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**]

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

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 , exerting his will, and then swooping back home all in a night's work!! 

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

Oops - I forgot that I wanted to share the full version of the still I used for today's graphic:

So far as I'm aware, it's never been published anywhere...

[Uncle Roger]

I love that shot!!

[Gothick]

Congrats on your scoop with that still, MB!

I think their pose and respective expressions speaks volumes about their famous onscreen "chem"...

G.

[Mysterious Benefactor]

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:

they stop

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.

[Mysterious Benefactor]

Here are two pages of photos from Scrapbook Memories of the shooting of Scene 191:

One will certainly look familiar because I used it for several graphics in the slideshow...

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

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 -

"Maggie!!"

"Maggie!!"

"Maggie!!"

"Maggie!!"

- and instead of Maggie reacting with "Hello, Willie", she reacts in confusion with -

"Willie?"

"Willie,wha...?"

- and after Willie tries to touch Maggie's cheek but she -

- pulls away just enough for him to stop, Willie actually delivers yesterday's quote as "You gotta get away from Collinwood, Maggie."

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

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 -

"Why?"

- to which Willie responds by reaching out and -

- pushing David away and then saying an unscripted -

"Git!"

- to which Maggie responds angrily with an unscripted -

"Willie!"

- which causes Willie to get an embarrassed look -

- on his face - and then David begins to move away, looking at Willie like he's crazy -

- 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 -

-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 -

- is resigned to going into the house...

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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 --"