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 114:

WILLIE        Horrified, but frozen in his tracks.        CAMERA PANS with him as he runs to Barnabas, begins hammering on        his back.                                                                 Rev. 4/27/70 114    CONT'D                                                      114

And that's when Friday's quote -

Page 46/Scene 114 - Willie: 'Stop it... stop it...'

- comes up.

And when it comes to the dialogue, the directions, and the descriptions, things don't quite play as laid out in the script because Barnabas throws Carolyn down on the circular settee -

- before he moves in to attack her while Carolyn cries out an unscripted -

"Willie! Willie!

- and at first Willie just stands there in horror -

- before, unlike Friday's quote, he finally screams out -

"Barnabas!

- and while Barnabas is munching on Carolyn, Willie screams -

"What are you doing?"

- and then as he lunges to them without the camera panning him, he screams -

"Barnabas!"

 - and as Willie desperately tries to pull Barnabas off of her, Willie screams -

"Carolyn--"

 - and after Willie is able to pull Barnabas off (no hammering involved) as he screams -

"Stop it!"

- we see Carolyn's limp body just lying there, blood all over her throat and on her scarf...

[Mysterious Benefactor]

Wrapping up Scene 114, as scripted:

Barnabas suddenly straightens up with a roar and Carolyn falls        to the floor in a faint.  He slashes Willie viciously across        the face.  Blood runs from Willie's mouth.  Barnabas turns,        looks at Carolyn.  She lies there sobbing.

And that's when Saturday's quote -

Page 46/Scene 114 - Barnabas: 'Get her out of here. She has desecrated this room. Get her out!!!'

- comes up.

And when it comes to the dialogue, the directions, and the descriptions, again, things don't quite play as laid out in the script because Barnabas doesn't quite roar when he straightens up, nor does he viciously slash Willie across the face - though what Barnabas does do is grab Willie by the lapels of his coat and -

- violently swings him about until, still holding Willie by the lapels, Barnabas delivers the first sentence of his quote -

- which he actually delivers as "Get her out, Willie", and then after turning to look -

- down at Carolyn, who obviously didn't fall to the floor in a faint after Willie pulled Barnabas off of her because, as we already mentioned last time, she's lying on the circular settee, Barnabas delivers the "She has desecrated" part of the second sentence in his quote as we see -

- a closer shot of Carolyn and her bleeding wound, followed by Barnabas seen holding Willie from a different angle as he finishes -

- the second part of the second sentence of his quote with "this room" before pushing Willie away (and since Willie wasn't slashed across the face, we do not see any blood running from Willie's mouth) and beginning to run from the room as -

 - he shouts the third sentence from his quote "Get her out!!!" - and then the camera moves into a close-up of -

- Josette's music box on the mantle...

[Mysterious Benefactor]

Considering that Scenes 113 and 114 are quite different before the 4/27 revision, I figured I'd share the novelization version of them:

Shortly afterward Barnabas and Willie entered the basement of the old house. Barnabas was in a mood of elation, while a troubled Willie moved along at his side carrying a candelabra. It was now nearly dawn.   "I found her again, Willie," Barnabas exulted. "Tonight I found my Josette."   Willie frowned. "But it's crazy. Maggie Evans ain't no reincarnation of some French dame who lived two hundred years ago."   Barnabas looked at him with surprise. "You don't understand!"   "I understand more than you think!" Willie said stub- bornly.   "This is beyond your experience," Barnabas protested.   "You gotta be careful," Willie warned him.   "I don't mind risking everything for Josette!"   "Now, Mr. Barnabas," Willie said, "don't you go startin' nothin' with Maggie. You're in trouble enough without hurting her."   "I won't hurt her."   "You say that. But it ain't so."   "I mean it," Barnabas told him. "I am going to offer her what no other man can. Eternal life. Eternal love."   Willie looked at him blankly. "Whatever that means!"   "You'll find out," Barnabas promised.   "She ain't gonna pay no attention to you. She ain't."   Barnabas hesitated and gave him an angry look. Then slowly he asked, "Do you intend to try and stop her?"   "Now wait a minute," Willie protested, moving back.   "Answer me!" Barnabas demanded menacingly.   "I don't mean no trouble," Willie pleaded.   "It sounded like it," Barnabas said, still glaring at the unhappy Willie.   "No. No," Willie managed. "It's just that she's got that Jeff Clark."   "I don't want to hear about him," Barnabas said angrily and he moved closer to Willie in a threatening manner. But he stopped in the midst of his angry gesture at the sight of a shadow on the wall. Someone was stand- ing on the stairs, hearing all that they were saying. Alertness and panic crossed his gaunt face. He swung around quickly.   "Where--where you going?" Willie asked.   But there was no reply from the suddenly tense Barn- abas. He was standing at the bottom of the stairs look- ing up, ready to deal with the intruder. His lips worked with emotion and there was a fire of anger in those hypnotic eyes.   Carolyn's image could be seen through the glass doors at the top of the stairs. Barnabas called out in a compel- ling tone, "Carolyn!"   There was a short delay, as if Carolyn were trying to pit her will against his, but it was a losing game for her. Slowly the door opened and the angry and hurt young woman came down the stairs reluctantly. There was a stubborn look on her pretty face.   "I won't let you do it," she warned him.   Barnabas was all command. "Come here."   She went to him and said, "You love me. You must love me! I'm going to tell her everything, All about you."   "Are you?" Barnabas asked with a tinge of sarcasm.   "Yes," she replied, but her defiance was giving way to nervousness.   "We shall see," he said.   "You're forcing me to do it." Then she saw the look that had come to his gaunt face. She took a fearful step to one side, but he was quick to block her way. He stood threateningly before her.   Frightened but still defiant, she cried, "Don't look at me! I'm not going to let you stop me. I won't let you touch her. I won't!"   Barnabas was suddenly very close to her. He opened his mouth, baring his fangs, and then went down on her neck. Carolyn gasped but surrendered in his arms.   Willie looked on in frozen horror as Barnabas held her in the vampire embrace. At last he came out of his stunned state and ran forward to Barnabas and began hammering on his back. "Stop it! Stop it!" he shouted.   Barnabas reacted by straightening up with a roar. He allowed Carolyn to slump to the floor in a faint as he turned to Willie in a rage. He slashed Willie viciously across the face so that blood spurted from his mouth.   Willie staggered back, screaming hysterically, "You were going to kill her! You were!"   The distorted, angry expression gradually drained from the noble, gaunt face of Barnabas Collins. He looked shocked at what he had just done and there was the suspicion of trembling in his hands. It was clear there were separate forces working within him and opposing each other . . . and this inward struggle was taking its toll of him.   Grimly he stared at the unconscious Carolyn. In a taunt voice he said, "Get her out of here!"   Willie gladly came forward. "Yes! Right away!"   "I never want to see her again."   "I understand," Willie agreed meekly as he bent by the girl.   "Get her out!" Barnabas seemed ready to slip back in- to that formidable rage at any moment.   "I will,"  the handyman said, picking Carolyn up.   "She will tell no one," Barnabas informed in his authoritative way. "No one. Both of you are mine. Both of you must do as I say!"   Willie half-carried, half-dragged Carolyn up out of the cellar,

What a huge surprise it is (NOT!!) that DC had all trace of Barnabas' shock removed from Scene 114.    After all, having hoDS Barnabas shocked at his actions would never do. That would be so daytime Barnabas. And considering Frid thought hoDS Barnabas was much too much of a monster, I can't imagine he was too happy about no longer being able to play that aspect of the scene, even as brief as it was...

One thing I do like about the revision, though, is Barnabas' notion that Carolyn desecrated Josette's room...

[Mysterious Benefactor]

Oops - I forgot to mention that the Fest's 1999 Movie Calendar's entry for March 6th is this bit of dialogue from the earlier version of Scene 113:

hoDS: Alternate Version of Scene #113 - Barnabas: 'I am
going to offer her what no other man can...Eternal life...
Eternal love!'

Though for the original hoDS slide I substituted what Barnabas says in the 4/27 revision:

hoDS: Scene #113 - Barnabas: 'I went
to her that night and offered her eternal life, eternal love.'

[Gothick]

Thanks again, MB, for the excerpt from the Dan Ross novelization.  Interesting to read.  Willie calling his master "Mr. Barnabas" suddenly makes me wonder if he had been briefly possessed by the spirit of Ben Stokes.

I think the scene plays much more effectively in Josette's room. The final camera close-up on the music box is a very forceful statement about the fate of anyone Barnabas chooses to love.

G.

[Mysterious Benefactor]

Willie calling his master "Mr. Barnabas" suddenly makes me wonder if he had been briefly possessed by the spirit of Ben Stokes.

I had the same thought. And I don't think there's any other place that Willie refers to Barnabas that way - not when he talks about him or even addresses him directly.

I think the scene plays much more effectively in Josette's room.

I do too - even with Barnabas' shock at his actions being cut. Though it's interesting that, unlike in the 4/27 revision, in the earlier version there's no mention of the curse being put on Barnabas so, therefore, there's no confusion about how it was put on him. However -

The final camera close-up on the music box is a very forceful statement about the fate of anyone Barnabas chooses to love.

Is the all who love him must die still part of his curse? Or is it different altogether?

- given events in the film, one could argue that the anyone who loves him will die angle could be a part of the curse because[spoiler]that's certainly the case when it comes to Carolyn and Julia. Though not Maggie. So one could wonder if she actually ever is in love with Barnabas.[/spoiler]Though getting into any of that with regard to the film is really reading things into the film from the daytime show because nowhere in the film is the anyone who loves him will die angle specifically mentioned or even implied. It's always a danger to bring elements from the daytime show into the film if they weren't specifically transferred from the daytime show into the film. The film really should be approached strictly on its own terms...

[Mysterious Benefactor]

Dealing with Scene 115:

115    EXT: DRIVE TO COLLINWOOD - NIGHT                          115        TRUCKING SHOT        Willie is half carrying, half dragging Carolyn.  Blood runs        from the wounds in her neck down her dress.  Willie sees the house        ahead.

And that's when Sunday's quote -

Page 46/Scene 115 - Willie: 'I can't take you in. Can you make it?'

- comes up, followed in the script by:

She starts to fall, then walks a few halting steps.

And that's when Monday's quote -

Page 46/Scene 115 - Willie: 'Don't...don't you ever come to Barnabas. Carolyn, he'll kill you. I swear he will. Don't you ever come back.'

- comes up, followed in the script by:

Willie runs into the woods.  Carolyn, barely able to walk, slowly,        weavingly makes her way toward the house.

And when it comes to the dialogue, the directions, and the descriptions, Willie actually delivers Sunday's quote as "Oh, I can't... I can't take you in, Carolyn. Can you make it, huh? Oh...", and as he does so we hear howling in the distance as he reaches into his pocket for his handkerchief, unfolds it, and -

- starts to wipe the blood running from Carolyn's wound - and he follows that with an unscripted -

"Oh. Oh."

- as he reaches to tap Carolyn's cheek - then turns to -

- look at the house before delivering an unscripted -

"Oh, my."

- as he continues to dab the blood - and then Willie actually delivers the first part of Monday's quote as "Carolyn, don't you ever come back to Barnabas" before he taps Carolyn's cheek with -

- the bloody handkerchief and follows with the second part of Monday's quote as "He'll kill you. I swear he will. Don't you ever come back", all the while still dabbing the blood - and after we hear more howling in the distance, Willie finally stops dabbing and delivers an unscripted -

"Go on in, honey. Go on."

- and then rest of the scene progresses as scripted...

[Mysterious Benefactor]

Oops - again I forgot something - well, two things, actually:

I wanted to mention that even though Scene 115 is listed in DC's script as part of the 4/27 revision, the novelization of it plays exactly as scripted in DC's script.

And I don't know how I could have forgotten to praise John Karlen's masterful work in Scene 115. Willie's intense nervousness and his desire to help Carolyn all that he can just leap off the screen. If it was all his idea to ad lib all the nonscripted parts, Karlen took what might have played as an average scene and made it spectacular...

[dom]

My thoughts exactly.

[Mysterious Benefactor]

Dealing with today's scene:

116    INT:  FOYER COLLINWOOD - NIGHT                            116        Mrs. Johnson has just finished cleaning up after the party.  She        is carrying the last tray of glasses from the drawing room.  The        door suddenly opens.  Carolyn                                                CONTINUED 116    CONTD                                        CONTD 116        walks in, but so slowly, so haltingly that Mrs.        Johnson knows something is wrong.

And that's when today's quote -

Page 47/Scene 116 - Mrs. Johnson (putting the tray of glasses down): 'Carolyn!'

- comes up, followed in the script by:

Carolyn looks at her, but she is too far gone to see        her.  With a terrible SIGH, Carolyn falls to the floor.        Mrs. Johnson looks down at her, SCREAMS.  CAMERA ZOOMS                 IN to CLOSE UP of Carolyn.  SHE IS DEAD.

But when it comes to the dialogue, the directions, and the descriptions, practically none of that is how the scene actually plays in the film. First off, Mrs. Johnson doesn't come from the direction of the drawing room because, strangely (given the kitchen, where one would presume the dirty glasses would be being taken, is in that end of the house), Mrs. Johnson carries a tray of glasses down the long hallway from the dining room -

- (but then we know how DC just loves his people coming down the long hallway shots - and honestly, unless one is familiar with Lyndhurst, one wouldn't even be aware that Mrs. Johnson is walking away from the kitchen rather than to it), and suddenly comes to an abrupt stop -

- only to drop the entire tray onto the floor -

- as the glasses seemingly shatter into a million pieces and what liquid remained in them explodes into the air and onto the floor - and after the camera cuts to Mrs. Johnson in total shock -

- (with nary a word being said by her), the camera whip pans to show Carolyn -

- slumped on the floor and against the door - and as the camera does actually begin a slow zoom in on her, at a point we start to hear -

- a bell tolling - and the shot suddenly holds once it reaches a close-up of the obviously dead Carolyn -

- whereupon it eventually begins to dissolve into the next scene's opening shot -

- which we'll get into when we begin to deal with Scene 117...

And the reason why the beginning of Scene 116 doesn't align with the rest of the scene is because that beginning was typed on the same page as the end of the 4/27 revision, which apparently ended with Scene 114 because, as with Scene 115, the novelization of Scene 116 plays exactly as scripted in DC's script. Well, up to a point. But more on that later...

[Mysterious Benefactor]

OK - here's the end of the novelization of Scene 116 and it will be quite obvious when it reaches the part that deviates from DC's script's version:

Carolyn looked at her blankly, much too far gone to see her. With a terrible sigh she crumpled on the floor. Mrs. Johnson screamed and knelt down by her.   "Carolyn, speak to me!" the housekeeper begged her.   But Carolyn lay there motionless. With horror or her face, Mrs. Johnson felt for a pulse beat and then drew back from the fallen body, ashen pale.   For a moment she stood frozen, staring down at Carolyn. As realization of what had happened finally got through to her, she wheeled around and began racing down the corridor screaming, "She's dead! Miss Carolyn is dead!"

It's too bad the end of the scene was dropped somewhere along the way. And not that I hold anything against Barbara Cason because she did well with what she was given to do, but it's too bad that Clarice Blackburn didn't get to play Mrs. Johnson. If so, perhaps what was dropped from Scene 116 wouldn't have been because I can just see Clarice's Mrs. Johnson racing down the corridor and screaming, "She's dead! Miss Carolyn is dead!" A classic Mrs. Johnson moment that never was...

And one other thing that I'd like to share in the post is perhaps my favorite hoDS teaser poster - one that certainly relates to the parts of the script we've dealt with today:

[Mysterious Benefactor]

There's so much to deal with when it comes to today's scene that I'm going to break it up into two posts:

Part 1, as scripted:

117    EXT:  CEMETERY - DAY                               117        HIGH ANGLE        The TOLLING OF A GREAT CHURCH BELL can be heard in the        distance.  It is a cold dark day and rain is falling.        A GROUP OF MOURNERS is gathered under umbrellas out-        side a mausoleum.  We hear the DISTANT INTONING OF A        MINISTER.  CAMERA SLOWLY MOVES IN toward the group.        The TOLLING OF THE BELL continues.  The INTONING OF        THE MINISTER BECOMES MORE DISTINCT until we are able        to make out the words of the twenty-third psalm.

And that's when today's quote is scripted to -

Page 47/Scene 117 - Minister: 'He leadeth me in the paths of righteousness for his name's sake. Yea, though I walk through the valley of the shadow of death I will fear no evil.'

- come up.

However, while many things do play out in the film in a similar fashion, there's much more in the film than is scripted and at times what is scripted happens in different orders. So, without further ado, this is how the first part of Scene 117 plays in the film:

The scene actually begins as Carolyn's death stare dissolved into a shot of the face -

- of an angel statue as the sound of the bell continues to toll. The camera soon pulls up to a high angle to reveal a group of mourners gathered under umbrellas around a coffin as the rain pour down upon them - there is no view of a mausoleum at this time. Almost immediately we hear the minister intoning an unscripted -

"Precious in the eyes of the Lord is the sight of those of his
children..."

- and as the camera moves in on the mourners, he continues with -

"...who have followed his way and led a good and upright
life."

The camera shot then dissolve to begin to show the mourners as they do indeed stand outside the Collins mausoleum as the minister continues with -

"Asleep, O Lord, far from thee thy kinderd in their graves
may be..."

- and the camera circles around the various mourners as the minister continues with -

"...but there is still a blessed sleep..."

"...from which one ever..."

"...wakes to keep."

And then after completing his prayer, the minister proceeds with his eulogy with -

"Carolyn Stoddard, loving daughter of Elizabeth Stoddard..."

"...niece of Roger Collins, devoted cousin of David Collins,
beloved fiancee of Todd Blake. May she find peace as she
enters into life eternal. Amen."

And at that the mourners begin throwing their flowers onto Carolyn's coffin -

- and today's quote has yet to come up in the scene. But we shall see when it does in Part 2. But before we wrap up this part, I have to say I found it interesting that Carolyn was Elizabeth's loving daughter, David's devoted cousin, and Todd's beloved fiancee - but apparently she was just a plain niece to Roger. I guess that means that if anyone Carolyn loved or who loved her was going to be slated to die after she comes back, seemingly Roger is free and clear. 

[Uncle Roger]

Her beloved fiancee apparently doesn't rate an umbrella.

[Mysterious Benefactor]

And now:

Part 2, as scripted:

During the minister's speech, the CAMERA PANS the        solemn faces of the mourners: Roger, David, Julia        Todd, Maggie, Jeff, Stokes, the Sheriff and VARIOUS        OTHER RELATIVES and FRIENDS.                              MINISTER (OS)                  For thou art with me, thy rod and                  thy staff they comfort me; Thou                  preparest a table before me in                  the presence of mine enemies:                  Thou anointest my head with oil;                  my cup runneth over.  Surely good-                  ness and mercy shall follow me all                  the days of my life; and I shall                  dwell in the house of the Lord                  forever.        WIDE ANGLE - MOURNERS        The pallbearers raise the coffin, carry it toward the        mausoleum. 117    CONTD                                        CONTD 117        LIZ AND MAGGIE        as they watch the pallbearers.  In a moment we hear        the BIG IRON DOOR BEING CLOSED AND BOLTED and we know        that Carolyn is gone.

End of scene.

And when it comes to the dialogue, the directions, the descriptions, and the notations, well, as we've seen the camera has already panned all the mourners - but what does come up next in the scene following where we left off in Part 1 is a shot of David as the minister begins, not the second part of the twenty-third psalm (which would be hard given we haven't heard the first part yet - or today's quote), but we actually hear the start of the twenty-third psalm -

"The Lord is my shepherd, I shall not want. he maketh me to
lie down in green pastures."

- and after that the camera pulls back to reveal the pallbearers already carrying Carolyn's coffin as we hear the minister finally deliver today's quote as the various pallbearers and the minister come into view -

"He leadeth me in the paths of righteousness..."


"...for his name's sake."


"Yea, though I walk through the valley of the shadow of
death..."

- and the minister wraps up today's quote as he begins the rest of the prayer as laid out in this post -

"...I will fear no evil. For thou art with me..."

And after the pallbearers and minister have passed by we see David, Maggie, Liz and Julia (though who knows who the man seen between Liz and Julia is?) watching after them as we hear the minister continue with -

"...thy rod and thy staff, they comfort me."

- and then the camera switches to shooting from behind everyone as we see the pallbeaers making thier way to the mausoleum and hear the minister continue with -

"Thou preparest a table before me in the presence of mine
enemies."

- and, unlike the script, before the minister is even done things switch to a shot of Maggie and Liz huddling together -

- and after Liz looks down as if she can't bear to watch any more, we hear the minister continue with -

"Thou anointest my head with oil..."

- and then the shot switches to the cemetery caretaker starting to open the iron gate to the mausoleum as the minister continues with -

"...my cup runneth over."

- and with the gate open the pallbearers move closer to the mausoleum as the minister continues with -

"Surely goodness and mercy shall follow me all the days..."

- and the camera switches to a shot of the caretaker holding the iron gate as the minister continues with -

"...the days of my life..."

- and the camera moves into the darkness as the minister's words begin to echo -

"...and I shall dwell in the house of the Lord forever."

- and finally things end with a loud bang.

[Mysterious Benefactor]

Her beloved fiancee apparently doesn't rate an umbrella.

All the better for that soaking wet lock of hair to hang down his forehead...

Though as I said in a previous post, given the way things apparently ended with Carolyn and Todd at the party, what can Todd be thinking and feeling now that Carolyn is dead?! It doesn't take a ton of empathy to discern the subtext in Briscoe's performance here - it's perfectly palpable...

Though on a much lighter note, I've drawn the conclusion that there really isn't any goof when it comes to Todd's last name. Yes, the minister refers to him as Todd Blake while the closing credits list him as Todd Jennings - but you see, when the eulogy was being written, for reasosn known only to him, Todd insisted that he be referred to by middle name as well. After all, Blake can be both a surname and a first and/or middle name. Problem solved!    Yup, that's the explanation exactly!    His full name is Todd Blake Jennings.