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 87507 times)

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Offline Mysterious Benefactor

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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 -


- 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.

Offline Mysterious Benefactor

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Continuing Scene 111, picking up with a notation that DC added to his script -

Turns to look at him               

- 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 -


- 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 -


- extreme close-up.

Offline Mysterious Benefactor

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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 -


Carolyn (OS): "Well! I am"

- and that is followed by -


"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 ...")

Offline Gothick

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Offline michael c

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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.
sleep 'til noon and your punishment shall be the dregs of the coffeepot.

Offline Mysterious Benefactor

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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...

Offline Mysterious Benefactor

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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 -


- 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 -


- 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.

Offline Uncle Roger

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I was wondering about that stage direction too. Maybe it means that Carolyn was supposed to deliver her dialogue while making the crossover?
Fade Away and Radiate

Offline Mysterious Benefactor

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Offline Mysterious Benefactor

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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 -


"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 -


- though for very different reasons - and after they're gone, Barnabas delivers today's quote exactly as scripted.

Offline Mysterious Benefactor

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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...

Offline Mysterious Benefactor

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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"...

Offline Mysterious Benefactor

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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 -


- Barnabas carrying the music box as he moves to place it on the mantle in front of -


- 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 -


- 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...

Offline Mysterious Benefactor

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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

Offline Gothick

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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.