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]

Continuing with Scene 194:

MAGGIE - CLOSE UP

And that's when today's first quote -

Page 89/Scene 194 - Maggie: 'He just kept saying -- I was in some kind of danger -- but I couldn't get him to explain what he was talking about! What's been troubling me -- is the feeling that he was completely sincere.'

- comes up, followed in the script by:

CAMERA PULLS BACK to 2 SHOT.

And that's when today's quote -

Page 89/Scene 194 - Barnabas: 'But that, of course, doesn't make him right, does it?'

- comes up.

And as far as the dialogue, the directions, and the descriptions go, while the camera does initially switch to a shot of Maggie -

- while she actually explains "He just kept telling me that I was in danger", the camera switches to Barnabas -

- while she actually says "I couldn't get him to explain what he was talking about", with the "but" dropped, and then, as can be seen in today's first capture, it switches back to Maggie -

- while she actually says "But the thing that's been troubling me is the feeling that he was completely sincere" - and as can be seen in today's second capture, that's followed by the camera switching back to Barnabas -

- while he actually says "But that, of course, doesn't make him right, now, does it?" And what's interesting in this section of the scene is that opposite Maggie's lines DC has a notation that reads "Slow truck RT pan left, to favor B" and another that indicates "Start truck" after Maggie says "troubling me" and before she says "is the feeling", but no such truck takes place because all the shots of Maggie and Barnabas in this section of the scene are steady. And given that it's crossed out in the script, there's also no 2 shot of Barnabas and Maggie at any point when he delivers his quoted line.

[Gothick]

Danny Horn snarks his way through an account of the hoDS publicity campaign.  Mildly amusing.

https://darkshadowseveryday.com/2017/10/15/episode-1088/

G.

[Mysterious Benefactor]

Frid: "Our producer knows the lowest common denominator."

Gee, ya think?! And that's one of Frid's more flattering DC comments from that press tour.


Thanks so much for posting the link, Gothick. It's always nice to see articles that basically say the exact same things that we've been saying here for years and that share Frid's own words because there are still a lot of fans who simply don't realize the depth of dislike he (and several of the other actors) felt about hoDS...

[Mysterious Benefactor]

Continuing with Scene 194:

194    CONTD                                        CONTD 194                              MAGGIE                  No, but --

And that's when today's quote -

Page 90/Scene 194 - Barnabas: 'You know, Willie is quite fond of you. In light of recent tragedies -- I'm sure he began to imagine that something might happen to you -- Doesn't that make some sense?'

- comes up, followed in the script by:

MAGGIE                  Yes, I -- I guess so --

And as far as the dialogue, the directions, and the descriptions go, looking a bit embarrassed, Maggie actually responds to Barnabas with -

No, of course not.

- and then, as we can see in today's capture, as the camera is pulling back to include Barnabas -

- he actually delivers today's quote as "You know, Willie's very fond of you, and, well, in light of the recent attacks, I'm sure he imagines that something might happen to you. Now, doesn't that make sense?" - and with a smile, Maggie -

- replies a bit more assuredly than scripted with "Yes, I guess so." And again the notations in this section are interesting for the same reason as yesterday's were because they don't take place. In fact, several notations in this section and upcoming sections of the script were actually erased from the script. But one that remains yet doesn't take place says Barnabas takes Maggie's hand after he delivers today's quote.

[Gothick]

I know I should just go way back and look, but I keep thinking that the blouse Maggie wore for this Blue Whale dinner scene was the same as the blouse she wore in those cut scenes from the start of the film. 

Maybe tonight I'll go back to the start of the thread and see if I'm hallucinating again.  And next I will ponder whether the blouse was "by Junior Sophisticates." LOL

G.

[Mysterious Benefactor]

The dress Maggie wears in the opening of the film is another wild print, the type that was so popular in the early '70s. In fact, it's a mixture of at least a couple prints sewed together. But it is different from what she's wearing in the restaurant:

[Uncle Roger]

I've seen a couple of candid shots of KLS wearing the outfit from the opening scene outside the NYC studio. Maybe it was actually hers.

[Mysterious Benefactor]

  

Although, I have read that a lot of the things David Selby, Kate Jackson, John Karlen and Nancy Barrett wore in NoDS were their own clothes. So I suppose there could be similar instances with hoDS...

[Mysterious Benefactor]

Continuing with Scene 194, beginning with today's first quote -

Page 90/Scene 194 - Barnabas: 'So you see, there is no reason for you to be disturbed.'

- coming up, followed by today's second quote -

Page 90/Scene 194 - Maggie: 'I'm sorry, Barnabas --'

- coming up.

And as far as the dialogue and the notations go, Barnabas actually tells Maggie "Well, then, there's no reason for you to be disturbed, now, is there? - though Maggie replies to him exactly as scripted. And it's interesting that opposite both Barnabas and Maggie's lines DC has notations that they would be seen in close-ups. However, as can be seen in both of today's captures -

- neither are as it's the same 2 shot for both.

[Mysterious Benefactor]

And wrapping up Scene 194, beginning with today's first quote -

Page 90/Scene 194 - Barnabas: 'No, no, you mustn't be sorry. (he pours champagne) I want you to enjoy yourself. (raising his glass) Why don't we at least drink a toast to Willie -- for being so considerate of your safety.'

- coming up, followed in the script by:

She raises her glass and smiles at him.

End of scene as scripted.

But as far as the dialogue, the direction, the descriptions, and the notations go, Barnabas actually tells Maggie "Oh, don't be sorry. I want you to enjoy yourself", without pouring any champagne, and obviously he doesn't raise a glass before he actually says "At least we can drink a toast to Willie", though, as can be seen in today's capture, he -

- picks up his class about halfway through that line as Maggie smiles at him, and she picks up her glass as Barnabas -

- finishes with "for being so considerate of your safety" - and then the camera pans down to show that Barnabas' calm and collected demeanor is a complete act as he -

- tightly grips his napkin in order to retain his control. And what's interesting is that there's a notation in DC's script that runs down the length of Barnabas' lines that reads "widen pan to her first", but the camera, already being in a 2 shot, has no need to widen, and the only actual pan is the one down to Barnabas' hand.

[Mysterious Benefactor]

The novelization of Scene 194 has more different about it than recent scenes have had, so I'm going back to sharing the entire novelization of a scene:

That night Barnabas took Maggie to dinner at the Col- linsport Inn. He was spending more of his evenings in the village than before. And on this particular night the hotel dining room was filled with other guests. They had a table near a fireplace and more than once she stared at it with sad eyes.   Barnabas finally asked her, "Are you going to tell me what's been bothering you all evening?"   She looked at him apologetically. "Has it been so obvious?"   "I sensed something was wrong from the moment you joined me," he said.   She attempted a smile. "Have you gotten to know me better than I thought you had?"   Barnabas said, "I think anyone could see you've been bothered tonight. What is it, Maggie?"   She sighed and hesitated. Then she said, "This after- noon Willie Loomis came to see me. I know there are times when Willie seems not to be all there. But he was so concerned about me. Even frightened."   Barnabas' handsome face showed dramatic shock. "Did he tell you why he was so concerned?" he inquired in a taut voice.   Maggie frowned slightly. "He just kept saying I was in some kind of danger. But I couldn't get him to explain what he was talking about! What's been troubling me is the feeling that he was completely sincere."   Barnabas seemed to have recovered from his surprise. In a calm tone, he said, "But that, of course, doesn't make him right, does it?"   "No."   "You see, Willie is very fond of you," Barnabas went on to explain in his easy way. "In light of the recent tragedies I'm sure he began to imagine that something might happen to you. Doesn't that make sense?"   "Yes, I guess so," she said, partly convinced.   "So you see there is no reason for you to be disturbed."   "I'm afraid I was silly about it," she apologized. "I shouldn't have mentioned it at all."   Barnabas smiled. "I'm glad you did, if you were both- ered by it."   "I was bothered," she admitted.   "No harm done."   "I'm sorry, Barnabas," she said. "We've had a lovely evening. I don't want to spoil it with my nonsense."   "You mustn't feel like that," Barnabas said expansively, pouring her some champagne and then refilling his own glass.   "You're so wonderful and understanding," she said, her eyes bright with admiration for him.   "I want you to enjoy yourself," he told her raising his glass.   "I am," she assured him, her glass in hand.   "Why don't we at least drink a toast to Willie," Barn- abas suggested. "To Willie. For being so considerate of your safety."   Maggie raised her glass and smiled at him.   Barnabas was careful to hide his seething emotions for the balance of the evening. They talked of Jeff and the success he was having at the art show in Boston. Maggie again thanked Barnabas for all he had done for the young artist.   "He is talented," Barnabas told her. "And he is your friend. Those were reason enough for my interest in him."   "You're too generous, Barnabas," she said, warmly grateful.

It's interesting that at some point after their toast, in an earlier version of the script, there might have been a montage to show time passing and then the subject of Jeff's success in Boston comes up. If so, I can see why it was dropped because it does slow down the momentum of Barnabas' hidden anger and then his going to confront Willie. But at the same time, if it had been retained, and if it had actually been in the film, it would have been a quick way to explain to the audience what Barnabas did for Jeff, given that the whole greenhouse scene was dropped from the film. But of course, when the script was still being formulated, DC didn't know he was going to drop the greenhouse scene, so the conversation about Jeff could have easily been seen as superfluous, hence it being dropped.

And should we be surprised that Barnabas refers to Jeff as Maggie's "friend" rather than "boyfriend" or some similar word with the same implication? I think not. 

[Mysterious Benefactor]

Setting up the current scene:

195    INT:  OLD HOUSE - FRONT DOOR - NIGHT               195        The door flies open and Barnabas storms in.  CAMERA        MOVES IN to CLOSE UP as he shouts up the stairs.

And that's when yesterday's first quote -

Page 90/Scene 195 - Barnabas: 'Willie! Willie!'

- comes up, followed in the script by:

BARNABAS - WIDE ANGLE        From the top of the stairs we see Barnabas in the        foyer.  Willie ENTERS THE SHOT in the F.G. and scurries        down the stairs.

And that's when yesterday's second quote -

Page 90/Scene 195 - Willie: 'Hello, Barnabas. You're back kind of early, ain't you --'

- comes up.

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

- the scene definitely begins with Barnabas storming in and shouting for Willie exactly as scripted, however, the camera doesn't move in to a close-up while he shouts up the stairs because we simply see Barnabas rushing past the landing, which is obviously still being shot from the first floor and not the top of the stairs, before -

- Barnabas reaches the stairs and begins to go up them, and before he turns to look at the stairs to the third floor -

- is when the camera switches to shooting from the left second floor landing - after which we see Willie come down the third floor stairs -

- but he's coming from the background not in the foreground, and, as we can see in yesterday's second capture -

- Willie then moves in Barnabas' direction - however Willie's lines are all crossed out in the script and they're replaced with "What's the matter? What's wrong, Barnabas? What's the matter? What happened?" in the film.

[Gothick]

It's been very interesting to see just how much material seems to have been cut after Old Barn's murder of Julia and attack on Maggie.  I seem to recall that some of this did show up in the Ross novelization but it's been far too long for me to remember details.

I don't think one of my favorite scenes of the final portion of the movie will show up at all in the slideshow.  It's when Stokes visits the abandoned Old House.  Very brief but so atmospheric and understated.  Then of course, all hell breaks loose as we move towards the endgame segment of this scenario and atmosphere mostly goes out the window... though there are some great shots done at Lockwood Matthews...

G.

[Mysterious Benefactor]

Very soon I hope to pick up where I left off in the script with Scene 195...

[Mysterious Benefactor]

It's been very interesting to see just how much material seems to have been cut after Old Barn's murder of Julia and attack on Maggie.

Sadly some things, like Stokes and Roger planning to do research in Collinwood's tower library (interesting how in NoDS there's no hint whatsoever the tower was ever used as a library (more evidence that NoDS takes place in a parallel Collinwood?)) and then carrying the research out, were completely dropped. Though, as we'll see when I get back to the script, other things, like the current version of Scene 218, are rewrites.

I seem to recall that some of this did show up in the Ross novelization but it's been far too long for me to remember details.

Yes, the dropped things and the original versions of what was rewritten are in the novel and will be shared.

One thing that I do find interesting in the novel is there's a scene between Julia and Mrs. Johnson when Julia returns to Collinwood after giving Barnabas the overdose and before she packs in her room. I haven't checked to see if it's listed on the original shooting schedule like so many other scenes that also appear in the novel but not in DC's version of the script.

I don't think one of my favorite scenes of the final portion of the movie will show up at all in the slideshow.  It's when Stokes visits the abandoned Old House.  Very brief but so atmospheric and understated.

Unfortunately there wasn't any dialogue in that sequence to share in the slideshow - but I'm sure I'll share at least a capture once I get to it in the script...