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]

Here's how Scene 134 appears in the novelization - a version that is much longer than what appears in DC's script and the film, with quite possibly a Scene 134A:

It was the next day. And Doctor Julia Hoffman stood by Todd's bed in his hospital room. He'd been brought there only that morning in a barely conscious state. Now he tossed on the bed, talking incoherently in his semi- delirium. Julia and a nurse were giving Todd a blood transfusion.   Julia said "He seems to be a little better since the transfusion began."   "I've noticed that," the nurse agreed.  "He's less rest- less."   Julia looked at the almost empty transfusion bottle on its stand. "It will be finished in a few minutes," she said.   "Yes."   Julia watched the stricken Todd tossing and turning under the sheets with a professional eye. "It may take some time before the blood causes any real improve- ment."   "What next, Doctor?"   Julia was holding a hypodermic needle. "I have some injections to give him. There'll be a regular schedule. I'll begin them and leave instructions for the time they are to be given through the day and night."   "Yes, Doctor," the nurse said seriously.  Julia Hoffman had the reputation of being an unusually good doctor in cases of blood diseases. She had specialized in hematology at Cornell and practiced in Maine for some time.   Julia gave Todd his first injection as soon as the nurse disconnected the intravenous needle. She was wiping the hypodermic needle when the door opened and Roger Collins came in, followed by Professor Stokes.   Roger asked, "How is he?"   "Responding fairly well," she said.   "What happened?"   "They found him wandering in the cemetery," Julia said. "He was barely conscious then and he became worse after they brought him in."   Roger swallowed hard. "Carolyn?"   "Yes," Julia said. "If you'll leave the room for a minute I have a second injection to give him."   The two retreated quietly as Julia returned to her pa- tient and touched the needle to his arm, giving him the second injection. Then she watched his face. There was a fresh burst of perspiration on his brow. The bandage covering the evil fang marks on his neck appeared to bulge. His head, which had been rolling back and forth now became rigid. His face contorted into a mask of pain, the veins at his temples bulging. In a loud voice, he screeched, "Carolyn!" Then he suddenly went limp and still.   The nurse on the opposite side of his bed gave her a what-does-this-mean look and asked, "What now?"   "That was a reaction to the injection," Julia said calmly. "He'll be all right for a while, at least. He'll sleep."   Then she left the nurse watching him and joined Roger Collins and Professor Stokes in the hospital corridor."   "Did you hear him just now? The name on his lips?" she asked.   Roger Collins looked pale. "Yes. He sounded de- mented."   "He has been through a lot," was her reply.   Roger's expression was somber. "I didn't believe but now I must. I saw the bandage on his throat. The marks were there?"   "Yes," Julia said. "The professor warned him."   "But he wouldn't listen to me," Stokes said in distress.   Roger gave him a grim glance. "That's not surprising. None of us would."   Professor Stokes sighed. "I can't say that I blame you."   "So David did see Carolyn," Roger said.   "Of course," Julia said. "Only he was luckier than Todd. he escaped."   Professor Stokes gave Roger a meaningful glance. "Something must be done to stop her. You know that?"   "It's very difficult," Roger lamented. "How to begin? What to say to Elizabeth?"   "It might be better not to say anything," Julia advised.   "Precisely," Professor Stokes agreed.   "I'll need to contact the authorities," Roger said with a look of despair. "I can't simply break into the mauso- leum."   "That is correct,"Professor Stokes said with a small frown. "These things can be awkward."   Julia Hoffman said, "You'll simply have to visit the sheriff and tell him."   Roger darted an impatient glance her way. "Tell him that I believe my niece is a vampire? I'm sure he'd be impressed."   "You'll have to be more subtle than that," she ad- mitted. "You could begin by telling him you have a strange feeling about the burial."   Professor Stokes nodded. "No need to confide com- pletely in him at this point."   "That may come soon enough," Julia Hoffman said.   Roger still hesitated. The whole business was extremely distasteful to him. He disliked any kind of publicity. Despite all the power we wielded in the small com- munity of Collinsport, he was careful to be little seen or heard. Now he was being forced to take the stage under a sensational spotlight.   He gave the two a distressed look. "You're sure I should go through with this?"   "You heard Todd just now," Julia reminded him quietly.   Roger sighed. "Yes."   "And you know the close call David had. You want to protect your son."   "I do."   Professor Stokes said gravely, "Then you must investi- gate her coffin. There is no other way."   "Very well," Roger said, accepting the decision with a heavy heart.   With a look of relief, Julia Hoffman told the professor, "You had better accompany him to the sheriff's office."   Stokes glanced at Roger. "Would you like me to, Col- lins?"   Roger nodded. "Yes. I may need you to support my plea."

If all of that was in a version of the script at one time, it's a shame it was dropped because it shows how Roger was able to come around, which happens in the blink of an eye as the film stands. But then, why flesh out such character angles when it's so much more important to get to the ripping and tearing and the blood and gore as quickly as possible. And what's odd is that we know DC felt he was making his own Hammer version of DS, but as I recall, most Hammer films had character scenes to flesh out their characters and the characters' motivations. But apparently that didn't make an impression on DC...

One thing I do find quite amusing is how Roger seems to think they just can't break into the mausoleum. When did anything like that ever stop anyone on the daytime show?!    Particularly considering they're talking about breaking into the Collinses' own mausoleum. But I suppose that in a film it's more important to be conscious of the law...

[KMR]

And when it comes to the dialogue, the descriptions, and the directions, most things are actually quite different - the scene opens, not on a shot of Todd in bed, but on a shot of the hospital room with Julia and Todd reflected in a mirror across the room and a nurse appearing at the door across the room as she carries a bottle of blood -

Now wait a minute, is it still supposed to be a hospital room? It looks suspiciously like a room in Collinwood. (But maybe it's both--with all the stuff going on, they needed to set up a hospital in the house!  )

[KMR]

If all of that was in a version of the script at one time, it's a shame it was dropped because it shows how Roger was able to come around, which happens in the blink of an eye as the film stands. But then, why flesh out such character angles when it's so much more important to get to the ripping and tearing and the blood and gore as quickly as possible. And what's odd is that we know DC felt he was making his own Hammer version of DS, but as I recall, most Hammer films had character scenes to flesh out their characters and the characters' motivations. But apparently that didn't make an impression on DC...

I'm sure that much of what Ross included in the novel was his own invention, to flesh out the story a bit. But yes, there was a lot of original script material that got deleted, to the detriment of the film. Yet to be fair, I'm sure that MGM wanted Curtis to limit the length of the film, because it would be double-billed with something else in a lot of markets. The stuff we know about that should have been included would have made the film go well over two hours, I think, and that would be unthinkable for something in this genre in 1970. This movie has a lot of stuff going on in it, and runs at a breakneck pace. Some of the character development could have been retained by removing some other scenes to still come in under 100 minutes, possibily resulting in an overall richer storytelling experience. But that probably would have been lost on the main audience MGM and Curtis were going for...

[Mysterious Benefactor]

It's hard to tell what Ross might or might not have added to things - especially when a lot of the dialogue that doesn't appear in DC's version of the script but does appear in the novelization also happens to appear on the Fest's 1999 Movie Calendar. And the Fest said all the dialogue appearing on the calendar came from copies of the hoDS and NoDS scripts that they had in their possession in 1998 (which are obviously earlier versions than DC's copies of those scripts that appear in the Movie Book). So, in those instances, we can be sure that at some point along the way the hoDS dialogue on the calendar was part of a version of the script.

One thing that makes it so hard with hoDS is that, while there are earlier versions of the script in circulation in fandom, there seem to have been many different drafts of the hoDS script along the way - more so than with NoDS...

And another thing that's interesting (or some might say frustrating) when it comes to hoDS, unlike when scenes or entire sequences of scenes were dropped from the NoDS script and that was indicated in subsequent versions of the script -

4      OMITTED                               OMMITTED    4

12     OMITTED                               OMMITTED    12

203-                                                       203- 205    OMIT                                        OMIT    205

- that's not always the case when it comes to some of the scenes that were dropped before they decided on the final draft of the hoDS script. In fact in one draft, there's an indication of scenes omitted, but that indication doesn't appear in subsequent drafts to that draft. Though the nice thing there is that unlike with NoDS where we pretty much have no idea what the omitted scenes consisted of, the scenes that were omitted from the hoDS draft that I'm referring to do actually appear in the version of the hoDS script that appeared in the DS Files books because that version of the script was apparently an earlier draft that contained them (and I'd shared those omitted hoDS scenes in this topic when we came to the section of DC's script where they would have appeared).

[Uncle Roger]

I know that I'm jumping the gun here but I have always felt that the extremely different ending of the book was Ross' invention.

[Mysterious Benefactor]

In that instance, I'm pretty sure you're entirely right. That has Ross written (no pun intended) all over it...

[Mysterious Benefactor]

Until things get sorted out with uploading, it looks like when it comes to the slideshow we're going to have hoDS quotes with NoDS captures...

[Mysterious Benefactor]

Finally success in uploading everything!

And if you're not seeing today's graphic -

- for the slideshow, you need to clear your browser's cache. 

[Mysterious Benefactor]

Here's a scene in the novel that appears between DC's script's Scene 134 and 135, and it's anyone's guess if it appeared in the version of the script used for the novel or it's an invention of Dan "Marilyn" Ross:

With a heavy heart Roger mounted the outside steps of the building and opened the screen door leading to the cool shadowed foyer. The sheriff's office was on the first floor to the rear. They made their way down the cor- ridor, their footsteps echoing on the shining hardwood floor.   The elderly man in the outer office of the sheriff's quarters gave them a sour look. "Yes," he asked in a crabbed tone.   "Is the sheriff in?" Roger wanted to know.   "Yep. You want to see him, Mr. Collins?"   "If he isn't too busy," Roger said.   "I reckon he can spare time for you," the ancient clerk said grumpily. he rose and went out a door at the back of the office. The door was closed after him and so they had no idea what was going on in the other room.   Roger gave the professor an uneasy look. "Not a very happy start," he observed grimly."   "You can't turn back now."   The old clerk came back and nodded for them to enter. "The sheriff is waiting for you," he said.   Roger led the way into the inner office. The gnarled sheriff was standing at his desk with a weary expression on his face. Roger introduced the professor and then they all sat down.   "Very sad about your nice," the sheriff said, when the introductions were over.   "Tragic," Roger agreed.   The sheriff looked at his directly. "I hope you don't have the idea we're being lax in following up on these at- tacks and murders. I promise you that we are doing everything possible."   "I have every confidence in you," Roger said in a strained voice.   "Thank you," the sheriff said. "We have been receiving some complaints from relatives of the victims. It's hard to preach patience to those who have suffered such an ordeal, but I'm afraid that's just what we must do."   Professor Stokes said, "At a time like this your official position is not an easy one."   "Indeed it is not," the sheriff agreed. Then he gave Roger a questioning look. "I assume you have come here for my help in some way, Mr. Collins. What can I do for you?"   Roger took a deep breath. Then he said, "It's about Carolyn.About her burial. I've had a bad dream about it and I'm worried."   "The sheriff raised his eyebrows. "A bad dream?"   "I've also had other misgivings," Roger told him earnestly. "I have an idea the monster we're trying to apprehend may possibly have a streak of the grave robber in him. And I have this awful feeling that my niece's coffin has been despoiled."   The sheriff eyed him incredulously. "I don't think that's likely."   "Perhaps not," Roger agreed. "But I wish you would indulge me in this fancy. I'd like to investigate the mausoleum and make certain that Carolyn's coffin is in- tact."   The sheriff hesitated. "It's a pretty unusual request," he said grimly.   "I know that," Roger agreed. "But I'm very con- cerned. It wouldn't take too much of your time and it would set my mind at rest."   Professor Stokes spoke up. "Mr. Collins has suffered a great strain. I'm of the opinion this would help him through this crisis."   The sheriff frowned. "I don't know what to say."   "I'll not trouble you again," Roger said. "Just so long as I know Carolyn's body has not been touched."   There was a tense moment of silence in the small office. Then the sheriff said, "All right, Mr. Collins."   "When can we go to the cemetery?" Roger asked nervously.   The sheriff shrugged. "Why not go at once and get it over with? he said. It was clear by his tone that he thought it was a fool's errand.   Roger and the professor exchanged glances. And Roger told the sheriff, "I agree. Best to get it done right away!"

None of the dialogue here appears on the Movie Calendar (though quite interestingly some dialogue will appear on the calendar quite shortly that doesn't appear in either DC's script or the novelization - but more on that once we get to it...). I would have loved to have seen the look on Dennis Patrick's face when as the sheriff he was told by Roger about his dream. It could have been a classic moment - though perhaps more suited for the daytime show than the film, as is the entire section with the ancient grumpy clerk. Though it's certainly not impossible that at one point all of this could have been in the script. I mean, such levity brings to mind the humor of NoDS' Tracy and Claire's excursion into Collinsport to visit Gregory's shop.

Also, I forgot to mention when I posted the excerpt from the novelization's version of Scene 134 that it's interesting that in it Roger is the one who leads the way into Todd's hospital room, just as in the film, though in DC's script it's Stokes who does so. We've seen many examples in both hoDS and NoDS where the way something plays in one of those films is actually more closely related to how it was done in a draft of a script prior to DC's final script version.

[Uncle Roger]

I realize that small town government would cater to the wealthiest family in town but to go and open the coffin of someone who has only been dead for a very short time on the basis of a dream? Forget the court order! Let's just drive over and do it now! I realize that this is not the type of drama that DC was interested in telling but, in a more realistic setting, Elizabeth would probably kick Roger out of the house ("You betrayed me!" would sound particularly juicy coming from Joan.) and likely use her influence to get Stokes dismissed from the university and the sheriff fired.

[Mysterious Benefactor]

in a more realistic setting, Elizabeth would probably kick Roger out of the house ("You betrayed me!" would sound particularly juicy coming from Joan.) and likely use her influence to get Stokes dismissed from the university and the sheriff fired.

I can so see all of that happening!! 

[Mysterious Benefactor]

Two scenes in the script that we need to get through before we can deal with the current scene:

CUT TO:  135    BLACK - INT:  MAUSOLEUM - DAY         We hear a LOUD, REVERBERATING SOUND, AS OF A GIANT IRON         BOLT BEING THROWN.  The a door opens and a blinding  135    CONTD                                        CONTD 135         light shines directly into camera.  Behind the light         there is movement as Roger leads Stokes, the Sheriff         and deputies to a vault with Carolyn's name on it.         Stokes looks at Roger and can see how painful this is         for him.  There is a pause.  Then Roger opens the and pulls         vault and steps back.  The light is shined inside and out coffin we see the coffin.  The sheriff nods to his men.  They         remove the coffin and set it down on the floor.  There         is a moment of tense hesitation.  Then Stokes reaches         down and lifts the lid of the coffin.  The Sheriff         shines the light in.  136    THEIR POV - INTERIOR COFFIN                        136                      From  inside  Coffin         It is empty.  Focus looking in

And when it comes to the descriptions and the directions, we really have no way of knowing how things might have played in the film because these scenes ended up on the cutting room floor.

[Gothick]

Thanks again, MB, for those pages from the Dan Ross book and that unusual still of the exhumation party inside the mausoleum--I'm quite sure I never saw that shot before.  Bravo!  You'd give Diego the Explorer (if I'm remembering what some of my friends told me a few years ago about a popular children's program properly) a run for his swag.

I can see why all of this was cut.  If all of it was actually written out in some draft of the script, it does foreground how little experience the main people involved had in constructing a screenplay for a feature film, particularly in the horror genre in the early 70s.  The 90 minute running time was pretty much standard and had been for years.  Of course that was long compared to the horror films of the 30s and 40s which usually clocked in at 70 minutes or less.

I was startled to see a couple of articles posted to social media a week or two ago with this director explaining why his new film about Dunkirk is "so short."  The running time is reported to be 100 minutes.  My initial reaction was:  "that's short?"

A number of people I know have complained to me in recent years about all the big blockbuster feature films routinely running around 2 and a half hours.  That's a little too long both for children and people living in what we euphemistically call "the golden years."

G.

[Mysterious Benefactor]

And here's how Scenes 135 and 136 appear in the novelization - the actions is pretty much exactly the same as DC's script, except in the novel there's dialogue -

The tomb was pitch black. Then there was the grating sound of an iron bolt being drawn and in the next second the giant entrance door came open with a creaking, pro- testing sound to throw a flood of light into the dank place of the dead. Roger led the way with a pained expression on his stern face. He went directly to the vault where Carolyn was buried. Stokes, the sheriff and his deputies followed him. Roger paused before the vault as if reluctant to proceed any further.   "Well, Mr. Collins," the sheriff said dryly.   "Yes, of course," Roger replied as he roused himself to action. He opened the vault and stepped back beside Professor Stokes.   The sheriff beamed a light inside to reveal the coffin. Then he nodded as a signal to his deputies.  They grimly entered the vault to remove the coffin and set it on the floor. They stepped back with a hint of awe in their faces. To them this represented a rude intrusion of the dead. There was another moment of tense hesitation.   The sheriff said, "Let's not waste time, Mr. Collins."   Roger turned to Stokes. "Would you proceed, Eliot?"   "Very well," the stout man said with a sigh. He wore a grim expression as he reached down and lifted the lid of Carolyn's coffin. The sheriff came close and shone his flashlight into the coffin. There was a chorus of startled gasps but nothing was said.

- and unfortunately we'll never know if things might have played in the film with dialogue anything like that or in silence as the script indicates...

[Mysterious Benefactor]

And here is the first article ever printed about the production of the film. And just as with NoDS, it was published in Flip magazine:

Click for a 1554X2128 version of the page: DSMM.jpg

Nothing like revealing from the very first that Barnabas kills Carolyn and she becomes a vampire!