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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 87633 times)

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Offline Mysterious Benefactor

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Re: 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**]
« Reply #630 on: August 14, 2017, 01:20:20 AM »
Quote from: Mysterious Benefactor on August 13, 2017, 06:30:08 PM
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:


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?).
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Offline Gothick

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Re: 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**]
« Reply #631 on: August 14, 2017, 02:29:50 AM »
That's a fabulous shot of Julia and Roger. Too bad the printing was so shoddy.

Thanks for sharing it with us!

G.
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Offline Mysterious Benefactor

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Re: 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**]
« Reply #632 on: August 14, 2017, 11:54:01 PM »
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...
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Offline Mysterious Benefactor

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Re: 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**]
« Reply #633 on: August 15, 2017, 05:32:00 PM »
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:

Maggie looks at him                       

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 -


- 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 -


- 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:

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Offline Mysterious Benefactor

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Re: 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**]
« Reply #634 on: August 15, 2017, 05:54:26 PM »
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:


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.
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Offline Mysterious Benefactor

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Re: 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**]
« Reply #635 on: August 15, 2017, 08:02:16 PM »
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 -


- "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 -


- Stokes looks over - then the sheriff starts to actually reply with -


- "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 -



- then turn to look in the other officer's direction...
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Offline Mysterious Benefactor

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Re: 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**]
« Reply #636 on: August 15, 2017, 11:58:50 PM »
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 -


- 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 -


"Charlie, look out!"

- 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 -


- 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 -


"Oh my God."

- but obviously not on the radio...
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Offline Mysterious Benefactor

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Re: 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**]
« Reply #637 on: August 16, 2017, 05:02:20 PM »
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...
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Offline Mysterious Benefactor

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Re: 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**]
« Reply #638 on: August 16, 2017, 06:18:44 PM »
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 -


"They hit a tree."

- and then a second line is actually heard at the outset of Scene 159 -


"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 -


"It looks like it's burning."

- and after the deputy turns back to the window, Todd suddenly opens his eyes as -


- the sounds of car doors closing and a car engine starting are heard - and Todd turns and sees -


- the deputy at the window, but when the deputy moves, Todd immediately turns back and -


- 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 -


- (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 -


- Todd's reflection in the mirror as he gets out of bed - and soon Todd comes into frame as he comes up -


- behind the deputy - and then Todd grabs the deputy -


- around the throat and knocks him out, only to step back to -


- admire his handiwork.
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Offline Mysterious Benefactor

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Re: 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**]
« Reply #639 on: August 16, 2017, 10:50:00 PM »
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.
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Offline Gothick

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Re: 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**]
« Reply #640 on: August 17, 2017, 02:33:05 AM »
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.
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Offline Mysterious Benefactor

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Re: 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**]
« Reply #641 on: August 17, 2017, 07:18:07 PM »
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 -


"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 -


"Doctor Hoffman is looking at them now."

- then as Todd begins to make a move, Stokes is heard to ask -


"Are they going to be all right?"

- to which the sheriff answers -


"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 -


"I don't understand this. Alex must have seen something."

- and then as Stokes asks -


"Yes, but what?"

- Todd comes into view through the doorway, and after the sheriff replies -


"I don't know."

- Todd comes into focus as the sheriff says on the two-way radio -


"Hank, I want every available man to report to"

- and then completes with -


"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 -


"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 -


"We better check Todd now."

(Too late! [b003])

And as an aside, does the daffodil arrangement on the table in the hallway -



- mean that Carlotta is secretly somewhere at Collinwood, and perhaps that hallway, window and table was Angelique's favorite in the house?  [laughing1]
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Offline Gothick

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Re: 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**]
« Reply #642 on: August 17, 2017, 07:33:26 PM »
Love the Carlotta reference MB!

cheers, G.
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Offline Mysterious Benefactor

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Re: 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**]
« Reply #643 on: August 17, 2017, 07:44:06 PM »
Well, when one sees daffodils, one should always think of Angelique!!  [nodassent]  Especially daffodils at Collinwood...
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Offline Mysterious Benefactor

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Re: 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**]
« Reply #644 on: August 17, 2017, 09:04:06 PM »
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.
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