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]

Before I posted Scene 164 from DC's script, I'd neglected to look to see how Scene 163 plays in the novelization. I'm not sure what to think of parts of it, so I'm going to share it:

Confusion reigned around the scene of the burning car. Both of the officers in it had been thrown from the vehicle by the force of the impact. Had they landed on hard asphalt this could have been fatal for them, but fortunately they had struck the comparatively soft surface of the lawns. But one of them was unconscious and the other was in shock and seemed to have a broken leg.   Dr. Julia Hoffman at once rushed forward to attend to their injuries. Roger, Jeff and Maggie stood a distance away with several other officers. The intense heat from the burning car kept them from getting really close.   Roger turned to one of the officers. "Is an ambulance on its way?"   The young policeman nodded. "Sheriff has called the Ellsworth Hospital to send one. Good thing there was a doctor here."   "I know it," Roger said grimly. "Any idea how badly those two are?"   "Mike is still out of it," the policeman said. "And I think Alex is only suffering from shock. They're lucky to be alive."   Roger sighed. "No doubt about that."   "Any idea what happened to cause the wreck?" Jeff asked.   The officer looked odd. "It's a mystery. I've talked to Alex but he's still confused. He raved on about seeing someone in the road. They tried to swing the car and avoid running whoever it was down. At least that's what he says. It could be just raving."   Roger gave him a sharp look. "Later on you'll probably get a better account of it."   "No question of that," the officer said. "Looks as if you had a good chance of losing that tree."   "Unfortunate," Roger said. "But nothing compared to the fact two lives could have been lost. I hope that ambu- lance gets here quickly."   "Shouldn't take long," the officer said, his eyes on the fire again. It was now beginning to ease some.   Julia Hoffman came back to Roger, her pleasant fea- tures highlighted by the fire's rosy tint. "I've done all I can for them."   "Will he live?" Roger asked.   "He should," Julia said. "Unless he has injuries I don't know about. Only an X-ray can tell."   Jeff turned to Maggie. "This has been some night."   "It has," she was quick to agree.   As they talked a fugitive Todd was hiding in the shrub- bery near the main building watching them. As soon as their attention was fixed on the accident he made a break for it and sneaked off into the darkness.

And there you have it. And the main reasons why I don't know what to think about it are because of the ways Scenes 162, 163 and 164 are listed on the original shooting schedule. But we won't get into that until the next chart. But even now just a check of the interaction between Julia and Roger in DC's script's Scene 164 shows that Roger also asks Julia about the officer's condition in that scene, and that seems like it would be highly unlikely to go into the same subject all over again just a scene later, so...

[KMR]

When I read reply #613 (the younger deputy checking in on Todd and the older deputy), I was thinking: I wish I had that job the older deputy had. But then I got thinking, isn't that the guy that Todd ends up clocking later on? Then maybe not... Then again, if *I* had been on the job, that never would have happened. I would have kept very careful watch over Todd my entire shift. 

[Uncle Roger]

So there won't be any mistakes, Professor Stokes?

[Mysterious Benefactor]

I'd hate to think what would have happened had the sheriff allowed mistakes to happen!! 

[Mysterious Benefactor]

And now here's the novelization of Scene 164. It's somewhat different from the version that appears in DC's script:

The sheriff had come out onto the grounds and was now giving staccato instructions via the radio microphone. Professor Stokes, Jeff and the injured driver, Alex, were standing next to him. Julia, Maggie and the others were in the background.   Alex, the driver, was saying, "We looked up. She was there. Just standing there."   "That's when you left the road?" the sheriff said.   "Yes," the driver told him.   The sheriff spoke into the microphone again. "Every building on the property must be searched. We know Todd's on his way to her."   Roger joined the group and went to Julia. He glanced down and watched her looking after the injured officer. "Is he going to be all right?"   Julia said, "I think so. Someone should look in on Elizabeth."   "I already did," Roger assured her. "She's still under sedation."   "Just as well," Julia said, turning to give her attention to the injured officer. "That ambulance should be here soon now."

To me it seems like it should have been an either/or situation with the version of Scene 163 that I shared in reply #645, meaning either that version should have appeared and this version of Scene 164 should have been dropped, or vice versa. Both scenes cover much of the same material right down to Roger asking Julia about the deputy's condition and Julia replying. Having both seems superfluous.

What I suspect might have been the case with the script that Dan "Marilyn" Ross used is that, like what was done in the Movie Book, older versions of scenes were included in the script along with the latest versions - but it's understood that only the latest version is used in the film. But perhaps Ross didn't understand that. Plus, in Scene 164 we hear directly from Alex rather than a different deputy speaking for him and there are references to Liz, so wanting to also include Alex and the references to Liz, Ross mistakenly used both scenes even though that makes for a strange section of the novel when it appears that Roger's question has already been asked and answered when he asks it again. At least Ross could have dropped one of the instances involving Roger's question and Julia's answer. But I guess he didn't feel comfortable dropping any material from the script, so we get both...

[Mysterious Benefactor]

And I finally reach Wednesday's scene and one leading up to it:

165    EXT:  WOODS - COLLINWOOD - NIGHT                   165        CAMERA IS TIGHT on Todd, who is stumbling through the        woods. 166    INT:  STABLE - COLLINWOOD - NIGHT                  166        CAMERA IS TIGHT on Carolyn who is standing by a window,        staring into the night drawing him to her.

And that's when Wednesday's quote -

Page 70/Scene 166 - Carolyn: 'I am waiting for you, Todd -- you will find me -- come to me -- come to me --'

- comes up.

End of scene - though not end of sequence.

And when it comes to the dialogue, the descriptions, and the directions, things are done differently in the film:

Apparently the shot of Todd stumbling and arriving at the stable is in no way part of Scene 165 because it's indicated in the Movie Book that Scene 165 ended up on the cutting room floor.

And Scene 166 is actually an exterior and not an interior, and it opens with the aforementioned shot of Todd -

- as he arrives at the stable - then he comes to a stop and -



- looks around (and you all know who you are who want to see that -

- up closer  ) - and after he turns around -

- to backtrack, he soon sees something that makes him -

- smile because it's Carolyn up in a second floor window of the stable and Todd says a breathy -

"Carolyn"

- and soon she begins to open -

- her arms to him (though it gets cut off before she fully does so (apparently DC didn't like shots of Carolyn with her arms fully outstretched because all of them are cut short in the film), but there are plenty of photos of Carolyn from this scene in full outstretch).

And since things are staged differently Carolyn's quote is completely dropped.

[Mysterious Benefactor]

This is how Scenes 165 and 166 play in the novelization:

Todd had escaped notice at the scene of the accident and now he was stumbling through the nearby thicket. He was confused but knew he had a rendezvous to keep with Carolyn. Nothing must interfere with that meeting.   "Carolyn!" he cried as he pushed through the woods, a dazed expression on his face. "Carolyn!"   Not far away, standing by a window of the Collinwood stable was Carolyn. her pale, phantom face peered out into the night. There was an air of extreme concentration about her.   In a thin voice, she chanted, "I am waiting for you, Todd. You will find me. Come to me. Come to me!"

Very similar, though not exactly the same as DC's script.

And I also want to share what I believe is a fairly rare still. The only places I recall it being published are as the back cover of one the the DS Files books and as part of the DS Tribute book - but both of those were done by the same people, so they're practically the same thing:

Caro_Todd_Stable.jpg - 1430X1882 version
Caro_Todd_Stable_2.jpg - 1691X2162 version

[Gothick]

Dear God, Don Briscoe was a beautiful man. Sighhhh....

I'm not at all surprised about the situation with the Dan Ross book, given that there's no way he could have seen the completed film when he was working on the manuscript.

And he really churned those things out quickly, though the DS film book does show a somewhat higher level of skill, or at least such as my impression.  I'll never forget the mention of him typing the entire final chapter of one of his "books" in the back seat of his station wagon in front of the post office... he had to have the packet stamped on that day according to the terms of his contract, I seem to recall...

G.

[Mysterious Benefactor]

I'll never forget the mention of him typing the entire final chapter of one of his "books" in the back seat of his station wagon in front of the post office... he had to have the packet stamped on that day according to the terms of his contract, I seem to recall...

I don't know if I've ever heard of that story before. It explains a lot...

[Uncle Roger]

Not surprising,considering that at their peak the books seemed to be hitting the stores on a monthly basis. And I am sure that Ross was writing other books at the same time.
I know that I have posted this before but it's worth repeating. At one of the early 1980's Newark festivals, Jeff Thompson and Jeanette Murawski, did a staged reading from the collected works of Marilyn Ross. They were completely earnest about it. I don't think I lasted five minutes.

[Mysterious Benefactor]

And I finally reach Thursday's scene and two leading up to it:

167    INT:  GROUND FLOOR, STABLE - NIGHT                 167        With carriages and old sleighs in F.G., Todd ENTERS        SHOT and comes toward CAMERA INTO CLOSE UP.  He looks 167    CONTD                                        CONTD 167        around glassy-eyed.  CAMERA SLOWLY TRUCKS back to a        MEDIUM SHOT and we SUPER OVER THE PICTURE AN EXTREME        CLOSE UP of Carolyn's eyes.  Slowly the SOUND OF        CAROLYN'S VOICE, ON ECHO, starts to filter in.                              CAROLYN'S VOICE                  Come to me, Todd -- come to me -- 168    INT:  STABLE STAIRS - NIGHT                        168        SHOOTING DOWN STAIRCASE from the second floor.  Todd        can be seen ENTERING SHOT at the bottom of the stairs.        He comes up toward the CAMERA.  As he rises into CLOSE        UP, we                                               CUT TO: 169    INT:  STABLE, SECOND FLOOR - NIGHT                 169        CAMERA IS FRAMED ON WIDE ANGLE of massive dark room.        Todd appears and rises from the stairs into EXTREME        F.G. of SHOT.  His back is to CAMERA.

And that's when Thursday's quote -

Page 71/Scene 169 - Todd: 'Carolyn -- Carolyn -- where are you?'

- comes up, followed in the script by:

In EXTREME B.G. of the SHOT some movement can be seen        in the shadows as a figure slowly moves into a shaft        of moonlight and is silhouetted against a window on        the far side of the room.        TODD - CLOSE UP        He starts moving toward Carolyn.  CAMERA HOLDS HIM IN        CLOSE UP and TRUCKS IN FRONT OF HIM.        CAROLYN - EXTREME CLOSE UP        as she continues to draw him to her.  SHOT SLOWLY        WIDENS as she raises her arms to him.  As he ENTERS        THE SHOT,                                               CUT TO:        CAROLYN - TODD        Carolyn in f.g. with Todd advancing toward her. 169    CONTD                                        CONTD 169        CAROLYN - TODD'S POV - HAND HELD        CAMERA TRUCKS IN ON HER as she stands there with her        arms beckoning until we reach an EXTREME CLOSE UP.        Her mouth opens and her fangs can be seen.  She zaps        him.

End of scene - though not end of sequence.

And when it comes to the dialogue, the descriptions, and the directions, not much of what's scripted plays the same way in the film:

Though it was supposedly shot, Scene 167 is completely dropped in the film, and with it Carolyn's dialogue.

Therefore, the end of Scene 166 flows right into the opening of Scene 168 with Todd following Scene 166's breathy "Carolyn" with a breathy -

"Oh, Carolyn."

- as he appears at the bottom of the stairs and then makes his way up them, though not into -

- a close-up - and there is no cut Scene 169 because things continue to flow from Scene 168 as Todd stops at the top of the stairs and he removes -

- the bandage from his neck - and then Todd begins to move -

- into the room until he comes to a stop with his back to the camera -

- though he doesn't deliver Thursday's quote because that's dropped from the scene - but soon, through some sort of screen on the other side of the room - not silhouetted against a window, Carolyn reveals herself -

- and shortly she begins to reach her arms -

- up to him - and (miracle of miracles, all of the shots of Carolyn with fully outstretched arms are not cut off because) then we see Carolyn closer with her arms fully outstretching (how quickly I forget  ) -

- and beckoning to him - and while we don't see Todd in close-up, nor does the camera truck in front of him, Todd does start to move toward Carolyn, who is not seen in extreme close-up at any point, until  -

- he makes a brief -

- stop before nearly reaching -

- Carolyn, though the camera doesn't truck in on her as she stands beckoning with outstretched arms (at which point it's possible that a line on the Fest's 1999 Movie Calendar may have been delivered in a previous version of the script) - and upon reaching Carolyn and beginning to -

- embrace her (another point when the line from the calendar may have been delivered), Carolyn soon moves in to -

- "zap" Todd, as the script puts it.

[Mysterious Benefactor]

And here's the quote from the Fest's 1999 Movie Calendar that I referred to earlier in reply #655:

For March 30th:

hoDS: Original Scene #169 - Carolyn: 'You want to be with
me, don't you, Todd? Hold me close, very close.'

As you can see, it could have easily fit into the scene in either of the spots I suggested it might have originally appeared. And as I said back during the original hoDS slideshow, it's unfortunate that was dropped from the script somewhere along the way because breathy cooing seems to work wonders on DS ' male vampire victims - especially MTW's Joe in the '91 series.    But sadly in the finished film Carolyn is all down to business after her first attack on Todd. Not just that line from the calendar but even all of her dialogue in DC's script was dropped in the film.

[Mysterious Benefactor]

And I finally reach Friday's scene and four leading up to it:

170    EXT:  STABLE AREA - NIGHT                          170        HIGH ANGLE        as six policemen come through the archway and enter        the stable area.  Three of them go into the stable        building.  They all have flashlights. 171    INT:  FIRST FLOOR STABLE - NIGHT                   171        Two of the policemen are searching the downstairs area        as one of them goes upstairs to the second floor. 172    INT:  STABLE, SECOND FLOOR - NIGHT                 172        as the policeman enters the shot from the stairs.        He goes to the middle of the room and shines his flash-        light around the room.  Seeing nothing, he then starts        back toward the stairs.        TODD - CAROLYN        They are behind a pile of old furniture.  Todd is on        the floor.  Carolyn is over him.  As the CAMERA SLOWLY        TIGHTENS we can see that she is sucking the blood from        his neck.  He begins to MOAN.  His arm swings out in a        futile gesture.  It knocks over a piece of furniture. 173    INT:  STABLE STAIRS - NIGHT                        173        CAMERA ON ground floor, SHOOTING UPSTAIRS, FRAMES the        policeman about halfway down the stairs.  He reacts        to the sound of the falling furniture.  He stops,        turns around and goes back up the stairs. 174    INT:  STABLE, SECOND FLOOR - NIGHT                 174        The policeman enters SHOT, shines his light around the        room again.  This time he gets a glimpse of Carolyn's        white dress on the other side of the room.  He takes        out a cross and starts moving toward Carolyn and Todd,        calling to the men below.

And that's when Friday's quote -

Page 72/Scene 174 - Policeman: 'Up here!! Up here!!'

- comes up, followed in the script by:

174    CONTD                                        CONTD 174        CAROLYN - TODD        She reacts.  Letting Todd go, she rises, looks around        with fear in her eyes.  O.S. we hear the SOUND OF        SCURRYING FOOTSTEPS DOWNSTAIRS.  The policemen con-        verge on the stairs and begin to come up, ad libbing        as they come.

End of scene - though not end of sequence.

And when it comes to the dialogue, the descriptions, and the directions, things in the film are close to what's scripted but not exactly the same:

Scene 170 is definitely not shot from a high angle and six policemen do not come through the archway, enter the stable area, with three of them going into the stable building. What actually happens is that we see one police car drive into the stable area (not through the archway) and after three policemen get out, one goes off behind the car while the other move off in the direction in front of the car - And while that is going on, a second police car arrives with three more policemen, with the driver going off in the same direction as the two policemen from the first car and the other two from the second car -

- and while that is going on, a second police car arrives with three more policemen, with the driver going off in the same direction as the two policemen from the first car and the other two from the second car -

- move toward the stables.

And even though it was supposedly shot, Scene 171 is completely dropped in the film.

And when it comes to Scene 172, things play pretty much as scripted (except the policeman is already -

- holding a cross) until soon after the policeman begins to quietly look around because we then see Carolyn with Todd, who is not on the floor but on some sort of mattress and they are not behind furniture but still behind the screen as -

- Carolyn has at his neck - and then we see the policeman looking around -

- the middle of the room, and after he decides there's nothing to see, we see Carolyn with Todd again as he begins to leave, but his more pronounced steps announce to Carolyn that someone is there and she pulls away from Todd to listen closely -

- but after she hears the policeman going back to the stairs, she turns her attention back to -

- Todd's neck.

And then in a seeming overlap of the beginning of Scene 173 and the end of Scene 172, we see the policeman starting down -

- the stairs, though not shot from the ground floor up but the second floor down - and then things switch back to Carolyn and Todd as, in what the script describes as "a futile gesture," Todd's arm swings out, and while it doesn't knock over furniture as scripted, it does knock over -

- a pan and dishes - and having heard them clatter as they fell, the policeman rushes -

- back up.

And then for the beginning of Scene 174 doesn't play at all as scripted because we do not see the policeman enter shot as he shines his flashlight around the room again. What we do see is Carolyn react to the sound of the policeman coming up the stairs again and she pulls away from Todd as the policeman's flashlight beam discovers her, as seen in Friday's capture -

- and the policeman actually calls out "She's up here!" as Carolyn also -

- looks at him - but after he aims the cross -

- at her, she quickly -

- turns away and yells at its sight.

[Mysterious Benefactor]

And I finally reach Saturday's/Sunday's/today's scene (though we won't be dealing with today's quotes in this post) and two scenes leading up to it:

175    INT:  SECOND FLOOR, STABLE - NIGHT                 175        WIDE ANGLE        There are seven policemen fanned out in an arc across        the room, slowly advancing on Carolyn, who has backed        into a corner.  All the policemen are holding crosses        in their hands.  Todd is on one knee in front of        Carolyn, blood dripping from his throat, staring in        protective defiance at the advancing police. 176    EXT:  STABLE AREA - NIGHT                          176        as Sheriff's car comes roaring into the area, screech-        ing to a stop in front of the stable.  Sheriff, Stokes,        Roger and Jeff pile out as a policeman motions them        inside. 177    INT:  STABLE, SECOND FLOOR - NIGHT                 177        Carolyn and Todd are now completely hemmed in by the        officers as Stokes, Sheriff, Roger and Jeff ENTER        SHOT.  Stokes is carrying the same small black leather        bag that we saw in an earlier scene.        CAROLYN - TODD        There is panic in both their faces.  WIDEN as Carolyn        suddenly pulls away from him and tries to make a break        for it.  She gets to the center of the room, frantic        to find an escape route, but everywhere she turns        there is someone blocking the way.  The circle of men        gets smaller.  Now Todd breaks through the circle in        an attempt to get to her.  When two of the men try to        stop him, he turns furiously and lunges at them.

And that's when Saturday's quote -

Page 73/Scene 177 - Todd: 'Stay away from her!! I won't let you take her!!'

- comes up, followed in the script by:

Jeff and two of the men go at Todd and quickly subdue         him though he continues to struggle with them.

And that's when Saturday's quote -

Page 73/Scene 177 - Stokes: 'Hold him!! Don't let him near her again!!'

- comes up.

And when it comes to the differences in the scenes, I'll be back to do those later...

[Mysterious Benefactor]

Scene 175 is much more complicated in the film than it appears in the script. It starts off with Carolyn coming out from where she had been hiding with Todd and attempting to rush the policeman -

- however, she immediately has to turn away when the power of the cross is too much -

- for her to deal with and a whimpering Carolyn is forced to back off -

- and while trying to block the sight of the cross, she notices that a second -

- and a third policeman -

- arrive, each aiming a cross at her - and as they begin to attempt to pin her in place, she -

- tries to block the sight of the cross, the shadow of which is right on her face - and after a fourth policeman arrives -

- with yet another cross, Todd is soon to appear -

- and after nearly falling as he slides to a stop -

- Todd steadies himself with a crate and then positions himself -

- to attempt to protect Carolyn.