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Today marks the debut of even yet another new slideshow: the 2004 DS Pilot 10th Anniversary Year Slideshow. Chances are pretty good that you've already noticed it on the BoardIndex page of the forum. [santa_smiley] How it will work is that each day of each month quotes will be featured from the 2004 DS Pilot's script, with Midnite, dom, and myself alternating months. To kick the slideshow off, dom is up with January's quotes. I'll be up for February. And Midnite will be up for March. One thing that will be different about this slideshow, though, it that it will rarely feature screen captures from the pilot because so little video is publicly available from it (luckily video from part of the opening sequence is). So to make up for that, most quotes will be accompanied by stills. However, because it's also the case that so few stills from the pilot are publicly available, it will rarely be the case that the stills accompanying the quotes are from the actual scenes in the script - though that will be the case in some instances. But one thing that should prove interesting is that the slideshow will include dialogue from scenes that were trimmed in the actual pilot or never shot at all. And some of the scenes will also appear in different spots in the script than they do in the pilot. Such occurrences will be pointed out as the slideshow unfolds - as will any other differences along the way. [santa_wink]
And to make room for this new slideshow, some previous slideshows have been moved around or have temporarily disappeared. No doubt you've already noticed that the 2012 DS Film Slideshow is now here atop the Current Talk board. The '91 DS Series Slideshow has moved atop the Calendar Events / Announcements board. However, the Movies Quotes Slideshow has disappeared. But don't despair because it will return at a later time with an almost complete revamping.
So, enjoy following along with the 2004 DS Pilot Slideshow throughout its 10th Anniversary year. [santa_smiley]
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Thanks and happy new year, MB! This will be my first sight of the 2004 pilot, so I really do appreciate your hard work!
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Heavens, what an undertaking! Making a 45 minute piece of film last an entire year sounds really radical, especially when you have access to so little visual material. Perhaps an angel out there will be inspired by your project to supply you with more material for this. I hope so. (I alas have nothing beyond the Youtube clip I posted a few weeks ago.)
Happy New Year M. B., Midnite, dom, and all who contribute to making this such a special DS home for all of us.
cheers, GothEEEEEEK
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Believe it or not, so far as quotes go, we have much more than enough material to last the year. We haven't picked all the specific quotes we'll use, but so far as mapping out how much material there is to chose from per month, we figured all that out back in November before we decided to move ahead with the project and surprisingly, as is similarly the case with every quotes slideshow we've done so far, there is still a good amount of dialogue that won't be able to be touched upon in only 366 days (we account for leap years). (Though as with the other slideshows, we will be explaining about whatever doesn't get touched upon whenever needed.) One thing that certainly helps to last the entire year is the never shot scenes in the script. [santa_wink]
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This is a very exciting project! The only drawback, as far as I am concerned, is that by sometime in February, I'm going to be really jonesing for another screening of the pilot, which of course is unavailable.
Thank you all for putting in the time, energy, and imagination to realize such a fascinating endeavor.
G.
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Wow, what a cool idea for a slideshow! Thanks!! (When I got my first look at the new slideshow today, I was totally confused. The quote--regarding the date on Victoria's train ticket--sounded like some kind of DS parody! [santa_shocked])
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Interestingly enough, October is the new June. Since the pilot, October has been the chosen month for Victoria's arrival at Collinwood in all of the recent projects.
And, thank you, MB, Midnite, and Dom, for putting this together. I am very excited to experience this version of DS for the first time!
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Did Vicki arrive in Depp Shadows in October as well? I don't recall that being mentioned...
G.
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Gothick...if memory serves, some of the leaves were changing color. (But, in Maine, this probably happens in mid-to-late September.)
Patti
PS...so MB, I'm still not clear on the "V.O."...??
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She did arrive in October, at least if we are to believe her arrival is within days of that of Barnabas. Willie tells Barnabas "It's October. That's why there's pumpkins." A true statement -- pumpkins in a small garden would generally not be that ripe until October.
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Indeed, Cousin_Barnabas. And the pumpkins in the pumpkin patch will be on display again in the slideshow for the film once we reach somewhere around the middle of March. [santa_smiley]
PS...so MB, I'm still not clear on the "V.O."...??
Maybe the capture/quote from yesterday will help:
(http://www.dsboards.com/2004pilotquoteimages/0102ds2004_0.jpg)
Page 01 - Victoria (V.O.): 'It's October 31st... Halloween. The date didn't
even register when the train tickets arrived.'
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How did you get a copy of this? Does you-know-who know about it? Aren't you afraid he'll get his army of lawyers out after you? Don't you know that he represents DCP and wants to make sure it gets every nickle it deserves? It doesn't matter that the '04 version will never make a cent. He wants his cent. He'll get it, you know. Anyway, at least in dialogue form, I finally get to see it (until you-inow-who decides to line up his lawyers).
Gerard (Who has no respect for you-know-who [whose initials are DP], a bloodsucker worse than Barnabas could ever be.)
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You-know-who is well aware. You needn't worry. [santa_wink]
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It kinda kills me that a) this was never picked up, b) it (reputedly) killed Angel on the WB, and c) I QUIT GOING TO FESTS JUST AS IT WAS BEING SHOWN AT THEM! ... pant, pant. Sorry. I get so emotional, baby.
But thanks to all of you for coming up with the slideshow. I know it's been quite a body of work. You rule.
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This Vicki is a lot more hip than any of the other Vickis--chic bob, very sophisticated use of cosmetics for somebody who just came from working in a foundling home, and apparently a viewer of such fare as Oprah and the Daily Show.
Fascinating.
G.
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You-know-who is well aware. You needn't worry. [santa_wink]
How and why does he allow it? By doing it, it's not making $$$$$$. It's all about that for you-know-who. The 2004 pilot is dead. Let it be placed on youtube for all DS fans to enjoy. He's not going to make a cent or $$$$$, nor will DCP. The dropped Lost in Space pilot from the same year is all over youtube. Us LiS fans have been able to enjoy it. Why not the DS pilot? Why doesn't you-know-who come on here to explain this? And all the other DS things he and his army of lawyers have taken off of things like youtube? I met him at the on and only Ds fest I've attended. He's not a nice person. He's narcissitic. Let him come here and defend himself. I'm sorry for being so angry, MB, but he just gets my goat. He, and he alone, has prevented us DS fans from enjoying the series as much as we can and preventing others from being introduced to it. What goes on in his head? Youtube and other internet venues are free intros to the franchise; doesn't cost a thing to him or DCP, nor does it take any money away. It's a win-win. Again, my apologies, MB. I'm just glad to see some exerpts from the '04 pilot.
Gerard
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I suspect only you-know-who knows why he may do what he does. And I also suspect that he doesn't feel the need to explain himself. And that's perfectly within his rights no matter how much some fans may wish he would do so. And fans who may not like it simply have to accept it because, unfortunately for those fans, that's just the way things are.
That being said though, much of what has happened with regard to forcing the take down of things from YouTube is well within DCP's rights. As has been discussed before in other topics, copyright law isn't all about making money. [santa_smiley]
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I meant to mention last night that it may be questionable as to how much influence DCP has with what's done with the pilot. Remember that the pilot wasn't exclusively a DCP production - it was a co-production between John Wells Productions, DCP, and Warner Bros. Television. And according to the PomPress book "Return To Collinwood," DCP is not in possession of the pilot when it's not being shown at Fests - it's locked away in the WB vault. So, it would appear that ultimately WB owns it and is in control of what's done with it.
Also, when I began this topic I meant to mention that one of the most interesting things about the script for the pilot is that the characters of Maggie and Sam actually appear in it. However, their scene is among the ones never shot and, indeed, their roles were never cast. But look for dialogue from their scene to appear in the slideshow in May. [santa_smiley]
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Oooo! That is wonderful, MB. Can't wait to see what sort of characters they were!
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I'm even getting excited!
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By request of several members who've missed some of the beginning installments of the slideshow, here's the complete Victoria voiceover:
(http://www.dsboards.com/2004pilotquoteimages/0101ds2004_0.jpg)
Page 01 - Victoria (V.O.): 'My name is Victoria Winters...'
(http://www.dsboards.com/2004pilotquoteimages/0102ds2004_0.jpg)
Page 01 - Victoria (V.O.): 'It's October 31st... Halloween. The
date didn't even register when the train tickets arrived.'
(http://www.dsboards.com/2004pilotquoteimages/0103ds2004_0.jpg)
Page 01 - Victoria (V.O.): 'Hundreds of years ago, we put on
costumes to scare away “evil spirits.”'
(http://www.dsboards.com/2004pilotquoteimages/0104ds2004_0.jpg)
Page 01 - Victoria (V.O.): 'Between our 24-hour science
channels and the invention of Prozac, you think we'd be past
all that by now.'
(http://www.dsboards.com/2004pilotquoteimages/0105ds2004_0.jpg)
Page 02 - Victoria (V.O.): 'But maybe we'll always be afraid
of the dark...'
(http://www.dsboards.com/2004pilotquoteimages/0106ds2004_0.jpg)
Page 02 - Victoria (V.O.): 'I've been hired to tutor a
troubled boy,'
(http://www.dsboards.com/2004pilotquoteimages/0107ds2004_0.jpg)
Page 02 - Victoria (V.O.): 'but I keep feeling like that's
only the beginning of my journey.'
(http://www.dsboards.com/2004pilotquoteimages/0108ds2004_0.jpg)
Page 02 - Victoria (V.O.): 'I'm hoping that somehow, out
of the darkness,'
(http://www.dsboards.com/2004pilotquoteimages/0109ds2004_0.jpg)
Page 02 - Victoria (V.O.): 'I'll finally find answers to the
mysteries of my own past...'
In the future, though, please try as best you can to check in daily so that you miss as few installments as possible. [snow_smiley]
Also, look forward later today to a bit of an explanation about the voiceover sequence in the pilot because once it completes what happens in the pilot itself is quite different from what's in the script - and that's what will mostly be explained. But that won't be coming until after I've had the chance to roundup/scan two photos I want to include. [snow_wink]
And as a sidenote, the other day I completely forgot to mention that in addition to Maggie and Sam, Sarah also appears in the script, and as with Maggie and Sam, her scene was never shot and her role was never cast. But look for her to appear in the slideshow in August.
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Thanks, MB. This is wonderful stuff.
I totally love that opening shot of the train. Very atmospheric! And maybe I'll get used to a Vicki with short blonde hair, and not keep seeing Mia Farrow as Rosemary. [snow_cheesy]
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What KMR says! Thanks so much for all this effort, MB! I'm looking forward to the rest of it!
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I agree that it is particularly difficult to get used to a short-haired blue-eyed blond Vicki. I also agree that the opening frame is wonderfully atmospheric. I remember being fiercely determined to like the pilot when I saw the first viewing of it (was it in Vegas, Anaheim or Tarrytown...I can't recall?) Honestly, I don't think it was even the complete pilot, it might have still been in production at the time (but I don't remember anything correctly anymore when it comes to DS). The only character casted that I was totally accepting of and anticipated seeing was that of IM as Angelique and I don't remember her even being in the version I saw. I certainly wish I could see it now that I've been able to get over of liking anything other than the OS. DS12 did that for me for the most part, and maturity (speaking for myself).
The slideshow is awesome so far MB, especially considering what little we have to work with.
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The short presentation for the pilot was at the '04 TarryTown Fest. Honestly, like you, I don't even recall what they showed, but it was only clips - and it was supposed to be the only time we'd ever get to see anything. However, the full pilot was screened at the '05 LA Fest - and that was supposed to be the only time it would ever be shown. But thankfully it's been shown at several more Fests. And I've always thought that's a very good thing because as many fans as possible should really get to see it. [snow_happy]
I've only seen the pilot that one time in '05 in LA, which is why I'm relying more on Midnite's memory than my own when it comes to certain things so far as putting together this slideshow goes. But, of course, anyone else who's seen the pilot more than once or more recently is certainly more than free and actually encouraged to contribute as the slideshow makes its way through the pilot's script. [snow_smiley]
As for a blonde Vicki - and also a brunette Angelique - that's really setting things to the way they should have been in the days when the original DS was on. As I've mentioned before, back in those days it was routine on soaps for the victimized ingenues to all be blondes and for the victimizing vixens to all be brunettes. DS turned that convention on its head by, for the most part, having all its ingenues be brunettes and all its vixens be blondes. [snow_wink]
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The voiceover is interesting. It's certainly not something I would have expected to hear at the time, because it's a significant departure from the more sweepingly Gothic, traditional VO of the OS and the '91 series. Even Depp Shadows had a VO that was more traditional. I'll be interested in seeing how the rest of the show shapes up.
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In the script after the opening voiceover, Vicki begins to feel soothed by the "ClakClakClak of the train's wheels." However, soon what the script describes as a DEMONIC, SKELETAL FIGURE jumps at her window and its bony fingers etch at the pane as it screams "He's waiting..." (by which he presumably means Barnabas). And at that point Vicki snaps awake and realizes it was just a really bad dream.
However, in the actual pilot, children have been trick-or-treating in the aisle of train car. All at once Vicki notices that a boy dressed in a devil costumes has become trapped between cars because the doors won't open. He repeatedly begs for her help, which she goes to give, but they can't get the door to budge. And then suddenly the demonic figure appears out of nowhere. Screams ensue. The demon says "He's waiting..." And then Vicki snaps awake and realizes it was just a really bad dream.
The one thing that is very interesting in the pilot's sequence is that the demon's dress and general look is very similar to the way Barnabas will be seen when his coffin is opened. And so that you won't just have to imagine what he looked like, here are two production photos from the pilot:
(http://www.dsboards.com/2004pilotquoteimages/TrainDreamDemon.jpg)
Creature actor Doug Jones as the Train Dream Demon.
(http://www.dsboards.com/2004pilotquoteimages/Vicki_Hogan_Demon.jpg)
Vicki, director PJ Hogan, and the Demon.
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This was one of my favorite sequences. It really established the Dark Brigadoon mood that Jonathan Frid often spoke of
Speaking of Frid, is there any truth to the rumor that he was offered a cameo as the old guy that Vicki meets on the train?
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Reminds me of JosetteGhost's "He's coming" line in the 2012 film.
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I had the same thought.
I wonder if John August had access to the pilot's script and drew inspiration from it... It's a great invention. I think it was pulled off excellently in Depp Shadows; and the logical character to have such a role would be Josette's Ghost instead of this demon creature. However, if this Vicki were, in fact, the physical and spiritual reincarnation of Josette, then it probably would not have worked in the pilot. Needless to say, I'm interested in this demon character and where they might have taken it.
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That's a really cool creature. I don't recall having seen those stills before.
Best,
G. (off to Florida and the Caribbean for a week--catch y'all later)
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Speaking of Frid, is there any truth to the rumor that he was offered a cameo as the old guy that Vicki meets on the train?
Yes, that is true. But as I said at the time, even though Frid respectfully declined the offer, it was no surprise that he did so because he was still in his I-don't-really-want-anything-more-to-do-with-DS-period following the debacle with the MPI's 25th Anniversary tape.
Supposedly the part was also offered to John Karlen. But that may just be rumor - I don't honestly recall. Though we do know that Karlen visited the set. He even took a photo with Matt Czuchry. The photo can probably still be found on collinwood.net.
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I suspect only you-know-who knows why he may do what he does. And I also suspect that he doesn't feel the need to explain himself. And that's perfectly within his rights no matter how much some fans may wish he would do so. And fans who may not like it simply have to accept it because, unfortunately for those fans, that's just the way things are.
That being said though, much of what has happened with regard to forcing the take down of things from YouTube is well within DCP's rights. As has been discussed before in other topics, copyright law isn't all about making money. [santa_smiley]
I understand and appreciate everything you said, MB. You're a brilliant, wonderful person, looking at all angles.
What I can't figure out is why anything is locked away in some vault? Letting others see if, even if for free, like on youtube, is not only free for fans and for those who are introduced into fandom, but for the creators as well. All that publicity and hopeful expansion and at no cost! Yes, you-know-who-mixed-with-DCP is well within his (and theirs) rights under copyright law to scoure every website to take down anything that would allow people to see stuff for free while maybe, just maybe, there's two or three people out there who would pay for a DVD of it. One buck is one buck for right now. And that's how you-know-who-DCP thinks. Right now. This minute. Never mind about bringing in hundreds, if not thousands, of prospective fans who will pay to buy a DVD, or even a ton of DVD's, in the future. Why would anyone oppose free publicity unless they have something called ana...never mind.
But I must disagree with you, MB, on Warner's being the one who decided to keep the '04 DS pilot locked up in a vault. Other rejected pilots, including the LIS one, are freely available on the internet, including youtube. Only the DS one is kept under tight control (along with anything else that's DS). From circumstantial evidence it would appear that someone else has caused that. We know who it is. He knows who it is. It's you-know-who. What other explanation can there be? Yes, it's within his rights. I'll support that. But I won't support a, shall we say, "unintelligent" decision on his part to refuse to expand interest and fandom just so he can make sure that not one penny is lost "right now." Despite all the good things he has done for DCP, maybe it's time for DCP to find someone else to promote its wares rather than this, um, you know, not so intelligent, shall we say, person. He just grinds me. We want DS to continue to thrive and expand. Obviously, he's only thinking of the momentary. He doesn't realize the momentary is here for a just a moment and then is gone. There's no getting it back.
Release the '04 DS pilot to the internet for free and let more people find the glory of DS. But, of course, what do I know? I'm just a fan.
Gerard
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Well, I don't know about tight control, but the DS pilot isn't the only one that's never surfaced on YouTube. Dozen of pilots are produced every year, yet very, very few of them have ever seen the light of day there. Going by the sheer number of pilots that are produced, the fact that the LIS pilot did is one of the rare exceptions rather than the rule. [snow_wink]
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Getting back to the slideshow, Vicki's brief one line encounter with the Old Man after her dream (he simply says to her that bad dreams can't hurt you) segues into the train disappearing into a tunnel and that's the end of the teaser.
The first scene of Act One is somewhat different in the script than it is in the actual pilot, which is why today's graphic for the slideshow indicates that today's quote from the script is part of a "cut, trimmed, or changed sequence."
In the script Vicki waits for her ride on the deserted train station platform. She calls out, but no one is around. She checks her cell phone signal, but has none, and isn't surprised by that. She then exits the train station to find that all the shops in the vicinity are closed and the street is deserted - and in typical DS fashion, the sound of a wolf howling is soon heard. As she crosses the street, she suddenly hears footsteps close by. She asks if someone is there, but after turning she sees nothing - but someone laughs. After she runs to some pay phones across the street, she accidentally drops her coins - and when she stands after having gotten them, she is jolted to find Willie standing behind her. Before he can speak, she shoves him up against the phones. And that is when she delivers today's quoted line:
Page 05 - Victoria (to a young man): 'Who are you?'
The sequence in the actual pilot also plays with Vicki alone and spooked, but there is no wolf howl and no dialogue of her wondering if someone is actually there. The first real bit of dialogue in this scene in the pilot won't come up in the slideshow until Sunday, which I suppose helps you to figure out that tomorrow's quote in the slideshow also doesn't appear in the pilot (at least not at that point). [snow_wink] But more on that tomorrow...
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I love the description from the script. That sounds like classic DS right there, much like the Barnabas "stalking" scenes in HoDS and the '91 series.
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From time to time, I've inquired about the availability of the pilot from dealers who specialize in "gray market" DVDs. No one has it, although many have said that it's quite sought after. One guy offered me a substantial finders fee if I could get him a copy.
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That sounds like classic DS right there, much like the Barnabas "stalking" scenes in HoDS and the '91 series.
There will be an actual stalking scene later in the pilot. One that plays out quite differently than the ones in hoDS and the '91 DS. Many fans who've seen it think it's one of the best sequences in the pilot. But it won't be coming up for quite a while yet...
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No one has it, although many have said that it's quite sought after. One guy offered me a substantial finders fee if I could get him a copy.
We know just from the posts here on the forum that it's quite sought after. [snow_wink] Though short of hitting someone over the head while it's being transported back to that vault at WB, who knows if it will ever be leaked or made available to the public outright?! [snow_sad]
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As you've probably figured out from today's quote -
Page 05 - Willie: 'Willie Loomis.'
- Willie doesn't actually introduce himself at this point in the pilot because this line was cut. He actually introduces himself a bit later. However, when Willie does first come across Vicki in the pilot, he asks her if she's Miss Winters. Startled because she's already fairly spooked by the situation she finds herself in, Vicki pretty much assaults him - then she sort of delivers tomorrow's quote. But more on that tomorrow...
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I didn't get the chance to post before the change that Vicki's scripted:
Page 05 - Victoria: 'Please tell me you're from the Collins Estate.'
becomes a more emphatic "Tell me you're from the Collins Estate" in the pilot.
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Concerning today's quote -
Page 05 - Willie: 'That's “Collinwood.”'
- in the pilot Willie says "It's 'Collinwood.'"
And as an aside, at this point in time in the pilot, Willie actually wears glasses - but there are no publicly available publicity stills available from the pilot of Matt Czuchry as Willie wearing glasses. So we just have to use our imaginations. [snow_wink]
And the reason why Willie won't be wearing glasses later in the pilot will eventually be made clear. (And it's not simply because The WB wanted, as one article describes him, a "soap stud," cast in the role. [ghost_nowink]) The reason was actually written into the script before the pilot was even greenlit by The WB and casting began.
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Thanks again, MB, for the frame grabs and the interesting little snippets!
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Great and Wise Mysterious Benefactor, could you consider doing the '04 pilot in not just dialogue, but going over the scenes as has been done with the OS, HoDS and NoDS so we can get more details? This is the only way most of us fans will ever get to experience it.
Gerard
P.S. And I won't kvetch about it not being available and you-know-who and all that stuff again.
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We'll definitely continue to provide details as different bits of dialogue unfold. But keep in mind, the slideshow is only in the second sequence in the pilot. Not all that much has happened so far - and it's going to take the entire year to get through the entire pilot. There will be plenty of time to go over things in more detail as the need arises. [ghost_wink] Though also keep in mind that all the details we'll be sharing are purely from memory (except when it comes to describing things as they are in the script) because it's not like we have a copy of the actual pilot to refer to. [ghost_nowink]
One tidbit about today's quote -
Page 05 - Willie: 'Up here they give the really big spreads their own names.'
- is that Willie's next line doesn't make the cut for the slideshow, and it's probably worth mentioning that it's an opportunity for him to interject a bit of comic relief into the situation. His next line is:
Page 05 - Willie: 'You know, like Xanadu, Taj Mahal, I-HOP...'
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Just before today's quote -
Page 05 - Willie: 'Sorry about the mix-up, but the train usually runs twenty minutes behind.'
- is when Willie actually introduces himself in the pilot, which certainly leads one to believe that the quotes from the 10th and the 11th were deliberately cut before shooting. And in the pilot Willie doesn't mention anything about a specific twenty minute delay - he simply says the trains usually run late.
And speaking of things that were probably cut before shooting, you'll soon notice that there are several more "cut, trimmed, or changed" quotes coming up. Once they finish I'll explain how they fit into the script and what they were replaced with. [snow_smiley]
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Really hating the "No offense" line today. Eww... Dark Shadows calls for far better dialogue than that. Anything that includes that terribly adolescent phrase is... [snow_strange] It makes Vicki sound like a 13-year-old.
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Maybe that's why it was cut or possibly never even shot. [snow_wink]
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I had the exact same thought!
I followed the making of this pilot rather closely and, while I don't recall many specifics now, I remember hearing about a lot of fireworks between the second (?) director and the other creatives involved. It's fascinating to read how his vision differs from the scripted vision. I guess we regular members will have to wait until December to determine which one was better. [cold-weather]
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This really is a fascinating thread. (Back from my Caribbean cruise--a surreal and yet strangely uneventful experience.)
Given how good Alec Newman was as Barnabas, I think this had the potential to be the most intriguing re-casting of Dark Shadows ever, and I would include the 1970s feature films in that--so long as we're talking about a re-casting of the original material; I think NoDS stands in its own category as a sort of meditation upon the themes of DS.
As I look back over what has been shared this past week--and my fervent thanks to MB for his literate, erudite annotations to the material--I'm more excited than ever to view the unfolding of this thread over 2014. I'm also feeling deeper pangs of regret not to be able to review the finished film, as well as regret over certain decisions that were made about the physicalization of certain sequences and how certain story events ultimately played out. But I'll save those reflections for a more appropriate time.
Best wishes,
Gothick
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Welcome back, Gothick! I don't imagine your cruise included Martinique! ;)
And thanks again to MB for doing all this work. I never got to see this pilot, so I can only sigh over what might have been. But at least now I'll be able to do it somewhat intelligently.
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The latest batch of "cut, trimmed or changed" quotes that began on the 18th and ended yesterday take place in the script on the walk to Willie's truck and during the bumpy ride to Collinwood. They were all replaced by a simple moment in Willie's truck where, as they ride across the bumpy road and the truck bounces, Willie once again injects some humor by crying out "Whoa! Hold on there. It's gonna get bumpy."
Then both in the script and the pilot, as the truck rounds a bend, they pass an old gate. Beyond the gate what the script describes as an overgrown, little-used road juts off into the darkness. It is at that point that today's quote from the script comes up:
Page 06 - Victoria: 'Wait, wasn't that the turn-off?'
However, what she actually asks in the pilot is "Wait, wasn't that the house?"
I don't honestly recall if we get our first glimpse of the Old House at this point or if it doesn't come up until later (though, given what Vicki says, I presume that we do see it), but for the sake of those who've never seen the pilot, here's what I once posted about the look of the Old House:
I looked through my architecture books, and the house that I came across that people might be most familiar with that came closest to resembling what the Old House looked like is Biltmore, located in Asheville, North Carolina:
(http://www.dsboards.com/images/Biltmore.jpg)
The Old House wasn't anywhere near on the grand scale that Biltmore is, but it was all very much spires and pinnacles.
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That's a very cool building! Thanks yet again!
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As for today's quote -
Page 06 - Willie: 'That's the old house... as in ruins, rats, etc.'
- what Willie actually says in the pilot is "No, that's the old house... as in ruins, rats, ghosts." And then, injecting a bit more humor, he laughs maniacally to punctuate the "ghosts" part. And after Vicki ribs him good-naturedly with a sigh, he says "It sucks."
And with that the slideshow will once again be entering "cut, trimmed, or changed" territory for a few days. Though one of the quotes will basically show up in a later moment in the pilot, once again showing that some bits of dialogue were definitely rearranged before shooting.
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Tomorrow the slideshow returns to things that are actually in the pilot. But before we get to that point, I was wondering if anyone has any thoughts as to which of the most recent "cut, trimmed, or changed" lines will pretty much appear at a later point in the pilot. Could it be:
Victoria: 'Tell me we're at least getting close.'
Willie: 'We've been on the grounds the last half hour.'
Willie: 'I've got a place over the garage. You want a ride back, just yell.'
Victoria: 'No, I've come this far.'
Though if you've already seen the pilot, you may remember which one it is...
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Willie's line about the garage, I think--delivered with a sexy smile (or should that be a leer)--probably hallucinating that particular memory. Ah well...
G.
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Before Vicki delivers today's line -
Page 07 - Victoria: 'Hello, I'm --'
- Elizabeth rather effusively greets her with "Oh, at last, at last. You're here." None of that appears in the script. And Vicki says "Hi" rather than "Hello". She also gets to say that she's Victoria.
There will also be changes to the next two day's entries in the slideshow - but more on those when they come up.
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Willie's line about the garage, I think
Yes, that is indeed the one. Though we won't be revisiting it until about halfway through February.
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Oops - I just realized I forgot to put the four "cut, trimmed, or changed" quotes in their context in the pilot's script. So:
As Willie and Vicki continue the drive in Willie's truck, they hit another hard bump in the road and Vicki winces. This is where she asks Willie to tell her that they're at least getting close to Collinwood and he replies that they've already been on the grounds for the last half hour. As Vicki reacts with amazement to that, the truck comes up a rise in the road and the "monstrous" silhouette of Collinwood begins to loom. After Willie finally pulls up near the main entrance and stops the truck, Vicki steps out and stares at the facade. It is at that point that as Willie pulls out Vicki's bags, he informs her that he has a place over the garage and if she wants a ride back, all she has to do is yell. Vicki eyes Willie's truck, ruefully remembering the ride, and then tells him that she's come this far. Then she makes her way to the huge doors of Collinwood and knocks. After a moment, they swing open, revealing Liz, and at that point Vicki begins to introduce herself before Liz cuts her off. But that's getting into tomorrow's quote, so we'll leave things in the script there.
However, in the actual pilot, soon after Willie jokes about the Old House being in ruins with rats and ghosts, that's when they arrive at Collinwood. And as the brakes on Willie's truck screech as he comes to a stop, the sound alerts Liz and she comes out on her own to greet Vicki in the manner that I've already explained in reply #56. And the good thing is that beginning at this point and lasting for a bit more than two weeks the slideshow will be featuring things that are actually in the pilot. [snow_smiley]
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By now I've forgotten who most of the cast is. Could you post a list?
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I think the photo today shows Blair Brown who played Liz. I'm not familiar with Miss Brown's work... she might have been on the West Wing, which seems very appropriate for DS (cheesy joke I know but I couldn't resist it).
I have no idea what the director had in mind with how they chose to play the scene where Liz welcomes Vicki to Collinwood. She comes across as a babbling idiot. One of the moments in the pilot that still makes *me* wince whenever I recall it.
It almost plays as if Miss Brown was improvising how SHE would have written or done the scene and the director liked it so much he decided to keep it.
Other than that, I liked Miss Brown as Liz, and I look forward to continuing with the series. Thanks again to everybody who worked on this, and special thanks to MB for your posts--truly awesome work!
G.
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| ACTORS: | CAST OF CHARACTERS (as they're listed and described in the script): |
| ALEC NEWMAN | BARNABAS COLLINS - an undead vampire accidentally released after
being locked away for 200 years. He is tormented by his curse and
desperately drawn toward... |
| MARLEY SHELTON | VICTORIA WINTERS - early 20s, beautiful, hired to tutor young
David Collins, and an exact double of Barnabas' 1790s fiance,
Josette Dupres. |
| ALEXANDER GOULD | DAVID COLLINS - nine years old, troubled son of Roger Collins. |
| MARTIN DONOVAN | ROGER COLLINS - David's father, a ruthless businessman. |
| BLAIR BROWN | ELIZABETH COLLINS STODDARD - Roger's older sister. Her husband
mysteriously absent, she lives a solitary life with Roger and
Carolyn in Collinwood. |
| JESSICA CHASTAIN | CAROLYN STODDARD - Elizabeth's 20-ish daughter, still living at
home. |
| JASON SHAW | JOE HASKELL - mid-20s, Carolyn's boyfriend. Works as a fisherman
out of the Collinsport harbor. |
| MATT CZUCHRY | WILLIE LOOMIS - early 20s, former Collinsport high school
football star, works as a handyman at Collinwood. |
| JENNA DEWAN | SOPHIA LOOMIS - Willie's younger sister, a maid at Collinwood. |
| KELLY HU | DR. JULIA HOFFMAN - The Collins family physician, and a close
friend to Roger and Elizabeth. |
| NOT CAST | SAM EVANS ( 50s ) - Owner of the Blue Whale bar in Collinsport,
friend of Carolyn and Joe. |
| NOT CAST | MAGGIE EVANS ( 20s ) - Sam's daughter, friendly with Carolyn,
fascinated with spirituality (tarot cards, etc.) |
| MICHAEL D. ROBERTS | SHERIFF PATTERSON - Collinsport's top cop. |
| NOT CAST | SARAH COLLINS - ( 8 ). In future episodes, we will discover that
she is the ghost of Barnabas' younger sister from the 1790s. |
| IVANA MILICEVIC | ANGELIQUE - ( 20s ), a beautiful, vindictive witch. In future
episodes we will learn that she was Barnabas' illicit lover in the
1790s. She has come back from death to either reunite with
Barnabas, or destroy him. |
| And oddly not described on the CAST OF CHARACTERS page in
the script: |
| ALEXIS THORPE | KELLY GREER - early 20s, Willie's girlfriend and (well, maybe
we'll leave all that as a surprise for those who don't know). |
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Thanks, MB! A lot of those people have come up in the world too, like Jessica Chastain.
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Looking at the cast list, I was pleased that they continued using the name "George Patterson" for the sheriff. I was rather disappointed that they didn't use this name in the 2012 movie--with all of the nods toward the original source material, it's odd they left this one out.
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I was disappointed with the lack of "George" as well.
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Interesting that Sam runs the Blue Whale and Maggie is fascinated by the tarot, a la the 1991 incarnation.
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I honestly think that the script has a lot more in common with the '91 DS than it does with the original show. Though I don't think that's too surprising because the script was written after consultations with DC, and we know that previous to the '04 pilot when DC tried to relaunch DS either as the two feature films or as a series again, the scripts were all based in some way on the '91 version but with some new twists and turns added. As the slideshow progresses, we'll see quite a few nods to the '91 DS. But the very good thing is that we'll see much fewer nods to hoDS. [snow_happy]
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Thank you! I remember looking into who all these people were at the time, but by now I had forgotten most of them. It's interesting to see Jessica Chastain listed. It was probably the first I had heard of her and now she's done so many "big" things.
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As for today's quote -
Page 07 - Elizabeth: 'Miss Winters, I know. We were getting worried.'
- what Liz actually says in the pilot at this point is: "I know who you are. Come in, come in, come in. Oh, you're so wet." I may have neglected to mention that it's been raining all this time - though raindrops were quite visible on the train's windows during the opening voiceover sequence, so you may have presumed on you're own that it's been raining. [snow_wink]
Where did the bit about getting worried go? Well, we'll learn that tomorrow...
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I do like that sort of courtyard thing that is the background pic of the moment.
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Yeah, that's a neat courtyard that Greystone has. In that pic, it's looking east-northeast through the driveway "tunnel" that cuts through the northwest wing of the house. That courtyard is where the actual main entrance to the house is, I believe. The door is on the middle landing of the grand staircase. (IIRC, in the 1991 series that door was replaced by a window for the Old House interiors, with the main entrance being at the other end of the room across from the real main entrance.)
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Yes, that's where the main entrance to the house is located (to the right and through the pillars), which is why I chose that picture -
(http://www.dsboards.com/2004pilotquoteimages/Clw1.jpg)
- of "Collinwood" (i.e. Greystone) for Vicki's arrival in the pilot. And for those unfamiliar with the house, here's the entrance to the archway from the back of the house -
(http://www.dsboards.com/2004pilotquoteimages/Clw2.jpg)
- and from the courtyard.
(http://www.dsboards.com/2004pilotquoteimages/Clw3.jpg)
[snow_smiley]
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And what's different in the pilot about today's quote:
Page 07 - Elizabeth: 'I'm Elizabeth Collins Stoddard. Welcome to Collinwood.'
Well, after Liz introduces herself is when she says to Vicki "We were getting so worried about you."
So what happened to "Welcome to Collinwood"? Well, that is actually Liz' first line after they enter the Great Hall - but that doesn't come until the next scene. And speaking of that scene, unlike what we've been seeing so far, virtually all of it makes it intact into pilot and with much of the exact same dialogue as in the script. [snow_wink]
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so Greystone was used for the 2004 Collinwood as well? I had forgotten all about that.
G.
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I just realized that Vicki's arrival at Collinwood in the pilot's slideshow and her first exposure to the Great Hall will be playing concurrently with Vicki's similar circumstances in the slideshow for the Depp/DS film. How serendipitous. [snow_smiley]
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Those pictures are great, MB--thanks so much! BTW, it sounds as though Greystone is a real place. Am I right?
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Was there any full-scale scene/pic of Collinwood? I mean, the OS used the Carey Mansion in Newport, and '91 used that Lego thing.
Gerard
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Yes, the pilot used actual shots of different areas of Greystone for Collinwood. [snow_smiley]
(One thing we have to remember about the '91 DS is that the real reasons they used the model for many shots of Collinwood are twofold. One was because they extended the building with an entire wing that doesn't actually exist at Greystone - all the better to have closed off areas of the house. [snow_wink] And the other was that some of the trees on the property are so tall nowadays that it's impossible to shoot those areas of the exterior of the house because those trees are so close that they completely block it.)
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Rather than what's quoted from the script today -
Page 07 - Victoria: 'Wow. (off Elizabeth's smile) You probably get that a lot.'
- what Vicki actually says in the pilot is "Wow. It's beautiful. But you probably get that a lot." The "it's beautiful" part was actually scripted to come after Liz' response to today's quote, but apparently they decided to combine them. But then, part of Liz' response was also dropped in the pilot. But more on that tomorrow...
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Believe it or not, today's quote in the slideshow is actually the same in the script and the pilot:
Page 07 - Elizabeth: 'We do, and it is.'
I'm thinking we haven't seen that since the opening voiceover. However, as I intimated yesterday, that wasn't all Liz was supposed to say. She was supposed to follow that with "The house is overwhelming at first, but you'll get used to it." And Vicki was supposed to respond "Actually, it's beautiful." That line directly set up the next line of dialogue, which introduces a new character into the pilot. But as we'll see, things still work the way it was handled in the pilot. And perhaps getting to the new character a bit quicker was why Vicki's lines were merged and that second bit of Liz' dialogue was dropped.
Who will the new character be? We'll see shortly...
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Enter Roger, as played by Martin Donovan. I have no memory at all of Donovan's work in this, so color me fascinated all over again.
Thanks MB! Good luck with our latest Winter Wonderland! Tonight I am going to see a one night only showing of Stranger by the Lake, a new French film that I am quite intrigued by. I doubt it would be of interest; it only features copious full frontal male nudity in a gorgeous natural setting... a cottage by the lake that seems reminiscent of where I tend to vacation every August...
cheers, G.
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Not only full frontal, Gothick, but actual explicit sex. And I do mean explicit. Rather slow going at first, but it turned out to be one of the most suspenseful films I have ever seen. Definitely worth seeing.
Back on topic: Was there an Old House in the 2004 pilot, and if so what portrayed it? (Although I suppose that answer would be forthcoming in the slide show one day...)
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Sneaky way of slipping in an OT discussion of that film. But we'll have no more of that in this topic - no matter how interesting many of our members may find it. [ghost_nowink]
As for the Old House, it was CGI generated in the pilot. Use this link:for the sake of those who've never seen the pilot, here's what I once posted about the look of the Old House:
to go back to reply #51 in this topic to get an idea of what it looked like. [snow_wink]
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Isn't Roger's lines about "a bitch to keep up" echoed in the 2012 film? Doesn't Willie say something about the house being "a bitch to dust"? (I could be wrong, though.) Fascinating, these echoes ... ripples ... Dark Shadows, I love you and your iterations ...
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Alas, I missed the screening... I got the wrong info about the venue. Perhaps another time...
Was Martin Donovan in more than this one scene? I like the edge of snark and savvy in this Roger... too bad I can't remember him at all...
G.
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Isn't Roger's lines about "a bitch to keep up" echoed in the 2012 film? Doesn't Willie say something about the house being "a bitch to dust"? (I could be wrong, though.)
You are not wrong. I just looked up the scene and when Vicki remarks that the Great Hall is beautiful, Willie says "A bitch to dust is what it is." I'd forgotten all about that. Great memory! [snow_wink]
Fascinating, these echoes ... ripples ... Dark Shadows, I love you and your iterations ...
Quite fascinating!
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About the only thing I have to say about today's quote -
Page 08 - Roger (O.S.): 'And like most beautiful things, a bitch to maintain.'
- is that in the pilot it's ever so slightly different in that Roger says "And like most beautiful things, it's a bitch to maintain." Well, and I just love that line because it instantly gives an indication of what Roger's personality is like. [snow_wink]
As for how many scenes Roger appears in in the pilot, as we'll see, he appears in several. And though he's not in all the scenes he is scripted to appear in, he actually appears in scenes in the pilot that he isn't scripted to appear in. But we'll get into all that as those various scenes come up in the slideshow.
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Delightful! Thanks again, MB.
G.
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There are but a few things to say about today's quote -
Page 08 - Elizabeth: 'Miss Winters, this is...'
- with the first being that the smile Liz had been displaying to Vicki fades as Roger enters, as the script describes him, "nursing a drink" (and would we have him enter any other way? [snow_wink]) and "with cynical eyes." Liz also adds "my brother" to the end of her line, as in "Miss Winters, this is my brother..." before being cut off. How does she get cut off? Well, we see that in the next quote. [snow_smiley]
And from this point on in the pilot's version of the scene the dialogue is delivered virtually verbatim from the script. Though there will also be a few bits of added dialogue here and there along with dropped dialogue. But more on all that as things come up...
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A far as today's quote goes -
Page 08 - Roger (CONT'D): 'I suppose we owe you an apology. Loomis should have delivered you an hour ago.'
- in the pilot Roger dialogue isn't actually directly continued because a line by another character gets inserted between what Roger is scripted to say. The description in the script between Roger's quotes from yesterday and today says:
Behind them, Willie enters, setting Victoria's bags in the Great Hall. Seeing Willie, Roger's face tightens.
But in the pilot before Roger delivers today's quote about Willie, Willie says an unscripted "Excuse me" as he comes in carrying Vicki's bags.
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With today's quote -
Page 08 - Willie: 'She's here, isn't she?'
- obviously there's no love lost between Willie and Roger. Though what Willie says in the pilot is ever so slightly different because he says "Well, she's here, isn't she?" But before Roger can "scold him," as the script puts it, Vicki interjects with tomorrow's quote...
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Damn, Matt Czuchry is a handsome devil.
Thanks so much for continuing this fabulous show, to everyone involved!
G.
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Well, according to one article, The WB did want a "soap stud," cast as Willie. And unlike other Willies, that does make sense given his character description says he's a former high school football star. (And references to Willie's former glory will be coming up in a not too distant future scene. [snow_wink])
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I looked up Matt Czuchry and he's had steady employment in two series... the first one was The Gilmore Girls, which I never watched but mention was made here of an episode with a Dark Shadows reference.
I'm fascinated by how two different versions of Vicki's arrival at Collinwood are playing out simultaneously here in different slide shows...
G.
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I'm fascinated by how two different versions of Vicki's arrival at Collinwood are playing out simultaneously here in different slide shows...
I agree!
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Me too! Makes me wish more than ever that the pilot had come to fruition.
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Me, too. It looks like the WB network really flubbed on not picking it up. From just what we've seen, it looked like a good reboot of DS (better, so far, than the NBC '91 version). It also dropped an anvil on its foot by not picking up the reboot of Lost In Space (the pilot available on youtube). Instead, it went with Jack and Bobby, or Jackie and Bob, or Jackie-Bob, or whatever that series was called. It bombed. Yes, some fans of Angel had their grundies in a bundle when they were told that their show was being dumped for Dark Shadows and tried promoting a massive WB boycott. But DS was never picked up. The final night of WB programs, before it was absorbed with some of its shows by UPN, garnered less that 1% of viewers. It makes one wonder just who these, as Bugs Bunny called them, "maroons" who run these corporations are? Well, no matter. They made bad decisions, caused an entire company to fail, and they got their golden parachutes and went on to try and wreck other companies. But that's enough of my kvetching.
Gerard
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The pilot's Roger is no fool. And before today's quote -
Page 08 - Roger: 'Really. Both stoplights?'
- the script indicates that Roger senses he's being played, but he decides not to push it.
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I'm fascinated by how two different versions of Vicki's arrival at Collinwood are playing out simultaneously here in different slide shows...
So far I am enjoying the Burton version far more. That being said, I love the Burton film until Barnabas gets released. We'll see if my loyalties shift, as I'm a bit on the fence about the pilot's characterizations at this point. The Burton film's characterizations were pretty decent. What they did or didn't do with the characters was the problem. But, I can't wait to see the rest of the '04 script to get a feel for where these characters might have gone.
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I looked up Matt Czuchry and he's had steady employment in two series... the first one was The Gilmore Girls, which I never watched but mention was made here of an episode with a Dark Shadows reference.
Yes, but unfortunately Matt Czuchry wasn't involved in the sequence - though he was already on the show. Think of how much of a hoot it would have been had he been part of it.
From just what we've seen, it looked like a good reboot of DS (better, so far, than the NBC '91 version).
It might be hard to say it was better than the '91 DS (especially when one ep is being judged against twelve), but that's not to say it was worse. In many ways the '04 DS pilot and the '91 DS are quite different, but in many other ways they're very similar, as we'll see as things play out with the pilot. I enjoyed both versions for what each one was. Though with that being said, and as I indicated in an earlier post, the pilot just might have staged the best vampire attack ever in any version of DS. Many fans do share that opinion. Unfortunately, though, those who've never seen it will simply have to use their imaginations when the description of it comes up later in this topic - and even as good as the description is in the script, the actual execution of the sequence in the pilot is that much better.
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Wow, I'm already thinking how much better the WB pilot seems, thus far, compared with the Burton/Depp opus. I'm not going to pursue the comparison because I really think we're dealing with apples vs. oranges even if "it's all Dark Shadows."
G.
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After today's quote -
Page 08 - Victoria: 'I was curious.'
- Roger is scripted to continue with his sarcasm by remarking 'And I'm sure all your late night "sightseeing" has left you exhausted' - but either that was cut before shooting or in the editing of the scene. Too bad because it's quintessential Roger. [snow_wink] And it also set up Roger's next quote in the slideshow. But more on that after it comes up...
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Today's quote -
Page 09 - Roger (CONT'D): 'Sophia, take Miss Winters to her room. And make sure she doesn't get lost this time.'
- is a bit different in the pilot than it is in the script - though no less sarcastic. But before we get into that, we actually need to set it up. And what the script says just before Roger's quote is:
A young maid, SOPHIA (20), enters. Seeing Sophia, Roger flickers a smile, and she smiles back — a moment that Willie notices with some discomfort.
(Remember that Sophia is Willie's sister. And more of Willie's discomfort will be dealt with in the scene that comes up in the script immediately following this one. Though, unfortunately, it's a scene that does not appear in the pilot. And that's a shame because it not only delves into Willie and Sophia's relationship, it gets into one of the main problems Willie has with Roger, and no doubt Roger has with him. But alas...)
And another point worth noting is that in the pilot, because the remark from Roger about how exhausted Vicki must have been from all her "sightseeing" was cut, his quote is no longer a continuation for him because Vicki's remark about having been curious is actually what directly precedes it.
And now that we've got all that out of the way, what Roger actually says in the pilot is "Miss Loomis, show Miss Winters to her room. With luck you won't lose your way like your brother." Yes, you've got to love the nearly patented sarcastic wit of Roger! [snow_cheesy]
And as an aside for those who may be unfamiliar with Jenna Dewan, who played Sophia, here's a photo of her circa 2004:
(http://www.dsboards.com/2004pilotquoteimages/JennaDewan1.jpg)
Well get a bit more into her during the explanations for the next scene...
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This is too delicious. I think this Roger is now my favorite AFTER the original (who was truly one of a kind).
Thanks for such delightful treats!
G.
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Wow, I'm already thinking how much better the WB pilot seems, thus far, compared with the Burton/Depp opus. I'm not going to pursue the comparison because I really think we're dealing with apples vs. oranges even if "it's all Dark Shadows."
I think what is bothering me is the completely "modern" feel I get from the written dialogue, hence the problem I think any writer faces when attempting to write "Dark Shadows" characters into the modern day. I really think places like Collinsport and its people belong to the 20th century, though I am enjoying the pilot's Roger and Willie a great deal. Victoria comes off as a bit too "turn of the twenty-first century" for my taste, and I'm not sure what's going on with Liz... Both of those characters were well-executed in the Burton film, if lacking screentime. Needless to say, I am anxious for the arrival of Barnabas. Maybe he will send things back to the "classic age" of vampire dramas.
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All of this is very subjective, of course... for me, as I have complained a number of times, the Barnabas and Angie stuff in Depp Shade was just way too arch and over-the-top... the Liz dialogue was good but I think that's a tribute to Pfeiffer's prowess--and her scenes with Helena as Julia had a spark and an edge to them that I found sorely lacking otherwise. Why I like Grayson's scenes so much in the OS is that sense of "edge" and the unexpected she can bring to a scene, particularly when she's matched with an actor such as Karlen or HAA.
That said, my least favorite things in this WB version were the handling of Angelique and, to some extent, Liz--I wish we had heard behind the scenes stuff about just what was going on with the direction of Blair Brown, a very accomplished actress from what I have heard. I have to wonder if the scene of Vicki's arrival at Collinwood might have been re-staged had the network ordered the series and the pilot actually been aired as episode one. In the case of BtVS as I recall, a pilot was produced and then a completely new episode one was shot... I wonder if that might have happened had the network moved forward with DS. From reading the thread from 2004, the dumping of it seemed more about network politics and a fairly strong switch in where they were moving with their programming, than about the failure of the pilot as delivered to come together...
Just some idle thoughts.
G.
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After Vicki delivers today's quote -
Page 09 - Victoria (interjecting): 'If David's still awake, I'd love to at least say hello. The sooner he starts to trust me, the better.
- (which she actually delivers in the pilot as "If David's still awake, I'd love to meet him. The sooner he learns to trust me, the better") the script indicates that Liz and Roger exchange "troubled looks" and then "finally" Roger responds with tomorrow's quote. But in the pilot there isn't any time at all between Vicki's question and Roger's response.
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Needless to say, I am anxious for the arrival of Barnabas.
Well, just don't get too anxious. [ghost_nowink] There's still plenty of non-Barnabas stuff to deal with before Barnabas makes his presence known in some fashion or another in the slideshow in May. And Barnabas as played by Alec Newman won't be showing up until July. That's one of the nice things about the pilot - Barnabas doesn't overpower the other characters - they all get their chance in the spotlight. Though that's not to say that Newman's Barnabas doesn't get great scenes - he definitely does.
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In the script after today's quote -
Page 09 - Roger: 'I applaud your enthusiasm, but it's late, and I just opened a very good brandy. (turning away) We'll discuss my son's lesson plan and the rest over breakfast.'
- (which is slightly different in the pilot as the "and the rest" part is dropped) it's indicated that:
As Roger starts away, Willie catches Victoria's eye, clearly appreciative of her white lie.
And that's the end of the scene. However things play a bit differently in the actual pilot. As Roger walks away, Liz goes over to Vicki and warmly tells her "I'm very glad you're here." And after Liz leaves it's then Willie's turn to go over to Vicki and he delivers a reworked version of his lines that were cut from the previous scene but which I indicated in reply #57 would be revisited here in this scene. In the previous scene, Willie is scripted to say "I've got a place over the garage. You want a ride back, just yell." But in the reworked version for this scene he says "I've got a place in the gate house, okay. You want a ride back or, you know, you just wanna hang out, I'll be around. Okay?"
And as I also alluded in a previous post, the scene that will begin with tomorrow's quote is a scene between Willie and Sophia that does not appear in the pilot. But I'll set that up after tomorrow's quote comes up...
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I just LOVE Roger's dialogue. Thanks, MB, for taking the time to share MORE with us.
I do find the writing for Liz as recorded somehow... off. I seem to recall the breakfast scene being a bit better, but maybe what I'm recalling is a sense of excitement since if I'm not mistaken, Laura was mentioned.
I seem to recall a luridly filmed scene (the color palette in this, which you haven't discussed, was at times off the charts, but I don't remember enough to go into specifics) in Willie's gatehouse bachelor pad with one of his lady friends. This, obviously, happens after what we're now discussing in the film. And I can't recall her name, either.
Best, G.
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Roger is definitely written very much in the spirit of the original. Love the brandy quote.
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The set up for the new scene that begins with today's quote is:
INT. KITCHEN - COLLINWOOD - NIGHT
Sophia is busy putting dishes away as Willie enters. Cold, she studiously tries to ignore him.
The scene will play out through the 24th, revealing a few interesting things as it goes along.
Also, the kitchen inside "Collinwood" is located in the graphic where the five windows appear below the "a" in "Changed" and above the second "e" in "Sequence."
(http://www.dsboards.com/2004pilotquoteimages/0215ds2004_0.jpg)
Nowadays that wing is completely blocked off from shooting by trees - but I managed to locate a photo of Greystone that was taken shortly after the house was first built.
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Before today's quote (which drops the scene's first big clue about the Roger/Sophia relationship) -
Page 09 - Sophia (CONT'D): 'And don't touch that. It's for Mr. Collins.'
- the script explains:
Willie goes to a cupboard, noticing a frosted-cake cooling on the counter.
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LOL! Whoever wrote the script knows nothing about frosting a cake. The cake already has to be completely cool BEFORE you frost it. If the cake is the least bit warm, the frosting will slide right off. Sheesh. [snow_laugh]
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Perhaps that's meant to show that Sophia's true talent is somewhere besides the kitchen.
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LOL, DarkLady!! Though in the script's defense, since we'll see that there's no reference in the dialogue to the cake cooling, the scene would have played perfectly fine.
And, yes, Uncle Roger (as we already know - and it's not really spoiling things to say because there have already been hints), in Roger's eyes Sophia's true talent is definitely somewhere besides the kitchen. [b003]
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DarkLady, I love it!
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Thanks! I also had the feeling that Sophia isn't the world's greatest cook. [snow_cheesy]
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They probably meant "setting."
Still, it would make for quite a graphic on-screen display. Maybe it was red frosting!
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Is Sophia meant to be a cook in addition to somebody who takes care of household chores? Is she doing the Mrs. Johnson role? I guess we wouldn't have heard this Roger complaining about "yet another of Sophia's boiled dinners..."
I know these are random but these are the things that go through my mind...call it the Shadows Syndrome...lol
G.
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I guess we wouldn't have heard this Roger complaining about "yet another of Sophia's boiled dinners..."
I suspect it was pretty much guaranteed that we wouldn't have heard any disparaging remarks from Roger about Sophia's cooking. [snow_wink]
I know these are random but these are the things that go through my mind...call it the Shadows Syndrome...lol
Something I think most, if not all of us can relate to. I know I can! [snow_cheesy]
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Now, let me guess. I'll bet Roger has a special thing for Sophia because of her secret mayonaisse recipe.
Gerard
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Gerard, I like your sense of humor! lol!
G.
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Now, let me guess. I'll bet Roger has a special thing for Sophia because of her secret mayonaisse recipe.
LOL - if only the pilot had gone to series, perhaps we would have found out that very thing! Though the attraction is probably obvious. Just look at that photo of Jenna Dewan in reply #102. [snow_wink]
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Now, let me guess. I'll bet Roger has a special thing for Sophia because of her secret mayonaisse recipe.
Well, maybe if the series were to have been on HBO or Showtime... [snow_blush]
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[pointing-up] [rofl10] I like the way your mind works, KMR!! [naughty]
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It's worth noting that after today's quote -
Page 10 - Sophia: 'I don't remember all the attitude when you asked if I could get you on here.'
- the script indicates that:
Willie's clearly irritated at the reminder.
Though what he does after tomorrow's quote is what's most interesting. But that will have to wait until tomorrow. [snow_wink]
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After today's quote -
Page 10 - Willie: 'Guess I just want more out of life than "you missed a spot."'
- the script points out that:
Annoyed, Willie makes a point of RUNNING HIS FINGER across Roger's cake as he leaves.
And with that, that's the end of the scene.
Poor Roger - having his cake "violated" that way. [snow_wink] But something tells me that Sophia repaired it as soon as Willie left the kitchen. [snow_cheesy]
Thankfully, that's also the last completely "cut, trimmed, or changed" scene we'll be seeing in the slideshow until another such scene shows up in the script for May's slideshow. That's not to say that the upcoming scenes between now and May won't have bits changed between the script and the pilot - but for the most part things will adhere pretty closely to the script. Well, with one departure: from here on into May the order of scenes in the script was juggled around in the pilot. But we'll get into that more deeply with tomorrow's quote...
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Wonderful. So, none of this was in the completed pilot? The scene with Willie and Sophia in the kitchen? Because I don't remember it at all. But then, it seems as if there was quite a bit from my one viewing that I just don't recall... you and Midnite must have made awesome notes from your respective viewings!!
Admiringly,
G.
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Why is today's quote in the slideshow -
Page 10 - Victoria: 'It's open.'
- indicated as "cut, trimmed, or changed"? Well that's because the beginning of this next scene is almost completely different in the pilot from the way it is in the script:
As far as the script is concerned, Vicki is in her bedroom unpacking her suitcase when there's a knock at the door, to which she responds with today's quote.
However, while the scene in the pilot also begins with Vicki unpacking, the door to her room is already wide open and Carolyn suddenly appears in the doorway. She asks, "Can't sleep?" to which a startled Vicki (who had no idea Carolyn had arrived) replies, "Ah! Oh! I guess I'm still trying to get used to all this." Carolyn then observes with a bit of a laugh, "You and me both." And after a pause, Carolyn then basically delivers the lines that will come up in tomorrow's quote.
And as if all that wasn't interesting enough, this scene appears later in the pilot than it does in the script - and here's a chart to show what we've covered in the script/pilot so far, where this scene appears in the script, and where it appears in the pilot:
(http://www.dsboards.com/2004pilotquoteimages/Chart1.jpg)
As you can see, the two scenes that appear in the script after this scene actually jump up in the pilot to appear before it. What are those scenes? Well, they won't be revealed until they come up in the script because at the outset of this slideshow we indicated that the slideshow will be following the order that scenes appear in the script (as was also the case when we did the NoDS slideshow) rather than in the actual pilot. However, we will continue to post charts like the one above so that the order in the script vs. the order in the pilot doesn't get too confusing.
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The only difference between today's quote -
Page 10 - Carolyn: 'Victoria? Carolyn Stoddard. (offers hand) I decided to skip the mob introductions. My uncle Roger can be intimidating enough.'
- and what's said in the pilot is that the "Victoria?" part is dropped. But then Carolyn has already been conversing with Vicki, so obviously Carolyn already knows who Vicki is. [snow_wink]
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The only difference between today's quote -
Page 10 - Victoria: 'If brusque is as bad as it gets, I'll be fine.'
- and how it's delivered in the pilot is that Vicki says "Well, if brusque is as bad as it gets, I'll be fine."
However, as we'll soon be seeing, the next four upcoming quotes were either entirely changed or completely dropped...
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The fact is that all four of the next four quotes were dropped from the pilot - though there was also dialogue added to the scene to replace most of them. And merely for the purposes of the slideshow I'm saying that today's quote -
Page 11 - Carolyn: 'I hope so. Between that and the sheer isolation, it can get a little weird up here.'
- was dropped rather than changed simply because it's a quote attributed to Carolyn, whereas the first of the changed bits of dialogue in the actual pilot that will soon be coming up and which followed Vicki's quote in reply #131 is also attributed to Vicki.
Often when we have a discussion about scripts I lament that dialogue was dropped because it actually added things to scenes. Though in this case I think it was a very good idea that today's and the upcoming quotes were dropped/changed because to me the original lines seem rather a bit awkward. But you can decide for yourselves as they continue to come up and you see what they were replaced with.
And with that in mind, I'd also like to post about the second of the four quotes and what it was replaced with - and I do this because the quote is dated for February 29th so there will still be an installment for the slideshow during leap years. But considering the next leap year isn't until 2016, that's a bit long to wait to see what will be coming up on that day. So, the quote from the script for February 29 is:
Page 11 - Victoria: 'You make Collinsport sound like a third-world country.'
It was replaced with Vicki asking, "Carolyn, how do you deal with 200 rooms?"
Wow, 200 rooms in this Collinwood! The Collinwood of the original series had only 40 rooms. The Collinwood of the two original movies had an indistinct number of rooms (but for anyone who knows Lyndhurst, as it was there were barely enough bedrooms in the place for the family and staff that was living there). And when asked in the '91 series how many room were in Collinwood, Vicki was simply told by Carolyn that she didn't think anyone had counted them. But 200 rooms might just have been the largest Collinwood ever. And just think of the unfulfilled possibilities that might have been presented in exploring some of them in a WB series as was done in the original series. But alas...
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Again, MB, this is all fascinating. I don't remember Carolyn at all from my one viewing of this, and I certainly don't recall her scene with Vicki at this point.
The chart is pretty cool but I actually find your discursive notes the most helpful, since I do not have a copy of the screenplay, or a tape of the film (obviously).
I would, of course, completely understand if you're unable to keep up with writing the notes. Life happens while we are making other plans (jejune comment, but true).
Best, G.
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Explaining the scenes and the differences between what's in the script and how things turned out in the pilot has been half the fun of doing this slideshow, so I'll definitely be continuing to do it. [snow_smiley]
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How was Carolyn played in this? Closer to Nancy Barrett or Barbara Blackburn?
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I would say she was an amalgam of both. And that will become clearer as we see more of this Carolyn's scenes.
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As far as today's quote -
Page 11 - Carolyn: 'They probably get better reception. (off Victoria's smile) Truth is, if you're prone to cabin fever, you've come to exactly the wrong place.'
- goes, it was replaced by Carolyn answering Vicki's question about Collinwood's 200 rooms by saying, "First you close about 160 of them, then you do what you can to make the other 40 feel something like a home."
So, this version of the Collins family lives in what would amount to be the entire original series' version of Collinwood. But then this version of Roger is obviously a renowned businessman, what with being on the cover of Forbes Magazine and all, so I suppose they may have a public image to maintain that the other versions of the Collinses we've seen did not. In fact, did we know if the Collinses of the '91 series even had any sort of business? If so, I don't recall it coming up. Liz never spoke of one. She never worked in any capacity with one. And the only thing we learned about Roger was that he painted but gave it up due to whatever had happened to Laura. They were apparently wealthy - but I suppose that wealth came from old money/investment rather than running a business...
And maybe it's just me, but the whole bit about TV reception came off as rather odd. Sure, the point of the original dialogue was to get across the point that Collinsport was isolated. But hello, in 2004 there was very much such a thing as cable TV. In fact, cable TV was first invented for places that were so isolated that they could barely get over the air TV, so Collinsport should have had it - and certainly the Collins family could have afforded it. But the weirdest thing about such dialogue was that, yes, original DS fans who grew up pre-cable TV would have certainly related to it, but the target audience for the WB DS would have had cable TV all their lives - they wouldn't have known anything from poor reception.
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Good to know. I'm definitely getting a lot more Barrett in this dialogue than I did with the '91 Carolyn... and that is a great thing, imo. Though Blackburn's delivery of what were probably "humdrum" lines made her character a tad more... unique.
I've got to be honest. I read the reception thing as cell-phone reception as opposed to TV reception. I guess it's because no one has spoken about TV reception on TV in years, though it's how I get my channels. ;)
The only mention of business I recall in the 1991 series was in the pilot or "movie" when Barnabas was asked what sort of business he was in. The only thing we learned after that was just how "consuming" his business actually was. [snow_cheesy] (When the 1991 series tried to be funny, without resorting to outright goofiness, it kind of worked, which is more than I can say for Depp Shadows.)
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When the final dropped bit of dialogue comes up with tomorrow's quote, it seems to lean more toward TV reception. But you could be right. Cell phone reception never even occurred to me. Duh! [6184]
But in either case it doesn't really matter because the whole reception discussion, whatever type it may have been, was thankfully dropped. [snow_wink]
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Thank goodness for that! I'm definitely a fan of a tech-free Collinsport. That device in Buffy Harrington's room (I believe) is still one of the most scandalous things on the OS. [snow_grin]
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I'm not sure if the quote is still there at the beginning of this thread, but doesn't one of the first moments in the pilot involve Vicki trying and failing to get a signal on her cell phone once she gets off the train?
G.
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Gothick, MB describes the scene in Reply #34 (p. 3).
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I'd completely forgotten about the part in the script where Vicki checks her cell phone. The sequence is scripted as:
EXT. COLLINSPORT TRAIN STATION - NIGHT
The passenger train pulls to a stop with a SCREAM of brakes as Victoria steps onto the deserted platform. The train CHUGS as she looks vainly for her ride.
VICTORIA
Hello? Anyone here?
Frustrated, Victoria pulls out her cell-phone. She gets the CHIRP from the power-up, then stops.
VICTORIA (CONT'D) .
No signal.
(wry, eying old station)
No surprise.
Not sure what to do next, Victoria finally pulls her coat tighter and starts across the platform.
And I most probably forgot about it because all that was dropped from the pilot. Well, at least all of Vicki's dialogue was. So, if she does still check her phone (which I don't remember if she does or not), she doesn't comment on it out loud. But given that she does in the script, then, yes, within the dropped dialogue that we're currently dealing with in the slideshow, the signal Carolyn refers to is in all probability a cell phone signal. And that certainly helps the dropped bits to make more sense. Though I still have problems with some of it. And I'll explain why that is and why I jumped to the apparently erroneous conclusion they were talking about TV reception after tomorrow's quote comes up. [snow_wink]
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I can envision an uber-isolated, small place like Collinsport, even in the 21st century, never having TV cable access for those two reasons: it's too isolated and too small for any cable company to make a decent profit. There are actually still some places like that scattered across America. But on the other hand, I have a hard time envisioning denizens of Collinsport, especially the Collinses, not availing themselves of satellite TV. That's accessible anywhere. I simply can't accept that the rich family on the hill would make do with either just an antennae or aluminum foil over the rabbit ears to pick up only a couple snowy channels in the hopes of catching The CBS Evening News or Wheel of Fortune when they would have ESPN-14-All-Ping-Pong and BBC-7 with constant marathons of The Vicar of Dibley and Keeping Up Appearances. How would Sophia bake all those cakes for Roger without having The Food Network?
Gerard
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Gerard, it's very clear to me that Sophia is using an old, locally-published recipe book called Mrs. Johnson's Mayo and other Down East Recipes.
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LOL, Cousin Barnabas!
Can I say again just how much I am LOVING this thread!
Can I also say even though it probably belongs under the "Testing" board that I ADORE the new Original Series montage which features a gorgeous shot of Hoffman sneering royally, front and center, probably uttering a line such as "HE had EVERYTHING" or "There can BE only ONE Mrs. Collins" .... LOVE IT!!!
giddily, G.
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Cousin Barnabas, I have so many problems with your answer. First of all, what local publishers would exist around Collinsport for Mrs. Johnson's book? Second of all, she only had recipes regarding mayonnaise. She never mentioned cakes. This is DS, Cousin Barnabas. You need to get real.
Gerard (Who accepts nothing realistic about DS unless it involves a combination of milk chocolate and butter cream.)
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Didn't Roger once mention giving Mrs. J a recipe (or as older family members used to say, a receipt) for Indian pudding?
G.
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Obviously, Gerard, the exposé on Collinsport's "STAR" publishing program was to be slowly unveiled over the course of the first six scripts of the '04 series. Unfortunately, those scripts are under lock and key, much like Mrs. Johnson's secret Mayonnaise Cake recipe (receipt) -- Too bad. It would have been the perfect complement to the boiled dinner I ate tonight. [snow_wink]
Speaking of additional scripts, were there any other scripts actually written? I seem to recall reading on Stuart's site that six scripts were ordered. Did they actually make it to print or were they killed before they even got started?
As for the Indian Pudding, I do recall something like that, G.
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Speaking of additional scripts, were there any other scripts actually written? I seem to recall reading on Stuart's site that six scripts were ordered. Did they actually make it to print or were they killed before they even got started?
According to TPTB behind the pilot, that report was erroneous. They've said no such script order was ever issued by the WB and, therefore, no scripts were ever produced in any way, shape or form. And that's odd because the source for the report was Entertainment Weekly, which is run by Time Warner Publications, so one would think they might have an inside track on what other Warner divisions are doing. But quite obviously wherever the info came from, it was mistaken in that case. But we should have only been so lucky because, even if six additional scripts had never gotten past the outline phase, we would have still had some concrete ideas where the series was planning to go. As it is, all we really have are some postmortem interviews...
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Thanks for the insight, MB. Too bad that EW report wasn't based in fact. It would have indeed been interesting to know what was being cooked up, so to speak.
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Interestingly enough, today's quote -
Page 11 - Victoria: 'I've never been big on crowds. (a shrug) Anyway, fewer distractions just means I can spend more time with David.'
- was replaced by Vicki musing with a simple "Hmmm..." in response to Carolyn's explanation of how they deal with 200 rooms.
But getting back to the cell phone vs. TV reception, as Midnite will attest, I'm hardly a big cell phone advocate. Do I own one? Yes. But I resisted getting one until about four years ago, and I'm certainly not as obsessed with mine as some people are with theirs. My feeling is that no adult should always be instantly reachable 24/7 by another adult. So given all that, my first inclination when the subject of reception came up in the script was not to think of cell phones. And when Vicki spoke of how fewer distractions would mean she could spend more time with David, I didn't see a cell phone as that sort of distraction. Watching TV came to mind as a bigger potential distraction. Plus, lack of cell phone reception hardly means that one would be completely deprived of being able to make or receive phone calls. After all, there's still such things as land line phones. They were still very much in use in 2004. And it's not even hard to imagine that with a family as wealthy as the Collinses, the family's and Vicki's bedrooms could each have their own land lines. Throw in separate answering machines and where's the real loss when it comes to bad cell phone reception? And using a landline to converse could be pretty much as distracting as using a cell phone could be when it comes to taking time away from Vicki's time with David, especially considering that Vicki would in all likelihood be making any type of calls on her own time and not while she was with David.
Though when it comes to the dropped dialogue, the whole cell phone reception vs. TV reception is completely incidental up against comparing Collinsport to a third-world country. As I said, I realize it was to emphasize how isolated Collinsport is (plus a start in getting into Carolyn's dissatisfaction with living in Collinsport). But equating any sort of bad reception, no matter how bad that reception might be, could ever come close to being as consequential as some of the very real deplorable conditions in many third-world countries, so at best the comparison comes off as awkward - and at worst, well... Plus it potentially made Carolyn come off as far more insensitive and self-absorbed than I would have liked to have thought they intended. And I really do suspect that's the main reason the whole exchange was completely reworked for the actual pilot.
But anyway, now that all that's behind us, beginning with tomorrow's quote the remainder of the scene will play pretty much as it was scripted - and free of any potential awkwardness...
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Because Vicki's originally scripted line referencing David does not appear in the pilot, one of the differences between today's quote -
Page 11 - Carolyn: 'How much did they tell you about him?'
- and what's in the pilot is that Carolyn asks specifically about David, not simply "him." The line she delivers with a bit of artful playfulness is "So, how much did they tell you about David?"
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The difference between today's quote -
Page 11 - Victoria: 'Only that he's troubled, and runs through tutors like most kids run through socks.'
- and what's in the pilot is that Vicki sighs before responding and the pilot drops the "and runs through tutors like most kids run through socks" part. And it's too bad about the dropped bit because, unlike the whole third-world comparison, I honestly thought it was sort of cute - and a perfect analogy given what we've been led to believe in the various versions of DS. [snow_wink]
The pilot also drops Carolyn's scripted response to Vicki, which is "At least they were honest." Instead it follows with Vicki's quote for tomorrow...
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That is a very Vicki-thing to say. I am also saddened it was cut.
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Today's quote -
Page 11 - Victoria: 'I read his psych evaluation on the trip up. According to his shrink, he's hyperactive, suffers from A.D.D....'
- is only very slightly differently delivered in the pilot because Vicki says "And I read his psych evaluation on the trip up. According to his shrink, he's hyperactive and suffers from A.D.D...." - and was probably just Marley Shelton's own twist.
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Eww... That is one the least believable pieces of dialogue I have seen from this script. It's just... awful. It's terribly cynical to think that anyone in Victoria's position would talk like that -- especially with someone she just met (basically her employer), or that Victoria Winters -- the character -- would use such words. Psych... Shrink.
No. No. No.
I can't believe that made the final cut.
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Cousin Barnabas, I would tend to agree. But this Vicki is very different from any other version of the character we've ever seen. She's expensively and carefully coiffed and groomed, reads Forbes mag, and seems to have had some medical/psychiatric training--the snippet you just quoted is supposedly typical of how social works specializing in disturbed children talk, amongst themselves, about their cases (and having been privy on occasion to such conversations, it's not really that wide off the mark).
This Vicki seems so far almost more like an update of Julia than Vicki as portrayed in either the OS or the 1991 series. There's no innocence and certainly no sense of a personal quest bringing her to Collinsport.
I don't remember enough of Vicki's further scenes to say more, but I'll be interested to see how this Vicki plays out as we continue our collective viewing of her journey...
G.
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Yes, I would agree that this Vicki seems like the most educated version of the character that we've seen. Not only does she possess a degree in education, it's very probable that she's also schooled in some sort of social work. She's not simply an orphan with a teaching certificate.
Though like the other versions of Vicki there is also a sense of a personal quest to the character because in Vicki's opening voiceover she refers to how she's hoping to somehow finally find answers to the mysteries of her past. From reply #20:
(http://www.dsboards.com/2004pilotquoteimages/0106ds2004_0.jpg)
Page 02 - Victoria (V.O.): 'I've been hired to tutor a
troubled boy,'
(http://www.dsboards.com/2004pilotquoteimages/0107ds2004_0.jpg)
Page 02 - Victoria (V.O.): 'but I keep feeling like that's
only the beginning of my journey.'
(http://www.dsboards.com/2004pilotquoteimages/0108ds2004_0.jpg)
Page 02 - Victoria (V.O.): 'I'm hoping that somehow, out
of the darkness,'
(http://www.dsboards.com/2004pilotquoteimages/0109ds2004_0.jpg)
Page 02 - Victoria (V.O.): 'I'll finally find answers to the
mysteries of my own past...'
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The difference between today's quote -
Page 11 - Carolyn: 'Trust me, David's problems go deeper than some Portland doctor's psychobabble... (Carolyn stops, realizing she may have said too much.) ...and I hope I'm not scaring you.'
- and what Carolyn actually says in the pilot is that the pilot's version is simplified. Carolyn says "Trust me, David's problems go much deeper than that..." - then similarly to the script, realizing she may have said too much, she follows with - "...I hope I'm not scaring you."
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... the snippet you just quoted is supposedly typical of how social works specializing in disturbed children talk, amongst themselves, about their cases (and having been privy on occasion to such conversations, it's not really that wide off the mark).
"Psych eval" is okay for a coworker situation, though usage with clients/employers seems pretty brazen. But "shrink" with your employer, your client... It's rather unprofessional and comes across as typical Hollywood. I've never heard either of the terms used around clients/families, and -- had I -- I probably would still be recovering from the shock.
Yes, I would agree that this Vicki seems like the most educated version of the character that we've seen.
She may be educated, but she isn't that smart if she can't understand the difference between a coworker and an employer. [snow_wink]
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Those are very good points, Cousin Barnabas. I've never heard anyone outside a movie say "shrink"--the last time might have been the 1970s.
I can't recall specifically but my memory of seeing this the one time is that there was potential, but there were also some spectacularly awful decisions about characters... can't recall the writing... in some cases I was just too "done" with what was being presented to even pay attention to the dialogue.
This presentation is fascinating, though, especially the material about what was originally written and what made it into the "final" cut (which, from what I understand, was still a rather provisional edit--unfinished FX and I don't think it had been scored?).
best, G.
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The pilot had a temp score using pieces of music from the films Jennifer 8, Deep Red, and even Klute - and the practice of using a temp score is pretty much standard for all films when they're in the editing stage. And in fact, some have gone so far as to say that it would have been a challenge for an original score to match the atmospheric cues that were used in the temp score because what was used meshes so seamlessly with what's on screen and even induces goosebumps in several sequences.
As for the FX, it's been reported that about 80% of the CGI was complete, and in some of the instances where it wasn't, partially complete CGI was used. I only remember a few instances where the screen briefly read something like insert such and such here.
And as for Vicki's comments to Carolyn about David, I don't really see a problem with them - especially considering Carolyn instituted the discussion of David's condition. It's not like Vicki went up to Carolyn out of nowhere and started discussing David in clinical terms. Carolyn asked what information Vicki was given, and Vicki responded. And trust me, as someone who worked in education for years, the terms Vicki used are terms that would have been and are routinely discussed as such with families.
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The only difference between today's quote -
Page 12 - Victoria: (a smile) 'He's a little boy, not the bogeyman.'
- and how it was delivered in the pilot is that rather than a smile, Carolyn's fear that she's scared Vicki prompts a laugh from Vicki, which prompts a similar laugh from Carolyn.
And as for the next two upcoming quotes in the slideshow, believe it or not, they're delivered exactly as scripted...
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Gothick and Cousin Barnabas, if you stroll through the psychology section in Barnes & Noble, I bet you'll spot a number of books with "shrink" in the title, some by psychologists or psychiatrists. The term doesn't have the negative connotation that it used to, and I know I've used it at work.
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With today's quote we come very close to reaching the conclusion of the current scene. The script sums it up with:
Carolyn smiles and nods, pulling away. OFF Victoria, left uneasy by the conversation...
And at that point, Vicki sighs in the pilot, and the scene concludes. And as we can see from this next chart -
(http://www.dsboards.com/2004pilotquoteimages/Chart2.jpg)
- the script then moves on to scenes that take place outside of and inside Willie's apartment. Though, as I'd mentioned previously, in the actual pilot those two scenes were moved ahead of the scene between Vicki and Carolyn in Vicki's room (and the location of Willie's apartment was changed from the garage in the script to the gatehouse in the pilot). And the discussion of just what goes on between Willie and his girlfriend Kelly will begin after tomorrow's quote comes up in the slideshow...
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The first scene in the script after Vicki and Carolyn's talk in Vicki's room plays out in the actual pilot as the first scene after Willie leaves Collinwood after having brought Vicki there. It has no dialogue. (And chances are the location was changed from the garage at Greystone to the gatehouse because the rooms in the living quarters above the garage are very small - really too small to accommodate a film crew, much less leave enough room to shoot actors in them.) The script describes the exterior scene as follows (just substitute gatehouse for garage):
Willie crosses the grounds to the estate's garage, nestled away from the main house, and climbs a rickety wooden stairway to a second level apartment.
(Though there's also no "rickety wooden stairway" anywhere at Greystone. Picture more like a stone stairway. Also, while there is a stairway up to the entrance at the gatehouse, I don't believe it leads to a second floor in the sense that the rooms over the garage really are on a second floor. And honestly, I'm only presuming that the pilot used the real gatehouse at Greystone as the exterior for Willie's apartment because it's been so long since I've seen the pilot that I don't really remember. There are actually other outbuildings on the estate that could have been used. So, if anyone really does know otherwise, please feel more than free to speak up to set the record straight. [snow_smiley] But for now we'll picture the gatehouse as it appears in the graphics for the following scene.)
Now, before we get to the interior scene, I need to explain that while there are photos in public circulation of Alexis Thorpe as Kelly, none of them are exactly appropriate for this part of the pilot. (Why will become clear before long.) So with that in mind, I tracked down a photo of Ms. Thorpe from very much the same time that the pilot was shot, and that's the photo that I'm using for the graphic. And for future use, you will always know when a photo is not an official photo related to the pilot if you see it presented as an oval in a graphic. [snow_wink]
So, with all that out of the way, the script describes the beginning of the interior scene as follows:
Willie enters and tosses his keys on the counter. The one room apartment is small, cluttered with old pizza boxes and dirty dishes. As Willie starts toward the fridge...
And it is at that point that today's quote comes up:
Page 12 - Kelly (O.S.): 'You're late.'
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And is Kelly Willie's wife? mistress? goldfish? I guess I'll just have to wait and see.
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Kelly is Willie's girlfriend. I'm sure MB will let us know if the relationship is defined beyond that.
This continues to be very cool. Thanks to all involved.
G.
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Thanks, Gothick! And thanks, MB, for all your hard work! I'm really enjoying this!
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[pointing-up] I guess you accidentally missed:
Reply #61:
| ACTORS: | CAST OF CHARACTERS (as they're listed and described in the script): |
| ... | ... |
| ALEXIS THORPE | KELLY GREER - early 20s, Willie's girlfriend and (well, maybe
we'll leave all that as a surprise for those who don't know). |
And reply #166
And the discussion of just what goes on between Willie and his girlfriend Kelly will begin after tomorrow's quote comes up in the slideshow...
It happens. [snow_smiley]
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Before we get to today's quote, we need to deal with how the script sets up things:
Willie turns, finding KELLY GREER lying on his tousled bed. Kelly's early 20s, sexy in a "Miskatonic U." belly shirt, glasses perched in her hair as she studies/fondles a cheap-looking athletic trophy.
It is at the point when Willie sees what Kelly is doing that today's quote -
Page 12 - Willie: 'Don't mess with that.'
- comes up in the script. However, what Willie actually says in the pilot is "I told you a thousand times-- don’t mess with that." (As you may recall, Willie's character is described in part as a "former Collinsport high school football star".)
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I forgot to mention and it's worth reminding that at this point in the pilot Willie is wearing his glasses. And as I mentioned before, there aren't any publicly available stills of Willie wearing glasses - but just to get that image of Matt Czuchry into our minds, I did a Google search to see if I could locate any photos of him wearing glasses (because he does in real life) and lo and behold there are dozens - including an entire thread (http://www.fanforum.com/f209/matts-fashion-thread-26-if-upwardly-mobile-style-means-we-get-more-weird-awful-ties-we-might-just-go-blind-63105903/) on a fan site that's devoted to seemingly everything Matt uses to accessorize. And here's one of its images:
(http://www.dsboards.com/2004pilotquoteimages/Image21-10.jpg)
Apparently the image on the top left is Matt out and about at some point in 2012, and the image on the bottom right is from his '09 movie I Hope They Serve Beer In Hell*
(*Which I own but have yet to watch. And for those of you who might be interested (and you'll soon know who you are) not only does Matt go glassesless in the movie, but he supposedly goes pantsless as well. (Yes, I knew that would get your attention. [wink2] [lghy]))
-
Matt is one luscious lad... with or without glasses... in or out of clothes. and I write that never having seen him in anything other than the screening of the above episode.
If they'd wanted to have intimations of "Willarnabas" on this show, given how hot both Alec Newman AND Matt are, the possibilities could have been distinctly delicious.
Excuse off topic musings. I have to go now...
lol, GothEEEEEEK!
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The only difference between today's quote -
Page 12 - Kelly: 'I was just admiring your many accomplishments. (sly, reading inscription) Third place, State Finals, 1999.'
- and how it's delivered in the pilot is that in the pilot Kelly adds an "Oh" with a touch of possibly feigned hurt to her voice before she delivers the scripted lines exactly as written as the excuse to why she's studying/fondling Willie's precious trophy.
-
Not much difference between today's quote -
Page 12 - Willie: 'People were pretty impressed with me that year.'
- and the way it's delivered in the pilot because in the pilot Willie simply says "Yeah" with a sigh before he delivers the quote exactly as scripted.
-
And again, not much difference between today's quote -
Page 13 - Kelly: 'It's Collinsport, Willie. People impress easily.'
- and the way it's delivered in the pilot. The only difference is that Kelly ads a "Yes" - as in "Yes. It's Collinsport, Willie. People impress easily."
Look for definite differences, though, when it comes to the upcoming quotes for the weekend...
-
From this point this scene deviates from the way it was scripted. For starters, today's quote -
Page 13 - Willie: 'Especially college girls like you. (approaching, seductive) And since when was 10:30 ever late for us?'
- was completely dropped - and rather than Willie simply approaching Kelly seductively, they begin a full-on makeout session on Willie's bed.
-
Given the explanation for yesterday's quote, it should come as no surprise that today's quote -
Page 13 - Kelly: 'Come here. I want to show you something.'
- was also dropped. In its place the makeout session continues with passionate kissing and giggles.
It's actually worth mentioning that there isn't any makeout session in the script. In fact, Willie and Kelly never even connect on his bed because before today's quote comes up in the script Kelly has already "abruptly" rolled off of Willie's bed. So, any interpretation of Kelly's quote from today in any sort of sexual context would be completely off base. [snow_wink] And what she wanted to show Willie will have to wait until tomorrow because it does still play out in the scene. In fact, it's not only pretty much the main point of the scene, it's the kickoff of almost everything to come...
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I wish I could report this more accurately, but what I recall from my one viewing is that the scene in Willie's digs was shot in a very offbeat way. I remember weird angles and garish color grading with lots of brilliant scarlet and orangey-yellows from the lighting. Most of the pilot had a very unusual look to it. It may be that further memories will be sparked by MB's incredibly helpful and expository posts, and if so, I'll write what I can recall. I took no notes and didn't really discuss the screening much with my friends at the time, so these memories are vague at best.
Again, excellent work from all involved with this project.
G.
-
Before we get to today's quote it should be pointed out that what Kelly wanted to show Willie in yesterday's quote is described in the script with:
Ignoring Willie's frustration, Kelly goes to the kitchen table, where she's laid out an array of old letters.
Though, of course, things play out differently in the pilot because Willie gets far from frustrated considering that Kelly doesn't abruptly leave his bed in favor of going to the kitchen - instead they get into that full out makeout session that we've been discussing. However, in the middle of said makeout session Willie similarly asks today's quote -
Page 13 - Willie: 'What's all this?'
- (though in the pilot he actualy asks "What's all this stuff?") because, rather than having spread out the old letters on the kitchen table, Kelly has them spread out over Willie's bed. And three guess as to what some of those letters might be about. [snow_wink]
-
Page 13 - Kelly: 'Homework from Professor Stokes.'
I've always thought that it's interesting that even though Prof. Stokes doesn't appear in the pilot physically, he does have a presence in it. And given what we will soon learn about him, it's fascinating to think about what his role in the series might have been had the pilot been picked up. But that sort of speculation should probably wait until after we've gotten much deeper into the script/pilot because there's also so much more to come that would have colored Stokes' role in a series...
And just for the record, today's and tomorrow's quotes are delivered in the pilot exactly as scripted.
-
Wow. I don't even remember Stokes being mentioned in this scene!
This is great stuff!
Best, G.
-
Stokes? That's ... so ... COOL!
I always thought he would pop up in the 1991 series, probably played by Stefan Gierasch, sans beard and mustache ("Oh, I'm sorry ... you reminded me of ... my FATHER! I mean, someone. I've never met.") Alas.
Does the 2004 hypothetical Stokes work at Miskatonic U, along with his other Lovecraft-steeped brethren?
-
Oh wow. I really wish we had gotten at least a glimpse of Stokes, "the freak with the beret."
Loving this...
G.
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As tomorrow's quote will show, it might prove wise not to read too much into one line of dialogue. [snow_wink]
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Yesterday's quote:
Page 13 - Willie: 'The freak with the beret?'
Today's quote:
Page 13 - Kelly: 'Bow-tie. And he has some wild theories about the Collins family.
See. [snow_wink] Though the idea of someone like Thayer David's Stokes in a beret might have been a hoot, if a bit too eccentric.
At least we know the WB's Stokes would have still had a penchant for bow-ties. [snow_smiley] But my question is, would he have had a monocle?
So many questions, so few answers...
But lest we ignore today's quote, what Kelly actually says in the pilot is "Bow-tie. And he has some pretty wild theories about the Collins family."
-
Does the 2004 hypothetical Stokes work at Miskatonic U, along with his other Lovecraft-steeped brethren?
That's an interesting question given that the script describes Kelly as wearing 'a "Miskatonic U." belly shirt.' Though I don't honestly recall if she really does wear one in the pilot or not. If she does, presumably that could be where she goes to college - and if that's true, it would be where Stokes teaches, which would be interesting given that in the Lovecraftian universe Miskatonic U is located in the fictitious town of Arkham, MA. But Kelly could easily commute between there and Collinsport, ME, so it's hardly out of the question.
Does anyone recall whether or not Kelly really does wear a Miskatonic U. belly shirt in the pilot?
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That's an interesting question given that the script describes Kelly as wearing 'a "Miskatonic U." belly shirt.' Though I don't honestly recall if she really does wear one in the pilot or not. If she does, presumably that could be where she goes to college - and if that's true, it would be where Stokes teaches, which would be interesting given that in the Lovecraftian universe Miskatonic U is located in the fictitious town of Arkham, MA. But Kelly could easily commute between there and Collinsport, ME, so it's hardly out of the question.
Does anyone recall whether or not Kelly really does wear a Miskatonic U. belly shirt in the pilot?
In the pilot, Kelly attends fictional Hallowell U, though it's a real city in the area. And not only was her school changed from the one in the script (Miskatonic),[spoiler]but the last name given by the Sheriff after he identified her body from her student ID differed from what's listed in all the production material (Greer).[/spoiler]
-
If I'd been smart enough to think of this last night, which I wasn't, I might have known some of that because I just looked up one of the available photos of Kelly (one of the ones that I mentioned aren't suitable for this scene for reasons that will become obvious down the road) and in it she's wearing a Hallowell t-shirt. Well, all you can see is "Hallowe" - but given your info, it's obviously a Hallowell t-shirt. [snow_wink] And thanks for the info because quite obviously I'd forgotten. Though it is almost a disappointment that she isn't wearing a Miskatonic U. belly shirt. [snow_cheesy]
[spoiler]but the last name given by the Sheriff after he identified her body from her student ID differed from what's listed in all the production material (Greer).[/spoiler]
So in other words she's the Todd Jennings/Blake of the '04 pilot!! [snow_cheesy]
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So in other words she's the Todd Jennings/Blake of the '04 pilot!! [snow_cheesy]
LOL, yes!
-
BWAH HAH HAH!!!!
-
Given today's graphic, you may have already surmised that today's quote -
Page 13 - Willie: 'As wild as me?'
- was completely dropped from the pilot.
In the script Willie was supposed to come up behind Kelly, wrap his arms around her, and then deliver that line. But since in the pilot they're still on his bed...
-
And considering that today's quote is in response to yesterday's dropped quote, it will come as no surprise that today's quote -
Page 13 - Kelly: (withering) 'That's cute, but save it for one of your cheerleaders.'
- was also dropped from the pilot.
-
It might be needless to say that when it comes to today's quote -
Page 13 - Kelly: (as Willie backs off) 'If Stokes is right, the Collins family stashed away a fortune in gold just after the Revolutionary War... their own early-American hedge fund.'
- Willie doesn't actually back off (from having wrapped his arms around Kelly) because the two of them are still on his bed. But what does need to be said is that in the pilot Kelly actually says "If Professor Stokes is right, the Collins family hid a fortune in gold just after the Revolutionary War" with the "... their own early-American hedge fund" part being dropped.
Also, after Kelly delivers the above, the script indicates that -
Willie goes to the fridge, grabs two beers, pops one.
- but that doesn't happen in the pilot either because, well, you guessed it, he and Kelly are still on his bed. [snow_wink]
-
Many thanks again for the fascinating notes, MB. I wonder what stage in the project the screenplay copy you're working from represents. It almost sounds as if this screenplay might have been written for a 90 minute or even two hour TV film... too bad they didn't go for that length with the pilot. I still wonder whether they would have wound up doing a re-shoot given some aspects of the "finished" pilot we have seen...
Best, G.
-
Given what I've read about TV scripts in general and what we know about the production of the pilot, I'm pretty sure the script we're working from was always intended to only be an hour ep. Apparently two hour TV scripts tend to be between 95 to 125 pages, depending on how much direction is added with the dialogue - and by example, the script for the two hour pilot for the '91 DS is 119 pages. One hour TV scripts tend to be between 50 to 60 pages, depending on the same criteria - and the script for the '04 pilot is 59 pages.
It's not unusual for changes to be made during production. Almost any good commentary/featurette on a DVD/Blu-ray boxed set of a TV show will probably talk about that. And it's also not unusual for bits of dialogue from scenes to be trimmed or for entire scenes to be shot but not included in the final edit of an ep because the ep ran long. That's why so many boxed sets of TV shows include deleted/alternate scenes.
-
Yup, today's quote -
Page 14 - Willie: 'So? They probably burned through it years ago.'
- is another another bit of dialogue that was completely dropped. And it's not the last...
-
The differences between today's quote -
Page 14 - Kelly: 'Maybe not. Couple of months ago, he asked me to index the older Collins correspondence.'
- and what's in the pilot is that, for starters, the "maybe not" is dropped - but then that's in response to Willie's dialogue that was also dropped (and neither really added much to the scene, especially when we as DS fans know the "fortune in gold" is very much still where those Revolutionary War era Collinses put it [snow_wink]) - and what Kelly actually says in the pilot is "A couple of months ago, Stokes asked me to index the oldest Collins correspondence."
-
Before we get to today's quote, we need to deal with two lines that appear in the script but are skipped over in the slideshow because they were not only dropped from the pilot, they're insignificant as far as moving the story along (which is no doubt why they were dropped from the pilot).
After Kelly brings up the Collins correspondence, the scripted lines are:
WILLIE
(offering Kelly a beer)
Beer?
KELLY
Are you listening?
(Willie nods, annoyed)
Of course, considering that in the pilot Willie never goes to the kitchen for the beers, that's another good reason why those lines were dropped. Keep in mind that in the pilot, through all of this discussion of the correspondence, Willie and Kelly are still very much entwined on his bed. Which brings us to today's quote:
Page 14 - Kelly: 'I found some coded entries. Fairly simple "one" equals "A" stuff, but Stokes could have missed it.'
The slight differences in the pilot is that Kelly delivers it as "And I found some coded entries. Pretty simple 'one' equals 'A' stuff, but Stokes could have missed it." But then in the pilot Kelly hasn't been interrupted by Willie and she's continuing to explain about the correspondence.
-
Thanks again for these notes, MB. I somehow missed yesterday's quote about Kelly being asked by Stokes to index Collins family correspondence. So when I saw today's quote, I was thinking that she must be talking about Ben's diary--wrong!
I'm on vacation next week and will most likely miss most if not all of the posts here, but I really am enjoying this presentation very much--in fact, so far I've enjoyed it much more than viewing the actual pilot tape all those years ago!
Hard to believe that 2004 was ten years ago now...
Best, G.
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I'm on vacation next week and will most likely miss most if not all of the posts here
The current scene will be going on for another week and all the quotes will require comment, so once you come back you'll be able to easily catch up. [snow_smiley]
Hard to believe that 2004 was ten years ago now...
Time certainly flies. I can't believe it's almost the end of March already because it seems like I changed the calendar only a few days ago! [snow_cheesy]
-
Instead of asking today's quote -
Page 14 - Willie: 'Meaning?'
- what Willie actually asks in the pilot is "Missed what?" And that's the million (or more) dollar question, as we will see with tomorrow's quote...
-
Today's quote -
Page 14 - Kelly: 'If I read the code right, the gold's hidden on the grounds in the cemetery near the old manor house.'
- has a more familiar take in the pilot because what Kelly actually says is "Don’t you get it? If I’m right, the gold is hidden on the grounds in the family mausoleum." And hearing that Willie is stunned. There's a long period of silence between them before Kelly releases an excited "that's right" sort of half-giggle as it's sunk in for Willie and then he delivers tomorrow's quote...
-
Thanks again for your fascinating notes, MB. I know I'm going to enjoy catching up on this when I get back from my trip, though it's possible I will have some Net access while I am away. I have to confess it is not a very high priority for me--but getting to follow this thread would definitely be a treat.
Best, G.
-
Rather than today's quote -
Page 14 - Willie: 'And you think it's still there.'
- in the pilot Willie says "And you wanna go."
-
I wonder if the character of Kelly was invented in part to explain how Willie, not exactly the sharpest knife in the drawer, was able to figure out the clues about the hidden Collins "legacy."
She's clearly got the brains between the two of them...
G.
-
That's a very good observation that I'd never thought of. [snow_smiley]
Kelly also had another place within the story - one that might have proved fascinating had it been allowed to play out if the pilot had been picked up. But discussing any of that just now would be premature at this point...
-
Today's quote -
Page 14 - Kelly: 'It's worth a look.'
- was completely dropped from the pilot. Though Kelly does get something added to one of her later bits of dialogue in the scene...
-
Instead of asking today's full quote -
Page 14 - Willie: 'What, tonight?'
- what Willie simply asks rather incredulously is "Tonight?!"
-
Today's quote -
Page 14 - Kelly: 'Timing's perfect. If we need to break a few doors, Collins will figure it was a Halloween prank.'
- is where Kelley gets a bit added to her scripted dialogue to replace what was dropped because, after Willie sighs after realizing she wants to go that night, what she says in the pilot is "Why not? If we have to break open a few doors, Collins will think it was a Halloween prank." Though she also loses the "Timing's perfect" bit.
-
The very slight difference between today's quote -
Page 14 - Willie: 'And if I get caught, I can kiss this job goodbye.'
- and what Willie says in the pilot is that he says "And if I get caught, I can kiss my job goodbye." And because the difference is so slight, it may have simply been Matt Czuchry's way of saying it.
-
Before we get into today's quote it's worth mentioning that the script indicates before Kelly delivers the quote:
Kelly slides close to Willie, seductive, running her hand across his chest.
And though they're not in the kitchen as they have been in the script, that bit of direction is a lot more interesting taking place in Willie's bed. And it's at that point that Kelly delivers today's quote -
Page 15 - Kelly: 'We don't do this, you can say goodbye to something else.'
- though what she actually says in the pilot in a kitteny with claws manner is "And if you don't do it, you can kiss something else goodbye."
The script then goes on with:
As her hands slide down his stomach to his jeans, Willie CHUCKS his empty beer bottle across the room.
WILLIE
Hell with it.
OFF Willie, seduced...
But as we know, Willie doesn't have a beer bottle in the pilot. And his "Hell with it" was also dropped. But he's been no less seduced by Kelly. And quite effectively so.
And with that it's the end of that scene. And interestingly enough, the next scene is another type of attempted seduction - though not nearly as effective. But we'll see how that begins to play out tomorrow...
-
Today's quote lost me, MB!
Is this really how the new scene starts?
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Yes, it really is how it starts. And all will become clear before too long. Just keep "seduction" in mind. [snow_wink]
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K. I was afraid I missed something!
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Well, it's not entirely your fault because normally I would have set the new scene long before now. But the last few days I've been battling a terrible cold, and my head is in such a fog that stringing together even just three sentences with any sort of coherence is a major accomplishment. There's no way yet that I'm quite up to doing what needs to be done for this new scene. But soon...
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Get well, MB! Don't worry about us. As long as we know who is saying what, I think we'll be good for the time being. Now if we didn't have names or pictures... Then we'd be imagining all kinds of "seduction" with all varieties of people. This is a show about "incestors" after all!
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So, Joe is going to seduce Willie??? Hahahahaha! you just KNEW I had to go there darlingest Misterioso.
Hope you feel better. Take it easy and be kind to yourself till then!
Best,
G.
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Before we even begin to get into quotes from the current scene in the slideshow, it's much more important to point out that it appears a good deal later in the pilot than it does in the script. But as we've indicated, the slideshow is following the order everything appears in the script, so rather than later, the scene comes up in the slideshow now. However, to once again help to illustrate the differences between the script and the pilot, here's another chart to show what we've covered in the script/pilot so far, where this scene appears in the script, and where it appears in the pilot:
(http://www.dsboards.com/2004pilotquoteimages/Chart3.jpg)
As you can see, it appears of as if nine scenes that come up in the script after this scene jump up to appear in the pilot before it. And while technically that is true, in actual fact it's more like two sequences, one comprised of four connected scenes in changing locations, and one comprised of five connected scenes in changing locations, jump up in the pilot to appear before it. The connection between the scenes within each group is why only two colors have been used in the chart to indicate where the nine scenes have jumped to in the pilot from their places in the script. It all may seem a bit confusing - but things really will become much clearer once all the scenes begin to play out and we see how they're connected.
As for setting the scene and starting to dissect the quotes, that will begin in my next post...
-
The script describes the exterior of the current scene as follows:
EXT. DOCK AREA - COLLINSPORT - NIGHT
As a FOGHORN sounds, the town's fishing fleet is moored in the calm harbor. Most of the boats are dark, but one is dimly lit, orange light visible behind a fogged porthole.
Similar in the pilot with the exception of any foghorn sounds. And BTW, just as with the '91 DS, San Pedro's Ports O'Call stands in for Collinsport and its harbor. And while it's not an official photo connected to the pilot, the background photo used for the graphics for this scene is a actual shot of the location.
And before we get to the interior scene, I need to explain that because there aren't any publicly available photos of Jason Shaw as Joe (though let's not forget the forum's fantasy poster -WB DS Ad Campaign?
- featuring Shaw), I chose to use a shot of him from a guest appearance on the WB's Charmed because it was shot not all that long before Shaw was cast in the DS pilot. And as a reminder, you will always know when a photo is not an official photo related to the pilot if you see it presented as an oval in a graphic. [snow_wink]
And with all that out of the way, the script describes the beginning of the interior scene as follows:
INT. CABIN - JOE HASKELL'S BOAT - NIGHT
There's RUSTLING and GIGGLING as CAMERA PANS past an empty champagne bottle, a pair of pants, and finally the BED, where CAROLYN, half-dressed under the sheets, is nuzzling.
JOE HASKELL (handsome, 20s).
Carolyn kisses Joe passionately, almost desperately. Clearly overwhelmed, Joe finally raises his hands, "I give."
And it is at that point that April 4th's quote comes up:
Page 15 - Joe: 'Easy! We haven't fogged up the windows since High School.'
However, in the pilot, after giggling at the realization, Joe simply says "We fogged up the windows."
And it's also worth noting that Coldplay's "In My Place" plays in the background of the scene. Lyrically speaking it's a perfect choice to underscore the real dynamic of the scene, which we have yet to hit upon...
-
After also having a good laugh, Carolyn delivers the quote for April 5th -
Page 15 - Carolyn: 'That's what you get for planning a two-week fishing trip.'
- and she delivers it exactly as scripted. However, continuing to play the scene as scripted ends there because the next three quotes in the slideshow (those for yesterday, today, and tomorrow) were all dropped from the scene. Also, the mood of the scene will soon change abruptly (as is often the case in the DS universe whenever a Carolyn is involved). But we'll start to get into that with the quote for the 9th...
-
Gawd! sorry to sound like a broken record, but this is one scene I don't recall at all.
I did enjoy very much revisiting MB's brilliant ad for the series featuring Mr. Shaw in nearly all of his glory...
Can't wait to see how this scene develops!
Thanks so much again MB!
G.
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Haha! Fun ad, MB!
Thanks so much for taking the time to catch us up! I hope you are feeling better!
-
Before we get to today's quote, it should be mentioned that before it comes up in the script, the script indicates after yesterday's dropped quote that Joe kisses Carolyn again, but she turns pensive. It's at that point that today's quote -
Page 16 - Joe (CONT'D): 'Whoa. These mood-swings could give a guy whiplash. (more serious) What is it? Roger again?
- comes up. However, all of today's quote does not appear in the pilot because also dropped is "Whoa. These mood-swings could give a guy whiplash."
What actually happens in the pilot is that after Carolyn laughingly remarks that Joe's decision to go off on an extended fishing trip is what prompted their extremely amorous (and porthole fogging) makeout session, her mood suddenly becomes pensive. It's at that point that Joe becomes serious and asks "What is it?" and then immediately theorizes "It's Roger again."
-
Today's quote -
Page 16 - Carolyn: 'It's everything. The house, this town...'
- is virtually identical to the way it's delivered in the pilot. The differences are Carolyn adds a "no" (i.e. not Roger) and drops the "it's" - as in "No. Everything. The house, this town..."
-
Dear gawd, that guy playing Joe Haskell is INCENDIARY. Did he ever have a career? Did he do feature films? Did he ever make gay porno loops? OK I am getting WAY off topic here...
Enjoying this so much! I am amazed at how amnesiac I am about my one viewing of this thing. Of course it was around 10 years ago...
G.
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Gothick, Jason Shaw was primarily a model for Tommy Hilfiger, among others. And he apparently was an underwear model. He has a few acting credits, the highlight being three episodes of Charmed. No acting credits past 2009. He was linked romantically to Paris Hilton for awhile, so there may be some adult content out there somewhere.
As an aside, David Fumero (the very hot Christian Vega from One Life to Live) told me that he had tested for a part in DS 2004. He didn't tell me which part but I think it would have to have been Joe or Willie Loomis.
-
I've been wanting to ask since this started:
1) How do you know all the details of the show? I assume you could only have seen it once or twice at a festival.
2) More puzzling, how do you possibly have access to the script to compare them??!!
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For now let's just say we have our sources. [easter_smiley]
-
He has a few acting credits, the highlight being three episodes of Charmed.
Interestingly, the reason Shaw appeared on Charmed and was cast in the '04 DS pilot is because he had a holding/development deal with the WB. I forget now how long it was supposed to last for, and it may have expired prematurely when the WB morphed in the CW - but apparently nothing much ever really materialized because of it.
No acting credits past 2009.
When I was searching the Internet for possible photos to use for this slideshow, I came across some articles that said that Shaw has gotten into architecture and design. There's even a YouTube video showcasing a property he redesigned: Former Model Jason Shaw's Laurel Canyon Remodel (http://www.youtube.com/watch?v=ENq03QGaA-o)
He was linked romantically to Paris Hilton for awhile, so there may be some adult content out there somewhere.
Back when Shaw was cast in the pilot there were all sorts of rumors about a Paris Hilton sex tape. However, supposedly it features her with someone other than Shaw, which would have been a smart move on his part...
-
Good for Jason making such a smart career change. And for staying out of the Hilton slag's insidious publicity miasma.
"That's hot..." I think not, Paris.
Back on topic, it's cool that this version returned to an update of the original 1966 Carolyn/Joe relationship. I'm not sure about the 1990 version, but didn't that Carolyn take an interest in Joe after Daphne's death; their relationship wasn't part of the setting of the scene at the beginning?
It's really too bad the WB never circulated any publicity stills from this production...
G.
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Yes, G. That is correct. Joelyn did not become a thing until after Daphne departed, which I always found sort of creepy. The 1991 show was certainly a product of its weird time. A lot of those relationships were spawned from the primetime soap mentality of that whole period.
-
I have quite a few things to catch up on in this topic - especially considering that a new scene will begin on the 23rd.
First up, there were two bits of dialogue dropped from the script between the quotes for April 13th and 14th. The dialogue in the script appears as follows:
JOE
We talked about this. My work's
here, my friends. I can't just up
and go.
CAROLYN
I know.
JOE
So I'll ask again. What's wrong?
CAROLYN
Maybe I'm just afraid.
No doubt the lines were dropped because they're fairly redundant.
Also, what Joe actually says instead of the quote for the 13th is "Now, we talked about this. My work is here, my friends, my family" and the "I can't just up and go" part is dropped.
It's also interesting that in the pilot Joe mentions having family, which he basically didn't on the original DS until the Jennings siblings showed up more than two years into the show - and even then they were simply there to facilitate Joe being written out of the show. And with the '91 DS I don't believe there were even any hints of Joe having family. But one can't help but wonder if we would have seen any of his family in the WB DS and if they would have played any major part in his life/storyline?
-
When it comes to the quote for the 16th -
Page 16 - Carolyn: 'That if I don't get away soon, I'll wind up like my mother. Afraid of the world, hiding from every shadow...'
- what Carolyn actually says in the pilot is "Well, for one thing that I'll wind up like my mother. Completely crazy." Joe then has an added bit where he jokes "Too late" - and they both laugh. And that's followed by the quote for the 17th -
Page 16 - Joe: 'Elizabeth's tougher than you think. And trust me, so are you.'
- though in the pilot it's delivered as "Elizabeth is tougher than you think. And believe me, so are you." And they kiss.
-
Before the quote for the 18th -
Pages 16 & 17 - Carolyn: 'I'd better get back, (as Joe starts up) (MORE) Don't get up. You have an early day tomorrow.'
- Carolyn reaches for her clothes. However, the parts where Joe starts up and Carolyn says "Don't get up. You have an early day tomorrow" were dropped - as were the quotes for the 19th -
Page 17 - Joe: 'At least let me give you a ride back to the house.'
- and the 20th -
Page 17 - Carolyn: 'Keep your shirt off. (with a smile) Roger asked me to pick up the Mercedes over at Griffin's garage. I'll catch a quick drink at the Blue Whale, then drive up.'
- and when we get to a later point in the pilot, it will become clear as to why the quote from the 20th, in particular, was dropped.
-
Before the quote for the 21st, Joe can see that after their kiss Carolyn has become somewhat sad, and that's why the script has him saying:
Page 17 - Joe: 'Hey. I can put the trip off.'
And when it comes to the quote for the 22nd -
Page 17 - Carolyn: 'And risk disappointing all those hungry monkfish? (kisses him) I'll see you when you get back.'
- the only part that somewhat survives in the pilot is the last part - the "And risk disappointing all those hungry monkfish?" bit is dropped, and what Carolyn actually says is "I'd better get back." But as Carolyn prepares to leave Joe has an added bit of dialogue when apparently he can't believe that's all she has to say so he asks her "You're goin' out like that?" And to that Carolyn replies with something that no one that I know who's seen the pilot seems to be able to decipher. It's something like "I know (something or other)" but who knows what the something or other is. Though whatever it is, she does say it playfully, so it's not like she's leaving in anger. But she does leave Joe bemused.
-
As I alluded to the last time I posted a chart to help to illustrate where the various scenes we've covered so far appear in the script and where they appear in the pilot, in the pilot two groups of scenes jump ahead of the recently concluded slideshow scene between Carolyn and Joe on his boat. The first of these groups of scenes begins with today's quote. And as you can see from the chart below, this first group is a very significant group of scenes:
(http://www.dsboards.com/2004pilotquoteimages/Chart4.jpg)
In fact, they'll be the most significant scenes covered in the slideshow up to this point. And with the relationship among the scenes far more clearer now, it's probably also much clearer as to why only one color has been used in the chart to indicate where the first group of scenes has jumped to in the pilot from the placement the group has in the script.
As for setting the first scene and starting to dissect its quotes, that will begin in my next post...
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The script sets up the current scene as follows:
EXT. FAMILY CEMETERY - COLLINWOOD - NIGHT
Jagged, decrepit monuments and crypts glow under the moonlight, seemingly untouched for decades, as
WILLIE AND KELLY,
flashlights on, enter the grounds. Pushing through a broken gate, Kelly suppresses a shiver, her breath puffing white.
It's at that point that Kelly delivers the quote for the 23rd -
Page 17 - Kelly: '"Abandon all hope, ye who enter here..."'
- and Willie delivers the quote for today -
Page 17 - Willie: 'What's that, Aerosmith?'
- exactly as scripted. (And Willie's question would definitely add quite a bit of credence to Gothick's theory that Kelly is definitely the brains of this operation! [easter_grin])
Also, because there aren't any publicly available photos of the cemetery, mausoleum, or any of the mausoleum's interiors, I've taken a bit of license with the graphics for this group of scenes and used shots from the '91 DS as backgrounds. After all, if you've seen one cemetery and the exterior/interiors of one mausoleum, you've pretty much seen them all. [easter_cheesy] However, I will be sharing some official photos connected to these scene as we get a bit further down the road with them.
-
The script indicates that Kelly shoots Willie a withering look before delivering today's quote -
Page 17 - Kelly: 'Dante. It's the inscription on the entrance to hell.'
- and it's certainly a look he deserves after his foolish Aerosmith remark! [easter_wink]
-
Before we even get into anything about today's quote it needs to be explained that as Willie and Kelly make their way through the cemetery, Willie makes all sorts of unscripted scary moans that frighten Kelly, which only makes Willie laugh.
As they come upon the mausoleum, the script indicates that:
Willie's flashlight beam flickers across a cobwebbed MAUSOLEUM, three carved female figures on the pediment. They're locked in embrace, their eyes lifted toward Heaven.
And it's at that point that today's quote -
Page 18 - Willie: 'Wait a second. Didn't I see that in one of your letters?'
- is delivered in the script. However, in the actual pilot it doesn't come up until a later scene - and not in connection to the three graces that we're all familiar with from hoDS and the '91 DS. But just where it shows up will be explained in tomorrow's post...
-
I posted last night off the top of my head without referring to my notes and got several things wrong. That will teach me not to check my notes before posting. [embb] But things have been corrected now, so you may want to look over the previous post again. [winkb]
But as for dealing with today's quote, even though the script goes on with -
Kelly pulls one of the Collins letters from her jacket and shines her light on it, revealing the same design.
- and at that point today's quote -
Page 18 - Kelly: '"Three graces spin high above..."'
- appears in the script, it's completely dropped in the pilot and there is no reference at all in the pilot to the three graces. So, Kelly does not refer to the letter at this point as that also comes up in a later scene. And the script's explanation that -
Excited, Willie throws his shoulder against the mausoleum's iron door. With a SCREEEE of rusted metal, it swings back.
- also does not take place. In the pilot Willie and Kelly simply find the mausoleum and enter. End of scene.
Now, the pilot sets up the next scene as -
INT. MAUSOLEUM - COLLINWOOD - NIGHT
Willie enters, Kelly with him, flashlights revealing elegant stone carvings. Ahead, STONE STAIRS lead down to a crypt. Flashlights flickering, Willie and Kelly descend into...
- and that's it. However, in the pilot Willie carries on even more with his unscripted scary moans as they descend the stairs. It's during their descent that Kelly angrily delivers an unscripted "Stop it. You're annoying me." And even though Willie apologizes by saying "I'm sorry. I'm scared." - also unscripted - nothing could be further from the truth because he continues his antics, even going so far as to offer an unscripted knock-knock joke:
Willie: 'Knock knock.'
Kelly: (reluctantly) 'Who's there?'
Willie: 'Hopefully no one.'
And that finally begins to get through to Kelly to lighten the mood. So, despite the fact that she then says the unscripted "Will you stop it. Seriously." she says it with a laugh to her voice and then they both laugh.
Now, that all leads to the next scene, which the script describes with:
INT. INNER CRYPT - MAUSOLEUM - NIGHT
The room is four walls of rock, hand-hewn and rough. Willie shines his light around the room, spotting a decorative
CARVED STONE LION'S HEAD
on one wall.
And it's soon after that point that we get to the new placement of yesterday's quote - though Willie only says "Didn't I see that in one of your letters?" referring to the lion's head and obviously not the three graces on the outside of the mausoleum.
-
Very cool stuff, MB. Thanks for all of this.
Willie is really quite the dork, isn't he? The knock knock joke was IN the completed pilot? Sheesh.
G.
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Considering none of it is in the script or even hinted at in the script, it really seems like all that stuff from Willie, including the knock-knock joke, was improvised, either by the actors themselves or along with the director. Perhaps they came up with it during a rehearsal and then decided to add it to the pilot. And the point would definitely seem to be to make Willie look like as big a dork as possible so that[spoiler]his transformation down the line looks like an even more dramatic change in him.[/spoiler]If so, they succeeded.
-
Picking up from reply #242, the description of the scene continues with:
Directly across from it, on the opposite wall, there's a STONE DOVE. Excited, Kelly checks her notes.
And it's there that today's quote -
Page 18 - Kelly: 'The lion's head watches the dove.'
- comes up - though Kelly delivers it as "The lion watches...the dove" because in the pilot she actually goes from the lion's head to searching for the dove and then to spotting it.
-
Why does Kelly suddenly deliver today's quote:
Page 18 - Kelly (CONT'D): 'Dammit!'
Well, before that occurs, the script describes:
She shoves the notes, into her pocket and reaches for a metal ring hanging from the stone lion's mouth. Bracing herself, she begins to pull, when the metal ring SNAPS, cutting a deep gash in Kelly's hand. She falls back, grimacing, blood dripping from the cut.
Uh oh!! [easter_shocked]
-
What Willie actually says in the pilot rather than today's quote -
Page 18 - Willie: 'Let me try.'
- is "Move over." And the script goes on to describe:
As she wraps her hand with a handkerchief, Willie jams a crowbar behind the lion's head and PRIES IT OUT. Suddenly a
HUGE STONE DOOR
slides out from the wall, grinding rock on rock, revealing a...
-
The script sets up the final scene in this sequence as:
INT. SECRET ROOM - MAUSOLEUM - NIGHT
Smaller, claustrophobic. As the stone door opens, a gust of FETID AIR bursts out, like something's rotted. Willie and Kelly GAG from the stench.
And it's then that Willie is scripted to ask today's quote:
Page 19 - Willie: 'God, what is that?'
However, everything involving the gust of fetid air was dropped. In the pilot the scene begins with what I'll be posting about tomorrow...
-
Those are such cool details. Thanks, MB.
G.
-
The description for the scene goes on to say:
Kelly shines her light through the open doorway, revealing a
STONE SARCOPHAGUS
inside, Maltese crosses etched into the cover. It's resting on a stone dais and crisscrossed with heavy CHAINS.
And no doubt because of the chains, that's why Kelly is scripted to say today's quote -
Page 19 - Kelly: 'Seems like somebody doesn't want us to look inside.'
- however, what Kelly actually says in the pilot, and with a great deal of excitement I might add, is "This is it! I know this is it!" - and they both laugh with excitement.
-
There seems to be so much action! But in air-time, how much time has elapsed from the beginning of the pilot until this point? Seems like so much has already happened for an hour episode.
Gerard
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It's hard to judge based on the script because the scene between Willie and Sophia was skipped in the pilot and the scene between Carolyn and Joe has yet to come up in the pilot. Plus lines in the script have been dropped in the pilot - though other lines were often added to take their place.
Roughly speaking, I'd say what's been covered in the script would have run about 17 minutes at this point, whereas the pilot itself has probably run about 12 minutes. There's much more to come than what we've already covered - and we haven't even come to the end of Act One.
-
Wow! It's hard imagining that everything, from Vicki's arrival to Willie and his girlfriend breaking into the crypt, with everything inbetween, was all covered (whether filmed, included, edited out, scripted) in, rounded-off, 15 minutes. That's a lotta territory to cover in a quarter-of-an-hour-or-so. How did the pilot end after an hour? With Barnabas and Quentin fighting off the Leviathans?
Gerard
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Well, believe it or not, in the NBC version of the pilot movie for the '91 series, after Vicki has arrived and become ensconsed at Collinwood, Willie finds the secret room at the 14 minute point. That's not much different than the '04 WB pilot. [easter_wink]
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I forgot all about that, MB! Imagine, in '91, watching all that on the "mini-series" premier in 14 minutes before we're informed that Sophia has announced to Dorothy, Blanche and Rose that she's, in the next episode on Saturday night, is moving in with Phil and his wife, even though Sophia doesn't like Phil. I guess I'm just so atuned to the original with its long build-up (even though I thought it was ridiculous, after that, that Barnabas would show up dressed in 60's garb and pass as a 60's guy one day after his release). Still, the '04 pilot seems so fantastic. WB really dropped its hat on this one.
Gerard
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I was just looking back at a post I made a few days after having seen the pilot at the '05 Fest, and apparently I completely forgot about a major difference between what we're used to seeing when it comes to accessing the secret room, how the script describes accessing the secret room, and how the secret room was actually accessed in the pilot:
Once Willie and Kelly get to the mausoleum, the same "lion's head watches the dove" clue for finding the secret room comes up. But rather than the lion's head being the way into the secret room, it's the dove.
Oops! [easter_embarassed] Buy hey, it's been nearly 9 years since I've seen the pilot and I only saw it that one time. And apparently no one else working on the slideshow seems to have remembered that tidbit either, so I'm not alone. [easter_wink] Which brings up something I'd definitely like to make clear: if anyone who's seen the pilot notices that we fail to mention anything that is different about the pilot vs. what may be explained in the script, by all means, please point it out. [easter_wink] Normally I will mention that there's something that none of us remembers or is sure about. But if we've all completely forgotten about something altogether, well, it's kind of hard to mention it. [easter_cheesy]
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That makes a lot more sense, actually. Since "dove" is the last word, the dove should be the way they access the secret room. I am glad they fixed it in this version. It's something that has bothered me since I was young.
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I can't recall the lion/dove poem being a part of the original 1967 episodes depicting Barnabas' release. What I remember is [spoiler]Willie was trying to get one of the three sealed sarcophagi in the Mausoleum open and had tied one end of a cable to the ring in the lion's mouth, thinking I guess to pull open the sealed lid with pressure from a crowbar and the other end of the rope which was somehow secured to the coffin in question. Instead, what happened was the ring in the lion's mouth slowly came loose, activating the machinery that opened the secret panel. Which, in and of itself, is an occult occurrence, given that thing had not budged since the 1830s (in the original storyline---later, of course, revised to the 1790s). [/spoiler]
I think the lion/dove poem was Sam Hall's contribution to the re-staging of these events in hoDS. Correct?
G.
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Yes, the lion's head/dove clue was first introduced in hoDS. Then it was reused again in the '91 DS - and then again in the '04 pilot.
Now that I've reminded myself (thanks self [easter_wink]) that the dove was the way into the secret room in the actual pilot, I remember thinking it was a neat twist because we weren't seeing the whole ring-in-the-lion's-head for a 4th time (counting the original) (plus, as Cousin_Barnabas points out, with "dove" being the last word in the clue, it makes more sense that the dove is the way in). I wouldn't have thought I would have forgotten the twist because it made such a big impression on me back in '05 that when I posted my thoughts about the pilot I listed it as one of the major changes to what we've been used to seeing. But time passes, and, well, short term memory is not what it once was. [easter_cheesy] I'm just glad that we have older posts like that to revisit to refresh our memories of what we've posted in the past about things like the '04 pilot...
-
Before Willie is scripted to ask today's quoted question -
Page 19 - Willie: 'What were these?'
- the script indicates that:
Kelly zippos an old wall torch near the sarcophagus while Willie stares at the DRIED BLOSSOMS weaved around the chains.
However, as is often the case in the pilot, Willie doesn't ask the question as scripted - he asks "What is all this?"
-
Fascinating. I wonder whether the dried blossoms were supposed to have been garlic flowers?
G.
-
Funny you should ask because you just might get the answer very soon...
-
As far as today's quote -
Page 19 - Kelly: 'Garlic. Probably some kind of burial rite. (to Willie) Less talk, more crowbar.'
- goes, the "Less talk, more crowbar" part was dropped, and what Kelly actually says otherwise is "Garlic. Probably from some burial rite" - though that's not much different from what was scripted.
Things are going to start to get extremely interesting in this scene from this point on, though, because we're going to begin to see things that have never been done in any other version of DS - things that even depart completely from the script - things I most definitely did not forget about. [easter_wink] But more on that starting tomorrow...
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I'm glad your memories are so strong MB. I can't recall this scene at all. I might have been distracted by whoever I was sitting with, though.
Very cool touch having the garlic flowers interwoven with the chains...
G
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I have to confess that part of the reason I remember much of it is because there are production stills featuring different aspects of what's about to happen. Not shots from the actual scene, but shots of what went into it. And I'll be sharing several of those in the next two days, so all will become clear soon...
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The way the script describes the next section of the scene is:
Willie pries at the chains, the links BURSTING APART in puffs of rust-red powder. Throwing the chains back, Willie puts his shoulder against the heavy lid. It rises on ancient hinges, the flickering torchlight illuminating
A WITHERED CORPSE INSIDE.
At that point Willie is scripted to deliver today's quote -
Page 19 - Willie: 'What the hell...'
- and then the script goes on to describe:
Face and eyes are sunken, hands folded on its chest, clutching at a
JEWEL-STUDDED CROSS.
Her greed overwhelming, Kelly reaches into the coffin and grabs for the cross, the BLOOD from her gashed hand spattering the corpse's dead lips. She turns and holds the cross up to the torch, studying the jewels, when
THE EYES OF THE CORPSE SUDDENLY SNAP OPEN.
However, things don't quite work that way in the pilot. For one, there's a great deal more dialogue. Upon Willie prying apart the chains, grunts of exertion at opening the sarcophagus, and then Willie gasping in shock at seeing the withered body:
Kelly: "Will, it's gotta be in here with him. Take this kit and help me look."
Willie: "I'm not touching that!"
Kelly: "He's dead. Help me check his pockets."
Willie (high pitched): His pockets? You check his pockets!"
Kelly: "You can make yourself useful. Search the walls."
Willie: "Fine. I'll search the walls.
And Willie does indeed find something (I honestly don't remember for sure what - if someone else does, certainly feel free to post what it is), at which point he calls out:
Willie: "Here!"
And after seeing Willie struggle:
Kelly: "Get your crowbar on it!"
But at some point during Kelly's searching through the sarcophagus while trying to get Willie to help, just as in the script, blood from Kelly's wound has dripped on the corpse's lips and, well, the "corpse" does indeed revive.
What will happen from there? Well, it may not be what you think. And then again, maybe some of it will be. But that will all wait until tomorrow...
And just to give you an idea of what the corpse looks like, here's a close shot of the head of the dummy that was created for the scene and one of the dummy fully dressed:
(http://www.dsboards.com/2004pilotquoteimages/barndummy-1.jpg)(http://www.dsboards.com/2004pilotquoteimages/barndummy-2.jpg)
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Very cool photos, MB! And excellent descriptive work and dialogue transcription, as always.
G.
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Because there's much that we have to cover regarding the script vs. the pilot, I'm going to break things up into two posts. First up, the script:
THE EYES OF THE CORPSE SUDDENLY SNAP OPEN.
Before Will can react, a strong hand with a black stone ring bursts out of the coffin, GRABBING WILLIE BY THE THROAT. As Willie CHOKES, he's pulled into the coffin itself. Kelly turns at the sound, STUNNED by what she sees.
And it's at that point that today's quote -
Page 20 - Willie (CONT'D): 'Help... me...'
- is scripted to take place. And from that point the script goes on to describe:
With a SCREAM, Kelly bolts for the entrance, but the stone door suddenly SWINGS SHUT. Trapped, Kelly turns back to see Willie's body slump to the floor, the dark figure of the
VAMPIRE
silhouetted in the torch light, already out of sarcophagus. We only see the Vampire in flashes of feet, hands, blood-red eyes... with a burst of SPEED he's upon her,
SLAMMING
her against the stone wall. Strong HANDS shove Kelly's head back, revealing her pulsing JUGULAR. She squirms, helpless against his strength, as his lips pull back, revealing
BONE WHITE FANGS.
The Vampire's eyes ROLL BACK LIKE A SHARK'S, then he SINKS HIS FANGS into Kelly's throat. As Kelly convulses, she DROPS the cross to the stone floor, her BLOOD speckling it red...
FADE OUT.
END OF ACT ONE
But don't get too attached to much of that because the actual pilot is VERY different...
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That's hot stuff, MB.
Are you at liberty to reveal who wrote that?
I wonder if the people behind the Jonathan Rhys Meyers DRACULA series had seen the script or the pilot... I will leave it at that for now. As I posted while watching the episodes, there were several story references that were a clear nod to events and personalities in the DS 'verse.
G.
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Now, picking up from where we left off in reply #266, in the actual pilot, it is not Willie whom the revived vampire attacks - it's Kelly. In one of the most amazing sequences ever in any version of DS, and much to Willie's shrieking horror (because all he does the whole time the attack on Kelly takes place is scream), after being revived by Kelly's blood, the vampire suddenly springs into action, attacks, and totally drains Kelly, complete with her eyes rolling back in her head and her face going gaunt as her fluids are sucked dry. But once the vampire is done with Kelly, he turns his attention to Willie. Fade out. End of Act One. And we won't be seeing Willie in the pilot for quite some time - though there was a scene in Executive Producer/Writer Mark Verheiden's script that was never shot that would be coming up before too long. But that's getting ahead of ourselves.
And as with yesterday's post, I have some production stills to share to help to better illustrate what's just happened. First off, a lovely photo of creature actor Doug Jones as Barnabas in full dessicated makeup (complete with red eyes and pointy nails):
(http://www.dsboards.com/2004pilotquoteimages/Revived.jpg)
Then Kelly in all her gaunt prosthetic glory:
(http://www.dsboards.com/2004pilotquoteimages/Kelly_gaunt.jpg)
Plus for the sequence they also did a bit of SFX magic on Alexis Thorpe, who played Kelly, as demonstrated by one of the SFX techs on himself:
(http://www.dsboards.com/2004pilotquoteimages/Tech_gaunt.jpg)
And for a bit of fun, here's a shot of Doug Jones getting the finishing touches of his body makeup applied:
(http://www.dsboards.com/2004pilotquoteimages/Doug_makeup.jpg)
Though I also include that to help to point out, as I'd alluded to after Vicki's train dream, how the train dream demon and the dessicated Barnabas share a similar look (minus the red eyes):
The one thing that is very interesting in the pilot's sequence is that the demon's dress and general look is very similar to the way Barnabas will be seen when his coffin is opened. And so that you won't just have to imagine what he looked like, here are two production photos from the pilot:
(http://www.dsboards.com/2004pilotquoteimages/TrainDreamDemon.jpg)
Creature actor Doug Jones as the Train Dream Demon.
(http://www.dsboards.com/2004pilotquoteimages/Vicki_Hogan_Demon.jpg)
Vicki, director PJ Hogan, and the Demon.
Mere coincidence? I doubt it! [easter_wink]
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Wow! Those pictures are incredible!! Again, how do you get all this stuff??
-
Research. [easter_wink] Most SFX companies post samples of their work online as examples of what they can do so as to attract future clients. (The companies involved with the Depp/DS film did, and so did the ones involved in the '04 WB pilot.) One simply has to track down the companies' Web sites (the companies' names or at least leads to them are mentioned in all sorts of articles written about the film and the pilot) and then search the sites to see if anything is available. And in the case of creature actor Doug Jones, he's also shared stuff from the pilot on his own Web site.
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MB, you are amazing! Thanks for such a fun set of pics. I just love the how-they-do-it aspect of these things.
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Wonderful photos! The one of Vicki with the director and the creature actor (which is scarier to stand next to for a young actress??) reminds me of a candid photo that surfaced during the MPI distro period of Julia and Barnabas with Alex in full werewolf makeup. And, a little, of my friend Nicky's favorite photo of Vicki being menaced by all the ghouls and horrors of Collinwood... Barnabas, Nicholas, Adam, Cassandra.
G.
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a fun set of pics. I just love the how-they-do-it aspect of these things.
With so few stills publicly available from the pilot, it's really only the behind the scenes productions stills that help to flesh out much of the pilot for those who've never seen it. Thank heavens that at least they're available!
Changing the subject entirely, now that the slideshow has moved on from Kelly, Willie, and their newly liberated friend, here's the next chart to help to illustrate how various scenes were moved around in the pilot. And as you'll see, yet another major character gets an introduction in the current sequence of scenes:
(http://www.dsboards.com/2004pilotquoteimages/Chart5.jpg)
As the current scenes play out in the slideshow, you'll no doubt notice a marked similarity between them and comparable scenes in the pilot for the '91 DS. But as I've mentioned before, in many respects the pilot and particularly the pilot's script have much more in common with the '91 DS than with the original DS.
I'll set up the current scene in the slideshow when I get the chance later today...
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The script sets the opening of Act Two thusly:
ACT TWO
FADE IN:
EXT. COLLINWOOD - NIGHT
Except for the security lights, the mansion is dark.
INT. VICTORIA'S BEDROOM - COLLINWOOD - NIGHT
Victoria's in bed, asleep, moonlight shimmering blue across her face. Suddenly, there's a THUMP. Victoria's eyes snap open, disoriented, "maybe I'm dreaming," when
THERE'S ANOTHER THUMP.
Sitting up, Victoria realizes it's coming from behind the closed bathroom door.
It's at that point that Vicki is scripted to deliver today's quote:
Page 21 - Victoria: 'Is someone there?'
And then the script goes on with (including a bit of dialogue that will not be a part of the slideshow):
No answer. After a second, Victoria slides out of bed and crosses toward the bathroom, only to SUDDENLY STOP. She looks down at the carpet as
WATER POOLS AROUND HER BARE FEET,
like the rug is soaked through.
VICTORIA (CONT'D)
(grossed out)
What...?
However, considering that today the slideshow has a "cut, trimmed, or changed" graphic, you've probably already figured out that pretty much none of that happens exactly that way in the pilot. For one, during the exterior shot of Collinwood the creepy sound of some night bird can be heard. And for two, both bits of Vicki's dialogue were dropped (the first thing she'll say will be tomorrow's quote). And along with the initial thumping there's the sound of trickling water - and the latter is what attracts her to the bathroom after she wakes. And the bathroom scene is what will be dealt with tomorrow...
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MB, you've got me in suspense! another scene I don't recall at all from my viewing.
I recall hearing talk of certain scenes that were scripted but apparently cut involving Our Favorite Witch... I wonder whether there will be time to fit discussion of this in. At the rate you're going, I'm not sure you're going to get to the end of the episode by New Year's Eve!
G.
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Before we even began the slideshow we paced out the pilot, mapped out a schedule assigning specific parts to every month of the year, and we've been following that schedule precisely. Trust us, everything about the pilot will be adequately covered by December 31st. [easter_smiley]
As for dropped scenes, there are still several to come up in the script (a couple this month alone), but there aren't any dropped scenes involving Angelique. She has only two scenes in the script and both appear in the pilot.
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Next scene up:
INT. VICTORIA'S BATHROOM - COLLINWOOD - NIGHT
The door opens and Victoria enters the dark bathroom, SPLASHING on the tiles, floor shimmering with a sheen of water. Victoria reaches for the light switch, but the
LIGHTS ARE DEAD.
There's only the blue moonlight through a side window, and from the curtain-shrouded claw-tub, the SOUND of RUNNING WATER.
Careful on the slippery floor, Victoria slowly crosses toward the tub, the rushing water growing LOUDER as she approaches. Concerned, she reaches the tub and grabs the
SHOWER CURTAIN,
hesitating for an instant, then suddenly jerking it back. Moonlight falls across the water, revealing a
LITTLE BOY (9) LYING UNDERWATER,
motionless, eyes wide open, fully-clothed. Victoria stares in disbelief.
And it's at that point that Vicki delivers today's quote -
Page 22 - Victoria: 'David?'
- though in the pilot Vicki gasps first and then her delivery is more like "David!"
-
[spoiler]Maybe I'm hallucinating, but I remember reading about a leaked version of the script in which Angelique materialized at the Blue Whale and indulged herself in wreaking some catty havoc and/or quizzing another character about the current personnel at the Great House. Perhaps that was one of the fabricated leaks, or simply disinformation. Anyhow it sounds as if this isn't on the radar for coming attractions in this thread.[/spoiler]
cheers, G.
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You may not be hallucinating because I now recall that supposed scenes from the script were put up on the BarnabasUndead Web site, however, the WB quickly had them taken down because it turned out they were not from the script. Some were supposedly completely bogus, some others were scenes written simply for the purposes of casting, while some others were scenes that may have actually been included in eps had the pilot gone to series. I didn't see any of that sort of stuff before it was so quickly taken down, but you may have caught it. However, at least one of the casting scenes was posted or summarized elsewhere, and I do have some of that stuff stored around here somewhere. I'll try to dig it up when I get the chance.
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Goth, you may be thinking of a scene from the third issue of Dynamite's defunct DS series -- wherein Angelique goes from 18th century statue to 20th century, pink miniskirted hotsy totsy, torturing Carolyn and sparring with Julia at the Blue Whale.
-
Hahaha. You're reminding me why that comic wound up in my recycling bin about five seconds after I finished reading it.
No, this was the BarnabasUndead material. I'd forgotten about that site but MB helpfully jogged my memory.
I don't remember making a copy of it because I wasn't all that interested at the time. It would be interesting to re-read since the discussion here is going into such detail about this thwarted project.
One wonders whether a plot outline for season 1 was ever generated. I would presume so since they were pitching it and spending so much money...
G.
-
The scene with today's quote picks up in the script with:
Stunned, hyperventilating, Victoria doesn't know what to do. She's about to reach down for the boy when
HE BURSTS UP FROM THE WATER, SCREAMING!
Terrified, Victoria slips and falls, SLAMMING her head against the tub. As she struggles,.DAVID climbs out of the tub and starts across the bathroom. But when he realizes Victoria's been hurt, he stops... and begins to GIGGLE, his expression weird and malevolent.
VICTORIA (CONT'D)
David....?
And it's at that point that today's quote from David -
Page 22 - David: 'I hope you die!'
- comes up.
And the reason that it's David's quote that comes up in the slideshow and not Vicki's second questioning if it's David is because that bit from Vicki was dropped from the pilot.
Also, I'm not so sure that Vicki slips and hits her head in the pilot. She might. But at any rate David doesn't giggle before he tells Vicki that he hopes she dies.
-
And the script picks up where we left off with:
As David bolts from the bathroom, Victoria struggles to her feet, soaked, rubbing the back of her head.
VICTORIA
David, wait!
INT. UPPER CORRIDOR - COLLINWOOD- NIGHT
Victoria stumbles out and sees David running down the hall, looking over his shoulder like he's enjoying this. He runs into his bedroom and slams the door as Victoria follows.
INT. DAVID'S ROOM - COLLINWOOD - NIGHT
David's casually drying his hair as Victoria bursts through the door, glaring at him. His room's a typical kid's room, crowded with books, games and toys.
DAVID
Go away. "School" doesn't start
'til tomorrow.
Furious, Victoria SLAMS the door behind her.
And at this point is where David delivers today's quote:
Page 22 - David (CONT'D): 'This is my room!'
However, the other bits of dialogue, Vicki asking David to wait and David telling Vicki that "school" doesn't begin until the next day, were both dropped from the pilot.
Also, in the pilot there is no door slamming at either point where it's indicated in the script.
-
I'm going to hold off on getting into today's quote until after tomorrow's quote has come up in the slideshow because in the pilot they juggle around some dialogue, and it'll be a lot easier to get into what was done after I can show how it was originally supposed to play out. [easter_smiley]
-
The way the scene picks up in the script after David tells Vicki she's in his room is:
VICTORIA
You didn't have any problem
breaking into mine. And if you
think I'm surprised by your stunt,
think again. I know what you
pulled on your last tutor.
DAVID
And you still came? That was
stupid.
As David cavalierly turns away, Victoria grabs his arm.
DAVID (CONT'D)
Let me go!
VICTORIA
Not until we get something
straight.
However, in the pilot, off of David telling Vicki she's in his room, David continues with "Off! Go away! Let me go!" after Vicki grabs him, which happens earlier than in the script along with David telling Vicki to let him go. And then, rather than yesterday quote -
Page 23 - Victoria: 'You didn't have any problem breaking into mine. And if you think I'm surprised by your stunt, think again. I know what you pulled on your last tutor.'
- what Vicki angrily tells David is "Not until we get something straight. I know what you pulled on your last tutor." The bits about David not having had a problem breaking into Vicki's room and her not being surprised by his stunt were dropped - and the bit about them getting something straight is moved up - though it's still in response to David ordering Vicki to let go of him. Interestingly enough, though, today's quote -
Page 23 - David: 'And you still came? That was stupid.'
- then comes up, and even if it isn't delivered in the same place as in the script, it is delivered exactly as written and still in response to Vicki revealing she knows all about what David did to his last tutor.
So, what in the script was four separate sections of dialogue is switched around and combined into three in the pilot. And if I'm remembering correctly, this isn't the only place in the pilot where scripted dialogue gets switched around and combined in different ways. But we'll deal with those instances when we get to them...
-
You've no doubt noticed that today's quote -
Page 23 - Victoria: 'Not until we get something straight. (intense) We do this as friends or as enemies, but trust me, I'm here for the duration.'
- contains the "Not until we get something straight" bit. Yesterday when I transcribed the script I didn't include the line after the intense directive because I knew that line was coming up today and because it's delivered in the pilot in the proper spot after all that I explained yesterday has already been switched around and combined in new ways. The only difference between the way it's scripted and the way it's delivered in the pilot is that Vicki says "We can do this as friends or as enemies, but trust me, I am here for the duration." But more than likely that's simply the way Marley Shelton chose to deliver it - and quite possibly in the "I am" vs. "I'm" instance because "I am" can often be interpreted as more emphatic than "I'm". And it's not the only place in the scene where she choose to drop a contraction for possible emphasis because another example will be coming up shortly...
-
Before today's quote -
Page 23 - David: 'What are you going to do now? Tell my dad?'
- comes up in the scene, the script indicates:
Victoria releases him. As David pulls back, angry...
Though the way David actually phrases it is as "What are you gonna do now? Tell my dad?"
-
Picking up from David's question yesterday, the script indicates:
Victoria considers, then shakes her head "no."
And at that point is when today's quote -
Page 23 - Victoria: 'First one's on the house. But if there's a next time, we start talking consequences. (off his intense look) I'm not afraid of you, David.'
- is delivered - though Vicki delivers it as "First one's on the house. But if there is a next time, we start talking consequences. (off his intense look) I am not afraid of you, David." And just as I theorized the other day, I suspect that with today's quote Marley Shelton made the choice to deliver "I'm" as "I am" and "there's" as "there is" in order to make Vicki's point more emphatic.
-
After today's quote -
Page 23 - David: 'You should be.'
- which David delivers exactly as scripted, the script indicates:
Victoria hesitates a moment, surprised by David's anger, then leaves. As she goes, PUSH IN on David, staring darkly—
And end of scene.
It's interesting how these scenes between Vicki and David resemble similar scenes in the pilot for the '91 DS, yet they also have their own twists. And for those who've never seen the '91 DS, here's a synopsis of how the similar scenes played out:[spoiler]Int. Vicki's Bedroom - Night
After Carolyn leaves, Vicki picks up her robe and then goes into the bathroom.
Int. Bathroom
After hanging up her robe, and wanting to take a bath, Vicki goes to the bath tub and pulls back the shower curtain. David suddenly leaps out at her, shrieking. Pleased that his prank had the desired effect, David smirks and proudly proclaims that he scared her. She admits he did. Then he makes a point of saying that he doesn't want her there. Vicki tries to reach out to him, but he pulls away demanding that she not touch him and runs for the door. But Vicki beats him to it and blocks him. She then reassures him that she's not there to hurt him. However, all David wants is for her to open the door. Vicki does so, suggesting that they go to his room.
Int. David's Bedroom - Night
After refusing Vicki's help with his robe, David climbs into bed. He warns her that he's going to scare her again - and again. Vicki tries to tell him that she's there to be his friend, but David doesn't respond. And after she tells him to go to sleep and that she'll see him the morning, all David does is turn away from her onto his side. And after she leaves, he simply stares menacingly.[/spoiler]
Personally, I think David looking like he was drowned in Vicki's bath tub is a far worse trick then simply hiding behind the shower curtain to scare her, as he did in the pilot for the '91 DS. And the '04 Vicki is far more forceful with David than the '91 Vicki. The '91 Vicki mostly makes the point that she wants to be David's friend. But the '04 Vicki stresses that it doesn't matter if they become friends or not, she's in it for the long haul.
-
Since I work with special-needs kids, including those are "EBD" (emotionally-behaviorally disabled), and have done so for years (including when this pilot was produced), Vicki's reaction, if she had training in EBD kids, is exactly how it's been done since then. Schmoozing EBD kids does not work - holding them to the same standards at "regular" kids, while incorporating interactions specific to them, does. That means when they do something like David in the pilot did, they are held accountable. Afterwards, there's discussion about why they did it and why they shouldn't do it again and what it takes to acheive that. The writers of the script - maybe - did their research. I've done just what she did. When the kids I work with do something like that, no pass is given - they get the appropriate sharp talk and any consequences.
I can't believe how good this pilot was. I can't believe the network passed on it. What were they thinking? Well, obviously they weren't, since the network doesn't exist anymore.
Gerard
-
This incarnation of David seems to be the emotionally disturbed, as much as Rhoda from The Bad Seed. Alexandra, Joanna or Bella's Vicki would have been easy pickings for him.
-
As you'll see from this next version of the chart -
(http://www.dsboards.com/2004pilotquoteimages/Chart6.jpg)
- the upcoming scene in the script/slideshow is another one that was never filmed for the pilot - the scene at the Blue Whale between Carolyn, Sam and Maggie. In fact, as I mentioned before, the roles of Sam and Maggie were never even cast.
One thing that makes the scene interesting for me is that before it reaches its conclusion it will actually give us more details about Sam's life than we probably ever learned about him in the entire '91 series - especially one particular detail that would have made Sam and Maggie's lives very different from what we've come to know and expect. Too bad we never got to see how it might have factored into their relationship. But, oh well...
-
The script sets up this next scene as follows:
EXT. BLUE WHALE BAR - NIGHT
Collinsport's one bar. Large, barn-like, badly weatherbeaten from its years on the waterfront.
INT. BLUE WHALE BAR - NIGHT
Rustic, decorated with fishing nets and old boat equipment. Neon beer signs and a CD jukebox are the only concessions to modern times. And tonight only, a plastic, light-up jack-o'-lantern decorates the wooden bar. As a mournful SONG plays,
CAROLYN
sips a drink while 50-ish bartender SAM EVANS comes over.
And at that point Sam asks today's quote:
Page 24 - Sam: 'No Joe tonight?'
-
It's interesting that they relied on 1991 again for the characterization of Sam Evans, who was the bar tender of the Blue Whale in the revival series without much else to do.
-
Without Burke, Sam is kind of pointless, so I can understand why '91 made little use of him. The character would need some major reinvention and new ties to other characters in order to become truly dynamic. Given Maggie's direction in the 1991 series, however, I'm glad he remained flat. [easter_wink]
Thus far, I love David and Roger in this pilot. Everyone else is sort of "Meh..." for me. I love the 1991 David. JGL's performance was exceptional, but his dialogue helped a lot. His interactions with Victoria were written wonderfully. The same could be said of the pilot thus far. I can only imagine how they played out on-camera. The writing, though, is top-notch in this scene.
-
As far as what we've gotten into the pilot thusfar, I definitely love the characterizations of Roger and David. But I also love Vicki. This pliot's Vicki has a strength, fortitude and intelligence not seen since the original series' Vicki in the pre-Barn eps. I really would have loved to have seen how she would have developed over the series and if she would have stayed that way or would she have been watered down into becoming a veritable perils-of-Vickiline. And as for individual scenes in the actual pilot, the one in the mausoleum's secret room where Barnabas revives is a definite standout for me. (Though on the night that I saw the pilot at the '05 Fest, there was an upcoming scene that outdid it - and it won't be long before it comes up in the pilot...)
-
I too love the action written for the mausoleum scene.
I guess I am not a fan of Vicki's opening monologue. First impressions and all that. Her interactions with David, however, are written well.
-
After yesterday's quote -
Page 24 - Carolyn: 'Early to bed, early to rise. You do the math.'
- from Carolyn, the script explains -
Sam's daughter, MAGGIE EVANS (attractive, 20s), glances over from a table near the bar.
-and then today's quote -
Page 24 - Maggie: 'Why do you think Sam gave up fishing for the glamour of bartending?'
- from Maggie comes up - and we learn our first thing about this Sam that he doesn't have in common with any other version of the character.
-
I continue to be fascinated by all of this. Thanks again, MB, for your diligence, imaginative energy, and wit in editing, compiling and annotating all of this material. My mind reels at the thought of how much time it all must have taken, particularly whenever you post one of your script outline charts!
cheers,
G.
-
With the charts I made one that went from the beginning of the pilot all the way through to this scene. As different scenes have come up, I simply shortened that original chart to the point that we were dealing with and then erased any entries that I didn't want to give away too soon. But I am going to have to add on to the original chart very soon (or start an entirely brand new chart - I haven't decided which yet) because of something rather interesting that they did for the pilot, which was combine into one two different scenes from two different points in the script. But more on that when we get to it...
But as for the work that goes into the slideshow, like most of what we do here, it's a labor of love. And don't forget that Midnite and dom are also helping me. At times their contributions have been invaluable - and it will be Midnite's turn to pick out the quotes for June, with dom following with the ones for July...
-
After yesterday's quote from Maggie, the script explains:
Carolyn turns, watching Maggie methodically flip tarot cards.
And that gives context to what Carolyn asks with today's quote:
Page 24 - Carolyn: 'So what do you think, Maggie? Is Joe the one?'
-
Was Maggie going to be the Prof. Stokes/town psychic character here as well? It would seem so...
G.
-
G, we already have Prof. Stokes, though. But we don't know too much about his occult dealings (to my knowledge).
-
I'm probably wrong, but having '04's Sam and Maggie being a retread of '91's personifications, rather than being closer to '66's, seems to me that this was an example of how DC did have a hand in this.
Gerard
-
It is unfortunate to say the least. We don't need a psychic in modern-day Collinsport, unless said psychic is named Madame Findley. [easter_wink]
-
I'm probably wrong, but having '04's Sam and Maggie being a retread of '91's personifications, rather than being closer to '66's, seems to me that this was an example of how DC did have a hand in this.
Actually, I believe you are quite right. According to several different interviews that get into the development of the '04 pilot's script, apparently whenever something new and innovative was brought up, DC balked and pushed for the same old thing. However, even though DC was often overruled because he wasn't the last word in the development of the pilot, he was merely one of three exec producers, in other instances DC's way was the way they went. And it's a good guess that whenever DC won, it was when he was fighting for those aspects of the '91 DS that made it into the '04 pilot. Though thankfully, there are also many ways in which the '04 pilot is nothing like any other version of DS, and certainly nothing like hoDS, which those same interviews tend to indicate that, if DC had completely had his way, he would have preferred to have remade again. Thank heavens that wasn't allowed!
-
Can you imagine if they had used NoDS as the inspiration for the '04 retread ... or ever? Wonder what direction that might have wandered off in ...
-
How cool would that be? I have an idea for a NoDS approach to a new DS project that actually works with Liz, Roger, Carolyn, Victoria, and Barnabas. DCP, let me know if you're interested. [easter_wink]
-
After today's quote -
Page 24 - Maggie: (looks up from cards) 'Never ask a question unless you're ready for any answer.'
- the script explains:
Carolyn nods wryly at that, finishing her drink.
-
I've had some inquires as to why I haven't posted anything in this topic for the past few days. Well, that's because the script doesn't contain any direction/explanation to enhance any of the latest dialogue - probably because the latest dialogue seems to be fairly self-explanatory. However, something will be coming up with the 27th's quote. And the lack of direction/explanation in this current scene in the slideshow will be more than made up for when we get to the upcoming stuff for the 29th and the 30th because it's mostly all direction/explanation in the script with very little dialogue. But more on that when it comes up...
-
After yesterday's quote (regarding Vicki) -
Page 25 - Sam: 'Because she couldn't have found a better friend.'
- from Sam, it's indicated in the script that -
Touched by that, Carolyn gives Sam a kiss on the cheek.
- and then today's quote -
Page 25 - Carolyn: 'You are a frighteningly sweet man, Sam.'
- from Carolyn comes up. And tomorrow's response from Sam will reveal the biggest background change to Sam's character. But more on that tomorrow and the doors it might have opened up...
-
After today's quote -
Page 25 - Sam: 'Not according to my first three wives, but I'll take it. (as she leaves) Be safe.
- the script explains -
Carolyn puts on her coat and waves at Sam, pushing outside as Maggie flips another card, revealing the skeletal
DEATH CARD.
As she frowns, glancing after Carolyn with worry...
- and that's the end of the scene - but certainly not the end of what can be discussed:
It's fascinating to think that this Sam has been married at least three times, probably more. And one can't help but wonder which marriage Maggie is a product of. Did Maggie have a series of stepmothers? Or is Maggie's mother Sam's last wife or possibly even his current wife? Though if Maggie did have a series of stepmothers, what was her relationship like with them, and more importantly, with Sam. Sam's remark doesn't make one believe that, as was the case on the original series, it was mostly Sam and Maggie alone against the world for most of their relationship. Sadly, we'll never know. But depending on how the writers decided to go with all the possibilities, Maggie and Sam's relationship just might have been one of the most interesting on the show had the pilot been picked up...
And getting back to the end of the scene, what might the Tarot's warning portend? Well, you won't have to wait too long for that because you'll have an excellent idea as soon as I finish putting together the latest scenes chart and post it...
-
Thanks for that, MB. Fascinating. Now I'm wishing you I had more of a memory of the scene in the 1991 pilot show where somebody is at the Blue Whale and Sam and Maggie are both there. Am I remembering that right? It's really vague.
I do remember why Maggie might have pulled the Death card as Carolyn was leaving in this version, however...
G.
-
The next chart:
(http://www.dsboards.com/2004pilotquoteimages/Chart7.jpg)
And that next sequence of scenes will be dealt with in their entirety tomorrow because there's only one bit of dialogue in the entire sequence.
(And as for Sam and Maggie in the '91 DS, I can think of at least three times in the show when Sam and Maggie are at the Blue Whale together. Though there isn't very much exploration of their relationship within those scenes. In fact, in two of them I don't think they even speak to each other - they interact with the other people at the Blue Whale.)
-
The script deals with today's big scene as such:
EXT. BLUE WHALE BAR - NIGHT
Carolyn leaves the Blue Whale and starts down the sidewalk. Ground fog willows around her feet as she cuts down the cobbled street. As she walks, CUT TO:
A DISTORTED, NIGHT-VISION POV.
Weird, over-exposed, it' s the intense, night-acclimated vision of the VAMPIRE as he hunts in the darkness, following Carolyn down the street.
OUT OF THE POV, Carolyn suddenly turns, as if sensing something. As she passes a wooden fence, a
FROTHING DOG
suddenly jams against the slats, spittle flying as it BARKS ferociously. Carolyn JUMPS as the air fills with other ANIMAL CRIES. Freaked, Carolyn picks up the pace, spotting
GRIFFIN'S GARAGE.
A late-model Mercedes is parked out front under the branches of a large tree that also shades the garage itself. Seeing the car, Carolyn hurries forward...
THE VAMPIRE'S NIGHT-VISION POV
continues to follow her, moving up on Carolyn as she nears the car, closer, almost on top of her... As the POV ENDS,
CAROLYN
spins, but sees NOTHING. Unnervingly, however, all the animal noises STOP. Scared, Carolyn does a complete 360, but the streets are empty. She relaxes for a moment...
It's at this moment that Carolyn delivers today's quote -
Page 26 - Carolyn: 'Looks like Halloween's over.'
- then the script continues with:
She's about to slide her key into the car door when.
POWERFUL HANDS
suddenly reach DOWN from the dark tree. The Vampire GRABS CAROLYN around the throat and using superhuman strength,
LIFTS HER BODILY,
kicking helplessly, her SCREAM strangled off as she disappears into the dark tree. Between the branches, we
catch quick FLASHES of action...
A GLIMMER of blood-red eyes. Carolyn's eyes, WIDE and TERRIFIED. Then a sudden, violent SLASH of WHITE FANGS. All at once, the RUSTLING stops.
INT. GRIFFIN'S GARAGE - NIGHT
A repair bay, crowded with tools. Looking up from the floor, there's a glass SKYLIGHT with a view of the tree overhead. In EERIE SLOW-MOTION,
CAROLYN'S UNCONSCIOUS BODY
falls out of the darkness, CRASHING THROUGH THE SKYLIGHT to the floor below. OFF CAROLYN'S BLOODIED BODY, sprawled on the floor amidst glistening shards of glass...
However, there are differences in the actual pilot.
For one, Carolyn doesn't leave the Blue Whale because the Blue Whale scene was never shot - we simply see her on streets in Collinsport (like similar sequences were shot with Daphne in the pilot for the '91 DS). And because the Blue Whale scene was never shot, I suspect that's why they decided to move the scene between Carolyn and Joe so that things would flow more smoothly to Carolyn out on the streets.
For another, Carolyn doesn't encounter any frothing dog (sorry, frothing dog fans).
I don't recall any vampire night-vision POV effect (but I left it on the chart in the pilot's section just in case it is there or somehow alluded to as an effect to be added later).
Also, I don't recall any sounds as Carolyn walks along other than crickets - and I don't recall the sounds of the crickets coming to a stop (though that may be because the score replaces them).
I'm thinking Carolyn simply becomes nervous, as if she's being followed, but after she looks around and sees nothing, relieved, she makes her Halloween remark and then continues on - she barely has a clue of what's about to happen to her until it's much, much too late.
What actually happens in the pilot, and what is really quite effectively done to build suspense, is that at first Carolyn sees a few leaves falling from a nearby tree. She looks up and sees nothing - but the audience soon sees a figure stealthily stalk across one of the tree's branches. Carolyn then sees a larger group of leaves fall. She looks up again, and this time she sees the withered (but now recognizable to those who know Alec Newman) face of Barnabas with fangs bared. He swoops down, grabs her, and carries the screaming girl up into the tree to feast upon. (After having seen the attack on Kelly and then watching this sequence, basically everyone at the screening I was at in '05 was going, "Whoa - this is amazing!!" And thankfully so unlike anything we've ever seen before in any version of DS.)
And finally, unlike the script, in the pilot there is no scene inside Griffin's Garage in which we see Carolyn fall through the skylight. Though Griffin's Garage does play a part in things, as we'll learn in an upcoming scene when Joe explains how Carolyn was found.
And just to give you a bit of an idea of how Barnabas looked up in the tree, here's a production drawing:
(http://www.dsboards.com/2004pilotquoteimages/oldvampire.jpg)
Though he looked different in the pilot (for one, we already know his clothes are different) - and I honestly suspect his face in the pilot was created with a CGI effect rather than makeup. But we'll get into why I suspect that when we get into tomorrow's scene...
-
Fabulous! Thanks for sharing all of that with us, MB.
Fascinating sketch. This version of Old Barnabas makes me think of Uncle Creepy, in the old mags I grew up with as a kid.
G.
-
Starting a new chart with tomorrow's sequence of scenes (because the other chart was getting really long):
(http://www.dsboards.com/2004pilotquoteimages/2Chart1.jpg)
And as you can see, the next sequence of scenes is yet another that was never shot.
-
The sequence where Carolyn is stalked and then attacked is not just one of my favorite bits from the pilot. It's one of my favorite moments from any incarnation of DS.
-
I completely agree, Uncle Roger! The way it climaxed was so unexpected. And that can't help but make one wonder what other types of unexpected twists they might have come up with had the pilot gone to series. (Though for me there's another unexpected twist coming up in the August slideshow - an unscripted scene that completely replaces a scripted scene because, for one, they decided not to cast Sarah. But more on that in August...)
-
I honestly suspect his face in the pilot was created with a CGI effect rather than makeup. But we'll get into why I suspect that when we get into tomorrow's scene...
Actually, I may be wrong about that and the reason is that I was just going over some of the stuff written with regard to today's sequence in the slideshow and there's conflicting info. But I'll get into that after we deal with how things are presented in the script:
EXT. FAMILY CEMETERY - COLLINWOOD - NIGHT
The dark figure of the Vampire returns, face hidden as he crosses through the gravestones, moving with animal grace.
INT. SECRET ROOM - MAUSOLEUM - NIGHT
The Vampire enters, stopping next to Kelly's body. Strong hands lift her by the hair and her head lolls back, dead, revealing two vivid puncture wounds on her neck. Cold, the hands drop her. The Vampire continues past
WILLIE,
semi-conscious, lying in a pool of blood, throat torn. As Willie MOANS, the Vampire goes to the wall and finds a
RECESSED IRON RING.
He pulls the ring and a secret compartment slides back, revealing the treasure Kelly had been trying to find. As he runs his hand over the gold and jewels, the
FIRST RAYS OF MORNING SUN
filter down from the upper mausoleum. As a shimmer of light hits the floor, the Vampire quickly crosses the secret room and puts his shoulder against the heavy door. Barely conscious, Willie realizes he's about to be sealed in.
It's at this point that Willie delivers today's quote -
Page 27 - Willie: 'No, please... NO...'
- then the script continues with:
The door SLAMS SHUT with frightening finality, cutting off Willie's cries. OFF this moment—
However, things may have been intended to play differently in the actual pilot because one article (from which I'll be quoting below for a different reason) describes the scene as Barnabas thwarting Willie's weakened attempt to escape, yet in the script Willie makes no attempted escape. But then, as we saw earlier, Willie and Kelly's encounter with Barnabas is different in the pilot than it is in the script, so it would make sense if this scene might have been intended to be different, too. Though we'll probably never know because it was never shot. And with that in mind, here's an excerpt from an article written by our very own Darren Gross (who was lucky enough to have worked on the pilot) that gets into just why that was:
In order to meet the May delivery date, the pilot was edited primarily during the filming, with director Hogan making suggestions and adjustments after the strenuous shooting days were over. Because of the number of location changes and the technical complexity of several sequences, lensing went a day over schedule and the company was constantly making slight dialogue adjustments and script trims in order to stay on time.
This chain of events forced Hogan to drop a thrilling sequence in which Barnabas, having just attacked Carolyn, returns to the Collins crypt's secret room, where he thwarts Willie's weakened effort to escape. This involved creating an interim-stage makeup job between 200-year-old, desiccated Barnabas first found in the crypt (played by Hellboy's Doug Jones) and Newman's normal appearance. (Todd) McIntosh designed an effectively subtle look that made it clear that the rotted crypt creature was indeed Newman's Barnabas and not a different character. McIntosh applied it to Newman for the last two days of shooting, but the scene never went before the cameras when the high-pressure, overbudget production ran out of time.
Now, other reports have said that not only was it the case that the scene of Barnabas returning to crypt was never shot, but the makeup created by Todd McIntosh never went before the cameras either. That is what led me to believe that perhaps Barnabas' look in the scene in which he attacks Carolyn was created using CGI. But Darren writes that Alec Newman was in the makeup for two separate days. So, perhaps they did actually shoot him in the makeup for the attack scene and it's just the crypt scene where it wasn't used. [idontknow] Though I would believe Darren rather than someone on the Internet whose track record at reporting accurate info I know nothing about because, as anyone who reads his posts here knows, Darren's info is always accurate. And for what it's worth, here's a production photo of McIntosh applying the makeup on Newman:
(http://www.dsboards.com/2004pilotquoteimages/Barnmakeup2.jpg)
And here's a wonderful publicity photo of Newman in the finished product:
(http://www.dsboards.com/2004pilotquoteimages/Barnabas2b.jpg)
Either way, it's still a shame we never got to see the crypt scene...
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Those are awesome photos, MB. Very cool!
G.
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Wow, thanks so much for posting these! Alec Newman would have been a terrific Barnabas, I'm sure. If only....
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I completely agree, DarkLady - he was a definite standout in the pilot!
And to think some execs at the WB initially balked at Newman's casting because they wanted someone younger (please - Newman was only 29 - and his age jibes well with Marley Shelton, who was also 29, though playing a bit younger - not to mention he was years younger than Frid or Cross) and they wanted a "soap stud" (again, please - Newman may not be a "soap stud," but he's certainly handsome). It was quite sad that the WB wanted to stress age/looks over talent (which Newman has in spades). But thankfully the producers won out and Newman was cast - and those execs came around once they saw dailies of Newman as Barnabas.
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The chart for the new scene starting with today's quote:
(http://www.dsboards.com/2004pilotquoteimages/2Chart2.jpg)
And this scene just might be the most drastic example of the dialogue adjustments and script trims that were done to attempt to keep the pilot on time because, as you can see, the scene that chronologically should be appearing now scriptwise (the yellow scene) is being combined with another one from the script that wouldn't have appeared until well down the road (the red scene) to create the scene in the pilot (the orange scene). And along the way Roger's stuff was completely dropped from this scene, which is a crying shame because there really should have been more Roger in the pilot, not less. Though, to no doubt make up for being dropped from this scene, Roger is inserted into an upcoming scene that he wasn't scripted to appear in - but he's by no means as interesting in that scene as he is scripted to be in this scene's original version. C'est la vie. But because we're using the script for the slideshow, at least we'll get to quote his dropped dialogue...
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The script sets up this new scene as:
INT. DINING ROOM - COLLINWOOD - DAY
Roger and Elizabeth are already eating as Victoria enters, sliding out a chair.
And it's right then in the script that Elizabeth asks Vicki today's quote -
Page 27 - Elizabeth: 'Sleep well?'
- however, before Elizabeth even asks Vicki how she slept, in the pilot she and Vicki exchange good mornings. And, of course, Elizabeth and Vicki are alone in the dining room because Roger isn't there in the pilot.
And BTW, the way things work in the reworked version for the pilot is that the beginning part of it is taken from the first parts of this scene, and the ending part of it (except for the very end) is taken from the other scene down the road in the script. As this scene unfolds, I'll point out what wasn't used. And then once we come to the other scene, I'll point out what wasn't used from that one.
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[easter_sad]
I don't think the dialog is correct for today's slideshow caption... unless Victoria has a curse of which I am not aware... and SGS lifted from the '04 pilot. (He probably should have, but that is neither here nor there.)
____
It's fixed now! That was quick... or maybe it was my computer playing tricks on me!
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I just fixed it. Earlier tonight I'd formatted the quotes for June but forgot to upload them to the database. Oops. [easter_smiley]
And thanks for posting about it. I did catch it fairly quickly on my own this time - but sometimes we don't catch these things for hours because no one posts about it. Trust us, we appreciate it whenever someone points out something that's wrong. [easter_wink]
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Ooh, if I remember correctly, in this current scene [spoiler]there's a mention of Laura Collins. I remember being intrigued by that.[/spoiler]
Can't wait to see this scene unfold!
G.
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After yesterday's quote -
Page 27 - Victoria: 'I've had better nights.'
- (which was certainly an understatement from Vicki given what David did), the script indicates -
Sophia enters, setting a plate of eggs in front of Victoria. As Sophia's about to leave, Roger shoots her a sly smile.
- and today's quote from Roger comes up in the script -
Page 27 - Roger: 'If it happens again, see Sophia. She has some fantastic remedies for getting a good night's sleep.'
- followed by the script explaining -
As a TELEPHONE RINGS off-screen, Sophia blushes and leaves. Victoria registers the odd by-play, but lets it go.
- but none of that actually takes place in the scene as it is in the pilot because Roger isn't a part of the scene.
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Oddly enough, given this scene is going to be about David, today's quote -
Page 28 - Elizabeth: 'So have you met David yet?'
- was dropped from the scene as it appears in the pilot. Though I suppose that when we see the bit that was dropped from tomorrow's quote in response to Elizabeth's question, it will make some sense.
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I love it that I asked about Maggie and Sam scenes in the 1991 show, and today's image from that rotation is a scene where the two are talking.
Of course, I still don't really remember the scene. Very cool to learn more about the breakfast scene! It was definitely one of the more interesting moments (to me, at least) from the 2004 pilot.
G.
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Before Vicki delivers today's quote in the script, the script indicates:
Victoria reflexively touches the knot on the back of her head, forcing a smile.
Then Vicki replies in the script with:
Page 28 - Victoria: 'We bumped into each other. (beat) Before we get started, I could use some more background. Anything you think might have impacted his behavior.'
However, everything concerning the bump to Vicki's head (which I'm still not sure she even sustained in the pilot) was dropped in the pilot and Vicki gets right to the point after explaining how she slept by telling Elizabeth: "I could use some more background on David. Anything you think might impact his behavior."
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Very cool to learn more about the breakfast scene! It was definitely one of the more interesting moments (to me, at least) from the 2004 pilot.
I agree. And one thing I find interesting is that in it Blair Brown portrays Elizabeth very much in the way we've come to expect Elizabeth to behave, yet some fans tend to simply fixate on the way Elizabeth initially greets Vicki (enthusiastically, to say the least) as if it's the only way Blair Brown's Elizabeth behaves in the entire pilot, yet nothing could be farther from the truth. In fact, with the exception of what amounts to the 10 seconds of Elizabeth's first scene, I find Blair Brown performance to be in keeping with the way Elizabeth has been portrayed in every other version of DS. It boggles my mind that some choose to judge Blair Brown's performance solely on one 10 second sequence and to completely ignore everything else she does throughout the rest of the pilot.
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Given that there's a graphic of Elizabeth yet a quote from Roger, who isn't in the scene, you've probably already figured out that today's quote -
Page 28 - Roger: 'It's all in his file.'
- was given to Elizabeth in the combined scene. Though what Elizabeth actually says is "Well, I’m sure you’ll find all you need in his medical file." And then to attempt to change the subject, she quickly asks, "Tea?"
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I am very happy to see Liz is still serving tea in '04. One of my all-time favorite OS scenes involves Liz & Tea and Roger & Vicki. I don't remember if Liz serves tea in '12. Surely she did in '91? If anything, this redeems her from the horror of my first impression.
This thread is amazing.
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Rather than delivering today's quote -
Page 28 - Victoria: 'Not everything. For instance, what's his relationship with his mother?'
- as scripted, after Vicki acknowledges that she would like some tea, what she says in the pilot is "Not everything. For instance, there's no mention of his mother" as Elizabeth pours the tea for her. And after pouring the tea, it's quite obvious due to Elizabeth's silence that she's taken aback by Vicki bringing up David's mother.
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Wonderful work.
dom's comment makes me want to hunt through the early discs to try and find the scene he references involving tea, Liz, Roger and Miss Winters...
G.
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The dialog in these scenes really make me think about how the basic DS story of Vicki coming to work at Collinwood was born is a much more innocent (naive?) time. I mean, come on--really, based on the kind of person Vicki is presented as being, aren't these the kind of things she would have asked well before accepting this position?
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Well... given this Vicki's awareness of Roger's Forbes status (which makes one wonder what the HELL the guy is doing in a backwater like Collinsport), she may have been more of a gold-digger than any of the previous Vickis... or at least been angling for a cushy job as house therapist to the troubled scion. I don't recall any text about Vicki's coming to Collinwood as a personal quest for identity... I think if this was present at all in the 1991 Vicki, it was pretty understated...
I can't wait to see what MB and friends pull out of the hat when we get to the Angelique bits! Angelique as I recall her from my one viewing really did not work for me in the pilot but it's not really fair to judge on something as brief as a 40 minute piece of unfinished film. This thread is giving me much more of a picture of what was intended.
G.
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Something we probably need to remember is that supposedly Vicki was simply given David's medical file - she never met the Collinses before she was hired. In fact, unlike in past TV versions of DS, the pilot gives us no idea how Vicki was hired. In the original series, a letter was sent to Vicki's foundling home requesting her services - and that certainly wouldn't work nowadays - which is no doubt why it was even abandoned in the '91 DS in favor of Vicki being hired by the Collinses' lawyer. The latter may have also been the case with this Vicki. Or maybe not because the voiceover tells us that Vicki also has her own hopes unrelated to tutoring David. So, it's quite possible that the lack of an explanation regarding Vicki's hiring might mean it was something that was deliberately left out of the pilot so as to be gotten into had the pilot gone to series. But as the pilot stands we also have no way of knowing whether or not Vicki was given any info about David's mother before deciding to take the job. Though if she was, in all likelihood it would have been that the Collinses refuse to talk about her. And despite that, Vicki still decided to take the job - and for all we know, her question about David's mother in this scene might have been her sly way to try to get to the truth about David's mother.
All that being speculated, though, what will become clear before the scene ends is that a bit of dramatic license needs to be granted to the scene because it's really not about David's mother - it's about Roger's reaction to the subject of David's mother. Having Vicki question and comment about the lack of info concerning David's mother is really a device to elicit Roger's reaction, which we'll soon see is intense. And that's something that makes all the sadder the fact that all of Roger's stuff was dropped from the script for the pilot.
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I don't recall any text about Vicki's coming to Collinwood as a personal quest for identity...
Actually, part of Vicki's opening voiceover for this pilot states:
"I've been hired to tutor a troubled boy, but I keep feeling like that's only the beginning of my journey. I'm hoping that somehow, out of the darkness, I'll finally find answers to the mysteries of my own past..."
I think if this was present at all in the 1991 Vicki, it was pretty understated...
It also came up in the opening voiceover of the pilot, and believe it or not it was explored in several scenes in the present - though not to the extent that it was in the original DS.
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This Vicki is a lot feistier than earlier incarnations were. Good thing, because this David seems to be much more seriously disturbed.
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Well, I personally thought David's entrance in the original 1966 episode was pretty shocking by the standards of the period.
We've become numbed out from the horrors of recent decades, so the stakes have had to be escalated when writers want to shock us with the spectacle of a child psychopath in fullblown mode.
It just occurred to me that the original David storyline might have been at least in part suggested by Patty McCormick's character in the brilliant film, THE BAD SEED.
G.
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I also found David's entrance in the original to be chilling.
The narrative of Dark Shadows has, since 1966, been a work in progress. Attempts to balance all of the elements that became so important to the original series continue to be refined. I doubt there will ever be an "ultimate" narrative for the Dark Shadows story, but -- in every incarnation -- we get a bit closer to finding a happy medium between the stories of Barnabas and Victoria.
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Before we even get into today's quote, it should be mentioned that after Vicki's quote from yesterday, Roger is scripted as:
ROGER
His mother? Why?
However, we chose not to include that in this month's quotes in the slideshow in favor of other quotes coming along in what will be covered in the script this month. And there's also the fact that it was dropped from the pilot, and unlike Roger's previous bit of dialogue, neither it nor a reworking of it was assigned to Elizabeth in the combined scene in the pilot.
And speaking of things that were dropped from the pilot, everything from Roger's bit above through to nearly the end of this scene was also dropped from the pilot, so obviously today's quote from Vicki -
Page 28 - Victoria: 'It's just... strange. There's not a single mention of her in the reports.'
- was also dropped. When it comes to the combined scene in the pilot, nearly everything that takes place after Vicki pointing out that there's no mention of David's mother in David's medical file is taken from the scene that takes place in the script quite a ways down the road. And because the slideshow is following the order of things in the script and not in the pilot, we won't be getting into just exactly what that is until the slideshow gets into that scene in September. For now, just enjoy what might have been had the scenes been kept separate and in their scripted order and Roger had indeed appeared in this one...
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Love today's Roger quote. I like that he doesn't show contempt for his son as Roger OS & Roger '12 did.
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It's really too bad Roger was cut from that scene.
I think we asked back at the time if there were script outlines or treatments for 13 episodes and if there were, those notes have never surfaced. I'm sure something must have been prepared though when they were working on this project.
I still remember Jim Pierson saying when introducing a screening of the pilot (which I think was in the year 2004... or was it '05?), "it should have been a slam dunk. It's hard to know what happened."
or words to that effect.
G.
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It's interesting that given Roger's rather sharp quote for the 8th -
Page 28 - Roger (brusque): 'She hasn't been a factor in our lives for years.'
- Vicki doesn't exactly take the hint that David's mother isn't a subject she's going to get anywhere with and she presses on with the 9th's quote -
Page 28 - Victoria: 'Maybe not to you, but to David--'
- so it's no wonder that Roger reacts the way he does. But before we get to today's quote, it needs to be mentioned that the script indicates:
Face tightening, Roger cuts her off.
And, of course, Roger cuts her off with today's quote:
Page 28 - Roger: 'I won't discuss her. (off Victoria's surprise) David is my son and I need him to be strong. If you can't help him, then I'll put him somewhere that can.'
The script then indicates that:
Roger is standing, like he's about to leave, when
But we'll have to wait for tomorrow's quote to see what happens next...
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Love today's Roger quote. I like that he doesn't show contempt for his son as Roger OS & Roger '12 did.
While this Roger may not have contempt for David, there will be a scene coming up in October that puts Roger's remark: "David is my son and I need him to be strong" into a different light. But more on that in October...
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I think we asked back at the time if there were script outlines or treatments for 13 episodes and if there were, those notes have never surfaced. I'm sure something must have been prepared though when they were working on this project.
There are some articles about the pilot and remarks from the cast and writer that get into what some of the thinking was when it comes to how a series would have progressed. But I'd rather wait until after the slideshow finishes to get into what was said. [ghost_smiley]
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Don't forget, the 1991 revival Roger was also pretty contemptuous of David, especially during the pilot episode. (Of course it's shown mostly during the deleted scenes but nevertheless the lack of affection for his son is still quite obvious).
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And the script picks up from where we left off with:
when Sophia rushes back in. Her face is stricken, shocked.
And that's when Sophia is scripted to say today's quote -
Page 29 - Sophia: 'Mr. Collins, Mrs. Stoddard... it's Carolyn. She's been hurt.'
- although, after all the stuff that gets combined with this scene from the upcoming scene, what Sophia actually says in the pilot is "Mrs. Stoddard! It’s the police. Carolyn."
The script goes to say:
Stunned, Elizabeth's hand flails out, knocking her water glass off the table so it SHATTERS on the floor.
ELIZABETH
No...!
OFF their shock...
But none of that is in the pilot. Well, except that Elizabeth and Vicki are shocked. [ghost_wink]
And that's the end of the scene in the script
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Here's the chart for the next sequence of scenes:
(http://www.dsboards.com/2004pilotquoteimages/2Chart3.jpg)
And as you can see, part of what was done in the pilot is another combined scene. But we'll get into that as the slideshow for the next sequence unfolds...
And as you can also see, we'll finally meet Julia and Sheriff Patterson, who are the last two major characters to meet in the pilot if you count already having met the desiccated Barnabas, even though we haven't met him by name. (Though in the script Sarah has yet to appear - but she was never cast and does not appear in the pilot.)
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Were the writers planning to kill off Carolyn or just make her Barnabas' second slave right off the bat?
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There were no plans to kill off Carolyn. As for her being Barnabas' second slave, I don't know. If so, it really would have complicated things with some of the stuff they were actually planning. But who knows - maybe they wanted really complicated. But we can get into that down the road after a certain scene shows up in the slideshow in October.
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Before I share how the script sets up the new sequence, it needs to be pointed out that almost none of what was originally supposed to take place in Carolyn's hospital room was incorporated into the combined scene in the pilot. In fact, Roger's part in the scene was completely dropped (again) - as was Julia's. However, even though Roger wasn't scripted to appear in what was originally supposed to take place in the hospital corridor, he was inserted into what was taken from that scene for the combined scene. So at least for Roger, it all pretty much works out in the end. Not so much for Julia, who basically gets to deliver only what she was already scripted to say in the corridor scene.
So, on to setting the new sequence as it appears in the script:
EXT. COLLINSPORT MEDICAL CENTER - DAY
Small but modern.
INT. HOSPITAL ROOM - COLLINSPORT MEDICAL CENTER - DAY
As the rhythmic BEEP of a heart monitor sounds in the background, reveal an unconscious
CAROLYN
lying in bed. Her face is bruised and cut, her throat wrapped with gauze. Joe is sitting bedside, holding her hand, while Roger and Elizabeth stand watch nearby. After a moment, DR. JULIA HOFFMAN (attractive, professional) enters.) Joe stands, concerned.
And it's at that point that Joe is scripted to say today's quote:
Page 29 - Joe: 'Dr. Hoffman. What happened?'
However, what happens in the pilot is the scene begins immediately with Joe explaining to Elizabeth and Roger that "Ben Griffin found her outside his garage. From the injuries, Doctor Hoffman thinks… (pauses) She must have had some kind of fall." (Which is a reworking of info that was originally scripted to be delivered by an entirely different character in tomorrow's quote. But more on that when tomorrow's quote comes up...)
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I'm just now finding myself thinking how strange it is that Collinsport had a hospital. I never thought about this before. I grew up on a waterfront town (on the Chespeake Bay) and the one hospital in the county was located in our town, so all the births happened there.
In the original series and in the first episode, from what the old woman tells Vicki on the train, the last thing you would expect to find in Collinsport is a hospital... or medical center of any kind. Since the college was in Rockport, that is where I would have expected the hospital to have been as well.
Thank you again MB for all the work you're putting in on this. Just enjoying this so much.
The first sight I recall of Julia in this was [spoiler]a scene involving the discovery of a body; I'm guessing the body of Willie's girlfriend, but I really don't remember just whose body it was. I don't remember a hospital scene at all. Maybe towards the very end? It's all so vague now. [/spoiler]
G.
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The one and only hospital scene in the pilot happens now - and as the chart shows, it happens at the same time in the pilot as the two hospital scenes are written in the script.
Because Julia hasn't actually appeared in the scene yet as it was reworked for the pilot, obviously she doesn't deliver today's quote -
Page 29 - Hoffman: 'Ben Griffin found her inside his garage. From the look of things, she must have fallen through the skylight.'
- and also because that info (minus the references to Carolyn having fallen through the skylight and being found inside Griffin's Garage because that isn't the way things played out in the pilot) has already been imparted by Joe in the pilot.
So, what does happen next in the pilot? Well, what Julia actually does is make her appearance by calling out "Clear the doors!" as Carolyn is brought through the opening doors on a gurney. Also arriving with Carolyn is a nurse.
And a bit of trivia: this hospital scene was shot on the set of the show ER - though that shouldn't be too surprising considering John Wells executive produced ER as well as the pilot. [ghost_wink]
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I'm just now finding myself thinking how strange it is that Collinsport had a hospital.
And not just any hospital, but one that is equipped like the hospital of Cook County??? (he wonders, having not seen the DS pilot and unsure how much like ER the set was dressed...)
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Collinsport seems so isolated that they would probably need some sort of medical center in town. Bangor, the closest city, is quite a drive.
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After Julia mentions in the script that Carolyn must have fallen through the skylight at Griffin's Garage, Joe is scripted to wonder aloud -
JOE
The skylight?
- but we skipped over that because it was basically redundant and there were other lines we wanted to feature in the slideshow. Which brings us to today's quote -
Page 29 - Elizabeth: 'Doctor, is she going to be all right?'
- though what actually happens in the pilot is that Elizabeth sees Carolyn being wheeled in on the gurney and she calls out "Carolyn."
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Now, why does today's graphic for the slideshow feature a black oval with three question marks in it:
(http://www.dsboards.com/2004pilotquoteimages/0615ds2004_0.jpg)
Well, for one, considering that Julia's part from the hospital room scene was all dropped when the hospital room scene was combined with the corridor scene, obviously she doesn't deliver today's quote -
Page 29 - Hoffman: 'She's cracked three ribs and lost a lot of blood. The next twenty-four hours are critical.'
- (and what a shame not to have the stereotypical, er, of course I mean classic doctor's remark that the "next twenty-four hours are critical" be a part of the pilot [ghost_grin]), nor does Julia do what the script indicates she does before delivering today's quote, which is:
Hoffman checks the I.V. dripping blood into Carolyn's system.
And for two, the character who actually delivers the next line in the pilot doesn't even appear in the script, nor has the actress who plays her ever been identified in anything I've ever read about the pilot - so not having any idea who plays her, it's impossible to feature any type of photo of her in the graphic. [ghost_sad]
But, again, what does happen next in the pilot? Well, the nurse accompanying Carolyn announces "She’s tachy." And for those not familiar with the term, tachy is short for tachycardia, which I'm pretty sure means Carolyn has a more rapid heartbeat than would be considered normal. (And if I'm wrong about that or not giving the term its full due, I'm sure Midnite will correct me and provide a fuller explanation. [ghost_wink]) And given that Carolyn has been attacked by a vampire and lost blood, it's hardly surprising that she's suffering from tachycardia.
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Today's graphic of Elizabeth combined with the quote from Joe doesn't mean that Joe has had plastic surgery to look like Elizabeth - or that he's had the quickest sex change operation in history. [ghost_grin] No, it's simply that Joe is scripted to deliver today's quote -
Page 30 - Joe: 'I don't understand. The Sheriff said she'd been attacked by an animal.'
- but in the actual pilot it's Elizabeth who, after Carolyn's appearance, asks "Can I walk with her?" - and after it being indicated that she can, does so as Carolyn is taken off.
And at this point in the pilot the scene picks up next with stuff taken from the corridor scene. However, the script still has four more days worth of quotes to be featured before we get to that point in the slideshow. And fear not because much of the stuff that was scripted/dropped from the upcoming four quotes from the hospital room scene will be dealt with in one form or another in the new version of the corridor scene.
Also, with his explanation about Carolyn's accident, we saw the last of Joe's dialogue in the pilot. He does appear in one more scene, but he doesn't speak - and you'll understand why when we get to the scene in October. And speaking of Carolyn, she also has only one more scene coming up in the pilot - and not coincidentally, it's the same scene in which Joe doesn't speak. Interestingly, though, in the script they both share an upcoming scene with Julia followed by a long exchange between the two of them once Julia leaves the room - however, the scene was never shot - and that's most likely because Kelly Hu wasn't cast as Julia until like halfway through the production of the pilot. But the scene will be coming up in the slideshow in August/September...
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I apologize for repeating myself, but I totally love this. Interesting that the very late casting of Julia meant some of her scenes were scrapped. It makes one wonder whether the role was originally offered to another actress who kept them on the hook a little too long.
G.
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It would be great if there could be a consensus of questions to be asked and fans to go about getting the answers at various coms & fests to get a much better picture of the '04 pilot.
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Interesting that the very late casting of Julia meant some of her scenes were scrapped.
Well, the reason I say that is because the timing of her casting seems to coincide with the wrapping of shooting at Greystone and the move to other locations - and the scene that was dropped with Julia, Carolyn and Joe would have been shot at Greystone because it takes place at Collinwood.
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I don't remember where I heard this. It's been so many years. But I thought that they were pursuing Lucy Lawless for the part of Julia. Had you heard that, MB?
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I can't say I honestly recall hearing or reading anything about Lucy Lawless back in '04, or even since. But that doesn't mean it's not true. And given that back in '04 she was the same age as Kelly Hu, it's not out of the realm of possibility.
The only rumors I recall had to do with Robia LaMorte, who'd played Jenny Calendar on Buffy - but those proved to be unfounded.
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Julia was such a nothing role in the version of the pilot I saw; it's hard to imagine any actress being tempted by a copy of that script. If an actress had seen some episodes of the OS or of, say, hoDS, though, she might have been tempted by those versions of the role. It's too bad that so far as I can determine, we have no idea at all what TPTB planned for Julia in this iteration.
G.
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Believe it or not, what Julia is given to do in the '04 pilot is in some ways a bit more interesting than what she does in the pilot for the '91 DS. True, in the pilot for the '91 DS Julia has a few more scenes, with two of the more significant being Julia hypnotizing Daphne and then Julia noticing Daphne's odd reaction to Barnabas - but other than that she simply arrives in Collinsport, she briefly meets Liz and before going off to run tests (offscreen) she considers allowing Daphne to go home, and once Daphne is home Julia attempts to give Daphne an injection but puts it off to give Daphne and Joe some alone time. However, in the '04 pilot all of Julia scenes have importance as Julia gives important info about Carolyn's attack while also imparting info that was given to Prof. Woodard in the pilot for the '91 DS, and she's in on making a discovery that would have been of major significance down the line had the pilot gone to series. The Julia scene that wasn't shot does have one significant aspect to it (something that's more significantly explained than it was in the pilot for the '91 DS), though other than that it's the least interesting thing she has to do in the script. But then the pilot script for the '91 DS also has Julia scenes (four, as I recall) that weren't shot - or at least if they were, left on the cutting room floor...
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Not that it has anything to do with it, but after today's quote in the slideshow, the script indicates that:
Carolyn suddenly MOANS. Concerned, Elizabeth pulls away from Roger and goes to her daughter.
As you'll recall, in the original version of the scene, they're still in Carolyn's room.
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MB, are you referring to the pilot screenplay (which to be fair, is what an actress interested in the role would have been sent to read), or the final cut as shown at the Festival? Because in all honesty, I was quite intrigued to see what Julia would do, and I remember her being onscreen all of twice, with maybe four lines at most. Then again it was ten years ago and my short term memory is ghastly these days--and I don't even recall the Alec Newman scene that's on Youtube from that original screening; just that I thought Newman was really quite exceptional in the role (I preferred him to Ben Cross).
Miss Hu as the good Doctor left no impression upon me at all, favorable or otherwise.
G.
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MB, are you referring to the pilot screenplay (which to be fair, is what an actress interested in the role would have been sent to read), or the final cut as shown at the Festival?
Not in any way to slight Barbara Steele because I love her and I love her as Julia, but strictly comparing the two pilots, yes, I'm saying I think that in her two scenes that made it into the '04 pilot, Julia was given more interesting things to say and do in the '04 pilot than she was in the pilot for the '91 series.
Though as for casting material, I don't believe anything from either pilot script was used when Julia was being cast. I'm pretty sure I read where material in which Julia confronts Barn and offers him a cure was used. I also believe the same holds true for casting Barn.
I don't even recall the Alec Newman scene that's on Youtube from that original screening; just that I thought Newman was really quite exceptional in the role
I definitely agree.
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Well not to slight the 2004 actress (I keep forgetting her name--Kelly Hu?), Barbara Steele made an immediate, VIVID impression upon me in the shot of her just standing on the train platform in her very first shot, holding an umbrella. And when I saw that, I had only ever seen maybe one old film with Steele. Her PRESENCE was extraordinary. Again, I'm not saying there was anything positive or negative about the 2004 actress; she simply failed to make an impression.
If a Barnabas/Julia scene of the content you describe was used in the 2004 casting, it definitely argues that further sketches and potentially script outlines beyond the pilot had been worked on in '04...
G.
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I'm not commenting on Steele vs. Hu or who was better. All I've been saying is the material Julia is given in the actual '04 pilot is in some ways more interesting - particularly because she's involved in aspects of the plot and in imparting important info that in the pilot for the '91 DS other characters revealed to the audience.
As for the casting sides, it's my understanding that several were simply written for the purposes of casting. As written they may have been incorporated into future scripts, but no actual scripts were ever written that contained the casting sides scenes.
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In the original version of the scene, after Elizabeth goes to Carolyn's bedside and Julia delivers today's quote -
Page 30 - Hoffman (CONT'D): 'I'll be back in a minute...'
- the script explains that the scene closes -
As Elizabeth joins Joe next to Carolyn...
- however, we'll recall that in the pilot's combined version Elizabeth has gone off with Carolyn to wherever they were taking her - and I presume (because I don't honestly remember) that Joe also went with her because, as I've said, he has nothing more to say. So, in the pilot at this point, the only major characters left in the corridor are probably Julia and Roger. And as I mentioned earlier, Roger has been added to the corridor scene because in the script he remained in Carolyn's room. But since in the pilot no one was ever in Carolyn's room...
Tomorrow's quote will begin the corridor portion of the combined scene. And interestingly, unlike how barely anything from the originally scripted hospital room scene ended up in the pilot's combined corridor scene, a great deal of what is scripted to take place in the corridor will indeed take place in the pilot (along with the addition of Roger), though not necessarily in the exact way it's scripted. But more on that beginning tomorrow...
-
The script sets up the originally script corridor scene as:
INT. CORRIDOR - COLLINSPORT MEDICAL CENTER - DAY
Hoffman starts down the hall, spotting Collinsport Sheriff PATTERSON (30s) grabbing a coffee from a coin-op machine.
Julia is then scripted to call out -
HOFFMAN
Sheriff Patterson...
- but that was dropped in the pilot (as well as the slideshow) because in the pilot's combined scene it's not Julia who notices Sheriff Patterson but Sheriff Patterson who notices Julia as he arrives and Julia is already in the corridor with Roger. And similarly to today's quote -
Page 30 - Sheriff Patterson: 'Doctor. Any change?'
- but much more informally, Sheriff Patterson asks, "Julia, how is she?" - obviously referring to Carolyn.
-
The only difference between what Julia says in the pilot and today's quote -
Page 30 - Hoffman: 'She's hanging on, but barely.'
- is that she says "She's hanging on...barely."
-
I am now officially bored with the hospital scene(s). Did any of it survive the final cut? I guess if I check your charts, I will be able to tell. It seems to be taking up an awful lot of what was only a 40 minute piece of film. The only dramatic significance, apart from showing the audience what's happened to Carolyn and filling in some very cliche (for a vampire drama) medical details, is to introduce the characters of Julia and the Sheriff. I don't even remember the Sheriff at all from my one viewing.
I'm also starting to remember stuff from the viewing that really did not work for me, but I'll hold off on talking about that until later in this thread.
G.
-
Keep in mind that much of what has been dealt with in the slideshow since June 12th was not a part of the pilot. Plus the more interesting bits have yet to even show up. But it is true that the scene is mostly pure exposition.
So far the way the scene plays in the pilot is:
the scene begins immediately with Joe explaining to Elizabeth and Roger that "Ben Griffin found her outside his garage. From the injuries, Doctor Hoffman thinks… (pauses) She must have had some kind of fall."
Julia ... make(s) her appearance by calling out "Clear the doors!" as Carolyn is brought through the opening doors on a gurney. Also arriving with Carolyn is a nurse.
Elizabeth sees Carolyn being wheeled in on the gurney and she calls out "Carolyn."
the nurse accompanying Carolyn announces "She’s tachy."
after Carolyn's appearance, (Elizabeth) asks "Can I walk with her?" - and after it being indicated that she can, does so as Carolyn is taken off.
I presume (because I don't honestly remember) that Joe also went with her because, as I've said, he has nothing more to say. So, in the pilot at this point, the only major characters left in the corridor are probably Julia and Roger.
Sheriff Patterson ... notices Julia as he arrives and ... asks, "Julia, how is she?" - obviously referring to Carolyn.
Julia ... says "She's hanging on...barely."
filling in some very cliche (for a vampire drama) medical details
Though as I said, at least we were spared the originally scripted and highly stereotypical "The next twenty-four hours are critical" because that was thankfully dropped. [ghost_wink]
-
MB love, forgive me for putting you to all that effort. And I shouldn't bellyache because, mostly, I've been fascinated by your meticulous excavation of this, the most obscure DS artifact in the entire canon.
But this scene... I'm starting to ask myself, "will it ever end?"
I'm really amused that we're up against the beginning of July and Barnabas has yet to arrive at Collinwood....
G.
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we're up against the beginning of July and Barnabas has yet to arrive at Collinwood....
Very soon. [ghost_wink]
-
Barbara Steele made an immediate, VIVID impression upon me in the shot of her just standing on the train platform in her very first shot, holding an umbrella.
This is so true. The arrival of Julia in Collinsport has been stuck in my mind ever since I first saw the pilot. It and the parking lot carnage have been with me since my first viewing. Similarly, the stalking of Daphne is HoDS will always be remembered. There are some scenes that just work really well and leave a lasting impression, even though they may not be the most important. This is true of all incarnations of DS.
From this pilot, I think the crypt scene and the stalking scene would have been remembered for some time.
-
From this pilot, I think the crypt scene and the stalking scene would have been remembered for some time.
I can definitely attest to that. [ghost_wink]
-
Oops - I forgot to post yesterday that the differences between yesterday's quote -
Page 30 - Sheriff Patterson: (sips coffee) 'I had animal control out all night looking for tracks, but so far they've found squat.'
- and the pilot is that the sheriff actually says "Well, I’ve had animal control out all night looking for tracks. So far they haven’t found diddly-squat." And he's isn't sipping coffee because he never goes to the coffee machine as it is described in the script.
-
As for today's quote -
Page 30 - Hoffman: 'I'm not surprised.'
- it was dropped in favor of Roger asking "Tracks? Fall? What the hell is going on, Julia?"
However, tomorrow we'll still find out why Julia isn't surprised...
-
Julia's not surprised, and neither is any viewer out there...
G.
-
In response to Julia's scripted line saying she's not surprised that tracks weren't found, the sheriff is scripted to ask:
SHERIFF PATTERSON
Because...?
But considering that in the pilot Julia never says that she's not surprised, that line from the sheriff was also dropped. And when it comes to today's quote -
Page 31 - Hoffman: 'I got the results back on the swabs I took from Carolyn's wound. (knows this is crazy) The saliva tests out human.'
- what Julia actually says in the pilot in response to Roger is "It gets stranger. I got the results back from the swabs I took from Carolyn’s wound. The saliva tests out human."
-
Julia's not surprised, and neither is any viewer out there...
Well, of course the viewers aren't surprised because they've witnessed the three attacks and they know the perpetrator is a vampire. [ghost_wink] And considering that the audience is ahead of the characters in the show, there has to be some way to get the characters up to speed as far as some of the evidence goes. And to be fair to Julia, she never says she's surprised - only that the situation is strange. [ghost_smiley]
But when it comes to delivering exposition, getting to be the one to reveal the human saliva in the wound is actually a step up for Julia in this pilot because she never got to deliver such exposition in the pilot for the '91 DS. In that pilot it was the Dr. Fisher character who made that revelation to Sheriff Patterson.
-
With regard to Julia's revelation about the human saliva, the script indicates -
That brings Patterson up short.
- at which point he's scripted to ask -
Page 31 - Sheriff Patterson: 'Meaning what? We're looking for some kind of "vampire?"'
- however, in the pilot Sheriff Patterson's lines are replaced with Roger making a scoffing sound and then incredulously remarking "You’re joking."
It's quite interesting that the only mention in the script of a vampire is dropped for the pilot, unlike in the pilot for the '91 DS, which is something that bothers some viewers of the '91 DS. But then, as some have theorized, the mention of a vampire so early in the pilot for the '91 DS might be traced to/blamed on DC's penchant to often sacrifice character and suspense in favor of his "hurry up and get his vampire freak on" - but unlike with the pilot for the '91 DS, which DC not only co-wrote, he directed, DC had little to do with the actual production of this pilot. And some might say that in certain ways this pilot is all the better for it - the lack of a mention of vampires being but one of them.
-
Today is one of those rare examples where a quote -
Page 31 - Hoffman: 'It's not as crazy as it sounds. Blood obsessions are fairly common in the medical literature.'
- is delivered in the pilot exactly as scripted.
And it's also another instance where the quote is a step up for Julia in this pilot vs. the pilot for the '91 DS because in that pilot it was Prof. Woodard who revealed that there actually are people with blood obsessions.
-
On the other hand, today's quote -
Page 31 - Sheriff Patterson (incredulous): 'You're suggesting someone drank her blood?'
- is nothing like how Sheriff Patterson reacts in the pilot because he repeats "Blood obsessions" and then laughs like the idea is completely ridiculous.
-
Wow. I'm away for four days and the hospital scene STILL continues. I guess it will simply go on till Yule...
But I'm grateful to you, MB, for carefully transcribing this dialogue, since I don't recall ANYTHING of the scene between Juiia and Patterson, and I wouldn't want to miss out on her juicy little line about "blood obsessions."
I think you said that Roger was written out of the scene as shot.
Thanks,
G.
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Wow. I'm away for four days and the hospital scene STILL continues. I guess it will simply go on till Yule...
Not quite that long, but it will continue for a couple more days. The two hospital scenes take up over 2 pages in the script and it's mostly all dialogue, so that's why things are lasting so long in the slideshow. But starting on July 2nd things will move on to Barnabas finally introducing himself to the family. That scene takes up more than 4 and a half pages in the script, so it will be going on in the slideshow for all of July and into August. [ghost_wink]
I think you said that Roger was written out of the scene as shot.
As scripted, Roger appears in the hospital room scene but not in the hospital corridor scene. But when the two scenes are combined in the pilot to make one corridor scene, Roger has bits inserted into the original corridor scene portion of the combined scene where he didn't originally appear. If you go back, you'll see that Roger's inserted bits come up in reply #388 and reply #392. [ghost_smiley]
-
Instead of today's quote -
Page 31 - Hoffman: 'Look, I'm open to alternatives. But when Carolyn came in, she'd lost over 50% of her blood volume, and you said yourself there wasn't much spatter at the scene.'
- a version of which will show up in the pilot tomorrow because in the pilot at this point the lines for Julia and Sheriff Patterson swap places, the sheriff clears his throat, becomes serious, and, in reference to the possibility of a person with a blood obsession having assaulted Carolyn, says "That’s a hell of a theory, doc" - a version of which will be tomorrow's quote in the slideshow.
-
And instead of today's quote -
Page 31 - Sheriff Patterson: 'It's a hell of a theory.'
- Julia replies to the Sheriff saying that the possibility of a person with a blood obsession having assaulted Carolyn is a hell of a theory by saying "Look, I am open to alternatives. But when Carolyn came in here, she had lost over 50% of her total blood volume." The "and you said yourself there wasn't much spatter at the scene" part of yesterday's quote is dropped in the pilot in favor of what Julia will say tomorrow.
-
And when it comes to today's quote -
Page 31 - Hoffman: 'Maybe. But those bite marks are anything but theoretical...'
- what Julia actually says is "And those bite marks on her neck are anything but theoretical..." The "Maybe" bit is dropped because in the pilot Julia isn't replying to Sheriff Patterson's theory remark - she's following up her own statement about Carolyn having lost 50% of her total blood volume.
And after that quote the script concludes the scene with:
OFF Patterson, considering...
Though what happens in the pilot is that Julia goes off in the direction Carolyn was taken and the sheriff and Roger are left to exchange glances.
-
As I alluded to the other day and as you can see by the latest chart -
(http://www.dsboards.com/2004pilotquoteimages/2Chart4.jpg)
- the next sequence of scenes will not only deal with Barnabas' introduction to the family but his first mention by name.
-
Such excitement! There's no business like show business!
cheers, G.
-
The script sets things up as:
EXT. COLLINWOOD - NIGHT
Spires and gables looming in the darkness.
INT. FOYER - COLLINWOOD - NIGHT
There's insistent POUNDING at the door as Sophia rushes to answer. She throws the door open and STOPS IN SHOCK.
And it's at that point that today's quote -
Page 31 - Sophia: 'May... I help you?'
- comes up. However, it's actually delivered simply as "May I help you?" without the hesitation. And in the pilot things then deviate from the script, which goes on to say -
The dark figure enters, his face remaining in shadow. It's the VAMPIRE, now dressed in modern clothing.
VAMPIRE
I know it's late, but I'd like a
word with Mr. Collins.
Sophia finally shakes off the "spell," ushering him in.
SOPHIA
I'll... get him for you. Please,
come in.
As Sophia rushes away, the Vampire takes a moment to drink in the "feel" of the mansion, starting toward the great hall.
But in the pilot the "vampire" doesn't reply to Sophia before entering and, therefore, she never says that she'll go to get anyone. However, there is definite communication between Sophia and the new arrival because she does leave to announce his presence. And he does, as the script says, drink in the "feel" of the mansion as he makes his way to a room to await the family.
-
As a sidenote before the next quote comes up, it's probably worth mentioning that today's quote is Sophia's last in the pilot - though it's not her last scene in the script, as we shall see in October...
-
So, when it comes to today's quote -
Page 32 - Elizabeth (O.S): 'I don't believe it.'
- just what is it that Elizabeth doesn't believe? Well, I'm pretty sure every DS fan has already figured out that it's the uncanny resemblance the stranger bears to the portrait of Barnabas Collins:
(http://www.dsboards.com/2004pilotquoteimages/portrait.jpg)(http://www.dsboards.com/2004pilotquoteimages/barncomp.jpg)
And the way the script sets up this scene is:
INT. GREAT HALL - COLLINWOOD - NIGHT
He enters, transfixed, STARING toward the wall over the great fireplace. There, a magnificent portrait of
BARNABAS COLLINS,
the name etched on a gold nameplate dated 1788, hangs halflit by the flickering firelight.
And it's at that point that Elizabeth states her disbelief.
And as a bit of trivia, normally the interior of Greystone isn't opened to the public. But the exception is when it's hosting some sort of an event. And in 2007 Midnite was lucky enough to attend such an event - and to her amazement what did she discover hanging in one of the rooms but the portrait of Barnabas from this pilot. And, of course, she took a photo of it:
(http://www.dsboards.com/2004pilotquoteimages/portrait2.jpg)
Who would have thought it would have still been there three years later...
And you'll note that there is no wolf's head cane to be seen in the full length portrait of Barnabas. That's because TPTB behind the pilot chose to forgo the cane (though there was talk that it might have made an appearance had the pilot gone to series). And while Barnabas does wear the black onyx ring, unlike in previous versions, no repeated special attention is paid to it. In fact, while the ring is referenced in the script in the scene in which Barnabas is revived in the mausoleum, no mention is made of it when Carolyn is attacked or when Barnabas returns to the mausoleum (in the never shot scene). And no mention will be made of it in this scene.
-
This is just too cool! I don't even recall the shot of the portrait from my one viewing of the pilot, so had I been admitted to the mansion, I am afraid I wouldn't even have recognized that. It is bizarre that WB never claimed their property. I wonder if it's still there? You know that painting would fetch a pretty price at a Festival auction.
Even though the date is given as 1788 to my untutored eye it looks more early 1800s. Certainly very Byronic.
Thanks so much to Midnite and MB! Happy Holidays!
G.
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Some years ago, I took the VIP tour of the Warner Brothers studio (Highly recommended by the way), I spotted the Barnabas portrait in the prop department. It was difficult for them to store it because of its size. Pictures were not allowed in this area and I wasn't able to sneak one. When I went back a few years later, the portrait was gone
The tour guide knew what I was talking about but couldn't say where it had gone
I don't think this contradicts Midnite's seeing it at Greystone. It may have been there for another film or TV project. And the tour guide did indicate that there was more than one copy.
-
After today's quote -
Page 32 - Vampire: 'My apologies for the hour, but I couldn't resist any longer.
- (as we've already surmised) the script goes on the explain -
The Vampire turns as Roger and Elizabeth comes down the stairs, gaping at their visitor. He is, in fact, a DEAD RINGER for the man in the portrait.
- however, in the pilot 1) Roger and Elizabeth don't come down any stairs - they simply enter the room, and 2) the "vampire" doesn't actually deliver that quote quite yet. And the explanation of why he doesn't will come up once tomorrow's quote comes up in the slideshow...
(And, yes, "comes down the stairs" is the way it's written in the script. [ghost_huh])
-
Wow, that's cool!!!! But I think I must have missed the portrait shot. Oh well. Thanks as always for your herculean efforts!
-
The portrait post is reply #404 back on page #27. [ghost_smiley]
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The reason why the "vampire" hadn't delivered yesterday's quote quite yet is because in the pilot the line is placed after today's quote -
Page 32 - Barnabas: (taking Elizabeth's hand) 'I'm Barnabas Collins.'
- as in "'I'm Barnabas Collins. My apologies for the hour, but I couldn't resist any longer."
-
O. M. G. *thud*
-
Again I must thank you, MB, for taking the time out to transcribe all of this. I wish I had any memory of this current scene. I do remember how handsome, dashing, and poignant Alec's performance was in the role.
Best,
G.
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Re: today's quote: I'm staring too!
Thanks yet again, MB.
-
For the most part the recent quotes in the slideshow have been delivered as scripted. But it wouldn't hurt to add a few notes about them:
As for July 6th's quote -
Page 32 - Elizabeth: 'Barnabas? You even have his name?'
- Liz puts a strong emphasis on "You" when she delivers the line.
With July 7th's quote -
Page 32 - Barnabas: 'A tragic lack of imagination on the part of my parents. (kissing her hand) You must be my cousin Elizabeth.'
- Barnabas delivers it exactly as suavely as we've come to expect of him in such a situation (but in the pilot, rather than kiss Elizabeth's hand in the middle of his delivery, he kisses it at the end). Though after that line the script indicates that:
While Elizabeth is taken with Barnabas, Roger is suspicious.
And of course Barnabas takes note of this and with July 8th's quote makes a point of remarking -
Page 32 - Barnabas (CONT'D): (to Roger) 'And you... are staring.'
- but in the pilot it's delivered as "And you are... staring" - and that seems to be a much more appropriate delivery in the situation because it more clearly makes the line both a question as to who Roger is as well as a remark that Roger is staring.
And when it comes to today's quote -
Page 33 - Roger: 'Roger Collins. You're in from...?'
- Roger says it exactly as dryly emotionless as we'd expect.
-
As for the latest two quotes, yesterday's -
Page 33 - Barnabas: 'England. I tried to get a message through, but I understand there's been a family emergency.'
- and today's -
Page 33 - Elizabeth: 'My daughter, Carolyn. She was... injured. Bitten by some sort of animal.'
- they're delivered pretty much as one might imagine and as scripted. However, beginning with tomorrow's quote changes will again surface between the script vs. the pilot, with parts of quotes or entire quotes being dropped and the order of others switched around. But more on that beginning tomorrow...
-
I presume in terms of running time of the finished pilot, we're now at roughly the 20 minute mark. It's odd that I have total amnesia of the scene of Barnabas' arrival at Collinwood. The dialogue at this point is really well written.
Thanks again, MB!
G.
-
I didn't get the chance to point out yesterday that with yesterday's quote -
Page 33 - Barnabas: 'My... condolences. But the girl, she's recovering?'
- the "But the girl, she's recovering?" part was dropped in the pilot. And also, before Barnabas delivers yesterday's quote, the script makes an important point in that:
Barnabas tightens with surprise and regret. He had no idea Carolyn was a member of the Collins family.
-
I presume in terms of running time of the finished pilot, we're now at roughly the 20 minute mark.
Yes, Barnabas begins his introduction to the family in the first few minutes of the second half of the pilot.
-
I'm finding this re-boot pilot fascinating. It appears so well written with a great cast. It's a shame it was rejected. It's also extraordinary that with everything we've seen so far (not counting un-shot or cut scenes) has elapsed in only about 20 minutes. My one criticism, regarding the storyline, is having Barnabas show up at Collinwood in just a few hours after his release with full knowledge of everything going on, including, apparently, much of 21st century goings-on. I always counted the rather rapid appearance of Barnabas introducing himself to the family one of the major illogical things about DS, in whatever version. The '12 version handled it the best. The '66 and '91 versions did wait for a couple days or so (still not enough time for our favorite past-dweller to make himself inconspicuous), but - if my timing is right - having him show up in a few hours. Maybe I'm wrong about that timing. It does become confusing trying to understand its passage when dealing with what was in the script but re-written; what was in the script and not shot; what was in the script and shot but cut; what was not in the script but shot. Maybe a day or more has passed.
Kinda along that line, I think it would've been interesting if the powers-that-be saw the completed pilot (meaning really completed) and liked it enough to run with it, had said "it's good, but it needs more fleshing out - put the cut/never-shot scenes back and add a few more and expand it over several episodes." That was done with Lost In Space back in '65. The original pilot, an hour long, was packed with lots of adventure that spanned years in the passage of time (much of it taken up by the Gemini XIII [later Jupiter 2] space ship drifting through space until it crash-landed on a hostile planet). There was no Dr. Smith or the robot. The suits at CBS wanted it "fleshed out" to promote character development, so new scenes were shot, Dr. Smith (who was originally a totally evil character that was suppose to be offed after no more than six episodes) and the robot added, and the one-hour original pilot was expanded into four episodes. The series became a cult-classic and a part of television Americana. Of course, TV suits don't do that anymore. They don't want to invest in working and developing a series. They want it all now, and if it doesn't work right now, it's history. There's no opportunity to work out the kinks, allow for development and find the audience. Many classic TV shows from the past wouldn't be around if broadcasters "back then" followed today's make-it-rich-quick mentality today. If that had happened, we wouldn't have such critical/viewer smashes like The Dick Van Dyke Show, All In the Family and Cheers. All debuted to extremely low ratings which today would've had them trashed after a few episodes. But the networks held out, found ways of making them work and without these classic series, we'd have no TVLand today.
Gerard
-
Maybe a day or more has passed.
At least a day has passed because we had the arrival of Vicki, the release of Barnabas, and the attack on Carolyn all on the same night - then the next morning during breakfast the family receives the news about Carolyn and then the events at the hospital take place. Presumably Barnabas then arrives that night, though there isn't any specific indicator in the script as to how much time has passed...
-
Thanks, MB, for putting it into time-line perspective. I was really confused. But, not to stir a kettle of fish, isn't it rather ridiculous to have Barnabas released one day and able to fit into 21st sociology and technology the next? Why does DS, in all its formats (save for '12), do this? I know it's fiction, but, still.
Gerard
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I don't know if it's too far-fetched. Barnabas has minimal interaction -- and most is at Collinwood with the family. (Collinwood, itself, is timeless -- and the family is a little odd.) Willie would be a great help when it comes to filling in certain important information gaps.
Plus, his story is that he has lived a reclusive life in another country, which would probably make up for any strange habits he may possess.
Now it would definitely be problematic if Barnabas were going out on the town and interacting in public, but all of his early interactions are very meticulously strategized and of a limited scope.
I've never really had a problem with his early encounters. It's the things that happen later, like driving a car, that are really laughable.
-
I like the fact that as in no other video/film version, Barnabas is young and handsome - which is as it should be and I'd guess how it was supposed to be.
-
Ooh Dom you're on thin ice with the Frid fans and Ben Cross fans there! lol.
Alec Newman was in his prime when he did this and he's stunning. But more importantly he had a kind of mystique as Barnabas that I have truthfully never seen in any other portrayal. Frid had mystique in buckets, but Newman's is a different kind of mystique... among other things more sexual. Newman wins top marks from me in his work in the role.
G.
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Given all the clues in various storylines on the original DS, there's no doubt Barnabas was supposed to be younger than Frid. It's also interesting that Frid once commented that he enjoyed playing Barnabas as a "youth" during the 1795 storyline. I found that a strange remark at the time because I considered Barnabas many things, but a youth wasn't one of them. I chalked it up to Frid possibly meaning a more naive Barnabas. But then once I saw DS in syndication I began to pick up on all those clues that Barnabas was supposedly only in his 20s... And, hey, if a 60-something Joan Crawford could step in and play her 20-something daughter's role on The Secret Storm, anything is possible casting wise in the soap world. [ghost_wink]
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MB, I know this is outrageously off-topic, but an audiotape has surfaced of one of Joan Crawford's SECRET STORM appearances and it makes for fascinating reading. At the start of the tape, canned music plays because the character (confusingly also named Joan) is supposed to be listening to the radio and relaxing at home:
http://www.youtube.com/watch?v=MG-DkuB1V28
The tape really makes me appreciate Joan Bennett's poise in making the transition from films to working on a soap opera. And I love Joan Crawford as a film actress.
G.
-
Many classic TV shows from the past wouldn't be around if broadcasters "back then" followed today's make-it-rich-quick mentality today. If that had happened, we wouldn't have such critical/viewer smashes like The Dick Van Dyke Show, All In the Family and Cheers. All debuted to extremely low ratings which today would've had them trashed after a few episodes. But the networks held out, found ways of making them work and without these classic series, we'd have no TVLand today.
Another example is Star Trek where they actually let them do a second pilot and then picked it up.
-
Oops - I forgot to post that the "So far. Unfortunately, she can't remember much about what happened..." part of yesterday's quote -
Page 33 - Roger: 'So far. Unfortunately, she can't remember much about what happened... (suspicious) I don't want to be rude, Mr. Collins, but I'm confused.'
- is dropped in the pilot. But no doubt that's because it's in response to the question that's been dropped from Barnabas' quote. And when it comes to the part that Roger does actually say in the pilot, he rearranges things a bit by saying, "Uh, Mr. Collins, I don't mean to be rude, but I'm confused."
-
Before we get to today's quote, it needs to be mentioned that in response to Roger's statement of confusion, Barnabas asks:
BARNABAS
By my visit?
However, we chose not to include that in the slideshow in favor of including a more interesting quote from the ones available in the script/pilot for July.
And as for today's quote -
Page 33 - Roger: 'By you. I've had the world's top genealogists research our lineage. Unless they missed something, you seem to have fallen off the family tree.'
- the way it's actually said in the pilot is "By you. You see I know our lineage and unless I'm missing something, you must have fallen off the family tree." That makes it a much more personal knowledge. And Roger finishes that off almost with a laugh. (And it's great to see Roger using the word "must" - certainly a favorite if not the favorite word of the Collinses (and several of their cohorts) in the original show. [ghost_wink])
-
Yay for "must"! Definitely helps give everything that "Dark Shadows" edge.
Slashy moment... I'm having fun imagining that the reason Roger is staring is that he's thinking to himself "Hubba Hubba! How can I offer to let him spend the night in MY ROOM without seeming too forward?? Sophia will just have to make other arrangements!"
Because that's how my brain works...
G.
-
And today is another iconic DS moment: Liz just said, "Roger, PLEASE!" lol.
This just gets better and better...
G.
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And today is another iconic DS moment: Liz just said, "Roger, PLEASE!" lol.
I was just about to say the same thing. [ghost_wink]
-
Slashy moment... I'm having fun imagining that the reason Roger is staring is that he's thinking to himself "Hubba Hubba! How can I offer to let him spend the night in MY ROOM without seeming too forward?? Sophia will just have to make other arrangements!"
Because that's how my brain works...
Now THAT would be a great direction for DS to take! [ghost_smiley]
-
When it comes to today's quote -
Page 33 - Barnabas: 'It's all right. Families grow apart, but the blood ties remain. After all these years in England, I've decided it's time to reclaim my heritage.'
- the way Barnabas actually delivers it in the pilot is as "No, it's all right. Families grow apart, but the blood ties remain. (pause) After so many years in England, I've decided it's time to reclaim my... heritage."
-
Today's quote in the slideshow -
Page 33 - Roger: 'A cynic might wonder if you're just some long-lost Brit angling for a hand-out.'
- was completely dropped from the pilot.
-
My reaction to today's Barnabas line: *thud*
Thanks as always, MB! [ghost_grin]
-
[pointing-up] [lghy] [naughty]
Though sadly today's quote -
Page 34 - Barnabas: 'The cynic often finds genuine passion difficult to understand. (intense) And make no mistake, it is passion that fuels my desire.'
- is another that was dropped from the scene in the pilot. But I suppose that's not a surprise given it's in response to Roger's dropped quote of yesterday. However, as we'll learn before too long, Barnabas' "desire" isn't quite what it may seem to be at first glance before it's given a context in this scene. ;) (Although, that being said, the first interpretation of Barnabas' "desire" just might play out down the road in other moments/scenes. [nodassent])
-
ooooooooOOOOOOOOOOooooooo!
-
It appears there's a "cross-over," if you will, between DS '04 and '12. Both Barnabas' were questioned (in '04 by Roger and in '12 by Elizabeth) about their "cousin" showing up to try and get some moola. Interestingly, the '04 Collins family was still loaded while the '12 family was struggling.
Gerard
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And probably needless to say, today's quote -
Page 34 - Elizabeth: 'Desire for what, Mr. Collins?'
- was also completely dropped from the pilot. However, when he answers Elizabeth's question as part of tomorrow's (only partially dropped) quote, we will learn what Barnabas' desire actually is scripted as in this scene. But more on that tomorrow...
-
As for today's quote -
Page 34 - Barnabas: 'A home. With your permission, I'd like to restore the old manor house. (off their surprise) I took the liberty of walking the grounds earlier today.'
- the "A home" part is dropped. But given that it's in response to Elizabeth's dropped question, no surprise there - though it does reveal what Barnabas' actual desire is - or rather it would have had it been included in the pilot.
Also dropped is the "(off their surprise) I took the liberty of walking the grounds earlier today" part.
So, the way things play out in the pilot is that after Barnabas says (back in the quote for the 16th) that he's decided it's time to reclaim his heritage, he goes immediately to "With your permission, I'd like to restore the old manor house." And that does flow nicely from the heritage line, but it's still a bit of a shame that the whole "cynic" exchange in the script was dropped because I like it. However, P. J. Hogan didn't consult me as to what he should or shouldn't have dropped while shooting the pilot. [ghost_nowink]
And in closing for this post, after Barnabas' quote the script indicates:
Roger and Elizabeth exchange astonished looks.
But then, regardless of the version of DS, don't they always whenever Barnabas says he wants to restore the Old House? [ghost_wink]
-
More great stuff, MB.
It's too bad that whoever owns the rights seems determined never to let this film see the light of day.
G.
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With today's quote -
Page 34 - Roger: 'Then you know that place is a tear-down. Start throwing money at it, you'll never stop.'
- because Barnabas' remark about having taken the liberty of walking the grounds is not in the pilot, what Roger replies in the pilot is "That place is a tear-down. Start throwing money at it, you'll never stop."
-
When it comes to today's quote -
Page 34 - Barnabas: 'Cost is of no consequence. It's our ancestral home and deserves better...'
- with a laugh Barnabas says that the cost of restoring the old manor house is of no consequence, but the "It's our ancestral home and deserves better..." part is dropped in the pilot.
-
Before today's quote, the script indicates:
Suddenly, David rushes down the stairs, Victoria chasing after him. David's SHOUTING, clearly upset with Barnabas.
However, just like how Elizabeth and Roger don't come down stairs to meet Barnabas, David doesn't come down any stairs either. He simply runs into the room.
And as for the quote itself -
Page 34 - David: 'No! Stay away from there!'
- what actually happens in the pilot is we hear David screaming "I gotta go! No! No! No, no!" as he comes running in.
And from this point on the scene has much in common with the way things play out when Barnabas introduces himself in the '91 DS. Though there is one major and quite significant difference. But more on that once it comes up...
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I really wish I had any memory at all of this scene. The actual dialogue from the completed episode as quoted for David makes it sound as if he was running in search of a bathroom. As we all know, such facilities apparently did not exist at the original Collinwood.
G.
-
As we'll learn very shortly, upon hearing what Barnabas has said about the Old House, David is actually running away from someone.
And as for this Collinwood, well, we know that at the very least there's a bathroom in Vicki's suite because we've seen it. [ghost_wink]
-
Oops - I forgot that at this point in the scene some of the lines are switched around/broken up. That's why the graphic of Vicki has been switched to Roger. And the graphic switch is because rather than Vicki delivering today's quote -
Page 34 - Victoria: 'Sorry, he got away from me.'
- now, in the pilot Roger explains with an irritated sigh "Mr. Collins, this is my son David" beforehand, whereas in the script that explanation comes as part of two introductions that Roger will make in tomorrow's quote. And tomorrow I'll explain how Vicki's quote fits into the scene...
-
I actually waited until today to explain the script vs. the pilot because I figured it would not only be easier, it would hopefully be clearer. So, with that in mind, this is how the script details recent events in this scene:
Suddenly, David rushes down the stairs, Victoria chasing after him. David's SHOUTING, clearly upset with Barnabas.
DAVID
No! Stay away from there!
VICTORIA
Sorry, he got away from me.
As Victoria crosses the great hall, Barnabas turns and
JOLTS
with astonished recognition, as if Victoria reminds him of someone important.
ROGER
(to Barnabas)
Mr. Collins, this is my son David...
his tutor, Victoria Winters.
Breathless, Victoria smiles at Barnabas, offering her free hand while she tries to corral David.
VICTORIA
Mr. Collins.
As their hands touch, there is an electric moment. Barnabas locks eyes with Victoria with fierce intensity.
VICTORIA (CONT'D)
I'm sorry... have we met?
We've already dealt with David's quote, so this is how the rest of the dialogue to this point plays out in the pilot:
Roger: "Mr. Collins, this is my son David..."
Victoria: "I'm sorry, he got away from me."
Roger: "His tutor, Victoria Winters."
Victoria: (sharp intake of breath upon touching Barnabas' hand) "Have we met?"
Note the slight difference in the way some of Vicki's lines are delivered. And also note that having her say "Mr. Collins" as she reaches out to him is dropped in the pilot.
Though the part of this section of the scene that I find most interesting is that Vicki feels an instant and an obvious connection towards Barnabas upon meeting him and she brings that connection up first. The connection isn't simply one way on Barnabas' part - and that seems quite unique to this version of DS. And tomorrow we'll get Barnabas' reaction to Vicki's question...
-
Don't you think that Barnabas and Vicki's relationship in the 2012 film is similar? I'm thinking of the scene at the "happening," where Vicki reveals her troubled past. I think their connection was less one-sided than it was in, say, 1967.
-
Oh I totally agree that in the Depp/DS film Vicki and Barnabas develop a wonderful connection. And even though she doesn't realize why, Vicki is certainly drawn to Barnabas (just look at how after first seeing it she seems to be instantly drawn to Barnabas' portrait). But it's just not as overt from the outset as it is in this pilot. Upon their first meeting in the film it isn't Vicki who's already asking Barnabas if they've met. [ghost_nowink]
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I need to start getting caught up with the latest quotes. First up, the July 27th's quote -
Page 35 - Barnabas: 'I would have remembered.'
- which Barnabas delivers in a somewhat unsettled fashion, though he does his best to cover it. And after that quote the script indicates:
Barnabas finally takes his hand away. Victoria flickers a smile, slightly embarrassed
-
Probably not surprisingly, the script indicates that Vicki -
turns to David.
- before July 28th's quote -
Page 35 - Victoria: 'Come on, David, back upstairs.'
- though what Vicki actually says in the pilot is "David, let's get you back..." before David cuts her off with his dialogue for the 29th.
-
When it comes to July 29th's quote -
Page 35 - David: 'No! Not until he leaves! He'll ruin the old house and frighten Sarah away.'
- it's one of the rare moments in this scene where something is delivered verbatim and in full. And after the quote the script explains:
At the name "Sarah," Barnabas turns, curious.
-
OMG. I am so gutted that I never saw this. [ghost_grin]
-
Rather than respond to Elizabeth's question of the 30th -
Page 35 - Elizabeth: 'David, what are you talking about?'
- what David actually does in the pilot rather than deliver today's quote -
Page 35 - David: 'She lives there! She's my only friend!'
- is he rather angrily tells Barnabas "Nobody wants you here!" And the most likely reason for that is that after Elizabeth's quote, the script indicates:
Angry, David pulls away from Victoria and goes to the piano where, among framed photos and old curios, he finds a small
PAINTING OF A LITTLE GIRL
wearing a white lace dress and bonnet. He holds the painting up for Roger to see, but Barnabas suddenly TAKES IT, struggling to control his emotions.
But Sarah hadn't been cast when the pilot was shot, so in the pilot David doesn't actually get a painting of Sarah to show anyone.
-
Why does today's graphic have photos of Roger and Vicki? Well, that's because in the pilot today's quote -
Page 35 - Victoria: 'David, that's enough! I'm sorry, Mr. Collins.'
- is actually split between Roger and Vicki. After David tells Barnabas that Barnabas isn't wanted, Roger reprimands his son with "David, that's enough!" And after an angry David runs from the room, Vicki turns to Barnabas and says "I'm sorry, Mr. Collins."
-
After today's quote -
Page 35 - Barnabas: 'No apologies necessary.'
- the script explains that:
Victoria grabs David and pulls him back toward the stairs. As they go, Barnabas stares after her, then turns his eyes back to the portrait of the little girl.
But, of course, practically none of that happens in the pilot because, for one, there are no stairs in the room, for two, David has already run from the room, and for three, there is no portrait of Sarah. What does happen in the pilot is that Barnabas stares after Vicki as she leaves the room.
-
After Barnabas has waxed on (in August 3rd's quote) about the old house being the family's home for hundreds of years (certainly much longer than in the original series! - which begs the question of when the pilot's Collinwood was built?) and asked Roger for his permission to restore it, the script indicates that:
Roger looks at Elizabeth. She silently urges him to say yes.
And right after that is when Roger delivers today's quote:
Page 36 - Roger (still suspicious): 'As long as I'm not involved. Welcome to Collinsport.'
And tellingly Roger delivers the latter part as "Welcome... to Collinsport," obviously emphasizing that it's not welcome to the family, or even welcome to Collinwood - it's simply welcome to Collinsport. But then, as the script indicates, Roger is still suspicious of Barnabas.
And after all of that, the script then indicates -
OFF Barnabas' haunted look...
- and it's the end of the scene.
And interestingly, beginning with what we'll get into tomorrow, from that point on for the rest of this month and even a bit into next month, nothing that we'll be covering in the slideshow from the script appeared in the pilot. Some of it was completely dropped, while something else was radically changed. But we'll start to get into all that tomorrow...
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Wow. Banner work from you with this, MB! Could they have crammed anymore into that scene? We have Barnabas introducing himself to the family, Roger's hostility, the Barnabas-Vicki connection, David's issues, Sarah, the Josette backstory (implied, only) ... all in about 5 minutes of footage? Whew.
I wonder whether any outtakes exist for the edit of the pilot that has been screened multiple times?
Quite intrigued to see what's coming next! I wonder whether a certain WITCH is about to show up...
G.
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The latest chart -
(http://www.dsboards.com/2004pilotquoteimages/2Chart5.jpg)
- will provide a clue as to what's coming up next. But I guarantee that anyone who's never seen/read about the pilot could ever completely figure it out...
-
It seems as if Roger is in charge here. Not too sure I like that. Why is Elizabeth not more authoritative? I suppose it has to do with the fact that Carolyn is in the hospital, and that has drastically reduced the character... Still. I don't like Roger making family decisions.
-
The caption for the pilot slideshow is the same as for the movie in Current Talk.
-
The caption for the pilot slideshow is the same as for the movie in Current Talk.
I just finished fixing that. [ghost_smiley]
-
It seems as if Roger is in charge here. Not too sure I like that. Why is Elizabeth not more authoritative? I suppose it has to do with the fact that Carolyn is in the hospital, and that has drastically reduced the character... Still. I don't like Roger making family decisions.
The plan was for Roger to be much more than just in charge. But more on that down the road...
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MB, thanks so much for today's photo! [ghost_grin]
-
You're welcome, DarkLady. Many more photos of Alec Newman as Barn will be showing up because, perhaps not surprisingly, more official photos of him have been publicly released than any other actor/character in the pilot. [ghost_smiley]
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As for the new sequence, the script explains it all as:
INT. VICTORIA'S BEDROOM - COLLINWOOD - NIGHT
Blue moonlight filters through the window as Victoria slips on her nightgown. She's just pulling back the bed-covers when she stops, as if SENSING SOMETHING. Curious, she goes to the balcony doors...
EXT. VICTORIA'S BALCONY - COLLINWOOD -. NIGHT
She steps out and looks across the dark grounds. CUT TO:
BARNABAS' NIGHT-VISION POV.
Watching Victoria from a distance. Eerie, deep blue.
But nothing like that plays out in the pilot. What does happen in the pilot is actually far more interesting. However, before I get into what does actually happen, I need to track down an extra I want to include in my post to better illustrate it. But I will throw in two bits of trivia now:
1) The sequence was the first that Alec Newman shot after being cast as Barnabas.
2) It's the only sequence in the pilot in which Barnabas is seen with fashionable stubble. And that's because TPTB didn't like the look after they saw it on film. But time ran out and they were never able to reshoot the sequence.
-
So, what does actually happen in the pilot? Well, later in the night after Vicki has already gone to bed Barnabas actually shows up at Vicki's bedside, and it's at that point that today's quote -
Page 36 - Barnabas: 'Josette. You've come back to me.'
- is delivered by Barnabas (though it is scripted in other circumstances that I'll wait until tomorrow to get into). However, as Barnabas prepares to bite Vicki, as in similar scenes in both the original series and the '91 DS, he can't bring himself to go through with it. In the pilot Barnabas cries out mournfully, startling Vicki awake - but he flees from the room before she sees him. But the really interesting bit comes after Vicki has awakened and looks to see if anyone is in her room and what the audience sees is Barnabas hanging upside down and clinging to the exterior wall of Collinwood above Vicki's bedroom window and out of her sight (very much in the style of Louis Jourdan's Dracula in PBS' 1977 Count Dracula). And out there Barnabas laments "Josette" before the scene comes to its end.
And to help people who haven't seen the pilot to better picture Barnabas in this scene, here are two shots of Alec Newman from when he played a vampire on NBC's Dracula this past November:
(http://www.dsboards.com/2004pilotquoteimages/Drac-1.jpg)(http://www.dsboards.com/2004pilotquoteimages/Drac-2.jpg)
Sure, Newman is almost ten years older, has a different hairstyle, and is wearing different clothes - but the shots are a good way to approximate Barnabas' look in the scene, right down to his fashionable stubble. [ghost_wink]
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Alec if anything is even sexier now than back in 2004! That was a great role for him in DRACULA. Wish the character had gotten more than one episode; nice to think he got a free trip to Hungary out of it.
Thanks for this awesome narrative, MB. Again, I have no recollection at all of this scene from the screening. I'm starting to wonder if I had dozed off. BTW I am very happy to report that I have finally gotten a diagnosis for my sleep apnea and am at the end of day 3 of sleeping with a CPAP. And the change, for the better, is already phenomenal.
G.
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And again the latest chart -
(http://www.dsboards.com/2004pilotquoteimages/2Chart6.jpg)
- provides a clue as to what's coming up next...
-
But the really interesting bit comes after Vicki has awakened and looks to see if anyone is in her room and what the audience sees is Barnabas hanging upside down and clinging to the exterior wall of Collinwood above Vicki's bedroom window and out of her sight (very much in the style of Louis Jourdan's Dracula in PBS' 1977 Count Dracula). And out there Barnabas laments "Josette" before the scene comes to its end.
That sounds wonderful!!
-
What's also interesting is the audience is completely left wondering who the hell Josette is. And they won't find out until nearly the end of the pilot. In the original series, she was already a well known character. And right after the costume party in hoDS Barn explains Josette's story to Willie. And in the '91 series at least she was seen in a portrait right after Barn's encounter with Vicki. But here the audience is totally left in suspense for an extended period.
-
Thanks for those great frame grabs of Alec Newman on Dracula, MB! I'm with Gothick--if anything, he's even sexier now. [ghost_grin]
-
The script sets up the new scene as follows (as we backtrack a tiny bit):
BARNABAS' NIGHT-VISION POV.
Watching Victoria from a distance. Eerie, deep blue.
EXT. WOODS - COLLINWOOD - NIGHT
Barnabas stands hidden in shadow, his red eyes STARING AT VICTORIA as he MURMURS to himself.
BARNABAS
Josette. You've come back to me.
Torn by desire, his lips pull back, revealing razor-sharp fangs. He's about to take a step forward when he hears...
And it's at that point that today's quote comes up:
Page 36 - Sarah (O.S.): 'Barnabas.'
And it's interesting that they took Barnabas' line about Josette coming back to him and put it in the entirely new scene of Barnabas' aborted attack on Vicki. But then it makes perfect sense that they did.
And as we'll see, even though what's about to transpire bears some similarities to a scene from the pilot for the '91 DS, there are also some differences, including some neat special effects, had the scene actually been shot and included as scripted.
-
"Josette... You have come back to me." is the definitive line that sums up the Barnabas story arc of Dark Shadows, so I'm glad it was also included in the pilot.
-
Before we get to today's quote, it needs to be mentioned that the script explains -
Barnabas turns, stunned to see SARAH, the little girl in David's portrait, standing directly behind him.
- and then Barnabas asks today's quote:
Page 37 - Barnabas: 'Sarah?'
-
After Sarah delivers the quote for the 8th -
Page 37 - Sarah: 'Don't hurt her, Barnabas.
- the script indicates -
He reaches for Sarah, but when he touches her, she suddenly DISSOLVES LIKE GHOSTLY SMOKE.
- and that's why Barnabas delivers today's quote:
Page 37 - Barnabas: 'Wait! Don't leave me...
Had the scene been shot, Sarah's dissolve seems like it would have been a really neat special effect. But then, even if the scene had been shot, there's no guarantee that effect would have been among the ones that were actually completed before time ran out... But still, it's fun to imagine what it could have looked like... It certainly would have been different from anything we'd seen on DS before. [ghost_smiley]
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Again, I'm impressed at just how many plot points were foreshadowed or introduced in this screenplay. I know I've asked before and you said the screenplay was written as an ordinary (40 min.) length TV episode but it seems as if it would have been much more effective with an 85 minute running time (for a two hour air slot)--old school feature-length.
But, as you would say Misterioso darling, alas...
G.
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the screenplay was written as an ordinary (40 min.) length TV episode but it seems as if it would have been much more effective with an 85 minute running time (for a two hour air slot)--old school feature-length.
As shot, I believe the pilot is a bit over 41 minutes. But believe it or not, at 59 pages, the script is too short to have filled a 2 hour or even a 90 minute TV slot. By comparison, the script for the '91 DS' pilot, which was intended for a 2 hour TV slot, is 119 pages.
-
With regard to Sarah, the script explains -
Her VOICE suddenly comes from behind him. Barnabas whirls, seeing Sarah again.
- just before today's quote:
Page 37 - Sarah: 'I don't want her to die.'
-
And the script explains that -
Barnabas reaches out again, emotionally torn, and' again Sarah DISSOLVES at his touch. Barnabas SHOUTS into the night.
- just before today's quote:
Page 37 - Barnabas: 'I can't help myself. The rage devours me...'
-
And the script also explains that -
Sarah's VOICE sounds again, now from the edge of the woods.
- right before today's quote:
Page 37 - Sarah (O.S.): 'You must stop, Barnabas...'
-
And additionally the script explains that -
Barnabas turns, anguished, as Sarah dissipates, drifting into the darkness like dust. Conflicted, he turns back toward the mansion, where Victoria remains framed on the balcony.
- right before today's quote -
Page 37 - Barnabas: 'I can't...'
- and the scene concludes with:
As camera CRANES UP, Barnabas reaches toward the sky, his torment etched across his face...
FADE OUT
END OF ACT TWO
And it's interesting how in some ways this scene is quite similar to one in the pilot for the '91 series. In that scene Vicki is in her room and brushing her hair before she turns down her bed and goes to the window. Outside, Barnabas watches and bares his fangs. But then he is startled by a child's voice calling "Barnabas... Barnabas..." He turns to look in all directions, finally spotting the figure of a girl. Astounded, he calls out "Sarah, is that you?" to which Sarah begs "You must stop, Barnabas... You must stop..." Elated by the sight of her, he begins walking toward her saying "You've come back" - however, she turns and runs from him - which prompts Barnabas to frantically run after her shouting "No! Sarah! Wait! Don't leave me! Sarah! No, Sarah! Please don't go away!" But sadly for him the child has completely vanished, and that prompts him to weepingly say "Sarah... Sarah... My sweet little sister... Come back!" He collapses to his knees and with anguished sobs pleads "Please don't hate me... Please! I cannot help myself!!" And that ends that pilot - though it was never scripted to end that pilot - but that's an entirely different story for an entirely different topic...
One thing that's quite fascinating about the way the scene is scripted for this pilot, aside from the potentially interesting special effect of Sarah dissolving, is that in this pilot the audience never does learn that Sarah is Barnabas' sister. Apparently that was being held as a big reveal for some future ep...
-
And once again the latest chart -
(http://www.dsboards.com/2004pilotquoteimages/2Chart7.jpg)
- provides a clue as to what's coming up next...
-
I had thought the scene just completed had a lot in common with the same scene in the 1991 series. Many thanks for all the annotations and extra info! If I understood you correctly, none of this scene survived in the edit of the pilot that we saw in 2005 (if that was indeed the year).
My total amnesia of what's being described continues, so again, I appreciate your carefully composed notes and vivid descriptions.
Best, G.
-
If I understood you correctly, none of this scene survived in the edit of the pilot that we saw in 2005 (if that was indeed the year).
Sarah was never cast, so the scene between Barnabas and Sarah was never shot.
As for screening the pilot, selected scenes were shown at the '04 Tarrytown Fest, but the full pilot wasn't first shown until the '05 LA Fest.
-
The script sets up the new scene (another that was never shot) with:
ACT THREE
FADE IN:
INT. CAROLYN'S BEDROOM - COLLINWOOD - DAY
Dr. Hoffman THROWS OPEN the curtains, gray daylight spilling in, as Joe helps a still-weak Carolyn into bed. Her throat's bandaged and an array of home medical equipment (I.V., etc.) has been set up by the bed.
And it's at that point that Joe delivers today's quote:
Page 38 - Joe: 'That's it, just take it easy. (to Dr. Hoffman) You sure she's ready to fly solo?'
And notice how Julia is being referred to as "Dr. Hoffman" in the descriptions for this scene, whereas previously, except for her very first mention, she is simply "Hoffman".
-
The interesting thing about today's quote -
Page 38 - Carolyn: 'I was ready. (off Joe's concern) It's been two weeks. I wanted to come home.'
- is that because this scene wasn't shot, as the pilot stands there's no way to tell that two weeks have gone by since Carolyn's attack.
Also, the passage of the two weeks at this point in the pilot actually complicates something that was planned had the pilot gone to series. However, there could be a way to get around it. But more on that after the scene that comes up after this one...
-
The script explains that -
As Joe reacts to that, Dr. Hoffman pulls out a syringe.
- just before today's quote:
Page 38 - Dr. Hoffman: 'As long as you remember, we're not out of the woods yet.'
And notice that for the first time Julia is referred to as Dr. Hoffman when it comes to identifying her for her dialogue. Though that will be short lived because soon she'll be back to simply Hoffman. [ghost_azn]
-
I like how pretty much everyone is identified by his/her first name except for Julia. Though her billing was pretty unique in the credits of the original series: "Dr. Julia Hoffman" instead of "Dr. Hoffman" like the other early doctors in the series. Maybe Eric Lang was credited as "Dr. Eric Lang". I can't recall. I try to forget as much about him as possible. [ghost_cheesy]
-
Fascinated by this scene. Again, I barely remember Julia having more than 10 seconds onscreen from the screening I attended (and I'm really wondering now if I simply fell asleep at some point). From today's line, it would appear that Julia is already well ahead of everyone else in comprehending what's going on.
G.
-
Kelly Hu would have been a great Julia. Different to be sure but still a force to be reckoned with.
-
After yesterday's quote -
Page 38 - Carolyn (to Joe): 'Watch. Her dire warnings are always followed with needles.'
- the script indicates -
Hoffman leans down and injects Carolyn. As Carolyn winces...
- and that's followed by today's quote:
Page 38 - Joe: 'What is that, some sort of antirabies drug?'
-
From today's line, it would appear that Julia is already well ahead of everyone else in comprehending what's going on.
Tomorrow's quote will give an even better indication of that. [ghost_wink]
-
Fascinated by this scene. Thanks again, MB.
I am going to be offline most likely between Sunday morning (very early) and sometime the following Sunday evening. I'll look forward to catching up with this series via this thread upon my return.
G.
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After today's quote (the identification of Julia of which is once again simply "Hoffman" and will remain so from here on), the script indicates:
She's interrupted when her cell phone RINGS.
HOFFMAN (CONT'D)
(answers, into phone)
Dr. Hoffman.
(face tightens, then)
I understand. I'll be right there.
She clicks off, clearly concerned.
However, as far as that bit of dialogue goes, we're not including it in the slideshow in favor of more important dialogue and because Julia's impending departure is also dealt with through upcoming dialogue in this scene.
-
Before today's quote the script details that -
As Dr. Hoffman leaves, Joe remains by Carolyn's side.
JOE
Hey.
But once again we chose not to include a bit of dialogue - in this case Joe's. It didn't really contribute much, and also again there is more important dialogue to include in the slideshow.
It's after Joe's "Hey" that Carolyn brings up her question in today's quote:
Page 39 - Carolyn: 'Hey. What happened to your two week Popeye-the-Sailor plan?'
-
After yesterday's quote -
Page 39 - Joe: 'It was ten days, and I decided to give the fish a break. (squeezing her hand) I can't believe I almost lost you.'
- the script indicates -
Like Joe's comment is too emotional for her, Carolyn turns toward the window, an odd yearning in her eyes.
- before today's quote:
Page 39 - Carolyn: 'After all that time in the hospital, I'd almost forgotten how beautiful it is here.'
-
After yesterday's quote the script explains -
Joe is a little surprised by that.
- before today's quote:
Page 40 - Joe: 'Carolyn, I've been thinking about what you said... about leaving Collinsport, starting a new life.'
Though one might think Joe might be more than a little surprised considering the things Carolyn said in her first scene with Joe about her mother and getting away from Roger, Collinwood, and Collinsport.
-
And after yesterday's quote, the script explains -
Carolyn looks back at Joe, like this makes no sense.
- before she questions with today's quote:
Page 40 - Carolyn: 'Leaving?'
-
After yesterday's quote -
Page 40 - Joe: 'I want you to know, as soon as you're feeling better, to hell with this town. I'll sell the boat, whatever it takes, just as long as we're together.'
- the script explain that -
Carolyn pulls her hand away from Joe's, her eyes still focused on the trees outside.
- before today's quote:
Page 40 - Carolyn: 'I can't leave. Not now... not ever.'
(Gee, I wonder what might be responsible for her attitude adjustment? [scratch2] [b003])
-
Fabulous scene. It seems as if many of the best scenes were cut from the final print. I'll try to restrain my comments about the ending since someone I am very fond of adores it.
G.
-
After yesterday's quote -
Page 40 - Carolyn: 'My life is here, my blood... I'll never leave!
- the script details that -
Joe's startled by her vehemence.
- and that's what prompts him to deliver today's quote -
Page 40 - Joe: 'I'm sorry. Maybe we should talk about this later. (off her anger) Get some rest... I'll check in on you tonight, okay?
- after which the script explains:
Carolyn doesn't answer. Still stunned by her turnabout, Joe grabs his coat and leaves. As he goes, Carolyn stares out the window, a strange, almost erotic yearning in her eyes...
And that's the end of the scene.
It's quite interesting how Carolyn has such a connection to Barnabas - a connection that seems much deeper than Daphne did to Barn in the '91 DS. And while hoDS' Carolyn was obsessed with Barnabas after he attacked her, she was already attracted to him before the attack, so in that case it would seem that Barn's attack simply intensified Carolyn's already existing attraction. In this pilot, Carolyn hadn't been anywhere near Barn before the attack. And we'll be seeing more of Carolyn's attraction to Barnabas in an upcoming scene - though I shouldn't be getting ahead of ourselves...
And now that this scene has concluded, believe it or not, the upcoming scene we'll be getting back to stuff that's actually in the pilot. [ghost_smiley] Though that's not to say that the upcoming scene won't have changes made to it when it comes to the actual pilot vs. the script. But then, so few scenes were presented completely as written in the pilot...
-
It seems as if many of the best scenes were cut from the final print.
I don't know that it's so much that scenes were cut from the final print as that scenes were never shot because things like time or still pending casting decisions or other circumstances prevented them from being shot. In the case of this scene, I suppose all the stuff dealing with Carolyn and Joe after Julia leaves the room might have been able to have been shot, but it was impossible to shoot the stuff with Julia because 1) by the time she was cast the production was already preparing to move from Greystone to the next location on the shooting schedule, and 2) time ran out on production so there was no possibility to return to Greystone.
I could be wrong, but I don't think any scenes that were shot didn't make it into the pilot. At least I've never heard about any.
-
I think that series often change, sometimes radically, from script to pilot to series. It's hard to imagine anyone other than Diana Rigg as Emma Peel but the part originally went to Elizabeth Shepard, known from Tomb of Ligeia. If the WB had greenlighted this as a series, it may well have been retooled or recast.
-
And yet again the latest chart -
(http://www.dsboards.com/2004pilotquoteimages/2Chart8.jpg)
- provides a clue as to what's coming up next...
-
This next scene is set up in the script as -
EXT. BEACH - DAY
The sky is bleak gray as WAVES CRASH on a rocky beach. PULL BACK, REVEALING a grim splash of color in the form of
KELLY GREER'S DEAD BODY,
mottled red/blue, lying tousled in the sand. Suddenly there's a BRIGHT FLASH, then ANOTHER. PULL BACK to reveal SHERIFF PATTERSON standing nearby while a MEDICAL EXAMINER takes flash photos of the corpse. As Patterson observes,
DR. HOFFMAN
comes down the slope behind them, joining them by the body.
- and that's when Sheriff Patterson is scripted to deliver today's quote -
Page 41 - Sheriff Patterson: 'Thanks for coming. I thought you might want to see this.'
- however, it was dropped in the pilot.
-
Given today's graphic, everyone had probably figured this out already, but today's quote -
Page 41 - Hoffman: 'Any idea who she is?'
- was also dropped from the scene.
A version of tomorrow's quote is what actually starts the scene as it appears in the pilot...
-
I wonder if this is the only version of DS where the vampire's victim's body WASN'T "buried in the woods."
G.
-
Before today's quote the script explains:
Patterson pulls out an evidence bag, a student I.D. inside.
And then rather than today's quote -
Page 41 - Sheriff Patterson: 'We found a student I.D. in her pocket. Her name's Kelly Greer... She was a junior over at Miskatonic College.'
- what Sheriff Patterson actually says in the pilot is "What a mess. Found a student I.D. in her pocket. Her name’s Kelly Vance. She was a junior at Hallowell University. It’s a crying shame."
Note the surname change for Kelly. Who knows why? But apparently Kelly is the Todd Blake/Jennings of the pilot! [ghost_wink] [ghost_grin] And note the change of college. But then we'd addressed that back in Kelly's first scene in Willie's room.
-
Before today's quote the script explains -
The Medical Examiner finishes and pulls back. As he goes, Hoffman kneels next to the body.
- and here's a still depicting Julia kneeling next to Kelly's body:
(http://www.dsboards.com/2004pilotquoteimages/julia_kelly.jpg)
And again, given today's graphic, it's probably no surprise that today's quote -
Page 41 - Sheriff Patterson (CONT'D): 'Her roommate reported her missing a few days ago. Apparently she said she had a "study date" and never came back.'
- was dropped in the pilot.
-
The script explains -
Dr. Hoffman gingerly pulls back Kelly's hair, revealing two LIVID BITE MARKS on her neck.
- before Julia is scripted to deliver today's quote:
Page 41 - Hoffman: 'Two puncture marks. Just like Carolyn Stoddard's wounds.'
However, in the pilot she simply says "Just like Carolyn Stoddard."
-
I didn't get the chance to wrap up this scene yesterday because yesterday's quote -
Page 41 - Sheriff Patterson: 'It was the first thing I noticed. (great concern) Doctor, what the hell is going on?'
- was the last for the scene, though in the pilot the sheriff's remark that the marks on Kelly's neck were what he noticed first is dropped. He simply asks Julia with great concern (as indicated in the scripted quote) "Doc, what the hell is going on?" And the scene closes with:
OFF Hoffman's growing concern...
-
Great still (or is it a capture?). I didn't know there was ANY photographic record of Hu's performance in the role.
G.
-
That is a still that was published as part of a great article on the pilot that was written by Darren Gross and published in the January 2005 issue (#239) of Fangoria. Stills shared in replies #26(Vicki, Hogan, and the Demon) and #322(Alec Newman having makeup applied and the finished product) were also included in that article. And more stills from the article will be shared in future replies in this topic...
-
This scene (and the series as a whole) had a genuinely creepy, eerie tone that reminds me very much of Twin Peaks at its best.
-
Before we close the door on this scene I'd like to share one more still - one of Alexis Thorpe showing off Kelly's "dead" makeup:
(http://www.dsboards.com/2004pilotquoteimages/Kellydead.jpg)
As some have no doubt already surmised, Kelly was intended to be the Carolyn/Daphne of the pilot. However, unlike Carolyn in hoDS and Daphne in the '91 DS, Kelly may have had an extended presence on the show had there been an '04 DS. And considering that in her vampire state she would have had ties to both Barnabas and Willie (and to Prof. Stokes, had he been introduced into the series rather than simply talked about), the possibilities of what might have been done with her character might have proved quite complex and fascinating, something that Daphne in the '91 DS wasn't really allowed to become because she was dispatched with so early. And the fact that Sheriff Patterson would have been all too aware that Kelly had been found dead could have made the situation all the more complex/fascinating once evidence of her continued presence on the scene surfaced, as it no doubt eventually would have. But alas...
One thing that I do question in the pilot script, though, is if it was intended for Kelly to return as a vampire, why was it established in the script that at least two weeks had passed before her dead body surfaced? Wouldn't she have transformed before that time? Or might it have been that because her body was in the water for all that time, the transformation was somehow forestalled? I seem to remember that in one of Hammer's Dracula movies he was destroyed or at least somehow incapacitate because he'd fallen into running water. I don't really remember how the ins and outs of that legend worked, but I do wonder if the '04 WB was going to somehow use and/or rework the running water angle to explain why it took Kelly so long to transform? But I suppose we'll never know...
-
As you'll recall from back in May/June, an earlier scripted scene between Vicki, Liz, Roger and Sophia was combined with the current scripted scene between Vicki and Liz to make one scene in the pilot.
(http://www.dsboards.com/2004pilotquoteimages/2Chart8.jpg)
The first parts of the previous scene were combined with the latter parts of this current scene to give a bit more background on David and to reveal some things about David's mother. However, given that most of the stuff about David's mother comes from this current scene, not much about her has come out as yet. But all of that will be remedied as this current scene unfolds. But keep in mind that because the entire first half of this current scene was dropped when the two scenes were combined for the pilot, within the slideshow there will be a time before we get to any part of it that appears in the pilot. And with that in mind, this is how the script sets up the current scene:
INT. GREAT HALL - COLLINWOOD - DAY
Victoria enters and finds Elizabeth in a chair near the fire, reading. Victoria hesitates, as if working up the courage to ask a question, when Elizabeth looks up.
And that is when Elizabeth is scripted to ask today's quote -
Page 42 - Elizabeth: 'Looking for Roger?'
- though, of course, that was dropped from the pilot.
-
In DRACULA, PRINCE OF DARKNESS (1965) [spoiler]the Count is imprisoned in the castle moat under ice at the end of the film. In the following film, DRACULA HAS RISEN FROM THE GRAVE, he is released when blood from a victim trickles onto the ice and revives him.[/spoiler]
According to Montague Summers in THE VAMPIRE: HIS KITH AND KIN (a fascinating volume), vampires cannot cross running water. Since the castle was shown in the very first Hammer film as situated next to a babbling brook that one had to cross over a bridge, one wonders just how Dracula was ever able to leave his own home.
Very cool photo of the (un)Dead Kelly...
G.
-
Kelly could have easily been a break out character if the series had been greenlighted. I could picture her playing Willie, Barnabas and Stokes off against each other.
-
According to Montague Summers in THE VAMPIRE: HIS KITH AND KIN (a fascinating volume), vampires cannot cross running water. Since the castle was shown in the very first Hammer film as situated next to a babbling brook that one had to cross over a bridge, one wonders just how Dracula was ever able to leave his own home.
Maybe Drac always went out the back way of his castle, and then had to take the "scenic route", going all the way up to, and around, the source of the brook, whenever he needed to go somewhere in the direction that the front faced...
-
Am I mis-remembering, or was it the case that the dialogue in the scene that is starting now played in the final cut (shown at the Festival) as part of the breakfast scene?
G.
-
Yes, in the pilot this scene was combined with the breakfast scene to make one scene. However, it's a case that the beginning of the breakfast scene was combined with the end of this scene, so nothing that we're seeing from this scene at the moment was in the pilot. Though I will certainly point out when we reach the point in this scene where what's going on does appear in the pilot. [ghost_smiley]
-
Amazing. I finally remembered something else from my single viewing of this cakewalk!
Roger's scenes were really heavily cut in the final edit, weren't they? Or maybe some were simply never filmed...
G.
-
Roger's entire part was cut from the breakfast scene when it was combined with the current scene (of which Roger never was scripted to be a part). His dropped stuff is all detailed between reply #331 and reply #350. And when Carolyn's hospital room and the hospital corridor scenes were combined into one longer hospital corridor scene, Roger's lines from the original portion of the script that took place in Carolyn's hospital room were dropped - but they were reworked/added to the original corridor portion, so in that case he didn't lose much if anything. And while a sentence or two or Roger's may have been dropped from other scenes here and there, that happened to pretty much all the characters.
Truthfully, with the exceptions of David and Angelique, I don't believe there are any other characters who didn't have at least one entire scene dropped from the script. In fact, Willie and Barnabas had at least two entire scenes. For Willie they were the scene with Sophia in the kitchen and the one in the mausoleum's secret room when Barnabas returns. And for Barnabas they were that same scene in the secret room and the scene in the woods with Sarah.
-
I forgot to post the other day that after Wednesday's quote -
Page 42 - Victoria: 'Actually, no. He's with David and Sophia, finishing lunch. (beat) I wanted to see you.'
- it's scripted that -
Elizabeth puts her book down, pensive.
- before Elizabeth asks Thursday's quote -
Page 42 - Elizabeth: 'Is everything all right?'
And just as a heads up, starting this coming Tuesday we'll begin getting to the parts of this scene that were used in the pilot...
-
It really does seem as if all the best lines were cut from the final edit of this piece.
Many thanks, MB, for your continuing work on this intriguing project.
G.
-
To remind ourselves, this is the dialogue that was taken from the originally scripted dining room scene - as well as how it might have been changed in the pilot:
The script sets up this new scene as:
INT. DINING ROOM - COLLINWOOD - DAY
...
And it's right then in the script that Elizabeth asks Vicki today's quote -
Page 27 - Elizabeth: 'Sleep well?'
- however, before Elizabeth even asks Vicki how she slept, in the pilot she and Vicki exchange good mornings.
Page 27 - Victoria: 'I've had better nights.'
- (which was certainly an understatement from Vicki given what David did), ...
Vicki replies in the script with:
Page 28 - Victoria: 'We bumped into each other. (beat) Before we get started, I could use some more background. Anything you think might have impacted his behavior.'
However, everything concerning the bump to Vicki's head (which I'm still not sure she even sustained in the pilot) was dropped in the pilot and Vicki gets right to the point after explaining how she slept by telling Elizabeth: "I could use some more background on David. Anything you think might impact his behavior."
... today's quote -
Page 28 - Roger: 'It's all in his file.'
- was given to Elizabeth in the combined scene. Though what Elizabeth actually says is "Well, I’m sure you’ll find all you need in his medical file." And then to attempt to change the subject, she quickly asks, "Tea?"
Rather than delivering today's quote -
Page 28 - Victoria: 'Not everything. For instance, what's his relationship with his mother?'
- as scripted, after Vicki acknowledges that she would like some tea, what she says in the pilot is "Not everything. For instance, there's no mention of his mother" as Elizabeth pours the tea for her. And after pouring the tea, it's quite obvious due to Elizabeth's silence that she's taken aback by Vicki bringing up David's mother.
And from that point on (with the exception of the very end, which we already dealt with back in June) the combined scene switches to what was scripted for the current scene. So, today's quote -
Page 42 - Victoria: 'But she's not here. (off Elizabeth's silence) I know it's personal, but if I'm going to help David, I need to know what happened.'
- comes up in the reworked dining room scene - however, the "But she's not here" part was dropped because, obviously, Elizabeth's remark that David's mother "loved David with all her heart" wasn't included in the combined scene. Instead, off Elizabeth's silence, Vicki goes right to "I know it's personal, but if I'm going to help David, I need to know what happened."
-
Is Vicki being presumptuous? 'Helping' David? Isn't she there to tutor him?
-
Before today's quote the script indicates -
Elizabeth considers, then finally...
- and that's when Elizabeth is scripted to say -
Page 42 - Elizabeth: 'David's mother was... institutionalized several years ago.'
- though in the pilot what Elizabeth actually says and how she struggles to say it is: "David’s mother... (long pause) The truth is... She... was institutionalized several years ago."
-
I haven't had time to go back and read Vicki's opening scenes, but her role in this version seems rather more complex than was the case in any of the other versions. I recall a crudely written line about Vicki reading David's psychological evaluation file (I really do not see how this would have been possible, but who knows). The implication is that Vicki isn't just there to teach David, but perhaps do some types of therapeutic work with him. By 2004 such techniques as play therapy were well established in dealing with what in the 1960s were called "troubled children" (I have no clue what the current approved lingo for psychologically disturbed kids is).
G.
-
Oops - I forgot to post that after Sunday's quote -
Page 43 - Elizabeth: 'Frankly, we're not sure what he remembers.'
- the script indicates that -
Victoria is stunned.
- and that's what prompts her to ask Monday's quote:
Page 43 - Victoria: 'Did you really think not talking about it would make it go away?'
-
The current quote from Elizabeth -
Page 43 - Elizabeth: 'No, but sometimes it's easier to live with a lie.'
- is the last for the scene and the script wraps things up with:
As Elizabeth leaves, OFF Victoria, chilled...
-
That quote from Elizabeth seems to be one of THE themes driving the series in almost (?) all its incarnations.
-
And the latest chart -
(http://www.dsboards.com/2004pilotquoteimages/2Chart9.jpg)
- gives a peek as to what's coming up next...
-
This is how the script sets up this newest scene:
EXT. COLLINWOOD - NIGHT
Clouds race in front of a full moon.
INT. DAVID'S BEDROOM - COLLINWOOD - NIGHT
As a light WIND begins to sound outside, MOVE IN ON DAVID. Asleep under the covers. Outside, the wind continues, growing LOUDER, more intense... and suddenly joined by an ETHEREAL WOMAN'S VOICE.
And that's when today's quote -
Page 43 - Woman's Voice: 'David... Daaaavid...'
- comes up.
And why does today's graphic feature three question marks rather than a photo? Well, unlike the nurse in the hospital corridor scene, the identity of the actress whose voice is heard is known - but the name of her character has yet to be revealed in the script - and until it is, her identity in the graphics will remain a mystery...
-
And the plot, as they say, thickens.
-
Before today's quote the script indicates:
Half-asleep, David turns toward the window.
And that's when David asks:
Page 43 - David: 'Momma?'
-
Is this another scene that didn't make the final edit shown at the Festival? I have no memory of it, but that means nothing.
I can't try to follow your chart because I look at it and my brain starts to warp...
Best,
G.
-
And so now we know the "woman" is Angelique. And more on that sometime later today...
-
Is this another scene that didn't make the final edit shown at the Festival?
The scene was definitely in the pilot. And more on that later today as well...
-
Now that Angelique has been identified, here's the chart -
(http://www.dsboards.com/2004pilotquoteimages/2Chart10.jpg)
- to include the current scene.
Setting up the scene and the actions within will be forthcoming...
-
Ivana Milicevic was the only part of this DS I was excited about back in '04, and I never got to see her in the role of Angelique. She's the only Angelique I find even remotely appealing enough to believe Barn would have found her irresistible, especially enough so to have a dalliance with behind Josette's back.
-
The way the script deals with what we've seen thus far of the current sequence is as follows:
EXT. COLLINWOOD - NIGHT
Clouds race in front of a full moon.
INT. DAVID'S BEDROOM - COLLINWOOD - NIGHT
As a light WIND begins to sound outside, MOVE IN ON DAVID. Asleep under the covers. Outside, the wind continues, growing LOUDER, more intense... and suddenly joined by an ETHEREAL WOMAN'S VOICE.
WOMAN'S VOICE
David... Daaaavid...
Half-asleep, David turns toward the window.
DAVID
Momma...?
WOMAN'S VOICE
David, help me...
DAVID
Wha... what's wrong?
WOMAN'S VOICE
Help me... please...
Trance-like, David rises up out of bed.
INT. UPPER CORRIDOR - COLLINWOOD - NIGHT
David's bedroom door cracks open. Now fully dressed, David walks out, still moving as if in a dream...
EXT. FAMILY CEMETERY - COLLINWOOD - NIGHT
The wind is whipping flurries of leaves across the old stones as David enters the sanctuary. Eyes wide, still in a trance, David starts toward the mausoleum marked "COLLINS."
WOMAN'S VOICE
It's so dark... Help me...
David continues on, past the stone building, into the
DARK WOODS
beyond, to a spot where two large trees jut from the ground like a giant "V." At the base of the trees, a MOUND OF LEAVES AND DIRT.
WOMAN'S VOICE CONT'D)
David... I'm here...
Eyes wide, like he's been overcome by the force calling out to him, David looks around and finds a RUSTED SHOVEL AND PICKAXE lying nearby. As the VOICE continues to call, David grabs the shovel and JAMS the blade into the earthen mound.
WOMAN'S VOICE CONT'D)
(like a shriek)
DAVID, HELP ME!
David digs frantically, throwing back shovelfuls of dirt as the wind HOWLS. He works himself into a FRENZY, jamming the shovel down, again and again, until he suddenly HITS SOMETHING.
WOMAN'S VOICE CONT'D)
...HELP ME!!!...
David drops to his knees, plunging his hands into the muck, scraping back leaves and mud until a glimmer of WHITE appears... revealing a HUMAN SKULL.
DAVID
NO!
Brushing away dirt, David uncovers the SKELETAL REMAINS of a woman, her bones still wearing a tattered servant's gown. A rotted necklace of garlic (like Willie found in Barnabas' casket), a large SILVER AMULET and several tarnished
RELIGIOUS CROSSES
dangle from the skeleton's neck. As David watches, the crosses begin to GLOW with a supernatural light.
WOMAN'S VOICE
The chains... they're choking me,
David...' Please, take them away...
Desperate, David RIPS them away. Significantly, he holds onto the SILVER AMULET as THE WIND SUDDENLY DIES DOWN. The woman's voice CHANGES TIMBRE, lower now, crueller, coming from behind him.
ANGELIQUE (O.S.)
I'm here, David.
Though, of course, not everything plays in the pilot the way it's scripted. But I'll deal with all of that at another time...
And yes, "crueller" is the way it's spelled in the script. [hall2_rolleyes]
-
What a marvelous scene. I wish I could remember it.
My friend Nicky wrote a very similar scenario for Angelique's resurrection in one of his fan fiction epics in the late 1990s...
G.
-
Oh yeah! Thanks Gothy. :) I remember when this was released, I think collectively we writers for Shadows on the Wall were like ... hey! [hall_rolleyes]
-
Picking up where we left off with how the script deals with the scene:
David slowly turns, eyes going wide with fear when he sees THE SPECTRAL FIGURE OF A BEAUTIFUL WOMAN looming over him.
DAVID
Who... who are you...?
(scared)
Are you alive...?
Dressed, in 18th-century servant's clothing, her blonde hair aglow in the moonlight. She smiles darkly and begins to FLOAT toward David, unnatural, her arms reaching out to him.
ANGELIQUE
Not the way you think, my little
Angel...
Terrified, David gapes in horror as Angelique comes to him, her arms reaching out in a grotesque parody of an embrace.
ANGELIQUE (CONT'D)
But we will be friends all the
same.
DAVID
No... NOOOO!!
As her arms close around him, David SCREAMS. OFF -this...
FADE OUT
END OF ACT THREE
Though, again, keep in mind that not everything in the pilot is as it's described in the script. And I'll get to those differences before too long...
-
Next to the earlier stalking of Carolyn, this is my favorite sequence.
-
What bothers me about this is the same thing that bothers me in every other version of Dark Shadows. We're introduced to a great character, and then -- all of a sudden -- some other force takes over the character. We never get to know the character for him/herself. It's happened since the original series and it has continued to happen ever since. Well maybe not in Depp Shadows. I can't really recall too much of that film at this point.
[8_1_209]
-
I'm so behind on posting the differences between the script and the pilot. Hopefully soon because there are just so many of them - particularly in the scenes that are upcoming. But before I get to any of that, this is how the current scene plays in the script:
ACT FOUR
FADE IN:
INT. VICTORIA'S BEDROOM - COLLINWOOD - NIGHT
Blue moonlight flickers through the windows, shimmering across Victoria's sleeping face when suddenly she HEARS DAVID'S SCREAMS echoing from somewhere inside the house.
DAVID (O.S.)
HELP!! KEEP HER AWAY!!
Stunned, Victoria throws off her covers, and bolts out of bed.
INT. GREAT HALL - COLLINWOOD - NIGHT
Victoria rushes downstairs in her nightgown, Roger and Elizabeth (both in night clothes) close behind. As they hit the floor, they find David frantically turning on the lights.
ROGER
David?
As the lights come on, REVEAL David, filthy, soaking wet, fingers bloodied from digging.
VICTORIA
David! What happened?
David whirls, eyes wide with fear.
DAVID
Don't let her take me!
David runs to Roger and grabs him in a desperate hug. Awkward, Roger. FLINCHES, like he's not used to holding his son.
ROGER
David, what's wrong? Where have
you been?
David looks up at him through tear-soaked eyes.
DAVID
By the old house...
(scared)
She's not real, is she? She can't
be real...
VICTORIA
David, who are you talking about?
DAVID
She was wearing a white dress....
and her hair was like gold.
ROGER
You must have been dreaming.
David digs into his pocket, desperate to prove himself.
DAVID
No! She was wearing this.
David pulls out Angeligue's SILVER AMULET, the tarnished metal GLEAMING, under the lights. Uneasy at David's emotional tumult, Roger turns to Elizabeth and Victoria.
ROGER
He's obviously had a nightmare....
you'd better get him upstairs.
DAVID
No... you've got to believe me...
As David clings desperately, Roger uncomfortably pries his small hands away.
DAVID (CONT'D)
Don't leave me!
ELIZABETH
Roger, he needs you.
Despite Elizabeth's plea, Roger backs off, leaving David crushed. As Victoria registers the little boy's terror...
End of scene. And as we can see, even though the end of the previous scene may have given that impression, David wasn't actually possessed by Angelique, as upcoming scenes with David will even more clearly show...
-
In case you're wondering what Carolyn entreating someone (though I'm sure we all know who [hall2_smiley]) to come back is all about, here's how the current scene plays in the script as well as how it pretty much plays in the pilot:
INT. CAROLYN'S BEDROOM - COLLINWOOD - NIGHT
Joe's asleep in a chair by the bed, exhausted, as blue shadows slash across the room. REVEAL that the bed is empty, the covers, thrown off. PAN AROUND to REVEAL
CAROLYN
standing woozy on the balcony, her nightgown fluttering, a bloody bandage on her arm where she's ripped out the I.V. needle. Trance-like, her yearning almost unbearable, she
OPENS THE COLLAR OF HER GOWN,
her skin pale in the moonlight, baring her wounded throat to the night.
CAROLYN
Please... come back...
OFF Carolyn, reaching out into the darkness...
End of scene.
-
Oops - yesterday I forgot to post this production still of Carolyn's wounds:
(http://www.dsboards.com/2004pilotquoteimages/carbite.jpg)
It may depict the makeup that was intended for the hospital scene rather than the bedroom scene - particularly given she's wearing a hospital gown. But I honestly don't remember. And one might presume that in the hospital Carolyn's neck wound would have been bandaged - especially when no one really commented on it when she was brought into the hospital. But I figured it was better to leave posting it for this point rather than earlier because here we definitely know the wound was seen. [hall2_wink]
-
That's the best vampire bite wound I've ever seen.
-
Wowie!!! Usually one sees a little bite mark on the neck. That's an unbelievable take on it, particularly since this is Carolyn and not some unknown victim.
-
Lest we ever forget, almost every incarnation of a Nancy Barrett character (including the poor Carolyn of HODS) became Barnabas fodder: current time Carolyn, Millicent in 1795, Charity in 1897, the Carolyn of PT 1970; only Leticia escaped, I think (although I suppose Melanie did too; after all, doesn't Ben gently remind us that the bites really were just an animal's? I wouldn't actually know; I've never seen the last episode all the way through. I tried really darned hard this time, but 1840 bored the crap outta me and I could NOT get into 1841 PT. But I digress. Carolyn Stoddard ... chomped.)
-
Before I finally get into the ways in which the release of Angelique scene is different in the pilot vs. the script, I'd like to say that, while I understand why the pilot combined the dining room scene in which Vicki asks about David with the scene in which Elizabeth actually tells Vicki about David's mother and all of that plays much earlier in the pilot, the opening of the release of Angelique scene really does play more interestingly in the script than it does in the pilot because in the script, rather than coming after the discovery of Kelly's body, as it does it the pilot, it comes directly after Elizabeth and Vicki have been discussing David's mother, so there could be an even greater possibility in the audience's minds that the woman's voice calling to David really could have been his mother's voice. But alas, that's not the way things play out in the pilot.
But anyway, the first difference is that rather than David asking:
Half-asleep, David turns toward the window.
...
DAVID
Wha... what's wrong?
...
David actually asks "Mamma, what's wrong?"
Then, rather than simply responding with:
WOMAN'S VOICE
Help me... please...
The voice calls out with "Help me... please, David, help me..." and as David makes his way to the cemetery, it continues to call out with "David, help me...", "Daaaavid..." again, and "Help me!" rather than the scripted line of:
WOMAN'S VOICE
It's so dark... Help me...
Then, rather than:
... At the base of the trees, a MOUND OF LEAVES AND DIRT.
WOMAN'S VOICE CONT'D)
David... I'm here...
In the pilot it's "I'm here, David..." followed then by "It's so dark..." And after David has feverishly dug though the leaves and muck to uncover the bones beneath, David does not scream -
DAVID
NO!
- as scripted. Nor does he discover that religious crosses dangle from the skeleton's neck. Instead, there is a jewel encrusted dagger stuck into the chest. Though when the voice asks that it be taken away, David does so. And it's at that point that Angelique announces "I'm here, David" and appears in the flesh, so to speak. And after David asks who she is and whether or not she's alive, rather than the way things are scripted -
Dressed, in 18th-century servant's clothing, her blonde hair aglow in the moonlight. She smiles darkly and begins to FLOAT toward David, unnatural, her arms reaching out to him.
- Angelique isn't dressed in an 18th-century white servant's dress with her blonde hair aglow in the moonlight. For one, the pilot's Angelique is a redhead - and for two, she's dressed in a red flowing dress as she is in this publicity still:
(http://www.dsboards.com/2004pilotquoteimages/ang.jpg)
And in addition, as Angelique moves toward David, she does not deliver the line -
ANGELIQUE (CONT'D)
But we will be friends all the
same.
- as scripted but rather "But I shall love you... all the same" as she approaches him. To which David does not respond with -
DAVID
No... NOOOO!!
- but rather the terrified boy screams at the top of his lungs.
FADE OUT
END OF ACT THREE
-
That's a great still of Ivana as Angelique. I don't recall having seen that and I certainly don't recall the red hair.
Was I asleep at this point? I do actually recall the ending of the pilot. I hated it.
But, onwards. Great shot of Carolyn after Barnabas has been her his "attentions>
G.
-
Getting back to nearly the present point in the slideshow, here's how the scene that takes place the morning after David's frantic return to Collinwood plays in the script:
EXT. COLLINWOOD - DAY
Late afternoon... long shadows cross the grounds.
INT. DAVID'S BEDROOM - DAY
The door opens and Victoria looks in. A mound under the covers suggests David's still asleep.
VICTORIA
David? It's almost 4:00... you've
been sleeping all day.
Only silence from the bed. Moving quietly, Victoria enters David's room, noticing a
PHOTO
on the bed-stand. It's in a colorful frame, the words "Mom And Me" printed in the plastic. As Victoria holds the photo to the light, she sees a much younger David, smiling and happy, standing next to a woman. Eerily, though, the
WOMAN'S FACE HAS BEEN TORN OUT,
leaving only a ragged, empty hole. Victoria stares at the bizarre image with a SHIVER, then reaches out toward the bed.
VICTORIA (CONT'D)
David?
As she gently shakes the blankets, they fall away, revealing an arrangement of PILLOWS and
ANGELIQUE'S SILVER AMULET
lying on the sheet. Realizing David's gone, Victoria grabs the amulet and bolts for the door.
However things don't quite play out entirely like that. And once we get to how they do play out, it will be clear as to why the current slideshow scene between Vicki and Sophia was dropped. But more on that after I catch up to explaining the differences in this scene...
-
And here's how the script plays up to the point that we're at in the current scene:
INT. KITCHEN - COLLINWOOD - DAY
Victoria rushes into the kitchen, finding Sophia chopping vegetables for dinner.
VICTORIA
Sophia, have you seen David?
SOPHIA
He grabbed a sandwich about an hour
ago and took off. Why?
-
As you've probably already figured out by today's quote, the slideshow has moved on to another scene without concluding the kitchen scene between Vicki and Sophia. That's because 1) there are so many short scenes in the script to cover for October, and 2) the kitchen scene was never even shot for the pilot. But picking up exactly where we left off, here's how the scene concludes in the script:
VICTORIA
Did he say where he was going?
SOPHIA
No, he just ran outside... is
something wrong?
Victoria opens her hand, looking at the silver amulet.
VICTORIA
I need a car... and directions to
the old house.
OFF Victoria's determination...
Vicki does indeed go to the Old House after having discovered that David is not in his bedroom - but she's prompted to do so in a different manner that I'll deal with once I get to explain the differences between the way the bedroom scene plays in the script vs. the pilot...
-
I think one more Barnabas scene--maybe the last one?--may be coming up! Whoo and Hoo.
I didn't realize that Alec Newman had so little to do in this. It would help if I could remember more about the screening.
G.
-
And as you've also probably already figured out by now given the graphic displaying for the past couple of days, the latest scene in the slideshow is also another that was never shot. And the reason why the background of the graphic is blank is because the scene takes place outside the Old House, and considering that the exterior of the Old House was completely CGI and no photos and/or captures have ever been released publicly, there's nothing to share (though if you do want to have at least some idea of what the Old House looked like, revisit reply #51 on page #4 of this topic).
So, without further ado, here's how the scene plays in the script up to the point that we're at in the slideshow:
EXT. OLD MANOR HOUSE - DAY
The afternoon shadows are lengthening as Victoria pulls up behind the old manor house and parks next to several construction vehicles. As she gets out, several
CONSTRUCTION WORKMEN
approach carrying tools and lunch boxes, like they're finishing for the day.
VICTORIA
Excuse roe, is Mr. Collins inside?
WORKMAN
(a derisive snort)
Mr. Collins? I wouldn't even know
what the dude looks like.
-
I think one more Barnabas scene--maybe the last one?--may be coming up! Whoo and Hoo.
Once I get to explain the differences in the next upcoming scene, Barnabas will indeed make an appearance, though not in the scene that I suspect you may be thinking about because that particular scene is a while off yet...
I didn't realize that Alec Newman had so little to do in this.
Yes, Barnabas definitely isn't the center of attention in the pilot - though in my opinion that's a good thing because most of the main characters get exposure pretty much equally and, frankly, that's the way it should be.
If any character has the most focus, it's Vicki. And again, that's a good thing because, in the pilot anyway, part of her role is to be the stand in for the audience as we learn about almost all the characters through her.
-
The slideshow has skipped some dialogue in the current scene, so picking right after the workman says that he wouldn't even know what Barnabas looks like:
Victoria is puzzled by that, but has more pressing concerns.
VICTORIA
I'm looking for a little boy...
he's nine, brown hair...
The WORKMAN considers, nodding back toward the old house.
WORKMAN
I haven't seen anyone, but the
foreman's still inside. He might
know something.
Victoria nods her thanks and continues toward the
OLD MANOR HOUSE.
As she approaches, she's awed by its sheer Gothic "presence." It's a towering stone edifice that's on the verge of collapse. Parts of the roof have already fallen in, exposing the interior to the elements, and a mossy
STONE STAIRWAY
leads up to the battered front door. Yellow "DANGER - CONSTRUCTION" tape is everywhere, circling stacks of lumber and construction equipment. Victoria ducks under the tape and goes up the stone steps, peeking inside the door.
And it's at that point that today's quote comes up -
Page 50 - Victoria: 'Hello? David?'
- to brings things up to date.
-
that's a very cool description of the Old House.
Given how dilapidated it is, I wonder where Barnabas is supposed to be keeping his coffin at this point? In the Secret Room?
G.
-
Remember, that's how the Old House is described in the script. As we'll discover very soon, much of it is actually in much better condition by the time we see it in the pilot. Apparently the workmen Barnabas hired are exceptionally talented to get so much done in about three weeks.
And interestingly enough, Barnabas doesn't have a coffin at the Old House. Where he rests during the day should prove quite interesting for those who don't know or don't remember. [hall2_wink]
-
Wow, the image was updated to show a gorgeous interior of the OH. I have no memory at all of this.
I love surprises and I love having a treat to anticipate, so I look forward to the horrifying revelation regarding the coffin of Barnabas Collins!
G.
-
Once again the slideshow has already moved on to a new scene without finishing the previous one, so picking up where we left off with Vicki calling out to David from the outside of the Old House:
No answer. She's not sure how to proceed when she spots
A CHILD'S JACKET
lying rumpled near the front door. She picks it up and checks inside the collar, finding the name "DAVID C." written in laundry pen.
VICTORIA (CONT'D)
David!
Concerned, Victoria pushes inside.
End of previous scene. Though keep in mind that none of that scene is in the pilot because it was never shot. In fact, once Vicki discovers what David is up to, the pilot moves from the scene in David's bedroom to one inside of the Old House - though rather than having Vicki searching for David, it's David searching for Sarah (which is why David is featured in today's graphic). But more on that once I catch up to it to explain the differences between the script and the pilot...
-
a gorgeous interior of the OH.
Yes, the interior of the location that was used for much of the Old House (the Los Angeles Theatre) is amazing. Here are three shots of the lobby, which was used as the Old House's foyer:
Many publicity stills from the pilot were taken on the staircase, including ones for Barnabas, Vicki, Angelique, Liz, Willie, and David:(http://www.dsboards.com/2004pilotquoteimages/OH1.jpg)
Click here (http://www.dsboards.com/2004pilotquoteimages/OH1.jpg) for a 1000X667 version
The fountain at the top of the stairs:(http://www.dsboards.com/2004pilotquoteimages/OH2.jpg)
Click here (http://www.dsboards.com/2004pilotquoteimages/OH2.jpg) for a 1000X667 version
And the view from the second floor landing:(http://www.dsboards.com/2004pilotquoteimages/OH3.jpg)
Click here (http://www.dsboards.com/2004pilotquoteimages/OH3.jpg) for a 1000X667 version
To say the setting was ornate and unlike any version of the Old House that we've seen before would be an understatement!! [hall2_wink]
-
Almost that same shot of the main staircase (and much of the rest of the theatre) is featured in the Capital Cities video for "Safe and Sound." The video was nominated for a Grammy.
-
[pointing-up] I didn't realize that. I'll have to check it out. Thanks for the heads up. [hall2_smiley]
-
Stunning, and please don't tell me they intended us to believe that any of that was built before circa 1890/1900.
Of course, the real Collinwood dates to the 1920s, but with older architectural elements re-used...
G.
-
Actually, I could see the Old House looking like that, since baroque/rococo was all the rage in the 1690'. But why would the Collins' abandon a place like that to build something less elaborate in the late 1700's?
Gerard
-
Wowie!! What an incredible Old House!
-
There was some remark about the Old House (that I believe Barnabas made) that I seem to remember commenting made it different from the history of the Old House that were most familiar with in other versions of DS. I'll look it up when I get the chance. But as to why the Collinses may have abandoned it in favor of building Collinwood, well, perhaps it's as simple as they felt they needed more space. Or perhaps as in other versions of DS, it was intended that Barnabas and Josette would take over as Master and Mistress of the Old House after they were married.
-
Actually, I could see the Old House looking like that, since baroque/rococo was all the rage in the 1690'.
Yes, according to what I've tracked down on the Internet, the French Baroque style was popular through much of the 17th century, particularly the second half. Though one does have to wonder why an English family built a house in a French style, as was also the case with using Seaview for Collinwood on the original show. Though at least originally with the original show, the backstory for Collinwood was that Jeremiah had built Collinwood for his French bride, Josette - but, of course, that story went out the window once we actually saw 1795. But perhaps, had the pilot been picked up, the reason for the Old House being French Baroque would have been explained. Alas, as things are now, we most likely will never know...
-
The Old House in the original series (the Spratt House) actually reminds me of Mount Vernon or Monticello in terms of the scale, so to me it's believable as a later 18th century manor house in New England.
Collinwood as something built in 1795, on the other hand... well, the series has endured for me as my favorite fantasy playroom...
G.
-
Wow, you found an actual still from the show. That is awesome. Congratulations!
G.
-
A few stills will be showing up in these last two months of the slideshow. [hall2_wink]
-
This is how the latest scene has played out in the script so far:
INT. SECOND FLOOR - OLD MANOR HOUSE - DAY
The work-lights continue up here, barely enough to see as Victoria enters, spotting, trash and broken masonry everywhere. Somewhere, closer, there's a CRASH.
VICTORIA
(turning at sound)
David! I know you're here!
Irritated, Victoria continues down the hallway, approaching
TWO LARGE DOUBLE DOORS.
She's about to throw them open when a HAND suddenly clamps on her shoulder. JOLTING, Victoria SPINS to find Willie, dragging a sullen DAVID along with him.
WILLIE
Miss Winters?
VICTORIA
Willie? You scared me to death.
None of which is how things play out in the actual pilot (because recall that in the pilot David has been searching for Sarah and not Vicki searching for David). However, starting with tomorrow's quote that will all change...
-
Getting back to the scene of the hysterical David returning to Collinwood after having had Angelique lure him to the cemetery to release her, I don't honestly remember, but I don't *think* we see anything of Vicki as described in the script here:
ACT FOUR
FADE IN:
INT. VICTORIA'S BEDROOM - COLLINWOOD - NIGHT
Blue moonlight flickers through the windows, shimmering across Victoria's sleeping face when suddenly she HEARS DAVID'S SCREAMS echoing from somewhere inside the house.
DAVID (O.S.)
HELP!! KEEP HER AWAY!!
Stunned, Victoria throws off her covers, and bolts out of bed.
I *think* that from the outset we see David return to Collinwood screaming. And he doesn't simply scream "HELP!! KEEP HER AWAY!!" once - he screams "HELP!!" and "KEEP HER AWAY!!" as well as "NO!" several times while he's turning on all the lights -
INT. GREAT HALL - COLLINWOOD - NIGHT
Victoria rushes downstairs in her nightgown, Roger and Elizabeth (both in night clothes) close behind. As they hit the floor, they find David frantically turning on the lights.[/b]
- and Liz and Vicki try to get him to explain what he's doing. But then -
ROGER
David?
As the lights come on, REVEAL David, filthy, soaking wet, fingers bloodied from digging.
VICTORIA
David! What happened?
- Roger shows up calling out "David!" and then ordering "Stop! Stop!" And rather than Vicki asking what happened, Roger orders "Just try to tell us what happened." But instead of things playing out as scripted -
David whirls, eyes wide with fear.
DAVID
Don't let her take me!
David runs to Roger and grabs him in a desperate hug. Awkward, Roger. FLINCHES, like he's not used to holding his son.
ROGER
David, what's wrong? Where have
you been?
- David says "She... she was in the old cemetery," to which a puzzled Roger questions "Cemetery?" Then, because David has already mentioned the cemetery (instead of the Old House) -
David looks up at him through tear-soaked eyes.
DAVID
By the old house...
(scared)
She's not real, is she? She can't
be real...
- he simply asks in a quite scared voice "She's not real, is she? She can't be real..." To which Vicki similarly as scripted -
VICTORIA
David, who are you talking about?
asks "David, what are you talking about?" But then rather than using the description in the script -
DAVID
She was wearing a white dress....
and her hair was like gold.
David describes Angelique with "She had the blackest eyes... and her hair looked like fire." And similarly as scripted -
ROGER
You must have been dreaming.
- Roger exasperatedly concludes "He's been dreaming." But then to prove his story, somewhat as in the script -
David digs into his pocket, desperate to prove himself.
DAVID
No! She was wearing this.
David pulls out Angeligue's SILVER AMULET, the tarnished metal GLEAMING, under the lights.
- David protests "No, no. No! She had this" and shows them the dagger he'd removed from Angelique's skeleton, which greatly alarms Roger who demands "Where did you get this?!" rather than reacting the way the script indicates:
Uneasy at David's emotional tumult, Roger turns to Elizabeth and Victoria.
(But then, there's a big difference between an amulet and a dagger, now isn't there? [wink2]) And after having grabbed David and taken the dagger away from him as he confesses "I only did what she told me to do," Roger again demands "David, where did you get this?!", and basically as scripted -
ROGER
He's obviously had a nightmare....
you'd better get him upstairs.center]
DAVID
No... you've got to believe me...
- that's followed with David pleading "No, no. You've got to believe me," to which Roger reacts with "He's obviously hysterical... just get him back to bed." But when -
As David clings desperately, Roger uncomfortably pries his small hands away.
DAVID (CONT'D)
Don't leave me!
- David then clings desperately to Roger and protests "No. No. No! No! Daddy! Daddy!" an extremely uncomfortable Roger pries David's hands away saying without sympathy "David, stop it... stop it. Stop it... get a grip on yourself" and even angrily lashes out with "Knock it off!!" And as Vicki takes the still sobbing and pleading boy, all Roger can do is declare "I can't handle this" and then orders "Get him back to bed!" To which an incredulous Elizabeth -
ELIZABETH
Roger, he needs you.
- desperately insists "Roger! Roger, he needs you!! Roger!!"
End of scene.
And as I said several months back, the way this scene plays in the pilotputs Roger's remark: "David is my son and I need him to be strong" into a different light.
And now we can see that, to say the least, it's an entirely different light!!
-
INT. CAROLYN'S BEDROOM - COLLINWOOD - NIGHT
Joe's asleep in a chair by the bed, exhausted, as blue shadows slash across the room. REVEAL that the bed is empty, the covers, thrown off. PAN AROUND to REVEAL
CAROLYN
standing woozy on the balcony, her nightgown fluttering, a bloody bandage on her arm where she's ripped out the I.V. needle. Trance-like, her yearning almost unbearable, she
OPENS THE COLLAR OF HER GOWN,
her skin pale in the moonlight, baring her wounded throat to the night.
CAROLYN
Please... come back...
OFF Carolyn, reaching out into the darkness...
The only real difference that I recall from this scene is that rather that simply pleading as scripted, "Please... come back...", Carolyn really puts some desperate yearning into it with "Come back... Please... Come back..."
-
Things play out somewhat as scripted in the scene where Vicki goes to wake David the next day. Though first up, rather than as scripted -
EXT. COLLINWOOD - DAY
Late afternoon... long shadows cross the grounds.
INT. DAVID'S BEDROOM - DAY
The door opens and Victoria looks in. A mound under the covers suggests David's still asleep.
VICTORIA
David? It's almost 4:00... you've
been sleeping all day.
- what Vicki actually says in the pilot is "David?" before she knocks and follows with "Come on sleepy head. It's late. You've been sleeping all say."
Only silence from the bed. Moving quietly, Victoria enters David's room, noticing a
PHOTO
on the bed-stand. It's in a colorful frame, the words "Mom And Me" printed in the plastic. As Victoria holds the photo to the light, she sees a much younger David, smiling and happy, standing next to a woman. Eerily, though, the
WOMAN'S FACE HAS BEEN TORN OUT,
leaving only a ragged, empty hole. Victoria stares at the bizarre image with a SHIVER, then reaches out toward the bed.
Then I don't believe there's anything about the photo. But it's been so long since I've seen the pilot, that I could be wrong there.
VICTORIA (CONT'D)
David?
As she gently shakes the blankets, they fall away, revealing an arrangement of PILLOWS and
ANGELIQUE'S SILVER AMULET
lying on the sheet. Realizing David's gone, Victoria grabs the amulet and bolts for the door.
But where things get very different is that after Vicki discovers that David is gone, she looks out the window and sees David outside running off in the direction of the Old House (recall that Willie had pointed the house out to her as he drove her to Collinwood on the night she arrived). She screams for David to come back - but of course he doesn't listen. And that's why Vicki goes to the Old House...
-
the Capital Cities video for "Safe and Sound."
That video was shown on ES.TV today. (They feature a comic and a music video in addition to interviews with movie stars.)
-
Today's image: *thud*
-
Alec Newman was yummilicious in the role of Barnabas.
G.
-
Still yummilicious today. *thud*
-
I found a one-minute clip on YouTube with Alec Newman that made me swoon all over again. I hope that someday the whole pilot will be available....
-
Yes, screen caps from that video will be featured in the slideshow next month. [hall2_smiley]
(Before then a couple more official stills will be featured...)
-
Thank you, MB--a benefactor indeed! [hall2_smiley]
-
Yesterday the slideshow moved into a new scene. I don't want to get into the previous scene until I catch up to it to explain the difference between the way it plays in the script and the way it played in the pilot - but I do want to set up this new scene. So, the script establishes it with:
INT. THIRD FLOOR CORRIDOR - OLD MANOR HOUSE - NIGHT
Temporary work-lights shine down as they walk through the corridor. Barnabas stops at a small end table to light the candles on an exquisite silver candelabra.
And that's when yesterday's -
Page 54 - Victoria: 'Candles?'
- and today's -
Page 54 - Barnabas: 'There's something so garish about electric light.'
- quotes come up. And given the graphic you've probably already figured out that this is yet another scene that was dropped, which is actually interesting because a similar scene was shot but cut from the pilot for the '91 DS (and it only appears on MPI's DS Resurrected VHS).
-
After Vicki responds to Barnabas' eccentric remark with today's quote -
Page 54 - Victoria: 'Believe me, after Collinwood, my "eccentric" bar is pretty high.'
- (which I love and wish that it had been in the pilot), the script explains:
With the candles lit, Barnabas unplugs the work-lights, leaving only the glow of the candelabra. As the room fills with soft, orange light, Victoria's breath is taken away.
-
*swoon*
-
After Barnabas delivers yesterday's quote in response to Vicki saying the candles make the house seem "like being in another world" -
Page 54 - Barnabas: 'Not so different from now, really. (as they start down hall) There was a time when these halls were filled with light and laughter.'
- and Vicki replies with today's quote -
Page 54 - Victoria: 'With luck, it'll be that way again.'
- the dropped scene concludes with the script explaining:
They stop at a door and Barnabas reaches for the knob.
-
The script sets up today's new scene with:
INT. JOSETTE'S ROOM - OLD MANOR HOUSE - NIGHT
Barnabas pushes open the door, entering with the silver candelabra, Victoria follow behind him and GASPS.
-
After Vicki exclaims that she doesn't believe it upon entering Josette's room, the script explains -
As she enters, REVEAL a room that has.been preserved from the 1790s. A large, antique four-poster, fireplace, a gilt-edge mirror, silver jewelry box. There are signs of age, cobwebs and dust, but otherwise it's perfect.
- before today's quote -
Page 55 - Victoria: 'This is the way you found it?'
- comes up, though it was dropped in the pilot.
-
Rather than today's quote -
Page 55 - Barnabas: 'For some reason the door had been plastered over. It's exactly the way it looked two hundred years ago.'
- what Barnabas actually says in the pilot is "For some reason, the door had been boarded up and plastered over. But it’s exactly the way it must have looked over two hundred years ago."
-
Another scene of which I have no memory. Many thanks, MB, for the script quotes, explication, and annotations.
We're getting down to the end of the road, I presume, with this...
It's been fascinating to get such a close look at the pilot, and I really wish I could see it again!
Best, G.
-
After today's quote -
Page 55 - Victoria: 'It's like walking back in time...'
- the script explains:
Victoria stops in mid-sentence, stunned by the PORTRAIT she sees on the wall. A beautiful young woman with long, black hair and dark eyes... identical to Victoria.
Though, of course, in the pilot the portrait doesn't depict a woman "with long, black hair and dark eyes... identical to Victoria" because the pilot's Vicki is a blonde and the woman in the portrait is also a blonde. But all will be revealed once the slideshow shares an official still that includes the portrait...
-
Really looking forward to the photo! I was wondering if any images of the Josette boudoir set were available.
Given what you already found for the Old House, I'm not sure what to expect. Versailles goes to the Taj Mahal?
G.
-
Today's quote -
Page 55 - Victoria: 'That portrait...'
- was dropped in the pilot.
-
Really looking forward to the photo!
Well, because today's quote from Vicki was dropped, the photo won't appear until tomorrow...
-
Before Barnabas is scripted to deliver today's quote, the script explains:
Barnabas follows Victoria's eyes to the canvas, his longing impossible to hide.
But with regard to today's quote -
Page 55 - Barnabas: 'The resemblance is striking. Her name was Josette. Josette DuPres.'
- what Barnabas actually says in the pilot is "It’s what I wanted to show you. The resemblance is... striking. (pause) Her name was Josette. Josette DuPres."
-
Oh wow. Oh wow. Oh wow.
-
Beautiful photo. Thanks so much for this, MB.
G.
-
What Gothick said. The portrait is lovely, too.
-
The script explains -
Pulling away from the portrait, Victoria moves through the room, amazed by the hand-crafted furniture and jewelry.
- before it gets to today's quote:
Page 55 - Barnabas (CONT'D): 'The first Barnabas Collins was devoted to her. They were engaged to be married.'
And in addition to that, Barnabas also says "There was a time when this house was filled with light... and laughter." And that was most probably added because, as we'll recall (see reply #595), Barnabas was actually scripted to say that in the dropped scene on the way to Josette's room.
-
Thank you again for all the wonderful pics of Alec Newman. I start every day with a swoon! [santa_grin]
-
[pointing-up] You're welcome, DarkLady. Glad the pics make your day! [santa_wink]
Beautiful photo. Thanks so much for this, MB.
The entire slideshow is a labor of love for us. [santa_smiley]
-
Very nice!
-
Next up the script explains:
Barnabas' reverie is interrupted by the sound of a MUSIC BOX paying a somber theme. Barnabas turns, startled to find Victoria holding the small, silver box.
(And the script does say "paying," though one might presume it should be "playing.")
And it's at that point that today's quote comes up:
Page 56 - Victoria: 'I'm sorry. It was on the vanity. It must have been Josette's'
Though in the pilot Vicki actually says "I'm sorry. It was on the table." And then she asks "Was it Josette's?"
And the script also explains:
Barnabas stares at Victoria with incredible longing. Gentle, he takes the music box from her, staring into the works.
(And the script does say "gentle," though one might presume it should be "gently.")
Unfortunately, there aren't any publicly available stills featuring the music box. Or at least none that I'm aware of. So, the slideshow will continue to feature the current still until the scene catches up to video that is available from the scene.
-
After today's quote -
Page 56 - Barnabas: 'A gift. (lost in memories) Legend has it that the first Barnabas Collins gave her this on the day he asked her to be his wife.'
- the script explains:
Pain etched across his face, Barnabas listens to the music.
-
Next the script explains:
As it plays, Victoria moves closer to him.
And today's quote comes up:
Page 56 - Victoria: 'It's lovely... but with a hint of melancholy.'
-
Again, I wish I had some memory, ANY memory of the tune for Josette's music box from this version.
Many thanks for the script excerpts.
Best,
G.
-
I found myself wondering the same thing. I had to hum the 2nd '60s version to determine whether or not I thought it bore any hint of melancholia. I didn't particularly think so. Though 'pretty', it seems rather formal to me. I can picture two people dancing to it in the style of a minuet.
-
When it comes to today's quote -
Page 56 - Barnabas: 'In her letters, she wrote of listening to it for hours on end during her voyage to America.'
- what Barnabas actually says is "In her letters, she wrote of listening to it for hours on end on her voyage to America."
-
After yesterday's quote -
Page 56 - Victoria: 'She must have been a remarkable woman.'
- the script explains -
A long moment, then Barnabas closes the music box.
-before today's quote -
Page 56 - Barnabas: 'Making it all the more tragic that she died before they could be wed.'
- though in the pilot Barnabas doesn't actually close the music box until after delivering today's quote.
-
Dropped from the script is:
The mood is broken when Willie, breathless, BURSTS into the room. Barnabas turns toward him, a sudden, almost murderous rage in his eyes.
BARNABAS (CONT'D)
What is it?
And also dropped is today's quote:
Page 57 - Willie: 'I'm sorry, but David got away from me. I think he's heading back toward the mansion.'
-
After yesterday's quote the script indicates that -
Barnabas struggles to control his anger.
- before Vicki would have delivered today's quote -
Page 57 - Victoria: 'Duty calls.'
- if it hadn't been dropped in the pilot.
-
After today's dropped quote -
Page 57 - Barnabas: 'As duty often does. But I'm glad you came.'
- the script explains:
Barnabas takes her hand. Victoria is surprised, but doesn't pull away.
-
After yesterday's quote -
Page 57 - Victoria: 'So am I.'
- in reference to Barnabas being glad she came to the Old House, the script explains -
An electric moment passes between them, then, reluctantly...
- and then Barnabas is scripted to deliver today's quote -
Page 57 - Barnabas: 'I'll show you out.'
- however, that's not quite the way things play in the pilot. Vicki actually says "I should go" (on her own without any interruption from Willie). And to that Barnabas responds with "I'll walk you to your car." To which Vicki says "No, that's okay. I can find my way out."
The script then ends the scene and moves to the location of the next scene. However, in the pilot the scene continues. But more on that tomorrow...
-
The way the script deals with today's quote id that after Barnabas says he'll show Vicki out, it has:
OFF this...
EXT. OLD MANOR HOUSE - NIGHT
As Barnabas shows Victoria to her car, she suddenly stops, remembering something.
VICTORIA
I almost forgot...
She pulls out ANGELIQUE'S SILVER AMULET. Seeing it, Barnabas is clearly astonished.
VICTORIA (CONT'D)
David said he found this last
night, near the old house. Given
your interest in Collins family
history, I thought you might
recognize it.
And things play out somewhat similarly in the pilot except the scene continues in Josette's room, Vicki doesn't pull out an amulet because, as explained earlier, what David found in the pilot was a dagger (and Barnabas is surprised to see it, though he covers well), and what Vicki actually says is "Oh, um, I almost forgot... David said he found this near the old cemetery last night. Given your knowledge of Collins family history, I thought you might recognize it. (He takes it.) Does it mean anything to you?"
-
I forgot to post that when it came to yesterday's quote -
Page 57 - Barnabas: 'It's... familiar. Did the boy say anything else?'
The "It's... familiar" part shows up in a later part of the scene. There Barnabas simply asks "Did the boy say anything else?"
-
Od course, when it comes to today's quote -
Page 58 - Victoria: 'Nothing that made sense. Something about a woman in a white dress, with golden hair... (Barnabas is rocked) We think he was sleepwalking... fantasizing.'
- that's not quite what Vicki says in the pilot because that's not an accurate description of the pilot's Angelique. What Vicki actually says is "Nothing that made any sense. Something about a woman with dark eyes and (laughing) hair of fire. We think he was probably fantasizing... sleepwalking." And again Barnabas covers his shock well.
-
For today's quote -
Page 58 - Barnabas: 'Yes... of course. (struggling with emotion) May I borrow the piece to study? Just for a few days?'
- the entire thing was dropped in favor of Barnabas simply saying the "It's familiar" from Sunday's quote.
-
As for today's quote -
Page 58 - Victoria: 'Keep it. Whatever happened last night, I'd just as soon David put it out of his mind. (getting into car) Good night, Mr. Collins.'
- of course Vicki doesn't get into her car because the scene is taking place in Josette's room and not outside (though imagine if the Old House was in such a terrible state that Vicki could drive her car up to and into Josette's room [santa_shocked]). And what Vicki actually says when in the pilot Barnabas offers the dagger back is "Keep it. We don’t want David to have it. (pause) Well, good night, Mr. Collins."
-
"Keep it. We don’t want David to have it. (pause) Well, good night, Mr. Collins."
Well, lol, poor Davy is considered an unstable nutcase in every incarnation. I love this line.
-
The reason why today's quote -
Page 58 - Willie: 'Barnabas, what's wrong?'
- is paired with a screen cap of Barnabas is because Willie doesn't actually enter the room to ask that line. Instead, Barnabas tells Vicki "I'm glad you came" after he's kissed her hand.
-
After Willie's arrival in Josette's room just as Barnabas and Vicki are about to kiss and Vicki leaves, instead of today's quote -
Page 58 - Barnabas: 'They must have buried it with her... praying the blessed earth would keep her black soul from rising again.'
- Barnabas asks Willie "Why did she bring me back, Willie?" And I'm presuming he's referring to Kelly.
-
Before today's quote, things are changed a bit from the script in that dialogue is added. Willie notices the dagger and asks Barnabas "What is that?" And with a reworking of yesterday's quote, Barnabas responds "It's been in her heart all these years. We buried her with it."
And after that exchange is when today's quote -
Page 58 - Willie: 'What are you talking about?'
- comes up.
-
Rather than today's entire quote -
Page 58 - Barnabas: 'The woman who wore this necklace... over two hundred years ago. (intense) Her name was Angelique, and she is the devil incarnate.
- Barnabas responds to Willie with "Her name is Angelique... (pause) and she is the devil incarnate." And that's the end of the scene as the script indicates:
OFF Barnabas' intensity...
-
Thanks again, MB. I look forward to your summary of the pilot finale sequence, which really did not work for me, though all I can recall is one image.
This has been a fantastic ride! Thanks to yourself and all others involved in making this happen.
Best,
G.
-
Again, not to create controversy, by why don't the powers-that-be (and you know whom I talking about, not one of my favorite persons let's just say his initials are JP), just release this decade-old to things like youtube? There's no more way to make money off of this to the estate of DC. It's over; it's done. Put it out there for free and expand the market. It costs nothing. As a matter of fact, it can make more money. If JP would put it out there and x-amount of hits on youtube, it will make money for DC. Right now, it makes nothing. What is it with these people in the "entertainment industry" who are so stupid? Again, sorry for making another controversy, but this makes me mad. And those who don't want to make money should not get fans (and future fans) mad.
Gerard
-
The thing is that DCP doesn't own the pilot, WB does. And if we can believe KLS' latest DS book, when the pilot isn't being shown at the Fests, WB has it locked away in one of their vaults. And security at the Fests is still high when it's shown so as not to allow bootlegging. So it's quite possible that JP couldn't put the pilot up on YouTube even if he wanted to. Posting it to YouTube would probably be the prerogative of WB, who apparently has no inclination to do so.
-
As far as the script goes, this is how the final scene plays:
EXT. COUNTRY ROAD - NIGHT
Victoria drives, headlights burning through the darkness, her face hard with determination. As she makes a turn, she suddenly hears a weird, ethereal VOICE.
ANGELIQUE (O.S.)
Stay away from him.
Victoria looks around, confused, not sure what she heard.
ANGELIQUE (O.S.) (CONT'D)
He'll never love you...
Suddenly, a drenching DOWNPOUR explodes from the sky. Startled, Victoria fumbles for the wiper switch, looking back up as the wipers take their first swipe, revealing
ANGELIQUE,
standing in the road directly ahead of Victoria's car! Victoria JAMS ON THE BRAKES, but it's too late. An instant before they collide, Angelique's face subliminally dissolves into a leering, skeletal
DEATH'S HEAD,
then WHAM! They hit! Angelique's body folds over the hood, head SMASHING face-first into the windshield as Victoria loses control. The car fishtails, sliding off the road and
SLAMMING HEAD-ON
into a tree. Dazed and bleeding, Victoria woozily pulls herself up, staring in horror at ANGELIQUE'S CRUSHED BODY, sprawled on the hood, gaping at Victoria through lifeless eyes. As Victoria begins to falter from her injury,
ANGELIQUE'S HEAD SUDDENLY TURNS,
bones CRUNCHING from the effort. Her face is a mask of blood.
ANGELIQUE (CONT'D)
He's mine.
Victoria's eyes roll back and she passes out. OFF this moment of horror...
FADE OUT.
END OF EPISODE.
However that's not entirely how the scene plays out in the pilot. And I'll get to that later on after I've had the chance to scan some production stills...
-
As scripted, that scene could have been quite powerful.
I really can't think of what to say about how I remember it actually playing onscreen. It just did not work for me.
Again, many thanks MB for this labor of love! Happy New Year!
As for Gerard's request, we all know what the WB home video department thinks of DS... what more need be added...
G.
-
I keep forgetting that WB owns this version, not DCP. My mistake, repeated again!
I guess I just can't understand why WB, after spending probably a pretty penny on this and ending up not making a penny, just won't let it go and allow fans to enjoy it. If anything, it's free exposure for a franchise and without exposure a franchise based on something that came into creation eons ago can only last so long (as fans can only last so long). I just don't get the business understanding of how the entertainment industry works. Oh, well.
With that being said, this has been an incredible and terrific ride seeing how the pilot ran, both in it's semi-completed state and in the scripting. This has been a tremendous experience, and thank you, MB, for making it possible!
Gerard
-
Yes, this has a most fascinating look at one of the most interesting (and most obscure) pieces of DS history. Thanks, MB, for this most compelling series. A
-
Wow! That would certainly have been exciting. Since you say it didn't play out "entirely" like that, presumably it was similar.
-
Thanks so much, MB--you truly live up to your name.
-
I wish my eye thing allowed me to read this whole thread. That car crash is strange. It's disturbing, but doesn't give an impression to me of a powerful, threatening supernatural being, but of a frail one. I know she survives and it was all a trick, and Vicki's supposed to be shocked by Ang's survival, but the biggest impression in my mind afterward would be all the damage to Angelique.
I'm not getting into the spirit of it, probably. This is in keeping with classic ghost stories I suppose. A few more such encounters like this would have followed, building up the message that Ang is indestructible each time.
The owners of the pilot probably want to wait a certain number of years to build up the mystique. They might not want it reduced to being some obscure DVD extra, on a par with outtakes and deleted scenes. There's also just a basic business assumption that you don't give anything away. When in doubt, play it safe.
-
Glad to see the '04 slideshow is starting up again! I'll enjoy reading at least some of it once again.
If you do have time to write about the changes in how the final scene wound up being shot and edited, I would be interested to read that.
Happy 2015!
G.
-
What a great ride! I really enjoyed seeing the pilot when it was screened at the Festival. It's a modernized version of the original and would have worked well as a companion to Buffy and Angel.
For the most part, it is very well cast. Marley Shelton, Matt Czuchry and Jessica Chastain have certainly lived up to the promise they showed here.
Sigh. What if...
-
If you do have time to write about the changes in how the final scene wound up being shot and edited, I would be interested to read that.
Hopefully that will be coming today - I just haven't found the time to scan those production stills that I want to post. Plus in the coming days I still have to go back and explain the differences in a few other scenes - and scan some stuff for them as well...
For the most part, it is very well cast. Marley Shelton, Matt Czuchry and Jessica Chastain have certainly lived up to the promise they showed here.
Definitely!
Sigh. What if...
Yes, if only...
-
It would be have been interesting to see where the series would have gone from here. Would any of it be retooled? Would Barnabas and Julia have any chemistry? And who would be cast as Sarah, Professor Stokes and Sam and Maggie?
Double sigh!! [santa_sad] [santa_sad]
-
Just wanted to drop in and say that this was so wonderful, MB! I really appreciate your time, energy and effort. I'm sorry I wasn't around more to enjoy it step-by-step, but I am glad I got to read the script so I have some idea of what we've all been missing these years! Thanks for the amazing effort! It was quite the ride!
[8_2_77]
-
Hopefully that will be coming today
Well, I didn't get to it after all - and believe it or not, I still have one last Christmas party to go to tomorrow. But after that my time should get back to being normal. Or at least as normal as my time gets...
-
No worries MB if you don't get to it. With all the work you've done on this, you more than deserve a break!
Best,
G.
-
Is the '04 Pilot ever going to be available for view?
(Or, has it probably been on YouTube or some other place I don't normally surf for 4 years?) [santa_rolleyes]
Patti
-
Nothing to report except that I am swooning over today's frame grab. Thank you, thank you to whoever is responsible for posting this!
-
Is the '04 Pilot ever going to be available for view?
(Or, has it probably been on YouTube or some other place I don't normally surf for 4 years?) [santa_rolleyes]
There are a few snippets, Patti, on youtube. I've seen them before. They might be gone by now. You-know-who is always ready to get the army of lawyers out.
Gerard
-
Thank you, thank you to whoever is responsible for posting this!
That would be me. [easter_smiley] And I hope to get back to this topic to post the stuff that I never had the chance to while this slideshow was wrapping up last year.
-
You-know-who is always ready to get the army of lawyers out.
Although in this case it's more likely to be Warner Brothers because DCP doesn't own the pilot, WB does...
-
MB, you don't know the powers you-know-who has! Mmmmwwwwaaaaahhhhhaaaaa! No network can overcome them!
Of course, I'm just having some fun.
But on a more kvetching tone, I just can't figure out whoever owns anything DS is so anal-retentive about anything appearing anywhere - it's not like anyone can any money from not releasing in whatever form, for example the '04 version. Keeping it locked up won't advance the franchise. Put it out there, let people see it, and become interested. They'll want more. They'll pay for the DVD's of the OS, of '91, et. al. I guess these "marketers" know more than I do.
Gerard
-
If the rights to the '04 pilot are owned by WB, it may indeed be a cold day in hell before the material ever sees the light of day. I had tea with a friend yesterday who was telling me that Warners has become notorious for not allowing material of their to be streamed or available in digital formats. They can be really tenacious about keeping under lock and key stuff they haven't licensed, for whatever reason.
I don't think it has to do with DCP at this point.
G.
-
I wonder if we'd ever be able to see it at a fest again. It would be great for the 50th anniversary.
-
We'll see. It may depend on how much available time there is in the schedule.
-
The Collinsport Historical Society just posted (or re-posted?) a digital form of a 2005 Fangoria article about the pilot:
http://www.collinsporthistoricalsociety.com/2015/11/the-lost-dark-shadows-2004.html
G.
-
Thanks, Gothick! That clip!!!! *thud*
-
Yes, I like both videos.
I often think that this is the one version I would have really gone for. I'll never forget the first clips shown at a fest (I always think it's Vegas and think I am always wrong) - Blair Brown strutting her stuff as Liz Stoddard across the screen to greet Victoria. It was very exciting. My heart sank but it was from OSSS, lol. I really don't remember anything else from it. I was very eager to see BB as Liz but I was already happy with MM as Angelique and hopeful for AN as Barn - he had the right stuff.
I never saw the completed version.
-
If I'm remembering correctly, that article was published online. But at any rate, it wasn't part of the Fangoria #239 issue, which seems to be, probably unintentionally, implied by the way CHS is presenting it. The quite lengthy article in issue #239 was written by Darren Gross and is one of the best articles ever written about the '04 pilot - plus it features many more photos.
But be all that as it may, it's still nice to see an article about the '04 pilot getting showcased again. And thanks, Gothick, for sharing the link! [easter_smiley]
-
That's a luscious shot of Barnabas and Vicki today.
I'm sure DarkLady will post her approval when she reawakens from the deep blissful swoon into which she undoubtedly fell at the sight of Alec Newman's intense eyes and cheekbones and his gorgeous hair.
G.
-
Indeed, Gothick! I woke briefly, only to swoon all over again! [easter_grin]
-
and who can blame you?
Alec Newman's Barnabas was deeply, romantically, irresistibly SEXY.
G.
-
I don't know, but Alec Newman's Barnabas always struck me as wrong (I only have the stills to go by, though). And with today's screen capture, I think it finally hit me why: he looks a little too much like Keith Partridge. [santa_shocked]
-
[pointing-up] [laugh] Though Newman has 100 times the acting talent that David Cassidy could ever dream of having!
-
[santa_smiley]
-
Better late than never, I suppose, but it never dawned on me until today that today's quote -
Page 33 - Elizabeth: 'My daughter, Carolyn. She was... injured. Bitten by some sort of animal.'
- would certainly seem to indicate that Roger never told Liz that Dr. Hoffman had discovered human saliva in Carolyn's wound.
I also love how Liz waves her hands in anger and frustration when she brings up that Carolyn was bitten by some sort of animal -
(http://www.dsboards.com/2004pilotquoteimages/Page33_0.jpg)
- but it's really Barnabas' reaction to that description of the attacker that's most interesting because at first he seems almost insulted -
(http://www.dsboards.com/2004pilotquoteimages/Page33_1.jpg)
- but then he seems embarrassed -
(http://www.dsboards.com/2004pilotquoteimages/Page33_2.jpg)
-
Wonderful captures, MB! What a gorgeous man he is!
G.
-
And today is another iconic DS moment: Liz just said, "Roger, PLEASE!"
That can never be repeated enough. Some people have criticized Liz in the pilot, but it's moments like today's quote where I definitely see the classic Liz...
-
When I watched the new edit when it was briefly on the Tube a couple of months ago, I liked Blair's performance more than I had done the first time around. Even the welcoming scene seemed to make more sense, somehow. It might just have been my frame of mind.
Best, G.
-
Yesterday/today's exchange between Vicki and Barnabas is one of my absolute favorite moments in the pilot:
(http://www.dsboards.com/2004pilotquoteimages/Vicki_Met.jpg)
"Have we met?"
514X360 (http://www.dsboards.com/2004pilotquoteimages/Vicki_Met.jpg) | (http://www.dsboards.com/2004pilotquoteimages/Met_Barn.jpg)
"I would have remembered."
514X360 (http://www.dsboards.com/2004pilotquoteimages/Met_Barn.jpg) |
From the moment I'd first seen it I've always been fascinated that in this version of things it's Vicki and not Barnabas who first acknowledges their connection...
-
Thankfully the YouTube version of the pilot didn't mess with what is one of my favorite sequences. But before we get into it, let's go back to two posts I made in the pilot's slideshow topic:
As for the new sequence, the script explains it all as:
INT. VICTORIA'S BEDROOM - COLLINWOOD - NIGHT
Blue moonlight filters through the window as Victoria slips on her nightgown. She's just pulling back the bed-covers when she stops, as if SENSING SOMETHING. Curious, she goes to the balcony doors...
EXT. VICTORIA'S BALCONY - COLLINWOOD -. NIGHT
She steps out and looks across the dark grounds. CUT TO:
BARNABAS' NIGHT-VISION POV.
Watching Victoria from a distance. Eerie, deep blue.
But nothing like that plays out in the pilot. What does happen in the pilot is actually far more interesting. However, before I get into what does actually happen, I need to track down an extra I want to include in my post to better illustrate it. But I will throw in two bits of trivia now:
1) The sequence was the first that Alec Newman shot after being cast as Barnabas.
2) It's the only sequence in the pilot in which Barnabas is seen with fashionable stubble. And that's because TPTB didn't like the look after they saw it on film. But time ran out and they were never able to reshoot the sequence.
So, what does actually happen in the pilot? Well, later in the night after Vicki has already gone to bed Barnabas actually shows up at Vicki's bedside, and it's at that point that today's quote -
Page 36 - Barnabas: 'Josette. You've come back to me.'
- is delivered by Barnabas (though it is scripted in other circumstances that I'll wait until tomorrow to get into). However, as Barnabas prepares to bite Vicki, as in similar scenes in both the original series and the '91 DS, he can't bring himself to go through with it. In the pilot Barnabas cries out mournfully, startling Vicki awake - but he flees from the room before she sees him. But the really interesting bit comes after Vicki has awakened and looks to see if anyone is in her room and what the audience sees is Barnabas hanging upside down and clinging to the exterior wall of Collinwood above Vicki's bedroom window and out of her sight (very much in the style of Louis Jourdan's Dracula in PBS' 1977 Count Dracula). And out there Barnabas laments "Josette" before the scene comes to its end.
And to help people who haven't seen the pilot to better picture Barnabas in this scene, here are two shots of Alec Newman from when he played a vampire on NBC's Dracula this past November:
(http://www.dsboards.com/2004pilotquoteimages/Drac-1.jpg)(http://www.dsboards.com/2004pilotquoteimages/Drac-2.jpg)
Sure, Newman is almost ten years older, has a different hairstyle, and is wearing different clothes - but the shots are a good way to approximate Barnabas' look in the scene, right down to his fashionable stubble. [ghost_wink]
Observant members who've seen the pilot at the Fests or on YouTube may have already noticed that this sequence makes up more than half of this month's background for the pilot. That's how much I love it. And here are some selected captures from it - some that I used for the background, but presented here in their natural state (meaning not colored blue) - and some that I didn't use for the background because they wouldn't have worked well for it:
(http://www.dsboards.com/2004pilotquoteimages/Abort_bite_1.jpg)
514X360 (http://www.dsboards.com/2004pilotquoteimages/Abort_bite_1.jpg) | (http://www.dsboards.com/2004pilotquoteimages/Abort_bite_2.jpg)
514X360 (http://www.dsboards.com/2004pilotquoteimages/Abort_bite_2.jpg) |
(http://www.dsboards.com/2004pilotquoteimages/Abort_bite_3.jpg)
514X360 (http://www.dsboards.com/2004pilotquoteimages/Abort_bite_3.jpg) | (http://www.dsboards.com/2004pilotquoteimages/Abort_bite_4.jpg)
514X360 (http://www.dsboards.com/2004pilotquoteimages/Abort_bite_4.jpg) |
(http://www.dsboards.com/2004pilotquoteimages/Abort_bite_5.jpg)
514X360 (http://www.dsboards.com/2004pilotquoteimages/Abort_bite_5.jpg) | (http://www.dsboards.com/2004pilotquoteimages/Abort_bite_6.jpg)
514X360 (http://www.dsboards.com/2004pilotquoteimages/Abort_bite_6.jpg) |
(http://www.dsboards.com/2004pilotquoteimages/Abort_bite_7.jpg)
514X360 (http://www.dsboards.com/2004pilotquoteimages/Abort_bite_7.jpg) | (http://www.dsboards.com/2004pilotquoteimages/Abort_bite_8.jpg)
514X360 (http://www.dsboards.com/2004pilotquoteimages/Abort_bite_8.jpg) |
Considering the way things play in the pilot are not the same as what appears in the script, it would be very interesting to know who conceived things as they appear in the pilot... But I suppose we may never know...
-
I keep forgetting to remind that the reason the pilot's background for September and its slideshow currently feature captures from a scene between Vicki and Liz that took place in the pilot much earlier and was first showcased in the May background) is because that scene was actually a combination of a scene that takes place in the script on pages 27 through 29 and one that takes place later in the script on pages 41 through 43 (oddly, there are no scene numbers in the pilot's script) and the slideshow follows the script, not the way things were edited in the pilot. Or should I says pilots because when it comes to the version on YouTube, it's a second edit of the pilot...
-
Another favorite exchange is yesterday's and today's quotes in the slideshow between Vicki and Liz:
(http://www.dsboards.com/2004pilotquoteimages/Not_talk.jpg)
"Did you really think not
talking about it would make
it go away?"
514X360 (http://www.dsboards.com/2004pilotquoteimages/Not_talk.jpg) | (http://www.dsboards.com/2004pilotquoteimages/Lie.jpg)
"No, but sometimes it's
easier to live
with a lie."
514X360 (http://www.dsboards.com/2004pilotquoteimages/Lie.jpg) |
Ignoring problems and living with lies are such classic Collins' behaviors...
-
I hadn't noticed the physical similarities between Marley Shelton and Blair Brown quite so much before. Even the hairstyles are similar. I wonder if they were going to explore the issue of Vicki's parentage in this DS.
-
Mark Verheiden (head writer and exec producer along with John Wells) said that was something they definitely wanted to explore...
-
I'm no expert on water tables, water seepage, or old cemeteries, but one thing that I found a bit strange was that as David made his way to the place in the old cemetery where the woman's voice was luring him, he had to cross a small stream -
(http://www.dsboards.com/2004pilotquoteimages/Cross_water.jpg)
- or some such. Now, would there really be any sort of natural body of water in a cemetery? Wouldn't the graves be potentially in danger of damage from water seepage (and isn't that a main reason a place like New Orleans puts its graves above ground in its cemeteries)? But maybe we're not supposed to think about that. Though the interesting thing is that David crossing the water is not in the script. In fact, the scene isn't even scripted to take place in the old cemetery - it's supposed to take place in woods near the Old House. So, one might presume it was something director P.J. Hogan came up with when he was staging the scene.
Granted, it's effective - but...
-
I'm no expert on water tables, water seepage, or old cemeteries, but one thing that I found a bit strange was that as David made his way to the place in the old cemetery where the woman's voice was luring him, he had to cross a small stream -
- or some such. Now, would there really be any sort of natural body of water in a cemetery? Wouldn't the graves be potentially in danger of damage from water seepage (and isn't that a main reason a place like New Orleans puts its graves above ground in its cemeteries)? But maybe we're not supposed to think about that.
Good question, MB. I'm most certainly not an expert myself either, but I suspect there'd be quite a bit of difference between running water and standing bodies of water. For instance, there is a stream that runs through Sleepy Hollow Cemetery in Tarrytown (although I don't know how close it is to any gravesites). But then as you say, there are places like New Orleans, where bodies are interred above ground, for obvious reasons...
-
Oops - I forgot to post the other day that I just love the way Angelique is introduced in the pilot - all flowing hair and dress, and floating over to David. it's definitely worth memorializing in an animated GIF:
[spoiler]Angelique GIF (http://www.dsboards.com/2004pilotquoteimages/Ang.gif)
For people with slower connections, the first time though will likely take a while to download because the file is 38.4MB (1052 frames) - but all the better to watch the GIF load frame by frame. [hall2_wink][/spoiler]
(And for now I've posted the GIF as a link rather that one that will automatically begin because the Spoiler feature isn't fixed yet. And because of that, when you click the link the GIF will open and download in a new window...)
-
I know I may be one of the few who do, but I always find it interesting when stills are framed differently from the way a moment in the actual series/film is framed. Case in point, today's still -
(http://www.dsboards.com/2004pilotquoteimages/1108ds2004_0.jpg)
- versus a screen shot -
(http://www.dsboards.com/2004pilotquoteimages/hall.jpg)
- not to mention how Matt Czuchry's Willie is more of a blur in the background while he's at least partly in focus in the still...
-
No, MB, you're not alone in that.
-
I assume the still is a frame of the movie - how can it be different?!
-
The still is a photo that was taken during the production of the pilot (it appears in the Pompress book Return to Collinwood). The screen shot is from the actual pilot.
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Thank you! I hadn't realized it was a separate photo. I always assumed it came from the film itself.
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Speaking of that still, I could have sworn that back in '14 I'd mentioned that I took the liberty of still using it after the action in the script and the pilot shifts to the foyer (or the Front Hall, as the script refers to it). As anyone who's seen the pilot knows, the switch in location takes place when Vicki brings up that she thought Willie worked for Roger, which was the 6th's installment in the slideshow, but I kept using the still from the scene in the hall until the 21st's installment.
And while we're on the subject of the foyer/Front Hall scene, isn't it interesting that Willie's wound on his neck has healed so much more quickly -
(http://www.dsboards.com/2004pilotquoteimages/WillieWound.jpg)
- than we had seen Carolyn's has -
(http://www.dsboards.com/2004pilotquoteimages/CarolynWound.jpg)
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Is it just me or does Julia seem to become more brilliant with each iteration of DS?! After Joe asks Julia if the injection Julia is giving Carolyn is "some sort of antirabies drug," today's quote in the slideshow for the '04 pilot has Julia telling Joe:
Page 38 - Dr. Hoffman: 'No, it's a special vaccine I designed,
just for Carolyn. Her blood work's been a little off since she
was hurt and I'm hoping this will clear it up.'
In the pilot's script it doesn't seem as if too much time has passed between the time Julia begins treating Carolyn at the hospital and Carolyn goes home, which is where Julia administers the referred to injection, so apparently Julia whipped up what would seem to be a perfected vaccine awfully quickly. But then, in the pilot Julia is instantly certain there's much more to Carolyn's attack than meets the eye, so on day one she's already ahead of the game versus her previous incarnations.
Interestingly, though, the scene the quote comes from was never shot for the pilot, so had the pilot gone to series, it wouldn't have been a part of the show's canon. Well, unless they shot it once the show went into production and then it was edited in...
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I wonder if they would have found a way to incorporate Kelly Hu's martial arts skills, making Julia even more formidable
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It's really too bad that today's entry in this slideshow didn't happen yesterday - or maybe it's that yesterday's entry in the "MUST" slideshow didn't happen today. It would have been great if they'd completely coincided. But even coming up a day apart, today's entry proves how truly Classic DS some moments of the '04 DS pilot are. Yesterday's entry in the "MUST" slideshow brought up an excerpt from Robservations that included Liz delivering her tried and true "Please, Roger" an occasional variation of "Roger, please." Both are delivered whenever Liz believes Roger has stepped over a line. Yesterday's example was prompted by the original Roger making snide comments about Jason staying at Collinwood. Today's example was prompted by the '04 Roger making a snide comment about Barnabas' existence on the family tree. Classic DS either way!
And to better appreciate today's example, rather than use the graphic that I made before there was any access to a copy of the pilot, here's a screen cap of the actual moment:
(http://www.dsboards.com/2004pilotquoteimages/Roger_please.jpg)
Liz - 'Roger, please.'
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I know I've said this before, but I can never point out too often that yesterday/today's exchange between Vicki and Barnabas is one of my absolute favorite moments in the pilot:
(http://www.dsboards.com/2004pilotquoteimages/Vicki_Met.jpg)
"Have we met?"
514X360 (http://www.dsboards.com/2004pilotquoteimages/Vicki_Met.jpg) | (http://www.dsboards.com/2004pilotquoteimages/Met_Barn.jpg)
"I would have remembered."
514X360 (http://www.dsboards.com/2004pilotquoteimages/Met_Barn.jpg) |
The change of Vicki and not Barnabas being the first to acknowledge their connection can't help but make one wonder what other types of changes there might have been had the pilot gone to series...
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Today's entry in the slideshow is a rather rude remark about the people of Collinsport:
(http://www.dsboards.com/2004pilotquoteimages/Impress.jpg)
Page 13 - Kelly: 'It's Collinsport, Willie. People
impress easily.'
Though it's also something that's probably quite true. [easter_wink] And chances are that, unlike a lot of such lines in the script, it's why it actually makes it into both the Fest version and the online version of the pilot...
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And speaking of lines in the script that don't make it into the pilot, a perfect example of that is today's "must" quote in the slideshow:
(http://www.dsboards.com/2004pilotquoteimages/0613ds2004_0.jpg)
Page 29 - Hoffman: 'Ben Griffin found her inside his
garage. From the look of things, she must have fallen
through the skylight.'
And as anyone who's seen any version of the pilot knows, the reason the lines don't appear in the pilot is because parts of Carolyn's attack were staged very differently from they way they appear in the script. All of that is explained in this topic in this post:Reply #317
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And today we have another "must" quote in the slideshow for the pilot:
(http://www.dsboards.com/2004pilotquoteimages/0707ds2004_0.jpg)
Page 32 - Barnabas: 'A tragic lack of imagination on the
part of my parents. (kissing her hand) You must be my
cousin Elizabeth.'
Though, unlike the previous one, this one did make it into the pilot:
(http://www.dsboards.com/2004pilotquoteimages/Must_be_cousin_Elizabeth.jpg)
Barnabas - 'You must be my cousin Elizabeth.'