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]

Willie Loomis, chauffeur.

That seems somehow more horrifying, at least potentially, than anything that happens onscreen in hoDS. LOL!

 

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!! 

[Mysterious Benefactor]

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 -

- you can't even see what's going on.    (And that's one thing that's quite nice about NoDS: the credits don't take away from what's happening on screen. )

[Mysterious Benefactor]

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 -

- and as we can see in today's first capture, Maggie does look down -

- at the paper after he takes it out.

[Mysterious Benefactor]

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 -

- she quickly turns her head away before Roger shouts at him.

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

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 -

"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 -

- (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 -

- 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 -

- which is also when we actually see Willie's resentful look.

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

Picking up Scene 20 where we left off:

ROGER - EXTREME CLOSE UP

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 -

- is that Roger does not get an extreme close-up because it remains exactly as it has been throughout the scene.

[Mysterious Benefactor]

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 -

- and then there's a three shot of Maggie, Roger and Willie as -

- 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 -

- 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 -

- to deliver the second part.

[Mysterious Benefactor]

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. 
• 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...

[Mysterious Benefactor]

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!   

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 -

- a two shot of Roger and Willie. So, it's highly unlikely Scene 21 actually begins as a three shot...

[Uncle Roger]

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.

[Mysterious Benefactor]

If you think Maggie is being bold there, just wait until you see what the rest of the scene is like!    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...

[Mysterious Benefactor]

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...

[Gothick]

Poor doomed Willie called Collinwood a hellhole.  If only he had known...

G.