91_0.jpg)
(http://www.dsboards.com/91quoteimages/0630ds91_0a.jpg)
- but he delivers it as "I saw her! I saw her!" - and he follows that with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0630hoDS_e.jpg)
"She's alive. She's alive."
- as the camera pushes in on the stunned diners - and after David enters the dining room, he delivers an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0630hoDS_f.jpg)
"Carolyn's alive."
-
Yes! I don't think that i would ever ask Nancy to sign it but i do have an 8x10 where it's extremely obvious.
Surprisingly, there are some photos of vampire Carolyn in My Scrapbook Memories (and I say "surprisingly" because almost all the photos in the book in some way involve KLS - but considering it's a book about her, that isn't particularly surprising). But I'm holding off sharing them until after Scene 138 comes up in the slideshow because most of the photos are from behind the scenes of that scene. But to get back to your point, I never noticed how revealing one of the photos is until I was checking it out yesterday. If that's the photo you have as an 8X10, I can easily see why you'd never ask Nancy to sign it!!
-
I've seen several different versions of the photo in question. It depends on how crisp the source negative is but, in some versions, it is extremely obvious. [easter_shocked] [easter_shocked] [easter_shocked]
-
More of Scene 127:
Roger, standing next to Julia, starts crossing around the
end of the table to the right of the chair, delivering
his line.
|
And that's when today's quote -
Page 55/Scene 127 - Roger: 'David, how dare you pull one of your tricks at a time like this!'
- comes up, followed in the script by:
CUR
LIZ
MAGGIE
(as she rises and moves
to David.)
David --- please not now!
DAVID
Maggie, I did see her...I did... end on
Tight
ROGER Stokes
David, I toldyou...
|
And when it comes to the dialogue, the descriptions, the directions, and the notations, again some things are quite different from how things actually play in the film. As we saw yesterday, it's Mrs. Johnson and not Roger who's pouring the wine, so he actually jumps up from his chair to deliver today's quote exactly as scripted, though there is no close-up of Roger or Liz as DC's notations indicate - and speaking of today's quote, I love the look Julia gives Stokes while Roger is delivering it -
(http://www.dsboards.com/91quoteimages/0701ds91_0.jpg)
(http://www.dsboards.com/91quoteimages/0701ds91_0a.jpg)
- and I love how as soon as Roger starts yelling at David, Mrs. Johnson hightails it out of the room as soon as possible - and right at the tail end of today's quote, Maggie delivers her line - but what is different is that the camera whip pans past Julia to Stokes and he calls out before he's scripted to -
(http://www.dsboards.com/hoDSquoteimages/0701hoDS_a.jpg)
"David."
- then the camera switches back to Maggie, Todd, David and Roger as David delivers his next scripted lines, which he simply delivers as "But I saw her" -
(http://www.dsboards.com/hoDSquoteimages/0701hoDS_b.jpg)
- and Roger begins railing again as he delivers his next scripted line, but he delivers it as "David, I told you and I will not tell you again!" (and I like how the script tried to introduce a new word/verb, "toldyou," into the English language - it's too bad it didn't take hold [b003]) - and over the end of Roger, Stokes calls out "David" again, but from off camera, and everyone turns -
(http://www.dsboards.com/hoDSquoteimages/0701hoDS_c.jpg)
- to look in Stokes' direction, though Julia lowers her eyes, no doubt because she knows what's about to come...
-
Continuing with Scene 127, beginning with today's first quote -
Page 55/Scene 127 - Stokes: 'David, come here for a minute ...'
- comes up, followed in the script by:
David goes to Stokes. Maggie takes two steps after him
and stops. Before she gets to Elizabeth,David crosses
to Stoke's left. LIZ
Eliot please I can't take
any more of this
|
And we see that Liz' line that is used for today's second quote is an addition DC added to his script. And normally we only use actual dialogue in the scripts for quote. But that is such an important moment in the scene that an exception was made.
So, when it comes to the dialogue, the descriptions, and the directions, and the notations, things in the scene finally reach the point when Stokes delivers his actually scripted line on camera -
(http://www.dsboards.com/91quoteimages/0702ds91_0.jpg)
- though he simply delivers it as "David, come here" - and after we see David begin -
(http://www.dsboards.com/hoDSquoteimages/0702hoDS_a.jpg)
- to move toward Stokes, for some reason that is interrupted by a close-up of Liz -
(http://www.dsboards.com/hoDSquoteimages/0702hoDS_b.jpg)
- which is probably the close-up that DC notes as intended for earlier in the scene when Roger reprimands David for supposedly pulling one of tricks when he says Carolyn is alive, and I honestly think it would have been much more effective there, but apparently DC did not - and then we see David walk past Maggie as he gets closer to Liz -
(http://www.dsboards.com/hoDSquoteimages/0702hoDS_c.jpg)
- but unlike what the script indicates, Maggie does not take two steps after him and then stops because she never actually moves from the spot she's been standing in all along - and then once David comes up behind Liz chair is when she delivers -
(http://www.dsboards.com/91quoteimages/0702ds91_1.jpg)
- her line that was added to the script, though she simply delivers it as "Eliot, please", as a beseechment for him to stop, which of course he won't...
-
Beautiful captures. And had ANY of the pre-dinner scene been included, it would have helped us realize what a betrayal Elizabeth must feel Eliot's words are now.
But no... forget the psychological dynamics or pretending the characters are people we care about. (And have known for years, in fact, for fans who were in there for this back in '70.)
DC's goal was just to maximize the gore, the fangs, the screams, and minimize anything that gets in the way of all that.
G.
-
Beautiful captures.
Thanks.
And had ANY of the pre-dinner scene been included, it would have helped us realize what a betrayal Elizabeth must feel Eliot's words are now.
Indeed! There's no way Liz would have been expecting Stokes theory that Carolyn is a vampire!!
But no... forget the psychological dynamics or pretending the characters are people we care about. (And have known for years, in fact, for fans who were in there for this back in '70.)
DC's goal was just to maximize the gore, the fangs, the screams, and minimize anything that gets in the way of all that.
Well, you're preaching to choir when it comes to me. I couldn't agree with you more!!
-
More of Scene 127:
STOKES
Where did you see her, David?
TODD really |_______ CU TODD
Professor, you don't^believe for a
minute he really saw her, do you?
|
And that's when today's first quote -
Page 55/Scene 127 - Stokes: 'Where did you see her?'
- comes up, followed by today's second quote -
Page 55/Scene 127 - David: 'At the swimming pool.'
- coming up.
And when it comes to the dialogue and the notations, Stokes delivers his first line as "Where did you see her?" with the "David" dropped - and despite the changes DC made, Todd actually only gets to say "You don't believe he saw--" before Stokes cuts him off, and despite DC's other notation for Todd, he doesn't get a close-up because, worse than no close-up, he delivers the line off camera - and when Stokes cuts Todd off, he delivers today's first quote exactly as scripted - but when it comes to David, his actual response is "At the old swimming pool", with "old" being added to DC's script in the same way that "really" is added to Todd's line, plus DC has a notation that David would be seen in closeup, which as we can see in today's second capture -
(http://www.dsboards.com/91quoteimages/0703ds91_1.jpg)
- he obviously isn't - and in the background we see Liz reacting to all this as she prepares to say something. But we'll deal with what Liz says next time...
-
And yet more of Scene 127 as scripted:
Elizabeth rises and crosses to the window. LIZ
Roger!
CONTINUED
REV. - 3/13/70
127. (CONT'D)
ROGER |_________________ CUR
Eliot, I think this has gone
far enough.
STOKES |_________________ wide from
Roger, I think it would be a good in back of
MASER -> idea if Maggie took the boy to his
room.
does not look at Maggie
Roger looks at Maggie and nods his approval. Maggie
crosses to David. takes him to door - Roger stops her
DAVID
Father, I saw her ... Please be-
lieve me. she called to me - She wanted me
ROGER
Alright son - go to your room now - we'll talk about
Maggie takes David gently by the shoulders. (Ad libs: later
"That's alright, David, come with me now. We'll talk
about it later")
|
And that's when today's first quote -
Page 55A/Scene 127 - David: 'Why won't anyone believe me? I saw her. She called to me. She wanted me.'
- comes up.
And probably needless to say, with all those notations, things play in the film differently from the way it's scripted. And there are even more changes in the film. But we'll get into all that next time...*
(* because I'm starving and I need to go make my lunch. (http://www.dsboards.com/SMF/Smileys/classic/smiley.gif))
-
And when it comes to the start of the dialogue, the descriptions, the directions and the notations for the section of Scene 127 that I previously laid out, Liz doesn't get up so obviously she doesn't cross to the window. However, she does call the Roger, and one might presume that he face would be seen while she does so, but one would be wrong when someone like DC is involved. As we saw in the capture I shared yesterday, Liz is seen in the background as she cocks her neck as if she's getting reading to say something, but when she does say the dialogue that DC added to his script, which she does so just as DC added it, the camera shifts to -
(http://www.dsboards.com/hoDSquoteimages/0704hoDS_a.jpg)
- shooting her from behind, and of course that makes perfect sense, right, because just because the topic of discussion is Liz' daughter, why would one want to see Liz' face - and unlike how DC's script indicates that Roger would then be seen in close-up, he's seen from the exact same distance as the above capture when he delivers his first line covered, which he delivers exactly as scripted - and there's no need to switch back to shooting from behind Stokes in what we'll presume is really the "MASTER" and not the "MASER" shot because the camera shot remains unchanged when Stokes delivers his first line covered, which he actually delivers as "I think it would be a good idea if Maggie were to take the boy to his room" - at which point as Maggie makes her way to him -
(http://www.dsboards.com/hoDSquoteimages/0704hoDS_b.jpg)
- in what will be the start of different parts of David's dialogue becoming rearranged, he actually asks "Why don't you believe me?" as he still stands in place - and once she reaches him, Maggie puts her hand on David's waist and says an unscripted/ad libbed -
(http://www.dsboards.com/hoDSquoteimages/0704hoDS_c.jpg)
- after which David begins to move away from the table as -
(http://www.dsboards.com/hoDSquoteimages/0704hoDS_d.jpg)
- he insists "I saw her" - and as he begins to walk around the table with Maggie, Julia, who has been paying very close attention to David, nods in the affirmative to Stokes - and soon it's an emotional Roger who begins to move around the table -
(http://www.dsboards.com/hoDSquoteimages/0704hoDS_e.jpg)
- in David's direction, and as Roger nears him he reaches out to hold David's -
(http://www.dsboards.com/hoDSquoteimages/0704hoDS_f.jpg)
- shoulders (which is one of the very few moments when the aspect ratio of the VHS is preferable because -
(http://www.dsboards.com/hoDSquoteimages/0704hoDS_f_vhs.jpg)
- one can not only see Roger's entire hand on David but that David is reaching out to Roger as well (and with the VHS Todd's face doesn't get cut off as Roger moves past him)) as David says "She called to me, Father" - and then the camera switches to the shot in today's capture as -
(http://www.dsboards.com/91quoteimages/0704ds91_0.jpg)
- David actually says "I think she wanted to hurt me. ... Please believe me", upon which he gabs onto to Roger and holds tight while -
(http://www.dsboards.com/hoDSquoteimages/0704hoDS_g.jpg)
- begging "Please believe me, Father, please", which prompts Roger to become even more emotional and to say an unscripted but added to DC's script -
(http://www.dsboards.com/hoDSquoteimages/0704hoDS_h.jpg)
"It's all right, David"
- and the camera changes angles again as Roger goes on to give a classic though unscripted but added to DC's script Collins response -
(http://www.dsboards.com/hoDSquoteimages/0704hoDS_i.jpg)
"We'll talk about it later."
- and for now we'll hold off on getting into what Maggie actually ad libs.
And rather than criticize DC, one does have to commend him for leaving all that emotional David/Roger material in the scene. Who knows what got into him? Or perhaps even someone else talked him into it. But DC is the one that allowed it to stay...
-
Wrapping up Scene 127 and beginning a somehow already started Scene 128:
David and Maggie exit. Roger turns to Stokes.
ROGER |_________________ CUR
Alright, Elliot, what is it you
want to say?
STOKES
(To Roger)
I believe he saw Carolyn and I
suggest we try to find her, now.
START
HERE CONTINUED
Keep SIX Going all the
way for reverse and position III A
128 CONTD CONTD 128
|
And that's when today's quote -
Page 56/Scene 128 - Roger (taking charge): 'Eliot, I think it is shocking that you're willing to take seriously the hallucinations of a very upset child!'
- comes up, followed in the script by the end of that section of Roger's dialogue:
ROGER
We are not
going anywhere!
|
And so, as far as the dialogue, the descriptions, the directions, and the notations go, let's first backtrack to yesterday where the script said Maggie would "ad lib": "That's alright, David, come with me now. We'll talk about it later." Though if the script actually tells you what to say, is that really an ad lib? But be that as it may, after Roger says practically that same thing to David, once again Maggie -
(http://www.dsboards.com/hoDSquoteimages/0705hoDS_a.jpg)
- actually puts her hand on David's waist, not his shoulders - and as she leads David out of the room she actually ad libs -
(http://www.dsboards.com/hoDSquoteimages/0705hoDS_b.jpg)
"We need to go to your room."
- though she says it so softly that unless you turn the volume way up, it's almost impossible to hear her - and then Roger does indeed turn back to Stokes, but as Todd stares at Stokes, Roger swallows hard -
(http://www.dsboards.com/hoDSquoteimages/0705hoDS_c.jpg)
- before he moves closer to the table and asks -
(http://www.dsboards.com/hoDSquoteimages/0705hoDS_d.jpg)
- Stokes his first lines in the section of the scene covered today, which he actually delivers as "Well, Elliot, what is it you want to say?" (and presumably in his mind he's spelled "Eliot" correctly) though obviously, unlike DC's notation, Roger is not in close-up - and after Stokes is seen in close-up (though DC had a notation that he would be seen in profile but erased most of it) as he -
(http://www.dsboards.com/hoDSquoteimages/0705hoDS_e.jpg)
- delivers "I believe he saw Carolyn", the camera switches to an unindicated close-up of Liz as -
(http://www.dsboards.com/hoDSquoteimages/0705hoDS_f.jpg)
- Stokes finishes off camera with "and I suggest we try to find her now" - and at that point DC's script has an odd notation that says "START HERE", but he doesn't elaborate, so it hard to know what he means - I don't think he's referring to the other notation at the bottom of the page that indicates that six cameras are shooting the scene simultaneously because that seems to have been happening throughout the entire scene - but who knows because apparently at this point only DC did? - and then when we move to the next page in the script, very oddly we're suddenly in a continuation of Scene 128 without ever having been shown where Scene 128 begins - but apparently the revision of Scene 127, which ends on page 55, replaced the beginning of Scene 128 and for all intents and purposes Scene 128 scene simply begins with page 56 and Roger's quote for today, which he actually delivers as "Eliot, I think it is shocking that you're willing to believe the hallucinations of a very upset child" - and Roger finishes with the end of that section of his dialogue with an extremely angry -
(http://www.dsboards.com/hoDSquoteimages/0705hoDS_g.jpg)
- "We are not going anywhere!", exactly as scripted.
-
The interesting thing about today's quote -
Page 56/Scene 128 - Stokes: 'I warn you this must be taken seriously.'
- is that DC's script indicates that it would have a different camera set up from Roger's camera shot -
(http://www.dsboards.com/hoDSquoteimages/0705hoDS_g.jpg)
- from yesterday. But quite obviously, as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/0706ds91_0.jpg)
- it doesn't. But Stokes does deliver it exactly as scripted...
-
Continuing Scene 128, beginning with today's first quote -
Page 56/Scene 128 - Todd: 'Professor, Carolyn is dead.'
- coming up, followed by today's second quote -
Page 56/Scene 128 - Stokes: 'She is dead -- and yet she is alive.'
- coming up.
And as the camera pans with Roger as he makes his way back to his chair, so Todd is centered in the shot, as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/0707ds91_0.jpg)
- and Todd delivers today's first quote exactly as scripted. However, today's second quote was completely dropped from the scene - and considering how things play in the film, it doesn't seem as if it was ever shot. And it won't be the only lines of dialogue that were completely dropped from Scene 128 and likely never shot because there are a few more examples coming up, another as soon as tomorrow's section of the script...
-
Moving on with more of Scene 128:
Liz now turns from the window and crosses to Stokes.
There is an indication of rising anger in her tone as
she speaks.
LIZ
Eliot, if I didn't know you to be
a man of character and integrity
I'd ask you to leave this house now!
|
And that's when today's first quote -
Page 56/Scene 128 - Stokes: 'There is a way of proving whether or not the boy was right.'
- coming up, followed by today's second quote -
Page 56/Scene 128 - Todd: 'How?'
- coming up, followed by today's third quote -
Page 56/Scene 128 - Stokes (pauses): 'By opening Carolyn's grave.'
- coming up.
And as far as the dialogue, the descriptions, the directions, and the notations go, as we can see in today's first capture -
(http://www.dsboards.com/91quoteimages/0708ds91_0.jpg)
- Liz has never gone to the window because she's still sitting at the table, and she never delivers the crossed out dialogue or any variation of it because it was the second example of dialogue being completely dropped from the scene (2 to go) - and DC added a notation after Stokes first quote from this section that says that Liz would cross to chair, presumably hers. which doesn't happen because she's still in it - and as we can see from these two enlargements of sections of today's second capture, as Todd asks Stokes how they can prove what David said -
(http://www.dsboards.com/91quoteimages/0708ds91_1a.jpg)
(http://www.dsboards.com/91quoteimages/0708ds91_1b.jpg)
- Julia looks over to Stokes - and before Stokes answers Todd, DC has a notation that he turns to Todd, which we can see in today's third capture -
(http://www.dsboards.com/91quoteimages/0708ds91_2.jpg)
- Stokes does, though another notation indicates that when Stokes turns the camera would rack focus on Stokes, but that doesn't happen, or at least we don't see it happen because when the camera shot changes, focus is already on Stokes. Also, what Stokes actually says is "By opening Carolyn's coffin."
-
When it comes to today's quote from Scene 128 -
Page 56/Scene 128 - Roger: 'Oh, my God, Eliot!!'
- an interesting aside is that DC indicates in his script that the shot of Roger is supposed to come from the master shot (everyone sitting around the table and shot from behind Liz, yet as we can see in today's capture -
(http://www.dsboards.com/91quoteimages/0709ds91_0.jpg)
- it isn't. Also, what Roger actually says is "Oh, for God's sake."
-
I keep forgetting to mention that if anyone has been wondering why things look so dark outside the dining room's windows in the various shots of them -
(http://www.dsboards.com/91quoteimages/0708ds91_0.jpg)
- it's because the way nighttime was simulated for these scenes, which were all shot during the daytime, was to hang tarps over the windows to block the light (and DC also used a similar technique on the '91 DS). In fact, one of the publicity shots of Lyndhurst that was given out to magazines to publicize the film actually shows a tarp covering most of the library window. Oddly, one magazine that shared the photo did so in its negative version -
(http://www.dsboards.com/hoDSquoteimages/Lynd_tarp_neg.jpg)
- but that's easily remedied these days by altering it back with almost any image manipulation software -
(http://www.dsboards.com/hoDSquoteimages/Lynd_tarp.jpg)
- presumably on the day the photo was taken, they were shooting the scene of Barnabas, Maggie and Carolyn in the library, or the scene of Liz, Carolyn and Todd. Perhaps even both - though the shooting schedule indicates not...
-
That's a very cool shot of Lyndhurst with that tarp over the window, MB. You really do find the coolest stuff!
Thanks again for all your work on this epic!
G.
-
I really like the reversed image! It's quite striking!
-
And when it comes to today's quote from Scene 128 -
Page 56/Scene 128 - Liz: 'I'm sorry, but we're not going to discuss this any further tonight or at any future time!'
- Liz actually delivers it as "We are not going to discuss this further tonight or at any time in the future", with the part about her being sorry dropped, which makes it more effective because from her POV at this point she has nothing to be sorry about. But an interesting aside is that, unlike yesterday's example where DC indicates in his script that the shot of Roger is supposed to come from the master shot and it didn't, as we can see in today's capture -
(http://www.dsboards.com/91quoteimages/0710ds91_0.jpg)
- it actually is the master shot. And in some ways that's disappointing because I think it might have been more effective to see Liz in close-up as she lashes out at Stokes. After all, it's not like the master shot is preferable because it shows Stokes reaction because he's stoic throughout all of Liz' words. But apparently DC felt Roger should be of closer focus here than Liz, and am I the only one who finds that quite odd considering that the subject being discussed involves opening Carolyn's coffin and she's Liz' daughter? But anyway, I enlarged Liz' section so that we could see her clearer:
(http://www.dsboards.com/91quoteimages/0710ds91_0a.jpg)
-
I absolutely love the way the actors played this sequence. Especially the way Louis Edmonds gave Roger's response to Stokes' ghoulish suggestion.
-
Yes, it is one of the better scenes in the film - especially the stuff between David and Roger.
If only so much of Liz bits hadn't been dropped. But then, that's the case with so many of her scenes. Not only does she get bits of dialogue dropped which aren't replaced with anything else, she gets entire scenes dropped. (Another of which will be coming up soon...)
-
Continuing with more of Scene 128:
Julia now crosses to Elizabeth.
|
And that's when today's quote -
Page 56/Scene 128 - Julia: 'Elizabeth, I think you should listen to what Eliot has to say.'
- comes up, followed in the script by:
JULIA
(MORE)
128 CONTD (2) (2) CONTD 128
JULIA (Contd)
(she turns to Stokes)
You must tell them.
|
And so, as far as the dialogue, the descriptions, the directions, and a lack of notations go, Julia doesn't get up to cross to Liz because she stays sitting next to Stokes, however before the camera angle changes, we do see Julia raise her head as she says -
(http://www.dsboards.com/hoDSquoteimages/0711hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0711hoDS_aa.jpg)
- Elizabeth's name as Elizabeth turns -
(http://www.dsboards.com/hoDSquoteimages/0711hoDS_b.jpg)
- to leave the room, which isn't indicated anywhere on the page - and then the camera changes to an unidicated 2 shot of Julia and Stokes as Julia -
(http://www.dsboards.com/hoDSquoteimages/0711hoDS_c.jpg)
- says "please" - after which the camera switches to an unidicated close-up of Liz -
(http://www.dsboards.com/hoDSquoteimages/0711hoDS_d.jpg)
- as she turns back to Julia as Julia says "you must listen" - and then the camera switches back to another 2 shot of Julia and Stokes as she finishes -
(http://www.dsboards.com/91quoteimages/0711ds91_0.jpg)
- with "to what Eliot has to say" (and can I just say I love the expression of Stokes' face, which is why I chose that capture for today's quote) - and since Julia has never gotten up and crossed to Liz, she doesn't turn to Stokes, nor does she say to Stokes "You must tell them" because that is completely dropped in the film.
-
Julia's backwards head-tilt as she begins to expostulate, and Liz's particularly icy deployment of "the freeze," are two of the few truly DS moments to be enjoyed in this film.
And if it weren't for your artistry, MB, I'm not sure I would ever have been aware of them.
G.
-
Julia's backwards head-tilt as she begins to expostulate, and Liz's particularly icy deployment of "the freeze," are two of the few truly DS moments to be enjoyed in this film.
I agree. [nodassent] They were often used to great effect on the daytime show.
And if it weren't for your artistry, MB, I'm not sure I would ever have been aware of them.
Happy to be of help. [b003]
-
Moving on with Scene 128:
And that's when today's quote -
Page 57/Scene 128 - Stokes: 'I believe Carolyn was destroyed by a vampire. And tonight she walks as one of the living dead.'
- comes up, followed in the script by:
There is general stunned shock.
TODD
(mockingly)
Because one who dies the victim
of a vampire returns as a vampire.
STOKES he looks at LIZ
That is absolutely right, Todd.
Liz gives Stokes a contemptuous look and storms out of
the room. Roger looks at Stokes. x to the back of Todd's
chair
ROGER
You have hurt my sister very deeply.
I hope you realize that, Eliot!
ELIZABETH ! please wait
He follows her. I want to talk to you
|
And a wild thunderstorm is passing through the area, so I'll get to the differences in my next post...
-
Well, that was fun - if one likes thunderstorms - which I do!! Though I must say I prefer them at night when the lightening can have maximum effect...
But getting back to today's section of the script, we don't see everyone look at Stokes because, as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/0712ds91_0.jpg)
- the camera holds on the same 2 shot of Julia and Stokes and Stokes delivers today's quote exactly as scripted (although, in an alternate world on the forum, Stokes actually says "And tonight she walks as one of the just icky" - and if you don't get that, it's just evidence of what you're missing on the Caption/Complete/Fill In boards) - and we don't know if there is general shock in the room because we don't see the reactions of everyone, nor does Todd or Stokes get to deliver the crossed out lines because quite obviously they were dropped from the scene (and in their case I honestly do think that was for the best) - but what we do see is Liz in what looks to me like complete shock or perhaps even horror -
(http://www.dsboards.com/hoDSquoteimages/0712hoDS_a.jpg)
- more than contempt - and then as Liz wordlessly begins to rush from the room, Roger does indeed turn to look -
(http://www.dsboards.com/hoDSquoteimages/0712hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/0712hoDS_ba.jpg)
- at Stokes and then he gets up to try to stop Liz with -
(http://www.dsboards.com/hoDSquoteimages/0712hoDS_c.jpg)
"Elizabeth, wait."
- but she doesn't, and Roger doesn't stop at Todd's chair because he goes all the way to the doorway, whereupon he turns to look at Stokes with what is definitely contempt -
(http://www.dsboards.com/hoDSquoteimages/0712hoDS_d.jpg)
- but his scripted lines as well as DC's added lines (with the exception of the "Elizabeth! Please wait", of which a reworked version Roger has already delivered) are completely dropped from the scene so then he simply storms -
(http://www.dsboards.com/hoDSquoteimages/0712hoDS_e.jpg)
- out of the room
-
Well, things just don't get any ickier! [easter_wink]
-
[pointing-up] Being an expert on the subject of vampires and their ickiness, Stokes would know!! [b003]
-
I'm sure that he has a PhD in advanced ickiness. [easter_wink]
-
Moving on with more of Scene 128 by means of today quote -
Page 57/Scene 128 - Todd: 'I respect you enough to believe almost anything you say, Professor. But the things I've heard tonight -- (shaking his head) I don't know how you could expect any sane human being to believe them.'
- coming up, followed in the script by:
And even though another thunderstorm just started passing through the area (one thing DS definitely got right with its weather is New England is definitely plagued with summer afternoon thunderstorms), it's not as bad as yesterday's so I'm going to continue on.
So, as far as the dialogue and the directions go, what Todd actually says is "Professor, I respect you...enough to believe almost anything you say. But the things I've heard tonight I don't see how you could expect any sane person to believe them", all without any shaking of his head - however, he's sitting down and staring down when he -
(http://www.dsboards.com/hoDSquoteimages/0713hoDS_a.jpg)
- says "Professor, I respect you...enough to believe almost" - and he taps his chair while he's looking at Stokes, then getting up and standing up when he -
(http://www.dsboards.com/hoDSquoteimages/0713hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/0713hoDS_c.jpg)
- says "anything you say. But the things I've heard tonight" - and, as we can see in today's capture, he leans toward Stokes when he -
(http://www.dsboards.com/91quoteimages/0713ds91_0.jpg)
- says "I don't see how you could expect any sane person" - and then, as scripted, he begins his turn -
(http://www.dsboards.com/hoDSquoteimages/0713hoDS_d.jpg)
- to leave as he finishes with "to believe them."
-
I'm sure that he has a PhD in advanced ickiness. [easter_wink]
To be sure!! [lghy] At least with regard to vampires...
-
Have you guys been to Lyndhurst? I remember walking through the dining room in this scene way back in 1980.
One of the tour guides told me that she was there when House of Dark Shadows was filmed in 1970. The lady said that Dan Curtis had canvas tarps placed over the windows of the mansion to help darken the camera shots. Personally, I think the scenes look darker in Tim Burton's DS film.
-
Personally, I think the scenes look darker in Tim Burton's DS film.
I wonder if that was because the Collinwood interiors were sets and, therefore, easier to light - or in this case, darken?
-
Finally wrapping up Scene 128 and the entire dining room sequence (which has featured in the slideshow for 15 days - but it is a very important scene in the film - and, actually, if the version of the sequence that is in the script used for the novelization had been what was used for the film, the days featured in the slideshow would have most probably been even longer - but more on that later today...). And we begin wrapping up with today's first quote -
Page 57/Scene 128 - Stokes: 'If you're leaving the house, Todd, I must warn you to be careful.'
- coming up, though it appears in the script as:
STOKES
If you're leaving the house, Todd,
I must warn you to be careful.
|
And that's when today's second quote -
Page 57/Scene 128 - Todd: 'Of what?!'
- comes up, followed by today's third quote -
Page 57/Scene 128 - Stokes: 'Because of your particular relationship with Carolyn, you are the person she is most likely to seek out.'
- coming up, followed in the script by:
128 CONTD (3) (3) CONTD 128
Todd stares at him incredulously and then leaves.
|
End of scene/sequence as scripted - but if you recall the film, you know that's not how things end in it. But first:
As far as the dialogue, the directions, and the descriptions go, as indicated by the crossed out part of today's first quote, Stokes' "If you're leaving the house" is dropped in the film, and as can be seen in today's first capture Stokes actually delivers the rest as "I must warn you to be careful, Todd" -
(http://www.dsboards.com/91quoteimages/0714ds91_0.jpg)
- as Todd is walking away - and as can be seen in today's second capture, Todd turns to look at Stokes as he delivers today's second quote -
(http://www.dsboards.com/91quoteimages/0714ds91_1.jpg)
- which he does exactly as scripted - and as can be seen in today's third capture, Stokes begins the third quote by warning "Because of your particular relationship with Carolyn" -
(http://www.dsboards.com/91quoteimages/0714ds91_2.jpg)
- while in a 2 shot with Julia, but the camera switches back to Todd as Stokes -
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_a.jpg)
- continues with "you are the person she is most likely to seek out", after which Todd just responds with a look -
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_b.jpg)
- as he wordlessly turns to leave - and that alarms Stokes, who quickly stands up and soon -
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_c.jpg)
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_d.jpg)
- he and Julia share extremely worried looks - and then in what would appear to be an unscripted ending to Scene 128, we see Todd walking down the hallway -
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_e.jpg)
- toward the foyer (yet another example of how DC loves his hallway shots [nodassent]), whereupon Todd stops by the bust -
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_f.jpg)
- just inside the foyer - but then he turns to look back in -
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_g.jpg)
- Stokes' and Julia's direction - and soon as he begins to hear Stokes' words echoing through his mind as "I believe Carolyn was destroyed by a vampire and tonight she walks as one of the living dead"(or the "just icky" ;)) - and he thinks upon them -
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_h.jpg)
- he gets a determined look -
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_i.jpg)
- and he decides to -
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_j.jpg)
- move on to leave - after which the camera racks focus back to Julia and Stokes as Julia had been watching him leave -
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_k.jpg)
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_ka.jpg)
- and then she looks up at Stokes -
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_l.jpg)
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_la.jpg)
- which is the actual end of Scene 128 and the entire sequence.
-
So, this is how the dining room scene transpires in the novelization:
At that moment the front door was slammed shut and
a few seconds later a hysterical David came running into
the dining room. He halted.
The he blurted out for all to hear, "I saw Carolyn!
I saw Carolyn!"
There was a stunned silence in the big dining room.
Elizabeth looked as if she might faint. Roger quickly
got up and went over to David. His face was stern again.
"What is the meaning of this?" he asked coldly.
David looked at him with pleading eyes. "I did,
Father. I saw Carolyn."
Roger grasped him by the shoulder. "David how dare
you pull one of your tricks at a time like this!"
There was a high state of tension in the atmosphere.
No one could really blame Roger for being annoyed at
the display of bad taste on his son's part. Then
to everyone's amazement Professor Stoked stepped for-
ward to join the two.
In a calm, reasoning voice he asked the boy, "Where
did you see her, David?"
"At the old swimming pool," the boy said, grateful for
a sympathetic ear.
Elizabeth rose dramatically from the table, her face the
color of chalk. Without a word to anyone she left the
assembled group and went across to the other side of
the room to stare out the window. She behaved like some-
one is shock.
Now Todd was on his feet asking, "professor, you
don't believe for a minute he really saw her, do you?"
Stokes hesitated, then said, "It is something to be gone
into in depth."
Maggie came forward. "David is exhausted, hungry
and injured. He shouldn't be questioned in this manner
now. Let me take him out of here and look after him."
The professor nodded. "You are right. All this can
wait."
Maggie took the boy firmly by the hand. "Come,
David."
He held back. "But, Father, I saw her. Please, believe
me!"
Roger, looking less stern, said, "Go with Maggie and
get that wound on your head fixed and cleaned up. We
can talk about it later." he waited until Maggie left the
room with the boy and then he turned to the professor.
"Well, Stokes?"
The professor met his glance unflinchingly. "Yes, I
think the boy was telling the truth!"
"What?" Roger demanded.
Todd said, "Explain yourself."
"I intend to," the middle-aged man said, "if you will
give me the opportunity."
Julia said, "These good friends are startled, Eliot. And
why shouldn't they be? They are not as well informed
about this as you."
Mollified by her placating words, he said, "That is so."
And directing himself to Roger, he continued, I believe
he did see Carolyn and I suggest we try to find her
now."
This amazing statement brought another wave of mur-
muring among the others. Only Elizabeth remained out of
the discussion, still standing by the window with a pale
aloofness.
Roger took charge of the situation and told the pro-
fessor, "Eliot, I think it is shocking that you are willing
to take seriously the hallucination of a very upset child!
We're not going anywhere!"
Stokes drew himself to full height. "Do you not think
me responsible?"
"Not in this," Roger said grimly.
"I warn you, this must be taken seriously," Stokes told
him.
Roger raised his hand in a gesture of disgust. "My
son is suffering from shock and sorrow. That's all there
is to it. That and nothing more!"
Todd, his handsome face stricken with grief, said,
"Professor, Carolyn is dead."
Professor Stokes said gravely, "She is dead and yet
she is alive."
Julia Hoffman came up to him. "Eliot, you're not
making out very well. Try to remember you're not
lecturing to students in the classroom."
Elizabeth left the window and came angrily across the
room to the professor. "Eliot, if I didn't know you to
be a man of character and integrity, I'd ask you to
leave this house now!"
He looked hurt. "You also doubt me?"
Despair shown in her lovely worn face. "Can I help
it?"
Stokes looked around at all the accusing faces, which
showed anger and contempt for him. Only Julia Hoff-
man continued to look calm and resigned.
He said unhappily, "I'm merely trying to help."
"You have a strange way of doing it,"Roger snapped.
Stokes was silent for a moment as he seemed to take
stock, then he announced, "There is a way of proving
whether or not the boy was right."
Todd demanded, "How?"
There was a dramatic silence. Then the professor said
quietly, "By opening Carolyn's grave."
Roger groaned in disgust. "Oh, my God, Eliot!"
"It is the only way," the professor maintained.
Todd moved away a little and to no one in particular
murmured, "There's something sick about all this!"
Elizabeth confronted the professor with a dignified
mien. "I'm sorry, but we're not going to discuss this any
further tonight or at any future time!"
Julia Hoffman went to the grief-stricken mother and
quietly said, "Elizabeth, I think you should listen to what
Eliot has to say."
"It's madness!" Elizabeth protested.
"Not so much as you think," Julia said, and she
turned to Stokes. "You must tell them."
Everyone's eyes were on him. He hesitated rather un-
comfortably, seeming to feel he'd already been sub-
jecyed to enough doubt and abuse.
Then he said, "I doubt if they'll listen."
"Try," the woman doctor urged him.
Stokes said, "I believe Carolyn was destroyed by a
vampire."
Roger looked stunned. "A vampire?" His shock re-
flected that of all the others in the room.
"Yes," the professor said. "And tonight she walks as
one of the living dead."
Todd stared at him bitterly. "I think I've read about
that subject in one of your magazine articles. Very sensa-
tional! They featured it on the front cover. Some people
will believe anything."
"You'd be well advised to believe this," Professor
Stokes warned them.
"I seem to remember the title of the article," Todd
went on, savagely making fun of him in his grief-stricken
fury. "Wan't it 'Does one who dies the victim of a
vampire return as a vampire?' A real spine chiller!"
"Absolutely right, Todd," the older man said, ignoring
the sarcasm. "It unfortunately is only too true that if one
dies the victim of a vampire one returns as a vampire."
Elizabeth stared at the professor with icy contempt for
a moment, then turned and hurriedly left the dining
room.
Roger glared at the pompous man. "You have hurt my
sister very deeply. I hope you realize that, Eliot." And he
also left the room.
Professor Stokes looked sad. "I'm sorry," he apolo-
gized to the departing Roger.
Todd seemed to have regained his temper. Now he
came to the professor and told him, "I'm sorry I blew
up just now."
"It didn't matter," the professor said.
"I think it did,"Todd said in a repentant tone. "I re-
spect you enough to believe almost anything you say,
Professor. But the things I've heard tonight." He shook
his head.
"You find it hard to accept them?"
Todd's tone was tragic. "I don't know how you could
expect any sane human being to believe them." And with
bowed head and slumped shoulders, he turned to leave.
Stokes called out, "if you're leaving the house, Todd, I
must warn you to be careful."
He paused and looked back. "To be what?"
"Careful."
"Careful?" Todd echoed, not understanding. "Of
what?"
"A danger that may reach out to you from the dark-
ness," the professor said solemnly.
The young man looked impatient with him. "I don't
want fancy phrases. Give me facts."
"All right, let it be facts," the professor agreed. "Be-
cause of your particular relationship with Carolyn, you
are the person she is most likely to seek out."
"Ridiculous!" Todd exclaimed.
"I've warned you," Professor Stokes said.
Todd stared at him unhappily and then left the room,
leaving Julia Hoffman and the professor alone.
"I'm afraid you didn't manage that very well, Eliot,"
she told him.
He regarded her helplessly. "I tried. They wouldn't
listen."
"You went about it in such a way that everything you
said could be turned against you."
"You might have helped more," Stokes accused her.
Julia Hoffman answered frankly, "Yes, I might have.
But I doubted it would change things much. And I
might have harmed my personal credibility if I espoused
your cause too strongly."
"You are the only one with reason to think what I
say is true."
"I know it. And later I'll do my best to make them
understand."
Professor Stokes gazed at the door through which Todd
had just made his exit. "In the meantime no one listens
to me. That young man, Todd, is in serious danger. But
he wouldn't accept my warning."
Julia sighed. "Let us hope he'll reconsider and be
wary."
|
Needless to say, everyone had material cut from the version of the scenes used there - though Stokes, Todd, and Liz suffered the worst cuts. But of course, when in doubt, cut the meaty character stuff...
-
Before we leave Scenes 127 and 128, I'd like to share a rare still of Liz' reaction to hearing David say that Carolyn is alive -
(http://www.dsboards.com/hoDSquoteimages/Liz_shock.jpg)
- which as far as I can recall has only been published once, in an article on the film published in Tiger Beat Spectacular. We might not have seen Liz' reaction in the film (at least not where we should have seen it, if my suspicion in reply 445 is correct), but at least one still of it does exist.
And also, as a Grayson fan, I can't let pass how unfortunate it is that so much of her gets cropped out of the end of Scene 128 shots of Julia and Stokes. But at least we do see more of her on the VHS:
(http://www.dsboards.com/hoDSquoteimages/0714hoDS_c-d_vhs.jpg)
-
Many thanks once again, MB, for sharing those two lovely shots of Joan and Grayson. For me they were the true Queens of DS.
And I just have to comment that TIGER BEAT would be about the last place in 1970 I'd expect to find a "rare still" of Joan Bennett--just shows how much interest there still was in our show in the "teen market" back then.
Another irony is that the movie was publicized in such a way that well before going to see it, you'd know practically the entire story. But as a result, as you have shown here, we have images of many scenes and set-ups that would otherwise have been lost forever.
G.
-
I just checked the Fest's 1999 Movie Calendar and I'm glad I did because it includes dialogue from Scene 127 that doesn't appear in DC's script or the novelization:
For March 19th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #127 - David: 'Father!
Aunt Liz! I saw Carolyn, outside the house!'
(It's interesting that David refers to Elizabeth as "Aunt Liz" because he never referred to her as anything but "Aunt Elizabeth" on the daytime show. And I wonder if "outside the house" means David wasn't nearly attacked at the swimming pool in that version of the script but, rather, he was playing or whatever just outside of Collinwood?)
For March 20th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #127 - Stokes: 'I believe
David did see Carolyn, and I intend to have a look for myself.
I suggest you and Todd come with me, Roger.'
Though when I put together the original hoDS slideshow, I replaced those quotes from the calendar with their comparable quotes from what appears in DC's script:
For March 19th:
(http://www.dsboards.com/moviesquoteimages/0319hoDS_0.jpg)
hoDS: Scene #127 - David: 'I saw her! I saw her!
She's alive!'
For March 20th:
(http://www.dsboards.com/moviesquoteimages/0320hoDS_0.jpg)
hoDS: Scene #127 - Stokes: 'I believe he saw Carolyn
and I suggest we try to find her, now.'
-
And I just have to comment that TIGER BEAT would be about the last place in 1970 I'd expect to find a "rare still" of Joan Bennett--just shows how much interest there still was in our show in the "teen market" back then.
Oh, yes - all the teen magazines were still covering DS in practically every issue. And that still (plus one other from the article that I didn't share) may be one of the few times Joan appeared in Tiger Beat. Though I do know that she would have also appeared when Tiger Beat did their family trees of the characters in the various time periods.
Another irony is that the movie was publicized in such a way that well before going to see it, you'd know practically the entire story.
Yes, as I've often lamented, because of the prepublicity we knew practically everything that was going to happen in the film, with the exception of what went on at the very end in the monastery's rotunda. And it wasn't just the magazine coverage that gave away too much - just look at the trailers!!
But as a result, as you have shown here, we have images of many scenes and set-ups that would otherwise have been lost forever.
Well, yes, there is that benefit...
-
Chances are the reason why Scene 128 was extended in the film with Todd material is because these next scenes in the script that would have dealt with similar material were never shot:
129 EXT: MAIN GATE - COLLINWOOD - NIGHT 129
LONG SHOT
Todd's car pulls out of the gate and swings onto the
road.
130 INT: TODD'S CAR - NIGHT 130
HOOD MOUNT SHOT
Todd as he drives continues to think about everything
Stokes said. The incident has left him very upset.
Then something on the road ahead catches his eye.
131 TODD'S POV - CEMETERY - NIGHT - through windshield 131
He sees the cemetery where Carolyn's funeral was held.
132 EXT: CEMETERY ROAD - NIGHT 132
WIDE ANGLE
and passes Camera
As the car pulls into the cemetery and parks near the
gate, Todd gets out and stands there for a moment,
looking solemn. Then he starts walking toward CAMERA.
|
And honestly, it's extremely effective having Stokes' words echoing through his mind be what prompts Todd to investigate the mausoleum...
What is interesting, though, is, like other instances, apparently at some point DC did plan to shoot at least Scenes 131 and 132 or else why would he have made notations to them?
-
Setting up the current scene:
133 EXT: FAMILY MAUSOLEUM - NIGHT 133
FULL SHOT
Todd appears and approaches the mausoleum. He looks
at it, grief-stricken as he thinks about Carolyn. The
night is dark and quiet, and he finds the atmosphere
very peaceful. He bows his head to say a silent
prayer. While his head is bowed, a HAND comes into
frame and touches him on the shoulder. Todd whirls
around with a start and a horrified look comes over
INT his face. He finds himself face to face with the pale,
MAUS deathly Carolyn. He backs away and she begins to move
toward him.
|
And that's when today's quote -
Page 58/Scene 133 - Todd: 'Oh, my God!!'
- comes up.
But as we know, that's not at all how things play in the film. But the differences will have to wait until much later today because, believe it or not, I have several things I need to do away from the forum today. Shocking, I know - but true. But think of it this way: it'll give you time to contemplate what the scene might have actually been like had it been shot as scripted...
-
It wasn't until I reviewed the slideshow that I noticed a possible error in Professor Stokes' logic. David was the person that vampire Carolyn actually sought out, rather than Todd. Was it because Todd was at Collinwood around too many witnesses? Or simply that David had obligingly served himself as a buffet item at the isolated swimming pool? In any event, the stalking of initial prey by Barnabas and Carolyn is certainly different from the way the TV show did things.
And I love that shot of Joan from Tiger Beat. I strictly read 16 at the time, so I missed it until now.
-
But the differences will have to wait until much later today because, believe it or not, I have several things I need to do away from the forum today.
I didn't get home until a short while ago, and I'm not really in the mood to select captures and write them up. But I promise I will do all that the first chance I get tomorrow before I do anything else on the forum...
(What I am going to do, though, is watch the Criterion Collection release of Beyond The Valley of the Dolls, which I picked up on sale at Barnes & Noble in my travels today. Many of you (and you know who you are [b003]) keep telling me how much you love it and how I didn't give it a chance back when I saw it in the '70s, so when I saw the Blu-ray on sale today for only $10.00, I grabbed it, and now I'll see if any of it, apart from the Strawberry Alarm Clock's performance of Incense and Peppermints, makes any impression on me these 40+ years later...)
-
MB, I'm just imagining the expression on your face as you behold the crazed antics of the Z-Man! LOL. I enjoyed BVotD but I wouldn't have said it was in any way essential viewing. I was really surprised when a friend loaned me the big DVD release that came out several years ago. There was an interview or commentary with Roger Ebert on it (it was before he became ill) and he gushed on and on about how great his screenplay for it was. My jaw dropped.
I find the Strawberry Alarm Clock appearance in the movie somewhat anticlimactic, though the party sequence is fun. I actually enjoy some of the Carrie Nation songs in the movie and I have the CD--and the songs are on my iPod.
Back to topic, I know that Sam or DC re-used Carolyn's dialogue, at least one line of it, in some other project--maybe the Jack Palace DRACULA script--soon after this. Great line so why not make use of it again.
G.
-
I know that Sam or DC re-used Carolyn's dialogue, at least one line of it, in some other project--maybe the Jack Palace DRACULA script--soon after this. Great line so why not make use of it again.
Recycling, to use a kind term, was certainly DC's forte. As I've mentioned before, not only does he recycle sequences shot for shot from hoDS for the '91 DS, he recycled sequences shot for shot right out of the Palance version of Dracula for the show. So, if DC recycled some hoDS dialogue in Dracula as well, that wouldn't surprise me in the least. [nodno] ::)
(As for BtVotD, a comment from Ebert actually speaks perfectly for my reaction to the whole thing this time around: "(it's) like a movie that got made by accident when the lunatics took over the asylum." Though I will also admit to enjoying the Carrie Nation songs. If only the rest of the movie was as good. Fifteen minutes of the last twenty have to be the most insane fifteen minutes I've ever seen on film!! It's no wonder Jacqueline Susann sued and won. And apparently that whole sequence doesn't even appear in the script because it was made up during production. But it seems like more of that was going around in '70 than we were initially aware...)
-
There's some sort of problem going on with the forum's host and I've been unable to upload files to our FTP. So apparently the differences in the beginning of Scene 133 will have to wait until whatever is going on gets straightened out...
I guess I'll go have my lunch and hope things work better afterward...
-
Still no go. So, I guess I'll do other things. Who knows when I'll be able to back to this - but at least I'm still two days ahead for the slideshow, having already uploaded the captures for tomorrow and Tuesday. Hopefully things will be working again long before I'd need to upload Wednesday's capture for the slideshow...
-
Well, I just got 3 captures uploaded before it stopped working again. The trouble is that between yesterday and today I need to upload 22 captures. But 3 is progress. 3 down, 19 to go...
-
I've decided I'm not going to wait around forever for our host's problem to clear up. I'm going to write up and post the differences for yesterday and today and hope that at some time in the not to distant future I'll be able to upload and you'll all be able to actually see the captures...
-
And speaking of sequences reworked during production, we come back to the differences between the beginning of Scene 133 in the script vs. the film:
One thing that actually is the same as the script is that Scene 133 starts off with Todd coming into view outside the Collins mausoleum -
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_aa.jpg)
- and then he does indeed make his way to the mausoleum and to shine his flashlight's beam on it -
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_ba.jpg)
- (and my, what a big flashlight you have there, Todd [cheesyb]) but he only makes the briefest of hesitations before he moves right to the mausoleum, so there's no bowing of his head and no perception that he says a silent prayer for Carolyn - and from this point on things dramatically diverge from the script because Todd walks up to the mausoleum to -
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_c.jpg)
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_ca.jpg)
- open the gate and to go inside. After that it's like we're now in Scene 133A. We see the light from Todd's flashlight as it shines on the wall leading down to the inside of the mausoleum -
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_d.jpg)
- and soon Todd himself comes into view as -
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_e.jpg)
- he comes down the stairs - from there he turns and begins to enter -
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_f.jpg)
- the vault where he proceeds to walk over toward Carolyn nameplate on the wall and -
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_g.jpg)
- to shine his flashlight on it - then he tenderly reaches out to touch it -
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_h.jpg)
- and to caress it - but then he has the inkling that he is not alone and after turning we see -
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_i.jpg)
- a look of shock on his face because standing in a doorway is Carolyn -
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_j.jpg)
(http://www.dsboards.com/hoDSquoteimages/0715hoDS_ja.jpg)
- and it's at that point that he utters yesterday's quote -
(http://www.dsboards.com/91quoteimages/0715ds91_0.jpg)
- in complete disbelief.
-
So, keep in mind that at the moment only 4 captures are visible in the above post: the first three and the one at the bottom. I'll post as I'm able to add more...
-
Well, I got two more uploaded...
-
So sorry you're experiencing all those hair-pulling technical difficulties, MB. We all appreciate your hard work here.
I hope you got at least a few laughs out of BtVotD. My memories of it are pretty blurred at this point.
Just imagine being at a party at which the host/ess insisted upon screening VotD, BtVotD, and finally, SHOWGIRLS. By the time the latter aired, presumably whoever was still left on the battlefield would be sufficiently "enhanced" from the party favors that they really wouldn't give a flying you-know what nonsense was parading in front of them.
cheers, G.
-
I thought the problem might have been fixed because just now when I tried to upload the next capture, it went through with no problem - but no such luck with a second one. So, 1 more has been uploaded, meaning 7 captures are now visible. At this rate who knows how long it's going to take to get them all uploaded...
-
And while we wait for our host to get its act together, let's wrap up Scene 133 (or 133A) (and keep in mind that as far as the script is concerned, this is all still taking place outside the mausoleum):
He backs off until he finds he's backed into the wall
of the mausoleum. He has nowhere to go. She moves
in on him, her face white and expressionless. She
holds her arms out to him. He puts his hands up to fend
her off. She takes one of his hands in hers. He goes
white with fear at her touch. Her skin is ice cold and
clammy. He knows this is the touch of death.
133 CONTD CONTD 133
|
And that when yesterday's quote -
Page 59/Scene 133 - Carolyn: 'Don't be frightened, Todd. We're going to be together -- in a world very different from the one you know now -- a world without end.'
- comes up, but in the script things look like this:
/-------->
/ CAROLYN
/ Don't be frightened, Todd. We're
/ going to be together -- in a world
| very different from the one you
| know now -- a world without end.
|________________________
| TODD'S POV - CAROLYN |
A look of sheer lust comes into her eyes. She opens
her mouth, baring two great fangs and she closes in
on his neck. A FINAL SCREAM OF HORROR ESCAPES HIS
LIPS.
|
End of scene.
But again as we know, that's not quite how things play in the film because things in the film are taking place inside the mausoleum. But even at that, Todd doesn't back away after he expresses his shock - and next we see Carolyn standing there as she begins by -
(http://www.dsboards.com/hoDSquoteimages/0716hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0716hoDS_aa.jpg)
- saying "Don't be frightened, Todd" - and then we see his reaction -
(http://www.dsboards.com/hoDSquoteimages/0716hoDS_b.jpg)
-again before Carolyn, as can be seen in yesterday's capture, begins to move toward him -
(http://www.dsboards.com/91quoteimages/0716ds91_0.jpg)
- saying, with fangs already bared, "We're going to be together -- in a world very different" and shot from below as she moves closer and closer -
(http://www.dsboards.com/hoDSquoteimages/0716hoDS_c.jpg)
- saying "from the one you know now -- a world without end" - and as she is almost upon him, she reaches out to him (no taking his hand in hers) and opens her mouth wider -
(http://www.dsboards.com/hoDSquoteimages/0716hoDS_d.jpg)
- to move in to attack him -
(http://www.dsboards.com/hoDSquoteimages/0716hoDS_e.jpg)
- whereupon he closes his eyes (though, as much as I enjoy Don Briscoe's work in hoDS, his vampire attach reaction is pretty lame compared to Michael T. Weiss' full out orgasmic eye fluttering...
And here are the commercial bumpers for Ep #2 that give a peek at what's to come in the next act:
[spoiler]http://www.dsboards.com/1991/0114_Bumper_1.swf[/spoiler]
in the restaging of this in the '91 series when Joe gets attacked by Daphne) and there is no final scream of horror or any sort of audible reaction from Todd - and Carolyn greedily drinks -
(http://www.dsboards.com/hoDSquoteimages/0716hoDS_f.jpg)
- Todd's blood.
-
Well, I had the most success I've had these past two days because I was just able to upload 7 more captures for reply #490 before things went haywire again...
Maybe I'll actually get to upload the captures for reply #495 above before August...
Plus, now that Todd has been attacked, which figures in the article, I want to upload/share the first article printed for hoDS...
-
Well, I just manged to get another 7 uploaded, which means all but the last capture for reply #495 is on display...
-
That's really an... exceptional shot of Todd for today's show, MB. Great work!
And once again... I'm so very glad people can't read my mind on the Internet...
G.
-
So far today no luck at all at uploading. Hopefully later...
-
While the never shot Scenes 129 through 132 are pretty much exactly the same in the novelization as they are in DC's script, Scene 133 is not:
It was as if some unseen presence were guiding him
on, making him venture further into this city of the dead.
He walked with a purpose, not looking to right or left,
giving no thoughts to the phantoms or evil shadows of
this lonesome place . . . until at last he came to stand
before the mausoleum.
He stared at it with sad eyes, his thoughts all of
Carolyn. The night was dark and it was very quiet. He
had never liked graveyards even in daylight, but all at
once he found the atmosphere here peaceful and inviting.
He felt closer to his dead love than at any time since
he'd last said goodbye to her. He bowed his head to
say a silent prayer.
It was while he stood there before the mausoleum with
bowed head and lips moving wordlessly that he suddenly
felt the touch of something on his shoulder! He whirled
around with a look of horror on his handsome face to
find himself staring at a pale, ghostly Carolyn! He backed
away from her but she followed him.
"Oh, my God," Todd gasped.
He kept backing until he was against the granite wall
of the mausoleum. Now he had nowhere to go. There
was no chance of escape! Carolyn came to him re-
lentlessly, a macabre phantom with her face white and
expressionless. She held out her arms to him.
"No!" he cried.
"Todd!" she whispered softly.
"I must be mad!" he gasped.
She took one of his hands in hers. "See? I'm real! I'm
here with you!"
His terror increased with the touch of her hand. Her
skin was ice cold and clammy.
"Your touch is like death," he said hoarsely, the words
escaping his lips without thought.
Carolyn told him in a thin voice, "Don't be frightened,
Todd."
He was staring at her in disbelief. "David said he saw
you. No one would listen to him!"
"Perhaps that was for the best."
"But he did see you!" Todd gasped. "Just as I'm seeing
you now!"
"He did," she assured him. "Think how lucky we are,
Todd. We're going to be together. Together in a world
very different from the one you know now. A world
without end!"
A look of sheer lust came into her eyes. She opened
her mouth, baring two great fangs, and then she pounced
on his neck. There was a final scream of horror from the
unfortunate Todd as she held him in the vampire em-
brace.
|
And here's an interesting question to ponder: I wonder if Carolyn would have killed David if she had succeeded in attacking him?
-
Setting up the current scene:
134 INT: HOSPITAL ROOM - DAY 134
CLOSE SHOT of Todd lying in bed in a semi-delirious
state, making UNINTELLIGIBLE SOUNDS, tossing and
turning. CAMERA PULLS BACK to reveal Julia by the
bed. There is a NURSE present, giving Todd a blood
transfusion. Julia holds up a hypodermic needle. She
is wiping it when the door opens and Stokes enters
with Roger. Roger looks at Julia.
|
And that when yesterday's quote -
Page 59/Scene 134 - Julia: 'They found him wandering outside the cemetery this morning -- barley conscious --'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, most things are actually quite different - the scene opens, not on a shot of Todd in bed, but on a shot of the hospital room with Julia and Todd reflected in a mirror across the room and a nurse appearing at the door across the room as she carries a bottle of blood -
(http://www.dsboards.com/hoDSquoteimages/0717hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0717hoDS_aa.jpg)
(http://www.dsboards.com/hoDSquoteimages/0717hoDS_ab.jpg)
- and there's not a sound heard from Todd - and as the nurse walks into the room, she delivers an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0717hoDS_b.jpg)
"I've got the blood here, doctor."
- to which Julia replies, practically off camera, with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0717hoDS_c.jpg)
"Good."
- and as the nurse proceeds to work with the transfusion bottle as Todd rests in his bed, through the already opened door a deputy can be seen -
(http://www.dsboards.com/hoDSquoteimages/0717hoDS_d.jpg)
- out in the halfway guarding the room, and he turns as if someone approaches - and a few seconds later the deputy nods to whoever it is - and it's -
(http://www.dsboards.com/hoDSquoteimages/0717hoDS_e.jpg)
- Roger, not Stokes, who comes into view but is soon followed by Stokes as they -
(http://www.dsboards.com/hoDSquoteimages/0717hoDS_f.jpg)
- make their way into the room as Julia actually begins to tell them "They found him wandering around" and concludes with -
(http://www.dsboards.com/91quoteimages/0717ds91_0.jpg)
- "outside the cemetery this morning -- barely conscious --" with Julia also in the shot, as can be seen in yesterday's capture.
-
The movie Carolyn probably would have killed David if she had the opportunity. As both vampire victim and vampire predator, carolyn seemed very determined to get what she wanted. She didn't seem especially concerned about the consequences either.
-
Still can't get through today to upload anything...
-
That's really an... exceptional shot of Todd for today's show, MB.
Do you really think so? [wiseguy]
And once again... I'm so very glad people can't read my mind on the Internet...
I'm sure you're not the only one with certain thoughts prompted by that capture!! [ghost_nowink] [naughty]
-
I just got tomorrow's graphic for the slideshow uploaded - but that was it...
-
Thanks, MB! I don't recall today's cut/unshot line from Liz at all. I wonder if that was in the Dan Ross book as well. Even though I know I read it at least 3 times, I have practically no memory of much of it. One of the few things I do remember is Barnabas giving Julia a glass of sherry when she visited the Old House, and her appreciative comment: "Dry! Lovely!" I could really hear Grayson saying that line.
Best, G.
-
Well, I just got off the phone with our host's support and the good news is they are aware of the problem and have been working on it. The bad news is it may take until sometime tomorrow to fix it. But I will continue to try to upload files in the interim. And I will keep posting even though few if any of the captures in the posts will be showing up until everything is finally fixed.
-
I don't recall today's cut/unshot line from Liz at all.
Sadly it's what looks like it would have been another great Liz/Roger scene. After Roger gets confirmation from Julia that Todd was attacked by Carolyn, he goes with Stokes and Sheriff Patterson and some of his men to open Carolyn's coffin. Liz walks in while they're doing so and has a huge fit. A few stills of Roger, Stokes, Patterson and deputies exist, but I've yet to see any of Liz.
I wonder if that was in the Dan Ross book as well.
It is - and there's a bit more to the beginning of the scene than there is in DC's script. There's also more to Scene 134 as well as a scene that's not in DC's script of Roger and Stokes meeting with Sheriff Patterson to make arrangements to check out the mausoleum.
One of the few things I do remember is Barnabas giving Julia a glass of sherry when she visited the Old House, and her appreciative comment: "Dry! Lovely!" I could really hear Grayson saying that line.
I don't remember that. But that's not surprising because I haven't read the whole novel since 1970. This time around I'm moving through the scenes as they come up in the slideshow.
-
Wrapping up Scene 134:
ROGER
Carolyn?
Julia nods. Stokes looks at Roger, whose face is somber
and grim. It's clear now that he's prepared to place
some credence in what Stokes has been saying. Julia
now leans in toward Todd's arm with the needle. CAMERA
FOLLOWS her and MOVES IN CLOSE on Todd's arm. As the
needle is injected, CAMERA WHIP PANS TO CLOSE SHOT -
TODD. There is perspiration on his brow, a bandage
on his neck. His head has been rolling back and forth.
Now as the needle stikes, his face becomes a mask of
pain and bulging veins and he SCREECHES AT THE TOP OF
HIS VOICE.
|
And that when yesterday's quote -
Page 59/Scene 134 - Todd: 'Carolyn!!'
- comes up.
End of scene.
And when it comes to the dialogue, the descriptions, and the directions, what Roger actually asks is -
(http://www.dsboards.com/hoDSquoteimages/0718hoDS_a.jpg)
"Are they sure it was Carolyn?"
- and after Julia nods -
(http://www.dsboards.com/hoDSquoteimages/0718hoDS_b.jpg)
- her head in the affirmative, Stokes and Roger don't share any sort of looks at each other, which is unfortunate given Roger's attitude when last we saw him; a shared look between Stokes and Roger would have definitely indicated, as the script says, that Roger is now prepared to place some credence in what Stokes has been saying; but no - but what Stokes does do is deliver an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0718hoDS_c.jpg)
"Today, the sheriff put a curfew on the town. From now on
no one will be allowed to go out after dark."
- as Julia moves closer to Todd with the hypodermic in her hand, and the camera does indeed follow Julia and then move in close on Todd's arm - and after the nurse swabs -
(http://www.dsboards.com/hoDSquoteimages/0718hoDS_d.jpg)
- Todd's arm, Julia injects -
(http://www.dsboards.com/hoDSquoteimages/0718hoDS_e.jpg)
- the contents of the hypodermic - however there isn't any whip pan to a close shot of Todd, nor does there appear to be perspiration on his brow, nor is theer any indications that his head has been rolling back and forth - and after the needle "stikes", which I presume should be "sticks", Todd's face doesn't become a mask of pain and bulging veins because what does actually happen here is that oddly Todd seems to take little -
(http://www.dsboards.com/hoDSquoteimages/0718hoDS_f.jpg)
- notice of what's happening - but, as we can see in yesterday's capture, soon his reaction changes as he "screeches" out -
(http://www.dsboards.com/91quoteimages/0718ds91_0.jpg)
- Carolyn's name.
-
Here's how Scene 134 appears in the novelization - a version that is much longer than what appears in DC's script and the film, with quite possibly a Scene 134A:
It was the next day. And Doctor Julia Hoffman stood
by Todd's bed in his hospital room. He'd been brought
there only that morning in a barely conscious state. Now
he tossed on the bed, talking incoherently in his semi-
delirium. Julia and a nurse were giving Todd a blood
transfusion.
Julia said "He seems to be a little better since the
transfusion began."
"I've noticed that," the nurse agreed. "He's less rest-
less."
Julia looked at the almost empty transfusion bottle on
its stand. "It will be finished in a few minutes," she
said.
"Yes."
Julia watched the stricken Todd tossing and turning
under the sheets with a professional eye. "It may take
some time before the blood causes any real improve-
ment."
"What next, Doctor?"
Julia was holding a hypodermic needle. "I have some
injections to give him. There'll be a regular schedule. I'll
begin them and leave instructions for the time they are
to be given through the day and night."
"Yes, Doctor," the nurse said seriously. Julia Hoffman
had the reputation of being an unusually good doctor in
cases of blood diseases. She had specialized in hematology
at Cornell and practiced in Maine for some time.
Julia gave Todd his first injection as soon as the nurse
disconnected the intravenous needle. She was wiping the
hypodermic needle when the door opened and Roger
Collins came in, followed by Professor Stokes.
Roger asked, "How is he?"
"Responding fairly well," she said.
"What happened?"
"They found him wandering in the cemetery," Julia
said. "He was barely conscious then and he became worse
after they brought him in."
Roger swallowed hard. "Carolyn?"
"Yes," Julia said. "If you'll leave the room for a minute
I have a second injection to give him."
The two retreated quietly as Julia returned to her pa-
tient and touched the needle to his arm, giving him the
second injection. Then she watched his face. There was
a fresh burst of perspiration on his brow. The bandage
covering the evil fang marks on his neck appeared to
bulge. His head, which had been rolling back and forth
now became rigid. His face contorted into a mask of
pain, the veins at his temples bulging. In a loud voice,
he screeched, "Carolyn!" Then he suddenly went limp
and still.
The nurse on the opposite side of his bed gave her
a what-does-this-mean look and asked, "What now?"
"That was a reaction to the injection," Julia said
calmly. "He'll be all right for a while, at least. He'll
sleep."
Then she left the nurse watching him and joined Roger
Collins and Professor Stokes in the hospital corridor."
"Did you hear him just now? The name on his lips?"
she asked.
Roger Collins looked pale. "Yes. He sounded de-
mented."
"He has been through a lot," was her reply.
Roger's expression was somber. "I didn't believe but
now I must. I saw the bandage on his throat. The marks
were there?"
"Yes," Julia said. "The professor warned him."
"But he wouldn't listen to me," Stokes said in distress.
Roger gave him a grim glance. "That's not surprising.
None of us would."
Professor Stokes sighed. "I can't say that I blame
you."
"So David did see Carolyn," Roger said.
"Of course," Julia said. "Only he was luckier than
Todd. he escaped."
Professor Stokes gave Roger a meaningful glance.
"Something must be done to stop her. You know that?"
"It's very difficult," Roger lamented. "How to begin?
What to say to Elizabeth?"
"It might be better not to say anything," Julia advised.
"Precisely," Professor Stokes agreed.
"I'll need to contact the authorities," Roger said with
a look of despair. "I can't simply break into the mauso-
leum."
"That is correct,"Professor Stokes said with a small
frown. "These things can be awkward."
Julia Hoffman said, "You'll simply have to visit the
sheriff and tell him."
Roger darted an impatient glance her way. "Tell him
that I believe my niece is a vampire? I'm sure he'd be
impressed."
"You'll have to be more subtle than that," she ad-
mitted. "You could begin by telling him you have a
strange feeling about the burial."
Professor Stokes nodded. "No need to confide com-
pletely in him at this point."
"That may come soon enough," Julia Hoffman said.
Roger still hesitated. The whole business was extremely
distasteful to him. He disliked any kind of publicity.
Despite all the power we wielded in the small com-
munity of Collinsport, he was careful to be little seen or
heard. Now he was being forced to take the stage under
a sensational spotlight.
He gave the two a distressed look. "You're sure I
should go through with this?"
"You heard Todd just now," Julia reminded him
quietly.
Roger sighed. "Yes."
"And you know the close call David had. You want to
protect your son."
"I do."
Professor Stokes said gravely, "Then you must investi-
gate her coffin. There is no other way."
"Very well," Roger said, accepting the decision with
a heavy heart.
With a look of relief, Julia Hoffman told the professor,
"You had better accompany him to the sheriff's office."
Stokes glanced at Roger. "Would you like me to, Col-
lins?"
Roger nodded. "Yes. I may need you to support my
plea."
|
If all of that was in a version of the script at one time, it's a shame it was dropped because it shows how Roger was able to come around, which happens in the blink of an eye as the film stands. But then, why flesh out such character angles when it's so much more important to get to the ripping and tearing and the blood and gore as quickly as possible. And what's odd is that we know DC felt he was making his own Hammer version of DS, but as I recall, most Hammer films had character scenes to flesh out their characters and the characters' motivations. But apparently that didn't make an impression on DC...
One thing I do find quite amusing is how Roger seems to think they just can't break into the mausoleum. When did anything like that ever stop anyone on the daytime show?! :D Particularly considering they're talking about breaking into the Collinses' own mausoleum. But I suppose that in a film it's more important to be conscious of the law...
-
And when it comes to the dialogue, the descriptions, and the directions, most things are actually quite different - the scene opens, not on a shot of Todd in bed, but on a shot of the hospital room with Julia and Todd reflected in a mirror across the room and a nurse appearing at the door across the room as she carries a bottle of blood -
Now wait a minute, is it still supposed to be a hospital room? It looks suspiciously like a room in Collinwood. (But maybe it's both--with all the stuff going on, they needed to set up a hospital in the house! [easter_cheesy])
-
If all of that was in a version of the script at one time, it's a shame it was dropped because it shows how Roger was able to come around, which happens in the blink of an eye as the film stands. But then, why flesh out such character angles when it's so much more important to get to the ripping and tearing and the blood and gore as quickly as possible. And what's odd is that we know DC felt he was making his own Hammer version of DS, but as I recall, most Hammer films had character scenes to flesh out their characters and the characters' motivations. But apparently that didn't make an impression on DC...
I'm sure that much of what Ross included in the novel was his own invention, to flesh out the story a bit. But yes, there was a lot of original script material that got deleted, to the detriment of the film. Yet to be fair, I'm sure that MGM wanted Curtis to limit the length of the film, because it would be double-billed with something else in a lot of markets. The stuff we know about that should have been included would have made the film go well over two hours, I think, and that would be unthinkable for something in this genre in 1970. This movie has a lot of stuff going on in it, and runs at a breakneck pace. Some of the character development could have been retained by removing some other scenes to still come in under 100 minutes, possibily resulting in an overall richer storytelling experience. But that probably would have been lost on the main audience MGM and Curtis were going for...
-
It's hard to tell what Ross might or might not have added to things - especially when a lot of the dialogue that doesn't appear in DC's version of the script but does appear in the novelization also happens to appear on the Fest's 1999 Movie Calendar. And the Fest said all the dialogue appearing on the calendar came from copies of the hoDS and NoDS scripts that they had in their possession in 1998 (which are obviously earlier versions than DC's copies of those scripts that appear in the Movie Book). So, in those instances, we can be sure that at some point along the way the hoDS dialogue on the calendar was part of a version of the script.
One thing that makes it so hard with hoDS is that, while there are earlier versions of the script in circulation in fandom, there seem to have been many different drafts of the hoDS script along the way - more so than with NoDS...
And another thing that's interesting (or some might say frustrating) when it comes to hoDS, unlike when scenes or entire sequences of scenes were dropped from the NoDS script and that was indicated in subsequent versions of the script -
203- 203-
205 OMIT OMIT 205
|
- that's not always the case when it comes to some of the scenes that were dropped before they decided on the final draft of the hoDS script. In fact in one draft, there's an indication of scenes omitted, but that indication doesn't appear in subsequent drafts to that draft. Though the nice thing there is that unlike with NoDS where we pretty much have no idea what the omitted scenes consisted of, the scenes that were omitted from the hoDS draft that I'm referring to do actually appear in the version of the hoDS script that appeared in the DS Files books because that version of the script was apparently an earlier draft that contained them (and I'd shared those omitted hoDS scenes in this topic when we came to the section of DC's script where they would have appeared).
-
I know that I'm jumping the gun here but I have always felt that the extremely different ending of the book was Ross' invention.
-
In that instance, I'm pretty sure you're entirely right. That has Ross written (no pun intended) all over it...
-
Until things get sorted out with uploading, it looks like when it comes to the slideshow we're going to have hoDS quotes with NoDS captures...
-
Finally success in uploading everything!
And if you're not seeing today's graphic -
(http://www.dsboards.com/91quoteimages/0720ds91_0.jpg)
- for the slideshow, you need to clear your browser's cache. [easter_wink]
-
Here's a scene in the novel that appears between DC's script's Scene 134 and 135, and it's anyone's guess if it appeared in the version of the script used for the novel or it's an invention of Dan "Marilyn" Ross:
With a heavy heart Roger mounted the outside steps
of the building and opened the screen door leading to the
cool shadowed foyer. The sheriff's office was on the
first floor to the rear. They made their way down the cor-
ridor, their footsteps echoing on the shining hardwood
floor.
The elderly man in the outer office of the sheriff's
quarters gave them a sour look. "Yes," he asked in a
crabbed tone.
"Is the sheriff in?" Roger wanted to know.
"Yep. You want to see him, Mr. Collins?"
"If he isn't too busy," Roger said.
"I reckon he can spare time for you," the ancient clerk
said grumpily. he rose and went out a door at the back
of the office. The door was closed after him and so they
had no idea what was going on in the other room.
Roger gave the professor an uneasy look. "Not a very
happy start," he observed grimly."
"You can't turn back now."
The old clerk came back and nodded for them to enter.
"The sheriff is waiting for you," he said.
Roger led the way into the inner office. The gnarled
sheriff was standing at his desk with a weary expression
on his face. Roger introduced the professor and then
they all sat down.
"Very sad about your nice," the sheriff said, when the
introductions were over.
"Tragic," Roger agreed.
The sheriff looked at his directly. "I hope you don't
have the idea we're being lax in following up on these at-
tacks and murders. I promise you that we are doing
everything possible."
"I have every confidence in you," Roger said in a
strained voice.
"Thank you," the sheriff said. "We have been receiving
some complaints from relatives of the victims. It's hard
to preach patience to those who have suffered such an
ordeal, but I'm afraid that's just what we must do."
Professor Stokes said, "At a time like this your official
position is not an easy one."
"Indeed it is not," the sheriff agreed. Then he gave
Roger a questioning look. "I assume you have come here
for my help in some way, Mr. Collins. What can I do
for you?"
Roger took a deep breath. Then he said, "It's about
Carolyn.About her burial. I've had a bad dream about
it and I'm worried."
"The sheriff raised his eyebrows. "A bad dream?"
"I've also had other misgivings," Roger told him
earnestly. "I have an idea the monster we're trying to
apprehend may possibly have a streak of the grave
robber in him. And I have this awful feeling that my
niece's coffin has been despoiled."
The sheriff eyed him incredulously. "I don't think that's
likely."
"Perhaps not," Roger agreed. "But I wish you would
indulge me in this fancy. I'd like to investigate the
mausoleum and make certain that Carolyn's coffin is in-
tact."
The sheriff hesitated. "It's a pretty unusual request," he
said grimly.
"I know that," Roger agreed. "But I'm very con-
cerned. It wouldn't take too much of your time and it
would set my mind at rest."
Professor Stokes spoke up. "Mr. Collins has suffered
a great strain. I'm of the opinion this would help him
through this crisis."
The sheriff frowned. "I don't know what to say."
"I'll not trouble you again," Roger said. "Just so long
as I know Carolyn's body has not been touched."
There was a tense moment of silence in the small
office. Then the sheriff said, "All right, Mr. Collins."
"When can we go to the cemetery?" Roger asked
nervously.
The sheriff shrugged. "Why not go at once and get it
over with? he said. It was clear by his tone that he
thought it was a fool's errand.
Roger and the professor exchanged glances. And
Roger told the sheriff, "I agree. Best to get it done right
away!"
|
None of the dialogue here appears on the Movie Calendar (though quite interestingly some dialogue will appear on the calendar quite shortly that doesn't appear in either DC's script or the novelization - but more on that once we get to it...). I would have loved to have seen the look on Dennis Patrick's face when as the sheriff he was told by Roger about his dream. It could have been a classic moment - though perhaps more suited for the daytime show than the film, as is the entire section with the ancient grumpy clerk. Though it's certainly not impossible that at one point all of this could have been in the script. I mean, such levity brings to mind the humor of NoDS' Tracy and Claire's excursion into Collinsport to visit Gregory's shop.
Also, I forgot to mention when I posted the excerpt from the novelization's version of Scene 134 that it's interesting that in it Roger is the one who leads the way into Todd's hospital room, just as in the film, though in DC's script it's Stokes who does so. We've seen many examples in both hoDS and NoDS where the way something plays in one of those films is actually more closely related to how it was done in a draft of a script prior to DC's final script version.
-
I realize that small town government would cater to the wealthiest family in town but to go and open the coffin of someone who has only been dead for a very short time on the basis of a dream? Forget the court order! Let's just drive over and do it now! I realize that this is not the type of drama that DC was interested in telling but, in a more realistic setting, Elizabeth would probably kick Roger out of the house ("You betrayed me!" would sound particularly juicy coming from Joan.) and likely use her influence to get Stokes dismissed from the university and the sheriff fired.
-
in a more realistic setting, Elizabeth would probably kick Roger out of the house ("You betrayed me!" would sound particularly juicy coming from Joan.) and likely use her influence to get Stokes dismissed from the university and the sheriff fired.
I can so see all of that happening!! [nodassent]
-
Two scenes in the script that we need to get through before we can deal with the current scene:
CUT TO:
135 BLACK - INT: MAUSOLEUM - DAY
We hear a LOUD, REVERBERATING SOUND, AS OF A GIANT IRON
BOLT BEING THROWN. The a door opens and a blinding
135 CONTD CONTD 135
light shines directly into camera. Behind the light
there is movement as Roger leads Stokes, the Sheriff
and deputies to a vault with Carolyn's name on it.
Stokes looks at Roger and can see how painful this is
for him. There is a pause. Then Roger opens the and pulls
vault and steps back. The light is shined inside and
out coffin we see the coffin. The sheriff nods to his men. They
remove the coffin and set it down on the floor. There
is a moment of tense hesitation. Then Stokes reaches
down and lifts the lid of the coffin. The Sheriff
shines the light in.
136 THEIR POV - INTERIOR COFFIN 136
From inside Coffin
It is empty. Focus looking in
|
And when it comes to the descriptions and the directions, we really have no way of knowing how things might have played in the film because these scenes ended up on the cutting room floor.
-
Thanks again, MB, for those pages from the Dan Ross book and that unusual still of the exhumation party inside the mausoleum--I'm quite sure I never saw that shot before. Bravo! You'd give Diego the Explorer (if I'm remembering what some of my friends told me a few years ago about a popular children's program properly) a run for his swag.
I can see why all of this was cut. If all of it was actually written out in some draft of the script, it does foreground how little experience the main people involved had in constructing a screenplay for a feature film, particularly in the horror genre in the early 70s. The 90 minute running time was pretty much standard and had been for years. Of course that was long compared to the horror films of the 30s and 40s which usually clocked in at 70 minutes or less.
I was startled to see a couple of articles posted to social media a week or two ago with this director explaining why his new film about Dunkirk is "so short." The running time is reported to be 100 minutes. My initial reaction was: "that's short?"
A number of people I know have complained to me in recent years about all the big blockbuster feature films routinely running around 2 and a half hours. That's a little too long both for children and people living in what we euphemistically call "the golden years."
G.
-
And here's how Scenes 135 and 136 appear in the novelization - the actions is pretty much exactly the same as DC's script, except in the novel there's dialogue -
The tomb was pitch black. Then there was the grating
sound of an iron bolt being drawn and in the next second
the giant entrance door came open with a creaking, pro-
testing sound to throw a flood of light into the dank
place of the dead. Roger led the way with a pained
expression on his stern face. He went directly to the
vault where Carolyn was buried. Stokes, the sheriff and
his deputies followed him. Roger paused before the vault
as if reluctant to proceed any further.
"Well, Mr. Collins," the sheriff said dryly.
"Yes, of course," Roger replied as he roused himself
to action. He opened the vault and stepped back beside
Professor Stokes.
The sheriff beamed a light inside to reveal the coffin.
Then he nodded as a signal to his deputies. They grimly
entered the vault to remove the coffin and set it on the
floor. They stepped back with a hint of awe in their
faces. To them this represented a rude intrusion of the
dead. There was another moment of tense hesitation.
The sheriff said, "Let's not waste time, Mr. Collins."
Roger turned to Stokes. "Would you proceed, Eliot?"
"Very well," the stout man said with a sigh. He wore
a grim expression as he reached down and lifted the
lid of Carolyn's coffin. The sheriff came close and shone
his flashlight into the coffin. There was a chorus of
startled gasps but nothing was said.
|
- and unfortunately we'll never know if things might have played in the film with dialogue anything like that or in silence as the script indicates...
-
And here is the first article ever printed about the production of the film. And just as with NoDS, it was published in Flip magazine:
(http://www.dsboards.com/hoDSquoteimages/DSMM.jpg)
Click for a 1554X2128 version of the page: DSMM.jpg (http://www.dsboards.com/hoDSquoteimages/DSMM.jpg)
Nothing like revealing from the very first that Barnabas kills Carolyn and she becomes a vampire! ::)
-
Cool article. I'd buy FLIP when I could find it (and my allowance hadn't run out!) because they'd run stuff like this.
G.
-
Setting up the current scene:
137 BACK TO THE SCENE 137
There is a long silence. All except Stokes are
shocked beyond words. Before anyone can say anything,
a shadow falls across the room. Roger is the first to |
react to it. He turns and looks toward the entrance. |
CAMERA PANS to the entrance to reveal Liz standing |
there, a shocked and outraged look on her face. V
LIZ Zoom to
Roger ROGER (OS) CU Liz
They react Elizabeth!!
|
And that's when Wednesday's quote -
Page 60/Scene 137 - Liz: 'You knew how I felt about this, Roger! And yet you came here anyway! You allowed these men to desecrate her grave!!'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, we really have no way of knowing how things might have played in the film because this scene ended up on the cutting room floor.
-
Cool article.
The photos are great, four of which were never published elsewhere, but the text could have used a bit more accuracy. The glaring error is it saying that Carolyn is David's "sister." Though at the time we didn't know if that was right or wrong, so the possibility that it was right got my circle of DS friends wondering (needlessly, as it would soon turn out) what else the film was going to change. But if they weren't simply judging by who was in the photos, they would have known that Grayson Hall, Thayer David and John Karlen had actually begun work on the first day of shooting because both Julia and Stokes were part of the funeral and the scene with Willie outside the mausoleum was also shot that same day. And even Jonathan Frid began shooting a couple days later. But those are minor quibbles in the overall scheme of things because it was quite thrilling to see actual photos of production and to get tidbits about the plot, even if Carolyn becoming a vampire was a major spoiler, but definitely a really exciting one!
-
At least it's a little better than the Debbie Reynolds/Shelley Winters movie What's The Matter With Helen? where the poster gives away the ending.
-
Really? I don't remember that. I'm going to have to track a copy down.
But speaking of posters, now that you mention it, even though it isn't as bad as revealing the ending, both versions of the hoDS poster don't exactly keep secret that Carolyn becomes a vampire, now do they?! And when it comes to one of them, even the fact that she gets staked is on display for all to see!! ::) Although, I don't think I ever saw that poster until years after I saw the film. All the theaters around here used the version with the characters on the lawn - both at their theaters and in the larger newspaper ads...
-
It's the first thing that pops up from Google Images.
-
And speaking of the alternate hoDS posters, talk about being unobservant!! I never noticed until today when I was looking at them that the the color version adds blood on Carolyn's chin that isn't there in the B&W version (or as bloodied on her chin in the actual photo) and the B&W version removes the blood tricking from the corner of her mouth (which is trickling from the corner of her mouth in the actual photo):
(http://www.dsboards.com/hoDSquoteimages/house_of_dark_shadows_poster_2a.jpg)(http://www.dsboards.com/hoDSquoteimages/house-of-dark-shadows-poster-2b.jpg)
[6184]
But I wonder if it was a standards thing in certain cities? Pehaps the bloodier color version wouldn't have been allowed to be displayed in those places...
-
And is that really Frid in the coffin? It looks more like a drawing to me.
-
With all the problems with uploading this week, I forgot that I wanted to share this behind the scenes still from Scene 134:
(http://www.dsboards.com/hoDSquoteimages/Own_heart.jpg)
Click for a 1000X732 version (http://www.dsboards.com/hoDSquoteimages/Own_heart.jpg)
I know it's been widely circulated - but I just love it!
-
And is that really Frid in the coffin? It looks more like a drawing to me.
It looks like that whole section of the poster is a drawing:
(http://www.dsboards.com/hoDSquoteimages/house_of_dark_shadows_poster_2ba.jpg)
There's a still of Willie with the chained coffin, but I don't remember any stills of the hand grabbing Willie's throat. Though in the film, even though the arm/hand is real, it's the arm/hand of an extra. As for the face, whoever put the montage together for the poster just stuck a face in there.
-
Continuing with Scene 137:
CAMERA PULLS BACK to include Roger as he crosses to
her. Liz is far enough away so that she can't see
into the coffin.
|
And that's when yesterday's quote -
Page 60/Scene 137 - Roger: 'Elizabeth -- I don't know how to tell you this --'
- comes up, followed by today's quote -
Page 60/Scene 137 - Liz: 'I am not interested in anything you have to say! You are to get these men out of here and let my daughter rest in peace!'
- coming up.
And when it comes to the dialogue, the descriptions, and the directions, we really have no way of knowing how things might have played in the film because this scene ended up on the cutting room floor.
-
With all the problems with uploading this week, I forgot that I wanted to share this behind the scenes still from Scene 134:
(http://www.dsboards.com/hoDSquoteimages/Own_heart.jpg)
Click for a 1000X732 version (http://www.dsboards.com/hoDSquoteimages/Own_heart.jpg)
I know it's been widely circulated - but I just love it!
Physician, heal thyself!
-
She's checking to see if her career is still alive...
-
[pointing-up] Considering what she thought of DC's directing, she might have felt she needed to. [b003]
(Though it's interesting that she was so impressed by how far he'd come by the time she did The Great Ice Rip-Off with him in 1974.)
-
Now that I've shared parts of two others, I thought I'd share a third still from the "exhumation party" sequence, as Gothick termed it:
(http://www.dsboards.com/hoDSquoteimages/In_The_Maus_3.jpg)
Given they're all looking down, one could presume it's the moment they discover Carolyn's coffin is empty. But given that in all likelihood the footage from the scene has been destroyed, I suppose we'll never really know for sure...
-
if they weren't simply judging by who was in the photos, they would have known that Grayson Hall, Thayer David and John Karlen had actually begun work on the first day of shooting because both Julia and Stokes were part of the funeral and the scene with Willie outside the mausoleum was also shot that same day. And even Jonathan Frid began shooting a couple days later.
In anticipation of doing another shooting chart (for Scenes 121 through 140 in DC's script) in less than a week, I was just looking at the copy of the shooting schedule that I have and the photos that Flip included in their article make perfect sense given some the scenes that were shot during the first three days of production:
Day 1 - The funeral, Carolyn attacks Todd
Day 2 - David plays ball/knocked out, Carolyn returns
Day 3 - Todd stumbles through woods
And on a totally different front, I've also discovered quite interesting evidence in the shooting schedule regarding some of the recent material that's in the novelization but isn't in DC's script. You may or may not be surprised. But either way, that will all wait until I post the chart... [wiseguy]
-
Gosh, MB. I am presuming the current scene WAS filmed since you have found the two stills of the exhumation party at work. And this may have been Joan's biggest, most dramatic moment in the entire movie.
Just a shame we'll never get to see it. Thanks for the script excerpts. Poor Liz.
G.
-
Gosh, MB. I am presuming the current scene WAS filmed
Yes, Scenes 135, 136 and 137 were all shot.
And this may have been Joan's biggest, most dramatic moment in the entire movie.
Exactly! It's no wonder Joan Bennett was so disappointed with the finished film - what looks to be all her best material ended up on the cutting room floor. Combine that with the fact that she thought the experience of shooting the film was horrendous and, well...
Just a shame we'll never get to see it.
A huge shame!
Poor Liz.
Indeed. And what's sad is that from this point on in the film, with the exception of a scream in a certain scene to come, Liz is basically a catatonic mute...
-
Yes, it's very sad. No wonder when somebody asked her at Tarrytown "aren't you Joan Bennett?" her response was "I used to be."
And of course I remember that scream... and a certain prop that showed up on the show a few months later...
G.
-
I was just going through hoDS stills looking for something entirely different and what should I come across?
It looks like that whole section of the poster is a drawing:
(http://www.dsboards.com/hoDSquoteimages/house_of_dark_shadows_poster_2ba.jpg)
There's a still of Willie with the chained coffin, but I don't remember any stills of the hand grabbing Willie's throat.
Well, this:
(http://www.dsboards.com/hoDSquoteimages/Willie_coffin_hand.jpg)
How quickly I forget!! [easter_embarassed] And I should have actually remembered because I have an hoDS article from a now defunct magazine called TV Star Parade that includes that still... ::) But I think it's the only place that still has been published. (But watch, I'll find out it's in one of the Pompress books!! [lghy])
-
Wrapping up Scene 137, beginning with yesterday's quote -
Page 60/Scene 137 - Roger: 'Elizabeth, you must listen to me! Eliot Stokes was right. Carolyn's coffin -- is empty.'
- coming up, followed in the script by:
137 CONTD CONTD 137
For a moment, Liz just stares at him, wide-eyed with
shock. She backs off toward the door, momentarily
unable to speak.
|
And that's when today's quote -
Page 61/Scene 137 - Liz (screaming): 'No!! I will never believe that!! I will never believe that!!'
- comes up.
End of scene.
And when it comes to the dialogue, the descriptions, and the directions, we really have no way of knowing how things might have played in the film because this scene ended up on the cutting room floor.
-
I was just going to share the novelization of Scene 137, but it's the same as DC's script, so there's no need.
There are some differences in Scene 138, so I will be sharing that scene once we finish with it in the slideshow...
-
There's a very interesting situation for two entries on the Fest's 1999 Movie Calendar because they should be part of some recent scene we've just dealt with but they're not - not in the version of the script that was used for the novelization and not in DC's script (but as I've said, there are several drafts of the hoDS script, so they could have appeared on any one of the others). And the reason they should be part of some recent scene is because they appear on the calendar between quotes from Scene 133(Carolyn attacks Todd) and Scene 138(Barnabas warns Carolyn to stay away from Todd), so that would seem to mean that chances are they come from some alternate version of a scene or scenes in the range of Scenes 134 through 137. And one other interesting thing is that after it was dropped from whatever drafts(s) it appeared in, it's pretty much a certainty that the second quote we'll see was reworked and given to a completely different character, which is something we've already seen done in previous instances where a scene has been rewritten or after it's been dropped but some of its dialogue lives on in another scene. Though the first quote is more problematic and because of that, it makes the placement of both quotes problematic. But without further ado, here they are:
For March 23rd:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #13? - Stokes: 'There are
two ways a vampire can be destroyed. By driving a wooden
stake through the heart, or by using silver bullets.'
For March 24th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #13? - Sheriff: 'We've
imposed a curfew on the town of Collinsport. No one will be
allowed out after dark.'
So, just who is Stokes telling how to kill a vampire? Roger? Julia? Roger and Julia outside Todd's hospital room? The sheriff, either at the hospital or in his office? But if either of those latter two are the case, unlike how the sheriff is kept in the dark when it comes to the real reason he must accompany Roger and Stokes to the mausoleum, he would have to already be aware of Stokes' suspicion that Carolyn is a vampire. But with no real clues to go on, it's very hard to pin down the circumstances in which that first quote takes place.
And as for the second quote, recall Stokes' unscripted dialogue that appears in the film as part of Scene 134:
(http://www.dsboards.com/hoDSquoteimages/0718hoDS_c.jpg)
"Today, the sheriff put a curfew on the town. From now on
no one will be allowed to go out after dark."
It's so extremely similar to the sheriff's quote on the calendar as to not be coincidental. It's definitely a reworking of the sheriff's quote. But under what circumstances could it take place originally when it belonged to the sheriff? During some version of Roger and Stokes at the sheriff's office seems like a real possibility. But who knows?
And what I did back when we did the original hoDS slideshow was rather than substitute something in the film for either the calendar's March 23rd or March 24th, I simply used the calendar's quotes and explained that without a copy of it or copies of them, it wasn't at all clear how they originally fit into some previous draft/drafts of the script...
-
Setting up the current scene:
138 INT: CELLAR, OLD HOUSE - NIGHT 138
Barn stands near
WIDE ANGLE of dark basement/with two coffins in b.g.
One is open, one closed. /CAMERA SLOWLY BEGINS TO
TRUCK IN as the coffin opens. By the time THE CAMERA
IS IN TIGHT on the coffin it is open and we see Carolyn
there, her eyes open. Carolyn rises as SHOT WIDENS to
include Barnabas standing over her.
|
And that's when today's first quote -
Page 61/Scene 138 - Barnabas (OS): 'You are never to go near Todd again!!'
- comes up, followed by today's second quote -
Page 61/Scene 138 - Carolyn: 'I want him and I am going to have him. I need him.'
- coming up.
And when it comes to the dialogue, the descriptions, the directions, and the notation, the scene doesn't open with a shot of the two coffins with one open and one closed because they're -
(http://www.dsboards.com/hoDSquoteimages/0724hoDS_a.jpg)
- both closed - and the camera doesn't slowly begin to truck in a coffin opens because at first we see Barnabas enter though an alcove -
(http://www.dsboards.com/hoDSquoteimages/0724hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/0724hoDS_ba.jpg)
- in the background (which almost makes his entrance like one he might make on the daytime show) - and soon he makes his way toward his coffin -
(http://www.dsboards.com/hoDSquoteimages/0724hoDS_c.jpg)
(http://www.dsboards.com/hoDSquoteimages/0724hoDS_ca.jpg)
- after which, as the camera then begins a slow truck in, Barnabas makes his way around his coffin toward Carolyn's coffin as he looks down at it -
(http://www.dsboards.com/hoDSquoteimages/0724hoDS_d.jpg)
- and then he begins to walk around Carolyn's coffin -
(http://www.dsboards.com/hoDSquoteimages/0724hoDS_e.jpg)
- and as he reached the end of it and is about to walk out of frame, Carolyn's arm begins to open -
(http://www.dsboards.com/hoDSquoteimages/0724hoDS_f.jpg)
- the lid - and then the camera goes in tight on Carolyn's coffin and we see her inside -
(http://www.dsboards.com/hoDSquoteimages/0724hoDS_g.jpg)
- and after she sits up -
(http://www.dsboards.com/hoDSquoteimages/0724hoDS_h.jpg)
- Barnabas soon walks by -
(http://www.dsboards.com/hoDSquoteimages/0724hoDS_i.jpg)
- and after he gets all the way past the coffin, he turns to look in Carolyn's direction -
(http://www.dsboards.com/91quoteimages/0724ds91_0.jpg)
- and delivers today's first quote - and the shot doesn't widen to include both Barnabas and Carolyn because, after all, we're never allowed to actually see a vampire getting out of a coffin - but soon thereafter Carolyn comes into view -
(http://www.dsboards.com/hoDSquoteimages/0724hoDS_j.jpg)
- and she delivers today's second quote -
(http://www.dsboards.com/91quoteimages/0724ds91_1.jpg)
- though she actually delivers it as "I want him and I'm going to have him. I need him", and I love the none too pleased look on Barn's face at her defiance.
And this scene shows us an important thing about DC's directorial style as it pertains to this film: If he doesn't have a long hallway for someone to walk down before the important stuff in the scene actually begins, he'll stage things so someone has to walk all around objects in the room before the scene actually begins!! [b003]
And I've often wondered why Barnabas is up and out of his coffin, and apparently has been for a while since he already has his cape on, but Carolyn isn't up and out of her coffin? But I guess we're not supposed to ask that question...
-
Initially, I thought that this bit was a brief nod to Barnabas' role as kindly, old vampire from the series, where he would be trying to protect the family from being attacked by the predator of the week. Now I'm not so sure. It seems to demonstrate that he is no more able to control Carolyn as a vampire than he was when she was supposed to be in his thrall. The only thing missing (for me, anyway) would be Carolyn saying that she'd leave Todd alone if Barnabas kept his fangs out of Maggie Evans.
-
I wonder where this was shot. For some reason, it makes me think of a room we may have been allowed to visit at Lockwood Mathews, but that may be just another of my hallucinations.
Carolyn is still a very young vampire. This is only her second night. I am presuming that there is a process where they get progressively stronger as they go on and are nourished with the blood of more souls.
And yes, her defiance of him is consistent with her personality as it was when she was living. Quelle surprise, eh, Mr Barnabas?
This scene does feel more like the real DS than a lot of the rest of the movie--probably one reason why I have always liked this scene. A shot from it was chosen for the image used for the actual CD when the hoDS and NoDS soundtracks were released on disc many years ago. Another curious thing is that it seems that Rhino had no access to the master tapes for that disc because if you listen through headphones, you can hear dialogue and noises from the actual film soundtrack at several points.
G.
-
Initially, I thought that this bit was a brief nod to Barnabas' role as kindly, old vampire from the series, where he would be trying to protect the family from being attacked by the predator of the week. Now I'm not so sure.
I've never seen it as anything but Barnabas trying to protect his own ass. Carolyn going after the people at Collinwood could somehow lead back to Barnabas, and he certainly couldn't have that. Honestly, 1) no matter how strongly she came on to him, he was a fool to have gone after Carolyn in the first place (but we all know which head even the film's Barnabas thinks with), and 2) he was a bigger fool not to have been able to control himself so as not to have killed her. But the film's Barnabas has very few humanizing qualities because what DC was most interested in was him being a monster, and actually the monster that the daytime Barnabas wasn't allowed to be. DC never made any secret of the fact that the film was his chance to make Barnabas the vampire DC had originally envisioned for the daytime show. I honestly think that was a mistake because what made Barnabas so popular on the daytime show is hardly in evidence in the film - plus it gave parents who'd never seen DS on TV a very skewed impression of what the daytime show was like - and that backfired on the show in some areas when parents lobbied to have DS taken off the air, at least in their areas, which did happen in some places.
The only thing missing (for me, anyway) would be Carolyn saying that she'd leave Todd alone if Barnabas kept his fangs out of Maggie Evans.
Oh, THAT would have been a great comeback!! [nodassent]
-
I wonder where this was shot. For some reason, it makes me think of a room we may have been allowed to visit at Lockwood Mathews, but that may be just another of my hallucinations.
No, you are correct - it was shot at Lockwood-Mathews.
Carolyn is still a very young vampire. This is only her second night. I am presuming that there is a process where they get progressively stronger as they go on and are nourished with the blood of more souls.
That's about the only explanation that makes sense.
And yes, her defiance of him is consistent with her personality as it was when she was living. Quelle surprise, eh, Mr Barnabas?
I love it. Barnabas wants to be in control, but he can't control Carolyn in any way, shape, or form.
Another curious thing is that it seems that Rhino had no access to the master tapes for that disc because if you listen through headphones, you can hear dialogue and noises from the actual film soundtrack at several points.
Really, I've never listened with headphones.
I could swear that back when the soundtrack came out it was said that they used Bob Cobert's master tapes for it. But, well, we all know by now that we can't always believe what's said, no matter who's actually saying it, and all too often when a certain someone is saying it...
-
I definitely could hear the dialogue in the edit of the party music (which starts out with that souped-up version of Vicki's theme that was released in another arrangement on a 45 with the peculiar title of "Missy."As in, "you WILL put your party frock now AND SMILE, Missy!" ??). Maybe the other tracks were from master tapes. There may not have been a master tape for that one edit--I have no idea. The solo piano music that plays during Barnabas's little scene with Maggie is such a lovely composition.
G.
-
Now that I think about it, one thing that is odd is that I remember it being mentioned in the booklet for the soundtrack that for the track named "David's Radio," which is better known as "Back At the Blue Whale," they actually used the original recording for the TV show. I've honestly never bothered to compare the soundtrack version to the version in the film. But that's at least one case where something other than the films' master tapes was used.
-
Tonight I'm going to share two of the promised photos of vampire Carolyn from My Scrapbook Memories of Dark Shadows:
Here's the first one:
(http://www.dsboards.com/hoDSquoteimages/Carolyn_4.jpg)
Love the person holding the back of Carolyn's shroud.
And here's the second:
(http://www.dsboards.com/hoDSquoteimages/Carolyn_2.jpg)
This one just might be my favorite.
And the two more that will come tomorrow complete the foursome...
-
Tonight I'm going to share two of the promised photos of vampire Carolyn from My Scrapbook Memories of Dark Shadows:
Here's the first one:
(http://www.dsboards.com/hoDSquoteimages/Carolyn_4.jpg)
Love the person holding the back of Carolyn's shroud.
And here's the second:
(http://www.dsboards.com/hoDSquoteimages/Carolyn_2.jpg)
This one just might be my favorite.
And the two more that will come tomorrow complete the foursome...
I love these shots of Nancy. The first one makes it look like she has a valet.
-
Wrapping up Scene 138, as well as Scene 139:
He x to her
He grabs her by the arm and pulls her close to him,
harshly.
|
And that's when today's first quote -
Page 61/Scene 138 - Barnabas: 'Not only are you going to leave Todd alone, but you are not to touch anyone at Collinwood. Is that clear?'
- comes up, followed in the script by:
BARNABAS
(shouting)
Willie!!
139 FULL SHOT OF STAIRS 139
as Willie ENTERS SHOT, comes down the stairs. CAMERA
PANS him to Barnabas and Carolyn.
|
And that's when today's second quote -
Page 61/Scene 139 - Barnabas: 'See that she does not leave this room!!'
- comes up.
End of scene and sequence.
And when it comes to the dialogue, the descriptions, the directions, and the notation, Barnabas does indeed cross to Carolyn and grab her by the arm - and though we don't actually see the arm grabbing, we can definitely tell that it's happened because, as can be seen in today's first capture -
(http://www.dsboards.com/91quoteimages/0725ds91_0.jpg)
- the act brings them closer - and Carolyn's only response to Barnabas' order not to touch anyone at Collinwood, which he actually delivers as "Not only are you to leave Todd alone, but you are not to touch anyone at Collinwood. Is that clear?", is to -
(http://www.dsboards.com/hoDSquoteimages/0725hoDS_a.jpg)
- turn her head away defiantly - and after that Barnabas walks across the room -
(http://www.dsboards.com/hoDSquoteimages/0725hoDS_b.jpg)
- and stands glaring it her before he turns to the back of the room -
(http://www.dsboards.com/hoDSquoteimages/0725hoDS_c.jpg)
- and calls out to Willie - and after some noises are heard, Willie's shadow -
(http://www.dsboards.com/hoDSquoteimages/0725hoDS_d.jpg)
- appears in the archway at the back of the basement, not atop the stairs, as indicated in the script for Scene 139 - and almost immediately Willie himself appears -
(http://www.dsboards.com/hoDSquoteimages/0725hoDS_e.jpg)
- and upon walking a bit closer, Willie asks an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0725hoDS_f.jpg)
"What's the matter, Barnabas?"
- and after Barnabas actually orders Willie to "See that she doesn't leave this room!", as Willie's eyes dart back and forth from Barnabas to Carolyn -
(http://www.dsboards.com/91quoteimages/0725ds91_1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0725hoDS_g.jpg)
- the camera pans over to Carolyn -
(http://www.dsboards.com/hoDSquoteimages/0725hoDS_h.jpg)
- who looks pissed that Barnabas thinks he can control her.
-
And I've often wondered why Barnabas is up and out of his coffin, and apparently has been for a while since he already has his cape on, but Carolyn isn't up and out of her coffin? But I guess we're not supposed to ask that question...
Carolyn just likes to sleep in.
-
The first one makes it look like she has a valet.
Doesn't it, though!! [lghy]
I don't know what it is about the second one that makes me love it so much. Maybe it's all the cobwebs. Frid did a photo shoot in '67 in a very cobwebby Old House basement set and they're among my most favorite photos of Barnabas.
-
... but Carolyn isn't up and out of her coffin?
Carolyn just likes to sleep in.
There's probably that, too. [wink2]
-
So, Barnabas has thus far been unable to control Carolyn as either a thrall or a vampire but he expects Willie to be able to keep her in line? Very unrealistic and very typical.
-
[pointing-up] Exactly!!
-
And here's the novelization of Scenes 138 and 139 - two parts are different from DC's script:
That night a strange scene took place in the dark
basement of the Old House. Two coffins rested close to
each other. One of them was open, while the other
remained closed. Soon there was a slight motion of the
lid of the closed coffin and very slowly it raised. Carolyn
was inside it. He eyes opened and she sat up. Then she
got out of the weird resting place to confront an irate
Barnabas.
The gaunt face of the handsome British cousin showed
anger. He said, "You are never to go near Todd again!"
Pale-faced and ghostly, Carolyn replied, "I want him
and I'm going to have him. I need him."
Barnabas gripped her arm and drew her close to him.
In a taut voice he told her, "Not only are you going to
leave Todd alone, but you are not to touch anyone at
Collinwood. Is that clear?"
"I don't have to listen to you," Carolyn retorted.
He glared at her and then turned and called out,
"Willie!"
A moment later Willie appeared at the head of the
stairs and came down to them. He seemed uneasy as he
halted a short distance from where they stood.
"Yes, sir," he said meekly.
"See that she does not leave this room!" Barnabas
ordered him.
|
I wish Carolyn had told Barnabas, "I don't have to listen to you," rather than that apparently being dropped. But having Willie ask "What's the matter?" is much better than having him address Barnabas with, "Yes, sir," after he was summoned, or worse still, say nothing, which is the way DC's script has it.
-
And here are the final photos of vampire Carolyn from My Scrapbook Memories of Dark Shadows:
Here's the first one:
(http://www.dsboards.com/hoDSquoteimages/Carolyn_1.jpg)
It's probably a good thing Nancy Barrett has her arm over her chest or Jonathan Frid might have gotten an eyeful!
And here's the second:
(http://www.dsboards.com/hoDSquoteimages/Carolyn_3.jpg)
Thankfully the scan doesn't come out quite an explicit as the actual photo.
And as a bonus, here's the photo of Nancy and Jonathan as it appears on the films' soundtrack CD:
(http://www.dsboards.com/hoDSquoteimages/CD_disc.jpg)
-
Setting up the new scene:
DISSOLVE TO:
140 INT: DRAWING ROOM - COLLINWOOD - NIGHT 140
Barnabas has just arrived and is with Roger, Maggie
and Jeff. he is facing maggie with 3/4 Back
to hall
140 CONTD CONTD 140
|
And that's when today's quote -
Page 62/Scene 140 - Roger: 'Barnabas, you shouldn't have come through the woods alone. You were taking a terrible chance.'
- comes up, followed in the script by:
And when it comes to the dialogue, the descriptions, the directions, and the notations, there is no dissolve from Scene 139 to Scene 140 - and Scene 140 actually begins with a shot of the drawing room shot from the viewpoint of the foyer as -
(http://www.dsboards.com/hoDSquoteimages/0726hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0726hoDS_aa.jpg)
- Barnabas is just about to enter and Roger can be seen inside but we do not see Jeff or Maggie - and a deputy can soon be seen exiting from the card room as the camera begins a slow zoom in on the drawing room -
(http://www.dsboards.com/hoDSquoteimages/0726hoDS_b.jpg)
- and as the deputy walks across the foyer, Roger actually begins to say "Barnabas, you shouldn't have come here tonight" while the deputy looks -
(http://www.dsboards.com/hoDSquoteimages/0726hoDS_c.jpg)
- over in the direction of the camera - and as the deputy disappears from frame and Roger moves closer -
(http://www.dsboards.com/91quoteimages/0726ds91_0.jpg)
(http://www.dsboards.com/91quoteimages/0726ds91_0a.jpg)
- to Barnabas, Roger continues with "you were taking a terrible chance" - to which Barnabas -
(http://www.dsboards.com/hoDSquoteimages/0726hoDS_d.jpg)
(http://www.dsboards.com/hoDSquoteimages/0726hoDS_da.jpg)
- actually says "But I had to" as Roger helps him with his cape - and at the outset of Roger's quote there's actually a notation in DC's script that reads: "x to Barn - help him with his cape".
-
Continuing with Scene 140, beginning with today's first quote -
Page 62/Scene 140 - Jeff: 'Why weren't you here yesterday?'
- coming up, followed in the script by:
Maggie gives Jeff a look.
|
And that's when today's second quote -
Page 62/Scene 140 - Roger: 'I don't think it bears further discussion.'
- comes up.
And when it comes to the dialogue and the notations, Jeff suddenly appears on the left side view of inside the drawing room -
(http://www.dsboards.com/hoDSquoteimages/0727hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0727hoDS_aa.jpg)
- and as he walks by Roger and Barnabas, as a notation in DC's script indicates that -
(http://www.dsboards.com/91quoteimages/0727ds91_0.jpg)
(http://www.dsboards.com/91quoteimages/0727ds91_0a.jpg)
- he's "not looking at Barn", Jeff delivers today's first quote exactly as scripted - and with regard to Jeff there's another notation that begins "he comes to Maggie", and that's exactly what happens as Roger delivers today's second quote exactly as scripted -
(http://www.dsboards.com/91quoteimages/0727ds91_1.jpg)
(http://www.dsboards.com/91quoteimages/0727ds91_1a.jpg)
- though as Jeff walks over to her after his remark to Barnabas, Maggie doesn't give any special sort of look other than to look up at him as he approaches - in fact, as the camera enters the room and pans slightly over with Jeff to reveal Maggie, she isn't even on screen until halfway through Roger delivering today's second quote.
-
Wrapping up Scene 140 with today's first quote -
Page 62/Scene 140 - Barnabas: 'But it does. You see I was called out of town. Where's Elizabeth? I'd like to see her.'
- coming up.
And when it comes to the dialogue and the notations, as we can see in today's capture -
(http://www.dsboards.com/91quoteimages/0728ds91_0.jpg)
- three things are actually going on, or rather two are and one isn't: Jeff hands Maggie a cup of something -
(http://www.dsboards.com/91quoteimages/0728ds91_0b.jpg)
- which follows along with the end of the notation for Jeff which fully reads "he comes to Maggie with a drink", though the cup has been barely noticeable until now; there is a notation that indicates Roger would "cross 3 steps rt of Barn" as he tells Jeff his question doesn't bear further discussion, but as we can see by comparing yesterday's capture for Roger's quote and the above capture for Barnabas today -
(http://www.dsboards.com/91quoteimages/0727ds91_1.jpg)
- Roger is still standing by Barnabas in the same spot; and Barnabas turns to Roger as he begins to deliver -
(http://www.dsboards.com/91quoteimages/0728ds91_0a.jpg)
- today's quote - and when it comes to the first half of that quote, Barnabas actually delivers it as "Oh, but it does. I was called out of town", dropping the "You see" - and there's a notation that indicates Barnabas would "x to table to put cane down" - and while Barnabas does cross to the table -
(http://www.dsboards.com/hoDSquoteimages/0728hoDS_a.jpg)
- as he explains he was called out of town, an excuse that doesn't seem -
(http://www.dsboards.com/hoDSquoteimages/0728hoDS_aa.jpg)
- to make an impression on Jeff, as Barnabas asks about Liz, he's holding his cane as he's by the table, and as we can see in the following capture where Roger starts to say an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0728hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/0728hoDS_ba.jpg)
"She's up--"
- with regard to where Liz is before getting cut off by the start of Scene 141 (which we will begin to deal with later), Barnabas is still holding his cane. So, who knows if putting the cane on the table was simply dropped or Frid merely forgot to do it?
-
And here's the novelization of Scene 140. It contains some interesting bits that are not in DC's script -
Later that night there was a conference in the main
house of Collinwood between Barnabas, Roger, Maggie
and Jeff. Barnabas was the last to join the group. Roger
was clearly showing the ordeal of the past few days and
nights.
He gave Barnabas a concerned look. "You shouldn't
have come through the woods alone," he told him. "You
were taking a terrible chance."
"I had to come," Barnabas said.
Jeff gave him a direct, questioning look. "Why weren't
you here yesterday?"
Roger intervened, "I don't think it bears further dis-
cussion."
Barnabas said quietly, "I don't mind answering Jeff's
question. I was called out of town on an urgent matter.
I wasn't able to get back. I would have liked to have
been here."
Maggie gave Jeff a meaningful look. And she told
Barnabas, "It would have been better if you had been
able to manage it."
Roger sighed. "Elizabeth is shattered by all that has
happened."
"Why shouldn't she be?" Barnabas agreed. "Where is
she? I'd like to see her."
|
- but some of which might seem odd given what's coming up near the end of Scene 142 in both the novel and DC's script. Material that does not appear in the film...
-
And now here's a chart with the available info regarding when Scenes 121 through 140 were scheduled to shoot on the original shooting schedule:
| | | | | | | |Day of | | | | |
| Scs. #s: | |Location: | |Pages: | |Description: | |Shoot: | |Date: | |Cast: |
| ====== | |=============== | |===== | |========== | |===== | |====== | |======== |
| 121 | |Ext. Pool (D) | |3/8 Pg. | |David is knocked | |2nd | |Tue. 3/24 | |DAVID |
| | | | | |unconscious | | | | | | |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 122 | |Int. First Floor | |6/8 Pg. | |Roger emotional | |6th | |Mon. 3/30 | |MAGGIE |
| |Hallway (Dusk) | | | |*(Trimmed)* | | | | | |ROGER |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 123 | |Int. Library (N) | |4/8 Pg. | |Roger tender | |6th | |Mon. 3/30 | |ROGER |
| | | | | |with Liz | | | | | |ELIZABETH |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 124 - 126 | |Ext. Pool (N) | |2 Pgs. | |Carolyn | |2nd | |Tue. 3/31 | |CAROLYN |
| | | | | |returns | | | | | |DAVID |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 127* | |Int. Dining Room (N) | |1 & | |They try to | |10th | |Fri. 4/3 | |JULIA |
| | | |5/8 Pgs. | |make small talk | | | | | |MAGGIE |
| | | | | |at dinner | | | | | |STOKES |
| | | | | | | | | | | |ROGER |
| | | | | | | | | | | |TODD |
| | | | | | | | | | | |ELIZABETH |
| | | | | | | | | | | |Mrs. Johnson |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 128 | |Int. Dining Room (N) | |1 & | |David says he | |10th | |Fri. 4/3 | |JULIA |
| | | |5/8 Pgs. | |saw Carolyn | | | | | |MAGGIE |
| | | | | | | | | | | |STOKES |
| | | | | | | | | | | |ROGER |
| | | | | | | | | | | |TODD |
| | | | | | | | | | | |DAVID |
| | | | | | | | | | | |ELIZABETH |
| | | | | | | | | | | |Mrs. Johnson |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 129 - 131 | |Ext. Road(to the | |1 Pg. | |Todd drives to | |1st | |Mon. 3/23 | |TODD |
| |cemetery) (N) | | | |the cemetery | | | | | |Todd's car |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 132 | |Ext. Cemetery (N) | |4/8 Pg. | |Todd in the | |1st | |Mon. 3/23 | |TODD |
| | | | | |cemetery | | | | | |Todd's car |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 133 | |Int. Mausoleum (N) | |1 & | |Carolyn attacks | |1st | |Mon. 3/23 | |CAROLYN |
| | | |1/8 Pgs. | |Todd | | | | | |TODD |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 134 | |Int. Todd's Hospital | |6/8 Pg. | |Todd delirious | |19th | |Thu. 4/16 | |JULIA |
| |Room (D) | | | |*(Trimmed)* | | | | | |STOKES |
| | | | | | | | | | | |ROGER |
| | | | | | | | | | | |TODD |
| | | | | | | | | | | |Nurse |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 135* | |Ext. Collinsport(outside | |3/8 Pg. | |They drive up | |21st | |Mon. 4/20 | |STOKES |
| |Sheriff's) (D) | | | |to the station | | | | | |ROGER |
| | | | | | | | | | | |Stokes' car |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 136* | |Int. Sheriff's Outer | |3/8 Pg. | |Roger asks to | |21st | |Mon. 4/20 | |STOKES |
| |Office (D) | | | |see the Sheriff | | | | | |ROGER |
| | | | | | | | | | | |Clerk |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 137* | |Int. Sheriff's Office (D) | |1 & | |They explain | |21st | |Mon. 4/20 | |STOKES |
| | | |3/8 Pgs. | |about Carolyn | | | | | |ROGER |
| | | | | | | | | | | |SHERIFF |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 138 | |Int. Mausoleum (D) | |1 & | |They open | |1st | |Mon. 3/23 | |STOKES |
| | | |3/8 Pgs. | |Carolyn's grave | | | | | |ROGER |
| | | | | | | | | | | |SHERIFF |
| | | | | | | | | | | |ELIZABETH |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 139 | |Int. Old House | |5/8 Pg. | |Carolyn rises | | ??? | | ??? ??? | |BARNABAS |
| |Cellar (N) | | | | | | | | | |CAROLYN |
| | | | | | | | | | | |WILLIE |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 140 | |Int. Drawing Room (N) | |4/8 Pg. | |Barnabas | |9th | |Thu. 4/2 | |BARNABAS |
| | | | | |arrives | | | | | |MAGGIE |
| | | | | | | | | | | |JEFF |
| | | | | | | | | | | |ROGER |
| | | | | | | | | | | |Deputy |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
What a myriad of revelations there are in this section of the original shooting schedule! *We get confirmation that all the recent scenes that I've shared from the novelization but don't appear in DC's script were indeed at one time a part of the script because they appear on the schedule. But let's follow in order as scenes unfold:
- Scene 122: Indicated as trimmed, probably to account for the bits of dialogue that were dropped.
- Scene 127*: Completely missing from DC's script but does appear in the novel and was replaced by a 3/13 revision.
- Scenes 129-131: As already mentioned when they came up in DC's script, they were never shot.
- Scene 132: In DC's script it's Todd's car pulling into the cemetery but it becomes the portion of Todd outside the mausoleum. No car in sight.
- Scene 133: In DC's script it's entirely Todd outside the mausoleum where he is also attacked by Carolyn but it becomes the portion of Todd inside the mausoleum as he is attacked by Carolyn.
- Scene 134: Indicated as trimmed, probably to account for all the dialogue in the novel but not in DC's script that deals with Julia and Stokes persuading Roger to go to the sheriff. No listing for the deputy.
- Scene 135*: Completely missing from DC's script but does appear in the novel and in DC's script it becomes the first section of opening Carolyn's coffin.
- Scene 136*: Completely missing from DC's script but does appear in the novel and in DC's script it becomes the second section of opening Carolyn's coffin.
- Scene 137*: Completely missing from DC's script but does appear in the novel and in DC's script it becomes the third and final section of opening Carolyn's coffin.
- Scene 138: Originally just one scene dealing with opening Carolyn's coffin but in DC's script it's the first part of Carolyn rising and Barnabas warning her.
- Scene 139: Originally the one scene of Barnabas warning Carolyn and ordering Willie to watch her but in DC's script it's only the part where Barnabas orders Willie to watch her. Also, we have no idea when it was shot because it was shot at Lockwood-Mathews.
-
Oops - I forgot to say some things:
It's interesting that there aren't any deputies listed on the schedule for original Scene 138, yet they are referred to in the script (well, at least in DC's script and the version of the script used for the novelization), yet there isn't a deputy referred to in the script (at least in DC's script or the novelization) for Scene 140 but he is listed on the schedule.
It's also interesting that any scenes involving cars, with the exception of Jeff finding Daphne, were either never shot or pulled from the script.
And I wonder if they had any DS actor(s) in mind for the "ancient clerk" at the sheriff's office while that scene was still a part of the script? It seems like something Abe Vigoda might have played or Ronald Dawson, who played the record's clerk in 1995, but he hadn't been cast in that role before hoDS was shot...
And as I said before, but now that we know the scene was definitely in the script at one time, it bears repeating that I think we were really cheated out of not being able to see Dennis Patrick's face when Roger uses a dream as an excuse for the sheriff to check the contents of Carolyn's coffin. I'm sure it would have been an absolutely priceless moment!!
-
Setting up the current scene:
141 They all turn as Julia ENTERS FROM CORRIDOR 141
|
And that's when today's second quote -
Page 62/Scene 141 - Julia: 'I'm afraid that won't be possible tonight. I've just given her another sedative. She's sleeping now.'
- comes up, followed in the script by:
Julia crosses directly to the other side of the room
to get her purse. She takes a compact out of it.
|
And when it comes to the dialogue, the descriptions, the directions, and the notations, there's a notations after today's quote from Barnabas that says "he admires something turns", and he may very well admire something on the table, but if he does, we have no idea what it is, but he does turn along -
(http://www.dsboards.com/hoDSquoteimages/0728hoDS_c.jpg)
- with everyone else in the room when they hear Julia actually say off screen "I'm afraid that's not possible now" - and then, as we can see from today's second capture, the camera shifts angles to show Julia as she enters the room -
(http://www.dsboards.com/91quoteimages/0728ds91_1.jpg)
(http://www.dsboards.com/91quoteimages/0728ds91_1a.jpg)
- from the corridor, and as she makes her way across the room as she actually continues with "I've just given her another sedative and she's sleeping again", and, in fact, there's a notation in DC's script that reads: "Delivers on the cross" - and she does indeed stop at the table to -
(http://www.dsboards.com/hoDSquoteimages/0728hoDS_d.jpg)
- reach for her purse, but we've yet to see her open it.
-
Grayson walking into the room with hands clasped and reaching for her purse--another brief moment when we're again in the world of DARK SHADOWS.
Fabulous captures, MB!
G.
-
Grayson walking into the room with hands clasped and reaching for her purse--another brief moment when we're again in the world of DARK SHADOWS.
Especially after having just sedated someone!! [b003]
Though, given the way the film plays, anyone who hasn't read the script or the novelization might think Liz is still upset over Carolyn's death and the dinner conversation after her funeral - which is certainly more than enough to still be upsetting her. But the truth is Liz has just gone through the ordeal of having Carolyn's coffin exhumed and learning it's empty.[spoiler]Not to mention that fact that hasn't been revealed yet but which Liz is likely to be aware of that Todd is being treated at Collinwood in an effort to lure vampire Carolyn there.[/spoiler]No wonder she needs sedating!!
-
"Another sedative?!?" No wonder the poor woman is [spoiler]so vegged out later on[/spoiler]
-
I realize I might be the only one who was unaware of this until today while I was picking out captures for posts, but I honestly never noticed until today that there's a bear rug on the floor of the drawing room. It's briefly seen twice. The first is when Julia enters the drawing room:
(http://www.dsboards.com/hoDSquoteimages/Bear_rug_1.jpg)
(http://www.dsboards.com/hoDSquoteimages/Bear_rug_1a.jpg)
I'm not really surprised that I'd missed it because as I've mentioned before I'm always focused on the characters whenever I'm watching something, so something in the background - particularly something that's not even in focus and passes by on screen very quickly - may not make any sort of impression on me. But am I the only one who's missed seeing the rug all these years?
Somehow I can't even begin to imagine a bear rug on the floor of the drawing room of the daytime show. But they do live in Maine. And some Collins somewhere along the way was surely a hunter. So I don't know why it should surprise me if there was one. Such things were still fashionable in the '60s and '70s...
-
"Another sedative?!?" No wonder the poor woman is[spoiler]so vegged out later on[/spoiler]
I never thought of it that way - but you're completely right!! [nodassent] We might be able to place a good portion of the blame on Julia and her sedatives!! [lghy]
-
Julia should have given a couple of those sedatives to Jeff Clark as well. [easter_azn]
-
Continuing with Scene 141:
MAGGIE
Julia, how is Todd?
JULIA
About the same. He's sleeping now.
BARNABAS
Oh? You've moved Todd here?
JULIA
Yes. Start
Truck
BARNABAS CUB
Is that wise?
JULIA - CLOSE SHOT
JULIA
Yes, we think it is.
(MORE)
Jeff crosses into shot
141 CONTD CONTD 141
|
And that's when yesterday's quote -
Page 63/Scene 141 - Julia (Contd): 'Eliot Stokes feels that Carolyn will try to get to Todd tonight.'
- comes up followed in the script by:
And when it comes to the dialogue, the descriptions, the directions, and the notations, Julia is fiddling in her purse as she answers Maggie's question about Todd -
(http://www.dsboards.com/hoDSquoteimages/0729hoDS_a.jpg)
- which she delivers as "About the same. He's sleeping too" (and look what's on view again -
(http://www.dsboards.com/hoDSquoteimages/Bear_rug_2a.jpg)
- in the background) - and when Barnabas comments on Todd being at Collinwood, he actually asks "You brought him here?" and he's seen in a three shot over -
(http://www.dsboards.com/hoDSquoteimages/0729hoDS_b.jpg)
- Julia's shoulder - and after Julia replies in the affirmative, there is no trucking into a close-up of Barn because the camera -
(http://www.dsboards.com/hoDSquoteimages/0729hoDS_c.jpg)
- remains with the same shot when he actually asks "Oh, is that wise?" - and even though DC crossed out in his script that Julia would then be seen in a close shot, yesterday's capture clearly shows that -
(http://www.dsboards.com/91quoteimages/0729ds91_0.jpg)
- she is indeed seen that way while she actually says "Well, we think it very wise" and she delivers yesterday's quote - and even though DC added a notation that Jeff would cross into the shot as Julia is speaking, obviously that doesn't take place (what a shame! [b003]) with Julia remaining in close-up - and after that Barnabas is seen in a close-up of his -
(http://www.dsboards.com/hoDSquoteimages/0729hoDS_d.jpg)
- profile when he says that he sees and which is changed from him delivering the line off screen (and Jeff still remains in the background).
-
Julia should have given a couple of those sedatives to Jeff Clark as well. [easter_azn]
If only!! [easter_evil]
-
Continuing with more of Scene 141:
Julia has opened her compact and is fixing her face in
the mirror.
|
And that's when yesterday's first quote -
Page 63/Scene 141 - Maggie: 'I don't even want to think about it. I just wish they'd find the one who started it all.'
- comes up followed in the script by:
JULIA'S POV - ROGER AND JEFF
JULIA PICKS UP COMPACT TURNS TO CAM
BARN X AWAY
|
And that's when yesterday's second quote -
Page 63/Scene 141 - Roger: 'They'll find him, don't worry.'
- comes up.
And when it comes to the dialogue, the descriptions, the directions, and the notations, given that it's crossed out, it is indeed true that we don't see that Julia has opened her compact and is fixing her face in the mirror because it's not happening - in fact, Barnabas is still on screen just as he is in the last capture in reply #548 and Maggie can't really be seen when she stands and says "I just wish" because she's behind him, and she doesn't come into view, albeit, not in focus, until she actually says "they'd find the one who caused all this" (the "I don't even want to think about it" part of her quote is dropped) - but Maggie does come into focus when she looks over -
(http://www.dsboards.com/hoDSquoteimages/0730hoDS_a.jpg)
- at Barnabas as he turns to look at her - but he soon turns away and reacts to what she's said by looking guilty as hell (one of the very few moments we get a fleeting glimpse of the daytime version of Barn) -
(http://www.dsboards.com/hoDSquoteimages/0730hoDS_b.jpg)
- and after that, as it's also been crossed out, we don't see Julia's POV of Roger and Jeff, nor do we see, as indicated in DC's note in his script, that Julia picks up her compact and turns to the camera - and also, rather than Roger delivering today's second quote, which is actually dropped in the film, we do actually see, as indicated in DC's note, Barnabas turn -
(http://www.dsboards.com/hoDSquoteimages/0730hoDS_c.jpg)
- toward Roger and begin to walk over to Roger as Roger simply sighs and Barnabas asks an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0730hoDS_d.jpg)
"Have they discovered anything else?"
- to which Roger nods his head in the negative and says an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0730hoDS_e.jpg)
"No, they haven't."
- and as can be seen, at that point Julia has actually taken out her compact and is beginning to look into the mirror.
-
Wrapping up Scene 141, beginning with yesterday's first quote -
Page 63/Scene 141 - Roger: 'Jeff, I hope you're not planning to go back to your studio tonight.'
- coming up, followed by yesterday's second quote -
Page 63/Scene 141 - Jeff: 'No, Mrs. Johnson has fixed a room for me.'
- coming up, followed in the script by:
ROGER TRUCK IN
Good. CU Julia
(he crosses to Barnabas) for reaction
Rack focus
to them
|
And that's when today's quote -
Page 63/Scene 141 - Roger: 'Barnabas, I think you should stay the night at Collinwood, too.'
- comes up.
End of scene - though certainly not end of sequence.
And when it comes to the dialogue, and the notations, Roger actually delivers yesterday's first quote as "Jeff, you're not planning to go back to your studio tonight, are you?", and as he does so, as we can see in yesterday's first capture, Julia seems to be puzzled a bit by -
(http://www.dsboards.com/91quoteimages/0731ds91_0.jpg)
- something in her compact's mirror - and as Jeff crosses to Barn and Roger and he actually replies to Roger with "No I'm not. Mrs. Johnson has fixed a room for me upstairs", as we can see in yesterday's second capture, Julia's puzzlement has -
(http://www.dsboards.com/91quoteimages/0731ds91_1.jpg)
- turned to shock - but after tells Jeff that's good, there's no need for Roger to cross to Barnabas because it's quite obvious that Barnabas has already been standing beside Roger - and despite DC's notation, there's is no truck in for a close-up of Julia's reaction because, as Roger actually delivers today's quote as "Barnabas, I think you'd better stay the night at Collinwood, too", and as can be seen in today's capture, the camera stays with the same shot as Julia turns to look at the three men -
(http://www.dsboards.com/91quoteimages/0801ds91_0.jpg)
- and even after that there is no rack focus from Julia to them (though a different opportunity for the camera to rack focus will be coming up very soon).
-
Setting up the current scene:
142 JULIA - MEDIUM ANGLE 142
as she turns away from camera to continue fixing her
face. CAMERA MOVES IN over her shoulder and we see
her reflection in the small mirror. As the other go
on talking her face suddenly goes white. She sees
something that sends a chill through. She angles
the mirror slightly in such a way that we can see the
group on the opposite side of the room. We can see
Roger addressing Barnabas -- but there is no reflection
of Barnabas.
|
And that's when today's quote -
Page 63/Scene 142 - Barnabas (OS): 'No, I must get back to the old house. I have work to do.'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, while we've been seeing Julia reacting to something she sees in her compact's mirror, things haven't been playing out quite like they're explained in the script, and we have yet to see anything reflected in the mirror, and the camera angle has remained steady throughout - in fact, as we can see in today's capture, we see Julia, who has now turned back to look into her compact's mirror again, with Jeff, Barnabas and Roger in the background in the exact same sort of shot -
(http://www.dsboards.com/91quoteimages/0802ds91_0.jpg)
- as Barnabas delivers most of today's quote, which he does exactly as scripted on mostly on screen - however when it comes to Barnabas saying the portion "work to do", that's when the camera shot changes to what Julia sees in her mirror and we do indeed see that Barnabas -
(http://www.dsboards.com/hoDSquoteimages/0802hoDS_a.jpg)
- casts no reflection there and Julia's actions become clear... (And who can spot what's missing from the shot of the reflection? Today was honestly the first time I'd noticed... Apparently, just as with the daytime show, DC wasn't willing to pay for someone to keep track of continuity. Should we be shocked? Hardly!)
-
Continuing with Scene 142:
|
|
Julia turns around and looks at the group. V
Whip
Pan
|
And that's when today's first quote -
Page 63/Scene 142 - Roger (OS): 'But it's dangerous going through those woods alone!'
- comes up, followed in the script by:
142 CONTD CONTD 142
3
During this, CAMERA WHIP PANS TO the two men. We see
Barnabas standing there as before.
REVERSE
JULIA - CAMERA ZOOMS IN TO CLOSE-UP WIDE
She turns again and looks in the mirror. Again there
is no reflection of Barnabas. She closes the compact
and stands there frozen.
GROUP SHOT - JULIA IN F.G.
Maggie X into shot
|
And that's when today's second quote -
Page 64/Scene 142 - Barnabas: 'On the way here I encountered half a dozen of the sheriff's deputies. The estate is being well patrolled. Nothing will happen to me. Goodnight.'
- comes up, and after that quote DC has added a notation that "Julia turns to face them."
And when it comes to the dialogue, the descriptions, the directions, and the notations, things are somewhat different from the way the script lays them out. Right after we first see the reflection in Julia's mirror, in reply to Barnabas saying he must get back to the old house, Roger actually delivers an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0803hoDS_a.jpg)
"But you've only just arrived."
- and then Roger immediately follows that, still onscreen, as can be seen in today's first capture -
(http://www.dsboards.com/91quoteimages/0803ds91_0.jpg)
- with today's first quote, which he actually delivers as "You know how dangerous it is going through those woods" - and then, still not seen in Julia's mirror, Barnabas replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0803hoDS_b.jpg)
"I don't think there's anything to be concerned about."
- as Julia slowly turns to look back at them - and then after a whip pan things return to the previous camera shot, but interestingly enough, glimpses of Maggie's body can be seen behind Julia, so at some point Maggie did indeed cross into the shot, but we never actually saw it - and after Barnabas says an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0803hoDS_c.jpg)
"And actually, I hadn't planned to stay."
- he soon touches Roger's arm and adds an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0803hoDS_d.jpg)
"Now, don't worry."
- before Julia turns somewhat back and, as can be seen in today's second capture, is in deep thought -
(http://www.dsboards.com/91quoteimages/0803ds91_1.jpg)
- as Barnabas actually delivers today's second quote as "On my way over, I ran into at least half a dozen of the sheriff's deputies. The whole area's being well protected. I'll be all right" (and there's a notation in DC's script to change "patrolled" to "protected"), and Julia does indeed turn to face them before Barnabas finishes with -
(http://www.dsboards.com/hoDSquoteimages/0803hoDS_e.jpg)
- "Goodnight" as the camera begins to rack focus from Julia to the three men.
-
Wrapping up the portion of Scene 142 that actually appears in the film, beginning with today's first quote -
Page 64/Scene 142 - Maggie: 'Goodnight, Barnabas.'
- coming up, followed by today's second quote -
Page 64/Scene 142 - Barnabas: 'Goodnight, my dear.'
- coming up, followed in the script by:
He takes her hand and kisses it. Barn |
Need Goodnight Julia - Jeff |
off camera JEFF - CLOSE UP |
ad libbing |
Rog + Barn He gives him a steely eyed look. |
door slam Barn + Roger |
footsteps BARNABAS - ROGER exit V
of roger
going up as they exit into the foyer. Tighten
hall
|
End of Scene 142 as it appears in the film.
And when it comes to the dialogue, the descriptions, the directions, and the notations, I love the expression on Barnabas' face when he looks -
(http://www.dsboards.com/hoDSquoteimages/0804hoDS_a.jpg)
- back at Jeff (RD has to step back for Frid to even begin to turn around, so it's like Frid is asking RD why the hell he was standing so close to him?!), though he does nod a goodnight to Jeff - and as we can see in today's first capture, when Maggie bids Barnabas a goodnight, which she actually delivers as "Goodnight, Mr. Collins", not "Barnabas", as scripted, she is indeed standing -
(http://www.dsboards.com/91quoteimages/0804ds91_0.jpg)
- next to Jeff - and then after Barnabas simply says "Goodnight" to her, dropping the "my dear" and finishes kissing Maggie's hand, off screen Roger delivers an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0804hoDS_b.jpg)
"Well, at least let me walk you down the drive."
- and that amounts to the only ad libbing that's done - and I absolutely love the shot of Julia -
(http://www.dsboards.com/hoDSquoteimages/0804hoDS_c.jpg)
- as the scene closes - so that means that nothing else that's in the script for this section regarding Jeff or Barnabas and Roger or the tightening of the camera shot actually takes place in the film, so either all of it was never shot or it all just ended up on the cutting room floor - but there is more to Scene 142 that was shot and which definitely did end up on the cutting room floor, and that will begin in tomorrow's slideshow...
-
And here's the novelization of Scene 141 and Scene 142 up to where the film cuts off. There are a few bits here and there that aren't in DC's script or that are described differently -
As he finished speaking, Julia Hoffman came into the
room. And she told Barnabas, "I'm afraid you won't be
able to see Elizabeth tonight. I've just given her another
sedative. She's sleeping now."
Maggie asked, "Julia, how is Todd?"
Julia moved across the drawing room to her. "About
the same. He's also under sedation and sleeping." Then
she went to the other side of the room to get her purse
and take her compact out of it.
Barnabas was studying her closely. "Oh? You've moved
Todd here?"
She nodded. "Yes."
"Is that wise," he asked.
Her eyes met his. "Yes, we think it is." She paused
rather dramatically before adding, "Eliot Stokes thinks
that Carolyn will try to get to Todd tonight."
"He seriously believes that?" Barnabas asked.
"Yes," she said.
"I see," Barnabas said worriedly as Julia moved closer
to him. She opened her compact and began studying her
make-up.
Maggie spoke up. "I don't even want to think about
it. I just wish they'd find the one who started all this."
Roger frowned. "They'll find him, don't worry." He
glanced Jeff's way. "I hope you're not planning to go
back to your studio tonight, Jeff."
Jeff said, "No. Mrs. Johnson has fixed a room for me."
"Good," Roger said. "Barnabas, I think you should
stay the night at Collinwood, too."
As he discussed that with Barnabas, the others re-
mained silent. Julia went on fixing her face and studying
the mirror of her compact. All at once her face drained
of color. She stared into the mirror with disbelieving
eyes. The group behind her were reflected in it. The
group, that is, except Barnabas! His image did not show
in the small mirror.
Barnabas was saying, "No, I must get back to the
old house. I have work to do."
Julia turned and looked at the group, shocked by her
weird discovery. She watched Barnabas with a new light
in her eyes . . . studied him in a way she never had
before.
Roger worried, "But it's dangerous going through those
woods alone."
Julia pretended to be finishing her make-up. She
turned again and once more looked in the mirror. Again
there was no reflection of Barnabas. She closed the com-
pact and stood there frozen.
Barnabas addressed the group, "On the way here I
encountered half a dozen of the sheriff's deputies. The
estate is being well patrolled."
"There still is a great risk," Roger said. "Even that
many men can't be everywhere at once."
"Nothing will happen to me," Barnabas assured him
with a grim smile. "I'll say goodnight."
Maggie looked at him with deep interest. "Goodnight,
Barnabas."
He took her hand and bent to kiss it. "Goodnight, my
dear," he said with emotion. Jeff, who was watching,
eyed him jealously.
Roger said, "I'll see you to the door, Barnabas. There
are a few things I'd like your opinion on."
"By all means," Barnabas said graciously. And the
two men went out into the entrance hall.
|
And as I said last time when I did the novelization's version of Scene 140, something that was in that version of Scene 140 might seem odd given what's coming up in the next section of Scene 242. And what's upcoming appears in both DC's script and the novelization. But we'll deal with it once we finish with the script's and the novelizations's versions of the rest of Scene 142...
-
For those of you jokingly asking me privately if I've been deliberately posting 'obscene' screen caps from hoDS, at first I was going to ask, "What the hell are you talking about?!" [hdscrt] But then after I went back and looked at some of the past few posts and realized what you're seeing, I have to ask if your minds are always in the gutter trying to turn everything into something obscene?! [lghy] But the answer to the question is, "No, I have not been deliberately posting 'obscene' screen caps." Though it is totally hysterically funny that to some people it might look that way!! [stfl] And I do have to thank you for pointing it out because otherwise I might have never seen those caps in the same ways you're seeing them...
-
Back in 1970 when I first discovered this still from Scene 142 -
(http://www.dsboards.com/hoDSquoteimages/Kiss_narrow.jpg)
I presumed it was as wide as the still was, and that was pretty much confirmed when other magazines began printing copies of it that were cut off at the same points on the left and the right. But imagine my surprise in 1974 when a magazine printed a version that was much wider -
(http://www.dsboards.com/hoDSquoteimages/Kiss_wide.jpg)
1420X944 version (http://www.dsboards.com/hoDSquoteimages/Kiss_wide.jpg)
- and even included Julia* and Roger (and there's also a version in the DS Memories book that, along with showing Julia and Roger, shows much more at the top and bottom).
So, all of that begs the question: Is there a version of this still, from the same moment in Scene 142 but from a different angle -
(http://www.dsboards.com/hoDSquoteimages/Kiss_2.jpg)
- that also may include Julia and Roger and possibly show more at both the top and bottom? If there is, I've yet to come across it. But I wouldn't be the least surprised that it's out there somewhere...
(*Though isn't it interesting that in the still Julia is looking away while in the film she's looking right at Barnabas as he's kissing Maggie's hand. But then, as I've said before, there are many stills from both films that don't exactly capture moments in the films as they actually happen...)
-
For those of you jokingly asking me privately if I've been deliberately posting 'obscene' screen caps from hoDS, at first I was going to ask, "What the hell are you talking about?!" [hdscrt] But then after I went back and looked at some of the past few posts and realized what you're seeing, I have to ask if your minds are always in the gutter trying to turn everything into something obscene?! [lghy] But the answer to the question is, "No, I have not been deliberately posting 'obscene' screen caps." Though it is totally hysterically funny that to some people it might look that way!! [stfl] And I do have to thank you for pointing it out because otherwise I might have never seen those caps in the same ways you're seeing them...
Dearest MB, would you clue in the slower members of the board such as I? Poring over the images on the last few pages, there's nothing that seems remotely obscene, unless one wants to think of the Cupid and Psyche statue as obscene, which seems quite a stretch...
-
Here's a clue: People with a bit too much smut in the brain (and I say that totally lovingly [nodassent]) have taken it upon themselves to see something in the top left corner of these captures that was never meant to be seen the way they see it:
(http://www.dsboards.com/hoDSquoteimages/0802hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0803hoDS_a.jpg)
(http://www.dsboards.com/91quoteimages/0803ds91_0.jpg)
-
And speaking of those particular captures in the real world (as opposed to the world of smut), I'm surprised no one has mentioned what's missing in them that I would think should be there. True, I said that the first time I notice it in 47 years wasn't until the other day - but that was because I hadn't seen certain other captures, especially the ones that are posted in the same topics with them, side by side with them...
The answer it literally screaming out from replies #567, #571, #578, #580, #581, #584, and especially #582 and #583 where the above captures are posted!!
-
I guess that I have a somewhat different version of what may or may not be pornographic because that totally eluded me. Silly me! I thought that was a reference to some of the revealing lighting effects on Nancy Barrett's vampire shroud.
-
Picking up where we left off with Scene 142:
Maggie x to Tighten
MAGGIE AND JEFF Jeff
|
They keep their voices low because Julia is still on |
the other side of the room. in B. G. of SHOT |
|
|
And that's when today's first quote -
Page 64/Scene 142 - Maggie: 'May I ask why you were so rude to him?'
- comes up, followed by today's second quote -
Page 64/Scene 142 - Jeff: 'I asked a perfectly valid question. What's wrong with that?'
- coming up, followed by today's third quote -
Page 64/Scene 142 - Maggie: 'It was the way you asked it. Your tone of voice.'
- coming up, followed in the script by:
WIDE TO INCLUDE JULIA IN B.G.
|
And when it comes to the dialogue, the descriptions, the directions, and the notations, we really have no way of knowing how things might have played in this part of the scene in the film because everything here ended up on the cutting room floor.
-
Continuing with the cut portion of Scene 142:
And that's when today's first quote -
Page 65/Scene 142 - Jeff: 'Doesn't it strike you odd that none of us really knows anything about Barnabas Collins?'
- comes up, followed by today's second quote -
Page 65/Scene 142 - Maggie: 'I think we know enough.'
- coming up.
And when it comes to the dialogue, we really have no way of knowing how things might have played in this part of the scene in the film because everything here ended up on the cutting room floor.
And when it comes to the bit that might seem odd in the novelization's and presumably that script version. it's contained in the part of the novelization that I've included below:
And here's the novelization of Scene 140. It contains some interesting bits that are not in DC's script -
...
"I had to come," Barnabas said.
Jeff gave him a direct, questioning look. "Why weren't
you here yesterday?"
Roger intervened, "I don't think it bears further dis-
cussion."
Barnabas said quietly, "I don't mind answering Jeff's
question. I was called out of town on an urgent matter.
I wasn't able to get back. I would have liked to have
been here."
Maggie gave Jeff a meaningful look. And she told
Barnabas, "It would have been better if you had been
able to manage it."
...
|
- but some of which might seem odd given what's coming up near the end of Scene 142 in both the novel and DC's script. Material that does not appear in the film...
She doesn't go as far as Jeff when she remarks with regard to Barnabas having missed Carolyn's funeral: "It would have been better if you had been able to manage it." Yet it's still a criticism. But when it comes to the cut portion of Scene 142, Maggie not only harps on Jeff for his behavior toward and criticism of Barnabas in Scene 140, she does nothing but defend him. And I suspect that bit of seeming incongruity is why Maggie's line from Scene 140 was subsequently removed from the script.
-
I do think it's interesting that the vampire crisis brings certain tensions between Jeff and Maggie to the surface. There's definitely jealousy on his part and signs of growing dissatisfaction on hers. I have to wonder if their relationship would have endured.
-
That's an interesting subject to speculate. Who knows, the experience of St. Eustace Island may have brought them closer together. But if Jeff pulled the see-I-was-right-about-Barnabas card, who knows if Maggie would have balked at that because she supposedly got to see a side of Barnabas that nobody else did, and that side wasn't a put on, it was real.
Of course, if we're talking actress and not character, given what she says about RD in her hoDS diary, it's not like KLS would have exactly wanted to work with RD as her boyfriend if a sequel set in the present day had somehow been made...
-
More of the cut portion of Scene 142, beginning with the first part of today's first quote -
Page 65/Scene 142 - Jeff: 'What about you, doctor? How do you feel about it?'
- coming up, followed in the script by:
And that's when the second part of today's first quote -
Page 65/Scene 142 - Jeff: 'Doctor Hoffman?'
- comes up, followed in the script by:
And that's when today's second quote -
Page 65/Scene 142 - Julia: (as if hearing him for the first time) 'Yes?'
- comes up.
And when it comes to the dialogue, the descriptions, and the directions, we really have no way of knowing how things might have played in this part of the scene in the film because everything here ended up on the cutting room floor.
I can't imagine why Julia might be distracted. After all, isn't it every day that a vampire doesn't cast a reflection in a compact's mirror? [easter_grin] (Though if we're talking '68 daytime DS, one just might cast a reflection - especially if the vampire in question is Angelique - but that's a different story... [easter_rolleyes])
-
Wrapping up the cut portion of Scene 142, beginning with today's first quote, which is directed at Julia -
Page 65/Scene 142 - Jeff (OS): 'Are you feeling all right?'
- coming up, followed by today's second quote -
Page 65/Scene 142 - Julia: 'Yes, of course. Would you excuse me -- I told Professor Stokes I'd come back and have another look at Todd.'
- coming up, followed in the script by:
CAMERA PANS HER OUT OF THE ROOM AND GOES IN on Jeff
as he gives her a puzzled look.
|
End of scene and end of sequence.
And when it comes to the dialogue, the descriptions, the directions, and the notations, DC's script has a notation at the top of Julia's quote that reads: "X BY them and out". But we really have no way of knowing how things might have played in this part of the scene in the film because everything here ended up on the cutting room floor.
-
And here's the novelization of the end of Scene 142. It's interesting that not only does it contain a bit more material than what's in DC's script's version, it also continues past Julia's exit from the drawing room:
Maggie and Jeff were left in the drawing room with
Julia. Maggie moved to Jeff and in a low voice that
Julia couldn't hear asked him, "May I ask why you
were so rude to Barnabas?"
In the same low tone Jeff said hotly, "I asked a per-
fectly valid question. What's wrong with that?"
"It was the way you asked it. Your tone of voice!"
Julia watched them from the corner of her eye. She
was aware that they were having a difference of opinion,
but didn't say anything. She did not want to embarrass
them and was still stunned about her discovery about Barn-
abas.
Jeff said, "Doesn't it strike you odd that none of us
really knows anything about Barnabas Collins?"
"I think we know enough," Maggie said.
Jeff turned. "What about you, Doctor? How do you
feel about it?"
Julia pretended not to hear.
Jeff addressed her in a louder voice. "Dr. Hoffman?"
She pretended to hear him for the first time. "Yes?"
"Are you feeling all right?" he asked with concern.
"Why do you say that?" Julia inquired nervously.
He stared at her. "You're pale. You're sure you're
not ill?"
"Very sure," she said. "Would you excuse me? I told
Professor Stokes I'd come back and have another look
at Todd."
"Of course," Maggie said.
"Thank you," she said with a forced smile and left
the room.
Jeff stared after her. "What do you make of that?"
"Of what," Maggie wanted to know.
He was indignant. "Surely you noticed! She suddenly
seemed to have some sort of spell. I'd swear she is either
ill or she was frightened by something."
Maggie gave him a mocking look. "Another mystery!
You see dark shadows everywhere lately."
"I'm not imagining it!" he protested.
"You're suspicious of Barnabas and suspicious of
Julia," Maggie said with derision. "The next thing you'll
be suspicious of me!"
"I will be if you close your eyes to what is happening
around here as you're doing now."
She gave him a small smile. "I think I know what is
wrong with you."
"What?"
"You're jealous of Barnabas! That's why you're sud-
denly seeing mystery in everyone and everything! I
thought you were more grown-up, Jeff!"
Jeff became angry. "I suppose you think I'm just a boy
now beside the mature charm of Cousin Barnabas. I
think he's a jaded, cynical fraud."
"You would!" she said scornfully. "I find him charm-
ing!"
Jeff glowered at her. "Then there's no use our discussing
him. We'll never see him with the same eyes!"
|
Whoa - what a scene that turns into after Julia leaves the room. It certainly tells us exactly what Jeff thinks about Barnabas in ways that are only hinted at in DC's script and ways that barely even appear in the film. Which brings up an interesting point about Jeff, which is what does Jeff actually do in 90% of his scenes in the film other than stand around? It isn't until the end of the film that he actually serves any purpose in the plot whatsoever. And that's because, just like so many of the other characters, some of his best stuff in the script or in previous versions of the script was either dropped in subsequent versions of the script, or left on the cutting room floor, or never shot at all. And considering what DC thought of RD, all that is a real surprise...
It's also going to be interesting when I get back to the shooting schedule to see if Maggie and Jeff's argument after Julia leaves the room is actually a separate scene on the shooting schedule. And the reason I say that is because the sequence that's coming up next in DC's script is broken up into two scenes when one wouldn't necessarily expect it to be - and that's quite like how we saw in the most recent chart I made from the shooting schedule that some remaining scenes were broken up into separate scenes to replace other scenes (like the ones outside and at the sheriff's office) that were dropped from the script...
-
And before we leave the sequence of Scenes 140 through 142 behind us, I have to say, OK - now I've crossed from surprise into shock that no one has come up with what's missing in the mirror shots that I would think should be there. So, I'm going to repost this portion of reply #582:
(http://www.dsboards.com/91quoteimages/0802ds91_0.jpg)
- as Barnabas delivers most of today's quote, which he does exactly as scripted on mostly on screen - however when it comes to Barnabas saying the portion "work to do", that's when the camera shot changes to what Julia sees in her mirror and we do indeed see that Barnabas -
(http://www.dsboards.com/hoDSquoteimages/0802hoDS_a.jpg)
- casts no reflection there and Julia's actions become clear... (And who can spot what's missing from the shot of the reflection? Today was honestly the first time I'd noticed... Apparently, just as with the daytime show, DC wasn't willing to pay for someone to keep track of continuity. Should we be shocked? Hardly!)
Trust me, everyone is going to feel pretty foolish if I have to be the one to give the answer. [nodassent] Although, it struck me a couple of days ago that there could be a reason for why what's missing is missing. But IMO it would be an exceedingly odd reason - one I have never come across in any of the dozens of vampire films I've seen...
-
The movie seems to be divided in two sections. After Carolyn is staked, a lot of characters are no longer part of the movie. Besides Carolyn, Todd and Daphne are gone. And Elizabeth and David are glorified cameos from that point. And the movie becomes much more centered around Barnabas. Kind of like the series.
The excerpt from the novelization shows a somewhat more feisty Maggie. She's not always showing the best judgment but she isn't a complete pushover either. And it also shows a certain tension between her and Jeff.
I'm genuinely sorry that the line You see dark shadows everywhere didn't make it into the film. It would have become the definitive DS meme.
-
Trust me, everyone is going to feel pretty foolish if I have to be the one to give the answer. [nodassent] Although, it struck me a couple of days ago that there could be a reason for why what's missing is missing. But IMO it would be an exceedingly odd reason - one I have never come across in any of the dozens of vampire films I've seen...
I realized immediately what you were talking about when you first posted about it, MB, but I never gave it much thought because I considered it a run-of-the-mill continuity error.
But now that you mention "an exceedingly odd reason", it makes perfect sense to me! If not only Barnabas himself but also his clothing fails to cast a reflection, then it only stands to reason (as much as any of this can stand to reason!) that his cloak would not cast a reflection either. But I wonder what the limit is on how far away a vampire's personal effects can be from the vampire itself for them to not show up in a mirror?
-
KMR - thanks for proving to me that everyone here isn't blind - which is something I was beginning to wonder! [easter_wink] [easter_cheesy]
As as much as I'd like to think it was intentional, I'm afraid I have a hard time thinking that Roger not holding Barn's cape wasn't just a continuity error. Your theory, which was indeed what I was thinking, is just too exceedingly odd and way too clever to imagine that Barnabas' cape being invisible even when it's not on his body was something they deliberately did. Especially, as I said, because I've never come across it done in any of the dozens of vampire films I've ever seen...
-
I'm genuinely sorry that the line You see dark shadows everywhere didn't make it into the film. It would have become the definitive DS meme.
I had the same thought. But then I wondered if back in the day, when there was no Internet and spreading memes wasn't even a thing, would we have thought it was too corny?
-
A scene in DC's script that we need to deal with before we come to tomorrow's quote in the slideshow:
143 INT: CELLAR - OLD HOUSE - NIGHT 143
FULL SHOT of the stairs. We hear THE DOOR OPEN ABOVE,
then hear FOOTSTEPS ON THE STAIRS. In a moment we see
Barnabas descending. He sees no one when he enters.
BARNABAS
Carolyn, where are you?
He waits. There is no response. He moves along the
corridor TOWARD CAMERA.
BARNABAS
Carolyn, are you here?!
143 CONTD CONTD 143
He gets very CLOSE to CAMERA, then stops abruptly and
stares at something O.S. directly ahead.
|
End of scene - though certainly not end of sequence.
And when it comes to the dialogue, the descriptions, and the directions, things play somewhat similarly in the film. The scene does indeed open with a full shot of the stairs, but we do not hear the door open above, though we do hear footsteps on the stairs because Barnabas' silhouette is already seen on the stairs as he has almost finished rushing down them -
(http://www.dsboards.com/hoDSquoteimages/0808hoDS_a.jpg)
- as he actually calls out "Carolyn!" - and then soon he comes into the light, not really having any sort of opportunity to see much of anything because he doesn't stop or really wait for a response before he begins to call out again -
(http://www.dsboards.com/hoDSquoteimages/0808hoDS_b.jpg)
- as he continues rushing along, but he only gets so far as actually saying "Carolyn, where--?" before he comes to an abrupt stop -
(http://www.dsboards.com/hoDSquoteimages/0808hoDS_c.jpg)
- and shocked, stares ahead of him at something off screen.
-
I posted before seeing the next page of replies. I tried deleting it, so hopefully this will appear instead of my original reply!
-
I neglected to mention that the beginning of the cellar scene in the novelization is almost exactly the same as in DC's script, so there's no need to share it here. However, before getting to the cellar there is something in the novel that doesn't appear in DC's script - but I'm going to hold off on getting into that until I do the shooting script chart for Scenes 141 through 160. And that's going to be a lot sooner than anyone might think because 12 of those scenes have no dialogue and, therefore, nothing to quote, so for the most part we're going to go whizzing past most of them...
-
Setting up as well as wrapping up the current scene/sequence:
144 BARNABAS - WILLIE - LOW ANGLE 144
Willie lies on the floor in the extreme F.G. as Barnabas
runs and kneels beside him. Willie stirs, there is
blood running from his neck, he opens his eyes and looks
up at Barnabas.
|
And that's when today's quote -
Page 66/Scene 144 - Barnabas: 'Willie! Where is she?!'
- comes up.
End of scene - and end of sequence.
And when it comes to the dialogue, the descriptions, and the directions, things play a bit more interestingly in the film. From Barnabas shocked reaction at the end of Scene 143, the camera whips pans to begin Scene 144 with a shot of Carolyn's coffin with -
(http://www.dsboards.com/hoDSquoteimages/0809hoDS_a.jpg)
- Willie's arm sticking out of it (and it's nice to see that Carolyn's coffin is at least on planks and not directly on the floor - after all, we wouldn't want her to catch cold [b003]) - and then we see Barnabas rush to open the coffin and reveal Willie and shortly he delivers an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0809hoDS_b.jpg)
"Willie!"
- whereupon he then bends over Willie, lifts him up, and sees -
(http://www.dsboards.com/hoDSquoteimages/0809hoDS_c.jpg)
- the bite wound on Willie's neck (and I have to say the bite wounds in the film -
(http://www.dsboards.com/hoDSquoteimages/0809hoDS_ca.jpg)
- are really quite spectacular compared to the two fang holes on the daytime show and even on some of the shows of today) - and after examining the wound very closely (which one wonders why he fells the need to do because it's not like he of all people wouldn't know what it means (and it isn't so that the audience can see it better because while he examines it, it isn't as clearly on screen as it has been), Barnabas takes Willie by the lapels and after Willie opens his eyes and looks at him Barnabas asks today's quote, which he actually delivers as a somewhat less panicky "Willie, where's Carolyn?", but Willie nods his head in the negative and in a very weak whisper replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0809hoDS_d.jpg)
"I don't know."
- before his head falls down to his chest - and judging by the expression on his face, that causes Barnabas to go into a deep panic -
(http://www.dsboards.com/hoDSquoteimages/0809hoDS_e.jpg)
-
While the attack on Willie certainly appears to be brutal, he is actually in better shape than Carolyn was under a similar attack from Barnabas. Either Carolyn remembered that Willie did try to help her or, more likely, she just wanted to get him out of her way so that she could get to Todd.
-
Even though the novelization of Scene 144 is very close to DC's script, in one way it's actually closer to how things go down in the film:
"Willie!" Barnabas exclaimed. And he knelt by him.
There was blood running from Willie's neck. He
opened his eyes and looked up at Barnabas despairingly.
There was no need for him to tell Barnabas what had
happened. It was all too clear.
Barnabas demanded urgently, "Willie! Where is she?"
|
So, presumably what is an unscripted "Willie!" when it comes to DC's script is something that was actually included in the script used for the novel. And once again we have an example of something from a previous script version making its way into the film...
And I love how it says that it was all too clear what happened to Willie. But apparently in the film Barnabas wanted to make sure for himself that it was very clear. I doubt even Julia would have made as close an examination of Willie neck!! [ghost_nowink]
-
Either Carolyn remembered that Willie did try to help her or, more likely, she just wanted to get him out of her way so that she could get to Todd.
If Carolyn hadn't been staked, wouldn't it have been fascinating to see how having been bitten by both Barnabas and Carolyn would have affected Willie? Would he have been beholden to both? Or would he have only been beholden to Carolyn because she was the vampire who most recently attacked him? We know Willie is still beholden to Barnabas after Carolyn's gone - but would that be because she's gone so Willie just reverts back to Barnabas? Or as Carolyn's maker, would Barnabas' attack automatically supersede hers?
-
I like to think that it would have turned into a Duck Season/Rabbit Season tug of war.
-
[pointing-up] I would have honestly liked to have seen that. But alas...
I can't think of any vampire book, TV show or film where one person was bitten by two different vampires and how that played out with the victim was explored. I wonder if it's a situation that has ever even been explored? If not, it's just begging to be...
-
Another scene in DC's script that we need to deal with before we come to tomorrow's quote in the slideshow:
145 INT: COLLINWOOD - SECOND FLOOR CORRIDOR - NIGHT 145
CAMERA IS TIGHT on a DEPUTY, TRUCKING IN FRONT OF HIM
as he walks down the corridor to Todd's room. He
NOTES opens Todd's door as SHOT WIDENS revealing Todd lying
ON in bed. Another DEPUTY is standing beside bed. The
OTHER two deputies nod to each other. The first deputy
SIDE closes the door and starts walking along corridor in
opposite direction, passing the CAMERA, which then
starts to TRUCK AFTER HIM. When he reaches door to
Sheriff's headquarters, we see the Sheriff and Stokes
sitting there in front of a two-way radio. The room
has been set up as a base of operations.
DEPUTY
Everything's fine. He's sleeping.
|
End of scene - though certainly not end of sequence.
And when it comes to the dialogue, the descriptions, the directions, and the notations, the interesting thing here is in DC's script this scene has a box drawn around it and an X drawn in the box, which usually means DC didn't plan to shoot it - but a version of it does appear in the film. And unfortunately, whatever notes referred to that are on the "other side" aren't in the DS Movie Book, so we have no way of knowing what they are. But what we do know is that in the version of the scene that appears in the film, after the shadow of a man coming from the stairwell appears on the floor of -
(http://www.dsboards.com/hoDSquoteimages/0809hoDS_f.jpg)
- the second floor corridor, a deputy emerges -
(http://www.dsboards.com/hoDSquoteimages/0809hoDS_g.jpg)
- from the stairwell and makes his way to -
(http://www.dsboards.com/hoDSquoteimages/0809hoDS_h.jpg)
- the first room on his left, where the door is already open - and as he enters the room he asks "Is everything okay?", a reworking of the dialogue in the script, as Todd comes into view lying asleep in his bed and we see another deputy sitting in a chair by Todd's bed -
(http://www.dsboards.com/hoDSquoteimages/0809hoDS_i.jpg)
(http://www.dsboards.com/hoDSquoteimages/0809hoDS_ia.jpg)
- and after the second deputy nods in the affirmative, the first deputy nods to him and turns to -
(http://www.dsboards.com/hoDSquoteimages/0809hoDS_j.jpg)
- make his way out.
The end. No going to the room being used as the Sheriff's base of operations.
-
The only thing that's at all different with regard to Scene 145 in the novelization comes up after the deputy reports to Sheriff Patterson and Stokes:
Entering the temporary base of operations, the deputy
found the sheriff and the Professor seated by the radio.
"Everything's fine," he reported. "He's still sleeping."
"Good," the sheriff said, "Keep a sharp eye on every-
thing."
The deputy nodded. "Yes, sir." And he went back
to his station in the corridor.
|
Although, once we get to Scene 146 in DC's script, a part at the end of that may be considered to be part of Scene 146. But regardless, it's still different from what's in DC's script...
-
Setting up the current scene. But actually, we need to backtrack to Scene 145 and deal with the opening few parts of the current scene differently that we normally do because there's an interesting change that DC made to his script:
_________________________________
/ DEPUTY \
________| Everything's fine. He's sleeping. |
/ \_________________________________/
146 | The Sheriff nods at him. The deputy exits. CAMERA 146
| MOVES INTO room, TIGHTENING on Sheriff and Stokes.
| INT. SH. OFFICE
| SHERIFF
| It's getting kind of late. Do
| you still think she'll show tonight?
|
| STOKES
| Yes.
| (indicating a small black
| leather bag)
\ And when she does we'll be ready
\ for her.
\ (noticing frown on Sheriff's
\ face.)
\ What's wrong?
\-----------> DEPUTY - APPEARS and exits
SHERIFF x away
I still feel we're taking a terrible
chance with that boy's life.
|
And when it comes to the dialogue, the descriptions, the directions, and the notations, apparently at some point DC planned for the Deputy to show up in the middle of Scene 146 without us ever having seen Scene 145, but obviously things didn't play out that way - and neither today's first quote -
Page 66/Scene 146 - Sheriff: 'It's getting kind of late. Do you still think she'll show tonight?'
- nor any part of today's second quote -
Page 66/Scene 146 - Stokes: 'Yes. (indicating a small black leather bag) And when she does we'll be ready for her. (noticing frown on Sheriff's face) What's wrong?'
-appears in the scene because Scene 146 actually opens with the sheriff already standing -
(http://www.dsboards.com/hoDSquoteimages/0810hoDS_a.jpg)
- and making his way to the doorway -
(http://www.dsboards.com/hoDSquoteimages/0810hoDS_b.jpg)
- and then, as can be seen in today's third capture, he turns back to Stokes to deliver today's third quote -
(http://www.dsboards.com/91quoteimages/0810ds91_2.jpg)
Page 66/Scene 146 - Sheriff: 'I still feel we're taking a terrible chance with that boy's life.'
(http://www.dsboards.com/91quoteimages/0810ds91_2a.jpg)
- exactly as scripted.
And I never realized that Stokes smokes so often in the film. He smokes during the dinner after Carolyn's funeral, and now he's smoking in this scene. Is there more smoking on his part to come?
-
Especially since smoking was not as common on the show as it had been in earlier years.
-
I remember that in 1970 Congress banned advertising cigarettes on TV - but characters on TV shows still continued to smoke. I don't remember when seeing TV characters smoke pretty much came to a stop.
The funny thing is, I don't remember Stokes ever smoking on the daytime show. Did he? [hdscrt] But so far as this film goes, maybe in real life Thayer was an activist for smokers' rights and he was damn well going to smoke on the movie screen. Or maybe he wanted to introduce or play up one of Stokes' idiosyncrasies. Or perhaps it was as simple as smoking was a way for Thayer himself to calm the tension of making the film...
-
I wonder if they had any DS actor(s) in mind for the "ancient clerk" at the sheriff's office while that scene was still a part of the script? It seems like something Abe Vigoda might have played or Ronald Dawson, who played the record's clerk in 1995, but he hadn't been cast in that role before hoDS was shot...
After seeing this capture thanks to a new fill in to its set up that was posted today - (http://www.dsboards.com/SMF/index.php?action=dlattach;topic=24578.0;attach=35200)
- I had a thought: Wouldn't it be interesting if Ronald Dawson was given the part of the Records Clerk in 1995 because he was cast as the "ancient clerk" in hoDS but the part was dropped right before shooting of the film was to begin...
Pure speculation, of course - but who knows?
-
I remember that in 1970 Congress banned advertising cigarettes on TV - but characters on TV shows still continued to smoke. I don't remember when seeing TV characters smoke pretty much came to a stop.
The funny thing is, I don't remember Stokes ever smoking on the daytime show. Did he? [hdscrt] But so far as this film goes, maybe in real life Thayer was an activist for smokers' rights and he was damn well going to smoke on the movie screen. Or maybe he wanted to introduce or play up one of Stokes' idiosyncrasies. Or perhaps it was as simple as smoking was a way for Thayer himself to calm the tension of making the film...
I seem to remember Timothy Stokes smoking in parallel time and I think that Eliot did in the haunting of Collinwood, where Quentin comes close to killing him. Julia, of course, was a chimney at times. And it was kind of a plot point with Cassandra. Don Briscoe said in an interview that he didn't want to smoke on camera but a certain someone insisted that he did.
The only character where it seemed to make perfect sense to be a smoker was 1967 Laura.
-
I think that Eliot did in the haunting of Collinwood, where Quentin comes close to killing him.
That's right! How quickly I forget. [embb] And it made a lot of sense for Stokes to be smoking after the exorcism. But still, the hoDS Stokes may just be smoking more than his daytime TV counterpart...
Julia, of course, was a chimney at times.
And yet I only recall her smoking in one scene in hoDS -and interestingly enough the smoke actually contributes to the atmosphere of the scene. Though she may also be smoking when she's atop the tower. We haven't reached that scene yet and I don't honestly recall one way or the other.
Don Briscoe said in an interview that he didn't want to smoke on camera but a certain someone insisted that he did.
I didn't remember him smoking either. I guess other than Julia, smoking didn't make much of an impact on me.
The only character where it seemed to make perfect sense to be a smoker was 1967 Laura.
Yes! And the way she would stare at the flame of the match - awesome!
-
Julia smoked far more in the series, including at least one in someone's hospital room. Joe Haskell's room if I remember correctly. I've seen at least one picture on Don Briscoe with a cigarette about to light up. I believe it was in Scrapbook Memories, though I can't say if that was an actual production shot or simply a candid one.
-
Julia smoked far more in the series, including at least one in someone's hospital room.
Who can ever forget the scene in which Julia smokes in Willie's hospital room with Willie in an in use oxygen tent!! [yikes]
I've seen at least one picture on Don Briscoe with a cigarette about to light up. I believe it was in Scrapbook Memories
Yes, I think I recall that...
-
Continuing with Scene 146:
And that's when today's quote -
Page 67/Scene 146 - Stokes: 'George, you know there is no other way. He's the only one that can lead us to her. Now there won't be any mistakes, will there?'
- comes up.
And when it comes to the dialogue, the sheriff still stands near the doorway when Stokes says "George, you know there's no other way", and then the sheriiff starts to walk toward -
(http://www.dsboards.com/hoDSquoteimages/0811hoDS_a.jpg)
- the window as Stokes actually says "If he's here, she'll come for him" (and in DC's script "He's the only one that can lead us to her" is crossed out and replaced with that new line), and as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/0811ds91_0.jpg)
- Stokes is putting out his cigarette (although it's seen much better in -
(http://www.dsboards.com/hoDSquoteimages/0811hoDS_a_vhs.jpg)
- the VHS' aspect ratio) as he asks "Now, there won't be any mistakes, will there?"
And as a side note, notice that a deputy is seen out in the corridor sitting in a chair:
(http://www.dsboards.com/hoDSquoteimages/0811hoDS_aa.jpg)
I wonder if that's the same deputy who was supposed to report to Sheriff Patterson and Stokes and who the extended portion in the novelization says goes back to his station in the corridor? If so, perhaps the deputy reporting really was shot and just ended up on the cutting room floor. But I suppose we'll never know...
-
Wrapping up Scene 146 as it appears in DC's script, beginning and ending with today's quote -
Page 67/Scene 146 - Sheriff: 'Don't worry, Eliot -- the men know that the cross will give them all the protection they need.'
- coming up.
End of scene.
And when it comes to the dialogue, DC added the notation "x Back looking out window" before the sheriff starts his line, and as we can see in today's capture, the sheriff is closer to -
(http://www.dsboards.com/91quoteimages/0812ds91_0.jpg)
the window than he's been thus far - and the sheriff delivers his line almost exactly as scripted with the exception that he prefaces the first phrase with the word "No", as in "No, don't worry, Eliot" - and after the sheriff's answer, Stokes reaches over to pat the black bag -
(http://www.dsboards.com/hoDSquoteimages/0812hoDS_a.jpg)
- that has mysteriously been sitting on the table, though there's no indication of him doing so as an added notation, so presumably it's being done because Stokes didn't do it when his first lines in the scene were dropped and within them there was an indication in the script that read: "(indicating a small black leather bag)" and following that with the line "And when she does we'll be ready for her" - and while the audience can certainly suspect what's in the bag, there's nothing to confirm any suspicion, but it's definitely clear that whatever it is inside is important - and after Stokes pats the bag, the sheriff turns his gaze from Stokes to the bag -
(http://www.dsboards.com/hoDSquoteimages/0812hoDS_b.jpg)
- to further confirm the bag's content's importance.
-
Picking up where we left off in the novelization:
The sheriff glanced at Stokes. "It's getting kind of
late."
"Yes."
"Do you still think she'll show tonight?"
Professor Stokes looked grim. "Yes." He indicated a
small black leather bag. "And when she does we'll be
ready for her."
"I'm worried."
"Why?"
"About that Todd."
"What about him?" Professor Stokes asked sharply.
The sheriff lifted a hand in a tired gesture. "I still feel
we're taking a terrible chance with that boy's life."
"I agree, George," Professor Stokes said, "but there
is no other way."
"You're positive?"
"Yes. He's the only one who can lead us to her."
"I see," the sheriff said with a troubled face. He was
still not quite able to grasp the full horror of the situa-
tion, still hoping it might be settled in some simple way.
"Your men are all dependable?" Stokes asked.
"Hand picked."
"There won't be any mistakes, will there?"
The sheriff sighed. "Don't worry, Eliot. I've instructed
them as you told me."
Professor Stokes frowned. "You've explained about the
cross, the protection that holy symbol will give them?"
"Yes. I know they think I'm out of my head," the
sheriff said ruefully, "but I drilled it into them. They've
been told the cross will give them all the protection they
need."
"Then we can only go on waiting," Professor Stokes
said wearily.
|
And yet another longer version of a scene...
-
And while we're on the subject of different versions, there's another interesting situation for two entries on the Fest's 1999 Movie Calendar for March because it would appear that at one point the script contained a scene perhaps not involving the sheriff but involving Jeff that was to take place with Stokes. Whether or not it would have been a previous version of Scene 146 or perhaps even upcoming Scene 147 is unknown - but judging by the two quotes in question, the alternate scene dealt with material more closely aligned with Scene 146 in DC's script and the novelization. I bring up Scene 147 only because Jeff is in it, not necessarily because of its content.
So, without further ado:
For March 28th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #14? - Jeff (to Stokes):
'How do you know she'll make her move tonight?'
For March 29th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #14? - Stokes: 'I don't,
but my guess is that she will.'
And when it comes to how I handled things for the original hoDS slideshow, I substituted lines from DC's script's Scene 146 but also tried to convey that they weren't the lines on the calendar:
For March 28th:
(http://www.dsboards.com/moviesquoteimages/0328hoDS_0.jpg)
hoDS: Scene #146 -Sheriff: 'Do you still think she'll show
tonight?'
For March 29th:
(http://www.dsboards.com/moviesquoteimages/0329hoDS_0.jpg)
hoDS: Scene #146 - Stokes: 'Yes.'
And as we'll see before long, the March 30th and 31st entries on the Fest's calendar are also quotes of lines that don't appear in the film, or DC's script, or the novelization - and we'll deal with them once we reach the scenes they're likely to have come from...
-
A brief scene that we need to deal with before tomorrow's new scene comes up in the slideshow:
147 EXT: COLLINWOOD - NIGHT 147
CAMERA IS FRAMED on library window, where Jeff is
staring out into the darkness. CAMERA SLOWLY BEGINS
TO TIGHTEN as Maggie ENTERS SHOT at window.
|
And when it comes to how things in this scene might have played, we'll never really be sure if it would have stuck to the script because it was never shot...
-
Setting up the new scene:
CARD Room
148 INT: LIBRARY - COLLINWOOD - NIGHT 148
Julia and Roger are seated. Maggie is standing next
to Jeff at the window. CAMERA TIGHTENS on Roger, who
rises and crosses to the fireplace.
|
And that's when today's quote -
Page 67/Scene 148 - Roger: 'If only we knew who did this to her!!'
- comes up, followed in the script by:
JULIA - CLOSE UP
as
She reacts. Julia Reacts
|
And when it comes to the dialogue, the description, the directions, and the notations, the way Scene 148 is shot, with so little of the room being seen, it's hard to tell if the location was changed from the Library to the Card Room or not (however, something I'll be sharing later on today, just might clinch the location for us) - but be that as it may, the scene does not begin with a shot that shows that Julia and Roger are seated and Maggie is standing next to Jeff at the window, nor does the camera tighten on Roger as he rises and crosses to the fireplace, and that's all because the opening shot simply shows Roger's hands as he reaches -
(http://www.dsboards.com/hoDSquoteimages/0813hoDS_a.jpg)
- for a decanter (presumably brandy because, as you may recall, in cut Scene 7 Roger is seen -
(http://www.dsboards.com/hoDSquoteimages/Rog_Read.jpg)
- reading in the Card Room with a decanter and a brandy glass on the table) and a brandy glass (Yea for brandy making it into the film!! [b003]) - and as we can see in today's capture, as Roger begins to pour himself a brandy -
(http://www.dsboards.com/91quoteimages/0813ds91_0.jpg)
- as he delivers today's quote, which he does exactly as scripted, Julia comes into focus as she begins to look up from her tea (presumably, judging by the way she swirls the cup at the outset of the scene) and then really begins to react by -
(http://www.dsboards.com/hoDSquoteimages/0813hoDS_b.jpg)
- looking up at Roger, followed by looking away -
(http://www.dsboards.com/hoDSquoteimages/0813hoDS_c.jpg)
- possibly with a subtext of fear that the expression on her face may betray that she knows more on the subject than she's let on - and throughout all that Maggie, also with a cup of tea, is seen in the background by the window. (And the fact that Maggie already has a cup of tea in her hands might contradict what was originally planned for the scene because the novelization of Scene 147 reveals that Maggie isn't just somewhere else in the room when she appears at the window, she has actually just entered the room when she walks over to Jeff. (And the novelization also points out that Maggie seems "perfectly calm," so quite possibly she's over her argument with Jeff over Barnabas.))
-
Love all those shots of Julia with that elegant teacup. And the last one is truly exquisite. GRAYSON... LEGEND
xoxo G.
-
the way Scene 148 is shot, with so little of the room being seen, it's hard to tell if the location was changed from the Library to the Card Room or not (however, something I'll be sharing later on today, just might clinch the location for us)
And the thing that I want to share is this very rare still of Roger and Julia from Scene 148:
(http://www.dsboards.com/hoDSquoteimages/Who.jpg)
To my knowledge, it has only been published once, as part of the Fest's 1989 limited edition DS Celebrity Cookbook (which is the reason why the scan isn't perfect because that book was printed on the same sort of paper stock as the Fest Programs of the period). And an interesting tidbit is that it may be the only material related to that scene that actually shows Louis Edmonds' face because only his hands are seen in the film (and one has to wonder what he thought of that when he saw the finished film?).
-
That's a fabulous shot of Julia and Roger. Too bad the printing was so shoddy.
Thanks for sharing it with us!
G.
-
Believe it or not, tomorrow's entry in the slideshow jumps all the way up to Scene 164. And unfortunately I won't have the time before tomorrow to deal with Scenes 149 through 163, do the Scenes 140 through 160 shooting schedule chart, or even wrap up Scene 148. But I will catch up on all that as soon as I can...
-
Wrapping up Scene 148:
JEFF AND MAGGIE
Maggie turns to look at Roger. Jeff still with his
back to room.
|
And that's when yesterday's quote -
Page 67/Scene 148 - Jeff: 'The thing that's so frightening is knowing that Carolyn is out there somewhere right now.'
- comes up, followed in the script by:
And when it comes to the dialogue, the description, the directions, and the notations, as we can see in yesterday's capture, after Julia turns away from Roger the camera pans over to Maggie and Jeff and shifts focus -
(http://www.dsboards.com/91quoteimages/0814ds91_0.jpg)
- from Julia to them, however, as we can also see, Maggie has not turned to look to Roger because from the outset of when we first saw her in the background in Sunday's captures in reply #628 she was already looking at Roger, so if anything, after Roger delivers his line from Sunday, Maggie actually turns away from Roger - and quite obviously Jeff isn't standing with his back to the room - and what Jeff actually says is "Frightening, isn't it? Knowing that Carolyn is out there somewhere, right now." - and after that Maggie doesn't turn to look at Jeff, as DC's notation indicates she would, because she turns to look -
(http://www.dsboards.com/91quoteimages/0814ds91_a.jpg)
- back at Roger.
And more evidence that they're in the Card Room is that in the window we we can see the reflections of the bubble globes of the ceiling light fixture in the room:
(http://www.dsboards.com/hoDSquoteimages/Card_Room_Ceiling_Light.jpg)
-
The novelization of Scene 148 contains more than triple the dialogue than what's in DC's script:
Roger suddenly rose from his easy chair and crossed
to the fireplace with an air of frustrated despair. "If only
we knew who did this to her!"
Julia sat very erect in her chair, a shadow on her
attractive face. "I know how you feel, Roger," she mur-
mured.
Maggie stared at Roger. "You really believe Carolyn
is wandering around in the darkness?"
"I have to," Roger said. "She wasn't in her coffin."
"There could be other explanations," Maggie insisted.
"Perhaps a mad grave robber?"
"Professor Stokes doesn't think so," was Roger's un-
happy reply.
Jeff was staring out the window again. "The thing that's
so frightening is knowing that Carolyn is out there some-
where right now."
|
Julia's line is quite interesting, considering she has a very good idea who did it. I would have loved to have seen how Grayson delivered it. But alas...
And finally, as we bid a farewell to Scene 148, I want to share one of may favorite Julia hoDS stills that just happens to come from this scene. It's been published in at least a couple of places, but the version from the Fests' DS Celebrity Cookbook is probably the best version:
(http://www.dsboards.com/hoDSquoteimages/Julia_tea.jpg)
And it scans much better than the other still I scanned earlier because it's the back cover of the book and not simply a photo from the inside.
-
The next two scenes in DC's script:
149 EXT: COLLINWOOD GROUNDS - NIGHT 149
LONG LENS SHOT up desolate portion of Collinwood
drive. The only SOUND heard is the LOW MOANING OF
THE WIND. Slowly the SOUND of an APPROACHING AUTO-
MOBILE filters in. From around a bend in the drive
we see headlights approaching. A POLICE CAR ENTERS
SHOT.
150 INT: MOVING POLICE CAR - NIGHT 150
There are two officers in the car. The driver is
talking into a two-way radio.
POLICEMAN
Just finished checking the north
section. Nothing to report, we're
coming in.
SHERIFF'S VOICE
(on filter)
Okay, Alex, check with me when
you --
|
And when it comes to the dialogue, the descriptions, and the directions, things are close to the script:
Scene 149 is definitely a long lens shot. However, there is no sound of the low moaning of the wind and almost instantly we hear the sound of the police car and see its headlights though the trees before it turns the bend in the drive to become completely visible.
And with Scene 150, of the twp officers in the car, it isn't the driver who's on the radio but the passenger. And all that we actually hear/see him say from inside the car is -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_a.jpg)
- "Finished checking the north section" before things switch to what we could call Scene 150A, which is the sheriff listening to the policeman say "Nothing to report, we're coming in" while -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_b.jpg)
- Stokes looks over - then the sheriff starts to actually reply with -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_c.jpg)
- "Right, Alex." before things switch back to inside the car, in perhaps a Scene 150B, where we hear the sheriff continue with "Check with me when you get here" while we see the second policeman driving and -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_d.jpg)
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_e.jpg)
- then turn to look in the other officer's direction...
-
Seven more scenes in DC's script:
151 EXT: HOOD MOUNT SHOT - NIGHT 151
We see the second officer react to something ahead on
the road. He grabs the driver, who gives the wheel a
yank.
152 INT: POLICE CAR - THE ROAD AHEAD 152
(SHOOTING THROUGH WINDSHIELD)
ad lib line from sheriff on radio
SHOT is over the shoulders of the two policemen and
FRAMES Carolyn in the beam of their headlights, stand-
ing there on the road ahead. The driver wildly tries
to avoid her.
153 INSERT SHOT - POLICEMAN'S FOOT ON BREAK 153
154 INSERT SHOT - WHEELS SCREECHING 154
155 EXT: HOOD MOUNT SHOT INT CAR 155
The driver is wrestling desperately with the wheel.
Whip to windshield
156 MASSIVE TREE - DRIVER'S POV 156
(THROUGH WINDSHIELD)
Tree suddenly looms up as the car smashes against it.
There is a tremendous roar.
157 INT: SHERIFF'S ROOM, COLLINWOOD - NIGHT 157
(rush to the)
The ROAR OF THE|CRASH can be heard O.S. Stokes and
the Sheriff at the window. Their faces glow from the
reflection of the fire. Sheriff is ad libbing on the
radio. (oh my god)
|
And when it comes to the dialogue, the descriptions, and the directions, things are close to the script:
Scene 151 is once again an interior shot as we see the officer who's been identified as Alex and he suddenly points -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_f.jpg)
- which quickly shifts (with no ad lib heard from the sheriff, despite DC's notation) to Scene 152's shot through the windshield of them seeing Carolyn in the road as Alex shouts an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_g.jpg)
"Charlie, look out!"
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_ga.jpg)
- upon which we do indeed see the driving policeman's foot in Scene 153 on the break and then we see him struggling with the wheel intercut with another image of Carolyn -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_h.jpg)
- in the road and the car swerving to avoid her, then the shot of the wheels screeching in Scene 154, more of the driver struggling in Scene 155 - and then there is a whip pan until the tree becomes visible in front of the car and the car crashes into it - whereupon things shift to Scene 157 and the sheriff's base of operations as he and Stokes hear the accident, they rush to the windows, and as added to DC's script, the sheriff says -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_i.jpg)
"Oh my God."
- but obviously not on the radio...
-
When it comes to the novelization of Scenes 151 through 157, there really isn't anything different until it comes to the end of Scene 157 because after Sheriff Patterson and Professor Stokes check out the accident from the windows, the novel reads:
Then the sheriff went back to the radio and franti-
cally manipulated the controls.
"Stevens! Nixon!" he cried into the radio. "Get out
there! Save those two!"
|
On the other hand, as we'll see when we do the next batch of scenes, the film has some unscripted dialogue that's heard from deputies outside...
-
The next three scenes in DC's script:
158 INT: FOYER - NIGHT 158
Jeff, Roger, Julia, Maggie run by camera.
159 INT: TODD'S ROOM - COLLINWOOD - NIGHT 159
The deputy stands at the window watching the activity
outside. Todd, in bed, is FRAMED in f.g. He starts
to stir. Deputy crosses to door
160 EXT: TODD'S BEDROOM WINDOW - NIGHT 160
(THROUGH WINDOW)
wide on deputy cross tighten as he looks out door
TIGHT ON deputy looking out, his face lit by reflection
from the fire. Suddenly Todd appears at his back and
floors him with a blow to the head.
|
And when it comes to the dialogue, the descriptions, the directions, and the notations, things in the film are actually more detailed then the script:
However, Scene 158, though shot, ended up on the cutting room floor.
In the film things flow from the end of Scene 157 right to Scene 159 - in fact, when it comes to the first line of overheard outside dialogue from the deputies, it's actually heard at the very end of Scene 157 -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_j.jpg)
"They hit a tree."
- and then a second line is actually heard at the outset of Scene 159 -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_k.jpg)
"It's up around the bend, come on."
- and then as the deputy in Todd's room is turning to look at him, a third line is actually heard -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_l.jpg)
"It looks like it's burning."
- and after the deputy turns back to the window, Todd suddenly opens his eyes as -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_m.jpg)
- the sounds of car doors closing and a car engine starting are heard - and Todd turns and sees -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_n.jpg)
- the deputy at the window, but when the deputy moves, Todd immediately turns back and -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_o.jpg)
- pretends to still be asleep as the deputy moves away from the window and we hear the sound of the car driving away.
And then when it comes to Scene 160, considering it's crossed out in the script, it'll come as no surprise that it's not shot through the window of Todd's room, which might have been interesting, but the way it's actually shot is a lot more interesting because at first we see the deputy and Todd reflected in the mirror in Todd's room -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_p.jpg)
- (and sure, it's the third time in the film that DC has used reflections in a mirror (not counting Julia's compact because that's for a different and plot specific reason) - but as we all know, if it worked well once, it'll work again and again [b003]) - then after the deputy comes into frame and makes his way to the door, we see -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_q.jpg)
- Todd's reflection in the mirror as he gets out of bed - and soon Todd comes into frame as he comes up -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_r.jpg)
- behind the deputy - and then Todd grabs the deputy -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_s.jpg)
- around the throat and knocks him out, only to step back to -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_t.jpg)
- admire his handiwork.
-
And now here's a chart with the available info regarding when Scenes 141 through 160 were scheduled to shoot on the original shooting schedule:
| | | | | | | |Day of | | | | |
| Scs. #s: | |Location: | |Pages: | |Description: | |Shoot: | |Date: | |Cast: |
| ====== | |=============== | |===== | |========== | |===== | |====== | |======== |
| 141 - 142 | |Int. Drawing Room (N) | |3 & | |No reflection, | |9th | |Thu. 4/2 | |BARNABAS |
| | | |4/8 Pgs. | |Maggie & Jeff | | | | | |JULIA |
| | | | | |argue, Julia | | | | | |MAGGIE |
| | | | | |preoccupird | | | | | |JEFF |
| | | | | | | | | | | |ROGER |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 143 | |Int. Old House (N) | |2/8 Pg. | |Barnabas rushes | |19th | |Thu. 4/16 | |BARNABAS |
| | | | | |into the house | | | | | | |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 144 | |Int. Old House | |3/8 Pg. | |Barnabas finds | |19th | |Thu. 4/16 | |BARNABAS |
| |Cellar (N) | | | |Willie | | | | | |WILLIE |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 145 - 146 | |Int. 2nd. Floor | |1 Pg. | |Todd set up | |12th | |Tue. 4/7 | |STOKES |
| |Hallway (N) | | | |as bait | | | | | |TODD |
| | | | | | | | | | | |SHERIFF |
| | | | | | | | | | | |Deputy |
| | | | | | | | | | | |Deputies |
| | | | | | | | | | | |extras |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 147 | |Ext. Collinwood (N) | |1/8 Pg. | |They stand in | |4th | |Thu. 3/26 | |MAGGIE |
| | | | | |Library window | | | | | |JEFF |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 148 | |Int. Library (N) | |3/8 Pg. | |They discuss | |8th | |Wed. 4/1 | |JULIA |
| | | | | |Carolyn | | | | | |MAGGIE |
| | | | | |*(Trimmed)* | | | | | |JEFF |
| | | | | | | | | | | |ROGER |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 149 - 156 | |Ext. Collinwood (N) | |1 & | |Police car | |4th | |Thu. 3/26 | |CAROLYN |
| | | |3/8 Pgs. | |crashes | | | | | |Policeman-Alex |
| | | | | | | | | | | |Police |
| | | | | | | | | | | |Deputy |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 157 | |Int. Sheriff's Room (N) | |1/8 Pg. | |Sheriff on radio | |12th | |Tue. 4/7 | |STOKES |
| | | | | | | | | | | |SHERIFF |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 158 | |Int. Foyer (N) | |1/8 Pg. | |They run to | |7th | |Tue. 3/31 | |JULIA |
| | | | | |the crash | | | | | |MAGGIE |
| | | | | | | | | | | |JEFF |
| | | | | | | | | | | |ROGER |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
| 159 - 160 | |Int. Todd's Room (N) | |2/8 Pg. | |Todd wakes | |12th | |Thu. 4/7 | |TODD |
| | | | | | | | | | | |Deputies |
| | | | | | | | | | | |extras |
| ________ | |____________________ | |_______ | |_____________ | |______ | |________ | |__________ |
As it turns out there is a different Scene 143 on the shooting schedule - but instead of it turning out to be Maggie and Jeff's argument in the drawing room, it's a different scene and one that ended up being dropped prior to the final version (DC's) script: Barnabas rushing into the Old House before he goes down the cellar. Who would have thought?
And who knows what's up with extras being listed for Scenes 145 through 146 and Scenes 159 through 160?
Sure there are deputies seen, but what other sort of characters did they think were needed. But at any rate, whatever they were supposed to be, they're never seen...
And the extra dialogue in the novelization for Scene 148 is indicated as being trimmed, as we've seen on other charts, so chances are that extra dialogue was dropped from the script at some point just prior to the final version of the script.
-
That photo of Grayson with the teacup is so divine. I think I've seen a color version but I could be hallucinating again...
The sequence where Carolyn causes a car crash is very reminiscent of a similar sequence in one of my all time favorite films, Horror Hotel (1960). This sequence has been re-staged a couple of times in various films, I believe.
G.
-
Three more scenes in DC's script:
161 INT: HALLWAY OUTSIDE TODD'S ROOM - NIGHT 161
TIGHT ON TODD. As he moves down the hallway, CAMERA
TRUCKS IN FRONT OF HIM. He stops momentarily as he
reaches part of hall parallel to first floor landing.
CAMERA PANS LEFT with him and as he passes this spot
we see another policeman with his back to us looking
out the window on first floor landing. Todd continues
down hall as CAMERA TRUCKS IN BACK of him. As he gets
to the entrance to Carolyn's room he stops.
TODD - CLOSE UP
As he reacts to what he sees.
SHERIFF AND STOKES - TODD'S POV
They are both looking out the window. The Sheriff is
on the two-way radio. HAND HELD CAMERA TRUCKS by bothby
doors into back hallway. During this, Sheriff can be
heard ad libbing instructions to men below.
2nd fl Hall
162 INT: STAIR LANDING, COLLINWOOD - NIGHT 162
SHOOTING FROM SECOND FLOOR LANDING. The deputy who has
been looking out the window, turns, comes up the
stairs. CAMERA TRUCKS WITH HIM as he goes to Todd's
door, which is now open. SHOT WIDENS to include other
deputy getting up off the floor.
163 EXT: COLLINWOOD - NIGHT 163
We see the car burning in b.g. Julia, Roger, Jeff,
Maggie and several officers are on the scene. Julia
is tending to the injured officers. Todd, hiding in
some shrubbery near the building in f.g. of SHOT,
waits for his opportunity and then sneaks off into
the night.
|
And when it comes to the (ad libbed?) dialogue, the descriptions, the directions, and the notations, Scene 161 is nearly identical to how it's scripted, Scene 162 ended up on the cutting room floor, and Scene 163 was never shot (and one wonders if that was because Lyndhurst didn't want a burning car on its grounds, or if it was too expensive to shoot within the film's budget, or a bit of both).
Scene 161 plays exactly as scripted until the point that Todd reaches the door to Carolyn's room and sees the sheriff and Stokes because at that point is where the ad libbed dialogue begins. After actually hanging up the phone (not speaking on the two-way radio), the sheriff says -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_u.jpg)
"They've got both men out of the car."
- and as the camera is panning to Todd's view of the back hallway, the sheriff is heard to say -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_v.jpg)
"Doctor Hoffman is looking at them now."
- then as Todd begins to make a move, Stokes is heard to ask -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_w.jpg)
"Are they going to be all right?"
- to which the sheriff answers -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_x.jpg)
"Yes, I think they're just badly shaken up."
- as Todd makes his way to the next section of the hallway - and then we see the sheriff in the command room as he says -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_y.jpg)
"I don't understand this. Alex must have seen something."
- and then as Stokes asks -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_z.jpg)
"Yes, but what?"
- Todd comes into view through the doorway, and after the sheriff replies -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_a1.jpg)
"I don't know."
- Todd comes into focus as the sheriff says on the two-way radio -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_b1.jpg)
"Hank, I want every available man to report to"
- and then completes with -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_c1.jpg)
"the front entrance immediately."
- as Todd is seen watching them - and then as Todd begins to move away and closer to the stairs, the sheriff is heard to say -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_d1.jpg)
"I'm on my way down."
- and at that point Todd begins to rush down the back stairs as the sheriff is heard to say -
(http://www.dsboards.com/hoDSquoteimages/0815hoDS_e1.jpg)
"We better check Todd now."
(Too late! [b003])
And as an aside, does the daffodil arrangement on the table in the hallway -
(http://www.dsboards.com/hoDSquoteimages/Daff_0.jpg)
(http://www.dsboards.com/hoDSquoteimages/Daff_1.jpg)
- mean that Carlotta is secretly somewhere at Collinwood, and perhaps that hallway, window and table was Angelique's favorite in the house? [laughing1]
-
Love the Carlotta reference MB!
cheers, G.
-
Well, when one sees daffodils, one should always think of Angelique!! [nodassent] Especially daffodils at Collinwood...
-
And I finally reach Tuesday's scene:
INT - Foyer
164 EXT: COLLINWOOD GROUNDS - NIGHT 164
TIGHT ON Sheriff talking into radio microphone next
to car. PULL BACK to reveal Stokes and Jeff and the
injured driver (Alex) standing next to him. In B.G.
the burning wreckage of the car can be seen silhouett-
ing Julia and Maggie and the others. Simultaneous
conversation.
|
And that's when Tuesday's quote -
Page 70/Scene 164 - Alex: 'We looked up. She was there. Just standing there --'
- comes up, followed in the script by:
SHERIFF
(into mike)
Every building on the property
must be searched. We know he's
going to her.
During this, Roger ENTERS SHOT. CAMERA PANS Roger as
he crosses to Julia. He looks down at her. She is
tending the injured officer.
ROGER
Is he going to be all right?
JULIA
Yes -- I think so. Someone
should look in on Elizabeth.
ROGER
I already did. She's still under
the effects of the sedative.
|
And when it comes to the dialogue, the descriptions, the directions, and the notations, we really have no way of knowing how things might have played in the film because this scene ended up on the cutting room floor. Though some things we do know are that Alex wasn't the driver, the driver was identified as Charlie by Alex, and Charlie would have been the one being tended to by Julia.
-
Before I posted Scene 164 from DC's script, I'd neglected to look to see how Scene 163 plays in the novelization. I'm not sure what to think of parts of it, so I'm going to share it:
Confusion reigned around the scene of the burning
car. Both of the officers in it had been thrown from the
vehicle by the force of the impact. Had they landed on
hard asphalt this could have been fatal for them, but
fortunately they had struck the comparatively soft surface
of the lawns. But one of them was unconscious and the
other was in shock and seemed to have a broken leg.
Dr. Julia Hoffman at once rushed forward to attend
to their injuries. Roger, Jeff and Maggie stood a distance
away with several other officers. The intense heat from
the burning car kept them from getting really close.
Roger turned to one of the officers. "Is an ambulance
on its way?"
The young policeman nodded. "Sheriff has called the
Ellsworth Hospital to send one. Good thing there was
a doctor here."
"I know it," Roger said grimly. "Any idea how badly
those two are?"
"Mike is still out of it," the policeman said. "And I
think Alex is only suffering from shock. They're lucky
to be alive."
Roger sighed. "No doubt about that."
"Any idea what happened to cause the wreck?" Jeff
asked.
The officer looked odd. "It's a mystery. I've talked to
Alex but he's still confused. He raved on about seeing
someone in the road. They tried to swing the car and
avoid running whoever it was down. At least that's what
he says. It could be just raving."
Roger gave him a sharp look. "Later on you'll probably
get a better account of it."
"No question of that," the officer said. "Looks as if you
had a good chance of losing that tree."
"Unfortunate," Roger said. "But nothing compared to
the fact two lives could have been lost. I hope that ambu-
lance gets here quickly."
"Shouldn't take long," the officer said, his eyes on the
fire again. It was now beginning to ease some.
Julia Hoffman came back to Roger, her pleasant fea-
tures highlighted by the fire's rosy tint. "I've done all I
can for them."
"Will he live?" Roger asked.
"He should," Julia said. "Unless he has injuries I
don't know about. Only an X-ray can tell."
Jeff turned to Maggie. "This has been some night."
"It has," she was quick to agree.
As they talked a fugitive Todd was hiding in the shrub-
bery near the main building watching them. As soon as
their attention was fixed on the accident he made a break
for it and sneaked off into the darkness.
|
And there you have it. And the main reasons why I don't know what to think about it are because of the ways Scenes 162, 163 and 164 are listed on the original shooting schedule. But we won't get into that until the next chart. But even now just a check of the interaction between Julia and Roger in DC's script's Scene 164 shows that Roger also asks Julia about the officer's condition in that scene, and that seems like it would be highly unlikely to go into the same subject all over again just a scene later, so...
-
When I read reply #613 (the younger deputy checking in on Todd and the older deputy), I was thinking: I wish I had that job the older deputy had. But then I got thinking, isn't that the guy that Todd ends up clocking later on? Then maybe not... Then again, if *I* had been on the job, that never would have happened. I would have kept very careful watch over Todd my entire shift. [luv]
-
So there won't be any mistakes, Professor Stokes?
-
I'd hate to think what would have happened had the sheriff allowed mistakes to happen!! [b003]
-
And now here's the novelization of Scene 164. It's somewhat different from the version that appears in DC's script:
The sheriff had come out onto the grounds and was
now giving staccato instructions via the radio microphone.
Professor Stokes, Jeff and the injured driver, Alex, were
standing next to him. Julia, Maggie and the others were in
the background.
Alex, the driver, was saying, "We looked up. She was
there. Just standing there."
"That's when you left the road?" the sheriff said.
"Yes," the driver told him.
The sheriff spoke into the microphone again. "Every
building on the property must be searched. We know
Todd's on his way to her."
Roger joined the group and went to Julia. He glanced
down and watched her looking after the injured officer.
"Is he going to be all right?"
Julia said, "I think so. Someone should look in on
Elizabeth."
"I already did," Roger assured her. "She's still under
sedation."
"Just as well," Julia said, turning to give her attention
to the injured officer. "That ambulance should be here
soon now."
|
To me it seems like it should have been an either/or situation with the version of Scene 163 that I shared in reply #645, meaning either that version should have appeared and this version of Scene 164 should have been dropped, or vice versa. Both scenes cover much of the same material right down to Roger asking Julia about the deputy's condition and Julia replying. Having both seems superfluous.
What I suspect might have been the case with the script that Dan "Marilyn" Ross used is that, like what was done in the Movie Book, older versions of scenes were included in the script along with the latest versions - but it's understood that only the latest version is used in the film. But perhaps Ross didn't understand that. Plus, in Scene 164 we hear directly from Alex rather than a different deputy speaking for him and there are references to Liz, so wanting to also include Alex and the references to Liz, Ross mistakenly used both scenes even though that makes for a strange section of the novel when it appears that Roger's question has already been asked and answered when he asks it again. At least Ross could have dropped one of the instances involving Roger's question and Julia's answer. But I guess he didn't feel comfortable dropping any material from the script, so we get both...
-
And I finally reach Wednesday's scene and one leading up to it:
165 EXT: WOODS - COLLINWOOD - NIGHT 165
CAMERA IS TIGHT on Todd, who is stumbling through the
woods.
166 INT: STABLE - COLLINWOOD - NIGHT 166
CAMERA IS TIGHT on Carolyn who is standing by a window,
staring into the night drawing him to her.
|
And that's when Wednesday's quote -
Page 70/Scene 166 - Carolyn: 'I am waiting for you, Todd -- you will find me -- come to me -- come to me --'
- comes up.
End of scene - though not end of sequence.
And when it comes to the dialogue, the descriptions, and the directions, things are done differently in the film:
Apparently the shot of Todd stumbling and arriving at the stable is in no way part of Scene 165 because it's indicated in the Movie Book that Scene 165 ended up on the cutting room floor.
And Scene 166 is actually an exterior and not an interior, and it opens with the aforementioned shot of Todd -
(http://www.dsboards.com/hoDSquoteimages/0816hoDS_a.jpg)
- as he arrives at the stable - then he comes to a stop and -
(http://www.dsboards.com/hoDSquoteimages/0816hoDS_b.jpg)
- looks around (and you all know who you are who want to see that -
(http://www.dsboards.com/hoDSquoteimages/0816hoDS_ba.jpg)
- up closer [b003]) - and after he turns around -
(http://www.dsboards.com/hoDSquoteimages/0816hoDS_c.jpg)
- to backtrack, he soon sees something that makes him -
(http://www.dsboards.com/hoDSquoteimages/0816hoDS_d.jpg)
- smile because it's Carolyn up in a second floor window of the stable and Todd says a breathy -
(http://www.dsboards.com/hoDSquoteimages/0816hoDS_e.jpg)
"Carolyn"
- and soon she begins to open -
(http://www.dsboards.com/hoDSquoteimages/0816hoDS_f.jpg)
(http://www.dsboards.com/hoDSquoteimages/0816hoDS_fa.jpg)
- her arms to him (though it gets cut off before she fully does so (apparently DC didn't like shots of Carolyn with her arms fully outstretched because all of them are cut short in the film), but there are plenty of photos of Carolyn from this scene in full outstretch).
And since things are staged differently Carolyn's quote is completely dropped.
-
This is how Scenes 165 and 166 play in the novelization:
Todd had escaped notice at the scene of the accident
and now he was stumbling through the nearby thicket.
He was confused but knew he had a rendezvous to keep
with Carolyn. Nothing must interfere with that meeting.
"Carolyn!" he cried as he pushed through the woods, a
dazed expression on his face. "Carolyn!"
Not far away, standing by a window of the Collinwood
stable was Carolyn. her pale, phantom face peered out
into the night. There was an air of extreme concentration
about her.
In a thin voice, she chanted, "I am waiting for you,
Todd. You will find me. Come to me. Come to me!"
|
Very similar, though not exactly the same as DC's script.
And I also want to share what I believe is a fairly rare still. The only places I recall it being published are as the back cover of one the the DS Files books and as part of the DS Tribute book - but both of those were done by the same people, so they're practically the same thing:
(http://www.dsboards.com/hoDSquoteimages/Caro_Todd_Stable.jpg)
Caro_Todd_Stable.jpg - 1430X1882 version (http://www.dsboards.com/hoDSquoteimages/Caro_Todd_Stable.jpg)
Caro_Todd_Stable_2.jpg - 1691X2162 version (http://www.dsboards.com/hoDSquoteimages/Caro_Todd_Stable_2.jpg)
-
Dear God, Don Briscoe was a beautiful man. Sighhhh....
I'm not at all surprised about the situation with the Dan Ross book, given that there's no way he could have seen the completed film when he was working on the manuscript.
And he really churned those things out quickly, though the DS film book does show a somewhat higher level of skill, or at least such as my impression. I'll never forget the mention of him typing the entire final chapter of one of his "books" in the back seat of his station wagon in front of the post office... he had to have the packet stamped on that day according to the terms of his contract, I seem to recall...
G.
-
I'll never forget the mention of him typing the entire final chapter of one of his "books" in the back seat of his station wagon in front of the post office... he had to have the packet stamped on that day according to the terms of his contract, I seem to recall...
I don't know if I've ever heard of that story before. It explains a lot...
-
Not surprising,considering that at their peak the books seemed to be hitting the stores on a monthly basis. And I am sure that Ross was writing other books at the same time.
I know that I have posted this before but it's worth repeating. At one of the early 1980's Newark festivals, Jeff Thompson and Jeanette Murawski, did a staged reading from the collected works of Marilyn Ross. They were completely earnest about it. I don't think I lasted five minutes.
-
And I finally reach Thursday's scene and two leading up to it:
167 INT: GROUND FLOOR, STABLE - NIGHT 167
With carriages and old sleighs in F.G., Todd ENTERS
SHOT and comes toward CAMERA INTO CLOSE UP. He looks
167 CONTD CONTD 167
around glassy-eyed. CAMERA SLOWLY TRUCKS back to a
MEDIUM SHOT and we SUPER OVER THE PICTURE AN EXTREME
CLOSE UP of Carolyn's eyes. Slowly the SOUND OF
CAROLYN'S VOICE, ON ECHO, starts to filter in.
CAROLYN'S VOICE
Come to me, Todd -- come to me --
168 INT: STABLE STAIRS - NIGHT 168
SHOOTING DOWN STAIRCASE from the second floor. Todd
can be seen ENTERING SHOT at the bottom of the stairs.
He comes up toward the CAMERA. As he rises into CLOSE
UP, we
CUT TO:
169 INT: STABLE, SECOND FLOOR - NIGHT 169
CAMERA IS FRAMED ON WIDE ANGLE of massive dark room.
Todd appears and rises from the stairs into EXTREME
F.G. of SHOT. His back is to CAMERA.
|
And that's when Thursday's quote -
Page 71/Scene 169 - Todd: 'Carolyn -- Carolyn -- where are you?'
- comes up, followed in the script by:
In EXTREME B.G. of the SHOT some movement can be seen
in the shadows as a figure slowly moves into a shaft
of moonlight and is silhouetted against a window on
the far side of the room.
TODD - CLOSE UP
He starts moving toward Carolyn. CAMERA HOLDS HIM IN
CLOSE UP and TRUCKS IN FRONT OF HIM.
CAROLYN - EXTREME CLOSE UP
as she continues to draw him to her. SHOT SLOWLY
WIDENS as she raises her arms to him. As he ENTERS
THE SHOT,
CUT TO:
CAROLYN - TODD
Carolyn in f.g. with Todd advancing toward her.
169 CONTD CONTD 169
CAROLYN - TODD'S POV - HAND HELD
CAMERA TRUCKS IN ON HER as she stands there with her
arms beckoning until we reach an EXTREME CLOSE UP.
Her mouth opens and her fangs can be seen. She zaps
him.
|
End of scene - though not end of sequence.
And when it comes to the dialogue, the descriptions, and the directions, not much of what's scripted plays the same way in the film:
Though it was supposedly shot, Scene 167 is completely dropped in the film, and with it Carolyn's dialogue.
Therefore, the end of Scene 166 flows right into the opening of Scene 168 with Todd following Scene 166's breathy "Carolyn" with a breathy -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_a.jpg)
"Oh, Carolyn."
- as he appears at the bottom of the stairs and then makes his way up them, though not into -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_b.jpg)
- a close-up - and there is no cut Scene 169 because things continue to flow from Scene 168 as Todd stops at the top of the stairs and he removes -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_c.jpg)
- the bandage from his neck - and then Todd begins to move -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_d.jpg)
- into the room until he comes to a stop with his back to the camera -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_e.jpg)
- though he doesn't deliver Thursday's quote because that's dropped from the scene - but soon, through some sort of screen on the other side of the room - not silhouetted against a window, Carolyn reveals herself -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_f.jpg)
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_fa.jpg)
- and shortly she begins to reach her arms -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_g.jpg)
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_ga.jpg)
- up to him - and (miracle of miracles, all of the shots of Carolyn with fully outstretched arms are not cut off because) then we see Carolyn closer with her arms fully outstretching (how quickly I forget [embb]) -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_h.jpg)
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_ha.jpg)
- and beckoning to him - and while we don't see Todd in close-up, nor does the camera truck in front of him, Todd does start to move toward Carolyn, who is not seen in extreme close-up at any point, until -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_i.jpg)
- he makes a brief -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_j.jpg)
- stop before nearly reaching -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_k.jpg)
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_ka.jpg)
- Carolyn, though the camera doesn't truck in on her as she stands beckoning with outstretched arms (at which point it's possible that a line on the Fest's 1999 Movie Calendar may have been delivered in a previous version of the script) - and upon reaching Carolyn and beginning to -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_l.jpg)
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_la.jpg)
- embrace her (another point when the line from the calendar may have been delivered), Carolyn soon moves in to -
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_m.jpg)
(http://www.dsboards.com/hoDSquoteimages/0817hoDS_ma.jpg)
- "zap" Todd, as the script puts it.
-
And here's the quote from the Fest's 1999 Movie Calendar that I referred to earlier in reply #655:
For March 30th:
(http://www.dsboards.com/moviesquoteimages/0330hoDS_0.jpg)
hoDS: Original Scene #169 - Carolyn: 'You want to be with
me, don't you, Todd? Hold me close, very close.'
As you can see, it could have easily fit into the scene in either of the spots I suggested it might have originally appeared. And as I said back during the original hoDS slideshow, it's unfortunate that was dropped from the script somewhere along the way because breathy cooing seems to work wonders on DS ' male vampire victims - especially MTW's Joe in the '91 series. [naughty] But sadly in the finished film Carolyn is all down to business after her first attack on Todd. Not just that line from the calendar but even all of her dialogue in DC's script was dropped in the film.
-
And I finally reach Friday's scene and four leading up to it:
170 EXT: STABLE AREA - NIGHT 170
HIGH ANGLE
as six policemen come through the archway and enter
the stable area. Three of them go into the stable
building. They all have flashlights.
171 INT: FIRST FLOOR STABLE - NIGHT 171
Two of the policemen are searching the downstairs area
as one of them goes upstairs to the second floor.
172 INT: STABLE, SECOND FLOOR - NIGHT 172
as the policeman enters the shot from the stairs.
He goes to the middle of the room and shines his flash-
light around the room. Seeing nothing, he then starts
back toward the stairs.
TODD - CAROLYN
They are behind a pile of old furniture. Todd is on
the floor. Carolyn is over him. As the CAMERA SLOWLY
TIGHTENS we can see that she is sucking the blood from
his neck. He begins to MOAN. His arm swings out in a
futile gesture. It knocks over a piece of furniture.
173 INT: STABLE STAIRS - NIGHT 173
CAMERA ON ground floor, SHOOTING UPSTAIRS, FRAMES the
policeman about halfway down the stairs. He reacts
to the sound of the falling furniture. He stops,
turns around and goes back up the stairs.
174 INT: STABLE, SECOND FLOOR - NIGHT 174
The policeman enters SHOT, shines his light around the
room again. This time he gets a glimpse of Carolyn's
white dress on the other side of the room. He takes
out a cross and starts moving toward Carolyn and Todd,
calling to the men below.
|
And that's when Friday's quote -
Page 72/Scene 174 - Policeman: 'Up here!! Up here!!'
- comes up, followed in the script by:
174 CONTD CONTD 174
CAROLYN - TODD
She reacts. Letting Todd go, she rises, looks around
with fear in her eyes. O.S. we hear the SOUND OF
SCURRYING FOOTSTEPS DOWNSTAIRS. The policemen con-
verge on the stairs and begin to come up, ad libbing
as they come.
|
End of scene - though not end of sequence.
And when it comes to the dialogue, the descriptions, and the directions, things in the film are close to what's scripted but not exactly the same:
Scene 170 is definitely not shot from a high angle and six policemen do not come through the archway, enter the stable area, with three of them going into the stable building. What actually happens is that we see one police car drive into the stable area (not through the archway) and after three policemen get out, one goes off behind the car while the other move off in the direction in front of the car - And while that is going on, a second police car arrives with three more policemen, with the driver going off in the same direction as the two policemen from the first car and the other two from the second car -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_a.jpg)
- and while that is going on, a second police car arrives with three more policemen, with the driver going off in the same direction as the two policemen from the first car and the other two from the second car -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_ba.jpg)
- move toward the stables.
And even though it was supposedly shot, Scene 171 is completely dropped in the film.
And when it comes to Scene 172, things play pretty much as scripted (except the policeman is already -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_c.jpg)
- holding a cross) until soon after the policeman begins to quietly look around because we then see Carolyn with Todd, who is not on the floor but on some sort of mattress and they are not behind furniture but still behind the screen as -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_d.jpg)
- Carolyn has at his neck - and then we see the policeman looking around -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_e.jpg)
- the middle of the room, and after he decides there's nothing to see, we see Carolyn with Todd again as he begins to leave, but his more pronounced steps announce to Carolyn that someone is there and she pulls away from Todd to listen closely -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_f.jpg)
- but after she hears the policeman going back to the stairs, she turns her attention back to -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_g.jpg)
- Todd's neck.
And then in a seeming overlap of the beginning of Scene 173 and the end of Scene 172, we see the policeman starting down -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_h.jpg)
- the stairs, though not shot from the ground floor up but the second floor down - and then things switch back to Carolyn and Todd as, in what the script describes as "a futile gesture," Todd's arm swings out, and while it doesn't knock over furniture as scripted, it does knock over -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_i.jpg)
- a pan and dishes - and having heard them clatter as they fell, the policeman rushes -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_j.jpg)
- back up.
And then for the beginning of Scene 174 doesn't play at all as scripted because we do not see the policeman enter shot as he shines his flashlight around the room again. What we do see is Carolyn react to the sound of the policeman coming up the stairs again and she pulls away from Todd as the policeman's flashlight beam discovers her, as seen in Friday's capture -
(http://www.dsboards.com/91quoteimages/0818ds91_0.jpg)
- and the policeman actually calls out "She's up here!" as Carolyn also -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_k.jpg)
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_ka.jpg)
- looks at him - but after he aims the cross -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_l.jpg)
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_la.jpg)
- at her, she quickly -
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_m.jpg)
(http://www.dsboards.com/hoDSquoteimages/0818hoDS_ma.jpg)
- turns away and yells at its sight.
-
And I finally reach Saturday's/Sunday's/today's scene (though we won't be dealing with today's quotes in this post) and two scenes leading up to it:
175 INT: SECOND FLOOR, STABLE - NIGHT 175
WIDE ANGLE
There are seven policemen fanned out in an arc across
the room, slowly advancing on Carolyn, who has backed
into a corner. All the policemen are holding crosses
in their hands. Todd is on one knee in front of
Carolyn, blood dripping from his throat, staring in
protective defiance at the advancing police.
176 EXT: STABLE AREA - NIGHT 176
as Sheriff's car comes roaring into the area, screech-
ing to a stop in front of the stable. Sheriff, Stokes,
Roger and Jeff pile out as a policeman motions them
inside.
177 INT: STABLE, SECOND FLOOR - NIGHT 177
Carolyn and Todd are now completely hemmed in by the
officers as Stokes, Sheriff, Roger and Jeff ENTER
SHOT. Stokes is carrying the same small black leather
bag that we saw in an earlier scene.
CAROLYN - TODD
There is panic in both their faces. WIDEN as Carolyn
suddenly pulls away from him and tries to make a break
for it. She gets to the center of the room, frantic
to find an escape route, but everywhere she turns
there is someone blocking the way. The circle of men
gets smaller. Now Todd breaks through the circle in
an attempt to get to her. When two of the men try to
stop him, he turns furiously and lunges at them.
|
And that's when Saturday's quote -
Page 73/Scene 177 - Todd: 'Stay away from her!! I won't let you take her!!'
- comes up, followed in the script by:
Jeff and two of the men go at Todd and quickly subdue
him though he continues to struggle with them.
|
And that's when Saturday's quote -
Page 73/Scene 177 - Stokes: 'Hold him!! Don't let him near her again!!'
- comes up.
And when it comes to the differences in the scenes, I'll be back to do those later...
-
Scene 175 is much more complicated in the film than it appears in the script. It starts off with Carolyn coming out from where she had been hiding with Todd and attempting to rush the policeman -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_aa.jpg)
- however, she immediately has to turn away when the power of the cross is too much -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_ba.jpg)
- for her to deal with and a whimpering Carolyn is forced to back off -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_c.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_ca.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_d.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_e.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_f.jpg)
- and while trying to block the sight of the cross, she notices that a second -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_g.jpg)
- and a third policeman -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_h.jpg)
- arrive, each aiming a cross at her - and as they begin to attempt to pin her in place, she -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_i.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_ia.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_j.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_k.jpg)
- tries to block the sight of the cross, the shadow of which is right on her face - and after a fourth policeman arrives -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_l.jpg)
- with yet another cross, Todd is soon to appear -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_m.jpg)
- and after nearly falling as he slides to a stop -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_n.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_na.jpg)
- Todd steadies himself with a crate and then positions himself -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_o.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_oa.jpg)
- to attempt to protect Carolyn.
-
- looks around (and you all know who you are who want to see that -
(http://www.dsboards.com/hoDSquoteimages/0816hoDS_ba.jpg)
- up closer [b003])
I'm quite sure you had someone else in mind when you posted this, but thank you, MB! [easter_wink]
-
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_a.jpg)
I really love this sequence, and thinks it's by far the best "vampire hunting" scene ever put on film (at least that I've ever viewed).
-
I'm quite sure you had someone else in mind when you posted this, but thank you, MB! [easter_wink]
Given some of your recent posts, you were certainly among the people I was thinking about! [nodassent]
-
I really love this sequence, and thinks it's by far the best "vampire hunting" scene ever put on film (at least that I've ever viewed).
I totally agree - and it's often been cited as such. And what truly makes it so is how Nancy Barrett is so excellent as doomed vampire Carolyn. [thumb] I mean, when even Variety singles out your performance in a scene like that, you know you've done something right!!
-
And now the differences in Scenes 176 and what we've covered so far of Scene 177:
The only thing that's different about Scene 176 is that it emphasizes that Stokes has the black leather bag -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_p.jpg)
- (the bag isn't brought up in the script until Scene 177).
Back inside the stable we don't immediately see that Carolyn and Todd are completely hemmed in by the officers because all we see at first is Carolyn gasping as she reacts -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_q.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_r.jpg)
- to the crosses - and next we see Sheriff Patterson -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_s.jpg)
- come up the stairs -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_t.jpg)
- followed by Jeff -
- and then we see that Carolyn and Todd are hemmed in -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_u.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_ua.jpg)
- and soon the sheriff and Jeff join the group -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_v.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_va.jpg)
- and Carolyn seems none to pleased about that -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_w.jpg)
- and as scripted she tries to make a break for it -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_x.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_xa.jpg)
- but all she manages to do is get hemmed in again -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_y.jpg)
- and after we see that Stokes and Roger have joined the group, Stokes orders an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_z.jpg)
"Jeff, take care of Todd."
- and after two more reaction shots from Carolyn -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_a1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_b1.jpg)
- Jeff attempts to get a hold on Todd -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_c1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_c1a.jpg)
- but Todd easily pulls away -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_d1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_d1a.jpg)
- to position himself in front of Carolyn -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_e1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_e1a.jpg)
- however, unlike how the script says that when two of the men try to stop him, Todd turns furiously and lunges at them, Todd actually lunges at Sheriff Patterson all on his own -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_f1.jpg)
- but as the graphic for Saturday indicates -
(http://www.dsboards.com/91quoteimages/0819ds91_0.jpg)
- Todd's quote for Saturday, "Stay away from her!! I won't let you take her!!", is completely dropped from the scene - and after Todd grabs Sheriff Patterson by the throat -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_g1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_g1a.jpg)
- Jeff and a policeman attempt to pull Todd off -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_h1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_h1a.jpg)
- and after two more reaction shots from Carolyn -
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_i1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0819hoDS_j1.jpg)
- Todd is subdued -
(http://www.dsboards.com/hoDSquoteimages/0820hoDS_a.jpg)
- but as the graphic for Sunday indicates -
(http://www.dsboards.com/91quoteimages/0820ds91_0.jpg)
- Stokes' quote for Sunday, "Hold him!! Don't let him near her again!!", is completely dropped from the scene - (and for those of you who know who you are, here's an expanded view -
(http://www.dsboards.com/hoDSquoteimages/0820hoDS_aa.jpg)
- of Todd being subdued) - and then Todd -
(http://www.dsboards.com/hoDSquoteimages/0820hoDS_b.jpg)
- is carried off.
-
Carolyn is such a resourceful vampire. In some ways, she is actually more focused than Barnabas. Which makes me wonder why she doesn't attempt to turn into a bat and hightail it out of the stable. None of the HODS vampires seem to use the "disappearing into thin air" trick that was pretty common on the show. But it seems that only Barnabas does the bat gag here.
-
Beautiful shots of beautiful Don Briscoe. I bet his pajama pants fell down frequently while they were filming that.
This scene was, IMO, based on one in the 1966 Hammer film DRACULA, PRINCE OF DARKNESS, featuring the incredible Barbara Shelley. But I think this sequence is more effective--and more brutal.
G.
-
(http://www.dsboards.com/hoDSquoteimages/0816hoDS_ba.jpg)
Something just dawned on me: Don Briscoe must have been absolutely freezing in those pajamas when they shot the outside scenes because they supposedly shot them on the 3rd day of shooting, which was March 25th - and as anyone who's been in the northeast then can tell you, that's still a cold time of year. And they had him shoot it with his pajama top unbuttoned yet (which is interesting when one considers it was fully buttoned when he was at Collinwood - but then we all know why it somehow found its way to getting unbuttoned, now don't we? [wiseguy]).
At least when they shot the interiors at the stable it was on the 17th day of shooting, which was April 14th. It should have been somewhat warmer and they were indoors, though quite possibly with no heat...
-
Carolyn is such a resourceful vampire. In some ways, she is actually more focused than Barnabas. Which makes me wonder why she doesn't attempt to turn into a bat and hightail it out of the stable. None of the HODS vampires seem to use the "disappearing into thin air" trick that was pretty common on the show. But it seems that only Barnabas does the bat gag here.
I've often said that Barnabas was very negligent when it came to Carolyn's vampire education!! In hoDS it would seem that the bat gag doesn't come instinctively - and outright disappearing must be even harder...
-
I bet his pajama pants fell down frequently while they were filming that.
And I'm sure you're hoping Briscoe was method and, therefore, wore no underwear under them. ;D
This scene was, IMO, based on one in the 1966 Hammer film DRACULA, PRINCE OF DARKNESS, featuring the incredible Barbara Shelley. But I think this sequence is more effective--and more brutal.
I have no memory of the sequence with Barbara Shelly, probably because it's been years since I've seen that film. I'm going to have to check it out the next time I notice it's on...
-
Moving on with Scene 177 as it appears in DC's script, picking up with Stokes' actions:
Close up Carolyn
177 CONTD CONTD 177
He turns his attention back to Carolyn, who is still
backing away desperately. Whip pan to one side
see cops advancing
REVERSE ANGLE
From behind the circle of men, Carolyn is about to be
backed into a corner.
REVERSE ANGLE
Carolyn's back dominates the F.G. Stokes and the
Sheriff are very close to her now. The Sheriff
suddenly moves forward and grabs her by the arm. As
he does, he suddenly looks horrified.
CAROLYN - CLOSE SHOT
She has exposed her fangs. The cross is shoved in her
face.
Carolyn - P. O V
FULL GROUP SHOT
The men struggle with Carolyn and slowly force her
toward the floor. She continues to struggle like a
wild animal, but the men finally pin her arms and
feet down.
CLOSE UP
Stokes opens black bag. Takes out stake and hammer.
CAROLYN - DOWNWARD ANGLE
Stokes, with weapon, approaches Carolyn. She is held
down by the men. A look of pure terror comes into her
eyes.
CAROLYN'S POV - STOKES
as he hovers over her, the deadly weapon in his hands.
REVERSE
WIDEN as she goes on writhing and SCREAMING. He poises
the stake over her heart. The deputies have all they
can do to keep her under control. Stokes raises the
hammer. rack focus to Roger
SHOT OF ROGER
A look of deep anguish on his face as he shouts at
Stokes.
177 CONTD (2) (2) CONTD 177
|
And that's when Monday's first quote -
Page 75/Scene 177 - Roger: 'No, Eliot, don't do it!! You can't destroy her like this! There must be some other way!'
- comes up.
And when it comes to the differences in this part of the scene, I'll be back to do them later...
-
So, if I'm understanding this right, some of the staking-Carolyn scene was improvised (unscripted). Now, that's what made it work so well, and that's what's called method acting. It's a difficult thing to do and all involved must be in-sync. Many of the best scenes in film and TV were the result of improvised acting, from drama to comedy.
One classic scene from a movie comes to mind. In Raiders of the Lost Ark, Harrison Ford went through a grueling shoot where he battled hordes of bad guys in a middle-eastern city, up and down the streets. At the time he was suffering from Tourist Trots from drinking unprocessed water and really needed to, shall we say, "relieve" himself. The climax was to have him battle, with his whip, a huge man wielding a massive sword. Ford could no longer wait to find the local "privy," and improvised. He pulled out his pistol and shot his opponent. The guy portraying the scoundrel played along and fell dead and all the extras surrounding them responded appropriately.
Then there was The Turning Point, where Anne Bancroft threw her drink in Shirley Maclaine's face. Even though it was unscripted, the director whispered to Bancroft to do it without Maclaine's knowledge. Maclaine's reaction of shock was real, but she played along.
Gerard
-
And now the differences in the latest part of Scene 177, up to Roger's quote from Monday:
Stokes is suddenly seen with the black leather bag prominently in view as he holds it -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_aa.jpg)
- which is followed by yet more shots of Carolyn -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_c.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_d.jpg)
- reactions to the crosses - and next unlike how the script says Stokes turns his attention to Carolyn, it's Sheriff Patterson who moves in as Carolyn whimpers an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_e.jpg)
"No."
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_ea.jpg)
- and after he swipes at her with his right hand, she whimpers another unscripted -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_f.jpg)
"No."
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_fa.jpg)
- and in close-up she whimpers a third unscripted -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_g.jpg)
"N..."
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_h.jpg)
"...o..."
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_i.jpg)
"...o."
- and then we see the men advancing on Carolyn -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_j.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_k.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_l.jpg)
- and Carolyn reacting to their advances -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_m.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_n.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_o.jpg)
- and the men move closer still -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_p.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_q.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_r.jpg)
- and then the men move in to grab her -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_s.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_sa.jpg)
- and to force -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_t.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_ta.jpg)
- a struggling Carolyn back onto -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_u.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_v.jpg)
- a mattress (not on the floor) and pin down her -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_w.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_wa.jpg)
- arms and legs - and at first Carolyn is decidedly angry about the situation -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_x.jpg)
- she finds herself in, but soon her expression begins to turn to fear -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_y.jpg)
- the black leather bag that Stokes is holding and removing a stake -
(http://www.dsboards.com/91quoteimages/0821ds91_0.jpg)
- from inside as, unlike in the script where it happens later in the scene, Roger actually begs Stokes "Don't do it, Eliot!!" at this point in the film. (And as an aside, even though it's clearly Louis Edmonds' voice that's heard from off screen, an interesting goof with the Subtitles on the DVD and Blu-ray of hoDS is that Roger's line there is attributed to Todd! ::) But then, what would anything related to DS be without some sort of goof?! [b003])
And as I said we would only cover things up to Roger's quote, the rest of what has already been posted of Scene 177 as well as the conclusion of the scene will wait until next time...
-
So, if I'm understanding this right, some of the staking-Carolyn scene was improvised (unscripted).
I'm not sure if we can say the unscripted bit of dialogue was improvised - all we know for sure is that it doesn't appear in DC's script. Sam Hall was on hand during shooting and often made changes to scenes the night before shooting or even on the fly during shooting, both of which are things that some of the actors, particularly KLS, weren't happy about. However, the staking scene was well rehearsed because it was such a complicated shoot - and because it was rehearsed, it is possible that Stokes' unscripted "Jeff, take care of Todd" was improvised by Thayer David during the rehearsal process. Though it's also possible that it was something Sam Hall came up with after it was decided to drop Stokes' "Hold him!! Don't let him near her again!!" We'll probably never know.
Speaking of Thayer, though, I do love the story of how DC made him do an upcoming bit in the scene over and over again until DC felt he got it right. But we'll get more into that after I post the conclusion of Scene 177 and we get into the remaining differences...
-
Let's backtrack a little and then wrap up Scene 177 as it appears in DC's script:
CAROLYN - DOWNWARD ANGLE
Stokes, with weapon, approaches Carolyn. She is held
down by the men. A look of pure terror comes into her
eyes.
CAROLYN'S POV - STOKES
as he hovers over her, the deadly weapon in his hands.
REVERSE
WIDEN as she goes on writhing and SCREAMING. He poises
the stake over her heart. The deputies have all they
can do to keep her under control. Stokes raises the
hammer. rack focus to Roger
SHOT OF ROGER
A look of deep anguish on his face as he shouts at
Stokes.
177 CONTD (2) (2) CONTD 177
|
And that's when Monday's first quote -
Page 75/Scene 177 - Roger: 'No, Eliot, don't do it!! You can't destroy her like this! There must be some other way!'
- comes up, followed in the script by:
WIDEN as he runs in and
CAMERA PANS HIM to Stokes. He grabs Stokes' arm that
wields the hammer.
|
And that's when Monday's first quote -
Page 75/Scene 177 - Stokes: 'There is no other way, Roger! You must believe that!'
- comes up, followed in the script by:
The Sheriff has moved in and removed Roger's hand from
Stokes' arm. He tries to steady Roger, who stares in
horror at the upraised hammer in Stokes' hand, then
down at Carolyn's terror stricken face.
EXTREME CLOSE UP - CAROLYN'S EYES
We see the burning hatred she feels for Stokes.
CLOSE SHOT OF HAND HOLDING THE HAMMER
As the hand brings the hammer down, CAMERA WHIP PANS
with it until it smashes into the stake and we see
the stake being driven into Carolyn's chest and the
blood spurting out. SHOT WIDENS TO include Carolyn's
face as she lets out an UNEARTHLY SCREAM. CAMERA
WHIP PANS to Todd as he emits a WILD, HALF-CRAZED
SCREAM and collapses.
CAROLYN - DOWNWARD ANGLE
The stake has been driven through her heart. Blood
oozes out of her chest. Her eyes are closed. CAMERA
SLOW ZOOM TO CLOSE UP of her face looking serene.
CAMERA PULLS BACK AND VIEW WIDENS to show Roger
standing over her. He realizes she is at piece now.
|
End of scene and end of sequence.
And when it comes to the differences in this part of the scene, I'll be back to do them later...
-
Picking up after we left off in reply #672, here are the differences for the rest of Scene 177:
After Stokes starts to pull the stake from the black leather bag, we see Carolyn's POV of Stokes, Roger and the Sheriff -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_z.jpg)
- and given that Roger's quote from Monday begging Stokes not to do it was moved up, this is where it might have been likely that Stokes' quote from Monday, "There is no other way, Roger! You must believe that!", might have actually been delivered in the film rather than where it's scripted to be delivered, but considering it was completely dropped, that's a moot point - and after we see Stokes pull the stake from the bag -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_a1.jpg)
- we then see another shot from Carolyn's POV of the three men as Stokes readies the stake -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_b1.jpg)
- and the hammer - which is followed by a shot of Carolyn with hatred in here eyes -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_c1.jpg)
- but that soon turns to terror as the stake is lowered over -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_d1.jpg)
- her - and after a shot of Stokes and Roger, who is obviously in anguish -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_e1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_f1.jpg)
- Stokes begins to raise the hammer over the stake as Carolyn looks on -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_g1.jpg)
- in terror - and after Stokes positions the hammer over the stake -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_h1.jpg)
- we do see a shot of Roger with his hands on Stokes' back and arm, but -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_i1.jpg)
- he makes no effort to stop Stokes as Stokes raises the hammer up high -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_j1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_j1a.jpg)
- as Carolyn continues to look on in even more terror -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_k1.jpg)
- and Stokes brings down the hammer with such force that blood begins spurting out of Carolyn's chest -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_l1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_m1_n1_o1_p1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_q1_r1_s1_t1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_u1.jpg)
- as she shrieks in utter agony -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_v1.jpg)
- and after Stokes brings the hammer up again, and once again Roger has his hand on Stokes' upper arm -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_w1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_w1a.jpg)
- not able to take the sight any longer, Roger looks away before -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_x1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_x1a.jpg)
- Stokes brings the hammer down again -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_y1.jpg)
- and Carolyn shieks in agony again -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_z1.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_a2.jpg)
- as Todd struggles against Jeff and a policeman to get to her - and he calls out an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_b2.jpg)
"Carolyn!"
- desperately - but after he finally breaks free and gets to her side, it's too, because she's already gone -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_c2.jpg)
- and though Todd tries to move in to kiss her -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_d2.jpg)
- Jeff pulls him away -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_e2.jpg)
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_f2.jpg)
- so all there's left for Todd to do is to slump by Carolyn's side -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_g2.jpg)
- and to reach up to hold her arm -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_h2.jpg)
(http://www.dsboards.com/91quoteimages/0821ds91_h2a.jpg)
- as everyone involved stands and bears witness to the horrifying tragedy they've -
(http://www.dsboards.com/hoDSquoteimages/0821hoDS_i2.jpg)
- they just experienced.
-
BTW, eventually I will be going back to recreate and add in my missing posts from this topic. Though I certainly need to catch up to the slideshow before anything like that happens...
-
Setting up the previous scene in the slideshow:
187 INT: DRAWING ROOM - OLD HOUSE - NIGHT 187
CLOSE SHOT of music box. It is TINKLING OUT ITS TUNE.
PAN UP to Barnabas gazing at it fondly. PULL BACK as
Julia enters from the foyer carrying her medical bag.
Barnabas beams at her.
187 CONTD CONTD 187
|
And that's when Tuesday's quote -
Page 82/Scene 187 - Julia: 'I spoke to Professor Stokes today. The fact that there have been no attacks recently has almost convinced him that the vampire has disappeared. And the police have lifted the curfew.'
- comes up.
And when it comes to the dialogue, the descriptions, the directions, and the notations, things play almost identically to how they're scripted because Barnabas is indeed sitting and listening to the music box as Julia enters. However, Julia is not carrying her medical bag with her - and she actually delivers her quote exactly as scripted with the exception of preceding it with a "Barnabas" in order to get his attention because he's so enthralled listening to the music box - and even though DC has a notation in his script that says "she x to him" after she says Stokes is almost convinced the vampire has disappeared and before she says that the curfew has been lifted, as we can pretty much see in Tuesday's capture, what Julia actually does is -
(http://www.dsboards.com/91quoteimages/0912ds91_0.jpg)
- sit down on the couch opposite Barnabas and that occurs as she begins to explain how the lack of attacks has almost convinced Stokes the vampire has disappeared - and Barnabas doesn't beam at her until after she's delivered her news.
-
Continuing Scene 187 with last Wednesday's quote -
Page 82/Scene 187 - Barnabas: 'Julia, I owe it all to you. I don't know I shall ever be able to thank you.'
- coming up.
And what's actually very interesting about DC's script when it comes to this quote is that he has a notation that Barnabas would put his arm around Julia. But as we know, Barnabas actually closes the music box and immediately goes over -
(http://www.dsboards.com/hoDSquoteimages/0913hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0913hoDS_aa.jpg)
- to deliver the quote, which he does exactly as scripted, as he sits beside Julia on the couch and, as we can see in Wednesday's capture -
(http://www.dsboards.com/91quoteimages/0913ds91_0.jpg)
- he clasps Julia's hand in both of his, which is yet more clueless behavior on his part that can't help but give Julia the wrong idea...
(It's going to fascinating to see how this scene plays in the novelization...)
-
Continuing Scene 187 with last Thursday's quote -
Page 82/Scene 187 - Julia: 'It would be pointless now anyway. We must wait until we achieve total success. (seeing the music box) Where did you get that?'
- coming up, followed in the script by:
He picks it
BARNABAS up
It belonged to someone I knew
many years ago.
|
And when it comes to the dialogue, Julia delivers the first part of her quote exactly as scripted, but after she sees the music box, she actually asks "Where did you find that?" - but backtracking a bit, I love all of Julia's reactions to Barnabas clasping her hand:
(http://www.dsboards.com/hoDSquoteimages/0914hoDS_a.jpg)
The surprise
(http://www.dsboards.com/hoDSquoteimages/0914hoDS_b.jpg)
The nervous smile
(http://www.dsboards.com/hoDSquoteimages/0914hoDS_c.jpg)
The moment of seriousness
(http://www.dsboards.com/hoDSquoteimages/0914hoDS_d.jpg)
The nervous look away
(http://www.dsboards.com/91quoteimages/0914ds91_0.jpg)
And the wait for...
(http://www.dsboards.com/hoDSquoteimages/0914hoDS_e.jpg)
...total success
- I also love her expression when she spots the music box -
(http://www.dsboards.com/hoDSquoteimages/0914hoDS_f.jpg)
- but it's actually Julia who gets up to go -
(http://www.dsboards.com/hoDSquoteimages/0914hoDS_g.jpg)
- to the music box and not Barnabas who picks it up, as DC's notation indicates - and Barnabas actually delivers his line as "It belonged to somebody I knew many years ago."
-
Wrapping up Scene 187:
Julia listens and is enthralled.
|
And that's when last Friday's first quote -
Page 82/Scene 187 - Julia: 'It's very beautiful.'
- comes up, followed by last Friday's second quote -
Page 82/Scene 187 - Barnabas: (he smiles at her) 'I intend to give it to someone soon -- someone I love very much.'
- coming up, followed in the script by:
CAMERA TRUCKS in on Julia. She is speechless -- and CU J
hopeful.
|
And when it comes to the dialogue, the descriptions, the directions, and the notations, as we can see in Friday's first capture -
(http://www.dsboards.com/91quoteimages/0915ds91_0.jpg)
- Julia actually opens the music box while it's still on the table - and she actually delivers her quote as "Very beautiful", though we can't quite tell if she's enthralled because only her lower torso and right arm are on camera - and even though he's out of focus, Barnabas does appear to be smiling, though not really at Julia and it's doubtful she takes notice of his smile as he -
(http://www.dsboards.com/hoDSquoteimages/0915hoDS_a.jpg)
- delivers the first part of his quote, which he does exactly as scripted - after which Julia reaches to pick -
(http://www.dsboards.com/hoDSquoteimages/0915hoDS_b.jpg)
- up the music box - and as Barnabas delivers the second part of his quote, which he also does exactly as scripted, Julia brings the music box up closer -
(http://www.dsboards.com/91quoteimages/0915ds91_1.jpg)
- to her and does indeed look hopeful that Barnabas is speaking about giving the music box to her and that she is the one her loves very much, though we don't really see her in close-up as DC's notation indicates...
-
(It's going to fascinating to see how this scene plays in the novelization...)
Unlike several of the recent scenes in the novelization, it's not all that different from the script. There's additional dialogue, but like the script there's very little in the way of descriptions and directions. And much of the action in the film is nowhere to be seen. And that's because what we have to keep in mind here is that in the version of the script used for the novelization the scene in Josette's room between Barnabas and Willie in which Barnabas explains to Willie about Josette and plays the music box never takes place because Scene 118 in the film was a 4/27/70 revision to the script, so this scene is the first we hear of/see the music box in the version of the script used for the novelization:
A few night later after Barnabas received his injection
he left Julia to finish up in the lab and went into the
drawing room of the old house. There he removed a
cleverly designed little music box from a chest and studied
it with a sad smile. He touched the lid of the box so
that it tinkled out its tune with crystal clarity. And the
thin music of the old box took him back many years in
thought.
Julia entered from the hallway with her medical bag
in hand. "Isn't it delightful!"
Barnabas beamed at her. "A family heirloom."
She smiled. "I'm glad you're in such a happy mood.
I spoke to Professor Stokes today. The fact that there
have been no attacks recently has almost convinced him
that the vampire has disappeared. And the police have
lifted the curfew."
Barnabas was pleased. "Julia, I owe it all to you! I
don't know I shall ever be able to thank you."
She said, "It would be pointless now, anyway. We
must wait until we achieve total success. Where did you
get the music box?"
"It was hidden away here," he said. "It belonged to
someone I knew many years ago."
Julia listened, enthralled. "It's very beautiful."
Barnabas gave her a meaningful smile. "I intend to
give it to someone soon. Someone I love very much."
Julia felt the rush of warm blood to her cheeks. Speech-
less and full of hope, she lowered her gaze to the music
box quickly.
|
Also, it would seem that apparently in this version Barnabas never closes the music box so its music continues to play throughout the scene. But then he also never moves from his chair to the couch to sit by Julia as he does in the film's revised version of the scene. And it's interesting how that move in the film and his clasping of Julia's hand in his makes him appear even more clueless than he was originally intended to be...
-
Setting up how the scene that began on last Saturday in the slideshow begins in DC's script:
DRAW
188 INT: DINING ROOM - OLD HOUSE - NIGHT 188
CLOSE SHOT of two candles burning on a table. CAMERA
PULLS BACK to show Barnabas and Maggie. They have
finished dinner and are sipping champagne. He gazes
at her adoringly. She is smiling at him. For a moment
neither of them is aware that Willie has entered the
room and is standing there watching them. Then
Barnabas turns and sees him, but pays no attention
to the concerned look on his face.
BARNABAS
What is it, Willie?
188 CONTD CONTD 188
WILLIE
I just wondered if you wanted
anything else.
BARNABAS
More champagne?
MAGGIE
Oh, no, Barnabas -- not for me.
I must get back to Collinwood.
I want to be ready for David's
exams tomorrow.
|
And when it comes to the dialogue, the descriptions, the directions, and the notations, some things are different in the film and even appear in a different order - and because of that I'm going to hold off on getting into the first quotes in the slideshow from this scene so that we can first get into how the scene actually begins in the film:
The scene has indeed been switched from the dining room to the drawing room - but one thing that is not indicated in the script is that there's a dissolve from Scene 187 to Scene 188 and the music box tune continues to play over the beginning of Scene 188 even after the dissolve has completed and even though the music box in not actually playing in Scene 188 -
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_a.jpg)
- and as we can see from the dissolve, Scene 188 does not begin with a close shot of candles burning on a table with the camera then pulling back to show Barnabas and Maggie sipping champagne but rather with a close shot of a candelabra on a totally different table from where Maggie and Barnabas begin to be seen sitting - and while it will eventually become apparent that Maggie is sipping champagne, Barnabas is not - in fact, as the dissolve is still progressing, Barnabas asks -
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_b.jpg)
"More champagne?"
- which is scripted but not to take place quite yet - and Maggie actually replies -
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_c.jpg)
"Yes, thank you."
- which is very different from what Maggie is scripted to say - and it's quite clear that Willie is not in the room yet - and as we'll see in an upcoming post, the subject that Barnabas brings up next in the film is not scripted to take place until almost the very end of the scene and wouldn't come up in the slideshow until this past Monday...
-
Scene 188 continues in DC's script with Saturday's first quote -
Page 83/Scene 188 - Barnabas: 'That will be all, Willie.'
- coming up, followed in the script by:
Willie hesitates, as if wanting to say something.
There is just a slight edge in Barnabas' tone.
|
And that's when Saturday's second quote -
Page 83/Scene 188 - Barnabas: 'I said that will be all!'
- comes up, followed in the script by:
table
Willie leaves. Barnabas crosses to the mantle and gets
the music box. He brings it to Maggie.
BARN
Maggie - I have something BARNABAS
for you -(he x to table) I want you to have this.
MAGGIE
It's very beautiful, Barnabas.
What is it?
BARNABAS
Open it and see.
She opens it and it starts to play. She is delighted
by the SOUND OF THE MUSIC.
|
And that's when last Sunday's quote -
Page 83/Scene 188 - Barnabas: 'It belonged to Josette Du Pres. It was given to her by my namesake -- just before she died.'
- comes up, followed in the script by:
MAGGIE
Barnabas, it's a very thoughtful
thing for you to do -- but I would
think you would want to keep it.
|
And that's when last Sunday's quote -
Page 83/Scene 188 - Barnabas: 'I came across the original portrait of Josette again the other day and I was struck once more by your resemblance to her.'
- comes up, but it appears in the script as and is followed by:
__________________________________
/ BARNABAS \
/ I came across the original portrait \
MAKE 1ST | of Josette again the other day and |
SPEAK \ I was struck once more by your /
\ resemblance to her. /
\________________________________/
188 CONTD (2) (2) CONTD 188
MAGGIE
I'll always treasure it, Barnabas.
|
End of scene - though not end of sequence.
And I'll be back later to explain how all of this plays differently in the film...
-
Picking up Scene 188 with what actually happens after Maggie replies she'd like more champagne (David's exams be damned, I suppose [wink2]):
After Maggie is seen taking a sip of champagne -
(http://www.dsboards.com/hoDSquoteimages/0918hoDS_a.jpg)
- is when Barnabas actually brings up the subject of Josette's "original portrait" (but was there ever another one? Neither the movie or even the daytime series ever brought up another one, so it seems odd, to me at least, that the script should refer to the portrait in Josette's room as the "original portrait"), as was seen in this past Monday's capture when Barnabas actually said -
(http://www.dsboards.com/91quoteimages/0918ds91_0.jpg)
"You know, I was looking at the portrait of Josette earlier
this evening. And again, I couldn't help but think how much
you resemblance her."
- and after Maggie replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0918hoDS_b.jpg)
"Barnabas, I'd love to see the portrait."
- and to that Barnabas replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0918hoDS_c.jpg)
"You will -- very soon."
- (at which point I usually scream at the screen "Show her the damned portrait already!" I mean, this scene is the second time he's brought up the portrait and this time it's actually in the house with them. What the hell is he holding off for?! If I were Maggie, I'd be thinking "Put up or shut up about the damned portrait already!!" But at least in the film it's not referred to as the "original portrait.") - and it isn't until after the whole business concerning the portrait that Willie is actually seen in the background -
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_d.jpg)
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_da.jpg)
- as he enters the room - and unlike the script, Barnabas immediately becomes aware of him (though it would sort of hard to miss him when Willie is right in his line of sight) and he asks -
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_e.jpg)
"What is it, Wille?"
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_ea.jpg)
- which was scripted to be the first line of dialogue in the scene - to which Willie actually replies -
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_f.jpg)
"I just wondered if you wanted something else?"
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_fa.jpg)
- which is slightly different from what was scripted - but then instead of asking Maggie if she like more champagne, which is something that has already been dealt with, Barnabas asks an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_g.jpg)
"Would you like some coffee?"
- to which Maggie replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_h.jpg)
"No, thank you."
- (I guess she doesn't want to kill her champagne buzz [lghy]) and that's when Barnabas actually delivers Saturday's first quote -
(http://www.dsboards.com/91quoteimages/0916ds91_0.jpg)
"That will be all, Willie."
- exactly as scripted - but after Willie remains -
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_i.jpg)
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_ia.jpg)
- unmoved, Barnabas becomes perturbed and actually delivers Saturday's second quote as -
(http://www.dsboards.com/91quoteimages/0916ds91_1.jpg)
"That will be all."
- after which Willie swallows hard and, looking none too -
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_j.jpg)
- happy, leaves -
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_k.jpg)
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_ka.jpg)
- the room and Barnabas watches -
(http://www.dsboards.com/hoDSquoteimages/0916hoDS_l.jpg)
- him go.
And we'll break there to conclude the scene in an upcoming post...
-
There's more misunderstandings going on here than a season of Three's Company. Poor Julia thinks that the music box is meant for her and that Barnabas is in love with her. In turn, Barnabas is totally oblivious to her feelings (a DS constant) but is totally head over heels with Maggie Evans, who he has had limited contact with.
I'd be the last one to defend Jeff Clark but, if he and Maggie are as serious about each other as they are supposed to be, she shouldn't be going off on strolls through the woods with another man, let alone having candlelight suppers with said man.
-
I'd be the last one to defend Jeff Clark but, if he and Maggie are as serious about each other as they are supposed to be, she shouldn't be going off on strolls through the woods with another man, let alone having candlelight suppers with said man.
No kidding! Maggie doesn't behave at all like a woman who's supposedly in a committed relationship. It's bad enough in an upcoming scene when Maggie goes to dinner with Barnabas at the Collinsport Inn while Jeff is out of town, but Jeff is in town when Scene 188 takes place!
-
No kidding! Maggie doesn't behave at all like a woman who's supposedly in a committed relationship. It's bad enough in an upcoming scene when Maggie goes to dinner with Barnabas at the Collinsport Inn while Jeff is out of town, but Jeff is in town when Scene 188 takes place!
I've a feeling that Maggie may be somewhat in Barnabas' thrall, even though she's yet to be bitten. It seems to me that Barnabas, like many other vampires, has a very powerful influence over his intended victims. So I think a lot of this may be in spite of her feelings for Jeff, which have probably not changed.
-
- is when Barnabas actually brings up the subject of Josette's "original portrait" (but was there ever another one? Neither the movie or even the daytime series ever brought up another one, so it seems odd, to me at least, that the script should refer to the portrait in Josette's room as the "original portrait")
Hmm... looks like maybe the script was looking ahead to the 1991 DS? [hall2_cheesy]
-
I've a feeling that Maggie may be somewhat in Barnabas' thrall, even though she's yet to be bitten. It seems to me that Barnabas, like many other vampires, has a very powerful influence over his intended victims. So I think a lot of this may be in spite of her feelings for Jeff, which have probably not changed.
I've never thought of it in those terms, but they might be possible. And if they are, it could mean maybe there really are supernatural elements at play in Scenes 111 and 112 when Barnabas persuades Maggie not to leave Collinwood. As I said back in May, the novelization seems to play up that Barnabas has some sort of supernatural influence over Maggie as he persuades her. But to me the sequence as filmed plays as if Barnabas simply uses his charm on Maggie - and that's the way KLS approached it when she played it (unfortunately I've never seen any comments from Frid on how he played it). But there is that extreme close-up in Scene 111 -
Continuing Scene 111, picking up with a notation that DC added to his script -
- just before yesterday's quote, Maggie's reply to Barnabas saying things will be very different -
Page 42/Scene 111 - Maggie: 'You make me believe they can be.'
- comes up, followed by today's quote -
Page 42/Scene 111 - Barnabas: 'I'll see that they are.'
- coming up.
And when it comes to the dialogue, the descriptions, and the directions, as we can see in yesterday's capture, Maggie does indeed -
(http://www.dsboards.com/91quoteimages/0525ds91_0.jpg)
- turn to look at Barnabas before she delivers yesterday's quote, which she actually delivers as "You almost make me believe they can be" - and when Barnabas delivers today's quote exactly as scripted, one thing that isn't scripted but can be seen in today's capture, he's in -
(http://www.dsboards.com/91quoteimages/0526ds91_0.jpg)
- extreme close-up.
- which is of the variety the daytime show often used when Barnabas was supernaturally imposing his will on someone. However, unlike the novelization, which speaks of a "hypnotic something in his face" and a "magic in his eyes" when describing those moments in the scene, DC's script simply says there's "an intensity in his look" and that could mean anything. Though something that is interesting is that both the novelization and DC's script say that the look on Barn's face "frightens" Maggie, but she doesn't react that way at all in the film. But what would be interesting to know is if Dan Ross made up the novelization's descriptions of Barn's look on his own or if they were in the script he used for the novelization? One thing I can say and often commented on when I was sharing the version of the hoDS script from the DS Files books was that the descriptions of scenes and moments in scenes are far more vividly described than they are in DC's script, so it's quite possible Ross simply took those descriptions right from the script. And if so, that would more than likely mean that originally Barn's influence over Maggie in Scene's 111 and 112 was meant to be interpreted as supernatural and not just possibly supernatural. And if Barn could have been using a supernatural influence there, you could be on to something, KMR, that Maggie may be somewhat in Barn's thrall, even though she's yet to be bitten, and that's why she seems to forget all about Jeff when she's with Barn. Unfortunately, though, that has to remain speculation on our parts because there really isn't anything in the film as it stands to prove it one way or the other. And who knows, maybe that's exactly the way DC wanted it. Or maybe he just didn't care what the audience thought about Maggie's behavior. Considering character is hardly DC's strong suit in the film, Maggie being with Barn may have simply been a means to an end in DC's eyes...
-
Interesting to reflect that at this point in the story, Julia is completely misinterpreting Barnabas's behavior with her, while Barnabas himself is not really comprehending the nature of Maggie's "interest" in his company.
And it all ends in tragedy...
I definitely don't feel that AS FILMED, Maggie is in Barn's thrall at this point. It's just a replay of the material from the original 1967 storyline with Vicki. She is fascinated and charmed. And she has not a clue that he's romantically hot for her. Between that and her choice of Jeff Clark as a boyfriend, you really have to wonder about this version of Maggie...
G.
-
her choice of Jeff Clark as a boyfriend
Yes, that's far more questionable than any of her behavior with Barnabas. [hall2_grin]
And actually, there are scenes in the script in which Maggie and Jeff argue over Barnabas. And had they been included in the film, they probably would have mitigated at least some of the criticisms of her we've made recently. But of course, in DC's infinite wisdom they all ended up on the cutting room floor. So quite honestly the way Maggie comes off in the film is mostly on DC, which is why I said it's quite possible that DC didn't care what the audience thought about Maggie's behavior because her being with Barn was likely just a means to an end in DC's eyes.
-
I find it interesting that while Maggie is definitely the heroine (or final girl, as they say), KLS appeares in very little of the promotional material for the film. Nancy Barrett, who is more of a supporting character in this context, is the focus of a lot of the advertising. Perhaps even more than Frid.
-
Yes, NB definitely overshadowed KLS when it comes to the promotional aspect of the film. Plus, NB had the much more flashy role - KLS, through no fault of her own, is often reduced to standing or sitting around with little impact on the plot. Though that's often because Maggie's (and pretty much every other character's save Barnabas) best material ended up on the cutting room floor, which is not the case when it comes to Carolyn because VERY little of her material got cut.
-
My memory of the very first newspaper ad I ever saw for hoDS is pretty dramatic. What I recall is that we were on a holiday trip to Florida and somewhere along the way, one of my parents picked up a paper. I was looking through it and there was this tiny ad for the movie. It just showed the faces of Barnabas and Carolyn running with blood. (I think the Barnabas shot was from his second attack on Maggie, and the Carolyn shot was from the post-staking set-up.) Maybe it's a false memory but I just remember bouncing up and down with excitement, no doubt while my mother rolled her eyes--she hated DS.
I'm sure I clipped this and later pasted it in one of my scrapbooks when I got home. But all my scrapbooks got tossed when Mom cleaned out my bedroom one day some years after I had left home.
G.
-
Might the newspaper ad have been this one:
(http://www.dsboards.com/hoDSquoteimages/Newsp-1.jpg)
-
I remember it having been an even smaller ad than that, but yes, those were the images on it. I think it was edited so you just saw Nancy's face, not the stake (possibly due to how graphic the image is--it was somewhere in the Deep South, for sure, and in 1970 there were more stringent rules about what could be shown in various places, as you recall...).
If you own the hoDS pressbook--which I have never seen--I would think the ad would have been in there.
Best, G.
-
I have the hoDS Pressbook - that's where the ad I shared came from and it's the smallest ad the pressbook has with only Carolyn and Barn. The theater or newspaper may have edited that one before the newspaper printed it. And come to think of it, I may have a newspaper clipping of that ad that is smaller. Let me check...
-
The version that I have is a combination of the above ad, a plain one -
(http://www.dsboards.com/hoDSquoteimages/Newsp-2.jpg)
- and the "A story of blood relations" tag line:
(http://www.dsboards.com/hoDSquoteimages/Newsp_a.jpg)
And while we're on the subject of ads, ones that seem to have been rarely used are these:
(http://www.dsboards.com/hoDSquoteimages/Newsp-3.jpg)(http://www.dsboards.com/hoDSquoteimages/Newsp-4.jpg)
I only saw the version on the right printed once - and I never saw the version on the left until I got a copy of the pressbook...
-
I've only seen those ads recently. In a couple of Facebook groups and Google Images.
-
I love it that the one theatre ran the movie with FEARLESS VAMPIRE KILLERS which was 3 years old at that point as a co-feature. I'm very fond of FVK.
G.
-
When I went to see hoDS at the first local indoor theater that played it (interestingly, after it ran at one downtown, it opened in another that was only about 6 blocks away from my house), FVK was also the co-feature there. (I don't even remember what the co-feature was at the second theater - but I probably have a newspaper ad for the run around here somewhere...)
-
I do remember those ads and several others. Our local newspaper ran them in turns. Another one also had snips from the movie, including Willie getting choked after he opened the coffin, Carolyn staked and Barnabas attacking Maggie (there's a pic of it on the wiki HoDS page). And then there was the ultimate, a photo of the cast on the grounds of Lyndhurst that also served as the cover of the Ross novelization. Like Gothic, I clipped and saved them all. Where they are now, no one knows.
Gerard
-
Another one also had snips from the movie, including Willie getting choked after he opened the coffin, Carolyn staked and Barnabas attacking Maggie (there's a pic of it on the wiki HoDS page).
Both versions of that are in reply #531 because it wasn't until this past July that I noticed - well, go back and read the post:reply #531
And then there was the ultimate, a photo of the cast on the grounds of Lyndhurst that also served as the cover of the Ross novelization.
That one I haven't shared yet...
Like Gothic, I clipped and saved them all. Where they are now, no one knows.
It's a shame you both lost your collections. My mom knew better than to even touch my DS stuff, much less toss it. But then mine was only out of my possession for about 9 years (from '77 until '86) when it was packed away way in the back of the closet in my old room. Everything went there after the '76-'77 syndication run ended in my area, and it came back out about 5 months after I'd discovered in '85 that DS was back on in syndication in my area and I began to watch it religiously again...
-
MB, you're remarkable. You found your previous post. That was the first ad that appeared in our newspaper. The others followed. Some were reprinted when NoDS came out as a double-feature (remember those?). As for the cast photo used on Ross' book, just google HoDS and click on images. It's there several times - you'll recognize it. I may still have my scrapbook with the ads here in this house. It looks like the storage areas in the secret corridors of Collinwood. Hopefully, someday I'll find them.
Gerard
-
This is so much fun seeing all these different ads for the movie. Thanks for posting them, MB! I can't believe how cheesy some were--especially that one with Carolyn's mouth open and Barnabas' face inside. [hall2_rolleyes]
The montage of the cast in front of Lyndhurst as seen on the cover of the Ross novel is the same image from the primary one sheet poster design. (I actually have a three sheet version--which despite the name is really in two pieces--that I've yet to display anywhere. That sucker is 6 feet tall!)
-
Finally getting back to conclude Scene 188:
After Barnabas recovers from having to, shall we say, strongly persuade Willie to leave the room, he delivers the line that's added to DC's script -
(http://www.dsboards.com/hoDSquoteimages/0917hoDS_a.jpg)
"Maggie, I have something for you."
- and he gets up as she wonders -
(http://www.dsboards.com/hoDSquoteimages/0917hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/0917hoDS_ba.jpg)
- what he's talking about - and after going to a table and picking up the music box -
(http://www.dsboards.com/hoDSquoteimages/0917hoDS_c.jpg)
- and turning to look in Maggie's direction in -
(http://www.dsboards.com/hoDSquoteimages/0917hoDS_d.jpg)
- anticipation, Barnabas brings the music box to Maggie and says -
(http://www.dsboards.com/hoDSquoteimages/0917hoDS_e.jpg)
"I want you to have this."
(http://www.dsboards.com/hoDSquoteimages/0917hoDS_ea.jpg)
- exactly as scripted - but, as the camera begins a slow truck in on them, Maggie actually reacts by simply saying -
(http://www.dsboards.com/hoDSquoteimages/0917hoDS_f.jpg)
"Oh, Barnabas, it's beautiful."
(http://www.dsboards.com/hoDSquoteimages/0917hoDS_fa.jpg)
- without asking what it is or Barnabas telling her to open it to see because, given that both are crossed out in the script, they're dropped from the scene - so what does actually happen after Maggie's remark is that, as she opens the music box and it plays, Barnabas delivers September 17th's quote by explaining -
(http://www.dsboards.com/91quoteimages/0917ds91_0.jpg)
"It belonged to Josette Du Pres. It was given to her by my
namesake -- just before she died."
- but after being surprised and -
(http://www.dsboards.com/hoDSquoteimages/0917hoDS_g.jpg)
- touched by that info, Maggie doesn't protest with "Barnabas, it's a very thoughtful thing for you to do -- but I would think you would want to keep it", as she does in the script because that's all dropped - and Barnabas doesn't bring up the Josette's portrait because he already has earlier in the scene - so, instead, things jump to the end of the scene as scripted and Maggie turns to the music box and gratefully says -
(http://www.dsboards.com/hoDSquoteimages/0917hoDS_h.jpg)
"I'll always treasure it."
- with the "Barnabas" dropped.
-
Now let's see how the novelzation of Scene 188 is somewhat different:
But it was not Julia he was thinking of in regard to the
lovely old music box, it was Maggie Evans. And a few
nights later he invited the pretty governess to dinner at
the old house. He'd found out that Julia had to attend a
meeting in the village, which meant she would leave as
soon as she'd given him his injection. So he decided it
would be the ideal occasion to have Maggie over.
The reason he offered for having the dinner party was
to celebrate the completion of the restoration of the
dining room in the old house. And considering the mag-
nificent work done, this would have been a good enough
excuse. But his true motive to having Maggie to dinner
was to be with her again and to make her a present of
the music box.
They sat down to celebrate dinner at nine. Barnabas
had spared no pains in having it prepared. Two candles
burned on the table. And when they finished the ecellent
meal they lingered at the table sipping champagne. Barn-
abas gazed at Maggie adoringly. And her smile for him
was warm. Willie, the servant, entered the room sound-
lessly and stood watching them in obvious concern for
a moment before he was noticed.
Then Barnabas turned to him. "What is it, Willie?"
Looking uncomfortable, Willie said, "I just wondered
if you wanted anything else?"
"More champagne," Barnabas ordered.
Maggie spoke up quickly, "Oh, no, Barnabas. Not for
me. I must get back to Collinwood. I want to be ready
for David's exams tomorrow."
Barnabas smiled. "You're sure?"
"Quite sure."
"Very well,"Barnabas said. "That will be all, Willie."
"Yes, sir," Willie said heavily and went out.
Barnabas rose and crossed to the mantle where he'd
put the music box. Offering it to Maggie, he said, "I want
you to have this."
Her eyes widened with delight. "It's very beautiful,
Barnabas. What is it?"
He smiled. "Open it and see."
She did and it began to play. She listened to its thin,
clear tune and looked up at him. "How lovely."
He nodded. "It belonged to Josette Du Pres. It was
given to her by my namesake, just before she died."
Maggie was touched. She caressed the music box with
her fingers. "Barnabas, it's a very thoughtful thing for you
to do. But I would think you would want to keep it."
"No. I'd prefer that you have it."
"Why?"
He had a far away look in his deep-set eyes. "I came
across the original portrait of Josette again the other day
and I was struck once more by your resemblance to her."
"And that is why you would like it to be mine?"
"Yes. That and other reasons. Please accept it," he
begged her.
Her eyes were adoring as she told him, "I'll always
treasure it, Barnabas."
|
It would really be interesting to know if the script used for the novelization went into how Julia wouldn't be around, so that's why Barnabas had Maggie over on that specific night. And it would also be interesting if that script states that Barnabas used the excuse of the completed restoration of the dining room to have Maggie over because something like that would definitely cut down on the seeming inappropriateness of Maggie being alone with Barnabas for a candle light dinner. Though considering in the film they changed the setting of the dinner to the drawing room, that excuse wouldn't work anyway.
One thing that's definitely interesting is that Barnabas only has to tell Willie once that his services are no longer needed and Willie leaves, unlike how that plays out in both the film and DC's script.
Also, the way Josette's portrait is brought up actually flows with the conversation and it makes much more sense than how it's brought up in either DC's script or in the film.
And I love Barnabas' "That and other reasons" remark. You bet there are "other reasons," honey!! [hall2_grin]
-
And once again it's time to focus on the Fest's 1999 Movie Calendar because April 28th's installment is different from both DC's script and the novelization:
For April 28th:
(http://www.dsboards.com/moviesquoteimages/0215hoDS_0.jpg)
hoDS: Alternate Version of Scene #188 - Barnabas (to
Maggie): 'I came across the original portrait of Josette.
I was struck once again by her beauty and your resemblance
to her.'
-
Since there's no electricity at the old house, every dinner would have to have been by candlelight, so maybe the dinner didn't appear quite as inappropriate.
But Maggie should have had resisted the gift of the music box more than she did. It's perfectly in character for him to want to give it to her. But Maggie should have realized that was a very expensive gift from someone that she doesn't know that well, especially when she's supposed to be serious with Jeff.
-
Has anyone else wondered if Willie had always been such an accomplished cook that he could prepare an "excellent meal"--an in a kitchen without electricity, no less! It just seems a tad bit out of character for him... Or maybe Barnabas had also bitten and enslaved a chef from Collinsport whom we never saw? [hall2_undecided]
-
Wouldn't it be funny if Willie's backstory in the film had been that at one time he'd been Collinwood's renowned chef, but something happened in Willie's life that made him abuse alcohol to such a point that after that he was reduced to being the Collins' alcoholic and resentful handyman? [hall2_wink] But then Barnabas comes along and "rehabilitates" Willie, after which Barnabas gets to take advantage of Willie's culinary expertise! [hall2_grin]
-
This is so much fun seeing all these different ads for the movie. Thanks for posting them, MB! I can't believe how cheesy some were--especially that one with Carolyn's mouth open and Barnabas' face inside. [hall2_rolleyes]
Apparently whoever designed the DS posters had a taste (no pun intended) for sticking things inside mouths because lets not forget that in the A version of the NoDS poster an image of Angelique hanging is inside Angelique's mouth:
(http://www.dsboards.com/NoDSquoteimages/Ang_mouth_poster_1.jpg)
The montage of the cast in front of Lyndhurst as seen on the cover of the Ross novel is the same image from the primary one sheet poster design.
Honestly, something about the aesthetic of the layout of the card and the 6 sheet appeals to me -
(http://www.dsboards.com/hoDSquoteimages/hods_1_card.jpg)
Click for a 948X736 version (http://www.dsboards.com/hoDSquoteimages/hods_1_card.jpg)
- more than the one sheet and three sheet layout -
(http://www.dsboards.com/hoDSquoteimages/hods_1_one.jpg)
Click for a 652X1023 version (http://www.dsboards.com/hoDSquoteimages/hods_1_one.jpg)
And is it just me or does Julia look more like she's wearing the "football helmet" wig from the '67 daytime eps than she does the hairstyle she sports in the film? I've often wondered if that photo in the poster was taken before they decided on a final look for Julia?
(I actually have a three sheet version--which despite the name is really in two pieces--that I've yet to display anywhere. That sucker is 6 feet tall!)
That's the problem with those big posters. The one sheets are so much easier to display.
As I've mentioned before, I have the one sheet of NoDS displayed in my home office.
-
Moving on to Scene 189:
189 INT: OLD HOUSE DRAWING ROOM - NIGHT 189
CAMERA IS TIGHT on Willie's agitated face.
|
And that's when September 19th's first quote -
Page 84/Scene 189 - Willie: 'Barnabas, why'd you give Maggie the music box?'
- comes up, followed in the script by:
CAMERA TRUCKS BACK TO TWO SHOT:
|
And that's when September 19th's second quote -
Page 84/Scene 189 - Barnabas: 'You know I'm very fond of her.'
- comes up, followed by September 20th's quote -
Page 84/Scene 189 - Willie: 'You're not -- you're not going to do to her -- what you did to Carolyn -- are you?'
- coming up, followed by last Thursday's quote -
Page 84/Scene 189 - Barnabas: 'Willie, this is going to be very different.'
- coming up.
And when it comes to the dialogue, the descriptions, the directions, and the notations, Scene 189 does not begin with the camera tight on Willie's agitated face because, as can be seen in September 19th's first capture -
(http://www.dsboards.com/91quoteimages/0919ds91_0.jpg)
- things are already being shot as a two shot - and as Willie moves closer to Barnabas, he actually delivers that day's first quote as "Why'd you give Maggie that music box?", with the "Barnabas" dropped - and after Barnabas turns his head to acknowledge Willie beside him and then, as can be seen in September 19th's second capture -
(http://www.dsboards.com/91quoteimages/0919ds91_1.jpg)
- Barnabas turns his head away, he delivers that day's second quote exactly as scripted - but then Willie actually delivers September 20th's quote as "You're not gonna do to her what you did to Carolyn?", with the first "You know" and the "are you" dropped before Barnabas turns completely to face Willie, as can be seen in last Thursday's capture -
(http://www.dsboards.com/91quoteimages/0921ds91_0.jpg)
- and he delivers that day's quote exactly as scripted.
-
Continuing with Scene 189:
WILLIE
What do you mean different?
|
And that's when last Friday's first quote -
Page 84/Scene 189 - Barnabas: 'Haven't you noticed how much I've changed recently --'
- comes up, followed by last Friday's second quote -
Page 84/Scene 189 - Willie: 'Look, I don't care about that -- I only care about Maggie!'
- coming up, followed by last Saturday's quote -
Page 84/Scene 189 - Barnabas: 'I'd be the last person to let anything happen to her.'
- coming up, followed in the script by:
There is an anguished look on Willie's face. This
kind of smooth talk from Barnabas is very unusual and
he doesn't believe it.
|
And that's when Sunday's quote -
Page 84/Scene 189 - Willie (pleading): 'Barnabas, please stay away from her. Anyway, you know she's already spoken for!'
- comes up.
And when it comes to the dialogue, the descriptions, the directions, and the notations, Willie actually delivers his unquoted line as "Well, what da you mean different?", and I love the look of confusion on his face before -
(http://www.dsboards.com/hoDSquoteimages/0922hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0922hoDS_aa.jpg)
- before he does so - and as can be seen in last Friday's first capture, Barnabas turns away from Willie (and a notation in DC's script indicates Barnabas "x toward door") as -
(http://www.dsboards.com/91quoteimages/0922ds91_0.jpg)
- Barnabas delivers that day's first quote, which he does so as "Well, haven't you noticed how much I've changed recently?" - and as we can see in Friday's second capture, Willie follows after Barn, putting the chafing dish he's been holding down on a table as -
(http://www.dsboards.com/91quoteimages/0922ds91_1.jpg)
- he delivers that day's second quote exactly as scripted - and as we can see in last Saturday's capture, Willie runs after Barnabas as Barnabas goes into the foyer as -
(http://www.dsboards.com/91quoteimages/0923ds91_0.jpg)
- Barnabas actually delivers that day's quote as "I'm the last person who would let anything happen to Maggie" - and as we can see in Sunday's capture, Willie cuts in front of Barnabas (and there was a notation that said just that in DC's script but he mostly erased it for some reason) to stop him as -
(http://www.dsboards.com/91quoteimages/0924ds91_0.jpg)
- he delivers Sunday's quote almost exactly as scripted, except that when it comes to the first part he adds a pause, as in "Barnabas, please -- stay away from her", to change the tone. (And seeing the anguish on Willie's face, it's easy to understand why/how he does the things that he's about to do...)
-
Wrapping up Scene 189:
And that's when Monday's quote -
Page 85/Scene 189 - Barnabas: 'She won't be seeing Jeff for several days. I've seen to that.'
- comes up, followed by Tuesday's first quote -
Page 85/Scene 189 - Willie (panicky): 'What're you talking about? You ain't done nothing to Jeff, have you?'
- coming up, followed by Tuesday's second quote -
Page 85/Scene 189 - Barnabas: 'On the contrary, Willie. I've done something for him.'
- coming up.
End of scene.
And when it comes to the dialogue and the lack of descriptions, directions and notations, as can be seen in Monday's capture, Barnabas starts up the stairs and then turns back to Willie -
(http://www.dsboards.com/91quoteimages/0925ds91_0.jpg)
- when he sort of gloats as the completion of that day's quote, which he delivers exactly as scripted - and as we can see in Tuesday's first capture, Barnabas continues up the stairs and reaches the top as -
(http://www.dsboards.com/91quoteimages/0926ds91_0.jpg)
- a worried Willie delivers that day's first quote almost exactly as scripted with the exception of saying "You ain't done nothin' to Jeff, have ya?" - and as can be seen in Tuesday's second capture, Barnabas swings around and with more gloat in his voice he delivers that day's second quote -
(http://www.dsboards.com/91quoteimages/0926ds91_1.jpg)
(http://www.dsboards.com/91quoteimages/0926ds91_1a.jpg)
- exactly as scripted - and that only causes Willie to become more confused -
(http://www.dsboards.com/hoDSquoteimages/0926hoDS_a.jpg)
(http://www.dsboards.com/hoDSquoteimages/0926hoDS_b.jpg)
- as the camera trucks in on him (and the audience remains just as confused because, as the film stands, we never do find out what Barnabas has done for Jeff... [hall2_rolleyes]).
-
Here's the novelization of Scene 189:
Willie was
in the drawing room with an agitated expression on his
ugly face. He at once demanded of Barnabas, "Why did
you give Maggie the music box?"
Barnabas frowned. "You know I'm very fond of her."
Willie was plainly worried. "You're not--you're not
going to do to her what you did to Miss Carolyn, are you?"
Barnabas shook his head and in a placating tone said,
"No, Willie. This is going to be very different."
"What do you mean, different?" the servant asked
suspiciously.
Barnabas said, "Haven't you noticed how much I've
changed recently?"
Willie hesitated unhappily. "I don't know about that.
I mean, I don't care about it. I only care about Maggie."
Barnabas was all calm reason. "I'd be the last person
to let anything happen to her."
He was plainly baffled. "I don't properly understand a
lot of the things that have happened," he said. "But it's
been better lately. And I'd like to see it stay that way."
Barnabas said, "You needn't worry."
"You know what could happen," Willie reminded him.
"There is no danger."
"I'd like to believe that," Willie said. "But after Carolyn
and the others I don't."
"Even if I give you my solemn word?"
"Barnabas, please stay away from her," Willie pleaded.
"Anyway, you know she's in love with Jeff. She's already
spoken for."
"She won't be seeing Jeff for a while, Barnabas said.
"I've taken care of that."
Willie was at once alarmed. "What are you talking
about? You ain't done nothing to Jeff, have you?"
Barnabas smiled wryly. "On the contrary, Willie, I've
done something for him."
|
Like many other scenes, there's additional dialogue. But even some of the other dialogue is a bit different in places.
-
Apparently whoever designed the DS posters had a taste (no pun intended) for sticking things inside mouths because lets not forget that in the A version of the NoDS poster an image of Angelique hanging is inside Angelique's mouth:
I'd forgotten about that one! It seems to me that they were really going out of their way to emphasize the horror in that movie (quite overselling that aspect, IMO). It's a much more cerebral work. Whereas for HoDS, as weird as the ad campaign was, it did fit in much more with the aesthetic of the film.
-
And before we reach the current scene in the slideshow, we need to deal with a very short (in DC's script, anyway) scene:
190 EXT: COLLINWOOD - DAY 190
WIDE ANGLE
INT Carolyn's Room
SLOW ZOOM IN on second story window where Liz is seen
sitting, staring into space. As CAMERA MOVES IN, the
SOUND OF MAGGIE'S VOICE from the next scene slowly
starts filtering in over the picture.
|
And that's when Wednesday's quote -
Page 85/Scene 190 - Maggie (OS): 'I'd love to go with you, Jeff, but Mrs. Stoddard needs me so.'
- comes up, followed in the script by:
And when it comes to the dialogue, the descriptions, the directions, and the notation, we really have no way of knowing how things might have played in the film because this scene ended up on the cutting room floor.
-
Interestingly, the novelization's version of Scene 190 bears little resemblance to the version in DC's script:
Elizabeth paid no attention to the phone when it rang,
merely continuing to stare sadly out the window, her
eyes fixed on nothing in particular. Maggie picked up
the phone and found it was Jeff wanting to talk to her.
"How would you like to go to Boston for a few days?"
he asked.
"I'd love it," she told him. "Why do you ask?"
"I have to go for a special reason," he said in an
elated tone. "I think you'll be interested and it would
be nice if you could be there too."
"I'd enjoy it," she said. "But I can't leave Collinwood
now. Mrs. Stoddard needs me so."
From the other end of the line came Jeff's disappointed,
"I'd forgotten about that. There's no chance of your
getting away?"
"I'm afraid not," she said, genuinely sorry. "But I do
want to hear all about it."
"Can we meet later in the afternoon?" he asked.
"Come over here," she invited. "I'll be out on the
grounds with David."
"Fine," he said. "In about an hour."
"I'll be looking for you," she told him.
|
Shockingly more extended Jeff material dropped from the script at some point along the way. Not that it was all that important because we'll learn the important stuff concerning Jeff in Scene 191. All what's really important in Scene 190 is that there's been no improvement with Liz and that was retained in DC's script - though, of course, given it's character oriented and not related to the blood and gore, DC deemed it unnecessary to the film. But still, what was DC thinking, dropping material from his favorite muse RD?!
-
I don't remember having any real sense of what Barn had done FOR Jeff in my viewings of hoDS over the years. What I do remember is that I figured that part of the story out thanks to the Dan Ross book.
Evidently there was another earlier scene involving Jeff and Barnabas which hasn't survived in ANY existing recension of the screenplay. Jeff mentions that the two had already met when they're introduced to one another at the Ball.
Researchers have attributed Roger Davis's abrupt departure from the daytime series to all the material he had in the movie that was cut. Reportedly, Davis tossed his head, cocked his chin, snapped at Dan: "Well, if that's the way you feel about me... GOODBYE." And, as the saying goes today, flounced dramatically from the room, to a scattering of applause, while a certain ingenue blew kisses.
G.
-
Cool story, Gothick. Though I wonder who got the last laugh. Roger's stint in HODS is one of his final jobs as a leading man. His post DS career soon settled into unsold pilots, a short lived series and a bunch of undistinguished guest shots.
-
Oh, but RD had a very busy career as a voiceover artist, didn't he?
-
Yes, the voiceover work continued for quite some time. The on camera stuff tapered off.
-
And though it's not related to acting per se (well, unless he used acting techniques on his clients to seal the deals), who could forget RD's real estate career? Though it was next to impossible for any Fest attendees to forget because we were consistently being handed T shirts each year. And some attendees are probably still having nightmares over those promo videos...
-
Setting up the current scene:
191 EXT: GREENHOUSE - COLLINWOOD GROUNDS - DAY 191
A blanket is spread out on the grass in front of the
greenhouse. Maggie and Jeff, arm in arm, are slowly
walking. David can be seen playing in the greenhouse
in b.g.
MAGGIE
You'd better get started. You want
to be in Boston before dark, don't
you?
JEFF
(looking at watch)
I still can't believe this is
happening.
|
And that's when Thursday's first quote -
Page 85/Scene 191 - Maggie: 'Barnabas thinks you're very talented.'
- comes up, followed by Thursday's second quote -
Page 85/Scene 191 - Jeff: 'I guess he must -- to recommend me to the Evanston Gallery.'
- coming up.
And when it comes to the dialogue, the descriptions, the directions, and the notations, we really have no way of knowing how things might have played in the film because this scene also ended up on the cutting room floor. But then, why would anyone watching the film be the slightest bit curious what Barnabas had done for Jeff. The audience is simply watching and waiting for the next blood, gore and violence sequence, right? And the audience is getting antsy because there hasn't been anything since Carolyn's staking - just stupid music box scenes between Barnabas and Julia, and Barnabas and Maggie. And who cares if Willie is worried about Maggie or not? Let's get to it!! Well, at least that's the way DC was probably thinking...
But getting back to the script, there's additional dialogue added in the margin of the page for this section of the scene, but I'm going to hold off sharing that until next time because it's going to take quite a while to format it and I don't have the time to do that right now...
-
When I saw the movie in the theater, I remember being puzzled about what suddenly happened to Jeff. The scene with Barnabas telling Willie he did something "for" him was all that was mentioned and then he was gone until returning for the climactic blood bath. It wasn't until I read the novelization that it all made sense.
Gerard
-
Here's the way this part of the scene appears in DC's script:
191 EXT: GREENHOUSE - COLLINWOOD GROUNDS - DAY 191
A blanket is spread out on the grass in front of the
greenhouse. Maggie and Jeff, arm in arm, are slowly
walking. David can be seen playing in the greenhouse
in b.g.
_____________________________
/ MAGGIE \
|You'd better get started. You want|
|to be in Boston before dark, don't | JEFF
|you? | I know it's
\______________________________/ a great break
JEFF
(looking at watch) But I still
I still can't believe this is don't fell right
happening. about leaving
you
MAGGIE MAG
Barnabas thinks you're very talented. Don't worry
It'll be fine anyway
JEFF you'll only be
I guess he must to recommend me
to the Evanston Gallery. gone for few days
|
Presumably the added dialogue was intended to replace Maggie's first lines. And as we'll see as the scene progresses, there's actually several places where DC has dialogue changes in the scene. Seems almost like a waste of their time when the scene doesn't even make it to the film...
-
I'm intrigued by the thought of a world where Jeff Clark is an up and coming young artist. And vampire Barnabas Collins, who at this point has barely been out of his coffin six weeks if that, is somehow in a position to "recommend" an unknown artist to a prestigious gallery. I suppose he could have done it if he had made a trip to the gallery, dropped a huge amount of money on a few pictures, and then told the amazed owner that he knew of a young painter who was going to be "hot." I'm still having trouble envisioning this.
I'm quite sure however that you are bang on the mark in your scenario regarding the great director's thought process in chopping this scene. I've wondered how long the cut he originally delivered to MGM was. My impression is that material such as the current scene wasn't even in the original delivered edit, but doubtful we will ever know for sure...
G.
-
Continuing with Scene 191:
191 CONTD CONTD 191
They walk along a bit. Jeff senses a change in her
mood. She is very somber.
|
And that's when Friday's quote -
Page 86/Scene 191 - Jeff: 'Hey, what's the matter. Be happy.'
- comes up, followed in the script by:
And that's when yesterday's quote -
Page 86/Scene 191 - Maggie: 'I can't be Jeff -- remembering Carolyn.'
- coming up, followed in the script by:
JEFF
Don't.
He pulls her to him. They look at each other and kiss.
|
I'm sure that wasn't the intent (at least one would hope not), but it almost seems like Jeff is telling Maggie to forget all about Carolyn. [hall2_rolleyes]
But anyway, once again when it comes to the dialogue, the descriptions, the directions, and the notations, we really have no way of knowing how things might have played in the film because this scene ended up on the cutting room floor. But one moment from this portion of the scene that we can see, at least in still version, and a very rare still at that, is Jeff and Maggie kissing:
(http://www.dsboards.com/hoDSquoteimages/Jeff_Mag_kiss.jpg)
To my knowledge that still has only been published once and it was in an article on the film that was done by the daytime magazine TV BY DAY (the article actually contains several photos that have never been published elsewhere)...
-
Maybe Barnabas made a field trip into Boston while he was still in vampire mode and enslaved TPTB, just exerting enough influence to bend them to his will. We don't see any of Jeff's work to be able to juggle his artistic merit but if he were indeed that talented, wouldn't Roger or Elizabeth have already recommended him?
-
That still is an amazing find, MB. Maybe that was the day when as KLS was riding home, she was writing in her diary about all the pastry she was going to start eating because DC had said he thought she and Davis had great chem together and he was going to put them together on the show again...
Uncle Roger, LOLOL!
Best, G.
-
I'm afraid I almost literally laughed out loud when I read today's script excerpt. First I imagined Roger delivering the line while literally fondling his own hair. Then I wondered about the appropriateness of a grown man "rumpling" a fourteen year old's hair.
An interesting moment... well, that's one way to describe it... in our journey through this beleaguered screenplay.
Thanks, MB!
G.
-
Continuing Scene 191 with what happens after Jeff and Maggie kiss:
As they do they hear the SOUND OF GLASS SHATTERING in
the greenhouse. Maggie looks O.S.
|
And that's when yesterday's first quote -
Page 86/Scene 191 - Maggie (calling): 'David, please!! I’ve told you it’s dangerous in there! Now stop playing and come out.'
- comes up, followed in the script by:
And that's when yesterday's second quote -
Page 86/Scene 191 - David: 'I wasn’t playing, I was practicing my throwing arm..'
- comes up, though when it comes to the script, this section actually looks like this:
Mag
MAGGIE David are you
(calling) they come in all right
David, please!! I've told you David
it's dangerous in there! Now stop Hey Maggie come on
playing and come out. in for a minute
I want to show
David comes out. you something
DAVID
I wasn’t playing, I was practicing
my throwing arm. Here look at
this (shows him a bird nest)
|
And when it comes to the dialogue, the descriptions, the directions, and the notations, we really have no way of knowing how things might have played in the film because this scene ended up on the cutting room floor. And because of that as well as the fact that this time around none of the originally scripted dialogue is put in a box, who knows if the added dialogue replaces anything or if it's additional to what's scripted? But at least once again I can share a still - and time it's of DC directing RD, KLS and DH inside the greenhouse:
(http://www.dsboards.com/hoDSquoteimages/Greenhouse.jpg)
And this is actually the only still I have ever seen of DH from Scene 191...
(And who knows what RD is holding - but it certainly doesn't look like a bird nest. [ghost_nowink])
-
That still is an amazing find
An even rarer one will be showing up in the graphic for the 4th...
Maybe that was the day when as KLS was riding home, she was writing in her diary about all the pastry she was going to start eating because DC had said he thought she and Davis had great chem together and he was going to put them together on the show again...
Unfortunately, it's not that day. In fact, she writes very little about that day's shooting. Mostly she complains about having to wear a "silly, skimpy" dress. And I bet she really was freezing her buns off because they shot Scene 191 on March 27th. And to compound the situation, RD wore a jacket and DH wore a sweater in the scene - but she was only in the skimpy dress...
-
I'm intrigued by the thought of a world where Jeff Clark is an up and coming young artist. And vampire Barnabas Collins, who at this point has barely been out of his coffin six weeks if that, is somehow in a position to "recommend" an unknown artist to a prestigious gallery. I suppose he could have done it if he had made a trip to the gallery, dropped a huge amount of money on a few pictures, and then told the amazed owner that he knew of a young painter who was going to be "hot." I'm still having trouble envisioning this.
You bring up an excellent point. Though we know that when it came to the daytime show DC expected that the audience would never ask questions and would simply go with the flow no matter how outlandish or inconsistent things got. So, it's probably not a stretch that he fully expected the film's audience to do the same.
One thing that dawned on me the other day is, as the film stands, are we even aware that Jeff is a painter? Roger does ask him in Scene 141 if he's going back to his studio (Carolyn is out prowling the woods and posing a danger) but "studio" doesn't necessarily convey artist studio, much less Jeff being a painter. But then, it's those little details that meant so little to DC when it came to hoDS...
-
Maybe Barnabas made a field trip into Boston while he was still in vampire mode and enslaved TPTB, just exerting enough influence to bend them to his will. We don't see any of Jeff's work to be able to juggle his artistic merit but if he were indeed that talented, wouldn't Roger or Elizabeth have already recommended him?
Who knows why the gallery takes Barnabas up on his recommendation? And an even better question is why haven't Roger or Elizabetht already recommended Jeff somewhere if his work is as good as we're led to believe in the script? But again, apparently those are questions we're not supposed to even think, much less actually ask...
But I do love the idea of Barnabas swooping down to Boston, especially in bat form [Bat], exerting his will, and then swooping back home all in a night's work!! [hall2_grin]
-
Continuing with more of Scene 191, beginning with Jeff's response to David -
Page 86/Scene 191 - Jeff (rumpling his hair): 'David, why don't you practice picking up the picnic things?'
- coming up, followed by today's quote -
Page 86/Scene 191 - David (running off): 'Oh, you just want to be alone.'
- coming up, though when it comes to the script, this section actually looks like this:
JEFF
(rumpling his hair)
David, why don't you practice
picking up the picnic things? OUTSIDE
DAVID
(running off) OK. - But
Oh, you just want to be alone.
|
And when it comes to the dialogue, the descriptions, the directions, and the notations, we really have no way of knowing how things might have played in the film because, as we've been saying, this scene ended up on the cutting room floor.
-
Wrapping up Scene 191:
as he goes out
They look at each other and start walking toward the
car. As they reach the car and Jeff climbs in:
|
And that's when today's quote -
Page 86/Scene 191 - Maggie: 'I know they'll love your paintings. Good luck, Jeff.'
- comes up in the script, followed in the script by:
JEFF
I'll call you as soon as I know.
He kisses her lightly, waves to David and drives off.
Maggie and David watch him go, turn and start toward
the house.
|
Though when it comes to the script, this section actually looks like:
car. As they reach the car and Jeff climbs in:
JEFF --------->
He's right MAGGIE
(He kisses her) I know they'll love your paintings.
Good luck, Jeff.
I guess better get
going JEFF
if I want to I'll call you as soon as I know.
get to Bost before dark.
He kisses her lightly, waves to David and drives off.
_> Maggie and David watch him go, turn and start toward
\ the house.
\
They start toward the door
|
End of scene.
And when it comes to the dialogue, the descriptions, the directions, and the notations, we really have no way of knowing how things might have played in the film because this scene ended up on the cutting room floor.
-
Oops - I forgot that I wanted to share the full version of the still I used for today's graphic:
(http://www.dsboards.com/hoDSquoteimages/Jef_Mag_green.jpg)
So far as I'm aware, it's never been published anywhere...
-
I love that shot!! [spider_scare] [spider_scare] [spider_scare]
-
Congrats on your scoop with that still, MB!
I think their pose and respective expressions speaks volumes about their famous onscreen "chem"...
G.
-
There really isn't all that much that's different about the novelization of Scene 191 vs. how it appears in DC's script. About the only two things worth pointing out are that instead of -
191 CONTD CONTD 191
They walk along a bit. Jeff senses a change in her
mood. She is very somber.
|
And that's when Friday's quote -
Page 86/Scene 191 - Jeff: 'Hey, what's the matter. Be happy.'
- comes up, followed in the script by:
And that's when yesterday's quote -
Page 86/Scene 191 - Maggie: 'I can't be Jeff -- remembering Carolyn.'
- coming up, followed in the script by:
JEFF
Don't.
He pulls her to him. They look at each other and kiss.
|
- the novelization has -
They strolled on toward the greenhouse. And she
became silent. Jeff, sensing a change in her mood, gave
her a concerned glance. It wasn't like her to be so somber.
Maggie looked at him apologetically. "Don't let me
spoil this for you. It's just that I'm feeling blue. Elizabeth
is so unhappy."
"I know."
"And you can't blame her. Remembering Carolyn and
what happened."
"Don't," Jeff begged her and drew her to him. Their
eyes met in a mutual love and understanding. They kissed.
But the kiss was interrupted by the sound of glass shatter-
ing in the greenhouse.
|
- and instead of -
Page 86/Scene 191 - Jeff (rumpling his hair): 'David, why don't you practice picking up the picnic things?'
- coming up, followed by today's quote -
Page 86/Scene 191 - David (running off): 'Oh, you just want to be alone.'
- coming up
They look at each other and start walking toward the
car. As they reach the car and Jeff climbs in:
|
- the novelization has -
"David, why
don't you practice picking up the picnic things?"
With a teasing look David jeered, "Sure! You two
just want to be alone!" Laughing delightedly, he raced off
"Smart youngster," Jeff said, smiling at Maggie.
"Too smart," she said, staring after the boy with resig-
nation. Then they turned and strolled toward Jeff's car.
When they reached it, Jeff climbed in.
|
-
Here are two pages of photos from Scrapbook Memories of the shooting of Scene 191:
(http://www.dsboards.com/hoDSquoteimages/Page-69.jpg)
(http://www.dsboards.com/hoDSquoteimages/Page-102.jpg)
One will certainly look familiar because I used it for several graphics in the slideshow...
-
Setting up the current scene as it starts in DC's script:
192 EXT: COLLINWOOD ENTRANCE - DAY 192
Maggie and David are on their way to the front door of
the house. She hears Willie calling to her O.S.
WILLIE (OS)
Maggie!!
WILLIE - WIDE ANGLE
as he runs to Maggie across the lawn.
MAGGIE
Hello, Willie.
|
And that's when today's quote -
Page 87/Scene 192 - Willie: 'Maggie, you gotta get away from Collinwood.'
- comes up.
And when it comes to what's different about the dialogue, the descriptions and the directions, I'll get into that next time...
-
And now for the differences between the script and the film when it comes to the beginning of Scene 192:
To start off, the scene does not begin with Maggie and David as they're on their way to the front door of Collinwood and she doesn't hear Willie calling to her off screen because the scene actually begins with the wide angle shot of Willie as he calls to Maggie while on screen. And Willie does so not just once but four times -
(http://www.dsboards.com/hoDSquoteimages/1005hoDS_a.jpg)
"Maggie!!"
(http://www.dsboards.com/hoDSquoteimages/1005hoDS_b.jpg)
"Maggie!!"
"Maggie!!"
(http://www.dsboards.com/hoDSquoteimages/1005hoDS_d.jpg)
"Maggie!!"
- and instead of Maggie reacting with "Hello, Willie", she reacts in confusion with -
(http://www.dsboards.com/hoDSquoteimages/1005hoDS_e.jpg)
"Willie?"
(http://www.dsboards.com/hoDSquoteimages/1005hoDS_f.jpg)
"Willie,wha...?"
(http://www.dsboards.com/hoDSquoteimages/1005hoDS_fa.jpg)
- and after Willie tries to touch Maggie's cheek but she -
(http://www.dsboards.com/hoDSquoteimages/1005hoDS_g.jpg)
(http://www.dsboards.com/hoDSquoteimages/1005hoDS_ga.jpg)
- pulls away just enough for him to stop, Willie actually delivers yesterday's quote as "You gotta get away from Collinwood, Maggie."
-
Continuing with the way Scene 192 plays in DC's script:
MAGGIE
(looks at David)
David, take these inside.
David looks at Willie, goes in.
|
And that's when today's first quote -
Page 87/Scene 192 - Willie: 'Look, you just gotta take my word for it -- because -- it's something I can't explain, see.'
- comes up, followed by today's second quote -
Page 87/Scene 192 - Maggie: 'No, I don't see.'
- coming up.
And when it comes to what's different about the dialogue, the descriptions and the directions, I'll get into that next time...
-
And now for the differences between the script and the film when it comes to the next section of Scene 192:
What Maggie turns to David and actually says is "David, take those things inside, would you?" (apparently, even though it doesn't explain as such, the script envisioned that Maggie would be holding the picnic things and hand them off to David, but as can be seen in the captures in the previous post, it's David who's carrying them) - and after David replies with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/1006hoDS_a.jpg)
"Why?"
- to which Willie responds by reaching out and -
(http://www.dsboards.com/hoDSquoteimages/1006hoDS_b.jpg)
(http://www.dsboards.com/hoDSquoteimages/1006hoDS_c.jpg)
- pushing David away and then saying an unscripted -
(http://www.dsboards.com/hoDSquoteimages/1006hoDS_d.jpg)
"Git!"
- to which Maggie responds angrily with an unscripted -
(http://www.dsboards.com/hoDSquoteimages/1006hoDS_e.jpg)
"Willie!"
- which causes Willie to get an embarrassed look -
(http://www.dsboards.com/hoDSquoteimages/1006hoDS_f.jpg)
- on his face - and then David begins to move away, looking at Willie like he's crazy -
(http://www.dsboards.com/hoDSquoteimages/1006hoDS_g.jpg)
(http://www.dsboards.com/hoDSquoteimages/1006hoDS_ga.jpg)
- and after Willie actually delivers yesterday's first quote as "Maggie, you gotta, you gotta, you gotta take my word for it because I can't explain, see" while, as we can see in yesterday's first capture, David -
(http://www.dsboards.com/91quoteimages/1006ds91_0.jpg)
-continues to look at them - and Maggie actually replies to Willie with "No, I don't see, Willie", by which time, as we can see in yesterday's second capture, David -
(http://www.dsboards.com/91quoteimages/1006ds91_1.jpg)
- is resigned to going into the house...
-
Continuing with more of the way Scene 192 plays in DC's script, beginning with today's first quote -
Page 87/Scene 192 - Willie: 'Maggie, you know how much I like you! I don't want anything to happen to you!'
- coming up, followed by today's second quote -
Scene 192 - Maggie: 'Willie, what do you think is going to happen to me?'
- coming up.
And when it comes to the dialogue, what Willie actually says is "Maggie, you know how I feel about cha. I mean, you know I don't want anything to happen to ya" - and Maggie responds by actually asking "Why? What do you think is gonna happen to me?"
Also, there was a notation in DC's script before today's quote from Maggie about her crossing to somewhere, but he erased it, so we'll never know what he might have originally intended her to do rather than simply stay standing with Willie like she does in the film.
-
Continuing with more of the way Scene 192 plays in DC's script, beginning with today's first quote -
Page 87/Scene 192 - Willie: 'Will you please believe me! That's all!'
- coming up, followed by today's second quote -
Page 87/Scene 192 - Maggie: 'Willie, I appreciate all this sudden concern for my safety --'
- coming up.
And when it comes to the dialogue and today's first quote, Willie actually delivers it more as "Will you please believe me? That's all" - and Maggie responds by actually saying "Willie, I appreciate this concern, but --"
-
There are some interesting character bits in these sequences. David's somewhat protective behavior towards Maggie indicates to me that they may have resolved their issues from earlier in the movie. Or, with Carolyn out of the picture, David simply wants an ally in case he needs one later on.
It was established early on that Willie had a definite infatuation with Maggie that was not reciprocated. Maggie seems to have mellowed towards him, though David certainly has not.
Now that Barnabas appears to be in remission, has he lost his control over Willie? Is that why Willie is able to try to warn Maggie, leading up to the You Betrayed Me sequence later on? But HODS Barnabas did not seem to exorcise the same amount of control over his victims that the TV Barnabas did. Not with Willie. Certainly not with Carolyn.
-
David's somewhat protective behavior towards Maggie indicates to me that they may have resolved their issues from earlier in the movie. Or, with Carolyn out of the picture, David simply wants an ally in case he needs one later on.
Valid possibilities on both counts.
It was established early on that Willie had a definite infatuation with Maggie that was not reciprocated. Maggie seems to have mellowed towards him, though David certainly has not.
On the daytime show, while Vicki was more afraid of Willie than defiant toward him, she mellowed after his personality completely changed under, shall we say, Barnabas' influence. Perhaps Maggie's mellowing is a reflection of that too. Though it might have been nice had there been at least one line in the script to indicate that - perhaps something similar to the line the '91 Vicki says during her dinner with Barnabas.
Now that Barnabas appears to be in remission, has he lost his control over Willie? Is that why Willie is able to try to warn Maggie, leading up to the You Betrayed Me sequence later on? But HODS Barnabas did not seem to exorcise the same amount of control over his victims that the TV Barnabas did. Not with Willie. Certainly not with Carolyn.
It's odd that film Barnabas seems to have little if any control over his victims...
-
And continuing with even more of the way Scene 192 plays in DC's script, beginning with today's first quote -
Page 87/Scene 192 - Willie: 'You seeing Barnabas tonight?'
- coming up, followed in the script by:
And that's when today's second quote -
Page 88/Scene 192 - Maggie: 'Yes, I am -- and unless you tell me what's bothering you I've got to go in. I have a lot of work to do.'
- comes up.
And when it comes to the dialogue and today's first quote, Willie actually asks "You gonna see Barnabas tonight?" - and at first Maggie responds as scripted with "Yes, I am", but she pauses before actually adding (as the camera switches to a shot of Willie looking -
(http://www.dsboards.com/hoDSquoteimages/1009hoDS_a.jpg)
- very concerned over that) "Willie, if you don't tell me what's bothering you, I'm gonna go inside. I've got work to do." And there's a notation in DC's script that before Maggie says that she's got to go inside, she crosses by Willie, but as we know that doesn't happen because she continues to stand in the same spot.
-
Wrapping up the way Scene 192 plays in DC's script, beginning with Maggie adding an unscripted -
(http://www.dsboards.com/hoDSquoteimages/1010hoDS_a.jpg)
"What is it?"
- before the script reads:
Willie looks at her, knows he cannot tell her.
|
And that's when today's first quote -
Page 88/Scene 192 - Willie: 'Nothing, Maggie -- nothing --'
- comes up, followed by today's second quote -
Page 88/Scene 192 - Maggie: 'Oh, Willie -- I'll never understand you.'
coming up, followed in the script by:
She turns and goes into the house. Willie stands there
as if paralyzed.
|
End of scene.
And when it comes to the dialogue, the descriptions, and the directions, Willie delivers today's first quote exactly as scripted - and to that Maggie nods her head in the negative and actually delivers the second quote as "Willie, I'll never understand you", with the "Oh" dropped, as she backs away, continuing to nod her head - and then after a few second of moving toward the house, she turns to look back* -
(http://www.dsboards.com/hoDSquoteimages/1010hoDS_b.jpg)
- at Willie and then turns back toward the door as she continues to move toward it - however, we never see her actually go into the house, so we obviously never see Willie standing looking paralyzed after she does so.
(* Is it just me, or does the capture make it look like Maggie is also doing something quite unladylike, especially in public?!)
-
Once again there really isn't all that much that's different about the novelization of the just completed scene, Scene 192, vs. how it appears in DC's script. And again there are only two sections worth pointing out.
Instead of:
And that's when today's quote -
Page 87/Scene 192 - Willie: 'Maggie, you gotta get away from Collinwood.'
- comes up.
MAGGIE
(looks at David)
David, take these inside.
David looks at Willie, goes in.
|
And that's when today's first quote -
Page 87/Scene 192 - Willie: 'Look, you just gotta take my word for it -- because -- it's something I can't explain, see.'
- comes up.
- the novelization has -
"Maggie, you gotta get away from Collinwood," Willie
said earnestly.
Her face shadowed and she turned to David. "Will you
please take these inside?" she said, handing him some
papers. The boy hesitated, gave Willie a wary look, and
then rather reluctantly did as she'd asked.
When he was inside, she told Willie, "Explain your-
self."
He frowned. "Look, you just gotta take my word for
it. Because . . . it's something I can't explain, see?"
|
- and instead of -
Page 87/Scene 192 - Willie: 'You seeing Barnabas tonight?'
- coming up, followed in the script by:
And that's when today's second quote -
Page 88/Scene 192 - Maggie: 'Yes, I am -- and unless you tell me what's bothering you I've got to go in. I have a lot of work to do.'
- comes up.
Willie looks at her, knows he cannot tell her.
|
And that's when today's first quote -
Page 88/Scene 192 - Willie: 'Nothing, Maggie -- nothing --'
- comes up, followed by today's second quote -
Page 88/Scene 192 - Maggie: 'Oh, Willie -- I'll never understand you.'
coming up, followed in the script by:
She turns and goes into the house. Willie stands there
as if paralyzed.
|
- the novelization has -
Willie hesitated, then asked, "You seeing Barnabas
tonight?"
"Yes, I am. And unless you tell me what's bothering
you, I've got to go in. I have a lot of work to do."
He stared at her with troubled eyes. "It's hard for me
to explain," he muttered.
"So it seems," she said impatiently. "What is this big
secret?"
"Nothing, Maggie, nothing," he said with despair.
She gave him a disgusted look. "I don't think it's very
nice of you, trying to scare me without any good reason.
"Willie, I'll never understand you!" And she turned and
went quickly into the house.
Willie stood staring after her in despair.
|
It's interesting that the novelization says that Maggie hands papers to David to take into the house because the script seems to imply it's picnic things. But then that's simply because the script doesn't mention anything else that Maggie might be carrying. Like I've said, at times DC's script is painfully lacking in explanation, which was not the case with the portions of the hoDS script that appeared in the DS Files books.
-
Setting up today's new scene:
193 EXT: MAIN STREET, COLLINSPORT - DAY 193
CAMERA IS TIGHT on Stokes looking both astonished and
exasperated. CARS and PASSERSBY can be seen in b.g. C U W
|
And that's when today's quote -
Page 88/Scene 193 - Stokes: 'For God's sake, man, get hold of yourself and try to make some sense.'
- comes up.
And when it comes to the dialogue, the direction, the descriptions and the notations, we really have no way of knowing how things might have played in the film because this scene ended up on the cutting room floor. But one thing that might have been the case beyond the indication that the scene would actually begin with a close-up of Willie is that today's quote would have actually been delivered off screen because DC added a notation to that effect in his script.
-
Wrapping up Scene 193:
|_____________________________ 2 SHOT
CAMERA PULLS BACK to reveal a trembling, terrified Or cut to
Willie standing opposite him. wide from
across street
|
And that's when Thursday's first quote -
Page 88/Scene 193 - Willie: 'He's -- he's going to do the same thing to Maggie he did to Carolyn. He's going to make her a vampire!'
- comes up, followed by Thursday's second quote -
Page 88/Scene 193 - Stokes (shaken): 'Who is?'
- coming up, followed in the script by:
Willie looks at him, terrified.
|
And that's when Friday's first quote -
Page 88/Scene 193 - Stokes: 'Speak up, man!!'
- comes up, followed by Friday's second quote -
Page 88/Scene 193 - Willie (with great difficulty): 'Barnabas -- Collins!'
- coming up, followed in the script by:
And when it comes to the dialogue, the direction, the descriptions and the notations, we really have no way of knowing how things might have played in the film because this scene ended up on the cutting room floor. And beyond the notations shared above there are two others. They indicated that Stokes' quote from Friday would be delivered off screen and that he would grab Willie's shirt.
-
I forgot to mention that for anyone who's not aware, the still I used for the graphics for this scene (which can be seen better in the graphics for the previous version -
(http://www.dsboards.com/moviesquoteimages/0504hoDS_0.jpg)
(http://www.dsboards.com/moviesquoteimages/0505hoDS_0.jpg)
- of the slideshow) can be found in the DS Movie Book, which is the only place I'm aware it's ever been published.
It's interesting that every one of the street shots that were done that day of production in Wilton, CT all never made it into the film...
-
I drove past there last week. It hasn't been a restaurant for quite some time. It was purchased by the Chabad of Westport and they seem to be putting on an addition to the building.
-
I also forgot to mention that there's nothing different about the novelization of Scene 193.
-
Setting up the current scene:
INT
194 EXT: DINING ROOM - COLLINSPORT INN - NIGHT 194
Barnabas and Maggie are sitting at a table. She is
staring at the fireplace. In B.G. we see other DINERS.
|
And that's when yesterday's quote -
Page 89/Scene 194 - Barnabas: 'Are you going to tell me what's been troubling you all evening?'
- comes up.
And when it comes to the dialogue, the direction, the descriptions and the notations, it's interesting that whoever typed the page made that error placing this scene outside, well, unless they thought the Collinsport Inn has an alfresco dining room - and the scene doesn't begin with Barnabas and Maggie sitting at a table because first we see what seems to be a standing patron and waitress (I wonder if she's secretly named Susie? [b003]) chatting with a seated patron while a waiter (or perhaps wine steward) begins to go by -
(http://www.dsboards.com/hoDSquoteimages/1014hoDS_a.jpg)
- in the background - and then as he continues to move along he passes by -
(http://www.dsboards.com/hoDSquoteimages/1014hoDS_b.jpg)
- a room of other patrons (the room Willie and Barnabas were in when Carolyn spotted Willie earlier in the film) on his way to the table where Barnabas and Maggie are sitting - and after he sets the wine down at their table, Barnabas says an unscripted -
(http://www.dsboards.com/hoDSquoteimages/1014hoDS_c.jpg)
"Thank you."
- and we can see that Maggie is not staring into the fireplace - and after the waiter(wine stward) leaves, as can be seen in yesterday's capture, Barnabas picks up the wine bottle -
(http://www.dsboards.com/91quoteimages/1014ds91_0.jpg)
- with the intent of pouring as he delivers yesterday's quote, which he does as "Maggie, are you going to tell me what's been troubling you this evening?"
-
I wonder if the wait staff were actually employees of the Three Bears Inn. It would be very much a DC thing to get out of paying extras by using real staff.
And, isn't a bit odd that the Blue Whale has the very visible icons of Three Bears outside the main entrance?
-
Continuing with Scene 194, beginning with yesterday's quote, Maggie's reply to Barnabas -
Page 89/Scene 194 - Maggie (looking at him): 'Has it been so obvious? (attempting a smile) Or have you gotten to know me better than I thought you had?'
- coming up, followed in the script by:
BARNABAS
I think anyone could see you've
been disturbed tonight. What
is it, Maggie?
|
And as far as the dialogue, the direction, and the descriptions go, the first part of Maggie's actual reply is "Oh, Barnabas, has it been that obvious?" - and she doesn't so much as attempt a smile as she achieves one - and while he begins to pour the wine, Barnabas' actual response to Maggie wondering if he knows her better than she might think is "Well, I sure anyone could see that something's been disturbing you", - and as she turns away -
(http://www.dsboards.com/hoDSquoteimages/1015hoDS_a.jpg)
- and looks down at the table, he follows with "And now, tell me what it is" rather than the scripted "What is it, Maggie?"
-
I wonder if the wait staff were actually employees of the Three Bears Inn. It would be very much a DC thing to get out of paying extras by using real staff.
I wouldn't be the slightest bit surprised if they were the actual staff. [ghost_nowink]
-
Continuing with Scene 194, beginning with yesterday's quote, Maggie's explanation of what's been disturbing her -
Page 89/Scene 194 - Maggie (after a pause): 'This afternoon -- Willie Loomis came to see me. I know there are times when Willie seems not to be all there -- but he was so concerned about me -- even frightened.'
- coming up, followed in the script by:
BARNABAS
CAMERA ZOOMS IN to CLOSE UP -- he is thoroughly shocked,
but doesn't let it show.
|
And that's when today's quote -
Page 89/Scene 194 - Barnabas: 'Did he tell you -- why he was so concerned?'
- comes up.
And as far as the dialogue, the directions, and the descriptions go, Maggie actually explains to Barnabas with "Well, this afternoon, Willie Loomis came to see me. Now, Barnabas, I know there are times when Willie seems a little strange, but he was so concerned about me. even frightened - and while it may not zoom in, the camera does indeed move in closer on Barnabas as Maggie says that (in fact, DC added a notation after Maggie's first sentence that reads "Start slow tighten to Barn") - and I love the expression that comes on Barnabas' face, as can be seen in yesterday's capture -
(http://www.dsboards.com/91quoteimages/1016ds91_0.jpg)
- the minute Maggie brings up Willie so it's a good thing Maggie isn't looking at Barnabas at that moment because initially he doesn't exactly hide his shock well - and Barnabas replies by actually asking "Can you tell me why he's so concerned?"
-
Continuing with Scene 194:
And that's when today's first quote -
Page 89/Scene 194 - Maggie: 'He just kept saying -- I was in some kind of danger -- but I couldn't get him to explain what he was talking about! What's been troubling me -- is the feeling that he was completely sincere.'
- comes up, followed in the script by:
CAMERA PULLS BACK to 2 SHOT.
|
And that's when today's quote -
Page 89/Scene 194 - Barnabas: 'But that, of course, doesn't make him right, does it?'
- comes up.
And as far as the dialogue, the directions, and the descriptions go, while the camera does initially switch to a shot of Maggie -
(http://www.dsboards.com/hoDSquoteimages/1018hoDS_a.jpg)
- while she actually explains "He just kept telling me that I was in danger", the camera switches to Barnabas -
(http://www.dsboards.com/hoDSquoteimages/1018hoDS_b.jpg)
- while she actually says "I couldn't get him to explain what he was talking about", with the "but" dropped, and then, as can be seen in today's first capture, it switches back to Maggie -
(http://www.dsboards.com/91quoteimages/1018ds91_0.jpg)
- while she actually says "But the thing that's been troubling me is the feeling that he was completely sincere" - and as can be seen in today's second capture, that's followed by the camera switching back to Barnabas -
(http://www.dsboards.com/91quoteimages/1018ds91_1.jpg)
- while he actually says "But that, of course, doesn't make him right, now, does it?" And what's interesting in this section of the scene is that opposite Maggie's lines DC has a notation that reads "Slow truck RT pan left, to favor B" and another that indicates "Start truck" after Maggie says "troubling me" and before she says "is the feeling", but no such truck takes place because all the shots of Maggie and Barnabas in this section of the scene are steady. And given that it's crossed out in the script, there's also no 2 shot of Barnabas and Maggie at any point when he delivers his quoted line.
-
Danny Horn snarks his way through an account of the hoDS publicity campaign. Mildly amusing.
https://darkshadowseveryday.com/2017/10/15/episode-1088/
G.
-
Frid: "Our producer knows the lowest common denominator."
Gee, ya think?! And that's one of Frid's more flattering DC comments from that press tour.
Thanks so much for posting the link, Gothick. It's always nice to see articles that basically say the exact same things that we've been saying here for years and that share Frid's own words because there are still a lot of fans who simply don't realize the depth of dislike he (and several of the other actors) felt about hoDS...
-
Continuing with Scene 194:
194 CONTD CONTD 194
MAGGIE
No, but --
|
And that's when today's quote -
Page 90/Scene 194 - Barnabas: 'You know, Willie is quite fond of you. In light of recent tragedies -- I'm sure he began to imagine that something might happen to you -- Doesn't that make some sense?'
- comes up, followed in the script by:
MAGGIE
Yes, I -- I guess so --
|
And as far as the dialogue, the directions, and the descriptions go, looking a bit embarrassed, Maggie actually responds to Barnabas with -
(http://www.dsboards.com/hoDSquoteimages/1019hoDS_a.jpg)
No, of course not.
- and then, as we can see in today's capture, as the camera is pulling back to include Barnabas -
(http://www.dsboards.com/91quoteimages/1019ds91_0.jpg)
- he actually delivers today's quote as "You know, Willie's very fond of you, and, well, in light of the recent attacks, I'm sure he imagines that something might happen to you. Now, doesn't that make sense?" - and with a smile, Maggie -
(http://www.dsboards.com/hoDSquoteimages/1019hoDS_b.jpg)
- replies a bit more assuredly than scripted with "Yes, I guess so." And again the notations in this section are interesting for the same reason as yesterday's were because they don't take place. In fact, several notations in this section and upcoming sections of the script were actually erased from the script. But one that remains yet doesn't take place says Barnabas takes Maggie's hand after he delivers today's quote.
-
I know I should just go way back and look, but I keep thinking that the blouse Maggie wore for this Blue Whale dinner scene was the same as the blouse she wore in those cut scenes from the start of the film.
Maybe tonight I'll go back to the start of the thread and see if I'm hallucinating again. And next I will ponder whether the blouse was "by Junior Sophisticates." LOL
G.
-
The dress Maggie wears in the opening of the film is another wild print, the type that was so popular in the early '70s. In fact, it's a mixture of at least a couple prints sewed together. But it is different from what she's wearing in the restaurant:
(http://www.dsboards.com/hoDSquoteimages/Patch_dress_1.jpg)(http://www.dsboards.com/hoDSquoteimages/Patch_dress_2.jpg)
-
I've seen a couple of candid shots of KLS wearing the outfit from the opening scene outside the NYC studio. Maybe it was actually hers. [jawdrp] [jawdrp] [jawdrp]
-
[pointing-up] [yikes]
Although, I have read that a lot of the things David Selby, Kate Jackson, John Karlen and Nancy Barrett wore in NoDS were their own clothes. So I suppose there could be similar instances with hoDS...
-
Continuing with Scene 194, beginning with today's first quote -
Page 90/Scene 194 - Barnabas: 'So you see, there is no reason for you to be disturbed.'
- coming up, followed by today's second quote -
Page 90/Scene 194 - Maggie: 'I'm sorry, Barnabas --'
- coming up.
And as far as the dialogue and the notations go, Barnabas actually tells Maggie "Well, then, there's no reason for you to be disturbed, now, is there? - though Maggie replies to him exactly as scripted. And it's interesting that opposite both Barnabas and Maggie's lines DC has notations that they would be seen in close-ups. However, as can be seen in both of today's captures -
(http://www.dsboards.com/91quoteimages/1020ds91_0.jpg)
(http://www.dsboards.com/91quoteimages/1020ds91_1.jpg)
- neither are as it's the same 2 shot for both.
-
And wrapping up Scene 194, beginning with today's first quote -
Page 90/Scene 194 - Barnabas: 'No, no, you mustn't be sorry. (he pours champagne) I want you to enjoy yourself. (raising his glass) Why don't we at least drink a toast to Willie -- for being so considerate of your safety.'
- coming up, followed in the script by:
She raises her glass and smiles at him.
|
End of scene as scripted.
But as far as the dialogue, the direction, the descriptions, and the notations go, Barnabas actually tells Maggie "Oh, don't be sorry. I want you to enjoy yourself", without pouring any champagne, and obviously he doesn't raise a glass before he actually says "At least we can drink a toast to Willie", though, as can be seen in today's capture, he -
(http://www.dsboards.com/91quoteimages/1021ds91_0.jpg)
- picks up his class about halfway through that line as Maggie smiles at him, and she picks up her glass as Barnabas -
(http://www.dsboards.com/hoDSquoteimages/1021hoDS_a.jpg)
- finishes with "for being so considerate of your safety" - and then the camera pans down to show that Barnabas' calm and collected demeanor is a complete act as he -
(http://www.dsboards.com/hoDSquoteimages/1021hoDS_b.jpg)
- tightly grips his napkin in order to retain his control. And what's interesting is that there's a notation in DC's script that runs down the length of Barnabas' lines that reads "widen pan to her first", but the camera, already being in a 2 shot, has no need to widen, and the only actual pan is the one down to Barnabas' hand.
-
The novelization of Scene 194 has more different about it than recent scenes have had, so I'm going back to sharing the entire novelization of a scene:
That night Barnabas took Maggie to dinner at the Col-
linsport Inn. He was spending more of his evenings in
the village than before. And on this particular night
the hotel dining room was filled with other guests. They
had a table near a fireplace and more than once she
stared at it with sad eyes.
Barnabas finally asked her, "Are you going to tell me
what's been bothering you all evening?"
She looked at him apologetically. "Has it been so
obvious?"
"I sensed something was wrong from the moment you
joined me," he said.
She attempted a smile. "Have you gotten to know me
better than I thought you had?"
Barnabas said, "I think anyone could see you've been
bothered tonight. What is it, Maggie?"
She sighed and hesitated. Then she said, "This after-
noon Willie Loomis came to see me. I know there are
times when Willie seems not to be all there. But he was
so concerned about me. Even frightened."
Barnabas' handsome face showed dramatic shock. "Did
he tell you why he was so concerned?" he inquired in
a taut voice.
Maggie frowned slightly. "He just kept saying I was
in some kind of danger. But I couldn't get him to explain
what he was talking about! What's been troubling me
is the feeling that he was completely sincere."
Barnabas seemed to have recovered from his surprise.
In a calm tone, he said, "But that, of course, doesn't
make him right, does it?"
"No."
"You see, Willie is very fond of you," Barnabas went
on to explain in his easy way. "In light of the recent
tragedies I'm sure he began to imagine that something
might happen to you. Doesn't that make sense?"
"Yes, I guess so," she said, partly convinced.
"So you see there is no reason for you to be disturbed."
"I'm afraid I was silly about it," she apologized. "I
shouldn't have mentioned it at all."
Barnabas smiled. "I'm glad you did, if you were both-
ered by it."
"I was bothered," she admitted.
"No harm done."
"I'm sorry, Barnabas," she said. "We've had a lovely
evening. I don't want to spoil it with my nonsense."
"You mustn't feel like that," Barnabas said expansively,
pouring her some champagne and then refilling his own
glass.
"You're so wonderful and understanding," she said,
her eyes bright with admiration for him.
"I want you to enjoy yourself," he told her raising his
glass.
"I am," she assured him, her glass in hand.
"Why don't we at least drink a toast to Willie," Barn-
abas suggested. "To Willie. For being so considerate of
your safety."
Maggie raised her glass and smiled at him.
Barnabas was careful to hide his seething emotions for
the balance of the evening. They talked of Jeff and the
success he was having at the art show in Boston. Maggie
again thanked Barnabas for all he had done for the young
artist.
"He is talented," Barnabas told her. "And he is your
friend. Those were reason enough for my interest in him."
"You're too generous, Barnabas," she said, warmly
grateful.
|
It's interesting that at some point after their toast, in an earlier version of the script, there might have been a montage to show time passing and then the subject of Jeff's success in Boston comes up. If so, I can see why it was dropped because it does slow down the momentum of Barnabas' hidden anger and then his going to confront Willie. But at the same time, if it had been retained, and if it had actually been in the film, it would have been a quick way to explain to the audience what Barnabas did for Jeff, given that the whole greenhouse scene was dropped from the film. But of course, when the script was still being formulated, DC didn't know he was going to drop the greenhouse scene, so the conversation about Jeff could have easily been seen as superfluous, hence it being dropped.
And should we be surprised that Barnabas refers to Jeff as Maggie's "friend" rather than "boyfriend" or some similar word with the same implication? I think not. [b003]
-
Setting up the current scene:
195 INT: OLD HOUSE - FRONT DOOR - NIGHT 195
The door flies open and Barnabas storms in. CAMERA
MOVES IN to CLOSE UP as he shouts up the stairs.
|
And that's when yesterday's first quote -
Page 90/Scene 195 - Barnabas: 'Willie! Willie!'
- comes up, followed in the script by:
BARNABAS - WIDE ANGLE
From the top of the stairs we see Barnabas in the
foyer. Willie ENTERS THE SHOT in the F.G. and scurries
down the stairs.
|
And that's when yesterday's second quote -
Page 90/Scene 195 - Willie: 'Hello, Barnabas. You're back kind of early, ain't you --'
- comes up.
And when it comes to the dialogue, the direction, and the descriptions, as we can see in yesterday's first capture -
(http://www.dsboards.com/91quoteimages/1022ds91_0.jpg)
(http://www.dsboards.com/91quoteimages/1022ds91_0a.jpg)
- the scene definitely begins with Barnabas storming in and shouting for Willie exactly as scripted, however, the camera doesn't move in to a close-up while he shouts up the stairs because we simply see Barnabas rushing past the landing, which is obviously still being shot from the first floor and not the top of the stairs, before -
(http://www.dsboards.com/hoDSquoteimages/1022hoDS_a.jpg)
- Barnabas reaches the stairs and begins to go up them, and before he turns to look at the stairs to the third floor -
(http://www.dsboards.com/hoDSquoteimages/1022hoDS_b.jpg)
- is when the camera switches to shooting from the left second floor landing - after which we see Willie come down the third floor stairs -
(http://www.dsboards.com/hoDSquoteimages/1022hoDS_c.jpg)
- but he's coming from the background not in the foreground, and, as we can see in yesterday's second capture -
(http://www.dsboards.com/91quoteimages/1022ds91_1.jpg)
(http://www.dsboards.com/91quoteimages/1022ds91_1a.jpg)
- Willie then moves in Barnabas' direction - however Willie's lines are all crossed out in the script and they're replaced with "What's the matter? What's wrong, Barnabas? What's the matter? What happened?" in the film.
-
It's been very interesting to see just how much material seems to have been cut after Old Barn's murder of Julia and attack on Maggie. I seem to recall that some of this did show up in the Ross novelization but it's been far too long for me to remember details.
I don't think one of my favorite scenes of the final portion of the movie will show up at all in the slideshow. It's when Stokes visits the abandoned Old House. Very brief but so atmospheric and understated. Then of course, all hell breaks loose as we move towards the endgame segment of this scenario and atmosphere mostly goes out the window... though there are some great shots done at Lockwood Matthews...
G.
-
Very soon I hope to pick up where I left off in the script with Scene 195...
-
It's been very interesting to see just how much material seems to have been cut after Old Barn's murder of Julia and attack on Maggie.
Sadly some things, like Stokes and Roger planning to do research in Collinwood's tower library (interesting how in NoDS there's no hint whatsoever the tower was ever used as a library (more evidence that NoDS takes place in a parallel Collinwood?)) and then carrying the research out, were completely dropped. Though, as we'll see when I get back to the script, other things, like the current version of Scene 218, are rewrites.
I seem to recall that some of this did show up in the Ross novelization but it's been far too long for me to remember details.
Yes, the dropped things and the original versions of what was rewritten are in the novel and will be shared.
One thing that I do find interesting in the novel is there's a scene between Julia and Mrs. Johnson when Julia returns to Collinwood after giving Barnabas the overdose and before she packs in her room. I haven't checked to see if it's listed on the original shooting schedule like so many other scenes that also appear in the novel but not in DC's version of the script.
I don't think one of my favorite scenes of the final portion of the movie will show up at all in the slideshow. It's when Stokes visits the abandoned Old House. Very brief but so atmospheric and understated.
Unfortunately there wasn't any dialogue in that sequence to share in the slideshow - but I'm sure I'll share at least a capture once I get to it in the script...
-
It's such a weird scene, when Stokes visits the deserted Old House. I figured you would just skip over this brief sequence since, as you say, there is no dialogue. The way the film is cut, from what I recall, it seems as if only one day at most has passed, but the house has reverted to a grey ruin strewn with dead leaves and rubbish. At least, that was the impression I got from what I saw. I wondered if that scene was shot in advance of the scenes in the furnished house, around the same time as when they shot the scenes where Maggie is searching for David there, at the beginning of the movie.
I am sure you are having a very busy time and I understand if you're unable to do what you'd planned with posting about the remainder of the movie. Wishing you and yours a very happy holiday season!
G.
-
Even when I saw the movie in the theater as a kid, I wondered about that, too. At the most, only a few days passed when a scene occurred in the Old House and it was all spit and polish, ready for a photo-shoot for Better Homes and Gardens. And then when Stokes arrives, it's nothing but dead foliage, broken furniture, dust and cobwebs. Maybe Willie ran out of Windex.
Gerard
-
I specifically chose today's capture to commemorate that extra's moment in the spotlight:
(http://www.dsboards.com/91quoteimages/1210ds91_0.jpg)
Can you just imagine what was going on in RD's mind when the extra upstaged him? But we all know what they say: payback's a bitch!! That extra was standing in for every actor that RD had upstaged on the daytime series!! [santa_wink] [santa_grin]
-
It would be funny if the regular cast put him up to it.
-
A truly precious moment. I could make further rude comment but I'll restrain myself.
G.
-
It really is a shame that VampStokes was destroyed by Jeff -
(http://www.dsboards.com/hoDSquoteimages/VampStokes1.jpg)
(http://www.dsboards.com/hoDSquoteimages/VampStokes2.jpg)
- because can't you just imagine what a formidable and amazingly cunning adversary Stokes might have been if they had done a direct sequel to hoDS?! And given that it's implied (with Barnabas' body disappearing and a bat flying away) that Barnabas wasn't really destroyed, just imagine the storyline possibilities. Would Barn and Stokes have joined forces? Would they have been enemies? Would Stokes have come around to the idea that vampirism is quite possibly a disease and want to be cured? Though he seemed to have been having a great time while he was attempting to attack Jeff (and did that fact tell us something about Stokes that we never knew?). The possibilities could have been myriad. But alas...
-
It's interesting that you posted about this (great shots, btw, though I definitely think the DVD/BD grading of this scene is too dark for my taste). Because I was just reflecting looking at today's slideshow how the whole plot point of Stokes becoming a vampire was completely wasted by DC in his rush to hustle towards the bloody finale of the story.
One thing I'll never understand is why DC didn't make sure the edit of Stokes' demise wasn't corrected so that we couldn't see him twitch when he was lying "dead" in that very cold water. Detail oriented much, Dan? That shot goes on for far too long in any event.
I'd have traded the sequence of Roger's vampire death, which is really just adding an irrelevant shock to a part of the movie that's already loaded down with gore moments, for a scene where Stokes was musing about the beauty and terror of having found a new existence as one of the Living Dead. But, again, alas...
G.
-
I remember reading, probably in one of the PomPress books, that DC did reshoots of Jeff and Stokes' fight. It didn't say what was reshot or why, but knowing DC, it was probably because the original footage wasn't violent and bloody enough. [santa_rolleyes]
Unfortunately, what's scripted to take place between VampRoger and Jeff is somewhat more interesting than how it plays in the film. Perhaps they were running out of time on the day the scene was shot. Or perhaps DC simply decided he didn't want to do it for as long as it's scripted. Who knows? But Roger/Louis got short shifted in a lot of scenes...
-
I forgot to mention that there's actually a blooper in the scene with Roger and Jeff - something I never noticed until doing this slideshow. Has anyone else ever noticed it?
-
If you're thinking about a mirror, MB, I have a theory that makes it not a blooper.
-
What I'm speaking about does involve a reflection - but it may not be in the way you might be thinking...
-
Were the original vampire attacks on Eliot and Roger ever scripted to be shown on screen? It's generally assumed that Barnabas attacked both of them. But one particularly interesting piece of fan fiction stated it was Carolyn who turned them. Todd had removed the stake and she picked up where she left off, though more discreetly. She went after Eliot as revenge and Roger for not doing anything to hold Stokes back.
The idea of Eliot as a vampire is extremely interesting. Far more intelligent than the other vampires, he would certainly have made an extremely cunning and resourceful vampire. Perhaps with Todd as his lackey, mirroring the Count Petofi/Aristede relationship.
-
Uncle Roger, I'd never heard that theory about Carolyn coming back and disposing of Stokes and Rogers. What you describe sounds far more fascinating than anything shown in the last 15 minutes of the movie as completed.
I missed the additional notes about the encounter between Jeff and Roger in his "new un-life."
Best, G.
-
Gothick, the story is called Told At Twilight and was written by Megan Powell-Nivling. It appeared in The World of Dark Shadows issue #35, which was an all Nancy Barrett issue. It is definitely one of the more satisfying post HODS stories that I've read. It ends with Carolyn and Todd married and residing in California. Todd eventually became a mortician which kept Carolyn supplied with blood. She found that she preferred cold blood to warm and never attacked anyone again. For Dark Shadows, that is a happy ending.
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Thanks, Uncle Roger. I have a really old TWODS issue that has a drawing of Nancy as vampire Carolyn on the cover but not sure just where it is...
Excitement builds as my personal favorite moment of the final reel of hoDS nears the slide show. I thought yesterday's first capture where Jeff looked like he'd had one too many Vodka Collins at the annual staff holiday party and Willie was looking at him all like "Is this bitch for real?" was a hoot. Excellent work MB!
Happy Holidays all!
G.
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I thought yesterday's first capture where Jeff looked like he'd had one too many Vodka Collins at the annual staff holiday party and Willie was looking at him all like "Is this bitch for real?" was a hoot.
Yes, that's an apt description for this capture:
(http://www.dsboards.com/91quoteimages/1223ds91_0.jpg)
[santa_cheesy]
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Since no one seems to have any idea what I'm getting at as far as the blooper in Scene 230 goes, I'm posting the following capture as a clue:
(http://www.dsboards.com/hoDSquoteimages/Roger_chair.jpg)
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Is it the way that Roger's shirt seems to be buttoned around the Stake?
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That's not quite it. But it's definitely moving in the right direction! [santa_wink]
[neon- merry-xmas]
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Stake in wrong side of chest, or no blood?
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Now things are getting really, really hot!! [santa_cheesy]
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Last guess - didn't use crossbow to stake him? (don't remember any details from the movie anymore)
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Okay, one more guess - Wasn't wearing ascot when staked?
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Not either of those two - BUT it DOES involve the ascot!! [santa_wink]
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From today's capture, I'd say that again, this scene was graded TOO DARK in the "Blu Ray" iteration. I remember being able to see Jeff's face on previous viewings. Though I think the last time I watched this movie was nearly a decade ago, and memory does cheat.
It's really odd to be complaining that I can't see Roger Davis's face. *tired laugh* It brings back memories of a screening I attended at the Brattle theatre a couple of years ago of the HORROR OF DRACULA Blu-Ray. That had been graded so dark--with the trademark BD slightly bluish tinge to many scenes--that half the movie was nearly invisible, since a lot of it was shot day for night. In the sequences where the image was clear, the lighting had been graded very cold with a very muted, slightly blue color palette. Given how so many film critics made Hammer's "garish" use of Technicolor/Eastmancolor such a talking point over many decades of discussion and review, it's been curious to see fans arguing that the recent "restoration" was "exactly the way Jack Asher wanted the movie to look."
For anyone still following along at home, apparently one can correct this problem if one owns equipment that has a "sports" setting for the display. It pops it up in some fashion so that it actually looks the way it is supposed to. This seems to have created a lot of tension in fandom in recent years, since people with this type of equipment and display insist that the BD "looks great" while the rest of the population complain that it's too dark in all the nocturnal scenes.
To quote Hermione Gingold on her infamous LP, "isn't technology ghastly?" A fact of which the Xmas smilies remind me, poignantly, whenever I attempt to post here now...
G.
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[4009] Does dead vampire Roger's reflection show in the mirror? [4009]
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Lovely capture today. And I remember, MB, that you said today's is your favorite line in the film. Because Barnabas was finally about to be united with his Josette after all his horrors.
By some strange coincidence, on Wednesday night I watched episode 281 (script by Joe Caldwell, who I really think was one of the best writers for the show), which starts out with the seance at the costume party, at the point where Vicki has been possessed by Josette. Later in this episode there's a scene where Barnabas goes to Josette's room (where little Sarah has been carefully laying out her own party frock). Barnabas broods over the past (via voiceover). And in a passage I'd completely forgotten which resumes the theme of Barn's first visit to the ruined Old House at the start of his storyline, Barnabas decides that he needs a woman of this time, not the ghost of Josette. "So never come back... any of you!" he admonishes the silent room with its unseen spirits.
Of course, in the longer scheme of the series arc, Barnabas was far from being done with Josette. But Frid played the scene wonderfully well and it was a strong moment for that particular episode and story sequence.
G.