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]

Picking up after we left off in reply #672, here are the differences for the rest of Scene 177:

After Stokes starts to pull the stake from the black leather bag, we see Carolyn's POV of Stokes, Roger and the Sheriff -



- and given that Roger's quote from Monday begging Stokes not to do it was moved up, this is where it might have been likely that Stokes' quote from Monday, "There is no other way, Roger! You must believe that!", might have actually been delivered in the film rather than where it's scripted to be delivered, but considering it was completely dropped, that's a moot point - and after we see Stokes pull the stake from the bag -

- we then see another shot from Carolyn's POV of the three men as Stokes readies the stake -

- and the hammer - which is followed by a shot of Carolyn with hatred in here eyes -



- but that soon turns to terror as the stake is lowered over -

- her - and after a shot of Stokes and Roger, who is obviously in anguish -

 - Stokes begins to raise the hammer over the stake as Carolyn looks on -

- in terror - and after Stokes positions the hammer over the stake -

- we do see a shot of Roger with his hands on Stokes' back and arm, but -

- he makes no effort to stop Stokes as Stokes raises the hammer up high -

- as Carolyn continues to look on in even more terror -

- and Stokes brings down the hammer with such force that blood begins spurting out of Carolyn's chest -

- as she shrieks in utter agony -

- and after Stokes brings the hammer up again, and once again Roger has his hand on Stokes' upper arm -

- not able to take the sight any longer, Roger looks away before -

- Stokes brings the hammer down again -

- and Carolyn shieks in agony again -

- as Todd struggles against Jeff and a policeman to get to her - and he calls out an unscripted -

"Carolyn!"

- desperately - but after he finally breaks free and gets to her side, it's too, because she's already gone -

- and though Todd tries to move in to kiss her -

- Jeff pulls him away -

- so all there's left for Todd to do is to slump by Carolyn's side -

- and to reach up to hold her arm -

- as everyone involved stands and bears witness to the horrifying tragedy they've -

- they just experienced.

[Mysterious Benefactor]

BTW, eventually I will be going back to recreate and add in my missing posts from this topic. Though I certainly need to catch up to the slideshow before anything like that happens...

[Mysterious Benefactor]

Setting up the previous scene in the slideshow:

187    INT:  DRAWING ROOM - OLD HOUSE - NIGHT             187        CLOSE SHOT of music box.  It is TINKLING OUT ITS TUNE.        PAN UP to Barnabas gazing at it fondly.  PULL BACK as        Julia enters from the foyer carrying her medical bag.        Barnabas beams at her. 187    CONTD                                        CONTD 187

And that's when Tuesday's quote -

Page 82/Scene 187 - Julia: 'I spoke to Professor Stokes today. The fact that there have been no attacks recently has almost  convinced him that the vampire has disappeared. And the police have lifted the curfew.'

- comes up.

And when it comes to the dialogue, the descriptions, the directions, and the notations, things play almost identically to how they're scripted because Barnabas is indeed sitting and listening to the music box as Julia enters. However, Julia is not carrying her medical bag with her - and she actually delivers her quote exactly as scripted with the exception of preceding it with a "Barnabas" in order to get his attention because he's so enthralled listening to the music box - and even though DC has a notation in his script that says "she x to him" after she says Stokes is almost convinced the vampire has disappeared and before she says that the curfew has been lifted, as we can pretty much see in Tuesday's capture, what Julia actually does is -

- sit down on the couch opposite Barnabas and that occurs as she begins to explain how the lack of attacks has almost convinced Stokes the vampire has disappeared - and Barnabas doesn't beam at her until after she's delivered her news.

[Mysterious Benefactor]

Continuing Scene 187 with last Wednesday's quote -

Page 82/Scene 187 - Barnabas: 'Julia, I owe it all to you. I don't know I shall ever be able to thank you.'

- coming up.

And what's actually very interesting about DC's script when it comes to this quote is that he has a notation that Barnabas would put his arm around Julia. But as we know, Barnabas actually closes the music box and immediately goes over -

- to deliver the quote, which he does exactly as scripted, as he sits beside Julia on the couch and, as we can see in Wednesday's capture -

- he clasps Julia's hand in both of his, which is yet more clueless behavior on his part that can't help but give Julia the wrong idea...

(It's going to fascinating to see how this scene plays in the novelization...)

[Mysterious Benefactor]

Continuing Scene 187 with last Thursday's quote -

Page 82/Scene 187 - Julia: 'It would be pointless now anyway. We must wait until we achieve total success. (seeing the music box) Where did you get that?'

- coming up, followed in the script by:

He  picks   it                                         BARNABAS        up                  It belonged to someone I knew                  many years ago.

And when it comes to the dialogue, Julia delivers the first part of her quote exactly as scripted, but after she sees the music box, she actually asks "Where did you find that?" - but backtracking a bit, I love all of Julia's reactions to Barnabas clasping her hand:


The surprise

The nervous smile

The moment of seriousness

The nervous look away

And the wait for...

...total success

- I also love her expression when she spots the music box -

- but it's actually Julia who gets up to go -

- to the music box and not Barnabas who picks it up, as DC's notation indicates - and Barnabas actually delivers his line as "It belonged to somebody I knew many years ago."

[Mysterious Benefactor]

Wrapping up Scene 187:

Julia listens and is enthralled.

And that's when last Friday's first quote -

Page 82/Scene 187 - Julia: 'It's very beautiful.'

- comes up, followed by last Friday's second quote -

Page 82/Scene 187 - Barnabas: (he smiles at her) 'I intend to give it to someone soon -- someone I love very much.'

- coming up, followed in the script by:

CAMERA TRUCKS in on Julia.  She is speechless -- and CU J                  hopeful.

And when it comes to the dialogue, the descriptions, the directions, and the notations, as we can see in Friday's first capture -

- Julia actually opens the music box while it's still on the table - and she actually delivers her quote as "Very beautiful", though we can't quite tell if she's enthralled because only her lower torso and right arm are on camera - and even though he's out of focus, Barnabas does appear to be smiling, though not really at Julia and it's doubtful she takes notice of his smile as he -

- delivers the first part of his quote, which he does exactly as scripted - after which Julia reaches to pick -

- up the music box - and as Barnabas delivers the second part of his quote, which he also does exactly as scripted, Julia brings the music box up closer -

- to her and does indeed look hopeful that Barnabas is speaking about giving the music box to her and that she is the one her loves very much, though we don't really see her in close-up as DC's notation indicates...

[Mysterious Benefactor]

(It's going to fascinating to see how this scene plays in the novelization...)

Unlike several of the recent scenes in the novelization, it's not all that different from the script. There's additional dialogue, but like the script there's very little in the way of descriptions and directions. And much of the action in the film is nowhere to be seen. And that's because what we have to keep in mind here is that in the version of the script used for the novelization the scene in Josette's room between Barnabas and Willie in which Barnabas explains to Willie about Josette and plays the music box never takes place because Scene 118 in the film was a 4/27/70 revision to the script, so this scene is the first we hear of/see the music box in the version of the script used for the novelization:

A few night later after Barnabas received his injection he left Julia to finish up in the lab and went into the drawing room of the old house. There he removed a cleverly designed little music box from a chest and studied it with a sad smile. He touched the lid of the box so that it tinkled out its tune with crystal clarity. And the thin music of the old box took him back many years in thought.   Julia entered from the hallway with her medical bag in hand. "Isn't it delightful!"   Barnabas beamed at her. "A family heirloom."   She smiled. "I'm glad you're in such a happy mood. I spoke to Professor Stokes today. The fact that there have been no attacks recently has almost  convinced him that the vampire has disappeared. And the police have lifted the curfew."   Barnabas was pleased. "Julia, I owe it all to you! I don't know I shall ever be able to thank you."   She said, "It would be pointless now, anyway. We must wait until we achieve total success. Where did you get the music box?"   "It was hidden away here," he said. "It belonged to someone I knew many years ago."   Julia listened, enthralled. "It's very beautiful."   Barnabas gave her a meaningful smile. "I intend to give it to someone soon. Someone I love very much."   Julia felt the rush of warm blood to her cheeks. Speech- less and full of hope, she lowered her gaze to the music box quickly.

Also, it would seem that apparently in this version Barnabas never closes the music box so its music continues to play throughout the scene. But then he also never moves from his chair to the couch to sit by Julia as he does in the film's revised version of the scene. And it's interesting how that move in the film and his clasping of Julia's hand in his makes him appear even more clueless than he was originally intended to be...

[Mysterious Benefactor]

Setting up how the scene that began on last Saturday in the slideshow begins in DC's script:

DRAW 188    INT:  DINING ROOM - OLD HOUSE - NIGHT              188        CLOSE SHOT of two candles burning on a table.  CAMERA        PULLS BACK to show Barnabas and Maggie.  They have        finished dinner and are sipping champagne.  He gazes        at her adoringly.  She is smiling at him.  For a moment        neither of them is aware that Willie has entered the        room and is standing there watching them.  Then        Barnabas turns and sees him, but pays no attention        to the concerned look on his face.                              BARNABAS                  What is it, Willie? 188    CONTD                                        CONTD 188                              WILLIE                  I just wondered if you wanted                  anything else.                              BARNABAS                  More champagne?                              MAGGIE                  Oh, no, Barnabas -- not for me.                  I must get back to Collinwood.                  I want to be ready for David's                  exams tomorrow.

And when it comes to the dialogue, the descriptions, the directions, and the notations, some things are different in the film and even appear in a different order - and because of that I'm going to hold off on getting into the first quotes in the slideshow from this scene so that we can first get into how the scene actually begins in the film:

The scene has indeed been switched from the dining room to the drawing room - but one thing that is not indicated in the script is that there's a dissolve from Scene 187 to Scene 188 and the music box tune continues to play over the beginning of Scene 188 even after the dissolve has completed and even though the music box in not actually playing in Scene 188 -

- and as we can see from the dissolve, Scene 188 does not begin with a close shot of candles burning on a table with the camera then pulling back to show Barnabas and Maggie sipping champagne but rather with a close shot of a candelabra on a totally different table from where Maggie and Barnabas begin to be seen sitting - and while it will eventually become apparent that Maggie is sipping champagne, Barnabas is not - in fact, as the dissolve is still progressing, Barnabas asks -

"More champagne?"

- which is scripted but not to take place quite yet - and Maggie actually replies -

"Yes, thank you."

- which is very different from what Maggie is scripted to say - and it's quite clear that Willie is not in the room yet - and as we'll see in an upcoming post, the subject that Barnabas brings up next in the film is not scripted to take place until almost the very end of the scene and wouldn't come up in the slideshow until this past Monday...

[Mysterious Benefactor]

Scene 188 continues in DC's script with Saturday's first quote -

Page 83/Scene 188 - Barnabas: 'That will be all, Willie.'

- coming up, followed in the script by:

Willie hesitates, as if wanting to say something.               There is just a slight edge in Barnabas' tone.

And that's when Saturday's second quote -

Page 83/Scene 188 - Barnabas: 'I said that will be all!'

- comes up, followed in the script by:

table        Willie leaves.  Barnabas crosses to the mantle and gets        the music box.  He brings it to Maggie.    BARN Maggie - I have something          BARNABAS for you -(he x to table) I want you to have this.                               MAGGIE                   It's very beautiful, Barnabas.                   What is it?                               BARNABAS                   Open it and see.         She opens it and it starts to play.  She is delighted         by the SOUND OF THE MUSIC.

And that's when last Sunday's quote -

Page 83/Scene 188 - Barnabas: 'It belonged to Josette Du Pres. It was given to her by my namesake -- just before she died.'

- comes up, followed in the script by:

MAGGIE                   Barnabas, it's a very thoughtful                   thing for you to do -- but I would                   think you would want to keep it.

And that's when last Sunday's quote -

Page 83/Scene 188 - Barnabas: 'I came across the original portrait of Josette again the other day and I was struck once more by your resemblance to her.'

- comes up, but it appears in the script as and is followed by:

__________________________________                 /             BARNABAS                \                /  I came across the original portrait  \   MAKE 1ST  |  of Josette again the other day and    |    SPEAK     \  I was struck once more by your       /                 \ resemblance to her.                 /                  \________________________________/ 188    CONTD (2)                                (2) CONTD 188                              MAGGIE                  I'll always treasure it, Barnabas.

End of scene - though not end of sequence.

And I'll be back later to explain how all of this plays differently in the film...

[Mysterious Benefactor]

Picking up Scene 188 with what actually happens after Maggie replies she'd like more champagne (David's exams be damned, I suppose ):

After Maggie is seen taking a sip of champagne -

- is when Barnabas actually brings up the subject of Josette's "original portrait" (but was there ever another one? Neither the movie or even the daytime series ever brought up another one, so it seems odd, to me at least, that the script should refer to the portrait in Josette's room as the "original portrait"), as was seen in this past Monday's capture when Barnabas actually said -

"You know, I was looking at the portrait of Josette earlier
this evening. And again, I couldn't help but think how much
you resemblance her."

- and after Maggie replies with an unscripted -

"Barnabas, I'd love to see the portrait."

- and to that Barnabas replies with an unscripted -

"You will -- very soon."

- (at which point I usually scream at the screen "Show her the damned portrait already!" I mean, this scene is the second time he's brought up the portrait and this time it's actually in the house with them. What the hell is he holding off for?! If I were Maggie, I'd be thinking "Put up or shut up about the damned portrait already!!" But at least in the film it's not referred to as the "original portrait.") - and it isn't until after the whole business concerning the portrait that Willie is actually seen in the background -

- as he enters the room - and unlike the script, Barnabas immediately becomes aware of him (though it would sort of hard to miss him when Willie is right in his line of sight) and he asks -

"What is it, Wille?"

- which was scripted to be the first line of dialogue in the scene - to which Willie actually replies -

"I just wondered if you wanted something else?"

- which is slightly different from what was scripted - but then instead of asking Maggie if she like more champagne, which is something that has already been dealt with, Barnabas asks an unscripted -

"Would you like some coffee?"

- to which Maggie replies with an unscripted -

"No, thank you."

- (I guess she doesn't want to kill her champagne buzz ) and that's when Barnabas actually delivers Saturday's first quote -

"That will be all, Willie."

- exactly as scripted - but after Willie remains -

- unmoved, Barnabas becomes perturbed and actually delivers Saturday's second quote as -

"That will be all."

- after which Willie swallows hard and, looking none too -

- happy, leaves -

- the room and Barnabas watches -

- him go.

And we'll break there to conclude the scene in an upcoming post...

[Uncle Roger]

There's more misunderstandings going on here than a season of Three's Company. Poor Julia thinks that the music box is meant for her and that Barnabas is in love with her. In turn, Barnabas is totally oblivious to her feelings (a DS constant) but is totally head over heels with Maggie Evans, who he has had limited contact with.
I'd be the last one to defend Jeff Clark but, if he and Maggie are as serious about each other as they are supposed to be, she shouldn't be going off on strolls through the woods with another man, let alone having candlelight suppers with said man.

[Mysterious Benefactor]

I'd be the last one to defend Jeff Clark but, if he and Maggie are as serious about each other as they are supposed to be, she shouldn't be going off on strolls through the woods with another man, let alone having candlelight suppers with said man.

No kidding! Maggie doesn't behave at all like a woman who's supposedly in a committed relationship. It's bad enough in an upcoming scene when Maggie goes to dinner with Barnabas at the Collinsport Inn while Jeff is out of town, but Jeff is in town when Scene 188 takes place!

[KMR]

No kidding! Maggie doesn't behave at all like a woman who's supposedly in a committed relationship. It's bad enough in an upcoming scene when Maggie goes to dinner with Barnabas at the Collinsport Inn while Jeff is out of town, but Jeff is in town when Scene 188 takes place!

I've a feeling that Maggie may be somewhat in Barnabas' thrall, even though she's yet to be bitten. It seems to me that Barnabas, like many other vampires, has a very powerful influence over his intended victims. So I think a lot of this may be in spite of her feelings for Jeff, which have probably not changed.

[KMR]

- is when Barnabas actually brings up the subject of Josette's "original portrait" (but was there ever another one? Neither the movie or even the daytime series ever brought up another one, so it seems odd, to me at least, that the script should refer to the portrait in Josette's room as the "original portrait")

Hmm... looks like maybe the script was looking ahead to the 1991 DS?   

[Mysterious Benefactor]

I've a feeling that Maggie may be somewhat in Barnabas' thrall, even though she's yet to be bitten. It seems to me that Barnabas, like many other vampires, has a very powerful influence over his intended victims. So I think a lot of this may be in spite of her feelings for Jeff, which have probably not changed.

I've never thought of it in those terms, but they might be possible. And if they are, it could mean maybe there really are supernatural elements at play in Scenes 111 and 112 when Barnabas persuades Maggie not to leave Collinwood. As I said back in May, the novelization seems to play up that Barnabas has some sort of supernatural influence over Maggie as he persuades her. But to me the sequence as filmed plays as if Barnabas simply uses his charm on Maggie - and that's the way KLS approached it when she played it (unfortunately I've never seen any comments from Frid on how he played it). But there is that extreme close-up in Scene 111 -

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.

- which is of the variety the daytime show often used when Barnabas was supernaturally imposing his will on someone. However, unlike the novelization, which speaks of a "hypnotic something in his face" and a "magic in his eyes" when describing those moments in the scene, DC's script simply says there's "an intensity in his look" and that could mean anything. Though something that is interesting is that both the novelization and DC's script say that the look on Barn's face "frightens" Maggie, but she doesn't react that way at all in the film. But what would be interesting to know is if Dan Ross made up the novelization's descriptions of Barn's look on his own or if they were in the script he used for the novelization? One thing I can say and often commented on when I was sharing the version of the hoDS script from the DS Files books was that the descriptions of scenes and moments in scenes are far more vividly described than they are in DC's script, so it's quite possible Ross simply took those descriptions right from the script. And if so, that would more than likely mean that originally Barn's influence over Maggie in Scene's 111 and 112 was meant to be interpreted as supernatural and not just possibly supernatural. And if Barn could have been using a supernatural influence there, you could be on to something, KMR, that Maggie may be somewhat in Barn's thrall, even though she's yet to be bitten, and that's why she seems to forget all about Jeff when she's with Barn. Unfortunately, though, that has to remain speculation on our parts because there really isn't anything in the film as it stands to prove it one way or the other. And who knows, maybe that's exactly the way DC wanted it. Or maybe he just didn't care what the audience thought about Maggie's behavior. Considering character is hardly DC's strong suit in the film, Maggie being with Barn may have simply been a means to an end in DC's eyes...