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]

OMG. People were actually writing "would of" 47 years ago?!? 

Looks like DC or whoever wrote in his script did - and apparently he/she considered it correct speech as well to use it in the sheriff's Scene 66 dialogue...

Actually, nothing that appears as part of the March 25th rewrite surprises me...

[Mysterious Benefactor]

And now here's the final three scenes in DC's script's March 25th rewrite (two of which have no quotes taken from them):

68A    Roger exits.          She  turns  to  them.    X  back  to  Maggie                                   CAROLYN                    He'll feel differently in the                    morning, Maggie.        Maggie turns away.  Jeff looks at Carolyn.                    Leave it to him.        Carolyn nods.  Exits. 68B    Jeff crosses to her.  She does not turn to him.                                   MAGGIE                    It's an impossible situation.                                   JEFF                    Don't go, Maggie.        She crosses away. 68C.   (CONT'D)                                  go                                                             |                                  v                                 MAGGIE                        I have to, Jeff.  I'm not                        doing any good here.        He follows her.                                 JEFF                Maggie  I want you to stay. I  need  you  here        He turns her to him.  They look at each other.                                 JEFF                        I wouldn't like it in Collinsport                        without you.  Sooner or later I've                        got to start selling my paintings.                         Then you can worry fulltime about me.

And that's when March 4th's quote -

Page 23/Scene 68C - Maggie: 'Oh, Jeff! I just can't stay here any longer.'

- comes up, followed in the script by:

JEFF                            Well, at least I've got two weeks to                            change your mind.        He kisses her.      Well, what if I ever gave two weeks!                            notice when I couldn't finish a even  I had trouble                            painting.  I'll change your mind.

End of the main part of the scene as typed and also added to. But after the bit of typed dialogue added just above but also crossed out, there's quite a bit of handwritten dialogue. Most of it I can decipher - but parts are questionable. So once again I'm scanning a notation to present for our resident handwriting deciphering expert to see if he can make out what it all says:

(The part that I can decipher seems to say:

"Look what if I always gave notice
every time I had a little trouble with
a painting.
You know actually I'm pretty good
you know - I might even sell one
some day then you can take care
of me."

But I really have no idea what the written part that's crossed out says...)

But, of course, we'll never know if things actually played out as changed because those three scenes are among the many that ended up on the cutting room floor and whose footage was subsequently destroyed...

And actually, I wonder if they were only supposed to be two scenes (68A and 68B) and someone mistakenly turned the second page of Scene 68B into Scene 68C? (How could 68C be continued when there was no previous part to it?) But I suppose we'll never really know...

[Uncle Roger]

I can make out of it. I believe it says Yes, sooner or later they're gonna start selling. Which seems to match up with a part of Jeff's dialogue that is printed but crossed out later on.

[Mysterious Benefactor]

Yes! You're a marvel at deciphering people's handwriting.      Thanks! 

[Uncle Roger]

You're welcome, MB. It's something that I picked up during my years at OTB, where I had to decipher some extremely odd penmanship.

[Mysterious Benefactor]

And now here's the Nancy Hodiak sequence as it appears in both the original draft and DC's script (and recall that in the original draft Maggie has tried to discuss David but she was rebuffed by Roger - and none of the discussion about Maggie leaving has taken place yet):

69     EXT: JEFF'S STUDIO - NIGHT                         69        LONG SHOT        It is the following evening.  It is raining.  From the        bluff above we see Jeff's studio.  A road runs along        the bluff.  A STATION WAGON ENTERS THE SHOT.  Its        headlights are on.  It drives until it is parallel        to the lighted studio.  It stops at a winding path        that leads down the rugged descent to the house itself.        CAMERA PANS TO CLOSE UP of the driver of the car.        NANCY HODIAK is a pretty matron.  She looks from the        car window down at the house. 70     INT: JEFF'S STUDIO                                 70        TIGHT SHOT of an oil portrait of Nancy Hodiak.  The        CAMERA TRUCKS AROUND the portrait and WIDENS TO INCLUDE        Jeff adjusting a new wire on the back of the frame.        Maggie watches him.                              MAGGIE                  We'll never discuss David.  I know                  it.  And it's not David we need                  to talk about -- it's their attitude.                  I'm not doing any good in that house.                  That's why --        She stops.  Jeff quits working, looks at her.                              JEFF                  That's why what?                              MAGGIE                  I'm going to give my notice tonight.        He starts to come to her.                              MAGGIE                  Go back to Boston --        Jeff takes her in his arms.                              JEFF                  I won't let you do that.        She looks up at him.  They kiss.  There is a knock at        the door.                              JEFF                  Damn!  It's Nancy Hodiak.  I'll                  talk you out of it later.        Maggie smiles, shakes her head.  He won't be able to.        He opens the door. 71                           JEFF                         71                  Come in, Nancy.  It's all ready.                              MRS. HODIAK                  Hello, Jeff, Maggie.        She goes to the portrait, admiring it.

And that's when March 5th's quote -

Page 23B/Scene 71 - Mrs. Hodiak: 'Oh, look at at. I love it, Jeff. It takes some ego to give your own portrait to your husband for his birthday. But that's the way I am. You better wrap it. I don't want it to get wet.'

- comes up, followed in the script by:

Jeff smiles.  Starts to wrap it. 72     EXT: JEFF'S STUDIO - NIGHT                         72        LONG SHOT        LONG LENS from the bluff, as if someone were standing        there, looking down at the studio.        The door to the cottage opens.  Light spills out as        Mrs. Hodiak, carrying the wrapped portrait, and Jeff        can be seen in the door.  There is a flash of light-        ning, a CRACK OF THUNDER.  We see Jeff close the door.        SLOW ZOOM down to Mrs. Hodiak, as she starts up the        path to her car.  Lightning flashes.        The CAMERA HOLDS HER TIGHT, as she climbs.  There is        the NOISE OF BUSHES BEING PUSHED APART, TWIGS STEPPED        ON.  She hears this, stops, frowns, looks around.        The CAMERA PANS the dense undergrowth.        Mrs. Hodiak starts to walk faster.  The NOISE SEEMS        TO FOLLOW HER.  She looks over her shoulder.  She is        positive that there is someone -- or something -- in        the undergrowth.  She runs up the twisting path.        She drops the picture. 73     PORTRAIT - CLOSE UP                                73        as booted foot steps on it ripping through it. 74     NANCY HODIAK - CLOSE UP                            74        LONG LENS HOLDS HER TIGHT as she runs toward camera.        WHIP PULL BACK to WIDE ANGLE showing that CAMERA IS        SHOOTING THROUGH car window which FRAMES her as she        runs for the car and into a TIGHT SHOT as she yanks 74     CONTD                                        CONTD 74        open the door and jumps in.  lightning and THUNDER        CRASH as she frantically locks her side of the car.        As she reaches across to lock the other door, it        violently swings open, as the CAMERA ZOOMS IN on her        terrified, horrified face.  She SCREAMS. 75     EXT: BLUFF - NIGHT                                 75        HIGH ANGLE        Police cars are parked around Mrs. Hodiak's station        wagon.  An ambulance is parked farther away.  A        covered stretcher is being picked off the ground by        two white uniformed ATTENDANTS.  They start for the        ambulance.  Mrs. Hodiak's car doors are open.  The        rain is pouring down.  As Mrs. Hodiak's body is placed        in the ambulance                                                CUT TO: 76     PORTRAIT - CLOSE UP                                76        It is ripped and muddied.  During the following,        CAMERA TRUCKS BACK to show Jeff holding the portrait.        Maggie is with him.  They are holding umbrellas and        talking to a POLICEMAN.

And that's when March 6th's first quote -

Page 23C/Scene 76 - Jeff (OS): 'We didn't hear anything. I came out to take Maggie back to Collinwood ... We saw her car still here ... How did it happen?'

- comes up, followed by March 6th's second quote -

Page 23C/Scene 76 - Policeman: 'She was strangled. But the crazy thing is, it looks like some kind of an animal bit her first.'

- coming up.

Sadly, the sequence was dropped - though as we discussed earlier, some of the camera shots and set ups were used for Daphne's attack (as well as being recycled for the '91 series' Daphne's attack).

[Mysterious Benefactor]

It's interesting that the version of the Nancy Hodiak sequence that I've shared has so little dialogue once she actually shows up. However, what's more interesting is that the novelization versions has loads more dialogue. Could this mean that the version of the script the novelization used contained one of the infamous intermediate rewrites that we've already come across several times? Or did Dan "Marilyn" Ross embellish the scenes himself? The fact that DC's script doesn't have a rewrite of the sequence may mean nothing because, considering he wasn't planning on shooting it, DC may have simply wanted a copy that contained the camera shots and set ups that he wanted to use for Daphne's attack. But whatever the case, I thought I'd share how things play in the novel just in case it's based on some intermediate rewrite:

We begin with the novel's version of Scene 70, just to show how close it is to the script:

Inside the house Jeff was busy framing a recently com- pleted portrait of Nancy Hodiak. Everything was done except for attaching a new wire to the back of the frame. Maggie was there watching him work and in a worried state of mind.   She said, "We'll never discuss David. I know it. And it's not David we need to talk about. It's their attitude. I'm not doing any good in that house. That's why --" She hesitated, leaving her sentence unfinished.   Jeff finished working and gave her all his attention. "That's why what?"   She gave him a sober look. "I'm going to give my notice tonight." Jeff moved nearer to her. "I'm going back to Boston."   He took her in his arms. "I won't let you do that."   She looked up at him. They kissed. She was still in his arms when there was a knock on the door.   Jeff released Maggie reluctantly. "Damn! It's Nancy Hodiak. I'll talk you out of it later."   Maggie smiled wanly and shook her head. "Don't count on it."

So, the only bit of dialogue in that that doesn't appear in the script is Maggie's "Don't count on it" - but that paragraph in the novel is in keeping with the script saying "Maggie smiles, shakes her head.  He won't be able to." And as we've seen in past rewrites, it's not at all unusual to add lines. However, when it comes to Scene 71's version in the novel, there's quite a bit of new material added:

Jeff opened the door. "Come in, Nancy. I wonder you took a chance coming down that steep embankment on a night like this."   She smiled. "I had to. I couldn't wait to see the por- trait. Anyway, I was careful and picked my steps."   Jeff smiled. "I suppose I shouldn't have built down here, but it's such a perfect spot otherwise. You know Maggie?"   "Of course," Nancy Hodiak said brightly. "Hello Maggie. Awful weather, isn't it?"   "It surely is," she agreed. She'd met the wealthy young matron a few times and had found her pleasant.   Jeff said, "The portrait is complete, even to a frame and a wire to hang it with."   "Wonderful!" Nancy exclaimed happily. Let me see it."   Jeff went over and held it up for her. "I hope you like it."   "Oh, look at it!" Nancy said with delight. She turned to Maggie. "Isn't it well done?"   "I think it's one of the best things Jeff has turned out," she agreed.   Nancy told him, "I love it, Jeff. It takes some ego to give your own portrait to your husband for his birthday. But that's the way I am. You better wrap it. I don't want it to get wet."   "It won't take a minute," Jeff promised.   Nancy turned to Maggie again. "My husband doesn't like me driving alone on these dark stormy nights. But I had to pick this up. I want to surprise him."   "Your husband is bound to like it," Maggie assured her.   "I hope so," Nancy said, looking around the room and taking everything in. "I like this place. It's so, well, so artistic!"   "Jeff has made it comfortable."   "More than that," the young matron said. "It has the feeling of being a creative place."   "He has good taste," Maggie agreed.   Jeff came back to them with the wrapped portrait. "I've wrapped it doubly to be sure the rain doesn't get at it."   "Wonderful!" Nancy said.   "I'll see you up to the road," Jeff suggested.   "No," Nancy protested. "That's not necessary."   "I don't mind."   She moved to the door with the portrait in her hands. "I won't allow it. Enjoy your company." She gave Maggie a special smile. "I managed getting down and going up is much easier. After all, it's not Mount Everest!"   Jeff smiled. "I'm so used to it I don't think anything about it."   "I'll manage nicely," the young matron said. "Good- night, Maggie. Nice to see you again."   Maggie said goodnight to her and Jeff saw her to the door. When he came back in he told Maggie, "You won't believe this but I heard another roll of thunder just now. When these storms begin they never come to an end!"

Scenes 72 through 75 are pretty much like the script - but once we get to the novel's version of Scene 76 things soon deviate again:

A short distance away on the fringe of the macabre scene, Jeff and Maggie, holding umbrellas against the heavy rain, were talking to a police officer in raincoat. Jeff was holding the ruined portrait and studying it with obvious distress.   "This is unbelievable," Jeff declared.   The officer's bony face was sober.  "You didn't hear anything that could have been a scream?"   "No," Jeff said,staring at the damaged painting in a dazed way and then finally lowering it.   "Jeff offered to escort her back to her car but she refused," Maggie volunteered.   "That's true," Jeff recalled. "I almost insisted on it, but she didn't seem to want me to go with her."   The officer frowned. "You're sure she was alone" She had no one in the car with her?"   Jeff and Maggie exchanged glances. "I don't think so," he told the officer, "though I really don't know. Why did you ask?"   The officer's eyes were cold. "She might have had some- body in the car with her that she didn't want you to discover. And it could have been that somebody who did this."   "I hadn't thought of that," Jeff admitted. "But I doubt if that was her reason. I think she just didn't want me going out in the rain on what she considered a needless errand."   "It didn't turn out that way," the officer said grimly.   Jeff shifted his umbrella to the other hand. "No, it didn't," he said quietly. "She was my friend as well as my client. I'm badly upset by her murder."   "We wouldn't have known about it yet if Jeff hadn't come out to get his car to take me home," Maggie said earnestly.   Jeff nodded. "It was then I saw her car still here and knew something was wrong. So I called you people."   "It's a bad business," the officer said. "We'll want to talk to you later and get detailed statements."   "We'll do anything we can," Jeff said soberly.   "What about her husband," Maggie asked. "He'll have to be told. She was giving him the portrait for a birthday present."   The officer looked bleak. "We've already sent a message out to him but he can't be reached. He's out of the area tonight. We'll have to locate him."   Jeff said, "How did it happen? I mean, how was she murdered?"   "She was strangled," the officer said in his dry voice.   "How awful!" Maggie gasped.   The officer gave her a sharp glance. "But the crazy thing is, it looks like some kind of an animal bit her first."

And there you have it...

[Uncle Roger]

Marie enacted the Nancy Hodiak scene at the 2014 festival. Sort of. There's a short clip of it on YouTube which is Marie doing the chase scene, to the very much monotone narration by Jim Pierson. She lets out a huge shriek at the end but the clip has none of the dialogue with Nancy, Jeff and Maggie.

[Mysterious Benefactor]

What about the scripted dialogue from Scene 71? Was that included in 2014? Or did they merely enact Scenes 72 through 74? If the latter was the case, quite unfortunately, that wouldn't tell us anything regarding a possible intermediate rewrite...

[Uncle Roger]

It's not in the clip and, unfortunately, I wasn't in the ballroom when they did this. I watched the clip again and it seems that Pierson is reading from the KLS movie book.

[Mysterious Benefactor]

One thing that *might* lend credence to the extra novel dialogue for Scenes 71 and 76 actually coming from some version of the script is that once we reach Scene 80 there's also more dialogue in the novel than appears in both the original draft and DC's script and the really interesting thing there is that a line that appears on the Fest's 1999 Movie Calendar for Scene 80 doesn't appear in any other source that I have of the film. And as I've said, the Fest explains that all the dialogue that appears on the calendar was taken directly from copies of the hoDS and NoDS scripts...

But we'll get deeper into that after the current slideshow reaches its last quote from Scene 80 as it appears in DC's script - and that will be on the 17th... 

[Mysterious Benefactor]

I watched the clip again and it seems that Pierson is reading from the KLS movie book.

That book contains the versions of Scenes 69 through 76 that I shared in post #170.

[Uncle Roger]

I found it kind of amusing that the presentation seemed to be more about JP than Marie.

[Mysterious Benefactor]

Before we actually catch up to the current scene in the slideshow, we have to deal with a few other scenes:

77     EXT:  COLLINSPORT INN - NIGHT                      77        CLOSE UP of the police car's flashing red light.        PULL BACK to see car stopping in front of Collinsport        Inn.  A policeman SETH gets out of the car.

It's obvious from the way things are typed that what's upcoming for Scene 78 and the first section of Scene 79 is another rewrite, but this one isn't dated.

78.    INT. LOBBY - INN - NIGHT        TODD is putting coins in the cigarette machine.  Seth        brushes past him, entering.                                   TODD                      Hi, Seth.        Seth nods, walks to the registration desk.  CAMERA TRUCKS        him to TOW SHOT.  The manager, BUD, is behind it.                                   SETH                      Evenin', Bud.  The chief wants a                      list of your guests the last two                      nights.  Another woman's been                      attacked out on Beach Road.        Todd, passing the desk, frowns.                     (             SETH            )                Yeah (Same kind of attack as Daphne)                     (Budd's yesterday.            )                                          |                                   TODD   |                      Another one?        |                                          |                                   SETH   v                           (turning to Todd)                      Yeah, only this one's dead. 79.    INT. COLLINSPORT INN-DINING ROOM - NIGHT                               Todd's        CAMERA is TIGHT on Carolyn Stoddard's face.                                   CAROLYN (VO)                      She was strangled?        CAMERA PULLS BACK.  Todd sits beside her.  They are on        a banquette against the wall.                                   TODD                      Yes, but the weird thing is that she was                      also bitten like Daphne.  Finish your                      drink.  I'll take you home.        She shakes her head, very upset.  She doesn't want anymore.

And we'll leave things there for now.

And what's different when it comes to the dialogue, the descriptions and directions is that Scene 77 doesn't appear in the film because it was never shot - in Scene 78 Todd actually says "Hey, Seth. How are ya?" while he's bending down to retrieve his cigarettes and -

- the manager is hanging up the phone - and Seth actually says "Good evening, Joe" (perhaps the real name of the manager who might be playing himself) - and Todd actually asks -

"What happened?"

- and as indicated in the script, two bits of Seth's dialogue are combined as he turns to Todd actually saying "Same kind of attack as Daphne Budd's yesterday. Only this one's dead" - and in Scene 79 Todd actually says "Yeah" rather than "Yes" after Carolyn delivers "She was strangled?" off screen as added to the script, and he taps the table -

- as he does so - and then Todd actually says "But the weird thing is she was bitten", then he pauses and adds "just like Daphne" - and then he taps Carolyn's hand and actually says -

"Come on, let's get out of here"

- rather than the scripted "Finish your drink. I'll take you home", so we don't actually see Carolyn shake her head no - and then Todd pulls the table aside so that -

- Carolyn can get up easily.

[Mysterious Benefactor]

I found it kind of amusing that the presentation seemed to be more about JP than Marie.

Who would ever think such a thing possible...