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]

if they weren't simply judging by who was in the photos, they would have known that Grayson Hall, Thayer David and John Karlen had actually begun work on the first day of shooting because both Julia and Stokes were part of the funeral and the scene with Willie outside the mausoleum was also shot that same day. And even Jonathan Frid began shooting a couple days later.

In anticipation of doing another shooting chart (for Scenes 121 through 140 in DC's script) in less than a week, I was just looking at the copy of the shooting schedule that I have and the photos that Flip included in their article make perfect sense given some the scenes that were shot during the first three days of production:

Day 1 - The funeral, Carolyn attacks Todd
Day 2 - David plays ball/knocked out, Carolyn returns
Day 3 - Todd stumbles through woods


And on a totally different front, I've also discovered quite interesting evidence in the shooting schedule regarding some of the recent material that's in the novelization but isn't in DC's script. You may or may not be surprised. But either way, that will all wait until I post the chart... 

[Gothick]

Gosh, MB.  I am presuming the current scene WAS filmed since you have found the two stills of the exhumation party at work. And this may have been Joan's biggest, most dramatic moment in the entire movie.

Just a shame we'll never get to see it. Thanks for the script excerpts.  Poor Liz.

G.

[Mysterious Benefactor]

Gosh, MB.  I am presuming the current scene WAS filmed

Yes, Scenes 135, 136 and 137 were all shot.

And this may have been Joan's biggest, most dramatic moment in the entire movie.

Exactly! It's no wonder Joan Bennett was so disappointed with the finished film - what looks to be all her best material ended up on the cutting room floor. Combine that with the fact that she thought the experience of shooting the film was horrendous and, well...

Just a shame we'll never get to see it.

A huge shame!

Poor Liz.

Indeed. And what's sad is that from this point on in the film, with the exception of a scream in a certain scene to come, Liz is basically a catatonic mute...

[Gothick]

Yes, it's very sad.  No wonder when somebody asked her at Tarrytown "aren't you Joan Bennett?" her response was "I used to be."

And of course I remember that scream... and a certain prop that showed up on the show a few months later...

G.

[Mysterious Benefactor]

I was just going through hoDS stills looking for something entirely different and what should I come across?

It looks like that whole section of the poster is a drawing:

There's a still of Willie with the chained coffin, but I don't remember any stills of the hand grabbing Willie's throat.

Well, this:

How quickly I forget!!    And I should have actually remembered because I have an hoDS article from a now defunct magazine called TV Star Parade that includes that still...    But I think it's the only place that still has been published.  (But watch, I'll find out it's in one of the Pompress books!!  )

[Mysterious Benefactor]

Wrapping up Scene 137, beginning with yesterday's quote -

Page 60/Scene 137 - Roger: 'Elizabeth, you must listen to me! Eliot Stokes was right. Carolyn's coffin -- is empty.'

- coming up, followed in the script by:

137    CONTD                                        CONTD 137        For a moment, Liz just stares at him, wide-eyed with        shock.  She backs off toward the door, momentarily        unable to speak.

And that's when today's quote -

Page 61/Scene 137 - Liz (screaming): 'No!! I will never believe that!! I will never believe that!!'

- comes up.

End of scene.

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

[Mysterious Benefactor]

I was just going to share the novelization of Scene 137, but it's the same as DC's script, so there's no need.

There are some differences in Scene 138, so I will be sharing that scene once we finish with it in the slideshow...

[Mysterious Benefactor]

There's a very interesting situation for two entries on the Fest's 1999 Movie Calendar because they should be part of some recent scene we've just dealt with but they're not - not in the version of the script that was used for the novelization and not in DC's script (but as I've said, there are several drafts of the hoDS script, so they could have appeared on any one of the others). And the reason they should be part of some recent scene is because they appear on the calendar between quotes from Scene 133(Carolyn attacks Todd) and Scene 138(Barnabas warns Carolyn to stay away from Todd), so that would seem to mean that chances are they come from some alternate version of a scene or scenes in the range of Scenes 134 through 137. And one other interesting thing is that after it was dropped from whatever drafts(s) it appeared in, it's pretty much a certainty that the second quote we'll see was reworked and given to a completely different character, which is something we've already seen done in previous instances where a scene has been rewritten or after it's been dropped but some of its dialogue lives on in another scene. Though the first quote is more problematic and because of that, it makes the placement of both quotes problematic. But without further ado, here they are:

For March 23rd:

hoDS: Alternate Version of Scene #13? - Stokes: 'There are
two ways a vampire can be destroyed. By driving a wooden
stake through the heart, or by using silver bullets.'

For March 24th:

hoDS: Alternate Version of Scene #13? - Sheriff: 'We've
imposed a curfew on the town of Collinsport. No one will be
allowed out after dark.'

So, just who is Stokes telling how to kill a vampire? Roger? Julia? Roger and Julia outside Todd's hospital room? The sheriff, either at the hospital or in his office? But if either of those latter two are the case, unlike how the sheriff is kept in the dark when it comes to the real reason he must accompany Roger and Stokes to the mausoleum, he would have to already be aware of Stokes' suspicion that Carolyn is a vampire. But with no real clues to go on, it's very hard to pin down the circumstances in which that first quote takes place.

And as for the second quote, recall Stokes' unscripted dialogue that appears in the film as part of Scene 134:

"Today, the sheriff put a curfew on the town. From now on
no one will be allowed to go out after dark."

It's so extremely similar to the sheriff's quote on the calendar as to not be coincidental. It's definitely a reworking of the sheriff's quote. But under what circumstances could it take place originally when it belonged to the sheriff? During some version of Roger and Stokes at the sheriff's office seems like a real possibility. But who knows?

And what I did back when we did the original hoDS slideshow was rather than substitute something in the film for either the calendar's March 23rd or March 24th, I simply used the calendar's quotes and explained that without a copy of it or copies of them, it wasn't at all clear how they originally fit into some previous draft/drafts of the script...

[Mysterious Benefactor]

Setting up the current scene:

138    INT:  CELLAR, OLD HOUSE - NIGHT                    138                                 Barn stands near        WIDE ANGLE of dark basement/with two coffins in b.g.        One is open, one closed. /CAMERA SLOWLY BEGINS TO        TRUCK IN as the coffin opens.  By the time THE CAMERA        IS IN TIGHT on the coffin it is open and we see Carolyn        there, her eyes open.  Carolyn rises as SHOT WIDENS to        include Barnabas standing over her.

And that's when today's first quote -

Page 61/Scene 138 - Barnabas (OS): 'You are never to go near Todd again!!'

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

Page 61/Scene 138 - Carolyn: 'I want him and I am going to have him. I need him.'

- coming up.

And when it comes to the dialogue, the descriptions, the directions, and the notation, the scene doesn't open with a shot of the two coffins with one open and one closed because they're -

- both closed - and the camera doesn't slowly begin to truck in a coffin opens because at first we see Barnabas enter though an alcove -

- in the background (which almost makes his entrance like one he might make on the daytime show) - and soon he makes his way toward his coffin -

- after which, as the camera then begins a slow truck in, Barnabas makes his way around his coffin toward Carolyn's coffin as he looks down at it -

- and then he begins to walk around Carolyn's coffin -

- and as he reached the end of it and is about to walk out of frame, Carolyn's arm begins to open -

- the lid - and then the camera goes in tight on Carolyn's coffin and we see her inside -

- and after she sits up -

- Barnabas soon walks by -

- and after he gets all the way past the coffin, he turns to look in Carolyn's direction -

- and delivers today's first quote - and the shot doesn't widen to include both Barnabas and Carolyn because, after all, we're never allowed to actually see a vampire getting out of a coffin - but soon thereafter Carolyn comes into view -

- and she delivers today's second quote -

- though she actually delivers it as "I want him and I'm going to have him. I need him", and I love the none too pleased look on Barn's face at her defiance.

And this scene shows us an important thing about DC's directorial style as it pertains to this film: If he doesn't have a long hallway for someone to walk down before the important stuff in the scene actually begins, he'll stage things so someone has to walk all around objects in the room before the scene actually begins!! 

And I've often wondered why Barnabas is up and out of his coffin, and apparently has been for a while since he already has his cape on, but Carolyn isn't up and out of her coffin? But I guess we're not supposed to ask that question...

[Uncle Roger]

Initially, I thought that this bit was a brief nod to Barnabas' role as kindly, old vampire from the series, where he would be trying to protect the family from being attacked by the predator of the week. Now I'm not so sure. It seems to demonstrate that he is no more able to control Carolyn as a vampire than he was when she was supposed to be in his thrall. The only thing missing (for me, anyway) would be Carolyn saying that she'd leave Todd alone if Barnabas kept his fangs out of Maggie Evans.

[Gothick]

I wonder where this was shot.  For some reason, it makes me think of a room we may have been allowed to visit at Lockwood Mathews, but that may be just another of my hallucinations.

Carolyn is still a very young vampire. This is only her second night.  I am presuming that there is a process where they get progressively stronger as they go on and are nourished with the blood of more souls.

And yes, her defiance of him is consistent with her personality as it was when she was living.  Quelle surprise, eh, Mr Barnabas?

This scene does feel more like the real DS than a lot of the rest of the movie--probably one reason why I have always liked this scene.  A shot from it was chosen for the image used for the actual CD when the hoDS and NoDS soundtracks were released on disc many years ago.  Another curious thing is that it seems that Rhino had no access to the master tapes for that disc because if you listen through headphones, you can hear dialogue and noises from the actual film soundtrack at several points.

G.

[Mysterious Benefactor]

Initially, I thought that this bit was a brief nod to Barnabas' role as kindly, old vampire from the series, where he would be trying to protect the family from being attacked by the predator of the week. Now I'm not so sure.

I've never seen it as anything but Barnabas trying to protect his own ass. Carolyn going after the people at Collinwood could somehow lead back to Barnabas, and he certainly couldn't have that. Honestly, 1) no matter how strongly she came on to him, he was a fool to have gone after Carolyn in the first place (but we all know which head even the film's Barnabas thinks with), and 2) he was a bigger fool not to have been able to control himself so as not to have killed her. But the film's Barnabas has very few humanizing qualities because what DC was most interested in was him being a monster, and actually the monster that the daytime Barnabas wasn't allowed to be. DC never made any secret of the fact that the film was his chance to make Barnabas the vampire DC had originally envisioned for the daytime show. I honestly think that was a mistake because what made Barnabas so popular on the daytime show is hardly in evidence in the film - plus it gave parents who'd never seen DS on TV a very skewed impression of what the daytime show was like - and that backfired on the show in some areas when parents lobbied to have DS taken off the air, at least in their areas, which did happen in some places.

The only thing missing (for me, anyway) would be Carolyn saying that she'd leave Todd alone if Barnabas kept his fangs out of Maggie Evans.

Oh, THAT would have been a great comeback!! 

[Mysterious Benefactor]

I wonder where this was shot.  For some reason, it makes me think of a room we may have been allowed to visit at Lockwood Mathews, but that may be just another of my hallucinations.

No, you are correct - it was shot at Lockwood-Mathews.

Carolyn is still a very young vampire. This is only her second night.  I am presuming that there is a process where they get progressively stronger as they go on and are nourished with the blood of more souls.

That's about the only explanation that makes sense.

And yes, her defiance of him is consistent with her personality as it was when she was living.  Quelle surprise, eh, Mr Barnabas?

I love it. Barnabas wants to be in control, but he can't control Carolyn in any way, shape, or form.

Another curious thing is that it seems that Rhino had no access to the master tapes for that disc because if you listen through headphones, you can hear dialogue and noises from the actual film soundtrack at several points.

Really, I've never listened with headphones.

I could swear that back when the soundtrack came out it was said that they used Bob Cobert's master tapes for it. But, well, we all know by now that we can't always believe what's said, no matter who's actually saying it, and all too often when a certain someone is saying it...

[Gothick]

I definitely could hear the dialogue in the edit of the party music (which starts out with that souped-up version of Vicki's theme that was released in another arrangement on a 45 with the peculiar title of "Missy."As in, "you WILL put your party frock now AND SMILE, Missy!" ??).  Maybe the other tracks were from master tapes.  There may not have been a master tape for that one edit--I have no idea.  The solo piano music that plays during Barnabas's little scene with Maggie is such a lovely composition.

G.

[Mysterious Benefactor]

Now that I think about it, one thing that is odd is that I remember it being mentioned in the booklet for the soundtrack that for the track named "David's Radio," which is better known as "Back At the Blue Whale," they actually used the original recording for the TV show. I've honestly never bothered to compare the soundtrack version to the version in the film. But that's at least one case where something other than the films' master tapes was used.