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**]

Wrapping up Scene 94 (as it's scripted and notated in DC's script), beginning with Tuesday's first quote -

Page 35/Scene 94 - Carolyn: 'You know, we're all very surprised that you decided to settle in Collinsport.'

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

Page 35/Scene 94 - Barnabas: 'When you know me better, you won't be.'

- coming up, followed in the script by:

CAROLYN                  I'm beginning to wonder, cousin                  Barnabas, if I should ever know you                  at all?        He doesn't understand -- or pretends not to.  She sees        his confusion.

And that's when today's  quote -

Page 35/Scene 94 - Carolyn: 'There is so much about you that I'm dying to know.'

End of scene and sequence.

And as far as any difference in the dialogue goes, it's delivered basically as scripted with only a couple words here or there different, but nothing really worth getting into. Though Barnabas delivers his response off screen after Carolyn mentions everyone one is surprised that he's decided to settle in Collinsport.

And when it comes to the direction in this part of the scene, as can be seen in Tuesday's captures, Carolyn moves to the other side of the room as she -

- brings up how everyone is surprised that he's decided to settle in Collinsport, and she walks back to where she was when the drawing room portion of the scene began -

- as Barnabas replies off screen that they won't be once they get to know him better, which prompts Carolyn to -

- chuckle and then to remark that she wonders -

- if she shall ever know him - and considering that Barnabas is still mostly off screen, we don't see any indication whatsoever that he doesn't understand or simply pretends not to or that she sees his confusion because what actually happens is that she doesn't turn toward him until, as we can see in today's capture, she's -

- telling Barnabas that there's so much that she's dying to know about him - and his reaction to that is anything but -

- that of a man who doesn't understand.

Such a delight to see Mrs. Pettibone in her finery today.

Thanks, MB!

G.

Poor Carolyn... she asked way too many questions and made the mistake of using the expression "dying to get to know you" around her mysterious new cousin...

It's a shame Nancy wasn't more effectively used in either film.  She did have a little more of substance to do in NoDS which is another reason why it's the better film...

G.

I was surprised to notice for the first time (after how many times I've seen the film?) how much the layout of the drawing room matches the one in the original series--at least in one of the screencaps here. But the room might very well be so different overall that the one angle is a fluke. Perhaps it's time for yet another viewing! 

   In Scene 94 the layout does resemble the drawing room of the original series, right down to the wingback chair in front of the fireplace. It's too bad we never see Barnabas sitting in it...

Poor Carolyn... she asked way too many questions and made the mistake of using the expression "dying to get to know you" around her mysterious new cousin...

 

It's a shame Nancy wasn't more effectively used in either film.  She did have a little more of substance to do in NoDS which is another reason why it's the better film...

She did get some excellent reviews for hoDS for her vampire scenes. One might have expected that in the horror press, but even Variety was impressed. Though I think she's just as effective in scenes like the ones we've just featured...

As for NoDS, I love her work in that, but I'm always disappointed that so much of her part either ended up on the cutting room floor or wasn't even shot. I do still hold out some slim hope that one day we might see Darren's restoration - though even with that we won't see  Scene 87 (the discussion about the two Angelique portraits) because the footage from that remains lost and possibly destroyed...

Before we can set up the current scene in the slideshow we need to deal with Scene 95:

95     INT:  COLLINWOOD - CAROLYN'S BEDROOM - NIGHT       95        TIGHT on ballgown laid out for the party that night.        CAMERA PULLS BACK.  Carolyn comes from her bathroom.        She wears a robe.  She hears a SOUND OUTSIDE HER        WINDOW.  She looks toward the window, sees a bat.        She GASPS.  The bat disappears.  She turns back to        the dress.  She sees Barnabas standing there.  His        gaze is so hypnotic that suddenly she finds she cannot        speak.        INTERCUT - THEIR EYES        BARNABAS        He bares his fangs, bends to bite her neck.

Obviously the scene doesn't appear in the slideshow because there is no dialogue.

And when it comes to any differences with the the directions and descriptions, there are several because the scene doesn't begin with a tight shot of Carolyn's dress laid out on her bed, nor do we see Carolyn actually come from her bathroom (see a bathroom with the original cast - NEVER!) because the scene begins with Carolyn coming from -

- near her window and walking over to her bed to examine the dress -

- and smooth it out - but when she hears a noise that sounds like the latch on one of the windows (not the sound of a bat), she turns to see the silhouette of a figure -

- (not a bat, nor does she gasp, nor does the nonexistant bat disappear) in her window - and she screams and moves to try -

- to get away, but she soon stops in her tracks without making another sound -

- and when the figure emerges from the shadows, it turns out to be Barnabas -

- who then moves closer to Carolyn and stares -

- at her, and she back at -

- him as the intercutting of eyes in the script goes back and forth until Barnabas does indeed bare his fangs but doesn't so much bend to bite her as swoops to bite her as she seemingly falls back onto the bed.

And the interesting things about the attack is that some people seem to love the way it's shot, while others think it's far too honky. I guess I come down somewhere in the middle because I sort of like it but I can see why others may not. Though I've often wondered what Frid thought of it because it was different from the way they mostly insisted Barnabas attack his victims on the daytime show - and as we all know, Frid hated how they made Barnabas do it there. But here's an animated gif of the sequence [spoiler]

For people with slower connections, the first time though will likely take a while to download because the file is 10.2MB (118 frames) - but all the better to watch the GIF load frame by frame.  [/spoiler]so you can judge for yourself. 

Dealing with today's scene in it's entirety as it appears in the script:

96     INT:  FOYER - NIGHT                                96        The CLOCK IS STRIKING NINE O'CLOCK.  The foyer is lit        with candles.  Mrs. Johnson, dressed in eighteenth        century costume, has just let in MRS. PETTIBONE, an         aged lady who looks quite at home in her costume.        Roger, dressed as JOSHUA COLLINS, is smiling down at        her.  During the following dialogue and Roger's ad-        libbing, Roger will lead Mrs. Pettibone to the main        body of the party which has overflowed from the        drawing room into the organ room into the card room.

And that when today's quote -

Page 36/Scene 96 - Mrs. Pettibone: 'Believe me, Roger, only a party at Collinwood would have made me leave my house tonight. All those dreadful attacks.'

- comes up.

End of scene as scripted - though certainly not the end of the sequence.

And when it comes to the adlibbing and the differences in the directions and descriptions in this scene in the film, there's a lot more than the script indicates. So much so that it's getting too late for me to get into all of it tonight, so it'll wait until tomorrow...

That's a very cool gif, MB.  Fabulous work!

This scene was shot in such a cinematic, fluid way, and the music used counterpointed what was happening beautifully.

G.

Such a delight to see Mrs. Pettibone in her finery today.

And a much better capture -

- this time around than last -

At least this time she has her eyes open. 

Well, it'a lot later than the "tomorrow" I referred to, but I've finally gotten back to explain the differences between the scripted version of Scene 96 and they way it plays in the film.

One thing that's different from the very outset is that the clock isn't striking nine o'clock in the film, or any other time, nor is a clock even seen.  Mrs. Johnson actually appears coming down the corridor -

- before we ever see her anywhere near Mrs. Pettibone, and then as guests mill about she crosses the foyer to Mrs. Pettibone, where she gives an unscripted -

"Ah, Mrs. Pettibone."

- greeting, to which Mrs. Pettibone responds with an unscripted -

"Oh. Good evening. How are you?"

- to which Mrs. Johnson replies with an unscripted -

"Very well."

And is anyone surprised that Jeff gets worked into things? He approaches Roger, shakes his hand and delivers an unscripted -

"Good evening, Mr. Collins. Has Maggie comes down yet?"

- to which Roger responds with and unscripted -

"No, I haven't seen her yet."

- and Jeff replies with an unscripted -

"Okay. Thank you."

- as he moves into the party. And then Roger turns his attention to Mrs. Pettibone as he greets her with an unscripted -

"Good evening, Mrs. Pettibone. How nice to see you."

- before Mrs. Pettibone delivers her scripted lines, although she actually delivers them as "Believe me, Roger, only a party at Collinwood would have gotten me out of my house tonight. All those dreadful attacks" - but Roger reassures her with an unscripted -

"Oh, there's nothing to them, I'm sure."

- (Hello! Did he not see Daphne?!) and brings Mrs. Pettibone over to Liz with an unscripted -

"You remember Elizabeth."

- and Mrs. Pettibone says and unscripted -

"Hello."

- to which Liz greets her with an unscripted -

"Good evening, Mrs. Pettibone."

- and Mrs. Pettibone responds with an unscripted -

"How are you?"

- and then Roger moves on with an unscripted -

"Excuse me."

- as the scene begins to dissolve into the next one in the film, though not to the next one in the script, as we'll soon see. But other than what we've just covered, there's no other adlibbing.    Scene 96 surely has to be the most adlibbed scene in the entire film! What's actually a surprise is that DC didn't have Jeff and Todd adlibbing too!! 

Somehow I doubt if any of those extras is Chip Coffey!

He has a couple more chances...

Four scenes left on the cutting room floor:

97     Roger leaves her and exits into the hallway at the 97        bottom of the stairs.  THE CAMERA WILL TRUCK ALONG        HALLWAY keeping pace with him.  He arrives at the        foot of the stairs.  Coming up the stairs from the        lower level of the house, David enters the shot.

And that when Friday's quote -

Page 36/Scene 97 - David: 'Look father! I'm Daniel Collins! These are really his clothes!'

- comes up, followed in the script by:

Roger puts his hands on David's shoulders, turns him        around, adlibbing approval.  David's attention is        drawn to the second floor landing directly over his        head.  He looks up.  Pan up  to see Carolyn 98     CAROLYN - DAVID'S POV                              98        She is standing at railing on second floor landing. 99     DAVID - ROGER                                      99                              DAVID                  Carolyn, you look great!        Roger adlibs his agreement, exits. 100    CAROLYN - DAVID'S POV                              100        CAMERA PANS HER SLOWLY DOWNSTAIRS until she reaches        the middle landing at the window.  She stops momentarily.

And because all this ended up on the cutting room floor, when it comes to the dialogue, the descriptions, and the directions for these scenes, we have no way at this point of knowing how things might have actually played out in the film... Though we do know that Roger does excuse himself after bringing Mrs. Pettibone to Liz and he starts to move off...

And now here's a chart with the available info regarding when Scenes 81 through 100 were scheduled to shoot on the original shooting schedule:

	|	|	|	|Day of	|	|
Scs. #s:	|Location:	|Pages:	|Description:	|Shoot:	|Date:	|Cast:
======	|===============	|=====	|==========	|=====	|======	|========
81	|Ext. Collinwood (N)	|1/8 Pg.	|Barnabas walks	|3rd	|Wed. 3/25	|Barnabas
	|	|	|to the door	|	|	|double
_______	|____________________	|_______	|_____________	|______	|________	|__________
82 - 85	|Int. Ground Floor (N)	|7/8 Pg.	|Barnabas	|8th	|Wed. 4/1	|BARNABAS
	|	|	|arrives	|	|	|ROGER
	|	|	|	|	|	|Mrs. Johnson
_______	|____________________	|_______	|_____________	|______	|________	|__________
86	|Int. Gallery (N)	|3 Pgs.	|Barnabas meets	|14th	|Thu. 4/9	|BARNABAS
	|	|	|the family	|	|	|JULIA
	|	|	|	|	|	|CAROLYN
	|	|	|	|	|	|STOKES
	|	|	|	|	|	|ROGER
	|	|	|	|	|	|ELIZABETH
_______	|____________________	|_______	|_____________	|______	|________	|__________
87	|Int. Old House (N)	|1 Pg.	|They come to	|18th	|Wed. 4/15	|BARNABAS
	|	|	|the Old House	|	|	|ROGER
	|	|	|	|	|	|ELIZABETH
_______	|____________________	|_______	|_____________	|______	|________	|__________
88	|Ext. Old House (N)	|1/8 Pg.	|Carolyn knocks	|18th	|Wed. 4/15	|CAROLYN
	|	|	|on the door	|	|	|
_______	|____________________	|_______	|_____________	|______	|________	|__________
89 - 90	|Int. Old House	|2/8 Pg.	|Carolyn looks	|19th	|Thu. 4/16	|CAROLYN
	|Hallway (N)	|	|for Barnabas	|	|	|
_______	|____________________	|_______	|_____________	|______	|________	|__________
91 - 92	|Int. Old House	|6/8 Pg.	|Barnabas	|19th	|Thu. 4/16	|BARNABAS
	|Cellar &	|	|rises	|	|	|CAROLYN
	|Hallway (N)	|	|	|	|	|WILLIE
_______	|____________________	|_______	|_____________	|______	|________	|__________
93	|Int. Drawing Room	|1  &	|Carolyn	|18th	|Wed. 4/15	|BARNABAS
	|-Hallway (N)	|5/8 Pgs.	|questions	|	|	|CAROLYN
	|	|	|Barnabas	|	|	|WILLIE
_______	|____________________	|_______	|_____________	|______	|________	|__________
94*	|Int. Stairway &	|1/8 Pg.	|Carolyn	|15th	|Fri. 4/10	|CAROLYN
	|Hallway(Carolyn's) (N)	|	|returns	|	|	|
_______	|____________________	|_______	|_____________	|______	|________	|__________
95	|Int. Carolyn's Room (N)	|3/8 Pg.	|Barnabas bites	|15th	|Fri. 4/10	|BARNABAS
	|	|	|Carolyn	|	|	|CAROLYN
_______	|____________________	|_______	|_____________	|______	|________	|__________
96	|Int. Foyer into	|3/8 Pg.	|Mrs. Pettibone	|10th	|Fri. 4/3	|JEFF
	|Card Room (N)	|	|arrives at the	|	|	|ROGER
	|	|	|costume party	|	|	|ELIZABETH
	|	|	|	|	|	|Mrs. Johnson
	|	|	|	|	|	|Mrs. Pettibone
	|	|	|	|	|	|extras
_______	|____________________	|_______	|_____________	|______	|________	|__________
97	|Int. 1st. Floor	|3/8 Pg.	|David dressed	|10th	|Fri. 4/3	|ROGER
	|Hallway (N)	|	|for the party	|	|	|DAVID
_______	|____________________	|_______	|_____________	|______	|________	|__________
98 -100	|Int. 2nd. Floor Landing	|3/8 Pg.	|David spots	|10th	|Fri. 4/3	|CAROLYN
	|& !st. Floor Hall (N)	|	|Carolyn	|	|	|ROGER
	|	|	|	|	|	|DAVID
	|	|	|	|	|	|extras
_______	|____________________	|_______	|_____________	|______	|________	|__________

A few things to get into here. As we've already mentioned Scene 87 was (sadly) never shot. Apparently, according to this schedule, Frid was to be the one to open Barnabas' coffin for Scene 92. At the time this schedule was put together, it wasn't intended for Todd to be seen in the background for Scene 96. Originally, until DC added his notation to Scene 97 for the camera to pan to see her, Carolyn wouldn't have been seen until Scene 98. *But quite interestingly, although in DC's final script Scene 94 is a continuation from Scene 93, on this version of the shooting schedule it was an entirely different and separate scene altogether of Carolyn at Collinwood making her way to her room - and there's no hint in DC's script or the original draft of the script that such a scene was ever to take place.