Discrepancies and Curiosities - Part 4

Scene 4 - "Just a Little One"

1. IFC, we actually get to hear what Rudolph says to hypnotize the cow (it's debatable whether this actually worked or not given Rudolph's intense weakness at the time, but if Frederick can rock telekinesis like a boss, then Rudolph should have his own specialty, too, I think).
2. The advance of the truck on Tony plays differently. The truck starts out in utter darkness, as if waiting for a vampire to be stupid enough to get too close, and then teach it a good, sound lesson. Tony also does not get to his knees as scripted. Also scripted is Tony actively running (running, mind you, not just backing up) to avoid the truck. Actually, this entire scene plays differently than scripted. Some highlights:
• Rookery's scripted line is "A wee one. Still a fiend." His actual line is the much more sadistic-sounding "It's just a little one. Well, let's see how you like this!"
• The rescue of Tony is much more played out and elaborated on in the final cut. Rudolph swoops in, commanding Tony to shut his eyes as he flies the mortal boy away from danger, and Rookery screams in defiance of this immortal nine-year-old, "Oh, you're very clever, but I'll catch you!" The way it's scripted is incredibly stripped-down.
3. In the script, it's Rudolph who points out that by this point in the movie, the boys have each saved the other's life. He also drops a snide comment about Tony's Halloween cape ("I wouldn't be caught alive in a cape, except when Father makes me." It also speaks to his own personal feelings about clothing in general and how he probably needs to breathe). Tony also expresses the desire to have a brother in the script, to which Rudolph replies, "Well, now you do." None of this makes it off the cutting room floor, but it would've been nice if it had.
4. The party scene also plays out a bit differently IFC than in the script. Again, some highlights:
• "Proper rhythm" and Bob mentioning he has a brother are all strung together IFC but broken apart in the script (where "proper rhythm" comes in last scene, discussing bagpipe music at the entry to the party).
• This is not a discrepancy, but I absolutely had to make note of it, simply because it was so epic. "NIGEL (Sweetness and Light)". Those are literally his stage directions. The script is acknowledging that he's faking it (it kind of has to, I know, but I simply love this segment so much).
• In the script, there is more awkward politeness between Dottie and Tony's teacher, leading up to the even more awkward conversation which results in the teacher revealing Tony's "obsession with vampires". We also get a little bit of after, where Lord McAshton tries to make light of everything and pretend it never happened, giving a nice clue that he does, in fact, have "worries".
• The phone call is played out essentially the same, but we get a continuous lead-in from the awkward conversation (rather than cutting back to Rudolph and Tony like we do IFC), as well as Lord McAshton's questions regarding Tony's nocturnal habits, giving the aforementioned clue.

This was an interesting scene in the script, as it added a lot to Rudolph's character and situation and also helped develop Lord McAshton as one deeply affected by the past, not just his but that of his ancestors, and suggests that under the veneer he is a deeply superstitious and concerned man.