Author Topic: And Now The Return of Another New Slideshow (Sort of), Part 2 [**Now featuring alternate versions of scenes - see replies #18,#21,#23,#49,#64,#69,#76,#88,#90,#100,#105,#107,#115**]  (Read 88010 times)

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Offline Mysterious Benefactor

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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...

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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 -


- how Naomi gave the "first" Barnabas the Old House - and Carolyn doesn't come around to check the necklace until Liz admits -


- that they haven't kept up the Old House.

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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 -


- and Julia out of focus in the background - and then after Barn moves out of the shot, we see Liz watching him -


 -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 -


- 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

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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 -


- "You're as beautiful as she", after which the camera racks focus to -


- the ring.

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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:


hoDS: Alternate Version of Scene #86 - Julia: 'Barnabas
Collins? I was just reading about him in 1797.'

For February 9th:


hoDS: Alternate Version of Scene #86 - Barnabas: 'You were
reading of my ancestor, Madam.'

For February 10th:


hoDS: Alternate Version of Scene #86 - Barnabas: 'How
much you look like that portrait. Naomi Collins, isn't it?'

For February 15th:


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.  ::)

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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...

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So, the 1795 Barnabas was not entirely the conventional type? That wacky Roger!
Fade Away and Radiate

Offline Mysterious Benefactor

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And as a goodbye to Scene 86, my favorite behind the scenes still from the shooting of the scene:


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So, the 1795 Barnabas was not entirely the conventional type? That wacky Roger!

It's too bad they didn't elaborate.  [easter_wink]

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When it comes to the 4/14 revision in DC's script, things go so far as -

87    OMIT                                                       

- 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:



87     CONTD                                        CONTD 87

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.

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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...

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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...

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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...

Offline Mysterious Benefactor

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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."


Offline KMR

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  "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. ...