-
You may have already noticed and have been asking yourself why the slideshow for the '91 DS has returned to the BoardIndex page. Well, it's not quite the slideshow for the entire series because this year we're going to be focusing on the pilot script for the series because, for one, 2015 is the 25th anniversary of the shooting of that pilot (which began shooting on March 19, 1990). And for two, just as was the case with the script for the '04 pilot, the script for the '91 series' pilot contains dropped lines, extended bits of scenes, completely dropped scenes (meaning not even restored for the MPI VHS tape), scenes in a different order in the script, scenes that were never even shot, and scenes that were shot for the pilot but held for subsequent eps of the series.
And considering that the forum didn't exist back in '90 (hell, there wasn't even such a thing as a Web page or a way to display images on the Internet back then - plus Midnite, dom, and I weren't even on the Internet back then (I didn't first log on until '94)), we'll also be sharing press releases and articles detailing with the buildup to the series. In fact, even though the deal for the pilot was made in October of 1989, news of it didn't leak until December, making for a great Christmas gift.
So, enjoy the ride. It should definitely be fun...
-
Thanks, MB. Looking forward to it!
-
That sounds absolutely fascinating!! [8_2_76] [8_2_76]
-
Here's how the script details the initial set up:
DARK SHADOWS
Show 1 |
FADE IN:
1 EXT. RAILROAD TRACKS - DUSK
It’s a cold, grey October day. An old Amtrak diesel looms out
of the fog.
As it roars by CAMERA, its lonely whistle ECHOING, PAN WITH IT,
revealing in its wake, the rock-bound, unforgiving New England
coastline.
2 INT. TRAIN - PASSENGER CAR - MOVING
VICTORIA WINTERS, a beautiful, dark-haired woman of twenty-five,
sits quietly by the rain-spattered window, staring out at the
stormy Atlantic.
A beat, and then the SOUND of her VOICE begins to FILTER IN:
|
And that's where today's quote -
Page 1/Scene 2 - Vicki (V.O.): 'My name is Victoria Winters ... My journey is just beginning ... A journey that I am hoping will somehow begin to reveal the mysteries of my past ...'
- comes in.
-
I forgot to mention yesterday that until I first read the script I had no idea that Vicki was supposed to arrive in Collinsport in October (I don't believe there's any indication of it in the actual pilot) - and then I completely forgot about it until I reread the script for this topic. But I wonder if that's where the '04 pilot and the Depp/DS film got the same idea?
Also, it's interesting that along with Steve Feke and Dan Curtis, Hall Powell and Bill Taub get credit for the script in the credits of the pilot, though Powell and Taub don't get credit on the actual script itself - not even for the rewritten parts (which we'll point out as they come up).
-
Today we're sharing the first wire release:
'Dark Shadows' returns
Burbank, Calif.-"Dark Shadows," the super-
natural daytime serial that appeared with more
than 1,000 episodes on ABC from 1966 to 1971,
will re-emerge on rival NBC in the form of a two-
hour made-for-TV movie. Slated for production in March, the movie
will serve as a pilot for a possible prime-time series and marks the
return of the original "Dark Shadows" producer Dan Curtis to the effort.
Electronic Media 12-25-89
Future press releases and articles will be shared on the date they were issued/published...
-
The script instructs that -
CAMERA BEGINS A LONG, SLOW TIGHTEN to her.
|
- before today's quote -
Page 1/Scene 2 - Vicki (V.O.) (CONT'D): 'It is a journey that will bring me to a strange and dark place ... to a house high atop a stormy cliff at the edge of the sea ... a house called Collinwood'
- and then continues with:
-
Before we deal with today's quote, there's info on some preface pages in the script that I want to share - and some of the info will certainly give some clues to scenes that do not appear in the pilot (and will also point to the fact that Daphne was intended to be a Stoddard - and not a Collins - and how that production design person screwed up):
Revised 2/28/90 ================================================
DARK SHADOWS
Episode #1
CAST LIST |
BARNABAS COLLINS
VICTORIA WINTERS
ELIZABETH COLLINS STODDARD
ROGER COLLINS
JULIA HOFFMAN
CAROLYN STODDARD
WILLIE LOOMIS
JOE HASKELL
DAVID COLLINS
PROFESSOR MICHAEL WOODARD
MRS. JOHNSON
SHERIFF PATTERSON
DR. HYRAM FISHER
MAGGIE EVANS
SAM EVANS
SARAH COLLINS
DAPHNE STODDARD
PARAMEDIC #1
PARAMEDIC #2
MUSCLES
|
(MORE) |
Revised 2/28/90 ================================================
DARK SHADOWS
Episode #1
SET LIST |
COLLINWOOD
STUDY
KITCHEN
DRAWING ROOM
DINING ROOM
GREAT HALL
FOYER
SECOND FLOOR HALLWAY
VICKI'S BEDROOM
VICKI'S BATHROOM
DAVID'S BEDROOM
SCHOOL ROOM
DAPHNE’ S BEDROOM
THIRD FLOOR HALLWAY
STUDIO ROOM
JULIA'S LAB
STABLE
WILLIE'S GARRET ROOM
STAIRS
STALLS
|
(MORE) |
Revised 2/28/90 ================================================
SET LIST (Cont'd)
|
FAMILY CEMETARY
MAUSOLEUM
CRYPT
SECRET ROOM
OLD HOUSE
FOYER
DRAWING ROOM
BASEMENT
UPSTAIRS CORRIDOR
JOSETTE'S ROOM
COLLINS PORT HOSPITAL
DAPHNE'S ROOM
CORRIDOR
SEROLOGY LAB
STOKES' COTTAGE
STUDY
BLUE WHALE
NYU
SEROLOGY LAB
HALLWAY
JULIA’S OFFICE
COLLINS PORT INN
JULIA’S ROOM
WILLIE'S PICKUP
|
(MORE) |
Revised 2/28/90 ================================================
SET LIST (Cont'd)
|
JOE'S CAR
CAROLYN'S CAR
ROADHOUSE
TRAIN PASSENGER CAR
EXTERIORS
COLLINWOOD
GROUNDS
MAIN HOUSE
FRONT DOOR
WOODS
STABLES
DRIVE
COURTYARD
FAMILY CEMETARY
MAUSOLEUM
OLD HOUSE
COLLINSPORT
HELICOPTER SHOT
STREET
WIDOW’S HILL
ROCKY COVE
BLUE WHALE
ROTOLO'S GAS STATION
WOODARD'S COTTAGE
|
(MORE) |
Revised 2/28/90 ================================================
SET LIST (Cont'd)
|
TRAIN STATION
PLATFORM
RAILROAD TRACKS
ROADHOUSE
PARKING LOT
COLLINSPORT INN
|
-
After today's quote -
Page 1/Scene 2 - Vicki (V.O.) (CONT'D): 'To a world I've never known, with people I've never met people, who tonight, are still only vague shadows in my mind, but who will soon fill all the days and nights of my tomorrows.'
- the script instructs -
| And as HER EYES FILL THE SCREEN, we HOLD a beat, and . . . |
- however, the interesting thing about the conclusion of Vicki's voiceover is that in the script it's completely contained within Scene 2, but in the pilot, though it begins in Scene 2, it actually plays completely over Scene 3 and into Scene 4. And here's how the script describes those two scenes:
3 EXT. COLLINWOOD - NIGHT
An isolated English Manor House, atop a rocky coastal cliff
known as “Widow’s Hill”, overlooking the dark Atlantic and the
small Maine fishing village of Collinsport.
A STORM is brewing. The WIND HOWLS, rushing up the rocks off
the sea to MOAN LIKE A BANSHEE between the Manor’s many gothic
turrets and spires.
A large stone structure, built in the 1700s, the house is three
stories in height, with dark, deserted wings extending in both
directions ... Mostly closed-off now, it is overrun with vines
and leaves -- shrouded with tall, dark, forbidding trees.
The sole remaining members of the Collins family ... walk like
ghosts through its dark corridors.
4 INT. COLLINWOOD — SECOND FLOOR HALLWAY - NIGHT
As MRS. JOHNSON, the family housekeeper of forty years, early
60s, high-necked long black dress (“Rebecca’s” Mrs. Danvers)
walks TOWARD CAMERA carrying a pile of fresh towels.
In the b.g., a tall GRANDFATHER CLOCK CHIMES the hour. 8:00p.m.
HOLD as she turns into an open doorway by CAMERA.
|
Though as anyone who has actually seen the pilot knows, the camera does not go in far enough for Vicki's eyes to fill the screen, nor is there a clock in the hallway at Collinwood that strikes the hour of 8:00p.m.
-
Okay....okay....I can't catch my breath....
1st, MB....how/where did you get actual script(s) for '90/'91??
VICKI'S BATHROOM.....BATHROOM PEOPLE...DID YOU READ THAT!!!???
Also, on the cast, it's a Dr. (Male Name), and also, Julia Hoffman; when I saw the rooms, I see Julia has a lab.
Why would Julia Hoffman, and not Dr. (Male Name) have a lab?
A BATHROOOOOOOOOOOMMMMMMMM!!!!!!!
MB.....you have to give MAJOR MAJOR WARNINGS for anyone here over the age of 40!!!!
.....ick.....'Daphne'........ick
So, in this version, Barn is introduced right away???
Was the first airing a 2-hour tv movie, or (2) 1-hour eps?
Patti
-
I was thinking about bathrooms at Collinwood for some reason today and I realized that in hoDS, there is a scene where Carolyn has just come out of a bathroom, presumably one equipped with a shower, if I recall correctly.
Granted, the bathroom wasn't actually SHOWN.
G.
-
1st, MB....how/where did you get actual script(s) for '90/'91??
Mysterious benefactors have their ways. [santa_wink]
Also, on the cast, it's a Dr. (Male Name), and also, Julia Hoffman; when I saw the rooms, I see Julia has a lab.
Why would Julia Hoffman, and not Dr. (Male Name) have a lab?
He does have a lab - it's just that his is at the hospital. But if you notice, Julia has two labs...
MB.....you have to give MAJOR MAJOR WARNINGS for anyone here over the age of 40!!!!
I'll try to remember that. [santa_cheesy]
So, in this version, Barn is introduced right away???
Well, at least part of him is seen fairly quickly.
Was the first airing a 2-hour tv movie, or (2) 1-hour eps?
A 2-hour movie.
-
Before we get to today's quote, the script continues with Scene 5 and the start of Scene 6:
5 INT. BEDROOM
As she enters TO REVEAL ... ELIZABETH COLLINS STODDARD, the
mistress of Collinwood ... arranging a vase of fresh cut
flowers.
Middle 60s, still attractive, with a proud aristocratic bearing,
Elizabeth is a woman of great strength and determination
yet one can see a fleeting echo of pain etched in the sharp
lines around her mouth.
MRS. JOHNSON
I've done everything I can to make
it comfortable.
She crosses into the bathroom to put the towels on a shelf.
LIZ
Those Turkish pillows in the
storage room. Perhaps a few of
them on the sofa --
Mrs. Johnson crosses back into the room, looks it over.
(CONTINUED)
Revised 2/28/90
5 CONTINUED:
MRS. JOHNSON
I hope she likes it ... a young
woman from New York.
Elizabeth sets down the vase on the dresser.
LIZ
It will feel odd having a stranger
in the house.
MRS. JOHNSON
Forgive me for saying so, Mrs.
Collins, but I’m sure you made
the right decision.
CAROLYN (O.S.)
You can say that again.
6 ANOTHER ANGLE
TO REVEAL CAROLYN STODDARD, Elizabeth's young (18), pretty,
blonde daughter entering the room.
|
Though,again, as anyone who has seen the pilot knows, Mrs. Johnson doesn't go into the bathroom - she puts the towels down on a chair. Also, Carolyn doesn't deliver her first line from off screen - that bit moves to Scene 6 as we see Carolyn entering the room, which brings us to today's quote -
Page 3/Scene 6 - Carolyn: 'I can't wait for this lady to get here. Because if I have to chase after David one more time, I'm gonna lock the twerp in a cage and nuke the keys.
- which is not what Carolyn actually says in the pilot. She says "I hope she brings a whip and a chair... that's the only thing I haven't tried with David."
-
After Liz is scripted to respond with -
LIZ
Oh Carolyn, you don't really mean
it.
|
- though she actually says "Carolyn, you don't really mean that", today's quote comes up -
Page 3/Scene 6 - Carolyn: (a beat) 'You're right. Wasting the keys doesn't solve anything. It'd be just as easy to blast the little fruit-loop into never-never land cage and all.'
- however, what Carolyn says in the pilot is "You're right, Mother ... I haven't tried ... wringing his neck."
-
Today we're sharing a blurb:
# NBC had ordered a two-hour movie
based on "Dark Shadows," the 1970s cult
soap opera with a gothic horror theme. No
word yet on whether or not any of the original cast
will return.
The Tampa Tribune 1-5-90
-
So far I like Carolyn's spoken dialog better than the stuff they scripted for her. Good changes, imo.
-
I just noticed that the set list refers to Stokes' cottage, rather than Woodard's. Script blooper? [santa_wink] [santa_rolleyes] [santa_wink]
-
[pointing-up] I've been wondering if anyone was going to catch that. [santa_wink] And there's also a blooper in one of Mrs. Johnson's lines that we've already seen...
Also, a quick heads up that there are two quotes in the slideshow today and, unfortunately, as is the case with the second Robservations slideshow, one has to click on the right button and then click on the left button to first get the first quote to appear with the first graphic or click either button twice. After that, everything lines up fine...
-
I'm glad this '90 version AT LEAST has Carolyn at 18.
We can tell from OS she's in very early 20s.
I hate-hate-HATE how young (childish truth be told) in 2012 coverage.
Just my opinion,
Patti
-
I think, but am not sure (based upon the Leviathan story line) that Carolyn was born in 1947, which would make her 19 at the beginning of the OS. The '91 version seems a bit older (maybe a couple-or-so years). Of course, the '12 version was 16. As to the age of the '04 Carolyn, just from the wonderful presentation here, she seems to mirror more the '91.
Gerard
-
After yesterday's quote from Carolyn, the script continues with:
Just then, we SEE another young girl, DAPHNE, Elizabeth's niece,
attractive, middle 20s, appear in the doorway.
DAPHNE
Aunt Liz, the folder with the
household checks and your
estimated tax is in the study.
LIZ
Thank God there’s one practical
Collins left in this world.
(CONTINUED)
Revised 2/28/90
6 CONTINUED:
Carolyn and Daphne exchange a smile. She shrugs into her coat,
crosses to kiss Elizabeth on the cheek.
DAPHNE
I just have to go over Sam's books
at the Blue Whale. I'll be home
early.
(CONTINUED)
|
And then at the top of the next page is when Carolyn's first quote from today -
Page 4/Scene 6 - Carolyn: 'I bet Sam's books aren't the only thing you wanna go over... (with a smile) Joe Haskel's probably going to be there too.'
- comes up. And after the script indicates that Daphne chuckles, Carolyn's second quote from today -
Page 4/Scene 6 - Carolyn (CONT'D): 'You know, if you ever get bored with that gorgous hunk, I know somebody who'll be happy to take him off your hands.'
- comes up. Though, of course, all of that is dropped from the pilot. But it's quite interesting that originally the plan was from almost the very outset to establish that Carolyn has the hots for Joe.
And yes - it is the script that misspells gorgeous.
-
Today there are three quotes in the slideshow, so, again, one has to click on the right button and then click on the left button to first get the first quote to appear with the first graphic or this time you can click either button three times...
-
Caught the Mrs. Johnson blooper! [snow_cheesy]
-
The script continues with:
In the b.g., Mrs. Johnson is smoothing the comforter on the bed.
Suddenly, she reacts to something under the pillow.
|
And that's where today's first quote -
Page 4/Scene 6 - Mrs. Johnson: 'What's this?! I didn't put this here.'
comes up - and the scene continues:
The others turn to look. She removes a closed shoebox from
under the pillow.
CAROLYN
(shaking her head)
I don't think we should open
that... unless somebody has a
shotgun handy.
Elizabeth looks at her daughter, frowns.
LIZ
Nonsense. Hand it here, Mrs.
Johnson.
The woman crosses over, hands it to her. The others gather
around.
7 INSERT - BOX
As Liz's hand ENTERS SHOT, removes the lid TO REVEAL ... a very
large dead RAT! It's head pulverized, its blood all over the
inside of the box.
LIZ (O.S.)
(gasps)
Oh, my God!
8 BACK TO SCENE
she drops the box, the others stare in horror.
(CONTINUED)
Revised 2/28/90
8 CONTINUED:
|
And that point is when today's second quote -
Page 4A/Scene 8 - Carolyn: 'David's "Welcome to Collinwood".'
- comes up - and the scene continues:
Liz turns angrily.
(CONTINUED)
Revised 2/28/90
8 CONTINUED: (2)
LIZ
Where is he Carolyn?
And she starts for the door.
CAROLYN
Don’t bother, mother. You're not
going to find him.
Liz stops, turns to face them, the frustration showing on her
face. Mrs. Johnson is picking up the box.
Carolyn sighs.
|
And then Carolyn delivers today's third quote -
Page 5/Scene 8 - Carolyn: 'Poor Victoria Winters...'
- and the scene concludes with:
-
This point in the script is where the pilot first deviates from the script by juggling scenes. In the pilot, the next scene takes place between Roger and Liz. However, the next thing the script deals with is Vicki's arrival at the train station:
9 EXT. COLLINSPORT — TRAIN STATION - NIGHT
An antiquated, Victorian, one-room station house, long out of
service. O.S. the SOUND of the TRAIN APPROACHING.
CAMERA PANS ACROSS the deserted platform to HOLD it pulling into
the station.
WE WATCH as Vicki, suitcase in hand, steps down onto the
platform.
10 CLOSE - VICKI
As the train pulls away leaving her Standing there all alone, in
the darkness ... She pulls up her collar, looks around
Nobody is there to meet her.
11 AT PAY PHONE
As she ENTERS SHOT, picks up the receiver, it comes away in her
hand. She stands there for a beat, then looking around, walks
out of shot.
|
Though there are a few differences in the pilot. For one, a conductor brings Vicki's suitcase out of the train and then she follows to pick it up and to begin walking away as the train pulls away. Also, she doesn't pull up her collar - but she does indicate that it's quite cold as she looks around hoping that someone is there to greet her. And lastly, when this sequence comes up in the pilot, Scene 11 is dropped - though it could have been amusing. And it is interesting that there's also a pay phone bit in the '04 pilot.
-
Another blurb:
... Dark Shadows
fans, rejoice: a two-hour made-for-tv
movie, based on the daytime series is
slated for production in March, and will
air on NBC. Although nothing's defi-
nite at this point, there's a chance the
movie will serve as a pilot for a possible
prime-time series. Original Dark Shad-
ows producer Dan Curtis is at the helm.
Also: episodes 6-20 of Dark Shadows are
being sold in a three-pack video and
episodes 1-5, The Resurrection of Bar-
nabas Collins, is also available.
SOAP OPERA NOW 1-8-90
Ah, those were exciting times to be a DS fan. Not only could we look forward to a new movie and a potential new series, the original show was starting to be released on VHS by MPI.
-
After Vicki's arrival at the train station, the script deals with the scene between Roger and Liz. Here's how it's introduced:
Revised 2/28/90
12
thru OMITTED
14
15 INT. COLLINWOOD - STUDY - NIGHT
CLOSE ON ROGER COLLINS, a tall, lean, dark-haired, brooding, man
in his late 30s (the tortured Rochester type of "Jane Eyre"),
as he stares BY CAMERA.
ROGER
David did what?! A rat in a
shoebox?!
ANGLE WIDENS TO INCLUDE Liz standing with her brother in front
of the fire. He has a glass of brandy in his hand.
Liz just nods.
ROGER (CONT’D)
We don’t need a governess, we need
a psychiatrist.
LIZ
Roger, please
|
However, as is quite often the case, things are a bit different in the actual pilot. For one, the scene opens with the wide angle, showing both Roger and Liz - though as can be seen in the screen caps for today, neither are standing in front of the fire and Roger (shockingly!) does not have a brandy. Also, when it comes to today's first quote -
Page 6/Scene 15 - Roger: 'David did what?! A rat in a shoebox?! We don't need a governess, we need a psychiatrist.'
- Roger delivers it all at once, followed closely by Liz' line/today's second quote.
It's also interesting that while there's really no hint of this pilot's Vicki having some sort of psychiatric training, there is when it comes to the Vicki of the '04 pilot.
And who knew that room was supposed to be the study - I always presumed it was the drawing room, which is also how it is identified in the synopses for the pilot in the SHADOWS IN THE '90s: The Dark Shadows Concordance 1991 and Dark Shadows Resurrected books. [snow_undecided]
-
11 AT PAY PHONE
As she ENTERS SHOT, picks up the receiver, it comes away in her
hand. She stands there for a beat, then looking around, walks
out of shot.
|
....it comes away in her hand.
Huh?? [snow_huh]
Patti
-
I didn't get the chance yesterday to deal with yesterday's quote, so a bit of a belated continuation with Scene 15:
ROGER
Elizabeth, you've never even met
this girl. She’s been hired by
our lawyer!
LIZ
It doesn't matter. I have
absolute faith in his judgement.
Roger shakes his head in disbelief.
ROGER
She's a twenty-five year old girl!
LIZ
She's highly qualified.
ROGER
(then, in frustration)
All right, since I've been unable
to convince you that boarding
school is the answer ... let's
at least try to put him back in
the town school.
(CONTINUED)
15 CONTINUED:
LIZ
Why do you continue to deny the
fact that after what happened,
they will never take him back.
|
And after that line, it's unscripted, but Roger turns away and sighs - and that's as far as the scene goes in the pilot as aired on NBC. However, MPI restored the rest of the scene, beginning with:
A beat, Roger turns, crosses to slump heavily in a chair by the
window. He takes a swallow of brandy.
|
Though while Roger is walking over to the chair, also unscripted, he simply says "Elizabeth" and then he slumps in the chair and rests his head against his left hand. And as Liz walks over toward him, she delivers yesterday's quote:
Page 7/Scene 15 - Elizabeth (to Roger): 'He needs a family. He needs a father.'
It's also worth noting that as Roger mentions that Vicki was hired by their lawyer, he walks over to the bar, and as Liz says that doesn't matter, Roger does indeed pour himself a brandy (thank God!). Though he doesn't take a swallow of it after he slumps in the chair. And it is quite titillating how the script simply hints at something happening at the town school with David that was so serious that they'll never take him back...
-
And now the script (and the restored scene) continues with:
He looks up at her.
ROGER
Last night, just before dusk, I
talked him into taking a walk
along the beach with me. I
couldn't believe it when he agreed
to go, but he did. I talked to
him about anything I could think
of, about Europe, about when I
was a kid ... anything. And he
wasn't saying a word. Then
finally, he pulled at my arm and
I stopped and he asked me one
question.
(a beat)
You know what it was?
Elizabeth shakes her head no.
ROGER (CONT’D)
He wanted to know ... if I liked
him.
(he stares up at her)
If I liked him?! ... I went down
on my knees and grabbed him, and
squeezed him as hard as I could.
I said 'David ... David, you're
my son. I love you. I love you
more than anything else in this
world'.
16 CLOSE - ELIZABETH
There are tears in her eyes.
17 BACK TO ROGER
As he continues:
(CONTINUED)
Revised 2/28/90
17 CONTINUED:
ROGER (CONT’D)
And you know what he did? He just
pulled away from me and ran off
up the beach ... and disappeared
over the rocks.
LIZ
It takes time, Roger. You two
will get to know each other.
ROGER
(quietly)
I'm not so sure, dear sister...
(a beat)
I'll try to say this so that I'm
still left with a shred of
self-respect...
A long moment as he looks at her, as if trying to get the
strength to say what he is about to say.
ROGER (CONT’D)
I resent him being alive.
He puts his head in his hands. When he turns to look back at
her there are tears in his eyes.
|
And at that point is where today's quote -
Page 8/Scene 17 - Roger: 'May the Lord forgive me... But if it would have saved her sanity, I would have left him to die in that burning room.'
- comes up. And then then script concludes Scene 17 with:
And as Elizabeth stares at his tortured face, we HOLD for a
beat, and . . .
|
And this time it's worth noting that Roger's entire lines "I went down on my knees and grabbed him, and squeezed him as hard as I could. I said 'David ... David, you're my son. I love you. I love you more than anything else in this world'" as well as "And you know what he did? He just pulled away from me and ran off up the beach ... and disappeared over the rocks" were even dropped from the restored versions of Scenes 15 & 17. Also, unlike what the script says, Roger doesn't put his head in his hands when he says that he resents David being alive - nor does he have tears in his eyes when he looks at Liz.
And remember that even though in the pilot Vicki's arrival at the train station appears after this, in the script that sequence takes place before this sequence with Roger and Liz.
-
Things now pick up with Scene 18:
18 INT. BLUE WHALE - NIGHT
The local jukejoint... a hangout for both lobstermen and teens.
ANGLE FAVORS DAPHNE on the phone, Vicki standing next to her.
|
And that's where today's quote -
Page 8/Scene 18 - Daphne: 'That's right, Mrs. Johnson... standing right here. (She looks at Vicki, smiles.) She walked here from the train station.'
- comes up - though Daphne actually says "Yes, Mrs. Johnson, she's right here" rather than "That's right, Mrs. Johnson... standing right here". Also, she doesn't look at Vicki and smile - she simply turns briefly in Vicki's direction. And finally, there's an unscripted establishment shot of the exterior of the Blue Whale before we see Daphne and Vicki.
-
I'm just skimming this thread so I may be misunderstanding, but if I am on point, it would seem that the Laura story was planned to be referenced in both the 1990 and 2004 pilots. In both, from what I can tell, the references were almost entirely eliminated in the final versions.
It makes me wonder whether there was more Laura material in the original Seth Graham-Johnston script for the Depp Burton confection. I saw somewhere that Seth was going to do an online Q&A about the project--a very brave individual given the kind of vitriol we know some fans will spew at him.
Again, my following of all this has been sketchy, but although a book about the filming was published, I don't believe an edition of the 2012 screenplay has yet seen the light of day?
G.
-
Continuing on with the script:
19 OMITTED
_______________________________________________________________
20 INT. COLLINWOOD - KITCHEN
Mrs. Johnson on the phone.
|
And that's where today's quote -
Page 9/Scene 20 - Mrs. Johnson: 'Thank you, Daphne. I'll take care of it. Please tell her someone will be there very soon'
- comes up, and then the scene concludes with:
And she hangs up.
Immediately she presses a button on the telephone wall panel
labeled "Stable", listens for a beat, then hangs up, starts
quickly out of the kitchen.
|
-
Catching up from yesterday:
21 INT. DRAWING ROOM
A very embarrassed Mrs. Johnson comes in and faces Roger and
Liz, hesitates a beat.
LIZ
Yes, Mrs. Johnson?
|
And that's when yesterday's quote -
Page 9/Scene 21 - Mrs. Johnson: 'I'm sorry, Mrs. Stoddard ... The governess is down at the Blue Whale...'
- comes up.
And notice, now the Study is the Drawing Room. Though the explanation could be that when the script was written, there was an intention to have a Study at Collinwood, but when it came time to building the actual sets or selecting rooms to use at Greystone, they simply decided they didn't need a Study as they had had on the original series and went with the Drawing Room for everything once actual shooting began...
-
Today the script continues with:
Roger angrily cuts in ...
|
And that's when today's quote -
Page 9/Scene 21 - Roger: 'And Willie hasn't picked her up?!'
- is delivered.
-
And the scene continues with:
MRS. JOHNSON
I'm sure he's on his way.
Roger stands, strides angrily out of the room. Mrs. Johnson
and Liz exchange a worried glance.
|
And that's when today's quote -
Page 9/Scene 21 - Mrs. Johnson: (very upset) 'I just don't know what I'm going to do with him, Mrs. Stoddard. He can't seem to get anything right...'
- comes up. And the script concludes the scene with -
- as it's Liz' turn to shake her head and rest her head in her hand...
-
Lots to catch up with in this topic. First up, setting up the current scene in the slideshow and dealing with the first quote:
22 EXT. COLLINWOOD STABLE - NIGHT
ESTABLISHING the complex of old, Victorian buildings.
(CONTINUED)
22 CONTINUED:
WILLIE (0.S. )
"...three Graces spin-- high
above-- lion looks at the dove..."
CAMERA TIGHTENS TO a small lighted window under the eaves.
23 INT. WILLIE'S GARRET ROOM - NIGHT
Where WILLIE LOOMIS, 30, slovenly and nasty-looking, sits
hunched over a small desk, scribbling notes on a piece of paper.
In front of him are aged, open reference books, paper, an
antique map, etc. ... Also a half-empty bottle of bourbon.
At the moment, he’s trying to figure something out, puffing
excitedly on a cigarette, muttering:
|
And that point is when Friday's quote -
Page 10/Scene 23 - Willie: '"...three Graces spin-- high above-- lion looks at the dove..."'
- comes up. However, unlike the script, Willie isn't puffing on a cigarette (though there is one burning in an ashtray on his desk) and after delivering the above quote, Willie takes a swig of his liquor and in a moment that's unscripted, he excitedly repeats "Lion looks at the dove!"
-
Continuing:
Suddenly, from o.s. the SOUND of heavy FOOTSTEPS coming up the
stairs and ROGER'S VOICE:
ROGER (O.S.)
Loomis!
The door abruptly opens, as Roger storms in.
|
And that's when Roger bellows yesterday's quote:
Page 10/Scene 23 - Roger (CONT'D): 'Why aren't you down at the station?!'
-
Picking up where we left off, the script indicates that Willie looks at Roger and responds with yesterday's quote:
Page 10/Scene 23 - Willie: (slightly slurred) 'I was jus gettin' ready to go...'
-
After the script explains -
Roger glares at him, grabs the bottle of bourbon.
|
- Roger bellows today's quote:
Page 10/Scene 23 - Roger: 'I told you about this!'
-
Picking up with today, after the script explains (in reference to Roger's actions) -
And he crosses to the dirty sink on the wall, empties the
bottle. Willie rises.
|
- that's when Willie protests with today's quote:
Page 10/Scene 23 - Willie: 'Hey, you got no right ...'
-
And the scene continues with -
Roger whirls on him.
(CONTINUED)
23 CONTINUED:
|
- and today's quote:
Page 11/Scene 23 - Roger: 'I'm warning you ... you don't straighten out your act, and right away ... you're out of here.'
-
And after the script explains in reference to Roger -
Just then, he notices the things on Willie’s desk.
|
- Roger is scripted to ask today's quote as -
Page 11/Scene 23 - Roger (CONT'D): 'And what's this...?!'
- though he actually phrases it as "Now what is all this?!"
-
And then after the script explains -
Willie looks at him, smiles insolently.
|
- Willie begins his response to Roger with today's quote -
Page 11/Scene 23 - Willie: 'I'm straighten' out my act, Mr. Collins, just like you said.'
- though he doesn't smile insolently. Not yet. That comes a bit later...
-
And Willie continues with today's quote -
Page 11/Scene 23 - Willie: 'I mean, you're an educated man. And how'd you get that way? By readin', right? So that's what I'm doin', readin'.'
- and as seen in today's capture -
(http://www.dsboards.com/91scriptquoteimages/0124ds91_0.jpg)
- that's where the insolent smile comes in.
-
And Willie is scripted to conclude with today's quote -
Page 11/Scene 23 - Willie: 'And I'm startin' with the old books because like you always been nice enough to tell me... (another grin) I got so much to learn.'
- though he doesn't actually get out the entire "because like you always been nice enough to tell me..." in the pilot, nor does he get to "(another grin) I got so much to learn" at all because, as we'll learn with tomorrow's quote...
-
...the script explains -
Suddenly Roger grabs him roughly by the arm, hauls him toward
the door.
|
- which is why Willie gets cut off - though in the pilot Roger actually shoves Willie toward the door. And with today's quote, Roger orders him -
Page 11/Scene 23 - Roger: 'Get down there and get into that truck, and go pick up that girl!'
- though what Roger says in the pilot is "Get down there, get in that truck, and pick up that girl!" - and then the script explains -
And he practically throws him through the doorway. And ...
|
- and that's how the script concludes the scene. Though in the pilot Willie turns to look at Roger before he goes downstairs - and Roger, before going down the stairs himself, turns to take in one last look at the mess that is Willie's room.
-
Moving on with the script:
24 OMITTED
25 EXT. BLUE WHALE - NIGHT
As Willy's pick-up skids into a parking spot. Willie hops out.
He rubs his hands in the dew on the windshield, then slicks his
hair back in a sort of pomade with it.
26 INT. BLUE WHALE - NIGHT
Willie steps in, glares around the room, then goes to the bar
like he owns the place.
(CONTINUED)
Revised 2/28/90
26 CONTINUED:
SAM EVANS (50s), the craggy-faced, former whaler, who owns the
place, crosses over to him, gives him a stern eye. His
daughter, MAGGIE, 27, the waitress, a sexy, quick-witted lady is
sitting over a cup of coffee nearby.
|
And that's where today's quote -
Page 12/Scene 26 - Sam: 'I don't want to have any trouble, Willie.'
- comes up. However, what Sam actually says is "I don't want any trouble, Willie." And while we're on this moment, Maggie isn't sitting over a cup of coffee - she's nearby reading a book at the bar.
Also, when it comes to Scene #25, "Willy's" (yes, that's how the script spells it there) pick-up doesn't skid into a parking spot - it merely pulls in - and Willie doesn't rub his hands in the dew on the windshield and then slick his hair back in a sort of pomade. In fact, Willie's wearing a knit hat.
-
And Willie replies with today's quote:
Page 12/Scene 26 - Willie: 'Me neither, Sambo. Just a little glass of your ninety-proof.'
Have always loved Willie's nickname for Sam - though I doubt Sam did...
-
After Sam insists Willie knows why Sam won't serve him, the script indicates that -
Willie stares at him. Sam holds his ground. Maggie turns to
him.
|
- before today's quote:
Page 12/Scene 26 - Maggie: 'Why don't you just blow, Willie?'
-
Once again there are two quotes in the slideshow today so one has to click on the right button and then click on the left button to first get the first quote to appear with the first graphic or click either button twice. After that, everything lines up fine...
And I must say that after today's first quote -
Page 12/Scene 26 - Willie: 'Hey, Maggie, kiss off!'
- comes up (though Willie actually delivers it as "Kiss off, Maggie!"), I've always loved the expression on Maggie's face when she delivers today's second quote -
(http://www.dsboards.com/91scriptquoteimages/0202ds91_1.jpg)
Page 12/Scene 26 - Maggie: 'I love it when you talk sweet to me.'
- though the best part is when Maggie prefaces it with an "Ooo," as in "Ooo, I love it when you talk sweet to me." [nodassent]
-
There are also two quotes in the slideshow today.
And when it comes to today's second quote -
Page 12/Scene 26 - Willie: 'So am I, maybe we should get together... after I have a drink.
- what Willie says in the pilot is "So am I, maybe we should get together... after I have me a drink."
-
Continuing on with the script:
DAPHNE
Charming, Willie. Really
charming.
Willie turns on her.
(CONTINUED)
_______________________________________________________________
26 CONTINUED: (2)
WILLIE
Who asked ya anyway?! Why don’t
you go back there and sit down with
your ... lover boy.
Sam is starting to get angry.
|
And that's where today's quote -
Page 13/Scene 26 - Sam: 'Take it easy, Willie, and just get out of here.'
- comes up. However, there are a few variations in some of the lines. Daphne actually says "Oh, that's charming, Willie. That's really charming." Willie says "Who asked you anyway?! Why don’t you just sit down over there with your ... lover boy." And Sam says "Hey, Willie! Just take it easy and get the hell out of here."
-
I need to catch up a bit with this topic - but first I want to mention that one of the fun things for me about this pilot is how, especially in the beginning, Willie gets some of the best funny lines. And perhaps my favorite is when Willie replies to Sam's "Just take it easy and get the hell out of here" with:
(http://www.dsboards.com/91scriptquoteimages/0205ds91_0.jpg)
Page 13/Scene 26 - Willie: 'I'll take it any way I can get it,
Sam boy.'
The expression on his face is priceless! [snow_cheesy]
-
The script continues with:
Suddenly, a hand clamps down on Willie's shoulder. He SPINS
and comes face to face with Joe.
JOE
The man asked you to leave.
WILLIE
I got business here. You wanna
try an' make me?
Joe looks like he's perfectly willing to oblige, when...
VICKI (O.S.)
I don't think that will be
necessary.
They both turn. PAN TO INCLUDE Vicki, standing there, holding
her valise.
|
And that's when Friday's quote -
Page 13/Scene 26 - Vicki (CONT'D): 'If it's all right, I'd like to go to Collinwood now.'
- comes up. Though, as is often the case, some things are a bit different in the pilot. For one, Joe's hand doesn't suddenly clamp down on Willie’s shoulder, seemingly from out of nowhere, as the script implies - we see Joe rush over to Willie before Joe grabs Willie's shoulder - and Joe actually says "Okay - the man asked you to leave." And after Willie gets in Joe's face and asks him if he wants to try and make him leave, Joe replies with an unscripted "I'd be glad to." And what Vicki actually says is "That won't be necessary" and "I'd like to go to Collinwood now, if that's all right."
-
And continuing:
JOE
You sure you want to ride with
this guy? I'm gonna be leavin'
in a couple of minutes... I can
give you a lift.
She eyes Willie carefully, but she's in control.
VICKI
I'm sure it will be just fine.
Willie gives Joe his best smirk, then takes Vicki's suitcase
in a grand manner, half-bows, and motions toward the door.
(CONTINUED)
Revised 2/28/90
26 CONTINUED: (3)
VICKI
(to the others)
Thank you for all your help.
And she turns, starts for the door, Willie following.
As he goes, he throws another look back over his shoulder.
|
And that's when Saturday's quote -
Page 14/Scene 26 - Joe: 'Jerk...'
- comes up in the script - though that's not when it comes up in the pilot. But more on that in the next installment...
However, before we leave this installment, Joe actually tells Vicki "Look, you don't have to ride with this guy. I'm gonna be leavin' in a few minutes... I'll give you a lift." Vicki says "I think it'll be just fine." After she thanks the others for their help, Joe replies with an unscripted "Sure." And after Willie gives Joe his best smirk, Willie doesn't actually take Vicki's suitcase or half-bow to her because she's already moved to leave and she's continuing to carry her suitcase herself.
-
Picking up in the script after Joe is scripted to call Willie a jerk:
And he goes out the door.
27 EXT. BLUE WHALE - NIGHT
Willie indifferently slings Vicki's case into the truckbed,
letting her open her own door. She gets in, and notices Joe
standing in the pub's entrance, watching.
As they pull out, Vicki exchanges a wave with Joe.
27A JOE
Standing in the open door, watching the car drive away. A beat,
Daphne joins him. She puts a hand on his shoulder.
|
And that's when yesterday's quote was scripted to come up - but it's not at all that way in the pilot. What actually happens in the pilot is that immediately after Willie turns to leave the Blue Whale, things cut to Scene 27 outside the Blue Whale. However, we don't start off by seeing Willie indifferently slinging Vicki's case into the truckbed and letting her open her own door. What we do see is Willie actually opening the truck door for Vicki and her getting inside - then as Willie walks around the front of the truck, Joe comes out and stands just outside the entrance to the Blue Whale. That prompts Willie to say an unscripted "Night, lover boy" and he snickers hysterically as he gets into the truck. And as Joe looks on unamused, Vicki waves to Joe as the truck starts up and then pulls away. Then Scene 27A changes location entirely from the way it's in the script because things switch back inside the Blue Whale. We see Maggie and Daphne at the bar exchanging a good laugh over something as behind the bar Sam cleans a glass and Joe comes back inside - and as Joe walks over to them is when he actually calls Willie a jerk. And after that is where yesterday's quote -
Page 14/Scene 27A - Daphne: 'I'm glad nothing happened in there, Willie gets a little crazy sometimes.'
- has been moved to in the pilot - though, because she's no longer standing outside with Joe as originally scripted, what Daphne says is "Oh, well at least nothing happened. I mean, Willie can get a little crazy sometimes." Also, Maggie replies to that with an unscripted "A little crazy?" And then after that is when today's quote -
Page 14/Scene 27A - Joe: 'He oughta learn some manners... [Joe turns to her, a crooked grin on his face.] (CONT'D) 'specially if he's gonna mix it up with somebody who's even crazier than he is.'
- comes up in the scene - though what he actually says is "Yeah, well, the guy's gotta learn some manners," then he sighs, turns toward Daphne, then away again and says "Especially if he's gonna mess with someone crazier than him."
-
Before we catch up with the script, after Joe's quote from Monday regarding Willie messing with someone crazier than he his, behind his back Joe jokingly does something to Daphne that's unscripted and Daphne laughingly tells him "Stop that!" Then things pick up with the script as it explains:
Suddenly, he grabs her, lifting her clear off her feet and
slings her over his shoulder.
|
However things then return to unscripted stuff as Joe tells her "I think it's time we do a little night fishing, milady. Gar...gar..."
And then Tuesday's quote -
Page 14/Scene 27A - Daphne: (laughing) 'Joe... Joe! Put me down! What are you, crazy?!'
- comes up - though Daphne actually calls out an unscripted "Maggie!" for help rather than calling out the scripted "Joe... Joe!" And as Joe carries Daphne off toward the door, he spins around to face Maggie and Sam and bids an unscripted "Good night" and a wave. And it isn't until after that that Daphne orders "Joe, put me down!" She doesn't ask if he's crazy. And as Joe spins back around, telling Daphne an unscripted "Aw, c'mon" he carries her out the door.
The script concludes the scene with -
In the bg., Sam and Maggie are laughing.
|
- but they're actually still in the foreground. And as Maggie moves closer to her father, she jokingly remarks an unscripted "Just another night at the Blue Whale" which prompts a good laugh from Sam. Then end of scene.
-
Here's how things pick up in the script with the next scene:
27B ANOTHER ANGLE
As he strides cut onto the sidewalk, starts carrying her toward
the side of the building.
27C EXT. BLUE WHALE - ALLEY
As Joe, with Daphne slung over his shoulder, struggling
playfully, turns in from the street, starts up the dark alley
to where his big, old four-door Buick is parked.
|
And yes, that's pretty much the way things play except outside Joe continues more unscripted stuff with his "Gar... gar... gar..." and after both he and Daphne laugh, he asks "Havin' fun?" and laughs some more. And Joe doesn't carry Daphne up a dark alley because his car is actually parked on the street. And as he carries Daphne closer to his car, he repeats that "Gar... We're gonna do a little night fishin', milady." And then we get the unscripted dialogue from the following moment that appears in the original '91 series slideshow:
(http://www.dsboards.com/91quoteimages_A/0106ds91_0.jpg)
Ep #1 (Extended) - Joe (to Daphne): 'Here's the boat - we're
gonna dock here right now.'
And as they laughingly disappear into the back seat of the car, that's where the entire sequence ends in the pilot. At least in the extended version of the pilot that MPI released (on NBC things ended much earlier - after Willie's truck started and drove away, leaving Joe watching them). But there's more in the script. And that will be coming up in the next post...
-
Continuing with the script's next scene:
27D INT. CAR
As Joe pulls open the back door, dumps her on the seat, quickly
climbs in, shutting the door behind him.
DAPHNE
(laughing)
Joe... you are crazy...
He grabs her, plants a hard, smouldering kiss on her.
|
And that's when Wednesday's quote -
Page 15/Scene 27D - Daphne: (quieter, more serious) 'I thought you had to go.'
comes up - followed by Thursday's quote -
Page 15/Scene 27D - Joe: 'I do. [He kisses her again, softer and more earnest this time.] But that doesn't mean I want to.'
- which is then followed in the script by:
Daphne looks up at him, runs her fingers through his hair, then
slowly pulls him back down to her.
DAPHNE
That’s good...
They kiss, long and steaming this time.
|
End of scene.
And coming up next, a scene between Vicki and Willie that doesn't appear in any version of the pilot...
-
And onto the script's next scene:
28 INT. PICKUP - MOVING - NIGHT
The truck rumbles along the road, its dim headlights barely
keeping ahead of them. Willie glances at Vicki, giving her a
long once-over.
WILLIE
Cold out tonight.
(CONTINUED)
Revised 2/28/90
28 CONTINUED:
She looks at him and holds it as he leans over and punches open
the glove compartment.
Taking out a PINT BOTTLE of Wild Turkey, he unscrews the cap,
slugs at it ... then offers it to her.
VICKI
No thank you.
He smiles, takes another, longer belt, wipes his mouth with the
back of his sleeve.
|
And that's when Friday's quote -
Page 16/Scene 28 - Willie: 'Collinsport's a dump! [He looks at her, she doesn't respond.] Fulla creeps, like lover boy, back there. Collinwood ain't no better. Small town, small minds. (a grin) Know what I mean?'
comes up - followed by Saturday's quote -
Page 16/Scene 28 - Vicki: 'I haven't really seen enough of it to say.'
- which is then followed in the script by:
WILLIE
You will. And anybody give you
any hassle, you need somebody to
set 'em straight, I'm the guy.
Okay?
Vicki pauses a beat, concludes that humor is the best policy,
and nods.
VICKI
Okay.
Willie smiles, glad that he's making headway.
|
End of scene.
And coming up next we'll get back to things that are in the pilot...
-
And moving on to a sequence that plays in many parts the way it's written:
29 EXT. COLLINWOOD GROUNDS - NIGHT
The pickup turns into the long driveway to the house...
30 INT. COURTYARD - NIGHT
As the truck rumbles up and skids to a stop IN FRONT OF CAMERA.
(CONTINUED)
Revised 2/28/90
30 CONTINUED:
Willie jumps out and grabs Vicki's bag from the back of the
truck.
31 FAVORING - VICKI
As she steps out, stands there taking in the awesome sight of
the great manor house. Willie, looks at her, grins.
|
And that's when Sunday's quote -
Page 17/Scene 31 - Willie: 'Some dump, huh?'
- comes up - which is then followed in the script by:
He giggles inanely. She follows him as he starts toward the
great front door.
|
End of scene.
The ways things differ is that Willie's truck doesn't skid to a stop, it merely stops - we don't see Willie go for Vicki's bag because things focus on her and Willie merely comes from the back of the truck already carrying the bag - and Willie doesn't grin at Vicki when he says "Some dump, huh?" but rather says it seriously - nor does he giggle inanely afterward. What he does do after saying that is merely tell Vicki an unscripted "Come on" and they turn and begin walking toward the house.
-
Moving on:
32 INT. COLLINWOOD - GREAT HALL - NIGHT
As Elizabeth enters from the drawing room, crosses to the foyer,
opens the door. Willie strides right in, leaving Vicki a step
or two behind.
|
And that's when Monday's quote -
Page 17/Scene 32 - Liz: 'Welcome to Collinwood, Miss Winters. I'm Elizabeth Collins Stoddard.'
- comes up - and then the scene continues with:
VICKI
Thank you, Mrs. Stoddard.
Vicki follows her into the Great Hall.
LIZ
I'm so sorry you had to wait.
VICKI
It was no problem really, I'm just
glad to be here.
She glances around at the family portraits that fill the walls,
then fixes on the stairway, where...
Carolyn comes bounding down.
LIZ
My daughter, Carolyn, Victoria
Winters.
CAROLYN
Hi, Vicki. Glad to meet you.
|
End of scene - though not end of sequence. And what's upcoming in the sequence is shot differently in the pilot from the way it is in the script. But I want to wait until after tomorrow's quotes (yes, there will be two) to get into it, so more on that in the next post...
However, before the next post there are several things to point out that are different here. First, Willie doesn't enter before Vicki - he comes in behind her. Next, Liz doesn't say "Welcome to Collinwood, Miss Winters" - she sighs with relief at finding Vicki at the door and then it's simply "Welcome to Collinwood" before introducing herself. Next, after Liz' apology that Vicki had to wait, Vicki actually responds with "Oh, that's no problem, I'm just glad to be here." And Vicki doesn't actually glance at any of the family portraits or turn to the stairway, where Carolyn comes bounding down, because immediately upon entering the Great Hall with Liz, Carolyn is already entering from the direction of the stairway. And Carolyn's appearance seems to surprise Liz because after seeing her Liz says an unscripted "Oh" before making the introductions.
-
Next the script indicates:
33 HIGH ANGLE - THROUGH UPSTAIRS BALUSTRADES
SOMETHING WATCHING them...
(CONTINUED)
33 CONTINUED
LIZ
Willie, take Miss Winters' bag
upstairs for her, and your aunt
wants to see you.
|
And that's when Tuesday's quote -
Page 18/Scene 33 - Willie: 'Hope you like this freak palace, Miss Winters...'
- comes up - and the script then explains:
Willie ogles Vicki once more, then heads up the steps.
34 FAVORING CAROYLN
As she waits a beat until Willie is out of earshot.
|
And that's when Wednesday's quote -
Page 18/Scene 34 - Carolyn (to Vicki): 'You can ignore Willie. He's weirder than jello, but harmless.'
- comes up - and the script next explains:
Elizabeth gives her a look, then smiles at Vicki motioning
toward the Drawing Room.
|
And that's when Tuesday's quote -
Page 18/Scene 34 - Liz: 'Can I offer you a cup of tea while I call Mr. Collins?'
- comes up, followed by today's first quote -
Page 18/Scene 34 - Vicki: 'That would be very nice. And David, is he asleep?'
- and then today's second quote -
Page 18/Scene 34 - Carolyn: 'He better be.'
- and the scene concludes with the indication that -
They head for the Drawing Room.
|
- but all of that is not quite how things play out in the pilot.
First off, the camera shot from the high angle (though not through the upstairs balustrades but, rather, over the railing) doesn't come until later in the sequence - things continue to be shot the way they have since the outset of the scene. And unlike the way it's written in the script, Liz pauses between asking Willie to bring Vicki's bags up and telling him his aunt wants to see him. Also, Willie doesn't ogle Vicki "once more" before making his way to the stairway because he hasn't been ogling her at all. And unlike the script, the camera angle does not change to favor Carolyn - it still stays the same as thankfully Carolyn's remark that Willie is "weirder than jello" was dropped and she simply bids Willie an unscripted "Ciao" and then tells Vicki "Don't let him bother you. He's weird, but harmless." Then Liz doesn't motion to the Drawing Room before delivering her next line, which is actually "Mr. Collins will be down soon, may I offer you a cup of tea?" But after Vicki replies that that would be very nice, Liz does move to lead them to the drawing room - and at that point is when the camera changes to shooting from a high angle (over the railing), with the script indicating that that's supposed to signify that someone is watching them. But the funny thing is I never picked up on that. Given DC's penchant for odd camera angles (just look at much of hoDS and especially NoDS), until I read the script, I simply thought that was his way of throwing an odd angle into the scene. Now I see it can be a way to indicate that David is watching them, particularly because the conversation shifts to his whereabouts - but I wonder how many other heads in the audience that has gone over? By example, the possibility of it doesn't even appear in the synopsis of the scene in either the SHADOWS IN THE '90s: The Dark Shadows Concordance 1991 book or the DS Resurrected book.
And just one last comment before I end this post: something I do find fascinating about what we've been seeing of Willie in the script is that he was written more like the original Willie than we might have imagined - but obviously before shooting the decision to go in a different direction was made.
-
The script begins the outset of the current scene with:
35 INT. COLLINWOOD KITCHEN - NIGHT
Where Mrs. Johnson stands at the counter, preparing a tray of
finger sandwiches. A beat, and Willie enters in the b.g.
WILLIE
You wanted to see me, Auntie?
She turns to him.
MRS. JOHNSON
Yes, I did, Willie.
Willie walks over to her, looks at the tray, then grabs a couple
of the dainty sandwiches, stuffs them in his mouth.
(CONTINUED)
Revised 2/28/90
35 CONTINUED:
WILLIE
(chewing loudly)
Not bad.
And he reaches for another. She stops him.
|
And that's when Monday's quote -
Page 19/Scene 35 - Mrs. Johnson: 'Willie, when I promised your father I would look after you, I never imagined you would make it so difficult.'
- comes up. And the differences in this part are that Mrs. Johnson is chopping vegetables when Willie arrives, though he does grab an already prepared finger sandwich - Mrs. Johnson's first line is changed up a bit to "Yes, Willie, I did" - Willie adds an "Mmm" before saying the sandwich isn't bad - and Mrs. Johnson merely asks "Willie, why do you always have to make things so difficult?" rather than including the whole part about promising Willie's father.
-
Catching up a bit with the current scene, after Sunday's two quotes -
Page 19/Scene 35 - Willie: 'Well it ain't always my fault! What do you want me to do? Bow down and kiss that guy's feet? Everything was all right before he got here.'
'Page 19/Scene 34 - Mrs. Johnson: 'No, it wasn't.'
- the script continues with -
WILLIE
Well, it don't make no difference
anyway. I figured it out.
MRS. JOHNSON
(frowns)
Figured what out?
He grins conspiratorially.
|
- before Monday's quote -
Page 19/Scene 35 - Willie: 'The jewels. I know where the jewels are. We're gonna be rich.'
- comes up. And the differences here is that Willie actually says "Wha... It ain't always my fault! What do you expect me to do? Bow down and kiss that guy's feet? Everything was all right before he came here.
-
This little exchange reminded me of Gerard and Carlotta in NODS. Did anyone else have that reaction?
-
[pointing-up] Until you brought it up, I hadn't really thought about the '91 scene in those terms - but, yes, it certainly has similarities to the NoDS scene. [snow_smiley] And given DC's penchant for "reworking" already existing material, I guess we shouldn't be surprised by that, now should we? [snow_wink]
-
Considering what's coming up, obviously not! [snow_wink] [snow_wink]
-
And picking up where we left off with Scene 35:
MRS. JOHNSON
Willie, where do you get these
crazy ideas?
WILLIE
(anger rising)
They're not crazy!
She sighs wearily.
(CONTINUED)
Revised 2/28/90
35 CONTINUED: (2)
|
And that's where Tuesday's quote -
Page 20/Scene 35 - Willie: 'I found these books, see... They're all in codes and weird poems... but I figured it out... The stuff is in a secret room in the family tomb.'
- comes up, followed in the script by:
A beat as she stares at him, aghast:
MRS. JOHNSON
Willie, I don’t want to hear
anymore of this.
He grabs her.
WILLIE
I’m tellin’ ya! The jewels were
buried by one of the guys in those
pictures out there!
He points toward the Great Hall.
|
Which brings things to Wednesday's quote -
Page 20/Scene 35 - Willie: 'It was during the Revolution... you know, that big war we had in the 1700s... well this guy... Barn-abas an' his old man... they hid the family jewels... to keep 'em safe. (a grin) In the tomb.'
- followed by Thursday's quote -
Page 20/Scene 35 - Mrs. Johnson: 'Willie... I just wish you'd do what you're supposed to do around here instead of acting like a fool with all this scheming. It can only lead to trouble.'
- and then Friday's quote -
Page 20/Scene 35 - Willie: 'Okay! But when I blow this joint with a pile of dough, we'll see who's laughin'.'
- whereupon the script ends the scene with -
And turning, he walks out of the kitchen.
|
- but that's not the end of the sequence in the script. And more on that in the next post. But before we leave this post, the differences here are that Mrs. Johnson doesn't sigh after Willie insists his ideas aren't crazy - Willie actually says "I found these books, okay... And only they're all in these codes and weird poems... but I figured it out... The stuff is in a secret room in the family tomb" - Willie doesn't grab Mrs. Johnson after she says she doesn't want to hear anymore - Willie then actually says "I'm tellin' ya! The jewels were buried by one of them guys in them pictures out there!" though he doesn't gesture toward the Great Hall - next Willie actually says "It was during the Revolution... that's this big war we had back in the 1700s... well, anyway, this guy... Barn-abas an' his old man... they buried the family jewels... to keep 'em safe. (a grin) In the tomb" - then Mrs. Johnson actually says "Willie... I just wish you'd do what you're supposed to do around here instead of acting like a fool with all these schemes. It'll only lead to trouble" - to which Willie actually finally says "Okay! Okay! But when I blow this joint on a pile of dough, we'll see who's laughin'." And I love how Willie nervously and violent pulls at his hat as he says that - which is not a direction that appears in the script - but it adds so much to the moment. And Willie doesn't so much as walk out of the kitchen as storm out, slamming the door behind him.
-
Coming up next in the script are two scenes that don't appear in any version of the pilot.
First up, the concluding scene in the kitchen sequence:
36 CLOSE - MRS. JOHNSON
As she stands there watching him go, she shakes her head sadly.
|
And that's where yesterday's quote -
Page 20/Scene 36 - Mrs. Johnson: (softly) 'May God help you-- I certainly can't...'
- comes in as the end of the scene. And that is followed on the next page of the script by the next scene:
Revised 2/28/90
37 INT. GREAT HALL
As Willie enters from the direction of kitchen, stops in
front of a large portrait done in somber blues and blacks.
It is the brooding figure of an eighteenth century man, a cape
around his shoulders, a silver wolfheads cane in his hands, a
large distinctive black, stone ring on his middle finger.
Willie stands there for a beat, staring up at the dark eyes.
|
And that's where today's quote -
Page 21/Scene 37 - Willie: (mutters) 'I got you now, mister... I got you now...'
- comes in. And the scene continues with:
And he turns, starts toward the big, front doors.
CAMERA HOLDS on the portrait...
37A
And then BEGINS A SLOW MOVE IN to the EYES... As a LOW THUMPING
SOUND of a HEART BEAT begins to filter in.
|
End of scene.
-
And onto the script's next scene (which is one that only appears in MPI's restored version of the pilot):
39 INT. DRAWING ROOM - NIGHT
Vicki is finishing her tea and Mrs. Johnson's sandwiches with
Elizabeth and Carolyn.
|
And that's when today's first quote -
Page 21/Scene 39 - Vicki: 'How long has David been without his father?'
comes up - followed by today's second quote -
Page 21/Scene 39 - Liz: 'Almost six years, now. I brought him back from England shortly after his mother... took ill. [Vicki subtly shakes her head, digesting the situation.] LIZ (CONT'D) - 'It's been hard on him. But he's a very bright boy and he has an amazing imagination.'
And the only differences here are that Liz actually says "Oh, it's been about six years, now. I brought him back from England when his mother took ill." And then she continues with "It's been very hard on him. But he's a bright boy and has an amazing imagination."
One thing that is interesting is that the SHADOWS IN THE '90S: The Dark Shadows Concordance 1991 book seemed to think that Vicki's line was a blooper in the script and she should have been asking how long David has been without his mother. However, in earlier scenes the point is made that Roger has only recently returned to Collinwood and that he may not be completely aware of the severity of everything that has gone on with David, so I don't honestly think it is a blooper.
-
Picking up where we left off with Scene 39:
After Liz mentions David's "amazing imagination," Tuesday's quote -
Page 21/Scene 39 - Carolyn: 'If you call putting garden snakes in my dresser imaginative.'
- comes up - and then the script continues with:
Roger enters in the b.g.
LIZ
Roger, I'd like you to meet Vicki
Winters.
(CONTINUED)
Revised 2/28/90
39 CONTINUED:
He cordially takes her hand.
ROGER
I'm Roger Collins, David's father.
VICKI
It's nice to meet you.
|
And then Vicki continues with Wednesday's quote -
Page 22/Scene 39 - Vicki: 'You have a lovely home.'
- after which Roger replies with Thursday's quote -
Page 22/Scene 39 - Roger: 'Thank you. My sister has always had a gift for maintaining the grand style.'
- and Liz responds with Friday's quote -
Page 22/Scene 39 - Liz: 'And why not? Style should be the dress of thought. It tempers life with grace.'
- and then the script continues with:
LIZ
(turns to Vicki)
Don't you think so, Miss Winters?
VICKI
(smiles)
Yes, I do.
|
And the differences in this section are that Carolyn actually says "Mmm - if you can call putting garden snakes in my dresser imaginative" - as Roger enters the drawing room, he delivers an unscripted "Hello" - Liz actually says "Oh, Roger, I'd like you to meet Victoria Winters" - after Vicki compliments Collinwood, Roger actually says "Well, thank you. My sister has always had a gift for maintaining in the grand manner" - and when Liz responds, Roger and Carolyn share an unscripted look as if to say "she's waxing rhapsodic again." And Liz doesn't look to Vicki when she asks if she agrees because Liz has been looking at her the whole time.
-
Oops - I forgot to post that the March 6, 1990 issue of Soap Opera Digest included this short article:
| DARK SHADOWS RETURNS |
With the forthcoming debut of ABC's
TWIN PEAKS, and NBC commissioning
producer/director DAN CURTIS to do a TV
movie revival of DARK SHADOWS, it's evi-
dent that prime-time soaps are far from
dead. In fact, DAVID JACOBS, creator of
both DALLAS and KNOTS LANDING, in-
sisted in an interview recently that serial-
ized TV formats are "the only way [the net-
works] can compete in the nineties." Take
a look, he said, at LA LAW and other night-
time dramatic shows that may not be soap
operas per se, but definitely use serialized
construction.
His thoughts get some indirect support
from NBC's programming chief BRANDON
TARTIKOFF, whose network has long been
frustrated in its inability to launch a suc-
cessful prime-time soap, but still keeps try-
ing. In fact, Tartikoff is considering running
his upcoming PARENTHOOD series -- a
spinoff from the feature film -- in twice
weekly installments because that seems
the only way to handle such a large group
of characters and stories. And it's Tartikoff
who is pushing Curtis to return to SHAD-
OWS, explaining that this show will be a
"prime-time Gothic serial," and noting that
some of the original characters will return.
(Of course, the launching of DARK SHAD-
OWS as a regular nighttime series will de-
pend on how well the TV movie does.) |
(* the Parenthood series referenced here shouldn't be confused with the one that recently ended on NBC because they're completely different. And at the time this article was written it was intended that the DS TV movie would run earlier/separate (likely around Halloween/October 1990) from the series - but later it was decided to hold the movie to run as part of the series...)
-
Moving on, in reference to Vicki, Scene 39 continues with:
She glances over at a painting.
|
And that's when Vicki asks Saturday's first quote -
Page 22/Scene 39 - Vicki (CONT'D): 'May I ask if that's a Seurat?'
- whereupon the script indicates -
Elizabeth turns to Roger, smiles.
|
- which is when Liz answers with Saturday's second quote -
Page 22/Scene 39 - Liz: 'Actually, it's a copy... It was painted by...'
- before Roger interrupts with Sunday's first quote -
Page 22/Scene 39 - Roger: (overriding, curtly) 'It was painted by another artist.'
- to which the script explains -
Elizabeth gives him a quick glance and frowns.
|
- and then Vicki comments -
Page 22/Scene 39 - Vicki: 'Well it's very good.'
- with Sunday's second quote - after which the script indicates that -
Roger lights a cigarette.
|
- before he asks -
Page 22/Scene 39 - Roger: 'Do you enjoy art, Miss Winters?'
- as Monday's quote.
(CONTINUED)
Revised 2/28/90
39 CONTINUED: (2)
|
And Vicki responds -
Page 23/Scene 39 - Vicki: 'It's one of my favorite subjects to teach. I think children express themselves very well through drawing and painting.'
- with Tuesday's first quote - to which Roger replies -
Page 23/Scene 39 - Roger: (cynically) 'I suppose you can get to know them that way.'
- but Vicki explains -
Page 23/Scene 39 - Vicki: 'And they can get to know themselves, that's the challenge.'
- with today's quote - and then the script indicates that:
Roger and Elizabeth exchange a glance, then Roger looks at
Vicki, there may be more to this young lady than he expected.
|
And that ends the discussion of art in the scene, and it's a shame it was all cut from the NBC version of the pilot because there are some great character moments there. Though, of course, on the restored MPI VHS not everything plays out quite the way it does in the script. The largest differences are that Liz doesn't turn to smile at Roger when Vicki brings up the painting but rather looks toward the painting as she begins to explain before Roger cuts her off and she gives him a puzzled look, which doesn't escape Vicki. And after all that, Vicki walks over to examine the painting closer before she turns back to say how good she thinks the painting is. Also, Roger doesn't light a cigarette before asking Vicki if she enjoys art. And we see no exchanged glance between Roger and Liz after Vicki comments that the challenge to teaching art is allowing children to get to know themselves - nor do we see any indication that Roger may think there's more to Vicki than he expected.
-
A good reason why we don't see any indication from Roger that he might think there's more to Vicki than he expected is that right after Vicki's comment that the challenge to teaching art is allowing children to get to know themselves, Roger launches right into today's quote -
Page 23/Scene 39 - Roger: 'Well I think you'll find that my son is as much of a challenge as you can handle. I'm quite certain he's different from any boy you've ever taught before. Goodnight, Miss Winters.'
- and then the script ends the scene with:
Roger nods and exits. HOLD on Vicki as she watches him go,
and...
|
But naturally things don't end quite like that. Roger actually says "Well I think you'll find my son as much a challenge as you can handle. I'm quite certain David is different from any boy you've ever taught" and turns in Carolyn's direction to say "Goodnight, ladies" and then back to Vicki with a simple "Miss Winters" and he leaves. Vicki is somewhat surprised by what Roger has said, Liz is embarrassed, but the devilish smirk on Carolyn's face, which I just love -
(http://www.dsboards.com/91quoteimages_A/0312ds91_a.jpg)
- betrays that she's quite pleased that someone has owned up to the truth about David.
-
The script continues and sets up several scenes in the next sequence:
40
thru OMITTED
42
43 EXT. FAMILY CEMETERY - NIGHT
With the ornate ironwork of the old Collins family mausoleum in
the f.g. Willie, flashlight in hand, a bag of tools over his
shoulder, can be seen coming through the trees TOWARD CAMERA.
Flashing his light about, he carefully picks his way through the
crumbling monuments in the overgrown, weed-choked graveyard.
44 CLOSE - WILLIE
As he stops in front of the mausoleum, shines his light up at
it.
(CONTINUED)
45 HIS POV - MAUSOLEUM
An aged, marble facade overgrown with brambles and vines,
'Collins' etched in the stone over the entrance.
The FLASHLIGHT BEAM ILLUMINATES three carved female figures on
the pediment, locked in embrace, their eyes lifted toward
heaven...
46 OMITTED
47 WILLIE
He grins, pulls out a crumpled piece of paper, shines his light
on it.
WILLIE
...three graces spin high above...
MOVE WITH HIM as he crosses to the big, rusty, iron door, pushes
it open.
48 INT. MAUSOLEUM - FROM BELOW
As Willie enters, his light FLARING OUT THE LENS, starts down
a narrow flight of crumbling, stone steps toward CAMERA.
49 INT. CRYPT
As he reaches the bottom, he enters the large, octangular-shaped
Crypt.
He shines his light around. The room is filled with cobwebs
and moss.
50 CLOSE - WILLIE
Shaking with excitement, he pulls out the crumpled piece of
paper again, shines his light on it ... then flashes his beam
onto one of the walls.
51 ANGLE - WALL
As the BEAM illuminates a CARVED STONE LION'S HEAD, a rusted,
iron ring hanging from its mouth...
52 BACK TO WILLIE
As he grins.
(CONTINUED)
52 CONTINUED:
WILLIE
...the lion’s head watches the
dove...
He looks around, then jerks his flashlight to the opposite wall.
WHIP PAN with the BEAM as it illuminates a STONE DOVE.
53 WILLIE
As he smiles, turns back to the Lion's Head.
WILLIE (0.S.)
(muttering)
"Lion's head... watches the dove".
54 LION'S HEAD - CLOSE
As Willie's hand ENTERS SHOT, touches it, then takes hold of
the iron ring, begins to twist and pull at it.
55
thru OMITTED
56
57 FROM IN BACK OF WILLIE
As he pulls harder, the ring begins to draw out of the lion's
mouth.
And then we HEAR THE SOUND OF HEAVY STONE GRATING ON STONE
as a section of the wall begins to slowly swing open.
58 WILLIE - CLOSE
Eyes glittering, he raises his light, leans forward to peer in.
Suddenly, he leaps back, thrashing the air wildly, as a cloud
of bats, screeching and flapping, explode from the dark space
beyond.
59 ANOTHER ANGLE - THROUGH OPENING
As Willie shivers in horror.
|
And that's when today's quote -
Page 25/Scene 59 - Willie: (mutters) 'Ecch! What a place! -- Bats!'
- comes up. And as far as differences go, there are several - but I'm going to wait until the next post to explain them...
-
The differences with the above scenes in the script begin with Scene 49 with the fact that, surprisingly, especially for DS, there aren't a lot of cobwebs in the interior of the crypt - there are simply a few in the entryway. And when it comes to Scene 50, Willie doesn't pull out the paper again (that comes later). And with Scenes 51 & 52, Willie doesn't come upon the lion's head - he actually comes upon the dove - and after he says an unscripted "Dove... dove..." as he's trying to place the significance in his mind, that's when he pulls out and checks what's written on the paper. However, what he actually says is "Lion... looks at the dove" - and after that is when he goes to the opposite wall and finds the lion's head. Then when it comes to Scene 53, naturally he turns back to look at the dove rather than the lion's head - and that moment was illustrated in the original '91 series slideshow -
(http://www.dsboards.com/91quoteimages_A/0112ds91_0.jpg)
Ep #1 - Willie: 'Lion looks at dove.'
- with what Willie says being different from the script once again. And finally for this post, when it comes to Scene 59, what Willie actually says is "Bats! -- What a place!" - and if that moment isn't proof that DC wanted to inject humor into DS, nothing is...
-
Continuing with the sequence, the script next explains with regard to Willie:
And, shining his light in front of him, he steps through the
opening into the dank, dark, space beyond.
60 INT. SECRET ROOM
As Willie enters, breath smoking in the unnatural cold, stands
there for a moment, shining his light around. Suddenly, he
reacts.
61 HIS POV
A huge stone SARCOPHAGUS tightly bound with giant chains and
antique padlocks.
62 WILLIE
As he stares at the coffin greedily, starts toward it.
|
And that's when today's quote -
Page 26/Scene 62 - Willie: '...the jewels... I knew it!'
- comes up. And then the script continues with:
Stopping in front of it, he examines it. A heavy stone cross
is carved on its cover.
63 CLOSE - MATCH
As Willie strikes it, touches it to an old wall torch in a
rusty, iron wall bracket. It ignites in a sooty flame.
Now we get a better look at the place ... A small claustrophobic
low-ceilinged space with damp, moss—covered, stone block walls.
64 OMITTED
65 ANOTHER ANGLE
As Willie crosses back to the coffin, fumbles in his tool
satchel and pulls out a crowbar, begins to go to work on the
chains.
|
End of sequence.
And as for the differences, we don't see Willie's breath in Scene 60 - and there is no close-up of a match as described in Scene 63 because Willie simply goes over and lights the torch, though not with a match but with a cigarette lighter.
-
Moving on to the next scene:
66 INT. GREAT HALL - HIGH ANGLE
As Carolyn, Elizabeth and Vicki come out of the drawing room.
LIZ
Have a good night's sleep,
Vicki...
VICKI
Thank you, Mrs. Stoddard...
|
And that's when today's quote -
Page 26/Scene 66 - Liz: 'We breakfast at seven. En Famille. You'll meet David then. Lessons should begin at nine.'
- comes up in the script - then it continues with:
(CONTINUED)
66 CONTINUED:
CAROLYN
(cheerfully)
Follow me, Vicki....
|
But when it comes to the differences in the pilot, today's quote from Liz actually comes before she says she hopes Vicki will have a good night's sleep and Vicki thanks her - and what Liz actually says is "Breakfast is at seven. En Famille. You'll meet David then. And school begins at nine." And right afterward is when she adds "And you have a good night's sleep, Victoria."
-
Continuing with Scene 66 with regard to Carolyn and Vicki:
And the two girls start toward the main stairway. TIGHTEN TO
THEM as they start up TOWARD CAMERA.
|
And that's when yesterday's quote -
Page 27/Scene 66 - Vicki (looking around): 'This place is huge. How many rooms are there?'
- and today's quote -
Page 27/Scene 66 - Carolyn (a smile): 'I don't think anyone really knows. [Vicki laughs.] CAROLYN (CONT'D) - Anyway, most of them are closed off now, but there are a lot.'
- come up - and then the script ends the scene with with:
And as they continue up the stairs, we . . .
|
And the only differences here are that Vicki doesn't laugh after Carolyn says that she doesn't think anyone really knows how many room there are at Collinwood - and at the end of her lines Carolyn actually says "but, uh, there are a lot of them."
And as a bit of trivia, because Scene 37 isn't included in the pilot, this is the first scene in the pilot where we get a glimpse of Barnabas' portrait - though obviously he isn't identified.
-
Oops - I just realized that back on the 15th I forgot to post this from that day's '90 edition of USA Today:
LOS ANGELES ---- Some
news with actual bite, especial-
ly for cult-TV junkies. There's
a new Barnabas Collins coming to
haunt the airwaves, courtesy of
NBC's plan to revive DARK
SHADOWS as a prime-time series
in the fall.
Ben Cross - ironic last name,
no? - has been signed to play
the undead hero in this new
version of ABC's 1966-71 Gothic
daytime soap.
Barnabas, first played by
Jonathan Frid, became a tooth-
some household word. And Cross
(Chariots of Fire) -- who also
played a vampire in the USA
Network movie Nightlife --
headlines an all new cast.
Joining Cross is Jean Sim-
mons, inheriting the matriar-
chal role of Elizabeth Stoddard
once played by Joan Bennett.
And the part of Dr. Julia
Hoffman, first played by Gray-
son Hall, will go to Barbara
Steele - which should make
horror-movie buffs shiver with
delight. Steele was a sensuous
superstar of '60s fright flicks,
including Roger Corman's The Pit
and the Pendulum.
NBC will revive Shadows -- like
the original, a Dan Curtis (War
and Remembrance) production --
in a two-hour movie, with an
as-yet-undetermined number of
episodes to follow.
|
And this from that same day's edition of the the Inside TV column:
DARK SHADOWS has found its Elizabeth Collins Stoddard in Jean Simmons.
SHADOWS was a daytime serial on ABC in the 1960s. Two feature films spun
off from the show, which has continued in syndication and videocassettes.
The new SHADOWS is being fashioned as a primetime series that could
start on NBC this fall.
|
And yesterday I forgot to post this from Luaine Lee's 3/16/90 column:
Ben Cross (who
was so terrific in CHARIOTS OF FIRE) has copped the
coveted role of Barnabas Collins in the 2-hour NBC
movie DS. Many remember the daytime soap that ran
on ABC from 1966-71.... Dan Curtis (W&R) will
direct the gothic tale.
|
I may have to start putting post-its on my computer screen to remind me of the dates to post upcoming articles/blurbs. [snow_wink]
-
Picking up where we left off in the script, we come to a sequence that will not be featured in the slideshow because, well, there isn't any dialogue in any of the scenes that comprise it, so that makes it pretty hard to feature any quote. [snow_wink]
67
thru OMITTED
69
70 CLOSE CROWBAR
As Willie strains to pry loose the last set of chains. Suddenly,
they snap, slip heavily to the floor...
71 WILLIE
Shaking with nervous excitement, he braces himself, and, with
enormous effort, begins to push it open.
72 CLOSE - SLAB COVER
As one end of it slowly grates open.
73 BACK TO WILLIE
His face shining with sweat and greed, he leans over to look
in.
Suddenly a HAND SHOOTS OUT, grabs him by the throat, pulls him,
SCREAMING, down into the sarcophagus.
WE NOTICE a LARGE, BLACK STONE RING prominent on the middle
finger.
|
And as far as any differences, things play pretty much as written. The only thing is that it's so dark in the secret room that unless someone knows to look for it, they would never really notice the ring on the hand that shoots out of the coffin.
Also, the end of this sequence is the first act break in the pilot. Though, unlike the pilot script for the '04 DS, this script doesn't include act breaks.
-
And starting off today's new scene:
74 INT. VICKI'S BEDROOM - NIGHT
Vicki is unpacking her valise, which lies open on the big
four-poster.
In the b.g., Carolyn enters carrying extra blankets.
CAROLYN
It gets pretty cold at night...
The fireplace works... and the
bathroom's big enough for a
battalion.
She puts the blankets on the foot of the bed.
VICKI
Thanks.
(then)
|
And that's where today's first quote -
Page 28/Scene 74 - Vicki: 'I really can't wait to meet David.'
- comes up - followed by today's second quote:
Page 28/Scene 74 - Carolyn: (laughing) 'Yes, you can.'
And as for the differences, there's an establishing shot of the courtyard at Collinwood at night before we see Vicki in her room (probably because of the act break) - when Carolyn first walks in she delivers an unscripted "How ya doin'?" before she says the "It gets pretty cold here at night..." part of her dialogue - and Carolyn adds an "oh," as in "Oh, yes, you can" with regard to Vicki being able to wait before meeting David.
-
Before we get into the continuation of Scene 74, I forgot to mention the other day that the majority of this sequence only appears as part of the restored MPI VHS of the pilot (though several moments from it appeared in many of NBC's promos for the show). In fact. barely anything of this sequence is in the NBC version of the pilot. But we'll get into what part of it is once it comes up in the script...
And with that out of the way, we can get into how the scene continues with yesterday's quote -
Page 28/Scene 74 - Vicki: 'I hope he likes me.'
- which Vicki says with regard to David - followed by today's first quote -
Page 28/Scene 74 - Carolyn: 'He will... He better, or he'll answer to me... (and) Vicki, I'm really glad you're here.'
- and followed by today's second quote:
Page 28/Scene 74 - Vicki: 'So am I.'
And as for differences, there's only one: Carolyn actually reassures Vicki with "He'll like you... If not, he's got me to answer to."
And these quotes conclude the small talk in the scene because things move in a decidedly different direction beginning with tomorrow's quote...
-
Moving onto the next phase of Scene 74, the script explains:
Suddenly from o.s., the SOUND of DISTANT HOWLING. Vicki frowns.
|
And that's why Vicki asks -
Page 28/Scene 74 - Vicki: 'What's that?'
- as today's scripted quote - though Vicki actually asks "What was that?"
-
After today's quote -
Page 28/Scene 74 - Carolyn: (spooking it up) 'The strange creatures of the Maine woods ... When it gets cold like this, they come down from the mountains.'
- which is actually delivered as "The strange creatures of the Maine woods ... When the moon is full and the wolfbane blooms, they come down from the mountains out of the cold" - I absolutely love how Carolyn compounds her joking with Vicki by howling (which is unscripted):
(http://www.dsboards.com/91quoteimages/0322ds91_a.jpg)
It was one of my favorite moments in the NBC promos and I was greatly disappointed when it never showed up in the pilot as aired on NBC. But thanks to MPI, we have it.
-
The script picks up with:
Vicki smiles.
Just then the HOWLING is replaced by the SOUND of DOGS BARKING.
Vicki goes to the window to look out.
75 HER POV - THROUGH WINDOW
At the edge of the woods, what looks like the dark SILHOUETTE
of a MAN standing there. It seems as if he is looking up at
her.
VICKI (O.S.)
Carolyn ...
76 BACK TO SCENE
As Carolyn looks at her.
|
And that's where today's first quote -
Page 29/Scene 76 - Vicki: 'Someone's out there--'
- comes up - and then things continue with:
Carolyn crosses over to her, looks out.
CAROLYN
Where?
VICKI
At the edge of the woods.
Carolyn frowns.
|
And that's where today's second quote -
Page 29/Scene 76 - Carolyn: 'I don't see anyone.'
- comes up - and then things continue with:
Vicki leans in to look again.
77 THEIR POV - THE WOODS
No one there.
VICKI (O.S.)
I thought I saw someone...
|
And that's where we'll leave things off in the scene for this post.
And as for the differences, Vicki doesn't call to Carolyn from off screen in Scene 75, she does so after Scene 76 cuts back to her - and after Carolyn goes to look out the window, she actually asks "Out where?" - to which Vicki replies "At the edge of the wood" - and Carolyn doesn't frown - she moves in closer for a better look before she says that she doesn't see anyone - and again Vicki doesn't deliver a line off screen because it's after things cut to Scene 78 that she says that she thought she saw someone. But more on Scene 78 tomorrow...
What's perhaps most unfortunate here is that Scene 75 was cut from the NBC version of the pilot because it would have given the audience its first glimpse of Barnabas:
(http://www.dsboards.com/91quoteimages/0323ds91_a.jpg)
And even though they wouldn't have necessarily known for sure it was him, they would have certainly had their suspicions given what went down in the mausoleum... But again, we have it now thanks to MPI. (And again, it was a shot that had appeared in NBC promos. Though I think it was mostly out of any sort of context. I don't really remember at this point, so I'd have to check to be sure...)
-
Things continue with:
78 BACK TO SCENE
As Carolyn turns to Vicki, laughs.
|
And that's when today's quote -
Page 29/Scene 78 - Carolyn: 'You're in the boonies, kid. Sometimes this place can have that kind of affect on you. (then) You've gotta be wiped ... Have a bath, get some sleep. And if you need me, just call....'
- comes up - and the script continue with:
VICKI
Thanks...
(CONTINUED)
78 CONTINUED:
Carolyn exits. Vicki stands there for a beat, then turns, looks
out the window again.
Amused at herself, she picks up her robe from the bed, starts
for the bathroom.
|
End of scene.
And when it comes to the differences, what Carolyn actually says is "You're in the boonies, kid. This place can have that kind of affect on you. (then) You must be tired ... Why don't you have a bath, get some rest. And if you need me... just call...." - and Carolyn walks to the door to Vicki's room after she suggests Vicki have a bath and get some rest and then as she's closing the door she tells Vicki to call if Vicki needs her - and what's interesting is that even though it's not scripted that way as it is in other parts of the sequence, there is where Vicki actually delivers her thanks off screen.
And as for the only part of this sequence that actually does make it into the NBC version of the pilot, it's when Vicki goes to her bed, picks up her robe (and toiletries), and starts for the bathroom. And that's really a terrible shame because these scenes are a great sequence between Vicki and Carolyn, who were great friends on the original series, and who are certainly beginning that sort of a relationship here, but it's all been cut from the NBC version.
-
(And again, it was a shot that had appeared in NBC promos. Though I think it was mostly out of any sort of context. I don't really remember at this point, so I'd have to check to be sure...)
I just finished checking through the promos and I was wrong because there are two different promos that do indeed include the shot of Barn in context because parts of the promos show the correct shot of Vicki looking out her window followed by the correct shot of Barn in the woods. What was shown out of context in five different promos was the shot of Vicki followed by a wrong shot of Barnabas in the woods that comes much later in the pilot.
-
Moving on to the current sequence, starting with Vicki:
79 INT. BATHROOM
As she enters, hangs her robe on a hook, opens the medicine
cabinet, takes out a bottle of bubble bath.
80 ANOTHER ANGLE
As she crosses to the bathtub, puts her hand on the shower
curtain, pulls it back.
SUDDENLY, a FIGURE leaps out at her, SHRIEKING!
81 ANOTHER ANGLE
As Vicki, SCREAMING, falls back against the wall, gasping for
breath ...
This is her introduction to young DAVID COLLINS.
81A INT. BEDROOM
A small, thin, sallow-faced nine year old in pajamas and robe,
David runs into the bedroom, stands there staring back at her.
VICKI
(gasps)
David...? David, my God!
|
And that's when today's first quote -
Page 30/Scene 81A - David: 'I scared you, didn't I?'
- comes up - and the script continues with:
Vicki struggles to pull herself together, starts toward him.
|
And that's when today's second quote -
Page 30/Scene 81A - Vicki: 'You certainly did ...'
- comes up.
And when it comes to the differences, there's only that when it comes to Scene 81, Vicki doesn't actually fall back against a wall, though she certainly jumps back as she screams - and then David runs from the bathroom.
-
Interesting how strongly this parallels the Vicki/David introduction in the 2012 film.
-
Continuing on:
DAVID
I don't want you here.
VICKI
What...?
|
And that's when Thursday's quote -
Page 30/Scene 81A - David: 'I don't want you here!!'
- comes up - and the script continues with:
(CONTINUED)
81A CONTINUED:
She reaches for him.
|
And that's when Friday's quote -
Page 31/Scene 81A - David: 'Don't touch me!'
- comes up - and the script continues with:
He pulls away, runs for the door. Before he can open it, she
slams her hand against it.
|
And that's when today's first quote -
Page 31/Scene 81A - Vicki: 'David, I am not here to hurt you...'
- comes up - and the script continues with:
Suddenly his eyes go cold and hard.
|
And that's when today's second quote -
Page 31/Scene 81A - David: (very quietly) 'You better open the door ...'
- comes up - and the script continues with:
The child's look is so chilling she almost feels the hair stand
up on her arms. A beat ...
VICKI
All right, David, let's go to your
room.
The child just stares back at her.
Very gently she takes him by the arm, leads him out of the room.
|
End of scene.
And when it comes to the differences, here there's only that when leaving her bedroom, Vicki doesn't actually take David by the arm, very gently or otherwise, nor does she lead him out - Vicki simply opens the door, David exits, and she follows, closing the door behind her.
-
Getting into today's new sequence:
82 INT. DAVID'S ROOM - NIGHT
Not your typical boy's room, in that there are not a lot of
toys, banners, posters, etc. in evidence.
The door opens and Vicki leads him to his bed.
When she tries to help him off with his robe, he pushes her hand
away, takes it off himself, climbs into bed.
|
And that's when today's first quote -
Page 31/Scene 82 - David: 'I'm going to scare you again...and again...'
- comes up - and the script continues with:
She sits on the side of the bed.
|
And that's when today's second quote -
Page 31/Scene 82 - Vicki: 'David, I'm here to be your friend.'
- comes up. - and the script continues with:
Another beat as the child just looks back at her, eyes
unblinking. She pulls the blankets-up around him.
(CONTINUED)
82 CONTINUED:
VICKI (CONT.)
(gently)
Now go to sleep, and I'll see you
in the morning.
Again, no response. He turns away from her on his side.
Quietly she gets up, turns off the bedside lamp, exits the room.
83 CLOSE - DAVID
As he lies there in the darkness, eyes wide open, staring INTO
CAMERA.
|
End of sequence.
And when it comes to the differences, there may not be banners or posters in David's room, but toys are certainly in evidence - again Vicki doesn't lead David, he enters his room first - when Vicki tries to help David with his robe, he actually pulls his shoulder away and then takes his robe off himself - Vicki pulls the blankets up around David and she sits on the bed all before he warns her he's going to continue to scare her - Vicki breaks up her last line to "Now go to sleep. I'll see you in the morning." - Vicki actually turns off all the lights in David's room by flicking a light switch on the wall - and David doesn't turn away toward camera until Vicki is leaving the room.
-
Interestingly, before we get to the scene that contains tomorrow's quotes, preceding that scene there's one in the script that does not appear in any version of the pilot - though it does foreshadow aspects of the '04 pilot script:
84 EXT. COLLINSPORT - HELICOPTER SHOT - NIGHT
"Something" sweeping low over the dark pine forests below, the
SIGHTS and SOUNDS MAGNIFIED, as if viewed by a creature with
heightened senses and night vision.
Whatever it is, is rapidly approaching the lights of the village
in the distant b.g.
|
End of scene.
-
Moving on to the current scene:
85 INT. BLUE WHALE - NIGHT
Daphne, sitting with Sam at a back table, is just finishing the
books. In the b.g., Maggie is getting ready to shut down for
the night.
DAPHNE
(a smile)
Okay, Sam. As usual, the
government owes you.
She closes the books, rises.
|
And that's when today's first quote -
Page 32/Scene 85 - Sam: 'You're a genius, Daph. Without you I'd be in jail.'
- comes up - and the script continues with:
Maggie calls from in back of the bar:
|
And that's when today's second quote -
Page 32/Scene 85 - Maggie: 'That's for sure.'
- comes up.
And as far as differences go, most things play pretty much as scripted with the exception that Daphne laughs after Sam's remark, she doesn't close the books until after that, and she doesn't get up from the table until after Maggie's remark.
-
Continuing on:
Sam helps Daphne on with her coat. They start for the door.
|
And that's when today's first quote -
Page 32/Scene 85 - Maggie (CONT'D) (smiles): 'I keep tellin' ya, Daph, fishermen who go to bed early don't make for an exciting love life.'
- comes up - and the script continues with:
(CONTINUED)
85 CONTINUED:
Daphne laughs.
|
And that's when today's second quote -
Page 33/Scene 85 - Daphne: 'It's the best I can do.'
- comes up.
And as to what's different, after Daphne picks up her coat from the back of the chair she was sitting in, she and Sam walk over to Maggie at the bar, and that's where Sam helps her on with her coat - Maggie actually says "I keep tellin' ya, Daph, fishermen that go to bed early don't make for a very exciting love life" - Daphne immediately responds with "Oh, well ... it's the best I can do" - and then she laughs.
-
Finishing the scene:
SAM
Where's your car?
DAPHNE
I left it at Rotolo's. It needed
a charge.
SAM
Okay.
(gives her a kiss on
the cheek)
Thanks again, sweetheart.
And as Maggie calls "goodbye" in the b.g., Daphne goes out into
the night.
|
End of scene.
And as for differences, Maggie gives him a cup of coffee as Sam actually asks "Where'd you put your car, sweetheart?" - Daphne replies "Oh, it's over at Rotolo's. I had to get it charged" - Sam responds with "Oh", makes an "Mmmm" sound as he kisses her cheek, and then says "Thank you again" - to which Daphne replies with an unscripted "Oooo, thank you, Sam" - Sam laughs - Daphne then delivers an unscripted "See you later, Maggie" - and Maggie replies "Bye" as Daphne goes off.
-
Before we get into today's scene we have to deal with Daphne:
86 EXT. STREET - NIGHT
DOLLYING IN FRONT OF her, as tightening her scarf, she heads
for the gas station, two blocks away. In the b.g., WE WATCH
the sign over the restaurant go out.
O.S., the DISTANT SOUND of DOGS beginning to BARK.
87 FROM ACROSS THE STREET - MOVING
Something is there, following her.
88 CLOSE - DAPHNE
As she continues along the deserted street. Suddenly, she
thinks she hears something behind her. She stops, looks back.
89 HER POV - PANNING
Nothing. Just some very scary shadows and the SOUND off the
branches CREAKING overhead in the wind.
90 BACK TO DAPHNE
As she resumes walking, but now quickens her pace. The SOUND
of the DOGS' BARKING grow more agitated.
91 HER POV - MOVING
Rotolo's gas station. One small light in the window. Her car
parked in front... a block and a half away.
92 FROM ACROSS THE STREET
As she quickens her pace ... a pair of old fashioned, soft,
leather boots ENTER SHOT, start after her.
93 DAPHNE'S FEET
Walking faster and fester.
94 MEN'S BOOTS
Now crossing the street, beginning to gain on her.
95 DAPHNE
As she throws a terrified look back over her shoulder, breaks
into a panicky run.
96 DAPHNE - LONG LENS
Through the window of her car, running in terror, TOWARD CAMERA.
Finally, she reaches the car, grabs the door handle, pulls it
open, jumps inside.
Suddenly something ENTERS FRAME, pulls the door open, as a
strong hand with a LARGE BLACK STONE RING, grabs her viciously
by the throat.
She lets out a WRENCHING SCREAM, and we ...
|
End of sequence.
As we can see, the sequence was scripted to be shot much closer to the Daphne scene in hoDS, but in the actual pilot it didn't end up as quite as much of a ripoff, er, "homage" to that. And as for the differences between the script and the pilot, there is no dollying involved in Scene 86 and Daphne doesn't tighten her scarf, she's simply holding it - and there are no sounds of barking dogs at this point, only nearby clanging buoys and a boat's horn - before Scene 87 there's a shot of Daphne walking along a different street as she adjusts her scarf around the collar of her coat, and that's when the sounds of dogs howling in the distance begins to be heard - there are no sounds of creaking branches in Scene 89, but sounds of barking dogs can then be heard and the howling grows louder - and Scenes 91 and 92 do not appear in the pilot - nor does Scene 94.
-
Moving on to today's scene:
97 EXT. ROTOLO'S GAS STATION - NIGHT
A grim scene ... Two police cars, lights flashing, and an
ambulance backed up to Daphne's car. A team of paramedics are
crowded around an unconscious girl hooking up I.V.'s, etc.
Maggie stands with a group of people off to the side, watching
in horror. Sam hurries INTO SHOT.
|
And that's when today's quote -
Page 34/Scene 97 - Sam: 'I called Joe ... Mrs. Stoddard is on her way. (a beat) How is she?'
- comes up - and the script concludes the scene with:
Maggie numbly shakes her head. Sam puts his arm around her.
|
And as far as differences go, we don't actually see Rotolo's Gas Station - what we do see is only one police car and Daphne is out of her car (which we also don't see) and on a stretcher on the ground as the paramedics work on her - and as Sam makes his way to Maggie, he asks an unscripted "Excuse me" of a man who then moves out of the way so that Sam can move close to Maggie.
-
Moving on to the next scene in the sequence:
98 SHERIFF PATTERSON
A big open-faced man in his late 40S ... MOVING WITH HIM as he
crosses over to the paramedics.
PATERSON
Is she gonna make it?
PARAMEDIC #1
Don’t know ... She lost a whole
lot of blood.
PAN DOWN to Daphne, her face as white as chalk. The Sheriff
kneels down to examine the ugly wound on her neck.
|
And that's when today's quote -
Page 35/Scene 98 - Patterson: 'What do you think did this?'
- comes up, followed by today's quote:
Page 35/Scene 98 - Paramedic #2: 'You tell us. Like some kind of wild animal tried to rip out her throat.'
And as for differences, we actually see Patterson drive up in and exiting his car before he goes over to Daphne and the paramedics - and once he gets there Patterson displays an extremely shocked reaction to Daphne's state, whereupon we see a shot of an extremely bloody Daphne - and after Patterson kneels down he doesn't actually examine Daphne's wound, he simply asks her condition as scripted - and Paramedic #2 (who later in the series will be identified as Deputy Jonathan Harker (wink, wink - oh so clever)) actually says "You tell us. It's like some kind of wild animal tried to tear her throat out" - and after that Patterson gives a look in the direction behind the paramedics and asks an unscripted "Is that her car?"
End of scene - though not end of sequence...
-
I'm curious about the description. I'm wondering just what is meant by an "open-faced" man. I assume the casting director would have to look for the appropriate person.
-
When applied to a person, I've always taken open-faced to mean someone whose face appears honest and sincere.
-
I suppose that's a good description, but I'm still considering the casting director having to find someone who is open-faced!
-
Moving on to the concluding scene in the sequence:
99 CLOSE - SHERIFF
As he looks around.
|
And that's when today's first quote -
Page 35/Scene 99 - Patterson: 'Where'd it all go?'
- comes up - and the script continues with -
The first paramedic is now applying a dressing to the bloody
wound.
|
- before today's second quote -
Page 35/Scene 99 - Paramedic #1: 'Where'd what go?'
- comes up.
And as to what's different, Patterson actually walks over to Daphne's car and checks around with his flashlight before he actually asks "Where did it all go?" - and beyond doing something to Daphne, we can't actually see what Paramedic #1 is doing because his back is to the camera - but before he asks Patterson what he's asking about, he turns around to look at him.
-
Yesterday I forgot to mention that about a month ago I caught an ep of Remington Steele entitled Steele in the Running, which originally aired on 03/22/86, and in which the actor who played Paramedic #1 in the pilot -
(http://www.dsboards.com/91quoteimages/Rif-01-13-91.jpg)
- Rif Hutton, guest starred:
(http://www.dsboards.com/91quoteimages/Rif-03-22-86.jpg)
It was from almost 5 years before DS, but I certainly recognized him immediately, mostly because of his voice. And even though I can probably say it's the only time I've recognized him in something, apparently he's been a very busy actor, both in small and large parts, both before and after DS, and right up until the present.
-
Wrapping up Scene 99:
Yesterday's quote -
Page 35/Scene 99 - Patterson: 'The blood. I don't see any blood around here. (a beat) If she lost all that blood, where'd it go?'
- comes up - and the script concludes the scene with:
And, as the men exchange a look, we HOLD a beat, and . . .
|
And when it comes to what's different, Patterson actually says "Blood. I don't see any blood around here. (a beat) If she lost all that blood, where did it go?" (apparently Michael Cavanaugh has an aversion to saying "where'd" because that's the second time he substituted the full "where did" instead of delivering his line as scripted) - and while the men do exchange a look, the paramedics turn back to continue working on Daphne and Patterson turns away.
The sequence is also noteworthy as the final time we see Maggie and Sam in the pilot...
-
And here's the current sequence (most of which only appears in the restored MPI version of the pilot):
100 INT. COLLINSPORT HOSPITAL - DAPHNE'S ROOM - NIGHT
CLOSE on Daphne propped up in bed, face deathly pale, eyes
closed, lying under a maze of life-support tubes, I.V.s, etc.
SLOWLY WIDEN TO INCLUDE DR. HYRAM FISHER examining her, a
bleary-eyed Joe Haskell sitting next to her awkwardly holding
her hand. A NURSE hovers in the near b.g.
(CONTINUED)
100 CONTINUED:
Fisher is an elderly, white-haired man, the Collins family
physician for years.
A beat. He closes his bag, turns to Joe.
|
And that's when yesterday's first quote -
Page 36/Scene 100 - Fisher: 'There's nothing you can do here now, Joe. Why don't you go into the lounge and get yourself a cup of coffee?'
- comes up, followed by today's quote -
Page 36/Scene 100 - Joe: 'No. I want to stay with her.'
- comes up. - and the script continues with:
Fisher nods, pats him on the shoulder.
FISHER
I'll look in on her later.
And he starts for the door.
|
End of scene.
And when it comes to the differences between the script and the restored version of the pilot, there is actually an establishing shot of the exterior of the hospital (Collinsport Mercy Hospital) in which it is raining, a woman is walking along the sidewalk with an umbrella, and while it's mostly cloudy, there's a very odd brightness in the sky considering it's nighttime (it must be because of an extremely bright full moon that's suddenly come out [snow_wink]) - and we don't actually see Joe until after Fisher (who I wouldn't exactly describe as elderly in the person of actor Wayne Tippit) is done examining Daphne - and speaking of the examination, Fisher doesn't have a bag, only a stethoscope - and after Fisher tells Joe there's nothing he can do, he actually says "Why don't you go to the lounge, get yourself a cup of coffee?" - and Joe actually responds with "No. No, no. I want to stay with her."
As for how much of the scene is in the NBC version of the pilot, well, it's simply the shot of the medical equipment and Daphne in bed - no Fisher, no Joe, no nurse.
And speaking of the nurse, while apparently she is in the room with them, we don't actually see her until the next scene...
-
MB, that is a fantastic image of the doctor and Joe!
-
And since it's gone now, here it is for anyone who missed it:
(http://www.dsboards.com/91scriptquoteimages/0407ds91_0.jpg)
-
Thanks! [snow_smiley]
-
I figure I should probably also share a capture of the establishing shot of the hospital so that those who've never seen the restored version of the pilot can know what I was talking about:
(http://www.dsboards.com/91scriptquoteimages/0406ds91_a.jpg)
That must be one bright full moon! [cheesyb] Or maybe it's that the hospital's parking lot has so many lights that the sky above the hospital lights up as well. Or maybe it's just yet another of the numerous odd meteorological phenomenons in Collisport! [nodassent]
-
Setting up the next scene:
101 INT. HOSPITAL CORRIDOR - NIGHT
As Fisher comes out of the door, we SEE Elizabeth and Carolyn
hurriedly approaching from the end of the corridor.
|
And that's when today's quote -
Page 36/Scene 101 - Liz: 'Hyram, how is she?'
- comes up.
And what's different here is that it isn't until Fisher exits Daphne's room that we get to see the nurse in the background by Daphne's bed - and as is probably already obvious given the fact that today's capture is one of Fisher and not Liz, we don't actually see Liz (and Carolyn) until after Liz delivers her line off screen as Fisher closes the door to Daphne's room.
-
When it comes to today's quote -
Page 36/Scene 101 - Fisher: 'We've got her stabilized, and we're pumping whole blood back into her as fast as we can...'
- it's the opposite situation of yesterday in that Fisher delivers his line off screen while we see Liz and Carolyn. And afterward the script continues with:
LIZ
Has she told you anything?
FISHER
(shakes his head no)
She’s pretty heavily sedated.
|
And when it comes to differences, other than what I already mentioned, there basically are none.
-
And when it comes to the differences between the script and the restored version of the pilot, there is actually an establishing shot of the exterior of the hospital (Collinsport Mercy Hospital) in which it is raining, a woman is walking along the sidewalk with an umbrella, and while it's mostly cloudy, there's a very odd brightness in the sky considering it's nighttime (it must be because of an extremely bright full moon that's suddenly come out [snow_wink])
My first thought at seeing the hospital isn't the incredibly bright night sky, but how large the hospital seems to be for a town as small as Collinsport was supposed to be. But maybe the fishing and cannery business had enough mishaps to keep such a large facility in operation...
-
After today's quote -
Page 36/Scene 101 - Carolyn: 'Why can't the police do something-- Who DID this to her?'
- the script continues with:
FISHER
We don't know how it happened...
LIZ
Is she going to be all right?
(CONTINUED)
101 CONTINUED:
A beat. He looks at her.
FISHER
I hope so.
Elizabeth suddenly sobs, dragging a handkerchief out of her
purse. Carolyn puts her arm around her.
CAROLYN
Can we see her?
Fisher nods.
FISHER
Only for a little while.
They start for the door.
FISHER (CONT'D)
Joe's in there with her.
And they enter the room.
|
End of scene.
And as for what's different, Liz gets as far as asking "She's gonna be all..." before she chokes up and covers her face with her hand, and that's when Carolyn puts her arm around her mother, not later on - and Fisher nodding that they can see Daphne and saying but only for a little while was dropped from the scene - things go right to him actually saying "Joe's in there with her now" - and Fisher closes the door after Carolyn and Liz go inside Daphne's room, then he leaves.
-
Next in the script is another scene that only appears in MPI's restored version of the pilot:
102 INT. ROOM
As they enter, Carolyn crosses to Joe, gives him a kiss on the
cheek. He takes her hand. Elizabeth sits next to the sleeping
Daphne, gently touches her face.
|
End of scene. And end of hospital sequence in the script. And given Carolyn's behavior toward Joe in the series, not to mention her joke in Scene 6 about being happy to take Joe off of Daphne's hands, I'm sure no one is surprised that Carolyn snuggles up to Joe and kisses him:
(http://www.dsboards.com/91scriptquoteimages/0410ds91_a.jpg)
It's the perfect opportunity to give Joe what would appear to be some innocent comfort while at the same time...
And again there basically are no differences to speak of... Though Liz gets a wonderful extended moment to show her concern for Daphne. But of course, being a great character moment, it was snipped from the NBC version like so many we've already gone into.
-
And also coming before tomorrow's scene in the slideshow is another sequence without any dialogue:
102A EXT. CEMETERY - NIGHT
The Mausoleum rises above the rest of the graves, eerie in the
last darkness just before dawn...
CAMERA IS LOW, FOLLOWING the soft, old-fashioned, men's boots
and long cape moving rapidly through the graveyard into the
Mausoleum.
102B INT. MAUSOLEUM - NIGHT
FOLLOWING as the Figure sweeps down the narrow, stone flight
of stairs into the burial crypt.
102C CLOSE - LION'S HEAD
As the hand with the BLACK STONE RING, grasps the rusted iron
opening device, twists and pulls it.
As before, we HEAR the SOUND OF HEAVY STONES GRATING, as the
wall moves, revealing the entrance to the Secret Room.
l02D SECRET ROOM
GOING WITH the dark Figure as he enters, the stone wall closing
behind him.
The Figure moves past the open sarcophagus, where we see a
semi-conscious Willie lying on the floor, a terrible wound on
his neck, his eyes fluttering open.
l02E ANGLE - STONE FLOOR
In a corner of the room, where a heavy iron ring is set in the
stone floor.
Momentarily, the hand reaches in, grasps it, pulls mightily
upward ... as a small three-foot portion of the floor opens.
102F THE OPENING
And down inside ... an old brass-bracketed MARINER'S CHEST ...
The strong hands reach in, lift it out, open it.
It is brimming with gem stones, GOLD and SILVER COINS, JEWELRY,
and other precious valuables.
A moment, and then the hands reach in, scooping up handfuls of
the sparkling treasure. A beat, then...
|
End of sequence. And it's also the second act break of the pilot.
And as for what's different, Scenes 102B and 102C do not appear in any version of the pilot - with Scene 102D, the door to the secret room is already open and we actually see Willie on the floor before we see the "dark Figure," who does not close the door before he moves past Willie to the wall at the back of the secret room - instead of what's scripted, Scene 102E actually depicts the Figure pulling a ring in the wall, which in turn causes a stone in the wall to partially pop out, whereupon the Figure pulls the stone all the way out and puts it down on the floor before the chest is removed from inside the wall in Scene 102F.
-
Setting up today's new scene:
103 INT. SEROLOGY LAB - HOSPITAL - MORNING
ACROSS DR. FISHER, hunched over a microscope, examining blood
slides. Sheriff Patterson, in rain gear, enters in the b.g.,
stands there for a beat.
PATTERSON
Hyram?
FISHER
(looks up)
Sorry, I didn’t see you standing
there, George.
PATTERSON
How’s the girl this morning?
FISHER
The same.
Patterson shakes his head, sighs heavily.
(CONTINUED)
103 CONTINUED:
PATTERSON
That’s not good.
|
And that's where today's quote -
Page 39/Scene 103 - Patterson: 'I've got a bunch of trackers and half the town out with shotguns looking for this thing, whatever it is. And nobody's seen a damn thing. No tracks, nothing.'
- comes up.
And as for differences, there's a crash of thunder soon after Patterson enters the lab - Fisher actually says "Well, I'm sorry - I didn't see you standing there, George" - and, oddly, Fisher takes a puff of a cigarette as Patterson tells him about how no one has found anything. (Fisher must surely be channeling the original series' Julia! [snow_cheesy])
-
Continuing:
The doctor looks at Patterson uneasily.
|
And that's where today's quote -
Page 39/Scene 103 - Fisher: 'Well you can stop looking for an animal.'
- comes up - and the script continues with:
A beat.
PATTERSON
What do you mean?
|
And as for differences, there's only one: Fisher doesn't look at Patterson uneasily before he says they can stop looking for an animal.
-
And wrapping things up:
Fisher nods toward the slide under the microscope.
|
And that's when today's quote -
Page 39/Scene 103 - Fisher: 'I found traces of human saliva in the wound.'
- comes up - and the script continues with:
And as Patterson stares at him, we HOLD for a beat, and ...
|
End of scene.
And as for what's different, Fisher doesn't simply nod toward the slide under the microscope, he takes off his glasses and points to the slide before explaining he found human saliva - and then he and Patterson share a look as the shot holds a beat.
-
For the rest of the month we'll be detailing scenes/sequences that don't appear in any version of the pilot or that only appear in MPI's restored version.
First up:
104 EXT. COLLINWOOD - DAY
The storm has intensified. CAMERA TIGHTENS to the ground floor
dining room french doors.
105 INT. DINING ROOM - DAY
Roger is sitting at the big table, an egg cup and a newspaper
in front of him. Outside, the rain is slashing at the windows.
A beat, and Vicki ENTERS.
ROGER
Good morning.
VICKI
Good morning. Any word about
Daphne?
ROGER
(shakes his head)
They promised to call if there's
any change.
(CONTINUED)
105 CONTINUED:
Vicki glances at the windows, shivers slightly, then crosses
to the sideboard for some breakfast. Roger watches her a beat.
|
And that's where today's quote -
Page 40/Scene 105 - Roger: 'I assume you've already met David?'
- comes up.
And as for what's different, Scene 104 does not appear in any version of the pilot - Scene 105 actually begins with a shot of the rain slashing against the windows and then, as we hear the crinkling of a newspaper, the camera pans to the left, not to reveal Roger, but Mrs. Johnson, in an unscripted appearance, who is arranging the breakfast choices on the sideboard. When Vicki enters the room, she greets Mrs. Johnson with an unscripted "Good morning, Mrs. Johnson" -
(http://www.dsboards.com/91scriptquoteimages/0414ds91_a.jpg)
- and Mrs. Johnson follows with "Good morning, Miss Winters" as she begins to leave the room, the camera following her and revealing Roger sitting at the table with his newspaper. As for the rest of what's been shared of the scene so far, the dialogue plays exactly as scripted, though Vicki doesn't glance at the windows or shiver slightly, and she doesn't have to cross to the sideboard for some breakfast because, as can be seen in the shared screen cap, she's already standing at it - and rather than Roger shaking his head, he actually puts down the newspaper and takes off his glasses as he explains about Daphne's condition.
And as a sidenote, the room used for this scene is actually Greystone's Morning Room, where breakfast would actually be served. Greystone's Dining Room won't actually be seen until the series.
-
Continuing:
Vicki hesitates, then looks at him with a smile.
VICKI
Yes.
ROGER
And...? What do you think?
She crosses to the table, putting her plate down, while
composing her answer.
|
And that's where the first part of today's quote -
Page 40/Scene 105 - Vicki: 'Well, to be perfectly honest, he started out by trying to scare the living daylights out of me last night.'
- comes up, followed by the script explaining:
Roger looks at her, concerned, but Vicki breaks into a warm
smile.
|
And that's where the second part of today's quote -
Page 40/Scene 105 - Vicki (CONT'D: 'And... he hit the jackpot.'
- comes up, followed by the script next explaining:
A beat as she begins to eat, seemingly calm about the
experience.
|
And when it comes to the differences, Vicki does hesitate a bit before confirming that she's met David, but she doesn't offer a smile and she drops the "perfectly honest" for a simple "honest," and she completely drops the "last night" - and Vicki doesn't cross to the table or hesitate before she delivers the first part of what she thinks because she's actually plating her breakfast as she says it - however, she does cross to the table with a tilt to her head and an ironic smile as she explains that David did indeed succeed in scaring her, after which she sits down at the table with her plate, but she doesn't begin to eat.
-
Finishing off page 40 of the script, first with Thursday's quote -
Page 40/Scene 105 - Roger: 'I'm sorry. I'll have a talk with him.'
- followed by Friday's quote -
Page 40/Scene 105 - Vicki: 'No need, little boys have been terrorizing teachers and babysitters forever. Mischief goes with the territory.'
- after which the script explains:
A beat as he looks at her.
|
- And then yesterday's quote -
Page 40/Scene 105 - Roger: 'Miss Winters, I'm afraid you will find David to be a very difficult child.'
- comes up, after which the script also explains:
Vicki looks at him, trying to allay perceived fears, but also
being professional.
(CONTINUED)
|
And as for what's different, Vicki sits at the table and picks up her napkin as Roger says he'll have a talk with David - she places the napkin in her lap as she delivers her reply to Roger - and once she's done, she starts to eat - however, unlike what the script indicates, Roger doesn't actually look at her quite yet as instead he smiles at her remark while looking down at the table, and he remains looking down until he's almost done telling Vicki that David's a very difficult child, although, what he actually says is "I'm afraid, Miss Winters, you're going to find that David is a very difficult child", whereupon he does look at her.
-
A bit late, but picking things up with page 41:
_____________________________________________________________________
Revised 2/28/90
105 CONTINUED: (2)
|
And things start off with Sunday's quote -
Page 41/Scene 105 - Vicki: 'Mr. Collins, I'm sure it hasn't been easy for David... but give me some time with him. It's best not to expect too much, too soon.'
- followed by Monday's quote -
Page 41/Scene 105 - Roger: 'Miss Winters... I learned a long time ago never to expect anything. That way, I'm never disappointed.'
- at which point the script concludes the scene with:
The thought strikes a note with Vicki. A beat, then Roger looks
out the window, frowns.
|
And when it comes to the differences, Vicki actually says "Mr. Collins, I'm sure it hasn't been easy for David... give me some time with him. I think it's best not to expect too much, too soon" - the "Miss Winters..." part of Roger's lines is dropped - he stares off into space when he tells Vicki he learned a long time ago never to expect anything, but then he looks directly at her when he explains that that way he's never disappointed - and after saying that he doesn't look out the window because what he actually does is take a drag from his cigarette and then turn away as what he's said strikes a note with Vicki, who soon looks away and down to her plate.
And so ends another great character scene (particularly for Roger) that ended up snipped from the NBC version. [snow_sad] But thankfully the restored MPI VHS has shared it with us...
-
Moving on to the next sequence:
105A EXT. COLLINWOOD - DAY
As the Sheriff's car moves through the rain, up toward the Great
House.
106 INT. FOYER
As Elizabeth opens the door for the Sheriff.
|
And that's where Tuesday's quote -
Page 41/Scene 106 - Patterson: 'Sorry to bother you so early, Mrs. Stoddard.'
- comes up in the script, followed by -
Page 41/Scene 106 - Liz: 'Come in, George... Terrible weather.'
- Wednesday's quote. Though you may ask yourselves why was Patterson already inside the foyer in Tuesday's screen cap in the slideshow -
(http://www.dsboards.com/91scriptquoteimages/0421ds91_0.jpg)
- but he was at the door and just entering in -
(http://www.dsboards.com/91scriptquoteimages/0422ds91_0.jpg)
- Wednesday's screen cap. Well, that's because Liz and Patterson's lines were flipped in the pilot. And as for other differences, unscripted rumbles of thunder are heard throughout Scene 105A and this portion of Scene 106 - after Liz opens the door to him in Scene 106, Patterson greats her with an unscripted "Good morning, Elizabeth" - and after Liz tells him to come in, he responds with an unscripted "Thank you" - and then after Liz comments on the weather, Patterson replies with an unscripted "Yes, it is" - and as a final unscripted bit for this portion of the scene, after Patterson apologizes for bothering them so early, he adds "but as you know this is important."
-
Continuing, and picking up in the script with Patterson and Liz:
He steps in, shakes the rain off his hat, follows her into the
main hail. Roger ENTERS SHOT.
ROGER
What is it?
(CONTINUED)
106 CONTINUED:
Vicki enters, starts toward the stairs, Elizabeth calls her
over.
LIZ
Our new governess, Sheriff ...
Vicki Winters.
PATTERSON
Nice to meet you, Miss Winters.
(then, to Elizabeth)
|
And that's when the first part of Thursday's scripted quote -
Page 42/Scene 106 - Patterson: 'Elizabeth, would it be all right if I talked to Willie Loomis?'
- comes up - after which the script indicates:
Roger and Elizabeth exchange a glance.
|
And then the second part of Thursday's quote -
Page 42/Scene 106 - Patterson (CONT'D): 'I understand he was acting pretty strange last night. (looks at Vicki) You were there, weren't you Miss Winters? At the Blue Whale? I heard he almost took a swing at Joe...'
- comes up, followed by yesterday's quote:
Page 42/Scene 106 - Vicki: 'Yes, but nothing really happened.'
And as for the differences, Patterson doesn't step in then as indicated because, as we've already seen in the previous post, he's already in (and as he doesn't shake the rain off of his hat before entering (though he does an unscripted wiping of his feet)) - though Patterson does follow Liz into the main hall, and Roger does enter - however, upon entering Roger greets Patterson with an unscripted "Hi, George" and Patter replies with a simple unscripted "Roger" before Roger delivers the scripted line "What is it?" - and when it comes to Vicki's entrance, Liz actually calls out an unscripted "Victoria" before introducing her to Patterson, though as Victoria Winters and not Vicki Winters (and if I'm not mistaken, throughout the entire series I think that more often than not Liz refers to her as Victoria rather than Vicki - I'll have to pay attention the next time I watch) - and after Patterson says it's nice to meet her, Vicki responds with an unscripted "It's nice to meet you" - then, rather than asking, Patterson actually says "Elizabeth, I'd like to talk to Willie Loomis" - though Liz and Roger do not share a glance there - and Patterson finishes his lines by referring to Joe as "Joe Haskell" rather than the simple Joe - and Vicki's actual reply is "Well, yes, but nothing really happened."
-
And wrapping up the current scene we begin with Saturday's first quote -
Page 42/Scene 106 - Liz: 'I don't understand, you've been looking for an animal.'
- followed by Saturday's second quote -
Page 42/Scene 106 - Patterson: (a beat) 'We were wrong.'
- followed by Sunday's second quote -
Page 42/Scene 106 - Liz: 'Oh my God! What kind of a person could have done such a thing? You can't be serious in thinking that it might be Willie...'
- after which the script continues with -
PATTERSON
I didn’t say that, Elizabeth.
|
- and then today's quote -
Page 42/Scene 106 - Roger: 'He'll be over at the stables. If you want me to, Sheriff, I'll go over there with you.'
- comes up - and the script concludes the scene with:
PATTERSON
Fine.
And as the two men start for the foyer, we . . .
|
And as for what's different, Liz actually says "I don't understand. You're looking for an animal" - to which Patterson responds "Well, we were wrong" - and an incredulous Liz replies "Oh my God! What kind of a person could have done such a thing? (a line that appeared in many of the promos) But you don't seriously think Willie had anything to do with it..." - then after Patterson says he didn't necessarily say he thinks Daphne's attacker was Willie, Roger offers "He'll be down at the stables. I'll go down there with you if you'd like" - and after Patterson says "That'll be fine", Roger leaves the main hall, and Patterson bids the ladies goodbye with a simple and unscripted "Miss Winters, Elizabeth" - and after he leaves the room, Liz and Vicki join hands and look deeply concerned and confused.
-
Getting into the next sequence:
107
thru OMITTED
108
109 EXT. COLLINWOOD STABLES - DAY
The rain has let up somewhat as the Sheriff's car pulls into
the stable area and the two men get out. In the b.g. WE NOTICE
Willie's truck parked nearby.
ROGER
That's his pickup.
And he leads the Sheriff into the building.
110 INT. STABLE STAIRS
As Roger and the Sheriff start up the narrow flight of steps
toward Willie's garret room.
Stopping in front of his door, Roger knocks loudly.
|
And that's when today's quote -
Page 43/Scene 110 - Roger: 'LOOMIS! Loomis!'
- comes up.
And as far as differences go, the rain has not let up in Scene 109 because it's still pouring hard - we don't simply notice Willie's truck parked in the background because Patterson parks his car right next to it - after Roger identifies it as Willie's pickup, he follows with an unscripted "Let's check his room", to which Patterson replies with an unscripted "All right" - an unscripted burst of thunder sounds as the two men run into the stable and then in Scene 110 start up the stairs - and Roger calls out "LOOMIS!" only once as he and Patterson continue up the stairs before they even get to the door to Willie's room.
One thing that's often intriguing as we go through the script is how there are many indications of omitted scenes. When reading any scripts I've often presumed such scenes are ones that were once in the script but were dropped somewhere along the way in the rewriting process before the final script version was reached. But in some cases, especially in the instances here of omitted Scenes 107 and 108 and the way the script certainly seems to indicate that the end of Scene 106 led into the start of Scene 107, it would be interesting to know what might have gone on in them. Were they other scenes involving Roger and Patterson, Liz and Vicki, or were they something else entirely? But I suppose we'll never know...
-
Picking with the last descriptive line from what was posted from the script in the previous post, Roger doesn't really knock upon reaching the door to Willie's room. Things begin to play out as the script indicates for the next scene in the sequence:
111 INT. WILLIE'S ROOM
As the two men enter, look around the disheveled space. No
Willie. Roger angrily grabs two empty bourbon bottles from
Willie's desk, hurls them into a waste basket.
|
And that's when the first part of today's quote -
Page 43/Scene 111 - Roger: 'You'll probably find him sleeping it off somewhere.'
- comes up in the script. And the script continues with:
The Sheriff crosses over to look at Willie's desk. He ricks
up dog-eared paperback, "Orologium Sapientiae: The Book of
the Dead" and stares at it... jots down something on a little
notepad.
|
And then the second part of today's quote -
Page 43/Scene 111 - Roger (CONT'D): 'A very strange young man, our Mr. Loomis.'
- comes up in the script. However, in the actual scene in the pilot much of this portion of the scene plays differently. After Roger and Patterson enter Willie's room and exchange a glance at the sight of the disheveled space, Roger actually says "A very strange young man, our Mr. Loomis" as he walks past Willie's desk and to a table in the room where he picks up two empty liquor bottles, then says "He's probably sleeping it off somewhere", and then hurls the bottles into an unseen waste basket (apparently the Collinses don't redeem them for the deposits [snow_wink]). And Patterson hasn't crossed over to Willie's desk - though we've yet to know it because he's off camera, Patterson has simply stayed in the same spot as when he entered the room.
-
And concluding the current scene/sequence, in response to Roger's remarks that Willie is strange and is probably off sleeping somewhere other than his room, the script indicates:
And that's when today's quote -
Page 43/Scene 111 - Patterson: 'Well, we have to talk to him. When you see him, tell him to come down to the station house.'
- comes up - after which the script indicates:
(CONTINUED)
Revised 2/28/90
111 CONTINUED:
ROGER
Of course, Sheriff.
And as the two men start out of the room, we . . .
|
End of scene/sequence.
And when it comes to what's different, Patterson doesn't nod in response to Roger's remarks and after making them and before Patterson replies, Roger walks back over to him near the doorway to Willie's room - and Patterson actually replies with "Well, I need to talk to him. When you see him, you tell him to come down to the station house" - and after Roger replies as scripted and Patterson gives an unscripted nod, they not only start out of the room as scripted, but they also close the door behind them.
And that concludes the current section of the script that only appears on MPI's VHS. Beginning with tomorrow's installments, the slideshow will continue with what is also in the NBC version of the pilot...
-
Starting the first of only two sequences this month:
112 EXT. STONE COTTAGE - MORNING
A small, stone cottage by the sea. Large, dark pines a1most
seem as if they are trying to crowd the squat, sturdy structure
into the stormy Atlantic.
113 INT. COTTAGE STUDY
PANNING MICHAEL WOODARD, an aging, eccentric professor of
Archaeology and Parapsychology, as he enters with two steaming
cups of coffee ... TO REVEAL Sheriff Patterson standing by the
big bay window overlooking the sea.
It's a cosy, low-beamed, cluttered room crammed with books and
every kind of weird artifact ... antiques, strange tribal
relics, etc. A large fire burns in the grate.
|
And that's when today's first quote -
Page 44/Scene 113 - Patterson: 'Mike... what is this?'
- comes up - followed by the script explaining -
He holds up a very strange-looking, skull-like, African object.
|
- before today's second quote -
Page 44/Scene 113 - Woodard: 'A Marawese Fertility Vessel... A repository for the souls of tribal elders.'
- comes up.
And as for what's different? Well, much. For starters, Scene 112 is actually two shots - the first is of waves crashing on a beach in the storm, and then the trees and shrubs in the shot morph into trees and shrubs and Patterson's car as it drives in the storm along a roadway to Woodard's cottage. Scene 113 does not begin with panning Woodard as he brings coffee to Patterson - rather it begins with a close shot of the Marawese Fertility Vessel and the shot pulls back to show that Patterson is holding it - then as Patterson actually asks "Professor... what is this?" (no first name basis), we see Woodard in the background coming down a set of stairs because the room is actually two stories high - and Woodard delivers his line as he continues down the stairs and over to Patterson - and what Woodard is actually carrying is a book. Also, there is no fire in view - yet.
-
After Woodard's comment that what Patterson is holding is a Marawese Fertility Vessel that was used as a repository for the souls of tribal elders, the script indicates:
Patterson makes a face, holds it away from him.
|
And that's when Saturday's first quote -
Page 44/Scene 113 - Patterson: 'Any left?'
- comes up, followed by Saturday's second quote -
Page 44/Scene 113 - Woodard: 'Very likely.'
- coming up, and followed by the script explaining:
Patterson, with great care, replaces it where he took it from.
Woodard hands him one of the cups. And they cross to two
overstuffed chairs by the big stone hearth, sit.
(CONTINUED)
Revised 2/28/90
113 CONTINUED:
WOODARD
I'm dreadfully sorry to hear about
the Collins girl... How can I
help?
PATTERSON
Plain and simple...
|
And he continues with today's quote:
Page 45/Scene 113 - Patterson: 'I've got a madman out there and I don't know where to begin looking for him.'
And when it comes to the differences, there are several. Patterson doesn't make a face or hold it away after learning about the Marawese Fertility Vessel - though he does give Woodard a unscripted "Yeah, sure" type of grin after Woodard says it's very likely there could still be tribal elders' souls in it - after which Patterson simply puts it back (during which the action is shot using a high angle shot, but presumably not so as to imply someone is watching them as the script indicates we were apparently supposed to assume from the high angle shot of Vicki, Liz and Carolyn talking in the main hall in Scene 33). And obviously, given Woodard isn't carrying cups of coffee, he doesn't hand Patterson one of them - though they do cross to two overstuffed chairs by a big stone hearth and sit as Woodard asks how he can help - and once they're in place is when things switch back to a normal shot and we see that there's a fire going in the hearth and that Patterson picks up a cup of coffee that's already been laid out on a coffee table between the hearth and the chairs.
-
The scene continues with:
Woodard looks at Patterson for a moment.
WOODARD
Has the girl been able to tell
you anything?
PATTERSON
Nothing.
(a beat)
And what’s worse, Hyram is afraid
she may never remember anything.
Woodard shakes his head, then:
|
And that's when Monday's first quote -
Page 45/Scene 113 - Woodard: 'You say she lost a good deal of blood. Exactly how much?'
- comes up, followed by Monday's second quote -
Page 45/Scene 113 - Patterson: 'Over two litres.'
- coming up, followed by the first part of Monday's third quote -
Page 45/Scene 113 - Woodard: '... Almost half her blood volume.'
- coming up, followed by the script explaining:
And that's when the second part of Monday's third quote -
Page 45/Scene 113 - Woodard (CONT'D): 'And your theory is that whoever did this took the blood with him?!'
- comes up, followed in the script by:
PATTERSON
I know it sounds crazy.
A long moment as Woodard just sits there looking at him. Then:
(CONTINUED)
Revised 2/28/90
113 CONTINUED (2):
WOODARD
Not necessarily.
|
And that's when today's quote -
Page 46/Scene 113 - Woodard: 'There have been documented cases of unbalanced people who've believed themselves to be vampires and actually drank human blood...'
- comes up, followed by the script continuing with:
PATTERSON
What about some kind of weird
blood cult thing?
WOODARD
That's a possibility too.
A beat, Patterson looks at him.
PATTERSON
Mike, whatever it is, I need an
answer fast. I gotta have some
clue what I'm lookin' for here.
He rises, takes a manilla envelope from his raincoat pocket,
hands it to Woodard.
PATTERSON (CONT’ D)
A full report with all the
details.
WOODARD
I'll get on this right away,
George.
And as he escorts the Sheriff out of the room, we . . .
|
End of scene, and end of sequence.
And as for the differences, again, there are quite a few - but I'm going to wait until the next post to get into them all...
-
First off in the above section of the script, in the pilot Woodard doesn't actually look at Patterson for a moment because he jumps right in and actually asks "And the girl was able to tell you nothing?" - and once Patterson explains that Daphne might never remember anything, Woodard also doesn't shake his head, he goes right into asking about how much blood Daphne lost, is quite surprised to learn it was almost half her blood volume, and then actually points out "Now, your theory is that whoever did this took it with him" - and Patterson actually pauses between saying "I know" and "It sounds crazy" - and after saying it's not necessarily crazy, Woodard leans forward in his chair and actually points out "There have been documented cases of unbalanced people who came to believe themselves to be vampires and actually drank human blood..." - and given that some have said it's a bit quick the way the actual pilot jumps to a possible vampire conclusion, it's too bad that both Patterson's "What about some kind of weird blood cult thing?" and Woodard's "That's a possibility too" is dropped in the pilot in favor of Patterson waiting a beat and then, as the unscripted sound of thunder is heard again, simply questioning with an unscripted "Two liters?", to which Woodard nods in the affirmative - and again Patterson doesn't refer to Woodard by his first name, his next lines begin with "Whatever it is" - and after delivering those lines Patterson doesn't rise from his chair as scripted because he simply picks up and gives Woodard the manila envelope, after which he actually says "That's a full report, all the details" - and after removing the papers from the envelope, Woodard looks at Patterson and assures him "I'll get on it right away" - and after more unscripted thunder, rather than having Woodard escort Patterson out (because they're both still sitting while also being shot from up above again), Patterson thanks Woodard with an unscripted "As always, I appreciate it", to which Woodard nods. End of scene.
-
Starting the current sequence (which will last for the rest of this month and well into next month):
114 EXT. COLLINWOOD - MAIN HOUSE - NIGHT
A low-moaning wind in the tall, dark pines. A cold moon shining
down through the fleeting clouds.
A beat ... and then a dark FIGURE with a SILVER WOLFHEAD CANE
ENTERS THE FRAME. His back to us, he stops, looks at the house
for a moment, then slowly heads for the main entrance.
115 EXT. GREAT FRONT DOOR
As the stranger's hand ENTERS SHOT, rings the doorbell. WE
NOTICE the BLACK STONE RING on his finger.
116 INT. COLLINWOOD - FOYER
As Mrs. Johnson enters from the Great Hall, crosses to open the
door. She squints strangely at the CALLER (CAMERA).
|
And that's when Wednesday's first quote -
Page 47/Scene 116 - Caller (OS): 'Good evening ... Is Mrs. Collins at home?'
- comes up, followed by Wednesday's second quote -
Page 47/Scene 116 - Mrs. Johnson: 'Who shall I say is calling?'
- coming up, followed by today's first quote -
Page 47/Scene 116 - Caller (OS): 'You may tell her it is her cousin... Barnabas Collins from England.'
- coming up, followed by today's second quote -
Page 47/Scene 116 - Mrs. Johnson: 'England?! Oh yes, sir. Please come in.'
- coming up, followed by the script continuing with:
BARNABAS (OS)
Thank you.
Mrs. Johnson glances back at CAMERA, then crosses into the great
hall, CAMERA FOLLOWING. WE WATCH as she disappears into the
drawing room.
|
And when it comes to what's different, we don't see a moon or clouds in Scene 114, but there's certainly wind and leaves flying around. Scene 115 doesn't appear in any version of the pilot (no doubt it was included in the script because of a similar scene in hoDS - and it's interesting how there's much less detail paid in the pilot to the ring (and even less so in the '04 pilot) than there was in hoDS and the original series). And with this start of Scene 116, after Mrs. Johnson answers the door, she actually asks an unscripted "Yes?" of the Caller before he speaks - and after he does, Mrs Johnson actually asks "Who may I say is calling?" - and after Barnabas introduces himself, Mrs Johnson actually says "From England?! Yes, sir. Please come in", as she motions for him to enter and then steps out of the way as the camerawork indicates that he does so - then Mrs. Johnson comes back into view and explains in an unscripted bit of dialogue that "They're having dinner. I'll tell them you're here" - and as she goes off in the direction of the dining room, rather than the drawing room, the camerawork indicates that Barnabas also goes into the Great Hall.
-
Continuing on with the current sequence:
Now CAMERA BEGINS A SLOW PAN of the area, then slowly moves
toward the PORTRAIT of Barnabas on the wall... STOPS THERE
looking up at it.
117 ANOTHER ANGLE
As Elizabeth enters from the Drawing Room.
118 FROM BEHIND BARNABAS
As he turns to her, she crosses to him, extends her hand,
smiles.
|
And that's when yesterday's quote -
Page 47/Scene 118 - Liz: 'Barnabas Collins from England ... I'm stunned. I had no idea we had any relatives left in England!'
- comes up, followed by the script continuing with:
BARNABAS
I am the last, I'm afraid...
LIZ
Welcome to Collinwood, Mr.
Collins.
119 CLOSE ON BARNABAS
And at last WE SEE him. Sensuous, handsome, a feeling of danger
in his dark brooding eyes.
He takes her hand, looks deeply into her eyes.
BARNABAS
Thank you dear cousin,
|
And that's when today's quote -
Page 48/Scene 119 - Barnabas: 'I've been looking forward to this moment for so long.'
- comes up, followed by the script continuing with:
End of scene.
And when it comes to the differences here, of course Liz doesn't enter from the drawing room, she enters from the direction of the dining room, and she actually says "Barnabas Collins from England ..." and then things switch to Scene 119 and Liz says "Welcome to Collinwood", though she doesn't cross to him, or extend her hand, or smile - and everything about Liz being stunned because she had no idea they had any relatives left in England and about Barnabas being the last is dropped in the pilot - and after Barnabas thanks Liz for her welcome, he is actually the one who extends his hand to her - and after he offers that he's been looking forward to the moment for so long, the camera stays on Barnabas so we don't actually see Liz looking transfixed, though she certainly looked transfixed when she first sees him.
-
Moving on:
120 OMITTED
121 INT. DRAWING ROOM - NIGHT
CLOSE CAROLYN as she looks in amazement BY CAMERA.
|
And that's when today's quote -
Page 48/Scene 121 - Carolyn: 'I can't get over it. You look exactly like the man in the portrait.'
- comes up.
And as for what's different, I'm going to hold off until part of the next scene gets posted before getting into the changes. The reason will become clear then...
-
Continuing with Scene 121 as scripted:
LIZ (O.S.)
It is amazing, isn’t it?
121A FAVORING BARNABAS
As he smiles ever so slightly. In the b.g., WE SEE that
Elizabeth and Roger are also in the room.
|
And that's when today's quote -
Page 48/Scene 121A - Barnabas: 'The Collins blood does have a rather persistent strength. (a smiles) And I must admit, I, myself, have always been quite fascinated by the resemblance.'
(And yes, it's written as "a smiles" in the script.)
- comes up.
And now for what's different. As we saw with yesterday's screen capture -
(http://www.dsboards.com/91scriptquoteimages/0510ds91_0.jpg)
- Roger was already seen in the background in Scene 121 - and as today's screen capture clearly shows, the start of Scene 121A does not favor Barnabas -
(http://www.dsboards.com/91scriptquoteimages/0511ds91_0.jpg)
- it's a long shot featuring Liz, Barnabas, Roger, and Carolyn in the drawing room - and Liz is not heard off camera in Scene 121 saying that Barnabas' resemblance to the portrait is amazing because she delivers it on camera at the start of Scene 121A - and Barnabas doesn't simply smile after her remark, he actually chuckles, though he doesn't smile between saying the Collins blood has a rather persistent strength and that he's always been quite fascinated by the resemblance.
-
Continuing with Scene 121A:
He holds up the hand with the BLACK STONE RING.
BARNABAS (CONT'D)
As a matter of fact, this ring
belonged to my ancestor...
(raising the silver
headed cane)
...And this cane. They’re my most
treasured possessions.
(CONTINUED)
Revised 2/28/90
121A CONTINUED:
LIZ
This is all so extraordinary.
(then)
We knew of course, according to
the various journals, that the
original Barnabas went to England
in the late 1700s, just after the
election of John Adams.
BARNABAS
A man he helped to elect, along
with Thomas Jefferson as Vice
President.
LIZ
Yes.
(she smiles, impressed)
|
And that's when today's quote -
Page 49/Scene 121A - Liz: 'But whatever brought you to Collinwood?'
- comes up.
And when it comes to what's different, Barnabas doesn't actually hold up his hand to show off the ring, nor does he raise the cane, and he actually says "You will recognize this ring, of course, in the portrait... And this cane... They’re my most treasured possessions" - And the expression on Liz' face makes clear that she's quite fascinated before she even remarks "This is so extraordinary" - and though there are several camera angle changes along the way in this portion of the scene, none of them are indicated in the script as everything continues to be listed as Scene 121A.
-
Continuing with more of Scene 121A:
Barnabas replies to Liz' question with Wednesday's quote:
Page 49/Scene 121A - Barnabas: 'I recently arrived in Boston on business and knowing I was so close, I couldn't resist coming.'
And then the script continues with:
ROGER
What kind of business?
BARNABAS
I'm investing in a ship building
firm. If the business environment
proves beneficial, I may stay
on.
|
And then that's when Thursday's quote -
Page 49/Scene 121A - Roger: 'Where in London do you live?'
- comes up, followed by Friday's quote -
Page 49/Scene 121A - Barnabas: (a beat) 'Cadogan Square.'
- coming up, followed by Saturday's first quote -
Page 49/Scene 121A - Liz: 'Really? Roger's just come back from London...'
- coming up, followed by Saturday's second quote -
Page 49/Scene 121A - Roger: 'You don't happen to know the Bromwells do you? They live at number 33...'
- coming up. And then the script continues with:
(CONTINUED)
Revised 2/28/90
121A CONTINUED: (2)
|
And then that's when today's quote -
Page 49A/Scene 121A - Barnabas: 'I'm afraid I don't. My business has always been rather... consuming.'
- comes up.
And when it comes to differences, there's really not much to speak of. There's an occasional word changed or added here and there, but nothing really worth noting.
-
And more of Scene 121A:
(CONTINUED)
121A CONTINUED: (2)
A moment as Barnabas looks around the room, intently.
|
And that's when Monday's quote -
Page 50/Scene 121A - Barnabas (CONT'D): 'I've heard so much about Collinwood over the years.'
- comes up, followed by Tuesday's quote -
Page 50/Scene 121A - Liz: 'And what do you think of it?'
- coming up, followed by Wednesday's quote -
Page 50/Scene 121A - Barnabas: 'It's just as I remember.'
- coming up, followed by the script indicating:
Roger and Elizabeth exchange a glance, he frowns.
|
After which today's quote -
Page 50/Scene 121A - Roger: 'What do you mean, remember?!'
- comes up.
And before we get to the differences, yes, the script does indicate that we're now on page 2 of Scene 121A even though it should be page 3.
And as to what's different, there's very little. Barnabas gives out an unscripted sigh as he looks around the room intently before he remarks that he's heard so much about Collinwood - and Liz and Roger don't actually exchange a glance after Barnabas says Collinwood is just as he remembers, nor does Roger frown before picking up on the word "remember."
-
And picking up with Scene 121A from where we left off, things continue with Friday's quote -
Page 50/Scene 121A - Barnabas: 'It's the stories ... the stories have been so ... so vivid that it almost seems I actually have been here.'
(Good save. ;))
- followed by Saturday's quote -
Page 50/Scene 121A - Barnabas (to himself, as much as to them): 'Collinwood was first built on the moors near Lyme Regis on the southwest coast of England. The truss and cherrywood railings were hand-carved in Germany. The marble floors cut from the finest Tuscan quarries in Carrara. The masonry, the fireplaces and the steps created by the finest Italian craftsmen. (motions around him) This wainscotting was fashioned from the richest Baltic woods and the windows were purchased from the grandest baronial estates of Europe.'
- followed by Sunday's quote -
Page 50/Scene 121A - Barnabas: 'It was all transported, piece by piece, by sailing vessel to Boston, then driven here along the rocky coast by ox-drawn cart to be reassembled.'
- followed by the script indicating:
Elizabeth and Roger exchange another look, amazed. She turns
back to Barnabas.
|
And then today's quote -
Page 50/Scene 121A - Liz: 'I thought I was an expert on the family history. But Cousin Barnabas, your knowledge of our heritage is extraordinary.'
- comes up.
And this time there are some significant differences. Barnabas actually says "It's the stories ... the stories were so ... so vivid. It almost seems I actually have been here" - and he stands before he begins relating Collinwood's history - then he's already walked over to the fireplace before he gets into the marble floors (and one might consider that a dangerous thing to do given there's a mirror hanging above the mantle - but he goes there regardless and to his favor no one takes notice that he lacks a reflection (though a certain someone will notice in Ep #2 of the series)) - however, the parts of his scripted speech explaining about the masonry, the fireplaces and the steps, and the wainscotting are all dropped in the pilot, which also means that, because he never gets into them, he obviously doesn't motion around to indicate them as the script says he does - and once again Liz and Roger do not share a look, amazed or otherwise because we don't see their shared reaction - what we do see, though, is an amazed smile on Liz' face when she gives her astonished reaction.
-
And even more of Scene 121A:
(CONTINUED)
Revised 2/28/90
121A CONTINUED: (4)
A moment, then Roger gets up and motions toward a small table
with some decanters.
ROGER
Can I offer you a drink?
BARNABAS
No thank you. As a matter of
fact,
|
And he continues with the first part of last Tuesday's quote -
Page 51/Scene 121A - Barnabas: 'I've taken enough of your time. (a beat) But there is one other matter I'd like to discuss.'
- and then the script explains:
Roger goes to pour himself a drink while Elizabeth listens
carefully.
|
And then the second part of last Tuesday's quote -
Page 51/Scene 121A - Barnabas (CONT'D): 'It concerns the family's first home.'
- comes up, followed by Wednesday's quote -
Page 51/Scene 121A - Liz: 'The Old House? What about it?'
- coming up, followed by Thursday's quote -
Page 51/Scene 121A - Barnabas: 'You know the original Barnabas was born there... I took the liberty of visiting it this afternoon. (a beat) This may seem presumptuous, but I'd like the opportunity to restore it to its original condition.'
- coming up, followed by the script indicating:
Roger turns in surprise.
CAROLYN
(grins)
Cool....
Roger crosses back to him with his drink.
|
After which Friday's quote -
Page 51/Scene 121A - Roger: 'But that would cost a fortune. It's a complete wreck.'
- comes up, followed by the first part of Saturday's quote -
Page 51/Scene 121A - Barnabas: 'The money is of no consequence.'
- coming up, followed by the script detailing:
Roger stares at him, can’t believe what he’s hearing.
Elizabeth, however, is becoming intrigued.
(CONTINUED)
Revised 2/28/90
121A CONTINUED: (5)
|
And then Barnabas continues with the second part of Saturday's quote -
Page 52/Scene 121A - Barnabas (CONT'D): 'But of course, you must have time to consider my proposal.'
- after which the script explains:
Elizabeth looks at Roger.
|
And then Sunday's first quote -
Page 52/Scene 121A - Liz: 'Roger, I have no objection to this, do you?'
- comes up, followed by Sunday's second quote -
Page 52/Scene 121A - Roger: '(a beat) No ... I guess not. Not if he wants to take it on.'
- coming up, followed by Sunday's third quote -
Page 52/Scene 121A - Barnabas (smiles): 'Then it is settled.'
- coming up, followed by the script indicating:
After which Monday's quote -
Page 52/Scene 121A - Liz: 'I can't believe it! ... Our family's first home in America, come back to life.'
- comes up, followed by today's quote -
Page 52/Scene 121A - Barnabas: 'Yes ... come back to life ...'
- coming up.
And as for the differences, I'll get into those in my next post...
-
When it comes to the differences between what was in the excerpt from the latest scripted part of Scene 121A and how it ended up playing in the pilot, Roger actually asks "Can I get you a drink?" - to which Barnabas actually replies "No thank you. As a matter of fact, I have an engagement. I've taken enough of your time. (a beat) But there is one other matter I should like to discuss" - and when it comes to Liz' line questioning about the Old House, the "What about it?" part is dropped in the pilot - and Barnabas actually begins his reply with "Yes. You know, of course, the original Barnabas was born there..." and he actually concludes with "but...I'd love the opportunity to restore it to its original condition" (love being much stronger than like) - and Carolyn's line about that being "Cool" is completely dropped - and Roger actually turns to Liz in surprise before he tells Barnabas "It would cost a fortune. The place is a complete wreck" as he walks back to where he was previously standing rather than staying by Barnabas' side - and Roger sits after looking at Barnabas as he can't believe that the money to restore the Old House is of no consequence to Barnabas - and Roger and Liz share a glance before she asks if he has any objection - and the "I guess not" part of Roger's scripted reply is dropped in the pilot - and Barnabas actually reacts with "Good. (smiles) Then it's settled" - and after Liz marvels that their original family home in America will come back to life, Barnabas simply responds with a sly "Yes", which, being subtle, makes it more effective.
-
I love the extended description Barnabas gives of Collinwood's building materials. It reminds me of the similar scene in the 2012 film, which was a highlight of that movie.
-
And yet more of Scene 121A:
Given the graphics for them, it'll come as no surprise that yesterday's quote -
Page 52/Scene 121A - Liz (getting excited): 'And you could stay here while the work was being done. God knows we have the room.'
- and today's quote -
Page 52/Scene 121A - Barnabas: '(a beat) A generous offer ... But I've already taken rooms at the Inn. (a beat) I may even be able to make a portion of the house inhabitable soon enough so that I could actually move in there.'
- are dropped from the scene in the pilot.
-
I love the extended description Barnabas gives of Collinwood's building materials.
I agree.
It reminds me of the similar scene in the 2012 film, which was a highlight of that movie.
It also reminds me of the scene in Ep #214 of the original series where Barnabas describes many details about the building of the Old House.
-
Love that episode! Even in those earliest episodes in the storyline, Frid really started making the Barnabas character his own.
-
And even yet more of Scene 121A:
(CONTINUED)
121A CONTINUED: (5)
Suddenly, David bursts through the foyer door, closely followed
by Vicki. She stops when she sees the family.
|
And that's when today's quote -
Page 53/Scene 121A - Vicki: 'Oh ... I didn't mean to interrupt. Come along, David ...'
- comes up. And while the entrance of David and Vicki might seem like it starts a new scene, Vicki's line is actually the conclusion of Scene 121A - though certainly not the conclusion of the current sequence (which began way back with Carolyn's quote from Scene 121, which was the May 10th installment of the slideshow). But more on that with tomorrow's quote...
And as for what's different, running footsteps are actually heard right after Barnabas delivers his sly "Yes" and then David actually bursts in through the doorway from the Great Hall, closely followed by Vicki - and what Vicki actually says is "I'm sorry ... I didn't mean to interrupt. Come along, David ..."
-
Moving on to the next two scenes in the current sequence:
122 FAVORING BARNABAS
As he turns, startled at the sight of Vicki.
LIZ
Come in, Vicki. Let me introduce
Barnabas Collins. David, this
is your cousin from England.
(to Barnabas)
Roger's son.
But Barnabas gaze is riveted on Vicki.
LIZ (CONT'D)
And this is Victoria Winters,
David's governess.
123 FAVORING CAROLYN
Barnabas special attention to Vicki isn't lost on her. Suddenly
he is torn away by David's voice.
|
And that's when today's quote -
Page 53/Scene 123 - David: 'Barnabas Collins! Barnabas is a ghost!'
- comes up.
And when it comes to differences, Liz actually says "Come in, Victoria" (once again not using the familiar "Vicki"), and the bit in which Liz points out to Barnabas that David is Roger's son is dropped from Liz' lines - and while we do see Barnabas' startled look when David and Vicki enter the room, after Liz' introduction of him, we don't specifically see that his gaze is riveted on Vicki, his attention is in David and Vicki's direction ever since Liz begins to introduce him - and after Liz introduces Vicki, things have yet to switch to Scene 123 favoring Carolyn (that will come later), so therefore we do not see that Barnabas' special attention to Vicki isn't lost on her or that his attention is suddenly torn away by David's voice - in fact, immediately after Liz introduces Vicki, David blurts out his lines that Barnabas Collins is a ghost.
-
Continuing:
Roger looks at Vicki, who moves to quiet the boy. Elizabeth
laughs.
|
And that's when yesterday's quote -
Page 53/Scene 123 - Liz: 'He knows the portrait in the hallway. (then) Cousin Barnabas is going to restore the Old House, David, so you'll have to find another place to play.'
comes up, followed by today's quote -
Page 53/Scene 123 - David (suddenly flying into a rage): 'He can't! He can't! That's where Sarah lives!'
- coming up, and followed by the script continuing with:
______________________________________________________________
124 FAVORING BARNABAS
As he reacts to this.
ROGER
David, Cousin Barnabas doesn’t
want to hear that story.
Barnabas looks from Roger to David.
BARNABAS
On the contrary, what story are
we talking about?
|
And as for what's different in the pilot from the above section of the script, Vicki doesn't actually move to try to quiet David because Roger never actually looks at Vicki after David says that Barnabas is a ghost, though Roger does give David a stern look - and Liz doesn't laugh before she mentions the portrait in the hall, and after she informs David that Barnabas is going to restore the Old House, what she actually then tells him is "so you'll have to find somewhere else to play" - and things don't actually begin to favor Barnabas until after Roger admonishes David that Barnabas doesn't want to hear about Sarah - and Barnabas doesn't actually look from Roger to David because, unlike in the script, Roger isn't still standing near Barnabas because, as already explained, he's sitting down across the room - what Barnabas actually does do is keep his entire focus on David - and when Barnabas addresses David, he actually asks "what story are we talking about, young man?"
-
I didn't get the chance to post yesterday that the camera shot favoring Carolyn finally comes along in the current sequence with yesterday's quote:
Page 54/Scene 124 - Carolyn (a smile): 'He claims he has a little friend Sarah who lives down there...'
Though Carolyn actually delivers it as "He claims to have a little friend Sarah who lives down there..."
And one thing that's very interesting about this sequence is that the camera shots/angles are often quite different from the way the sequence was scripted. But then, for the most part directions and camera shots are often just templates that directors frequently deviate from, as has been quite obvious with several of the excerpts we've shared from various scripts...
-
And continuing:
David is staring at Barnabas.
|
And that's when yesterday's quote -
Page 54/Scene 124 - David: 'I'll make you sorry if you take my house! I won't let you!'
comes up, followed by the script explaining:
A beat as Barnabas glances at the others, nods reassuringly,
kneels before the boy:
|
And that's when today's quote -
Page 54/Scene 124 - Barnabas (gently): 'Who is this Sarah, young man?'
comes up.
And as for differences, rather than saying he won't let Barnabas, David actually says "I'm not gonna let you!" - and Barnabas doesn't glance at the others, nor does he nod reassuringly, nor does he kneel before David - what he does actually do is stare down at David and ask "And who is this...Sarah?" not with a gentle tone but with a touch of irritation to his voice, no doubt because David is trying to throw up an obstacle to his plans for the Old House.
-
And picking up where we left off, we begin with the first quote from yesterday with reference to Barnabas' question about who Sarah is -
Page 54/Scene 124 - David: 'I'll show you!'
- followed by the script explaining:
125 OMITTED
126 ANOTHER ANGLE
As the boy turns, runs to the far side of the room, takes a
small miniature painting from the ten or twelve that are sitting
on the grand piano.
HOLD as he runs back to Barnabas, hands it to him.
|
And that's when yesterday's second quote -
Page 54/Scene 126 - David: 'It's her.'
comes up, followed by the script continuing with:
127 CLOSE BARNABAS
Shocked, doing his best to conceal his emotions as he stares
at the small portrait.
128 INSERT - PORTRAIT
A small, thin, sweet-faced little girl of nine, dressed in a
soft, long, white lace dress with ribbons and bows.
On the TRACK, WE BEGIN TO HEAR THE LILTING SOUND of a FLUTE ...
Sarah's leit motif.
129 BACK TO BARNABAS
As he continues to stare at tile miniature painting. Suddenly,
Roger’s voice:
|
And that's when today's first quote -
Page 55/Scene 129 - Roger (O.S.): (laughingly) 'Don't let it bother you Barnabas...'
comes up, followed by the script continuing with:
Barnabas is abruptly pulled out of his revery, he turns...
129A BACK TO ROGER
Who is standing there smiling at him.
|
And that's when today's second quote -
Page 55/Scene 129A - Roger (CONT'D): '... David has a very active imagination.'
comes up, followed by the script continuing with:
He ruffles David's hair, but the boy pulls angrily away. It's
an uncomfortable moment.
|
And when it comes to differences, there are several. David doesn't actually run to or from the piano, he simply walks, and the only frame we actually see on the piano is the one containing Sarah's painting - and we actually see the shot of the painting before we see Barnabas' reaction to it - and thankfully we're spared any flute music possibly playing "London Bridge Is Falling Down" as the music underscoring the scene simply continues to play - and Roger does not laughingly tell Barnabas not to let things disturb him because he actually delivers the line quite seriously - and after a decidedly unsmiling Roger takes the painting away from Barnabas, he explains that David has a very active imagination with a touch of disgust to his voice - unlike in the script, Roger doesn't make light of anything about the situation, nor does he ruffle David's hair or does David pull away from him afterward because Roger simply glares at David.
-
And finally wrapping up the sequence by picking up after the scripted uncomfortable moment of David pulling away from Roger:
And that's when Sunday's quote -
Page 55/Scene 129A - Vicki: 'David, it's time for us to go upstairs. (puts out her hand) Nice to meet you, Mr. Collins.'
comes up, followed by the script continuing with:
He takes her hand, smiles at her.
|
And that's when Monday's quote -
Page 55/Scene 129A - Barnabas: 'And so very nice to meet you, Miss Winters.'
comes up, followed by the script continuing with:
Vicki smiles warmly, takes David out of the room.
BARNABAS
I hope I haven't upset the boy.
ROGER
He'll get over it.
130 CLOSE BARNABAS
Again talking as much to himself as them.
BARNABAS
I am so looking forward to
restoring the Original House...
We HOLD a beat, and . . .
|
And that's the end of the sequence.
And as far as what's different, we don't actually see Barnabas take Vicki's hand and he actually delivers his line as "And so very nice to meet you, Miss...Winters" with his pause, voice inflection, and expression more than indicating that there's something about Vicki that more than interests him, though one thing Barnabas does not do is smile at her - and after Barnabas' line both Vicki and he share a lingering gaze that seems to indicate that something more may be passing between them than a mere goodnight - and before being led out of the room, David stops and turns to glare at Barnabas before Vicki continues David along - and Barnabas is still quite taken aback when he says he hopes he hasn't upset David, as can be seen in this screen cap from the original slideshow:
(http://www.dsboards.com/91quoteimages_A/0127ds91_0.jpg)
Ep #1 - Barnabas: 'I hope I haven't upset the boy.'
-
Belatedly dealing with yesterday's sequence:
131 EXT. OLD HOUSE - NIGHT
Deep in the woods ... A large ruin of a three-story, stone
structure, heavily overgrown with weeds and vines. Its
crumbling veranda choked with leaves, fallen branches, etc..
A beat, and then Barnabas ENTERS FRAME, at the edge of what must
have been, a long time ago, manicured formal gardens.
132 CLOSE - BARNABAS
As he stands there for a long moment, looking at the decaying
old mansion.
133 INT. OLD HOUSE - FOYER - NIGHT
The only light from a cold moon filtering through the rotting
shutters and unhinged, decaying front door.
In the b.g., WE SEE Barnabas mount the veranda, slowly cross
into the ruin of a foyer, stop in EXTREME CLOSE UP.
He stands there for a beat, eyes taking it all in, overwhelmed
by the moment. Then, in a hoarse voice, choked with emotion:
|
And that's when yesterday's quote -
Page 56/Scene 133 - Barnabas: 'Father ... I have come home...'
comes up, followed by the script continuing with:
And as WE HOLD on his tortured eyes, we . . .
|
End of the sequence. And not only is it also the third act break in the pilot, it's the end of the pilot's first hour.
And when it comes to what's different, in Scene 131 we do not see a deep in the woods exterior shot of the Old House showing the house and its crumbling veranda or Barnabas entering from what was long ago a formal garden - what we do see is Barnabas climbing up stairs though fallen tree limbs and other debris, and then he stops after reaching the edge of a terrace - in Scene 132 we do see a close shot of Barnabas as he stands looking at the decaying mansion, but that is also followed by Barnabas making his way through more debris to the entrance as we hear howling in the distance - and in Scene 133 we do not see moonlight, or rotting shutters, or a decaying front door, nor do we see Barnabas mount a veranda and cross into a ruined foyer - what we do see is a close overheard shot of Barnabas already in the foyer, and after he climbs a few steps, as scripted he does indeed stand there for a beat, eyes taking it all in, overwhelmed by the moment, and then, in a hoarse voice, choked with emotion, he announces to his father that he has come home, which is then followed by a clasp of thunder as the camera pulls back to show Barnabas standing in the ruins of the foyer, so the scene does not end with the camera holding on Barnabas' tortured eyes.
-
Starting off the new sequence:
134 EXT. COLLINWOOD - DAY
It is a brisk, clear fall afternoon, a real snap in the air.
VICKI (O.S.)
The capital of Utah is ...
And WE TIGHTEN TO some windows on the second floor.
135 INT. SCHOOLROOM - DAY
Where Vicki, a pointer in her hand, stands at a map of the
United States. David sits at a small lift-top desk, one of
four in front of her, constantly peering inside the slightly
raised lid.
The room almost looks like a Victorian set from James' "Turn
of the Screw", having served as a schoolroom for countless
Collins children since the great house was built.
VICKI
David...
136 FAVORING DAVID
Paying no attention to her, continuing to peer into the desk.
|
And that's when the first part of yesterday's quote -
Page 57/Scene 136 - Vicki (CONT'D): 'David, we only have ten more minutes ... please try to pay attention.'
- comes up, followed by the script explaining:
The boy doesn't answer, she frowns.
|
And that's when the second part of yesterday's quote -
Page 57/Scene 136 - Vicki (CONT'D): 'What's in that desk that's so fascinating?'
- comes up, followed by the script continuing with:
137 CLOSE - DAVID
As he closes the lid, looks up at her, says nothing.
138 VICKI
Losing her patience, she crosses to him.
VICKI
All right David, open the desk.
DAVID
It's nothing.
VICKI
It's obviously not nothing.
(then, coaxingly, with
a smile)
Now, come on ... show and tell.
|
And that's when today's quote -
Page 57/Scene 138 - David: 'I don't think you want to know what's in here.'
- comes up.
And as for what's different in the pilot, there's quite a bit - but I'll get into that tomorrow...
-
Oops - I forgot all about getting back to the differences! [ghost_embarrassed]
First off, Vicki is heard to say "The capital of Utah is ..." in Scene 134 - but once Scene 135 begins, Vicki finishes off her sentence with an unscripted "Salt Lake City" and then she moves on with more unscripted dialogue by asking "The capital of New York is ...", and when she looks over and she sees (though we don't) that David isn't paying attention, she asks an unscripted "David, what is the capital of New York?" - and it isn't until after that that we see David peering inside the slightly raised lid of his desk - also, unlike what the script indicates, we don't really see other desks in the room - and after he does look up to her but then goes right back to looking inside the desk, Vicki actually asks "David, what is in that desk that is so fascinating?" - and with Scene 137 David does indeed close the desk but he also delivers his line "It's nothing" that is originally scripted for Scene 138 - and when it comes to Scene 138, Vicki's line "All right David, open the desk" is dropped and she starts to move toward him as she says that what's in the desk is obviously not nothing" - and after Vicki tells him that it's show and tell time, David actually warns "I really don't think you want to know what's in here."
-
Continuing with the current sequence:
The boy smiles a secret smile. In spite of herself, he is
beginning to make her very uncomfortable.
(CONTINUED)
138 CONTINUED:
But she can't back down now.
VICKI
Just open the desk, David.
DAVID
(quietly)
Okay...
139 ANGLE ON DESK
As his small hands ENTER SHOT, slowly raise the lid. FAST IN
TO REVEAL ...
A BIG, BLACK HAIRY TARANTULA! scrabbling around inside a small,
screened strawberry carton.
140 BACK TO VICKI
As she puts her hand to her mouth, gasps.
|
And that's when Friday's quote -
Page 58/Scene 140 - Vicki: 'David, my God!'
- comes up, followed by the script continuing with:
141 DAVID
As he looks innocently up at her.
|
And that's when Saturday's quote -
Page 58/Scene 141 - David: 'I told you.'
- comes up, followed by the script continuing with:
142 WHOLE SCENE
Vicki is standing there staring at the thing in horror.
|
And that's when Sunday's quote -
Page 58/Scene 142 - Vicki: 'Where did you get that thing?! That's very dangerous!'
- comes up, followed by Monday's quote -
Page 58/Scene 142 - David: 'Naah ... Not if you don't get it mad. (a grin) I got a whole bunch of 'em. I catch 'em in the wood pile down in back of the barn.'
- comes up, followed by the script continuing with:
Vicki shivers, clutching her arms.
VICKI
All right. The lesson is over.
Take that out of here right now
and get rid of it!
(CONTINUED)
Revised 2/28/90
142 CONTINUED:
David smiles chillingly.
DAVID
Yes, Miss Winters.
He opens the lid, takes out the box with the spider, stands,
looking up at her ...
|
And that's when today's quote -
Page 59/Scene 142 - David (CONT'D): 'It'd be awful, wouldn't it, if one night one of these ended up in your bed.'
- comes up.
And I'll get into all the differences in my next post...
-
A beat as Barnabas glances at the others, nods reassuringly,
kneels before the boy:
|
I can't even imagine Frid doing this letalone Cross. I'm glad they changed it to Barnabas being irritable. He has no time for David's nonsense. [ghost_tongue2]
-
When it comes to the difference in the pilot in what was most recently covered from Scenes 138 through 142 in the script, Vicki doesn't actually become "very uncomfortable," she becomes somewhat annoyed - and after she closes David's textbook in an unscripted move, what she actually does is order "Open the desk, David" - however, David's quiet "Okay..." response is dropped in favor of him simply shrugging and opening the desk, but we don't actually see inside the desk - instead David pulls out a Rasola cigar box (not a "screened strawberry carton") and holds it in his hands above the desk - and after Vicki asks an unscripted "What's in there?", David replies with an unscripted "Are you sure you want to see?", to which Vicki answers with an unscripted "Open it, David!" - and it is after that that David open the box and we see "A BIG, BLACK HAIRY TARANTULA! scrabbling around inside", whereupon Vicki actually reacts with "Oh God! ... Close it!", and David does - and after David reminds her that he told her, Vicki actually replies with "Where did you get that, David?! That's very dangerous!" - but David matter of factly replies as scripted "Naah ... Not if you don't get it mad", but he doesn't grin, and he continues with the scripted "I got a whole bunch of 'em" before he inserts an unscripted "This one's named Harry" and then tweaking what's scripted, he finishes with "I catch 'em down in the wood pile in back of the barn" - and as for the final difference, Vicki actually replies with "David ... The lesson is over. Take that thing out of here right now and get rid of it!"
-
And picking up where Scene 142 left off:
And he runs out of the room. HOLD on a very shaken Vicki as she
stands there watching him go.
CAROLYN (O.S.)
I saw him tearing his butt out
of here. That means trouble.
What did he do now?
143 ANOTHER ANGLE
TO INCLUDE Carolyn standing at the door.
|
And that's when yesterday's quote -
Page 59/Scene 143 - Vicki: 'Oh, just another one of his little pranks.'
- comes up, followed by today's quote -
Page 59/Scene 143 - Carolyn: 'It's not the little ones that are so bad... it's his heart-stoppers you gotta watch out for. Don't let him get to you.'
- coming up, followed by the script continuing with:
Vicki crosses to her.
VICKI
(unconvincingly)
Don’t worry ... he won’t.
|
And the differences here are that, after opening the door, David momentarily stops to turn to look at Vicki before he runs off - the "I saw him tearin' his butt outta" part of what Carolyn actually says is delivered off screen as part of Scene 142, but the "here. That means trouble. What did he do now?" part is delivered on screen at the outset of Scene 143 - and Vicki actually crosses over to Carolyn as she tells Carolyn that it was just one of David's little pranks - and Carolyn actually replies with "His little ones aren't so bad... it's the heart-stoppers you gotta watch out for. Don't let him get to you."
-
Starting to catch up and picking up where Scene 143 left off:
A beat. Carolyn looks at her.
CAROLYN
You look like you could use some
cheering up.
(then)
I got an idea ... You like riding?
VICKI
(smiles)
Love it!
(CONTINUED)
Revised 2/28/90
143 CONTINUED:
|
And that's when Friday's quote -
Page 60/Scene 143 - Carolyn: 'We've got some great horses down at the stables. Why don't you go down and take a ride ... get some fresh air.'
- comes up, followed by the script continuing with:
VICKI
(a beat)
I’d like that. Will you join me?
CAROLYN
I can’t right now. I promised
Joe I’d meet him at the hospital.
But, come on, I’ll drive you.
VICKI
Okay, give me a minute to change.
And as they start out of the room, we . . .
|
And as for differences, despite a couple words changed here and there, there's really nothing worth getting into.
Though when it comes to the next scene, there was one bit of dialogue short of a complete rewrite - and we'll get into that in the not too distant future...
-
Here's how Scene 144 plays in the script:
144 EXT. CAROLYN'S CAR - DRIVING - DAY
Carolyn is driving her small, red Ford convertible. Vicki, in
jeans and a sweatshirt, is beside her. Carolyn has been
talking.
CAROLYN
So I'm planning to go to college,
and I think I want to, I've got
the grades and all... but I'm not
sure, you know?
VICKI
(smiles)
I think you should do it.
CAROLYN
That's what everybody says.
Anyway, I'd be there now, but I
decided to stay home and help my
mother with David for a while...
(flippantly)
...and I guess that makes me a
candidate for sainthood.
VICKI
I think it's going to turn out
just fine... trust me.
Carolyn looks at her and nods.
(CONTINUED)
Revised 2/28/90
144 CONTINUED:
CAROLYN
I hope you're right, besides, I
don't think I'm exactly qualified
for the halo.
They've reached the stable area. Carolyn pulls into the
driveway, and Vicki gets out.
VICKI
Thanks, Carolyn.
CAROLYN
Normally, Willie would saddle 'em
up for you. Can you do it
yourself?
VICKI
It'll be no problem.
CAROLYN
Take the chestnut mare.
(a smile)
Her name's Carolyn. I'll see you
later.
And putting the car in gear, she pulls away. Vicki turns, walks
into the stable.
|
But how things actually play in the pilot will be upcoming...
-
And here's how Scene 144 plays in the pilot:
144 EXT. CAROLYN'S CAR - DRIVING - DAY
Carolyn is driving her small, blue convertible. Vicki, in
jeans and an oversized white knit turtleneck sweater, is
beside her. Carolyn has been talking.
CAROLYN
So, when my mother called, I
gave up the bright lights and
came home.
VICKI
That's too bad.
CAROLYN
Tell me ... I was just starting
to get somewhere.
VICKI
Well, are you still taking
pictures?
Carolyn looks at her and nods.
(CONTINUED)
Revised 2/28/90
144 CONTINUED:
CAROLYN
Some.
VICKI
Well, maybe now that I'm
here you can go back.
They've reached the stable area. Carolyn pulls into the
driveway.
CAROLYN
Yeah, it'd be, uh kind of
tough to leave, ya know,
right now.
VICKI
Yeah. I guess you're right.
Carolyn parks, and Vicki gets out.
VICKI
Thanks, Carolyn.
CAROLYN
Take the chestnut mare.
(a smile)
Her name's Carolyn. I'll see you
later.
VICKI
Okay.
And putting the car in gear, Carolyn pulls away as Vicki turns, walks
into the stable.
|
I suspect that perhaps the changes were made because initially when the script was written it was intended for Carolyn to be a few years younger than Vicki, as was the case on the original series. But after Barbara Blackburn was cast as Carolyn I suppose they figured they should age her and give Carolyn a career that she'd left behind to come back to Collinwood. Though very little of that matters so far as the NBC version of the pilot goes because basically all of Scene 144 was cut in that version and wasn't seen until the MPI VHS was released. The only thing that was seen on NBC was:
And putting the car in gear, Carolyn pulls away as Vicki turns, walks
into the stable.
|
::)
However, this moment from the restored footage was featured in the original slideshow:
(http://www.dsboards.com/91quoteimages_A/0130ds91_0.jpg)
Ep #1 (Extended) - Carolyn: 'It'd be, uh, kind of tough to
leave, you know, right now.'
And it shouldn't go without saying that today's quote -
Page 60A/Scene 144 - Carolyn: 'Take the chestnut mare. (a smile) Her name's Carolyn. I'll see you later.'
- is the one bit of dialogue that remains from the originally scripted version of the scene.
-
And setting up the current scene:
145 INT. STABLE - DAY
As Vicki enters, crosses to the stalls, where two or three
horses stand quietly munching hay.
(CONTINUED)
Revised 2/28/90
145 CONTINUED:
VICKI
Carolyn?
A beautiful chestnut mare thrusts her head out of one of the
stalls, whinnies.
Vicki pulls a couple of pieces of sugar out of her pocket, the
horse licks them out of her hand. She smiles.
VICKI (CONT’D)
You like that do you?
She rubs its silken nose ... Suddenly a NOISE behind her. She
jerks around ...
146 WILLIE
Standing directly in back of her.
VICKI
Willie!
|
And that's when today's quote -
Page 61/Scene 146 - Willie: 'Don't be afraid, Miss Winters... I ain't gonna hurt ya.'
- comes up.
And as for differences, unfortunately for the two horses who are introduced in Scene 145, quite possibly they remained hungry because they're not seen quietly munching hay because they're simply standing in the openings to their stalls - and Vicki actually greats a black and white horse with an unscripted "Hi" as she goes over to it and rubs its nose and then says an unscripted "Hey there" - then she turns her attention to Carolyn with a big smile and a "Hi, Carolyn. Hi" before she takes out the sugar and gives it to Carolyn and then observes "Oh, you like that, don't you? Oh" - and Vicki doesn't actually hear a noise to alert her to Willie's arrival - he quietly appears from around a corner in the stable and she simply turns and is then startled to see him standing there.
-
Picking up Scene 146 with Vicki's reaction to Willie:
Vicki stares at him. There's something strangely different
about him ... He's oddly docile, almost child-like in a
pathetic, sad way.
|
And that's when last Thursday's quote -
Page 61/Scene 146 - Vicki: 'Willie! Where have you been? Everybody's looking for you.'
- comes up, followed in the script by:
And that's when last Friday's quote -
Page 61/Scene 146 - Vicki: 'They think you had something to do with what happened to Daphne.'
- comes up, followed in the script by:
Willie stares at her, suddenly becomes agitated.
|
And that's when Saturday's quote -
Page 61/Scene 146 - Willie: 'Daphne?! Wha--what happened to her?'
- comes up, followed by Sunday's quote -
Page 61/Scene 146 - Vicki: 'She's in the hospital. Someone attacked her.'
- coming up, followed in the script by:
Willie is stunned, becomes even more frightened. He knows it
had to be Barnabas.
(CONTINUED)
146 CONTINUED:
|
And that's when last Monday's quote -
Page 62/Scene 146 - Willie: 'Well, it ... it wasn't me, Miss Winters. I wouldn't do nothin' like that.'
- comes up, followed in the script by:
He nervously touches a dirty bandage on his neck.
|
And that's when last Tuesday's quote -
Page 62/Scene 146 - Vicki: 'Did you cut yourself, Willie?'
- comes up, followed in the script by:
He turns up the collar of his shirt, buttons it to conceal the
dressing.
|
And that's when Wednesday's quote -
Page 62/Scene 146 - Willie: 'Huh? Yeah, I...I fell...'
- comes up, followed by yesterday's first quote -
Page 62/Scene 146 - Vicki: 'Willie ... I think maybe you should talk to someone ...'
- coming up, followed by yesterday's second quote -
Page 62/Scene 146 - Willie: 'No, no ... I don't want to!'
- coming up.
And when it comes to differences in the dialogue, there are a few words changed here and there, but nothing really worth getting into. However, when it comes to some of the actions described in the script, there are significant differences because Willie doesn't become agitated when Vicki mentions Daphne, nor does he become even more frightened when he learns Daphne was attacked - he remains docile throughout, and if he has a clue that Barnabas was responsible for the attack on Daphne, it isn't all that noticeable that that's his thought, though he does nervously touch the bandage on his neck - but when Vicki asks if he's hurt himself, Willie doesn't turn up the collar of his shirt or button it to conceal the dressing - however, what he does do is start to cry, and that's what prompts Vicki to suggest that he talk to someone.
-
As was pretty obvious when it came to yesterday's installment in the slideshow -
(http://www.dsboards.com/91scriptquoteimages/0710ds91_0.jpg)
Page 62/Scene 146 - Roger (O.S.): 'LOOMIS! WHERE HAVE
YOU BEEN?!'
- things changed between the script and the pilot because clearly Roger didn't deliver his lines off screen in the pilot.
Here's how things play in the script:
Suddenly, o.s., We HEAR the SOUND of a HORSE BEING RIDDEN INTO
THE STABLE, and ROGER'S VOICE:
ROGER (O.S.)
LOOMIS! WHERE HAVE YOU BEEN?!
Terrified, Willie turns.
147 ANOTHER ANGLE
TO INCLUDE Roger angrily dismounting from a big, black STALLION.
WILLIE
(stammering)
I ain't been no where, Mr.
Collins.
Roger tethers his horse, strides toward Willie, grabs him by
the shirt front.
|
However, the way things actually play out in the pilot is that after Willie tells Vicki that he doesn't want to talk to someone, he suddenly gets a terrified expression on his face, and then we see outside the stable as a stablehand holds Roger's horse as Roger dismounts from the horse and stares right at Willie through one of the windows - and Roger then moves to enter stable - and Scene 147 actually begins in the pilot with Roger startling both Vicki and Willie as he violently slaps his riding crop against the open door to the stable as he storms inside and demands, as in yesterday's quote, to know where Willie's been as he makes a beeline to Willie as Willie claims, as in today's installment of the slideshow, that he hasn't been "no where" (yes, that's the way it's written in the script) and continues with an unscripted "I swear, Mr. Collins" - and as Roger reaches out to grab Willie, Willie pleads with an unscripted "No, please." Presumably the stablehand takes care of Roger's horse, but we don't see any of that.
-
Finally picking up Scene 147 with Vicki's reaction after Roger grabs Willie:
Sunday's first quote -
Page 62/Scene 147 - Vicki: 'Please, Mr. Collins! He's hurt.'
- comes up, followed by Sunday's second quote -
Page 62/Scene 147 - Roger (snaps): 'Stay out of this, Miss Winters.'
coming up, followed in the script by:
Willie's eyes dart frantically from one to the other.
(CONTINUED)
147 CONTINUED:
|
And that's when Monday's quote -
Page 63/Scene 147 - Vicki: 'He's not well. There's no need to be so rough with him!'
- comes up, followed by the script explaining:
Roger, still holding Willie by the shirt, turns to her.
|
And that's when Tuesday's first quote -
Page 63/Scene 147 - Roger: 'He's only drunk.'
- comes up, followed in the script by:
Then, dragging Willie toward the stable doors:
|
And that's when Tuesday's second quote -
Page 63/Scene 147 - Roger (CONT'D): 'The Sheriff wants to talk to you, Loomis.'
- comes up, followed by the script wrapping up the scene with:
And, as a concerned Vicki follows them out into the yard, we...
|
And as far as differences go, again, the dialogue is all basically the same as scripted save for a few words dropped here and there. What is worth getting into is that we don't see Willie’s eyes dart frantically between Vicki and Roger as they argue - Roger doesn't turn to Vicki before he insists Willie is only drunk because he keeps all his attention on Willie - as Roger drags Willie out of the stables, Willie turns back to look at Vicki as if he's begging for help - and we only see an extremely concerned and determined Vicki begin to follow them.
-
And finally setting up the current sequence:
148 INT. COLLINWOOD - KITCHEN - NIGHT
CLOSE ON Sheriff Patterson as he talks BY CAMERA.
PATTERSON
All right, Willie ... after you
dropped off Miss Winters ... where
did you go.?
149 ANOTHER ANGLE
TO REVEAL Sheriff Patterson standing in front of a very
frightened Willie, who is sitting in a kitchen chair, looking
up at him.
Also in attendance are Roger, Elizabeth, a very worried Mrs.
Johnson, and Vicki.
WILLIE
I din't go nowhere... I just came
back to the stables and got
drunk...
Patterson squints at Willie for a long moment. Willie squirms
uncomfortably in his chair.
PATTERSON
What are you so nervous about,
Willie?
Willie throws a panicky look at Vicki, who gives him a nod of
encouragement.
(CONTINUED)
149 CONTINUED:
WLLLIE
I'm not nervous ... I'm just ...
just ...
Exasperated, Patterson leans toward Willie.
|
And that's when Wednesday's first quote -
Page 64/Scene 149 - Patterson: 'Okay, Willie, where were you the last three days?'
- comes up, followed by Wednesday's second quote -
Page 64/Scene 149 - Willie: 'Working. I was working...'
- coming up, followed in the script by:
ROGER
Not here you weren't...
A beat, as Willie looks from one to the other.
WILLIE
I was workin' somewhere else.
ROGER
(exasperated)
George, how long are you going
to put up with this?
|
And that's when Thursday's first quote -
Page 64/Scene 149 - Vicki: 'I'm sorry ... I know it's none of my business...'
- comes up followed by Thursday's second quote -
Page 64/Scene 149 - Roger: 'That's absolutely correct, Miss Winters.'
- coming up, followed by Thursday's third quote -
Page 64/Scene 149 - Vicki: 'How do you know he's not telling the truth?'
- coming up, followed by the script explaining:
Willie begins to whimper.
|
And that's when Friday's quote -
Page 64/Scene 149 - Willie: 'Please, I'm tellin' the truth. I don't feel so good.'
- comes up.
And when it comes to differences, there's really only one worth mentioning and that's that after Roger points out that Willie wasn't working at Collinwood, Willie doesn't look from Roger to the Sheriff, he simply says defiantly that he was working somewhere else.
-
And finally concluding the above sequence:
PATTERSON
All right, Willie, where were you
working?
|
And that's when the 18th's quote -
Page 64/Scene 149 - BARNABAS (O.S.): 'He was working for me, Sheriff.'
- comes up, followed in the script by:
Shocked, they all turn to see Barnabas standing in the door
(CONTINUED)
149 CONTINUED: (2)
BARNABAS (CONT'D)
I'm terribly sorry, but when no
one answered the door, I took the
liberty of letting myself in.
(crosses to them)
Willie is indeed telling the
truth. He was pointed out in town
as someone who knew the property
and could be of great help to me.
If I have created a problem, I
beg your forgiveness.
The Sheriff sighs, exchanges looks with Elizabeth and Roger...
|
And that's when the 19th's quote -
Page 65/Scene 149 - Roger: 'It would have been nice if someone had told us.'
- comes up, followed by the script continuing with:
Willie looks at him.
WILLIE
I'm sorry. I shoulda told you
...
(then, to Patterson)
But I know I been no good here
gettin' drunk all the time
and stuff like that. And Mr.
Collins, he never did like me.
(casts his eyes down)
And I don't really blame him.
(looks up at them again)
I knew he was gonna fire me, so
that's why I took the job.
150 FAVORING VICKI
Her heart is breaking for this pathetic soul....
|
And that's when the 20th's quote -
Page 65/Scene 150 - Roger: 'You don't know what you're taking on here, Barnabas.'
- comes up, followed by the 21st's first quote -
Page 65/Scene 150 - Barnabas: 'Perhaps ... But I somehow feel that Willie truly wants to make a new start. (looks at Willie) Don't you, Willie?'
- coming up, followed by the 21st's second quote -
Page 65/Scene 150 - Willie (too quickly): 'Yeah, yeah... I do.''
- coming up, followed in the script by:
(CONTINUED)
150 CONTINUED:
|
And that's when the 22nd's quote -
Page 66/Scene 150 - Mrs. Johnson (a smile): 'Well that's fine, Willie. Helping Mr. Collins is a very good place to begin.'
- comes up, followed by the script continuing with:
BARNABAS
Now, if you have no more for him,
we have much work to do.
PATTERSON
(a beat)
All right, Mr. Collins, you can
take him with you.
BARNABAS
Thank you.
(then, to the others)
|
And that's when the 23rd's quote -
Page 66/Scene 150 - Barnabas: 'By the way, you will all be amazed to see the marvelous progress we've been making. I've actually been able to move in.'
- comes up, followed by the script continuing with:
He directs the following to Vicki:
BARNABAS (CONT’D)
You must all come to see for
yourselves.
Vicki smiles at him.
151 CLOSE - BARNABAS
As he turns to Willie.
BARNABAS (CONT”D)
All right, Willie. Come along...
PAN WITH HIM as he starts for the door. As he passes Vicki,
their eyes meet ... Then, HOLD on her as she watches him go.
|
And that's when the 24th's quote -
Page 66/Scene 151 - Mrs. Johnson (O.S.): 'All I can say is, Barnabas Collins must be a wonderful man.'
- comes up, followed by the script continuing with:
And on Vicki's pensive look, we . . .
|
And that concludes the sequence.
And when it comes to differences, as far as the scripted dialogue goes, again, there's not much different except for a word or two here and there - however there are some unscripted bits of dialogue added, as well as a switch in the order a line is delivered. After Barnabas appears and tells Patterson that Willie has been working for him, Roger introduces Barnabas with an unscripted "Sheriff Patterson, Barnabas Collins, our cousin" and Patterson responds with an unscripted "Mr. Collins" and shakes Barnabas' hand - and after Barnabas thanks Patterson for saying Barnabas can take Willie with him, Barnabas turns to Willie with a smile and says "Come along, Willie", rather than a similar line being the last bit of Barnabas' dialogue in the scene, and Willie gets up and both he and Barnabas move to the door - and since Barnabas asking Willie to come along with him happens a bit earlier in the scene, Barnabas' last bit of dialogue is actually an unscripted "Good evening", and then he turns to leave.
And when it comes to some of the differences from the directions in the script, there are several, as in Barnabas actually crosses to them after he shakes Patterson's hand and explains how he let himself in and he looks at Willie as he begins to explain that Willie is telling the truth - after which Patterson doesn't sigh, but he does exchange looks with Liz and a rather perturbed Roger - and as Willie is explaining his supposed reasons for "taking" the job with Barnabas, Scene 150 is much more than Vicki's heart breaking for Willie because Barnabas actually turns to her, and the two share a look with Vicki giving him a slight, somewhat nervous smile - and unlike the script indicating that Mrs. Johnson delivers her opinion on screen that working for Barnabas is a good way for Willie to begin a new start, she actually delivers those lines off screen -
(http://www.dsboards.com/91scriptquoteimages/0722ds91_0.jpg)
Page 66/Scene 150 - Mrs. Johnson (a smile): 'Well that's fine,
Willie. Helping Mr. Collins is a very good place to begin.'
- and Vicki and Barnabas' eyes don't actually meet as he makes his way to the door (since he's already there), Scene 151 actually begins with Barnabas mentioning the progress that's been made at the Old House, and his and Vicki's eyes meet after he directs his comment to her that they must come to see the progress at the Old House for themselves and as she smiles at him - And in an exact opposite of the earlier Mrs. Johnson situation, unlike the script indicating that Mrs. Johnson delivers her compliment of Barnabas off screen, she actually delivers it on screen -
(http://www.dsboards.com/91scriptquoteimages/0724ds91_0.jpg)
Page 66/Scene 151 - Mrs. Johnson (O.S.): 'All I can say is,
Barnabas Collins must be a wonderful man.'
- and along with looking pensive, Vicki smiles at Mrs. Johnson's comment that Barnabas must be a wonderful man.
-
Setting up the current sequence (which will eventually contain material not in the pilot):
151A INT. COLLINWOOD - UPSTAIRS CORRIDOR - LONG LENS - NIGHT
AND WIDENING WITH Vicki, as she walks up the corridor TOWARD
CAMERA. Suddenly, we HEAR the SOUND of WHISPERED CHILDREN'S
VOICES, David's and a little girl's:
(CONTINUED)
151A CONTINUED:
|
And that's when Saturday's first quote -
Page 67/Scene 151A - Girl (O.S.): 'But why can't you play with me?'
- comes up, followed by Saturday's second quote -
Page 67/Scene 151A - David (O.S.): ''Cause I'm supposed to be asleep.'
- coming up, followed by the script explaining:
Vicki, frowns, stops in front of David's door, listens.
|
And that's when Sunday's quote -
Page 67/Scene 151A - Girl (O.S.): 'I never have to go to sleep.'
- comes up, followed by Monday's first quote -
Page 67/Scene 151A - David (O.S.): 'Where do you go then?'
- coming up, followed by Monday's second quote -
Page 67/Scene 151A - Girl (O.S.): 'I don't know... I just keep looking...'
- coming up. And that is perhaps one of the saddest lines the "Girl" delivers...
As for differences, there's actually an unscripted nighttime establishing shot of Collinwood, with the sounds of waves and crickets being heard as the camera zooms in on a lit second floor window:
(http://www.dsboards.com/91scriptquoteimages/0725ds91_aa.jpg)(http://www.dsboards.com/91scriptquoteimages/0725ds91_ab.jpg)
(http://www.dsboards.com/91scriptquoteimages/0725ds91_ac.jpg)
And as for differences in the dialogue, it's basically delivered word for word as written with only the "'Cause" being dropped when David simply says "I'm supposed to be asleep" and the "then" being dropped when he simply asks "Where do you go?"
And as for differences in the script's direction, Vicki takes notice of the voices after David says he's supposed to be asleep, but she doesn't listen at his door until after the "Girl" delivers the "I don't know..." part of her line.
-
Continuing with the sequence:
She listens carefully for another beat, but the voices do not
continue. She taps on the door.
VICKI
David?
DAVID (O.S.)
Yes?
152 INT. DAVID'S ROOM - NIGHT
As Vicki opens the door, enters, her eyes rapidly sweep the
room.
But there is only David, sitting in bed, the small bedside lamp
the only light in the room. He looks up at her.
VICKI
David, were you talking to
someone?
DAVID
Yes...
She stands there for a beat looking around.
|
And that's when July 28th's first quote -
Page 67/Scene 152 - Vicki: 'Who were you talking to?'
- comes up, followed by the 28th's second quote -
Page 67/Scene 152 - David: 'I was talking to Sarah.'
- coming up, followed in the script by:
Another beat.
(CONTINUED)
_________________________________________________________________
152 CONTINUED:
|
And that's when the 29th's first quote -
Page 68/Scene 152 - Vicki: 'But there's no one here, David.'
- comes up, followed by the 29th's second quote -
Page 68/Scene 152 - David: 'There was...'
- coming up, followed by the script indicating:
She crosses over to him, stands there looking down at him.
|
And that's when the 30th's quote -
Page 68/Scene 152 - Vicki: 'David, if Sarah was here, where did she go?'
- comes up, followed by the 31st's quote -
Page 68/Scene 152 - David: 'Where she always goes... just away.'
- coming up.
And when it comes to the differences in the dialogue, it's mostly all delivered exactly as scripted with the exceptions that Vicki moves the "David" bit in one line and actually delivers it as "But, David, there's no one here", and she completely drops the "David" when she actually asks "If Sarah was here, where did she go?"
And as a bit of trivia, the exchange between Vicki and David where she says there's no one in the room and David replies that there was, was featured in a some of the promos for the show, as fans who paid attention to the many promos will no doubt recall. In fact, back in '08 when we were doing the Watching Project for the '91 show, we shared one of the promos that includes the exchange - and I'm sharing that particular promo once again below:
(Note that the promo also includes the shot of Carolyn howling, which wasn't actually seen as part of the pilot until MPI released the restored version on VHS.)
And as far as any differences in the scripted direction vs. the actual pilot, Vicki's eyes do not rapidly sweep the room when she enters David's room because she looks directly at him - it isn't until David says he was talking to Sarah that Vicki looks around the room a bit - and I particularly love the devilish unscripted smile that comes over David's face when he tells Vicki that there was someone in the room - and when Vicki crosses over to David, she doesn't simply stand there looking down at him because she sits down on the side of his bed.
-
Continuing with more of the sequence:
A long moment as Vicki looks at him, thinking, then decides to
proceed as if everything’s normal. She sits on the edge of his
bed.
|
And that's when Saturday's quote -
Page 68/Scene 152 - Vicki: 'Tomorrow morning I thought it might be nice if we took a walk over to the old house to see what Willie and Barnabas have been doing. Would you like that?'
- comes up, followed by Sunday's quote -
Page 68/Scene 152 - David: 'He's evil.'
- coming up, followed in the script by:
Vicki frowns.
VICKI
Who’s evil?
DAVID
Cousin Barnabas. I saw him here
tonight.
|
And that's when Monday's quote -
Page 68/Scene 152 - Vicki: 'David, why do you say that? He's a very nice man.'
- comes up, followed by Tuesday's quote -
Page 68/Scene 152 - David: ''Cause Sarah told me.'
- coming up.
And as for differences in the dialogue, again, it's mostly all delivered exactly as scripted - what is different, which is only within Vicki's quote from Saturday, isn't even worth going into.
And as another bit of trivia, the exchange between David and Vicki in which she questions who it is that David thinks is evil and he responds with Barnabas was also featured in some of the promos for the show. And again, back in '08 when we were doing the Watching Project for the '91 show, we also shared one of the promos that includes that exchange - and that particular promo is below:
(Note that once again there's the inclusion of the shot of Carolyn howling - though we also get brief glimpses from two of Vicki's scenes that weren't seen until MPI restored them: as Vicki turns after her reaction to Liz' assessment of what constitutes style and before Vicki asks if the painting on an easel is a Seurat, and Vicki looking out her window when she's about to spot a figure(Barnabas) outside at the edge of the woods.)
And as far as any differences in the scripted direction vs. the actual pilot, obviously, just before Vicki asks David if he'd like to go the Old House, she doesn't move to sit on the edge of his bed because she's already done so - and we don't know if Vicki frowns or not when she asks who David thinks is evil because the camera is shooting David and we only see Vicki from the back:
(http://www.dsboards.com/91scriptquoteimages/0802ds91_0.jpg)
-
Don't remember Vicki mentioning her "friend" Amy in the pilot? Well, that's because she didn't. With today's quote the slideshow has reached the beginning of the part of Scene 152 that doesn't appear in any version of the pilot. And we'll get into all that in the next post...
-
Continuing on as promised:
Another beat.
VICKI
Maybe, sometimes, your friend
Sarah is wrong...
(CONTINUED)
_________________________________________________________________
152 CONTINUED: (2)
DAVID
She's not wrong! Sarah would
never lie to me.
She smiles.
|
And that's when Wednesday's quote -
Page 69/Scene 152 - Vicki: 'Maybe, someday, you'll introduce me to Sarah. Will you do that, David?'
- comes up, followed in the script by:
David looks at her suspiciously...
|
And that's when Thursday's quote -
Page 69/Scene 152 - David: 'You're only pretending. You don't really believe she's real.'
- comes up, followed by today's quote -
Page 69/Scene 152 - Vicki: 'That's not true. I'm sure she is real. Certainly she is to you, and that's what counts. (a beat) I know that when I was a little girl your age, I had a small friend by the name of Amy, and nobody believed me either. But she was real, David ... real to me.'
- coming up, followed by the script really getting into what was dropped:
A beat as he studies her.
DAVID
What did you used to do with this
Amy?
VICKI
I talked to her, we told each
other things, we played games
together.
DAVID
Do you still see her?
VICKI
(shakes head no)
I stopped seeing her a long time
ago.
DAVID
When?
VICKI
Oh, when I was eleven or twelve.
(CONTINUED)
_________________________________________________________________
152 CONTINUED: (3)
He thinks about this.
DAVID
Then she wasn't real. I'm never
gonna stop seeing Sarah.
VICKI
That's the way I felt too, but
you'll see. There'll come a time
when you won’t need her anymore.
|
And that concludes the portion of the scene that doesn't appear in any version of the pilot. But before we get into that portion, lets go over the parts in this post that do appear.
As far as any difference in the dialogue goes, there isn't any: everything is delivered exactly as scripted.
And as far as any differences in the scripted direction vs. the actual pilot goes, there only one: Vicki doesn't smile before responding to David after he says Sarah would never lie to him because she takes a beat to think and then quite seriously asks if one day David might introduce her to Sarah.
Which brings us to the dropped portion of the script. Personally, it seems to me that Vicki's attitude and dialogue seem to discount the girl's voice that she herself heard coming from David's room. Did she think David had made up the girl's voice himself? Or perhaps she simply felt like forgetting about what she'd heard? But her dialogue would certainly seem to imply that as a child Vicki simply had an imaginary friend and it wasn't a child who was a ghost - or at least that's how Vicki perceives the experience as an adult.
Perhaps things were written the way they were because they wanted to position Vicki with only a belief in imaginary friends because they didn't want Vicki to seem to have had any type of supernatural experience until she meets Sarah for herself in an upcoming ep. And in the same vein, perhaps the reason it was dropped from the pilot was because they didn't want there to be even the slightest hint that Vicki may have experienced something similar to David's relationship with Sarah, whether Vicki perceived it that way or not. Who knows? But as far as whether or not the dropped part was ever shot goes, a synopsis of it was included in "SHADOWS IN THE '90s: The Dark Shadows Concordance 1991" along with synopses of all the other stuff that was shot but did not appear in the NBC version of the pilot. So we know for certain that it was shot. However, unlike the stuff that was dropped from the NBC version of the pilot but then restored for the MPI VHS, none of the dropped stuff from this scene was restored, which might lead one to believe that even though it was shot, as is the case with some other bits that were shot and not included in the MPI version (and another one of those will be coming up in the October slideshow with actual screen caps from it thanks to footage having been included on the DS Resurrected VHS), it was never included in what DC planned as the final version of pilot, so it wasn't material that had ever been edited out for the NBC broadcast but then later restored by MPI...
-
Concluding the sequence and picking up the scene with how it concludes in the pilot:
The boy just lies there looking up at her.
VICKI (CONT'D)
Okay, time to go to sleep.
She bends to kiss his cheek. He turns his head away. She sits
there for a moment, then pulling the covers up around his neck:
|
And that's when today's quote -
Page 70/Scene 152 - Vicki (CONT'D): 'We're going to be good friends David. You'll see. Sleep tight.'
- comes up, followed by the script explaining:
And turning out the bedside lamp, she quietly goes out of the
room, closing the door behind her.
HOLD ON the boy as he lies there, eyes pools of darkness. And...
|
End of scene and sequence.
And so far as what might be different with the dialogue, again, everything is delivered exactly as scripted.
And as far as any differences in the scripted direction vs. the actual pilot goes, Vicki doesn't actually pull the covers up around David - and after saying that he'll see that they'll be good friends, Vicki gets up from the bed and goes to the doorway before she tells him to sleep tight and then shuts off the light via a switch on the wall before exiting the room.
One thing that is interesting is that as the scene plays in the pilot, the shot of David simply lying in his bed looking at Vicki appears to display his reaction to Vicki saying all that counts is that Sarah is real to him when as the scene was originally shot it was his reaction to Vicki saying a time will come when he won't need Sarah anymore. Though knowing David as we do, he was likely to have reacted the same way to either of Vicki's ideas.
-
Setting up the current sequence:
153 EXT. OLD HOUSE - DAY
Willie's pickup is parked in front.
Two TEENAGERS from the village are busily cleaning away the
brush, dead branches, etc., loading it all into the bed of the
truck.
154 ANOTHER ANGLE
As David and Vicki come out of the path through the woods, Vicki
stops, stands looking at the house.
|
And that's when Sunday's quote -
Page 70/Scene 154 - Vicki: 'It's going to be beautiful, isn't it, David?'
- comes up, followed by Monday's quote -
Page 70/Scene 154 - David: 'It's gonna be awful.'
- coming up, followed by the script explaining:
She looks at him, smiles.
VICKI
Come on.
(CONTINUED)
154 CONTINUED:
And they start toward the house. As they pass the two boys:
VICKI
Is Mr. Collins inside?
BOY #1
(shrugs)
Mr. Loomis is.
Vicki nods, they continue up on to the veranda. From inside,
the SOUND of HAMMERING can be heard.
|
And as for differences in the dialogue, it's delivered basically word for word except that like David, Vicki also says "gonna" rather than the scripted "going to".
And as for differences in the script's direction and descriptions of scenes, there's much that's different (some no doubt necessitated by using Greystone for the Old House rather than a house similar to Spratt House of the original series). Willie's pickup is nowhere to be seen - there are actually four workmen seen clearing debris and/or working on the front of the Old House - obviously none of the cleared debris is being loaded into Willie's truck, it's simply carried away off screen - David and Vicki do not come out of a path through the woods as they're seen coming up the stairs to the terrace and they stop at the top of those stairs to look at the house - and as Vicki and David make their way toward the house, they only encounter one workman, who may indeed be a teenager (but the other men are older - and incidentally, Boy #1, the character that Vicki speaks to, is credited as Gardener in the pilot) and he doesn't shrug in response to whether or not Barnabas is inside, he simply says that Willie is before throwing a bag of debris on a pile - and considering that Vicki and David are already on the front terrace of the house, they do not walk to a veranda - and there is no sound of hammering heard coming from inside.
-
The next scene in the current sequence:
155 INT. FOYER - OLD HOUSE - DAY
The door, now reattached to its hinges, patched, but still not
painted, stands open. Vicki stands there for a beat looking
around, then steps inside, David following.
156 ANOTHER ANGLE
As she sees Willie in the drawing room, working with another
MAN, plastering the walls.
VICKI
Willie.
He turns, is shocked to see her, becomes very agitated.
WILLIE
Miss Winters! I'm ... I'm sorry.
I didn't see you standin' there.
Uh, uh ... Is there somethin' I
can do for ya?
VICKI
David and I Just wanted to come
over and see how things were
coming along.
He quickly crosses to her.
WILLIE
Yeah, well, uh ... Things are
comin' along good.
VICKI
Yes, it looks that way.
Willie looks at the boy:
WILLIE
Hi, Davey.
(CONTINUED)
156 CONTINUED:
David doesn't say anything. He's just standing there looking
around, an unhappy expression on his face.
O.S. the SOUND of HAMMERING and SAWING can be HEARD from other
parts of the house.
|
And that's when yesterday's quote -
Page 72/Scene 156 - Vicki: 'Is Mr. Collins here?'
- comes up, followed by today's quote -
Page 72/Scene 156 - Willie: 'Uh ... No ... No, he ain't, Miss Winters. He's, uh ... He's in Portland today ... buyin' some stuff we need. Yeah, that's where he is. Portland!'
- coming up.
And when it comes to the dialogue, there aren't any significant differences.
However, when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, again there's much that's different. Scene 155 doesn't appear in the pilot and who knows if it was ever shot? (Presumably not since there isn't any synopsis for it in the "SHADOWS IN THE '90s: The Dark Shadows Concordance 1991" book.) When we first see Willie in Scene 156, unlike what the script indicates, he's actually kneeling and stirring something in a large bucket, and the other man is actually gathering up whatever he's been working on - Vicki and David spot Willie from the doorway of the drawing room, and unlike what the script indicates, Willie goes over to her almost as soon as he sees her - and the workman leaves the room while Willie and Vicki begin talking and he passes by David, who remains standing near the doorway - and speaking of David, he doesn't actually look around the room with an unhappy expression on his face because he simply just stands there basically unmoving - and there are no off screen sounds of hammering and sawing where the script indicates because those sounds are actually heard at the very beginning of Scene 156 while Willie is seen doing his stirring.
-
Picking up where we left off:
157 CLOSE - DAVID
As he looks at Willie. This guy is really weird.
158 INT. DRAWING ROOM
As Vicki crosses into the big room, looks around. Willie is
right behind her.
VICKI
How many people do you have
working with you, Willie?
WILLIE
Uh ... We got about five helpin'
us.
In the b.g., we SEE David, unnoticed, turn, disappear out of
the foyer.
|
And that's when Thursday's quote -
Page 72/Scene 158 - Vicki: 'What a magnificent home Barnabas is going to have.'
- comes up, followed by the script indicating:
And she walks over to examine some of the newly restored
moldings.
|
And that's when yesterday's quote -
Page 72/Scene 158 - Willie: 'Yeah, yeah ... it's gonna be okay.'
- comes up.
And as for anything different in the dialogue, Willie actually answers that they have about eight guys working with them.
And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, there's several things. Scene 157 doesn't appear in the pilot and who knows if it was ever shot? (Again, presumably not because there isn't any synopsis for it in the "SHADOWS IN THE '90s: The Dark Shadows Concordance 1991" book.) And in Scene 158 Vicki does look around but doesn't actually move from her spot at all before she asks Willie how many people are on the workforce - David slips out into the corridor outside the drawing room - Vicki doesn't actually walks further into the room until she remarks about how magnificent Barnabas' home is going to be - and Willie doesn't come up behind her until just before he agrees - and then they share a big unscripted smiles.
-
Moving on to the next scenes in the sequence:
159 INT. FOYER
As David looks around for a beat, then quietly opens a door
under the stairs.
159A INT. BASEMENT
GO WITH HIM as he starts down a winding, stone flight of steps
toward the dark basement below. He is almost at the bottom,
when suddenly, from behind ...
A HAND grabs his shoulder!
160 CLOSE - DAVID
As he almost jumps out of his skin. It is Willie.
|
And that's when Saturday's quote -
Page 73/Scene 160 - Willie: 'What are ya doin'?! You can't go down there!'
- comes up, followed by the script indicating:
David twists in his grip.
|
And that's when Sunday's quote -
Page 73/Scene 160 - David: 'Let go of me! I can go where I want! This isn't your house!'
- comes up, followed by the script explaining:
Now Vicki APPEARS IN SHOT, coming down the stairs.
VICKI
David, come back upstairs.
Willie's only concerned that you
might hurt yourself. It’s dark
down there.
David pulls away from him, runs up the stairs by Vicki. We HEAR
him RUNNING OUT OF THE HOUSE.
VICKI
I'm sorry, Willie. I'm sure David
didn't mean to upset you.
|
And that's when today's quote -
Page 73/Scene 160 - Willie: 'That's okay ... that's okay. I just don't want nothin' happenin' to him.'
- comes up, followed in the script by:
And as the two of them go back up to the foyer, close the door,
we HOLD a beat, and ...
SLOWLY PAN AWAY and TIGHTEN into the dark recesses of the cold,
dank, stone cellar, where we SEE ...
A sinister, large, black COFFIN.
|
End of scene and end of sequence.
And as for differences in the dialogue, when Willie sees David, he actually shouts "Davey! What are ya doin'?! You can't go down there!" - David actually responds with "Yes, I can! Let go of me! I can go where I want!", but the "This isn't your house!" part is dropped in the pilot - when Vicki arrives on the scene, she actually just shouts out "David!", the "come back upstairs" part is dropped there, but after Vicki explains that she thinks Willie is only concerned and that it's dark down there, she actually adds "Now, come on, let's go upstairs" - but the rest of the dialogue is delivered basically as written.
And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, there are many differences. In Scene 159 as David makes his way through the foyer to the door to the basement, in the background we first see one workman walking behind him to put a bucket down on the floor, and then we see another workman who's up on some scaffolding working on a wall - in Scene 159A we do see David go down the stairs, but we also see him reach a gate with a link of chain hanging on one side of it, and David momentarily picks up the chain and makes a face as if to say that wouldn't stop him - and in scene 160, as David begins to descend another set of stairs, we actually hear Willie shout out his name - nowhere is Scene 159A or 160 do we see a hand grab David's shoulder - and David whirls around to see Willie rushing toward him before Willie grabs him to forcibly stop him from continuing down the stairs - and David does indeed run upstairs, but we do not hear him running out of the house - and we do not see Willie and Vicki go back up to the foyer and close the door because first Vicki goes up the stairs, and after looking down the remaining stairs, Willie follows - though once Willie has disappeared from sight, the camera does indeed pan to reveal the coffin, which is actually barely visible in dim candlelight, so it's completely unclear if it's black or not.
-
Setting up the new sequence:
160A INT. ROADHOUSE - NIGHT
A typical New England roadhouse, just outside of Collinsport.
(CONTINUED)
160A CONTINUED:
Noisy, crowded, raucous, the kind of place where the beer and
the music go all night. Several YOUNG PEOPLE are crammed onto
a small dance floor amidst the hooting and hollering.
Carolyn, looking sexy as hell, is dancing up a storm. Her
townie FRIEND is having a tough time keeping up.
160B ANGLE AT BAR
A slutty-looking, pretty mini-skirted young girl, GLORIA, is
draping herself over her boyfriend, MUSCLES, a typical punk in
a black leather vest.
But he only has eyes for Carolyn, staring at her as she
undulates on the floor. A beat, then undraping Gloria, he heads
for the floor.
She glares angrily after him.
160C ON DANCE FLOOR
Carolyn, concentrating on her moves, spins away from her
partner, doesn't notice Muscles moving toward them.
The tough guy taps the townie on the shoulder. The kid takes
one look and disappears.
Carolyn turns back to find she's got a new partner.
|
And that's when today's quote -
Page 74/Scene 160C - Carolyn: 'Hey, what happened to...?'
- comes up.
And as for anything different in the dialogue, Muscles actually mouths an unscripted "Move it" after he touches Carolyn's dance partner's shoulder - and when Carolyn turns back and notices that her original partner has been replaced by Muscles, what she actually asks is "What happened to, uh...?"
And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, there may be fewer differences here than in the previous sequences - but there are still some. Scene 160A actually starts off with a shot of saxophones playing as the roadhouse band performs, and then as the camera pans the band and then the crowd, we soon see Carolyn dancing - shortly Carolyn and her partner move further into the crowd and by the time of Scene 160B they pass by Gloria and Muscles at the bar - and in an unscripted move, Carolyn notices Muscles (who actually wears a leather jacket, not a vest), takes his beer from his hand, takes a swig, and then hands it back to him, none of which exactly thrills her dance partner or Gloria - though Carolyn soon moves on, followed by her partner, sort of like he's Carolyn's puppy dog - but Carolyn's actions have definitely 'stimulated' Muscles, who soon disentangles himself from Gloria and goes off in Carolyn's direction, leaving an angry Gloria behind - and after Muscles gets rid of Carolyn's dance partner, we notice that while Carolyn has been turned away, she's actually been dancing with another guy (shades of the original series' Carolyn is Ep #2!! [ghost_wink]).
Sadly for Carolyn's original dance partner, the actor portraying him goes unidentified in the pilot's credits. And he's not even identified on IMDb. [ghost_sad]
And finally, eagle-eyed viewers may actually spot Matthew Hall as an extra at some point in the above sequence. [ghost_wink]
-
Muscles and Gloria-- the Romeo and Juliet of DS. <snicker>
I enjoyed quoting these two way too much.
-
Continuing the scene and with regard to Muscles:
And that's when the first part of Wednesday's quote -
Page 74/Scene 160C - Muscles: 'He's takin' a rest.'
- comes up, followed by the script indicating:
Carolyn stops dancing, looks around for her friend. Muscles
gives her a long once-over.
|
And that's when the second part of Wednesday's quote -
Page 74/Scene 160C - Muscles (CONT'D): Anybody ever tell ya... ya gotta a great set of wheels, kid?'
- comes up, followed by the script explaining:
Carolyn looks him up and down, the anger in her beginning to
rise.
|
And that's when Thursday's quote -
Page 74/Scene 160C - Carolyn: 'Yeah, hundreds of times... but you aren't ever gonna ride 'em.'
- comes up, followed in the script by:
She turns her back on him, stalks away into the crowd, her saucy
little rear-end disappearing into the crowd.
(CONTINUED)
160C CONTINUED:
The guy stands there for a beat, glaring after her. Then GO
WITH HIM as he angrily strides back toward the bar ...
He's just in time to see Gloria storming out.
|
End of scene - though far from end of sequence.
And as for anything different in the dialogue, Carolyn mouths an unscripted "Oh" after Muscles tells her that her original dance partner is taking a rest - Muscles actually says "ya gotta a fine set of wheels" with the 'kid' part dropped (and that could again be because when Barbara Blackburn was cast as Carolyn, she was aged a bit from what was originally intended) - and Carolyn actually replies to him with "Yeah... hundreds of times... but you know what... you're never gonna ride 'em."
And as for the differences between the script's direction and its descriptions of scenes and what actually happens in the pilot, Muscles doesn't actually grin when he tells Carolyn that her original dance partner is taking a rest - nor does Carolyn stop dancing to look for him because she actually keeps on dancing - and Carolyn doesn't look Muscles up and down or get angry after his remark about her "wheels" because she actually gives him a big smile, perhaps like he has a chance - and in an unscripted move, Carolyn even puts her arms around Muscles neck before she shuts him down by telling him that he isn't ever going to ride her, uh, wheels (and I love the smirk on her face after she tells him that) - and Muscles goes after Gloria after she storms off.
And finally, eagle-eyed viewers may also be able to spot Matthew Hall as an extra at some point in Scene 160C. [ghost_wink]
-
Muscles and Gloria-- the Romeo and Juliet of DS. <snicker>
Yes, it's great to see them both make their appearances in the slideshow! [ghost_wink]
I enjoyed quoting these two way too much.
And I was quite jealous once I realized you were going to get them in one of your months! [ghost_grin]
-
That exchange of dialogue between Muscles and Carolyn is one of my favorite DS moments ever. I don't know if it was planned that way but the Barbara Blackburn Carolyn seemed to be channeling Mae West at times.(Whereas Blackburn's Millicent reminds me of Cybill Shephard). [ghost_cool]
-
Moving on to the next scenes in the sequence:
161 EXT. ROADHOUSE - NIGHT
As Gloria comes out the door, really angry. Muscles is just
behind her.
MUSCLES
Hey, where you goin?!
He grabs her by the arm. She belts him in the face.
GLORIA
Bug off!
She pulls away, starts across the lot.
MUSCLES
(shouts out)
Have a nice hike, Gloria--!
He pulls out a crumpled pack of cigarettes, lights one up.
162 GLORIA
MOVING WITH HER as she walks angrily between the rows of cars.
Suddenly, she jumps back as a dark figure steps from around a
van.
|
And that's when yesterday's quote -
Page 75/Scene 162 - Gloria (giggling nervously): 'Boy did you scare me--'
- comes up, followed in the script by:
163 ANOTHER ANGLE
TO REVEAL it is Barnabas standing there. He smiles.
|
And that's when today's quote -
75/Scene 163 - Barnabas: 'I'm terribly sorry. I didn't mean to startle you.'
- comes up.
And as for differences in the dialogue, basically it's all the same as written.
And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, the only thing different is that Gloria doesn't actually belt Muscles in the face because she forcefully pushes him away.
-
Continuing along with the sequence and with Gloria's reaction to Barnabas:
She likes what she sees. Then, examining him more closely:
|
And that's when Monday's quote -
Page 75/Scene 163 - Gloria: 'Hey, where are you from? You talk kinda funny. I never seen you around here before.'
- comes up, followed in the script by:
(CONTINUED)
__________________________________________________________________
163 CONTINUED
|
And that's when Tuesday's quote -
Page 76/Scene 163 - Barnabas: 'Has anyone ever told you that you are a very pretty young lady?'
- comes up, followed by Wednesday's quote -
Page 76/Scene 163 - Gloria: 'Yeah, just about everybody. Right before they hit on me.'
- comes up, followed by the script explaining:
Barnabas frowns.
BARNABAS
"Hit" on you?
She smiles seductively, walks up to him.
GLORIA
Yeah, you know ... like when they
only wantcha for your body.
(a beat)
But you don't look like that kind
of guy. I bet you’re a real
gentlemen.
She puts her hand on the side of his face.
GLORIA (CONT'D)
What do you say, good lookin'...
how 'bout givin' a lady a lift
home?
BARNABAS
I would be happy to.
And taking her arm, he leads her around the van.
164 ANOTHER ANGLE
As they come around the van, Barnabas turns, takes the girl in
his arms. TIGHTEN TO HER as she giggles.
|
And that's when yesterday's quote -
Page 76/Scene 164 - Gloria: 'Hey, big fella, can't you even wait 'til we get into the car?'
- comes up, followed in the script by:
She pushes herself up against him.
165 CLOSE - BARNABAS
As suddenly his mouth opens wide revealing two needle sharp,
bone white incisors gleaming in the parking lot light.
166 BACK TO GLORIA
As her eyes go wide in horror, she SCREAMS.
167 BARNABAS
As he buries his fangs in her neck.
168 MUSCLES
Having heard the scream, is up on the steps, trying to see
what's happened. He breaks into a run across the lot.
169 BARNABAS AND THE GIRL
Her body crushed to his, his mouth fastened to her neck. She
is moaning in ecstasy and pain.
Suddenly, Muscles rounds the corner of the van, skids to a stop.
MUSCLES
Wha—-!?
170 CLOSE ON BARNABAS
As he raises his head, the blood dripping from his mouth, his
red-rimmed eyes burning.
171 MUSCLES
For a moment, he is immobilized, then suddenly he charges
forward.
But Barnabas shoots out a powerful hand, grabs the boy by the
throat, slams him violently up against the van.
172 MUSCLES' BOOTS
Frantically kicking as Barnabas finishes him off. And we . .
.
|
End of scene, end of sequence, and also the fourth act break in total as well as the first of the second hour.
And as for differences in the dialogue, it's delivered basically as written with the exceptions that Gloria doesn't refer to Barnabas as "big fella" (what a shame, right? [lghy]), and Muscles doesn't say "Wha—-!?" when he first comes upon Barnabas attacking Gloria.
And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, Barnabas gives an unscripted understanding nod after Gloria explains what she meant by being hit on - Barnabas does take Gloria's arms but he doesn't lead her to the back of the van because she playfully pulls away from him as she makes her way toward the back of the van, though Barnabas, still holding her arm in his grip, whirls her around to face him - and Gloria doesn't push herself against him because once she sees Barnabas face to face again, what she sees but we don't quite yet see is his fangs - and Scene 172 is done differently in the pilot because instead of seeing Muscles' boots frantically kicking, we actually see Barnabas attack Muscles and Muscles scream, which may be the one and only time DC ever showed a male-on-male vampire attack.
And as a bit of Trivia, Scenes 167 though 170 were shown in 1990 on Halloween night as part of the Horror Hall of Fame special's Sneak Peak World Screamiere segment, presented by comedian Sam Kinison, of all people. He introduced the clip with "Dark Shadows is back. The story of a monster who will suck the life right out of you. Oh, oh, they call them vampires. You know what I call them, divorce attorneys! Oh! OooohhhH!!" Funny, huh? Not so much! ::) (Though even he said afterward that he'd dug his own grave with some of his intros in the segment.) But honestly who cared what he said?! All we were interested in and thrilled to see was the clip!! [nodassent] Especially when it was the first actual footage from the pilot that we ever got to see. And interestingly enough, on that same day in 1990, Scenes 167 though 171 were shown as part of a spotlight segment on the new series that CNN's Showbiz Today did. So, if fans missed one of the shows, they might have caught the other. (And actually, there was a bonus when it came to Showbiz Today because we also got three separate and brief glimpses of the scene of Barnabas spotting/chasing Sarah through the woods.) And something else that's also interesting is that once those two segments aired on Halloween, it seemed like nearly every article that came out about the show included a still of Barnabas attacking Gloria. But more on that once we get to October and beyond in the slideshow...
-
I forgot to mention on Wednesday that all the roadhouse scenes were filmed (in Malibu, inside and outside the Trancas Restaurant & Nightclub) on the very first day of shooting on the pilot. And even though the scenes in the parking lot with Barnabas were supposed to begin shooting as soon as it got dark, because of delays that took place, they didn't actually begin shooting until midnight and didn't finish up until 3:30am.
-
Moving on to the next sequence:
173 EXT. ROADHOUSE PARKING LOT - LONG LENS - NIGHT
PANNING Sheriff Patterson's patrol car, its red light flashing,
SIREN BLARING, as it roars into the confusion.
174 ANOTHER ANGLE
MOVING WITH Patterson and his Deputy as they sprint out of the
vehicle, run to where a crowd has gathered around the van.
Three or four Deputies are holding back the rubber-neckers.
Parked in the b.g., the Paramedic van, doors wide open, plus
two other police patrol cars, all with lights flashing.
(CONTINUED)
Revised 2/28/90
174 CONTINUED:
Patterson kneels next to the white coated Paramedics.
The boy and the girl are lying sprawled on the pavement, their
necks ripped open, their heads at a very strange angle.
|
And that's when yesterday's quote -
Page 78/Scene 174 - Paramedic #1: 'Same wounds as the Collins girl...'
- comes up, followed by today's quote -
Page 78/Scene 174 - Patterson: 'Yeah, except there's one difference. These two are dead.'
- coming up, followed in the script by:
174A CLOSE - CAROLYN
Where she stands in the crowd of horrified onlookers. TIGHTEN
TO her shattered expression. HOLD a beat, and . . .
|
End of scene and end of sequence.
And when it comes to anything different in the dialogue, again, it's delivered basically as written.
And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, Scene 174 is actually shot from the same angle as Scene 173 - we don't actually see any deputies holding back the rubber-neckers, though there are plenty of those, including Carolyn - we see only one other police car - the paramedics are dressed in black (as they were at the scene of Daphne's attack) - Patterson doesn't kneel but instead remains standing and shines his flashlight on Gloria's and Muscles' wounds - and their heads don't appear at any sort of strange angle - and Carolyn actually walks closer to Patterson before the camera moves in on her, though not so close as to be a close-up.
-
Setting up what was scripted to be a new sequence but what in the pilot is actually simply a new scene:
175 INT. SEROLOGY LAB - HOSPITAL - NIGHT
CLOSE on BLOOD SLIDE magnified through a microscope lens.
|
And that's where the first part of today's quote -
Page 78/Scene 175 - Dr. Fisher (O.S.): 'The same traces of human saliva.'
- is scripted to come up, followed in the script by:
176 ANOTHER ANGLE
To include Woodard and Patterson standing beside him. Fisher
looks up.
|
And that's where the second part of today's quote -
Page 78/Scene 176 - Dr. Fisher: 'But there is something else. I didn't mention it to you earlier because I wasn't sure what it was ... I discovered a very strange cell in Daphne's blood sample.'
- is scripted to come up.
And when it comes to anything different in the dialogue, once again, it's delivered almost exactly as written.
However, when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot things are definitely different. Scene 175 doesn't really take place at all because what we first see is not a blood slide magnified through a microscope lens because rather than Dr. Fisher being off screen, we actually see him on screen at a microscope - and so we also see him as he delivers his line about there being the same traces of human saliva - and there isn't another angle to include Woodard and Patterson because Dr. Fisher simply moves back from the microscope to reveal them - and Fisher stands before he reveals his discovery of the strange cell in Daphne's blood sample.
And it's too bad that today's capture, which depicts Woodard wearing a bow tie -
(http://www.dsboards.com/91quoteimages/0829ds91_0.jpg)
- wasn't yesterday's capture. Why is that some of you might ask? Well, it's because yesterday was National Bow Tie Day (http://www.nationalbowtieday.com/about-us/)!! Missed it by only a day. [ghost_sad]
-
Continuing with and concluding the current scene:
We start off with Sunday's quote -
Page 78/Scene 176 - Woodard (frowns): 'What kind of cell?'
- coming up, followed by Monday's quote -
Page 78/Scene 176 - Dr. Fisher: 'I can't answer that ... I've never seen anything like it before. I sent it to Boston, but they can't identify it either. (looks at them) I found the identical cell in the blood samples of the two new victims.'
- coming up, followed by the script explaining:
Woodard and Patterson exchange a glance.
(CONTINUED)
Revised 2/28/90
176 CONTINUED:
PATTERSON
So what have I got here? Some
kind of a lunatic with a weird
blood disease?
DR. FISHER
(shaking his head)
I don't know what you've got,
George. That's the problem.
Patterson turns to Woodard.
WOODARD
We're stumbling about in the dark
gentlemen, we need help.
PATTERSON
What do you suggest, Mike?
|
And that's when Tuesday's quote -
Page 79/Scene 176 - Woodard: 'I happen to know an expert in the field, who may be able to shed some light on this ... at New York University.'
- comes up, followed in the script by:
PATTERSON
Well let's get him on the phone.
|
And that's when today's quote -
Page 79/Scene 176 - Woodard (a little smile): 'Her name is Julia Hoffman.'
- comes up, followed in the script by:
And on Patterson's look of surprise, we . . .
|
End of scene and end of scripted sequence.
And when it comes to differences in the dialogue, everything is basically the same with the exception that instead of asking "What do you suggest, Mike?", Patterson asks "Any suggestions, Professor", which continues with the previously established fact that in the actual pilot, unlike in the script, Patterson and Woodard aren't on a first name basis - and Woodard adds the word "down" when he actually says "down at New York University."
And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, when Woodard asks what kind of cell Dr. Fisher has found, we have no idea if Woodard frowns or not because, not only isn't his face on screen when he asks the question -
(http://www.dsboards.com/91quoteimages/0830ds91_0.jpg)
Page 78/Scene 176 - Woodard (frowns): 'What kind of cell?'
- he's barely on screen when he asks the question - and Woodard and Patterson do not exchange a glance before Patterson asks what sort of situation he's dealing with - what Patterson actually does is cross his arms tightly across his chest - and Patterson doesn't turn to Woodard before Woodard says that they're stumbling in the dark - Patterson doesn't actually turn to him until after Woodard begins to explain that he knows an expert - and Woodard actually smiles after he reveals that his expert is a woman - and why even in 1990 a man should be surprised that a woman can be an expert in something is anyone's guess. Though perhaps they wanted to continue the original show's tradition of often being sexist...
And interestingly enough, this is one of the few scenes the slideshow will cover this month that is actually in the pilot. Beginning tomorrow the slideshow will start to cover quite a bit of material with Julia that wasn't even shot...
-
Oops - I forgot to include in yesterday's post that this moment -
(http://www.dsboards.com/91quoteimages_A/0209ds91_0.jpg)
Ep #1 - Prof. Woodard: 'We're stumbling about in the dark,
gentlemen - we need help.'
- was featured in the original slideshow for the '91 series.
-
Setting up the new (though unshot) sequence:
176A INT. NYU SEROLOGY LAB - DAY
CLOSE on the unconscious face of a MALE PATIENT, his face covered
with breathing apparatus. The CAMERA MOVES along an intricate
network of intravenous tubes, heart and blood pressure monitors,
and other equipment to reveal four white-clad, surgically masked
figures hovering over the body on an operating table.
The room is gleaming with high-tech. Counterpoint to the
location and what's taking place, MARIA CALLAS can be heard,
swooning and soaring through "Madame Butterfly" piped into the
lab from a stereo.
(CONTINUED)
Revised 2/28/90
176A CONTINUED:
INTERNE #1
(very nervously)
Patient's heartbeat, blood pressure
and all vital signs constant...
I wish I could say the same for
myself.
176B CLOSE - ON A PAIR OF SERIOUS EYES
Which is all we can see between the mask and skull cap, as they
look across to the interne and answer with a very classy English
accent.
JULIA
Are you okay, Tucker?
176C ANGLE TUCKER (THE INTERNE)
He nods, but he doesn't look okay. Sweat beads his brow.
176D ANOTHER ANGLE
As Julia turns to the man next to her.
JULIA
Zipper him up, doctor. Any
complications, I'll be in my
office.
She turns to leave, then stops, and motions for Tucker to follow
her. He does.
176E HALL
As Julia exits the lab with Tucker behind her. She quickly
removes her mask and for the first time we notice her
blood-splattered gloves. We also see her face. Almond-shaped
green eyes and a severe expression belie the fact that beneath
the professional facade is an exotic and sensual woman.
|
And that's when today's quote -
Page 79A/Scene 176E - Julia: 'Tucker, I find it hard to believe that someone who is interning for a career in serology can't stand the sight of blood.'
- comes up.
And of course, considering that none of this was shot, there's absolutely no way to know whether or not there might might have been any differences when it comes to the dialogue and/or any differences between the script's direction and descriptions of scenes and what might have actually happened in the pilot...
Though what is fascinating is all the background the current and upcoming scenes will provide about Julia. Background that, sadly, DC didn't feel needed to even be shot, much less included in the pilot. But then, as we're all too aware (especially when it comes to hoDS), DC will always jettison the character scenes in favor of the blood/gore/ripping/tearing because, well, he's that sort of director.
-
The scene continues with the script explaining:
Tucker removes his mask and we see that he is very young. He
takes a deep breath, as some of his color returns.
|
And then today's quote -
Page 79A/Scene 176E - Julia (CONT'D) (smiles): 'It's not something I can teach you.'
- comes up.
-
Continuing along:
(CONTINUED)
_____________________________________________________________________
Revised 2/28/90
176E CONTINUED:
|
And that's where Saturday's quote -
Page 79B/Scene 176E - Tucker: 'My dad always said I should go into orthopedics.'
- comes up, followed by Sunday's quote -
Page 79B/Scene 176E - Julia: 'Boring... besides, you're too good.'
- coming up, followed by the script continuing with:
She pats him on the shoulder as they're interrupted by a NURSE.
NURSE
Call for you, Dr. Hoffman.
JULIA
Thank you.
She turns back to Tucker and motions him back into the lab.
JULIA (CONT'D)
Try to go with the music... it
helps.
He smiles, sheepishly, and goes into the lab as Julia exits.
|
End of scene - though certainly not end of sequence...
-
The next scene in the sequence:
176F INT. JULIA'S NYU OFFICE - DAY
CLOSE on a phone, its hold button blinking. A beat, then Julia
picks it up.
|
And that's where today's quote -
Page 79B/Scene 176F - Julia: 'Dr. Hoffman (pause) Michael, how are you? (pause) Up to my elbows in bone marrow and internes with queasy stomachs. I haven't heard your voice in a long time.'
- comes up, followed by the script continuing with:
The CAMERA slowly MOVES IN to Julia as she listens, her
expression turning more serious.
|
End of scene - and end of sequence.
Beginning tomorrow the slideshow will briefly return to material that is in the pilot - though as it progresses there will be bits of the scene that isn't...
-
These excerpts are fascinating, MB--and thank you for alerting us to the inclusion of unshot Julia scenes here, as I am afraid I have not been following this thread.
The most fascinating detail to me is that the descriptive phrases about Julia--classy English accent, exotic sensuous beauty--suggest that the role was WRITTEN with Barbara Steele in mind.
I know nothing of the production history or just when Steele was cast, so that's an intriguing concept for me to ponder (but have no way of pursuing further).
G.
-
I'm pretty sure the role was written with her in mind.
And after the current scene in the slideshow, there will be some interesting info about Julia's background coming up in another unshot scene...
-
I'm pretty sure the role was written with her in mind.
So am I, given her previous involvement with Dan Curtis as producer of the War and Remembrance series.
-
I seem to recall reading that she had to be persuaded to do the role because she'd pretty much given up acting and was concentrating on the producing side of things. But I'm pretty sure I've also read that DC wanted her for Julia from the outset. So we definitely owe DC thanks for getting her to play Julia.
-
As well as jump starting her acting career. Who knows if she would have done any of the things that she has appeared in over the last 25 years if she hadn't done DS?
-
Setting up the current scene:
177 EXT. COLLINSPORT TRAIN STATION - DAY
As the train pulls into the station, and Julia, luggage in hand,
steps to the platform.
WOODARD (O.S.)
Julia!
(CONTINUED)
Revised 2/28/90
177 CONTINUED:
She turns and smiles. PAN TO INCLUDE Woodard approaching from
the b.g.
JULIA
Michael...
(she hugs him)
|
And that's when today's quote -
Page 79C/Scene 177 - Woodard: 'I appreciate your coming on such short notice. It's very good of you.'
- comes up.
And as far as differences in the dialogue go, there really aren't any.
On the other hand, there are certainly things that are different when it comes to the script's direction and descriptions of the scene and what actually happens in the pilot. One thing that's radically different is that in the pilot the scene actually takes place during a very rainy night, not during the day - and, yes, Julia, luggage in hand, does step to the platform, but afterward the camera does a slow pan up her body from her boots to the back of her head as she stands holding her umbrella against the rain, and then, as the script indicates, it's after she hears Woodard call to her that she turns and smiles (all completely deserving camerawork to introduce a character as important as Julia) - and the camera doesn't pan by including Julia as Woodard approaches because the angle actually cuts to Woodard alone as he approaches and then includes Julia as he reaches her - and they don't actually hug so much as Woodard takes her outstretched arm in an affectionate gesture.
-
Those with good memories will have already realized that today's quote -
Page 79C/Scene 177 - Julia: 'On the contrary, I owe you Michael. Besides the obligation, I'm intrigued.'
- is not what Julia says in the pilot - she actually says "On the contrary, I'm quite intrigued." There's no reference to any obligation that Julia may owe Woodard. And that's because the scene that explains Julia's perceived obligation to Woodard was never shot. But the scene that will explain it will be coming up in the slideshow/script shortly after the current scene concludes...
-
Picking up where we left off:
They start down the platform as the train pulls away behind
them.
|
And that's when yesterday's quote -
Page 79C/Scene 177 - Woodard: 'I got you a room at the Collinsport Inn... It's quite charming.'
- comes up, followed by today's quote -
Page 79C/Scene 177 - Julia: 'Good, and I hope part of that charm can be put into a glass... I've had a long week.'
- coming up, followed by the script continuing with:
WOODARD
So, have I.
As they continue toward Woodard' car, we...
|
End of scene. Though, again, much of that is not how things play in the pilot.
So, as far as anything that's different when it comes to the scripted dialogue, what Julia actually says in response to Woodard informing her that he's gotten her a room at the Collinsport Inn is "I hope that some of that charm comes in a tall glass" - and Woodard actually replies to that with "It does" - and then after that is when Julia actually says "It's been a long day" - and after that there is some unscripted dialogue as we actually see Julia getting into the car, but more on that below.
So, as far as whether or not there are any differences between the scripted direction and descriptions go, there aren't any. But as I indicated above, the scene continues beyond what's written in the script. As thunder rumbles and they reach Woodard's car, he opens the passenger door for Julia and takes her umbrella as she begins to get inside, at which point she asks:
(http://www.dsboards.com/91quoteimages/0911ds91_a.jpg)
Unscripted From Scene 177 - Julia: 'When do I see the girl?'
To which Woodard replies with an unscripted "In the morning" - and then Julia nods and gets completely inside the car, after which Woodard closes the car door for her. And all of that was most probably added to the scene because there were no plans to shoot the next sequence in the script.
And yes, the script does indeed say "Woodard' car" instead of Woodard's car. But this is certainly not the first typo in the script. And as we know only too well, it's apparently nearly impossible to produce many documents related to DS that are without at least one sort of error in them...
-
Setting up the new sequence:
177A EXT. COLLINSPORT INN - DAY
A quaint, New Englandy bed and breakfast.
177B INT. COLLINSPORT INN - JULIA'S ROOM - DAY
Woodard is pouring a drink into a glass at a small bar. He
looks over his shoulder.
|
And that's when today's quote -
Page 79C/Scene 177B - Woodard: 'That's really all I can tell you. It's all very strange.'
- comes up.
And keep in mind that the reason this sequence takes place during the day is because Scene 177 is originally scripted to have taken place during the day.
Also, it's interesting to note that had this sequence been shot as scripted, not only would it have been the only time we might have seen the outside of the Collinsport Inn in the '91 series, it would have been the only time the Collinsport Inn location would have factored into anything on the series because, unlike the original series, the Collinsport Inn never once shows up. I don't think it's ever even referred to...
-
Moving on to the next scene:
177C ANOTHER ANGLE
To show Julia stepping out of the bathroom. She's changed her
clothes and is buttoning as she exits.
(CONTINUED)
Revised 2/28/90
177C CONTINUED:
JULIA
Yes, but quite intriguing.
Woodard hands her the drink and Julia accepts with a small
toast. She takes a sip.
|
And that's when today's quote -
Page 79D/Scene 177C - Woodard: 'Have you heard from Donald?'
- comes up.
Think of what sort of message the outset of Scene 177C might have sent if it wasn't shot correctly! [naughty]
And just who is Donald? Well, we'll learn that very shortly...
-
Continuing on:
Today's first quote picks up with Julia's response to Woodard's question about Donald -
Page 79D/Scene 177C - Julia: 'A Christmas card. He's moved to Los Angeles... where all divorced men go. (a beat) I never properly thanked you for all the times I cried on your shoulder when Donald and I broke up.'
- and then today's second quote -
Page 79D/Scene 177C - Woodard: 'You don't have to.'
- is his reply.
So, the '91 Julia was supposed to have been married and divorced - who knew? And quite the departure from the original Julia.
And this scene also deepens the Julia/Woodard relationship beyond what we knew. Probably even beyond the close relationship of Julia and Dr. Woodard in the original series...
-
Just wondering if this was Donald Hoffman or if Julia either retained her maiden name or reverted to it after the split. It might have been fun if Donald eventually followed her to Collinsport. There could have been a great Barnabas/Julia/Donald/Vicki quadrants. Or he might have pursued Maggie, Carolyn or even Elizabeth.
-
And wrapping up the scene we begin with Tuesday's quote -
Page 79D/Scene 177C - Julia: 'I know, but you were there, and it's appreciated professor. Now just keep me away from decadent losers pining away for their mothers.'
- followed by the script indicating:
She takes another drink as Woodard watches her.
|
And that's when yesterday's quote -
Page 79D/Scene 177C - Woodard: 'Figure out a way to give me back twenty years and your problems are over.'
- comes up, followed by the script continuing with:
A moment, as she looks at him, a long, warm look.
JULIA
A nice thought.
(a beat)
Now, I think we better get over
to the hospital...
She turns to leave. Woodard stares after her a beat, then
follows.
|
End of scene and end of sequence.
I do have to say that the Donald character intrigues me - particularly the description of him as a "decadent loser" - and especially the "decadent" part. Makes one wonder if he had shown up, just what he might have been like and what sort of havoc might he have created. And as Uncle Roger suggests, his possible arrival in Collinsport could have opened up all sorts of stroyline possibilities. And if the show had actually been brought back as a daytime soap (which was a possibility at one time - but DC was adamantly against it) rather than a primetime show, meaning there would have been an opportunity for much more story, it probably would have almost been a certainty that Donald would have shown up. Plus, given some of the seeming hints given in the direction for Scene 177C, one also has to wonder if Woodard was in some way pining for Julia and, if the show had been revived as a soap, if he might have tried acting on it (think of the complications of a Barnabas/Julia/Woodard triangle, even if all of it had simply remained unrequited on Julia's part with Barnabas and Woodard's part with Julia!). But of course, we'll never know the answers to any of that...
And up next, one more short bit before we get back to stuff that actually was in the pilot. Though fairly soon afterward things will deviate from the pilot because some scenes will be playing out in a different order in the script than they appear in the pilot. But more on that when they come up...
-
Given some of the highly amoral characters that do appear on the show, I just wonder what Donald might have done to be called decadent. [sssh] [sssh] [sssh]
-
No kidding!! Maybe he might have been a combination Jason McGuire and Marquis de Sade and with those mommy issues thrown in for good measure a la Norman Bates!! [naughty] [lghy]
-
Setting up the new sequence:
178 INT. HOSPITAL - DAPHNE'S ROOM - DAY
CLOSE on hypodermic drawing BLOOD from Daphne's arm.
PAN UP to HOLD DAPHNE sitting up in bed, looking much better,
as a NURSE removes the needle from her arm, places the blood
sample on a tray.
Dr. Fisher and Julia, in a lab coat, stand in the b.g..
|
And that's when today's first quote -
Page 80/Scene 178 - Dr. Fisher: 'How are you feeling?'
- comes up, followed by today's second quote -
Page 80/Scene 178 - Daphne: 'Like a pin cushion.'
- coming up.
And if none of that appears familiar, that's because it was never shot. Well, at least I'm presuming it was never shot because there's no synopsis for it in the "SHADOWS IN THE '90s: The Dark Shadows Concordance 1991" book. It's enough to make one wonder if DC had something against nurses because this is at least the second scene to feature a nurse that wasn't shot (possibly even the third considering that the fourth figure in Scene 176A is never identified). Though more likely is the case that DC didn't want to hire extras to play the nurses. [ghost_wink]
-
Wrapping up the current scene we begin with Julia's reaction to Daphne's comment about feeling like a pin cushion:
Julia smiles.
(CONTINUED)
178 CONTINUED:
|
And that's when today's quote -
Page 81/Scene 178 - Julia: 'I'll try to keep the needles to a minimum, I promise.'
- comes up, followed by the script continuing with:
DAPHNE
Thank you, Dr. Hoffman.
Julia picks up the tray of blood samples.
DR. FISHER
I'll send Joe back in.
And as they start for the door . . .
|
End of scene, though not end of the sequence. But what's interesting is that the upcoming scene has been reworked from the way it plays in the script. And no doubt it was again due to the fact that some of the recent scenes were never shot. However, I'll stick with the way things play in the script until the scene as scripted is concluded, and then similar to the way I handled the scene between Vicki and Carolyn in Carolyn's car, I'll explain how the scene plays in the pilot...
-
Setting up the new scene:
179 INT. HALLWAY
Patterson is standing with Joe, Carolyn and Elizabeth, as Fisher
and Julia come out, close the door.
PATTERSON
Well ...
|
And that's when today's quote -
Page 81/Scene 179 - Dr. Fisher: 'I can't explain it, but she's suddenly much better. Sitting up, chatting away, even wants to go home. But as I feared, still absolutely no memory of what happened.'
- comes up. And as far as that quote goes, it's delivered in the pilot exactly as written. Other things about the scene are already different. But as I said, more on that later...
-
Picking up where we left off there's a question from Liz as today's first quote -
Page 81/Scene 179 - Liz: 'Can we take her home?'
- which is followed by the script indicating:
And that's when today's second quote -
Page 81/Scene 179 - Julia: 'I'd like to be able to run these tests first.'
- comes up. Though none of that is how the scene actually plays. For one, Liz's question is not asked there but is asked in a different manner later on. For two, Julia doesn't deliver a version of her scripted line until much later in the scene. And for three, it isn't Fisher who looks at Julia -
(http://www.dsboards.com/91quoteimages/0920ds91_1.jpg)
- it's Woodard, who isn't even scripted to appear in the scene as it is originally written...
-
The scene as scripted continues with Dr. Fisher's reply to Julia:
DR. FISHER
Of course.
Julia nods to the others, quickly walks off in the direction
of the lab.
|
And that's when today's quote -
Page 81/Scene 179 - Patterson: 'Intense...'
- comes up. And once again that's not quite how things play in the pilot. In fact, in the pilot the scene is very close to ending when Patterson delivers his remark. But as scripted the scene is only about half over at that point...
And speaking of Patterson's remark, it was included in the original slideshow:
(http://www.dsboards.com/91quoteimages_A/0211ds91_0.jpg)
Ep #1 - Patterson: 'Intense...'
-
Given today's graphic for the slideshow, it's probably obvious, but I'll still point out that today's quote -
Page 81/Scene 179 - Dr. Fisher: 'My colleagues in New York say she's one of the best.'
- was never delivered in the pilot.
-
Continuing on with the scene:
(CONTINUED)
_____________________________________________________________________
179 CONTINUED:
LIZ
So when do you think we can take
her home, Hyram?
|
And that's where today's quote -
Page 82/Scene 179 - Dr. Fisher: 'Elizabeth, Dr. Hoffman has only just begun her examination.'
- comes up. But considering that -
(http://www.dsboards.com/91quoteimages/0923ds91_0.jpg)
- Dr. Fisher is nowhere to be seen in the capture for today's slideshow, you may have already surmised that he doesn't deliver that line in the pilot and that Prof. Woodard does. And it's quite obvious that Julia, who was scripted to have already left the scene, is still very much around in the pilot...
-
Concluding the scene by beginning with Liz' reply to "Dr. Fisher":
Page 82/Scene 179 - Liz: 'I'm aware of that, but what's to prevent her from completing it at Collinwood? We can arrange for her to stay there.'
And that's followed by the script indicating:
Fisher looks at Patterson, then:
|
And that's when today's quote -
Page 82/Scene 179 - Dr. Fisher: 'Let's see how she's doing tomorrow. If she's still improving and Dr. Hoffman has no objection, I don't see why you can't take her home then.'
- comes up, followed by the script continuing with:
LIZ
Thank you, George. Daphne will
be thrilled.
And she and Carolyn follow Joe back into the room.
|
End of scene/sequence as scripted. And who knows if Liz thanking the sheriff(George) instead of Dr. Fisher(Hyram) is a typo in the script or if it was actually intended? I suppose we'll never know...
But anyway, as soon as I have the chance to work up how things actually play in the pilot, I'll be posting that...
-
OK - here's how the scene plays in the pilot:
179 INT. HALLWAY
Patterson is standing next to Fisher. The camera pans to
show Joe, Liz and Carolyn as Fisher reveals:
DR. FISHER
I can't explain it, but she's
suddenly much better. Sitting
up, chatting away, even wants to
go home.
Carolyn, Liz and Joe are all smiles at the news.
DR. FISHER (CONT'D)
But as I feared, still absolutely
no memory of what happened.
Everyone turns toward the door to Daphne's room as Julia
and Woodard exit. Julia is carrying vials of blood.
WOODARD
Elizabeth, say hello to Dr.
Julia Hoffman.
LIZ
Thank you so much for coming,
doctor.
Elizabeth shakes Julia's hand.
JULIA
Well, how do you do.
LIZ
Hyram tells me she seems much
improved. Do you think it
might be possible to take her
home soon?
JOE
Yeah, let's get her out of
here, huh.
Woodard looks toward Dr. Fisher, then:
WOODARD
Dr. Hoffman has just begun
her examination...
LIZ
Oh, I'm aware of that, but what's
to prevent her from completing it
at Collinwood?
Woodard and Liz look to Julia.
LIZ (CONT'D)
We can arrange for you to stay
there.
DR. FISHER
Well, let's see how she is
tomorrow. If she's still
improving and Dr. Hoffman has no
objection, I don't see why she
can't go home then.
JULIA
Perhaps. But now if you'll excuse
me, I must run these tests.
Julia quickly walks off in the direction of the lab.
Woodard follows.
PATTERSON
Intense...
Fisher nods agreement.
LIZ
Thank you, Hyram. Daphne will
be thrilled with the news.
Joe opens the door to Daphne's room. And as Liz and Carolyn enter:
JOE
Thank you.
Fisher smiles as Joe follows the women in and closes the door.
Patterson looks serious as Fisher checks Daphne's chart...
|
End of scene.
And with tomorrow the script and the pilot will deviate because rather than following up Scene 179 with Scene 180, the pilot jumped up to Scenes 206 through 208 and then followed them with Scenes 180 through 205. And actually, it makes much more dramatic sense to have done it like that in the pilot. But since we're following the script, we'll be sticking to the order in the pilot...
-
Setting up the new (really long) sequence:
180 EXT. OLD HOUSE - DUSK
In long shadows, Vicki comes out of the woods bordering the Old
House grounds.
As she crosses up onto the veranda, we notice that there has
been considerable progress since the last time we saw it.
181 ANGLE AT FRONT DOOR
Now freshly painted, she uses the ornate, brass knocker. She
stands there waiting ... Knocks again.
When there is still no response, she puts her hand on the door,
it swings open.
182 INT. FOYER - DUSK
She hesitates a beat, then steps inside, looks around, calls
out:
(CONTINUED)
Revised 2/28/90
182 CONTINUED:
|
And that's when today's quote -
Page 83/Scene 182 - Vicki: 'Hello! Barnabas?! (waits a beat) Anybody here?! Willie!'
- comes up.
And as far as differences in the dialogue goes, there aren't any because it's delivered exactly as written.
However, as far as the direction and descriptions go, once again, Vicki doesn't come from out of the woods, she comes up the stairs to the terrace - and as she makes her way across the terrace to the front door of the Old House is when we notice that considerable progress has been made since the last time we saw it - and the door doesn't simply swing open on its own, Vicki opens it and goes in.
And one interesting thing that we do have to look forward to in the sequence is a deleted scene - and the great thing about the scene is that even though it wasn't added to the MPI VHS of the pilot (no doubt because DC didn't include it in his final edit), it is included as a deleted scene on the DS Resurrected VHS, so we will be including captures/quotes from it...
-
Moving on with the next scenes in the sequence:
183 INT. BASEMENT
As suddenly, we see a panicky Willie running TOWARD CAMERA.
PAN WITH HIM as he scrambles up the winding, stone steps to the
main floor.
184 INT. FOYER
As Willie emerges, sees Vicki standing there.
|
And that's when today's quote -
Page 83/Scene 184 - Willie: 'Miss Winters... [He crosses to her. It is obvious he is very nervous.] I was down in the cellar doin' somethin'.'
- comes up.
And when it comes to the dialogue, the words are the same as written, however, Willie delivers that second part as "I was down in the cellar doin'...somethin" like he was trying to come up with an actual excuse for what he was doing but couldn't.
But as far as the direction and descriptions go, everything happens exactly as written.
-
After today's quote -
Page 83/Scene 184 - Vicki: 'I'm sorry, but no one answered when I knocked.'
- the script continues the current scene by picking up dialogue from Vicki that wasn't quoted:
VICKI
... I'm looking for
David. Have you seen him? You
know how this place fascinates
him.
WILLIE
No. I ain't, Miss Winters.
She looks around, starts toward the Drawing Room. He follows
her nervously. There is a major improvement since the last
time.
VICKI
Well, you and Barnabas have
certainly done wonders here.
The walls have all been completely restored and painted, many
pieces of furniture are now in place, oil lamps, etc.
WILLIE
Yeah, we been workin' real hard.
|
And that's the end of the scene as scripted, though certainly not the end of the sequence. However, it's not the end of the scene as it appears in the pilot. But more on that tomorrow...
And as far as any differences in the dialogue go, what Willie actually says in response to Vicki's query about David is "No. He ain't here, Miss Winters."
And the only difference so far as the direction and descriptions go is that Willie gets out in front of Vicki as she makes her way toward the drawing room, but that doesn't stop her from continuing looking about and moving down the hallway...
-
The next scene in the sequence is scripted as:
184A INT. DRAWING ROOM
As they enter, Willie throws a quick look out the window, the
sun is just about to go down.
(CONTINUED)
Revised 2/28/90
184A CONTINUED:
|
And that's when today's quote -
84/Scene 184A - Willie (CONT'D): 'Look, Miss Winters ... it's almost dark out ... Maybe this ain't a good time for you to be vistin' ... You know, what with everythin' that's been goin' on, an' all.'
- comes up, followed by the script concluding the scene with:.
And he follows her into the drawing room.
|
And when it comes to the dialogue, with the exception of dropping the "Look," Willie delivers his dialogue exactly as written.
But as far as the direction and descriptions go, things are virtually nothing like what's written. For one, there really is no Scene 184A because in the pilot things simply continue along still in Scene 184 with Willie delivering the dialogue from scripted Scene 184A right after he delivers his last bit of dialogue from Scene 184 - and as Willie does so, Vicki, completely ignoring him, continues to look about, makes her way to the drawing room, and disappears inside - and after a very nervous look down the corridor, Willie also disappears inside. We do not see them inside the drawing room - nor at any point does Willie throw a quick look out a window to see that the sun is just about to go down. But then there are no windows in the hallway, only the glass in the door at its far end, and Willie never looks in that direction.
-
Dealing with the next scenes in the current sequence:
185 INT. BASEMENT - NIGHT
From deep within the dark cellar, with the big, black coffin in
the f.g. ...
A beat, and then the lid slowly begins to creak open, the hand
with the black stone ring, pushing it up from within.
186 INT. DRAWING ROOM - NIGHT
Willie has lit some of the oil fixtures. Vicki moves around the
room, runs her hands over a velvet sofa in front of the
fireplace.
VICKI
What a beautiful piece.
Willie throws another nervous look back at the foyer, crosses
over to her.
WILLIE
Miss Winters ...
VICKI
Willie, please call me Vicki.
WILLIE
Yeah, yeah ... Vicki.
(a beat)
|
And that's where today's quote -
Page 84/Scene 186 - Willie: 'I didn't get a chance last time you was here, but I ... uh, I been wantin' to tell ya ... how much it meant to me ... when you believed me and nobody else did.'
- comes up.
And as far as any differences in the dialogue go, for the quoted bit Willie actually says "Uh, I just wanted to say, uh, I didn't get a chance last time you was here, but, I, I just wanted to thank you 'cause you believed me when nobody else did."
And so far as what's different when it comes to the direction and descriptions, in Scene 185 the coffin (which I'd mentioned before isn't really black) is in the background of the basement room, barely lit by two candelabras, and the camera pushes in on the coffin as the lid opens and the hand is seen - and when it comes to Scene 186, Willie has not only lit oil lamps but he's also lit the candles on several candelabras - and Willie doesn't actually look nervously toward the foyer before he crosses over to Vicki.
-
Picking up where we left off:
(CONTINUED)
____________________________________________________________________
186 CONTINUED:
VICKI
There's no need to thank me,
Willie. I'm sure it will all work
out.
(looking around)
Where's Barnabas? Is he busy?
Willie throws another nervous look over his shoulder.
|
And that's where today's first quote -
Page 85/Scene 186 - Willie: 'Yeah, yeah ... he's busy. I'll tell him you were here. [He tales her by the arm.] (CONT'D) Now, I... I still think you should get goin'.'
- comes up, followed by today's second quote -
Page 85/Scene 186 - Barnabas (O.S.): 'And why is that, Willie?'
- coming up.
And when it comes to what's different in dialogue, Vicki actually says "There's no need to thank me, Willie. Anyway, I think it's all working out" - and after Vicki inquires about Barnabas, before Willie tries to usher her out, he actually responds with "Yeah, yeah ... oh, he's real busy. But, uh, uh, I'll tell him you was here."
And so far as what's different when it comes to the direction and descriptions, Vicki doesn't actually look around before she inquires about Barnabas, she remains looking straight at Willie - and Willie actually throws a nervous look over his shoulder before Vicki asks about Barnabas, not after.
-
Moving on:
They turn to find Barnabas standing in the doorway. Willie
immediately shrinks back.
|
And that's where yesterday's quote -
Page 85/Scene 186 - Barnabas (CONT'D): 'Welcome to the Old House, Victoria. (crosses to her) Please do not let Willie alarm you. His concern for your well-being is admirable, however I'm sure there is nothing for you to worry about.'
- comes up, followed by the script explaining:
He takes her hand, kisses it lightly, while burning Willie with
a piercing look. Then:
|
And that's when today's first quote -
Page 85/Scene 186 - Barnabas (CONT'D): 'You may go now, Willie.'
- comes up, followed by the script explaining:
A beat, as Willie looks nervously from Barnabas to Vicki. Then:
|
And that's when today's second quote -
Page 85/Scene 186 - Willie: 'Yeah, yeah, Barnabas, sure.'
- comes up, followed in the script by:
PAN WITH HIM as he starts for the foyer.
|
And when it comes to what's different in dialogue, the only thing worth mentioning is that Willie switches his around a bit and actually says "Yeah, yeah, sure, Barnabas."
And so far as what's different when it comes to the direction and descriptions, Barnabas actually gives Willie a look before he kisses Vicki's hand, and the look makes Willie shrink back even more - and Vicki is surprised but please by Barnabas' kiss - though Willie is surprised by it even more (and I love the expression on his face as he looks from Vicki to Barnabas and again to Vicki as Barnabas kisses her hand).
And as a bit of trivia, the bit of Barnabas walking over to Vicki, welcoming her to the Old House, and kissing her hand was shown on Today as part of a segment they did on the show a few days before it premiered.
-
The next bit in the script is written as:
187 BARNABAS - VICKI
As he smiles charmingly.
(CONTINUED)
____________________________________________________________________
Revised 2/28/90
187 CONTINUED:
|
And that's where today's quote -
Page 86/Scene 187 - Barnabas: 'How fortuitous for me, that you chose now to visit. I was just about to send Willie with a message that there was something I wanted to show you.'
- comes up.
However, there is no Scene 187 in the pilot - but more on that below...
First, when it comes to any differences in dialogue, there's nothing worth mentioning.
But so far as what's different when it comes to the direction and descriptions, things are very different in the pilot. As I've said, there is no Scene 187 - and that's because, as has probably already been surmised given today's capture -
(http://www.dsboards.com/91quoteimages/1004ds91_0.jpg)
- as Willie makes his way to exit the drawing room, the camera in Scene 186 continues to pan with him for the entire time that Barnabas delivers his lines, so Barnabas is completely off screen (as is Vicki) - only Willie is seen - and before Scene 188 comes up (and it's also different from the way it's scripted - but more on that tomorrow...) Willie stops at the doorway to the drawing room and turns to look back at them (something he's not scripted to do until Scene 188 - and that will also be dealt with tomorrow...).
-
And the next scenes in the script are written as:
188 WILLIE
As he freezes in the doorway, throws a frightened look back at
them.
VICKI (0.S.)
Oh? What is that?
189 FAVORING BARNABAS
As he notices Willie still standing there.
|
And that's where today's quote -
Page 86/Scene 189 - Barnabas: 'Thank you, Willie. If you're needed, I'll call.'
- comes up, followed by the script continuing with:
190 BACK TO WILLIE
As he hesitates a beat, throws a concerned look at Vicki, exits
the room.
|
And when it comes to what's different in dialogue, there's nothing different.
But so far as what's different when it comes to the direction and descriptions, quite a bit is different. As I mentioned yesterday, it's actually at the end of Scene 186 that Willie stops in the doorway to the drawing room and throws a frightened look back at Vicki and Barnabas, not in Scene 188 - and as such, we don't see Willie in Scene 188, we see Vicki, which means her bit of dialogue is delivered on screen, not off - and in Scene 189 Barnabas doesn't really notice that Willie is still standing there so much as he senses it and, as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/1005ds91_0.jpg)
- he simply addresses Willie over his shoulder without actually looking at him - and the final bits of Barnabas' Scene 189 dialogue are actually delivered off screen in Scene 190 as Willie hesitates before leaving, though Willie doesn't actually throw another concerned look at Vicki.
-
Moving on to the next scene in the sequence:
191 BARNABAS - VICKI
As Barnabas smiles.
|
And that's where today's quote -
Page 86/Scene 191 - Barnabas: 'I believe you have made a conquest, Victoria. Willie seems quite smitten.'
- comes up.
And when it comes to what's different in the dialogue, the only thing that's different that's worth mentioning is that Barnabas doesn't just smile before he delivers his lines, he actually chuckles.
And when it comes to the direction and descriptions, what's above is all there is.
-
Wrapping up the current scene in the sequence, at first the script continues with:
And that's when today's first quote -
Page 86/Scene 191 - Vicki: 'Willie's not so bad.'
- comes up, followed by today's second quote -
Page 86/Scene 191 - Barnabas: 'As a matter of fact, he has been quite helpful.'
- coming up, followed by the script continuing with:
VICKI
I really should be going now,
Barnabas...
(CONTINUED)
_____________________________________________________________________
191 CONTINUED:
BARNABAS
I'm sure you can spare a moment.
A beat as she looks at him, then:
VICKI
All right, a moment.
BARNABAS
Thank you.
And he leads her toward the foyer.
|
End of scene, though not end of sequence. And tomorrow the slideshow will begin to feature captures/quotes from Scene 192, which is not included in any version of the pilot but is available as an outtake on the DS Resurrected VHS...
But before all that, when it comes to what's different about the dialogue in the just covered portion of Scene 191, Barnabas adds an "Mmmm" before he explains that Willie has been "rather helpful," as opposed to "quite helpful" - and Vicki simply says "I should be going" - to which Barnabas replies with a scoffing "Oh" before he says that he's sure she can spare a moment - and Vicki actually replies to that with "I guess a moment" - and rather than thanking her, as scripted, Barnabas actually says "Good... come..." and after picking up an oil lamp and nodding toward the doorway, he says "Please..."
And so far as what's different when it comes to the direction and descriptions, Barnabas actually starts to take off Vicki's coat after he says he's sure she can spare a moment, so she doesn't have much choice but to agree, though she doesn't actually look at him until after he's done with her coat - and after he puts her coat down on a chair and also after his aforementioned actions with the oil lamp and nodding toward the doorway, Barnabas gently puts his hand behind Vicki's back and leads her to the doorway.
-
Setting up the new (outtake) scene in the current sequence:
192 ANGLE FROM TOP OF STAIRS
As below, Barnabas and Vicki enter the foyer.
VICKI
You've done so much here in such
a short time.
They start up TOWARD CAMERA.
BARNABAS
Do you like it?
|
And that's where today's first quote -
Page 87/Scene 192 (Outtake) - Vicki: 'It's beautiful.'
- comes up, followed by today's second quote -
Page 87/Scene 192 (Outtake) - Barnabas: 'Yes ... All great works are... The work of writers, of poets, the grand buildings of Europe, the pyramids...'
- coming up.
And as far as any differences in the dialogue go, all of it is the same with the exception that Barnabas actually says "Yes ... Most great works are... The work of writers, of painters, the grand buildings of Europe ... the pyramids..." And interestingly enough, when Vicki visits the Old House in Ep #214 of the original series, Barnabas also compares the Old House to the pyramids.
And so far as what's different when it comes to the direction and descriptions, the direction is quite a bit different because from the outset of the scene Vicki and Barnabas are walking up the stairs in the foyer - and as can be seen in the screen captures -
(http://www.dsboards.com/91quoteimages/1008ds91_0.jpg)
(http://www.dsboards.com/91quoteimages/1008ds91_1.jpg)
- during the period covered so far, Vicki and Barnabas are always moving away from the camera, never toward it.
-
Continuing by presenting today's scripted quote -
Page 87/Scene 192 (Outtake) - Vicki: 'But I see happiness here. The pyramids were designed to be tombs.'
Though what Vicki actually says in the outtake is "But I see life here. The pyramids, they were designed to be tombs." And I think it makes much more sense to say "life" rather than "happiness". And again, interestingly enough, when it comes to the pyramids, Vicki makes a similar comment in Ep #214 of the original series.
-
And once again continuing by presenting today's scripted quote -
Page 87/Scene 192 (Outtake) - Barnabas: 'Of course, you are right... but this house was never meant to be a tomb.'
- I was somewhat surprised that it was dropped from the scene because Barnabas made a very similar remark in Ep #214 of the original series, and not only was it an important part of the scene, but it was even used to cap off both the scene and the act. Plus, at this point in the pilot Barnabas' coffin is already in the basement of the Old House, so essentially the house is being used like the pyramids as a tomb, so Barnabas' remark in the pilot would have held even more irony than it did in the original series. But apparently for some reason they didn't think so. Or perhaps they felt Vicki's remark had already made the point. But still, I don't believe Barnabas' remark would have been the least bit redundant...
-
I forgot to mention that yesterday's quote was the conclusion of Scene 192 as scripted, so presenting Scene 192A:
192A INT. UPSTAIRS CORRIDOR
PAN WITH THEM as they walk BY CAMERA, start along the upstairs
corridor.
(CONTINUED)
Revised 2/28/90
192A CONTINUED:
|
And that's when today's quote -
Page 88/Scene 192A (Outtake) - Barnabas (CONT'D): 'My ancestors designed it to represent a marriage between the elegance of Europe and the promise of a new world.'
- is scripted to come up. Though, most likely because yesterday's quote was dropped, what Barnabas actually says as the beginning of his line in the outtake is "My ancestors designed this house to represent..." rather than "...it to represent..." However, in a similar situation to what they did in the pilot with Scenes 184 and 184A, there is no Scene 192A in the pilot. As you've probably already figured out given how today's screen capture -
(http://www.dsboards.com/91quoteimages/1011ds91_0.jpg)
- doesn't match up with the direction or description of Scene 192A, Barnabas actually delivers his Scene 192A line as part of Scene 192 as he and Vicki are continuing up the stairs. And again it's interesting to note that in Ep #214 of the original series Barnabas says something very similar, which is "The design and construction of this house represented a marriage of the elegance of Europe and the vigor and enterprise of a new world."
But anyway, that is the conclusion of the Scenes 192 and 192A portions of the script. Tomorrow we'll move on to Scene 193, which has its own share of changes...
-
This is how Scene 193 is scripted:
193 MOVING IN FRONT OF THEM
As Barnabas leads her along the hallway, we notice the work that
is being done.
|
And that's where today's quote -
Page 88/Scene 193 - Barnabas: 'You're going to be quite surprised when you see this. I know I was. [He stops by a door.] (CONT'D) Willie and I were working up here on the third floor, when we uncovered this door.'
- is scripted to come up, followed by the script continuing and concluding the scene with:
He puts his hand on the knob, looks at her, swings the door
open. Her face lights up. He indicates for her to enter.
|
And when it comes to the dialogue, the actual wording is very much the same, however, Barnabas tells Vicki about uncovering the door before he says she's going to be quite surprised - and there's a pause before Barnabas tells her that he was surprised, but more on that below.
So, as far as the direction and descriptions go, once again things are quite a bit different because, while the camera does indeed shoot from in front of them, Barnabas does not lead Vicki along a hallway, nor do we notice work that is being done - in fact, as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/1012ds91_0.jpg)
- in stark contrast to Scene 192, Scene 193 is shot so darkly that you can barely see anything of Barnabas and Vicki's surroundings or even themselves. But getting back to the direction, as Barnabas tells Vicki about uncovering the door, he indicates a doorway that they've come to that had been boarded up but has been broken through and he leads her through it - and at first they stand just beyond the doorway (as seen in the capture), but then, after he explains that she's going to be quite surprised and motions for her to move on, he follows Vicki a short distance to a door, where he then explains that he was surprised - and then with a slight smile, he just begins to open the door so, therefore, we do not see inside the room, nor do we see Vicki's reaction to what's inside, nor does Barnabas indicate for Vicki to enter.
End of scene - though, again, certainly not end of sequence.
-
Continuing on with the next scene in the sequence:
194 INT. JOSETTE'S ROOM - NIGHT
As Vicki steps in, Barnabas remains in the doorway watching her
closely.
The room is like a museum. A large, antique four-poster, big
fireplace, original pieces, etc., and ... over the fireplace the
PORTRAIT of a beautiful dark-haired young woman in a long, lace
dress.
Vicki stands there for a beat, looking around in amazement.
|
And that's when yesterday's first quote -
Page 88/Scene 194 - Vicki: 'You found it this way?!'
- comes up, followed by yesterday's second quote -
Page 88/Scene 194 - Barnabas: 'Yes. Exactly the way it must have been almost two hundred years ago.'
- coming up, followed by the script continuing with:
VICKI
Incredible ...
(CONTINUED)
_____________________________________________________________________
194 CONTINUED:
Suddenly she notices the portrait over the fireplace. She
crosses to it, stares in amazement.
|
And that's when today's first scripted quote -
Page 89/Scene 194 - Vicki: 'It ... it looks like me!'
- comes up, followed by today's second scripted quote -
Page 89/Scene 194 - Barnabas: 'Yes. This is what I wanted to show you.'
- coming up.
And when it comes to the dialogue, yesterday's two quotes are delivered exactly as scripted, however, afterward Vicki's actual comment in the pilot is "It's incredible ..." - and after Vicki notices the portrait, in a moment of unscripted dialogue Barnabas asks "You do see the resemblance, don't you?" (a moment that was featured in -
(http://www.dsboards.com/91quoteimages_A/0214ds91_0.jpg)
Ep #1 - Barnabas: 'You do see the resemblance, don't you?'
- the original slideshow for the show) - and when an astonished Vicki begins her reply with "Yes. ... She..." Barnabas actually cuts her off with "Yes! ... She's very much like you."
And so far as what's different when it comes to the direction and descriptions, Barnabas actually follows Vicki into the room and puts the oil lamp down as Vicki looks about in amazement - and after Barnabas says the room must be the same as it was almost 200 years ago, Vicki walks farther into the room, taking it all in, and that's when she says it's incredible - and after Vicki is stunned to see the portrait, Barnabas comes up behind her, then moves to her side, and the two stare up at the portrait for a bit before he asks if she sees the resemblance - and as Vicki is about to say the woman looks like her is when Barnabas immediately turns to her to cut Vicki off with "Yes!" - and then he turns back to the portrait to say that the woman in it is very much like Vicki.
-
Oops - even though I uploaded the correct capture for today, I forgot to upload the quote! [hall2_embarrassed] But it's there now. [hall2_wink]
-
After the script indicates that when it comes to Barnabas and Vicki:
He crosses to her. She turns to him.
|
And after today's quote -
Page 89/Scene 194 - Barnabas (CONT'D): 'Her name was Josette Dupres.'
- comes up, Vicki is scripted to say:
VICKI
I can’t believe it! It’s amazing.
She really does look like me.
|
But those lines don't appear in the scene in any version of the pilot.
Also, obviously Barnabas doesn't cross to Vicki where the script indicates because in the pilot he's already crossed to her earlier - and Vicki doesn't turn to look at Barnabas until after he's revealed Josette's name.
-
The scene continues with yesterday's quote -
Page 89/Scene 194 - Barnabas: 'There is much about her in the family journals. She was from the West Indian island of Martinique. A creature as delicate and warm as the trade winds of Caribe.
- followed by the script explaining:
He turns to gaze at the portrait, speaking with growing emotion,
as if pulling the thoughts from deep inside himself.
|
And then today's quote -
Page 89/Scene 194 - Barnabas (CONT'D): 'The original Barnabas Collins supposedly met her there while on a business excursion on behalf of the family shipping interests. He was... quite taken by her beauty, and her feelings for him were similarly tender. They became paramours and intended to marry... when her untimely death shattered their dreams.'
- comes up.
And so far as the dialogue goes, it's mostly delivered exactly as written with the exceptions that Barnabas actually says "She came from" rather than "She was from", he actually says "The original Barnabas Collins met her" rather than "The original Barnabas Collins supposedly met her", and he says "until her untimely death shattered their dreams" rather than "when her untimely death shattered their dreams."
But when it comes to the direction and descriptions, as can be seen in today's capture -
(http://www.dsboards.com/91scriptquoteimages/1017ds91_0.jpg)
- Barnabas doesn't turn to gaze at the portrait - in fact, most of the time he speaks directly to Vicki - that is until he mentions how the "original" Barnabas and Josette became paramours and so on because for those bits he stares off into space as if, as the script describes, he's pulling the thoughts from deep inside himself.
-
Wrapping up the current scene in the sequence, we begin with today's first quote -
Page 89/Scene 194 - Vicki (fascinated): 'What happened to her?'
- comes up, followed by today's second quote -
Page 89/Scene 194 - Barnabas: 'It was a tragic... accident. She fell from the cliff at Widows' Hill, just a few hundred yards from where we are now. It broke... my ancestor's heart.'
- coming up, followed by the script continuing with:
(CONTINUED)
_____________________________________________________________________
194 CONTINUED (2):
Vicki stares at him. He seems to be in another world.
VICKI
How terrible...
Vicki glances at the portrait again, still amazed by the
likeness. Then, turning to him:
VICKI (CONT'D)
Now I'd really better be getting
back.
Barnabas seems to snap back to reality.
BARNABAS
Yes, yes. Of course. How
unthinking of me.
And he follows her out of the room, closing the door after him.
|
End of scene, though still not end of sequence. And tomorrow the slideshow will begin to feature Scene 195, most of which is also not included in any version of the pilot - though we do know that it was shot because it's summarized in the "SHADOWS IN THE '90S: The Dark Shadows Concordance 1991" book - but sadly in this instance it's not available anywhere as any sort of outtake...
But before all that, when it comes to what's different about the dialogue in the just covered portion of Scene 194, Barnabas actually shifts the pause in the ending bit of the second quote by delivering it as "It broke my... my ancestor's heart", which is actually a much more effective way of saying it. But everything else in this portion of the scene is pretty much delivered as written.
And so far as what's different when it comes to the direction and descriptions, Vicki doesn't glance at the portrait after she comments on how terrible Josette's "accident" was because what she actually does is shake herself out of the moment and then say that she really should be getting back - and then after Barnabas apologizes for being unthinking, he finishes off with an unscripted "Come" and the camera pans to Josette's portrait - we do not see Vicki and Barnabas leave the room or Barnabas close the door.
-
Presenting the current scene in the sequence:
195 INT. FOYER
As they come down the stairs.
VICKI
I still can't get over how much
that portrait looks like me.
|
And that's when today's first quote -
Page 90/Scene 195 - Barnabas: 'Perhaps the next time you are here, I can tell you more of the family history ...'
- comes up, followed by today's second quote -
Page 90/Scene 195 - Vicki: 'I'd like that. I'd especially like to hear more about Josette.'
- coming up, followed by the script continuing with:
They stop by the front door. He smiles at her, this is exactly
what he wanted to hear.
Reluctantly he opens the door, holds her eyes.
VICKI (CONT'D)
Goodnight, Barnabas.
BARNABAS
Goodnight, Victoria.
He watches her intently as she goes. Then, slowly closing the
door, he turns, glares up the stairs, roars:
(CONTINUED)
_____________________________________________________________________
195 CONTINUED:
BARNABAS
Willie!!
|
End of scene, though still not end of sequence. And the only part of Scene 195 that appears in the pilot is when Barnabas roars out for Willie - though he doesn't simply turn and glare up the stairs because he runs up the stairs as he calls out.
-
Continuing with the next scenes in the sequence:
196 ANOTHER ANGLE
As a terrified Willie appears at the top of the stairs.
WILLIE
Yeah, yeah, Barnabas? Wha...?
197 BACK TO BARNABAS
As gripping his cane, he moves toward the bottom of the stairs.
|
And that's when today's first quote -
Page 91/Scene 197 - Barnabas: 'Come down here, Willie! Come down here now!'
- comes up, followed by the script continuing with:
198 FROM IN BACK OF WILLIE
As he starts nervously down the stairs.
|
And that's when today's second quote -
Page 91/Scene 198 - Willie: 'Wha ... what's a matter, Barnabas? I ain't done nothin'.'
- comes up.
And as for what's different about the dialogue, at first Willie actually says "Yeah, Barnabas. ... What is it?" - and Barnabas actually pauses between orders, as in "Come down here, Willie! ... Come down here now!" - then after Barnabas orders him down, Willie actually says "What's the matter, Barnabas? ... Uh, uh, I, I ain't done nothin'."
And so far as the direction and descriptions go, they're quite a bit different. Willie doesn't simply appear at the top of the stairs, he comes running down them as he delivers his first line, and he comes to a dead stop on the next-to-top landing when he sees the angry expression on Barnabas' face - and Barnabas doesn't move to the bottom of the stairs in Scene 197 because in Scene 195 he's already run up to the first landing - and Scene 198 is not shot from behind Willie but in front of him - and after Barnabas orders him down in Scene 197, as Willie tries to explain in Scene 198 that he hasn't done anything, he comes down to the same landing that Barnabas is on.
-
And continuing with even more scenes in the sequence, starting with a reference to Willie in Scene 198:
At this point, he is almost at the bottom.
Suddenly, Barnabas shoots out his hand, grabs him by the throat,
hurls him against the wall, where he collapses in a heap on the
floor.
199 ANOTHER ANGLE
As Barnabas advances on Willie, a horrible menace in his eyes.
|
And that's when today's first quote -
Page 91/Scene 199 - Barnabas: 'You warned her, Willie ... Why did you do that?
- comes up, followed by the script continuing with:
200 BACK TO WILLIE
Lying there on the floor, groveling in utter fear.
|
And that's when today's second quote -
Page 91/Scene 200 - Willie: 'No, no, Barnabas! I didn't mean nothin'! I would never ...'
- comes up, followed by the script continuing with:
201 Up AT BARNABAS
As he raises the thick, heavy, silver-headed cane above his
head.
(CONTINUED)
_____________________________________________________________________
Revised 2/28/90
201 CONTINUED:
BARNABAS
Why, Willie?! Why did you do
that?!
And he brings the heavy cane crashing down INTO CAMERA again
and again, Willie howling and shrieking in pain.
HOLD a beat, and then . . .
|
End of scene - though STILL not the end of the sequence.
And as for what's different about the dialogue, after Barnabas says that Willie warned Vicki, Willie counters with an unscripted "No" - and then after Barnabas asks Willie why he did that, Willie, on the verge of tears, actually pleads "I didn't, Barnabas! I didn't do nothin'! I swear!" - to which Barnabas replies with an unscripted "Yes, you did, Willie" - after which Willie does indeed begin to cry - and then Barnabas adds an unscripted "You warned her" - and then as Willie sees that Barnabas is raising his cane, he pleads with an unscripted "No, Barnabas!" - but Barnabas ignores him and beats Willie as he actually demands "Why did you do that?! Why?!" - and Willie continues to beg an unscripted "No, Barnabas!" - but Barnabas continues beating him and he demands with an unscripted "Why?!"
And when it comes to the direction and descriptions, again they're quite a bit different. In the pilot Willie is already on the landing with Barnabas when Barnabas grabs him by the throat, but he actually flings Willie down the remaining stairs to the floor of the foyer - and as can be seen in today's first capture -
(http://www.dsboards.com/91scriptquoteimages/1021ds91_0.jpg)
- Barnabas advances menacingly down the stairs, throwing his cane over his shoulder as he insists Willie tried to warn Vicki and demands to know why - and aside from the other differences that have already been mentioned in the dialogue section, we actually see Willie shrieking in pain, and the scene doesn't actually hold for a beat but transitions quite effectively right into the next scene - but more on that tomorrow...
-
Wrapping things up with the last scenes in the sequence:
202 OMITTED
203 INT. JOSETTE'S ROOM - NIGHT
As Barnabas pulls the door open, strides in, still breathing
hard, the emotion of his rage almost choking him. He stops in
front of the portrait, stares up at it.
204 JOSETTE'S PORTRAIT
The beautiful girl almost seems to be looking down at him.
205 BACK TO BARNABAS
And TIGHTENING TO HIM as his eyes fill with emotion ...
|
And that's when today's quote -
Page 92/Scene 205 - Barnabas (hoarsely): 'Josette ... you've come back to me. I will not lose you again.'
- comes up, followed by the script continuing with:
And as his EYES FILL THE SCREEN, HOLD for a beat, and . . .
|
End of scene - finally end of the sequence - and in the pilot it's also the next act break. However, recall that back in September when this sequence was about to start, I'd mentioned that in the pilot Scenes 206 through 208 were moved to before Scenes 180 through 205, so they will be coming up next in the slideshow - though not necessarily completely as scripted - but more on that beginning tomorrow...
And as for what's different about the dialogue, it's basically delivered as written, though Barnabas actually delivers the first bit tenderly, not hoarsely, and he pauses more like "Josette ... you have come back to me. ... I will not lose you again", with the last bit delivered with resoluteness.
And as for what's different about the direction and descriptions, Barnabas' beating of Willie transitions instantly to Barnabas entering Josette's room, though he doesn't simply stride in because he storms in, slamming the door against the wall - but he does stand there breathing hard for several beats - then he looks in the direction of Josette's portrait and begins to move toward it - and though the camera does move in closely on Barnabas in Scene 205, as can be seen in today's capture -
(http://www.dsboards.com/91scriptquoteimages/1022ds91_0.jpg)
- the shot is an extremely close-up of Barnabas' face and not just his eyes, which do not fill the screen - and after Barnabas vows that he will not lose Josette again, his face takes on a fiercely determined expression.
-
Setting up new current sequence:
206 EXT. COLLINWOOD - DAY
And tightening to a second floor window.
207 INT. DAPHNE'S ROOM - SECOND FLOOR - DAY
Daphne is sitting in bed, with Joe right at her side. A tray
of empty plates is across her lap.
|
And that's when today's quote -
Page 92/Scene 207 - Joe: 'Are you feeling better?'
- comes up. But Scene 207 was never shot as written - though I'll wait until tomorrow's post to get into what was substituted...
Also, Scene 206 does not feature a tightening shot to a second floor window - it's simply a static shot of Collinwood in daytime.
-
Wrapping up Scene 207:
(CONTINUED)
_____________________________________________________________________
Revised 2/28/90
207 CONTINUED:
|
And that's when today's quote -
Page 93/Scene 207 - Daphne: 'Mrs. Johnson's cooking is good enough to make anybody feel better. (a beat) And you're not so bad yourself.'
- comes up, followed by the script explaining:
She leans toward him and they kiss, long and lovingly. It is
interrupted as...
|
End of scene - though none of that tales place in the pilot because what Scene 207 actually consists of is Julia walking down a hallway and carrying a tray -
(http://www.dsboards.com/91scriptquoteimages/1024ds91_a.jpg)
- and then turning a corner -
(http://www.dsboards.com/91scriptquoteimages/1024ds91_b.jpg)
- to make her way to Daphne's room.
And, given that she was supposedly such a blah cook in the original series, it's interesting to see that the pilot script makes a point to say that Mrs. Johnson is quite a good cook. Though, of course, that line was never shot...
-
Picking things up with Scene 208:
208 ANOTHER ANGLE
Julia enters. She hesitates a beat, then crosses to a dresser
where a medical tray is set up, she starts loading a hypo.
|
And that's where Sunday's quote -
Page 93/Scene 208 - Julia: 'Well, I guess we can say there's definately been some improvement.'
- comes up (and yes, "definitely" is misspelled with an "a" in the script), followed by the script continuing with:
Joe is embarrassed, but Daphne puts a frown on her face.
|
And that's where yesterday's quote -
Page 93/Scene 208 - Daphne: 'Oh no, not again! You promised! Every vein in my body has a hole in it!'
- comes up, followed by the script continuing with:
Julia takes a long look at both of them, then comes to a
decision.
|
And that's where today's first quote -
Page 93/Scene 208 - Julia: 'All right, I guess this one can wait a while.'
- comes up, followed by the script continuing with:
Julia replaces the hypo, then heads for the door.
Joe turns to Daphne.
|
And that's where today's second quote -
Page 93/Scene 208 - Joe: 'Nice work.'
- comes up, followed by the script continuing with:
End of scene, and end of sequence, and the scenes have caught up with what's been shown in the pilot so far. However, things are really going to deviate from the pilot when the next sequence in the script begins tomorrow - but more on that tomorrow...
For now, what's different about the dialogue is that Julia actually says "Well, I see there's definitely been some improvement" after she comes upon Daphne and Joe kissing - and after laughing nervously, to that Joe replies with an unscripted and sheepish "Yeah, I guess ... I guess you could say that" - and Daphne actually pleads with "Oh, not again! Please! Every vein in my body has a hole in it!" with the "You promised" part being replaced by "Please!", and that was most likely because the scene in which Julia promised to try to keep the needles to a minimum (Scene 178) was never shot - and Daphne follows that up by asking an unscripted "How long is this gonna go on, anyway?" - to which Julia replies with an unscripted "Until you're 100% better" - to which Daphne sighs and then asks an unscripted "What is it you're giving me?" - to which Julia replies with an unscripted "Something that's obviously working" - to which Daphne then asks an unscripted "Well, can this one wait, just a liitle bit?" and throws in another unscripted "Please?" for good measure - and Julia actually replies with a smile "All right ... I imagine it can" and then after Joe laughs, things continue exactly as is written for him.
And when it comes to the direction and descriptions, as can be seen in Sunday's capture -
(http://www.dsboards.com/91scriptquoteimages/1025ds91_0.jpg)
- upon entering Daphne's room, Julia stops and delivers her line about there definitely being some improvement as soon as she sees Daphne and Joe kissing - so that means that Julia doesn't cross over to the table to begin working on the hypo on the tray until after she's already delivered that line - and Julia continues to busy herself with the hypo throughout all the added unscripted dialogue until she makes the decision that the injection can wait, upon which she exits the room with a smile - and after Julia is gone is when Joe congratulates Daphne on her nice work.
-
Before we get into what the next sequence in the script is, it's definitely worth pointing out that so far as the pilot goes, at the point after the recent act break, the action shifts from Scene 205 all the way ahead to Scenes 244 though 255 (which deal with the discovery of another dead body in the surf below Widows' Hill, the hypnotizing of Daphne, and its immediate aftermath (and so far as the script is concerned, also includes unshot Julia material)). But as interesting as all that may be, I think the situation involving the upcoming sequence in the script that the slideshow is going to be dealing with for quite a bit of the foreseeable future is even more interesting because, even though it was scripted and shot for the pilot, it doesn't actually show up in the series until Ep #4!! (And if one pays attention to Joseph Gordon-Levitt's hair, one can tell it wasn't shot at the same time as the rest of Ep #4. [ghost_nowink]) But more on that later...
-
Setting up the next sequence:
Revised 2/28/90
209
thru OMITTED
210
211 INT. CLASSROOM - DAY
As Vicki enters, David is sitting behind his little desk, hands
folded primly in front of him.
|
And that's when today's quote -
Page 94/Scene 211 - Vicki: 'Well, David. You're here early. I didn't know you liked history so much.'
- comes up in the script. However, Vicki's line was completely changed when the scene was shot because as we see her hand writing the lesson on the chalkboard (and it's actually an Arithmetic lesson and not history) she actually says "Nine goes into eighty-one nine times ... eight goes into sixty-four eight times ... seven goes into forty-nine how many times, David?"
And so far as the direction and descriptions go, obviously they're different as well considering that we come into the scene with Vicki writing at the board, so Vicki is not seen entering the classroom and David is not see sitting at his desk with his hands folded primly in front of him - and also, there's a Scene 210 because before Scene 211 there's an establishing shot of Collinwood in daytime -
(http://www.dsboards.com/91scriptquoteimages/1028ds91_a.jpg)
- and Vicki's lesson actually begins just before the establishing shot transitions to her writing on the board - and as can be seen in today's capture -
(http://www.dsboards.com/91scriptquoteimages/1028ds91_0.jpg)
- Vicki turns from the board as she asks David how many times seven goes into forty-nine.
-
This pic of Vicki looked awesome with the Forums Halloween theme flames on either side of it.
-
Picking up with Vicki with the scripted end of Scene 211 and moving into Scene 212:
PAN WITH HER as she crosses to her desk, opens a big history
book in front of her. Suddenly, she looks up, frowns.
212 ANOTHER ANGLE
TO INCLUDE David, sneakily lifting the top of his desk, peering
in. She compresses her lips in anger.
VICKI
David, are we going to go through
this again?
DAVID
(innocently)
Go through what?
Vicki rises, crosses to him.
|
And that's when today's first quote -
Page 94/Scene 212 - Vicki: 'What's in there? Another one of those awful spiders?'
- comes up, followed by the script indicating:
(CONTINUED)
_____________________________________________________________________
212 CONTINUED:
He looks up at her, smiles chillingly.
|
And that's when today's second quote -
Page 95/Scene 212 - David: 'No, Miss Winters. You told me never to do that again.'
- comes up.
And as for the dialogue, it's exactly the same to basically the same with only a slight difference that's not worth getting into.
But so far as the direction and descriptions go, the camera does not pan with Vicki as she crosses to her desk and opens a big history book in front of her, nor does she suddenly look up and frown because immediately after Vicki turns as she asks David how many times seven goes into forty-nine, Scene 212 begins and we see David peering into his desk - and Vicki is off camera when she asks if they're going to go through the same situation as last time, so we don't see her compress her lips in anger - and after David innocently pretends not to understand is when, rather than seeing Vicki rise from her desk and cross to him, we see Vicki walk from the chalkboard over to his desk, cross her arms, and ask if David has another spider - and David really lays on his innocence when he replies that Vicki told him never to do that again.
-
Wrapping up Scene 212:
VICKI
Then what do you have in there?
Another awful smile.
|
And that's when today's first quote -
Page 95/Scene 212 - David: 'You sure you want to see?'
- comes up, followed by the script explaining:
A beat as she looks at him.
|
And that's when today's second quote -
Page 95/Scene 212 - Vicki: 'David, open it up.'
- comes up, followed by the script concluding the scene with:
And as for the dialogue, just as with yesterday, it's exactly the same to basically the same with only a slight difference that's not worth getting into.
And so far as the direction and descriptions go, the only thing that's different is that Vicki removes the things from off of David's desk before she orders him to open it.
And the sequence continues tomorrow...
-
Picking up with Scene 213 and going through to the end of Scene 214:
213 HER POV
Inside the desk, a small, unframed PAINTING ... It's a sailboat
on a tree-lined river, beautifully executed in the pointillist
style.
214 BACK TO SCENE
As he smiles up at her.
|
And that's when Saturday's first quote -
Page 95/Scene 214 - David: Scared you, didn't I?'
- comes up, followed by the script explaining:
But now she’s interested in the painting, she frowns, holds out
her hand.
|
And that's when Saturday's second quote -
Page 95/Scene 214 - Vicki: 'May I see it?'
- comes up, followed by the script explaining:
The boy reluctantly hands it to her.
|
And that's when yesterday's first quote -
Page 95/Scene 214 - Vicki (CONT'D): 'Where did you get this? It's very pretty.'
- comes up, followed by yesterday's second quote -
Page 95/Scene 214 - David: 'There's a lot of 'em.'
- coming up, followed by the script continuing with:
VICKI
Really? Where?
(CONTINUED)
_____________________________________________________________________
214 CONTINUED:
|
And that's when today's first quote -
Page 96/Scene 214 - David: 'In a room. I... I'm not supposed to go there... (then, nervously) You're not gonna tell my father, are you?'
- comes up, followed in the script by:
She looks at him a long beat, then comes to a decision.
|
And that's when today's second quote -
Page 96/Scene 214 - Vicki: 'No, David, I'm not going to tell your father. But I think we had better put this painting back.'
- comes up, followed by the script explaining:
The boy, nods, gets up. She follows him out of the room.
|
End of scene, but nowhere near the end of the sequence, which will continue tomorrow...
And as for the dialogue, once again it's basically the same as written with only the slightest of differences here and there (like directly addressing David when the scripted dialogue doesn't, and vice versa...).
And so far as the direction and descriptions go, because his face is mostly turned away from the camera, which is shooting Vicki's reaction to seeing the painting, we don't see David smile when he asks if he'd scared her - Vicki doesn't frown of reach out her hand for the painting because she simply asks to see it - the expression on David's face clearly shows that he's quite miffed by her interest in the painting, which is very strong (not only because it looks exceptional, but likely because of remembering the painting she saw in the drawing room and was given a deliberately evasive explanation about back in Scene 39, which, as we'll recall, is only available on MPI's restored version of the pilot, so for viewers of the series, all of this plays in Ep #4 without any of that subtext).
-
Moving through the next several scenes in the sequence and coming to the current scene:
215 INT. THIRD FLOOR HALLWAY - DAY
As Vicki and David come up a narrow stairway.
PAN WITH THEM as they walk down a long, low-ceilinged corridor
with a number of doors on either side .... At one time, this
used to be the servant's quarters.
216 ANGLE AT DOOR
As they stop, David pulls out a bunch of big, old KEYS.
VICKI
I suppose I better not tell your
father about those, either?
He smiles his little smile, inserts one of the keys in the lock.
217 INT. STUDIO ROOM - DAY
The SOUND of the KEY BEING TURNED. Then the door swings open
as Vicki and David enter.
She stops IN FRONT OF CAMERA, looking around, intrigued and
surprised.
218 HER POV - PANNING
A small room with tall windows opening to the northern light.
The dust and cobwebs suggest it hasn't been used for some time.
All the furniture is covered in white sheeting, a draped
ARTIST'S EASEL stands by the windows, stacks of paintings
against the walls.
(CONTINUED)
218 CONTINUED:
Also in evidence: brushes, a pallet, tubes of paint, etc.
219 BACK TO VICKI
As she looks at David.
VICKI
Whose room is this?
He shrugs, crosses to replace the picture. As he lifts a sheet
from a stack of paintings, Vicki walks over, kneels, begins to
flip through them.
Similar in style to what we've seen, they are all brilliantly
executed.
VICKI
They're beautiful.
David nervously looks over his shoulder.
DAVID
Yeah ... well we shouldn't be in
here.
Vicki continues to examine the paintings, her educated eye
passing from one to the next.
|
And that's when today's quote -
Page 97/Scene 219 - Vicki: 'But who painted them...? Surely you must...'
- comes up.
And in the script Vicki cuts herself off by noticing something in the room - but more on that tomorrow...
But for now, as for the dialogue, once again it's basically the same as written with only the slightest of differences here and there - but one thing that is different in Scene 219 is that Vicki actually finishes her second sentence by saying "But who painted them...? Surely you must know who painted them."
And so far as the direction and descriptions go, Scene 215 actually takes place entirely in the stairway as -
(http://www.dsboards.com/91scriptquoteimages/1103ds91_a.jpg)
- David and Vicki ascend - and the corridor they come to in Scene 216 is not seen as "long," "low-ceilinged," or "with a number of doors on either side" because the actual shot -
(http://www.dsboards.com/91scriptquoteimages/1103ds91_b.jpg)
- shows only a small portion of the corridor (and as a bit of Greystone trivia, unlike some of the tricks that were used in much of the series, the staircase used actually leads to the corridor seen - though trickery was used for Scene 217 because the door that David unlocks doesn't actually lead to the same room that was used as the studio) - Scene 218 was never shot because in one continuous shot Vicki enters the room, looks around very briefly, and then almost immediately asks whose room it is - and David doesn't cross to replace the painting or uncover some paintings in the process because Vicki is the one who has been carrying the painting the whole time, and it is she who, after noticing some paintings on the floor which are already uncovered, goes over to them, kneels down, and begins to look through them, and David follows behind her - and David doesn't actually look over Vicki's shoulder at any of the paintings because he's too busy looking around nervously before he says they shouldn't be in the room - and as Vicki asks about the paintings, she actually gets up and then begins to look at a table covered with painting paraphernalia, as can be seen in today's capture:
(http://www.dsboards.com/91scriptquoteimages/1103ds91_0.jpg)
-
Picking up with Scene 219 and through several more scenes until we reach today's quote:
Now she notices the draped easel by the window, she crosses to
it, lifts the covering to reveal
220 AN UNFINISHED PORTRAIT OF A WOMAN
A haunting beauty ... violet eyes, hair like spun gold, a face
that once seen, can never be forgotten
221 VICKI
Stunned by the painting's beauty, she leans in to examine the
artist's signature in the lower right hand corner.
222 INSERT - INITIALS AND DATE
They read: “RC—1979.”
223 BACK TO SCENE
As she straightens up, studies the painting a beat longer,
fascinated.
(CONTINUED)
223 CONTINUED:
Now she glances at David, his eyes are brimming. She frowns.
|
And that's when today's quote -
Page 98/Scene 223 - Vicki: 'David...? Do you know who this is?'
- comes up.
And as for the dialogue, it's exactly the same as written.
But so far as the direction and descriptions go, several things are different. In Scene 220, the canvas isn't uncovered to reveal a woman's face but that of a nude woman -
(http://www.dsboards.com/91scriptquoteimages/1104ds91_a.jpg)
- painted from behind as she sits in front of a windows holding a baby - and Scenes 221 and 222 don't appear to have been shot because, not only are they missing, but when Scene 223 comes up to show Vicki and David's reactions to the painting, Vicki does not straighten from having bent down to examine a signature because she standing exactly as she was when she uncovered the painting - and Vicki does not frown before she asks David if he knows who it is who is in the painting.
I suspect Scenes 221 and 222 may have been dropped because the signature is a big clue that Roger painted the painting - though anyone who has seen Scene 39 would have easily picked up that Roger was the person who painted the painting that Vicki admired in the drawing room, so chances are very good that the studio is Roger's and Roger painted the woman and baby - and it wouldn't be too much of a leap to presume the woman and baby are David and his mother - but as the scene plays in Ep #4, with the NBC version of the pilot not containing Scene 39, there is much more mystery to things up to this point...
-
Continuing with Scene 223 with David's response to Vicki's question and moving beyond:
He just shakes his head no. Another beat ... then suddenly,
from o.s.:
ROGER'S VOICE (O.S.)
(angrily)
What are you doing in this room?!
They turn to look, David is scared to death.
224 OMITTED
225 ROGER
Standing in the open door, staring at them. He strides angrily
into the room.
|
And that's when today's first quote -
Page 98/Scene 225 - Roger: 'How did you get in here?!'
- comes up, followed by the script explaining:
David cowers against Vicki.
|
And that's when today's second quote -
Page 98/Scene 225 - Vicki: '... It wasn't locked.'
- comes up.
And as for the dialogue, the direction, and the descriptions go, everything plays pretty much exactly as written. About the only thing that isn't in the script is that as David cowers next to Vicki, he looks up at her nervously, and as she glances down to him and back, we can see that she makes the decision to lie.
-
Continuing with Scene 225 after Vicki's lie that the door wasn't locked:
David nervously glances up at her.
|
And that's when yesterday's quote -
Page 98/Scene 225 - Vicki (CONT'D): 'Actually, it was my idea. I asked David to show me around the upper floors...'
- comes up, followed by the script explaining:
The boy almost heaves a sigh of relief.
|
And that's when today's quote -
Page 98/Scene 225 - Roger: 'You have no business doing that, Miss Winters, and absolutely no reason to come in here!'
- comes up.
And as for the dialogue, Roger cuts Vicki off before she can get out the full word "floors" - and what Roger actually cuts her off with is "You had no business doing that, Miss Winters, and certainly no reason to be in here!"
And as far as the direction, and the descriptions go, we don't actually see David glance up to look at Vicki before she lies by saying everything was her idea because he's already done so before Vicki lied by saying the door wasn't locked - and we don't actually see David heave a sigh of relief.
-
Continuing with Scene 225 after Roger angrily informs Vicki that she has no business looking around the house and certainly no reason to be in the studio:
David suddenly bolts, flying by Roger and out of the room. But
Roger's attention is concentrated on Vicki.
|
And that's when yesterday's quote -
Page 98/Scene 225 - Vicki: 'I'm sorry. We didn't disturb anything, as a matter of fact I was just admiring...'
- comes up, followed in the script by:
(CONTINUED)
_____________________________________________________________________
225 CONTINUED:
|
And that's when today's quote -
Page 99/Scene 225 - Roger: 'You weren't hired to admire anything! Your job is teaching my son, not breaking into areas of this house and our lives which don't concern you!'
- comes up, followed by the script explaining:
A moment as Vicki looks at him. It's obvious she has really
opened a wound.
|
And as for the dialogue, the direction, and the descriptions, nothing is different enough to be worth mentioning.
-
Wrapping up the scene and the sequence:
ROGER (CONT'D)
Now, if you will please go
downstairs...
She starts for the door when...
ROGER
Miss Winters...
She turns back to him. His anger seems to be dissolving. When
he speaks, there will be a strangely pathetic quality to the
words.
|
And that's when today's first quote -
Page 99/Scene 225 - Roger: 'This room... and everything in it... does not exist...'
- comes up, followed by the script continuing with:
A lone moment as they stand there looking at each other. Then
Vicki quietly nods, turns, and leaves.
HOLD on Roger as he watches her go, then turns to stare at the
unfinished portrait. And . . .
|
End of scene and end of sequence.
And as for the dialogue, Roger actually says, "Please go downstairs" and he adds "anymore" to the end of his last line, as in "doesn't exist anymore..."
Though as for the direction and the descriptions, they're played out as written.
And given DC's penchant that when it doubt, cut the character material, it really comes as no surprise that when it came time to set a final cut for the pilot, DC decided to jettison this whole sequence. And chances are the reason Scene 39 was cut from the NBC version of the pilot was because this sequence was cut. And both cuts are quite unfortunate because they reveal so much about Roger's character - especially this sequence because it definitely softens Roger's edge. Thank heavens the decision was made to salvage it by including it in Ep #4. Though because of the way they used it in Ep #4, it takes on some tones that are unlikely to have been intended when the script was written, chief among them are that Ep #4 makes it seems as if David having seen the painting of the woman and baby and his encounter with his father in the studio are somehow related to David's subsequent attempt to hurt Roger - that his experiences in the studio somehow caused him to run from the studio, gather Roger's handkerchief, pipe cleaners, and some hair from his hairbrush, and then set it and a fetish figure on fire, all under the influence of his mother, as Maggie theorizes.
Though unlike how the original series might have handled things, one does have to give the 91 series props because when it came to shooting the new stuff that follows the salvaged footage from the pilot, they actually dressed David and Vicki in the exact same outfits they were wearing in the salvaged footage, right down to Vicki's jewelry. [thumbleft]
-
Setting up the new scenes/sequence:
226 EXT. COLLINWOOD GROUNDS - HIGH ANGLE - DAY
As we see Willie, half-running, half-limping across the broad
expanse of lawn toward the Great House.
227 ANOTHER ANGLE
TO REVEAL that he is heading for Vicki and David who are
standing near one of the terraces.
Vicki is holding up some fallen leaves, one at a time, while
David tries to identify them.
DAVID
Maple... Dogwood... Cherry, no...
Birch!
VICKI
Good.
(CONTINUED)
227 CONTINUED:
She smiles and then David turns, noticing Willie first. He
makes a small face as he approaches.
|
And that's when today's quote -
Page 100/Scene 227 - David: 'Here comes Weird Willie.'
- comes up.
As for the dialogue, the beginning of Scene 227 plays totally differently in the pilot, nut we'll get into that in the direction/descriptions section below - but David's quote for today is delivered exactly as written.
And so far as the direction and descriptions go, Scene 226 does not appear in the pilot - in the pilot the sequence begins with Scene 227, and as can be seen in today's capture -
(http://www.dsboards.com/91scriptquoteimages/1111ds91_0.jpg)
- we see Willie off in the distance making his way, not to a terrace, but to Collinwood's central courtyard, where David and Vicki are not having a lesson about identifying leaves but instead Vicki is reading to David from Through The Looking Glass: "Humpty Dumpty smiled contemptuously. 'Of course you don't - till I tell you. I meant "there's a nice knock-down argument for you!"' 'But "glory" doesn't mean "a nice knock-down argument', Alice..." and at that point David cuts her off by announcing Willie's approach, though we can't really tell if he makes a face because most of his face is turned away from camera.
HVD!(http://www.dsboards.com/nathan.gif)(http://www.dsboards.com/nathan.gif)(http://www.dsboards.com/nathan.gif)(http://www.dsboards.com/nathan.gif)
-
Not sure what Nathan Forbes' revolutionary wang has to do with this, but I'll take what I can get.
Bottoms up?
G.
-
[pointing-up] That was partly in honor of yesterday's holiday - but also up for interpretation if one considers Nathan's seemingly favorite pastime!! [naughty] And there were actually three different versions of it that alternated between running at the bottom of every other post that I made yesterday...
-
Continuing with Scene 227:
Willie stops by them.
WILLIE
Miss Winters, Vicki ... Hi Davey!
David just nods.
VICKI
Hello, Willie.
Although he’s trying to keep the right side of his face turned
away, she notices the heavy bruises.
|
And that's when today's quote -
Page 100/Scene 227 - Vicki (CONT'D): 'Willie, what happened?'
- comes up.
And as for what's different about the dialogue, Willie's first line is actually "Hi Miss Winters, I mean Vicki ... Hi Davey!" - and Vicki's "Hello, Willie" is dropped because as soon as she sees the swelling and bruising on Willie's face, she says "Oh God, Willie! What happened to you?"
And so far as the direction and descriptions go, as Willie makes his way around the fountain, he waves to Vicki and David - and we don't see David nod when Willie greets him because David is temporarily off screen - and Willie doesn't make any attempt to hide the swelling and bruising on his face, which is why when he reaches Vicki she immediately asks what happened.
-
And continuing some more with Scene 227, starting off with yesterday's quote -
Page 100/Scene 227 - Willie: 'Uh, nuthin... I... I fell down when we was workin'... I'm okay.'
- coming up, followed by the script explaining:
Vicki looks at him a beat longer.
|
And that's when today's first quote -
Page 100/Scene 227 - Vicki: 'Are you sure? That looks pretty bad.'
- comes up, followed by today's second quote -
Page 100/Scene 227 - Willie: 'Yeah, yeah. I'll be fine. Just gotta be more careful.'
- coming up.
And as for what's different about the dialogue, Willie's first lines aren't delivered exactly as written, but what he actually says is really quite close - Vicki actually says "That looks awful" with regard to Willie's bruising and swelling - and Willie actually replies with "Oh yeah. I'm gonna be fine. Fine. I just gotta learn ta ... be more careful."
And so far as the direction and descriptions go, Vicki stares at Willie with great concern but she doesn't actually wait a beat before she asks if Willie is sure he's okay.
-
Wrapping up Scene 227 and moving beyond:
Now he pulls out a beautiful, old PARCHMENT ENVELOPE.
He looks at it for a long beat, as if trying to make a decision,
then half holds it out to her.
VICKI
For me?
He nods. She frowns with curiosity, takes it.
228 INSERT - ENVELOPE
In black ink, almost as if written with a quill pen ... in a
fine Spencerian hand:
“Miss Victoria Winters”
(CONTINUED)
225 CONTINUED:
It is sealed with a distinctive RED WAX CREST.
229 BACK TO SCENE
As Vicki carefully opens it, Willie, watching her closely,
self-consciously puts a hand to his bruises.
She takes out the folded note, begins to read it. As she does,
the SOUND of BARNABAS' VOICE:
|
And that's when the first part of today's quote -
Page 101/Scene 229 - Barnabas' Voice: '"My dearest Victoria ...'
- comes up, followed by the script continuing with:
230 INSERT - LETTER
The same beautiful, sweeping hand.
|
And that's when the second part of today's quote -
Page 101/Scene 230 - Barnabas' Voice (CONT'D): 'How fitting it would be, if you, who so closely resemble the woman whose beauty graced this home so many years ago,'
- comes up, followed by the script continuing with:
231 CLOSE - VICKI
And TIGHTENING TO HER as she continues to read.
|
And that's when the third part of today's quote -
Page 101/Scene 231 - Barnabas' Voice (CONT'D): '... could honor me by being my first guest for dinner, this evening at eight. (and) Although my new home is not yet as beautiful as when Josette first saw it, the hospitality will be just as heart felt. Your obedient servant, Barnabas Collins"'
- comes up, followed by the script concluding Scene 231 with:
And as for the dialogue, in the pilot it's exactly as written in the script.
However, when it comes to the direction and descriptions, things are quite a bit different in the pilot. Willie doesn't need to pull out the envelope because he's had it out the entire time (in fact, when he waved to Vicki and David, he waved to them with it) - and Willie doesn't look at it for a long beat, as if trying to make a decision, because he simply just holds it out to Vicki - and while Willie does watch Vicki as she opens the envelope, he doesn't self-consciously put a hand to his bruises - and we actually see the insert of the letter right after Vicki opens/unfolds it, but we don't hear Barnabas' voice narrating the letter until after we've seen the insert - and we see Vicki's face for the entire time that Barnabas narrates the letter - and the camera doesn't push in a bit closer until Barnabas begins narrating the second half of the third part of today's quote (the part after the "(and)" that begins with "Although").
Tomorrow we'll continue the sequence with Scene 232...
-
Moving on to Scene 232 and nearly wrapping up the sequence as written:
232 ANOTHER ANGLE
As she looks up at Willie, smiles.
|
And that's when today's quote -
Page 101/Scene 232 - Vicki: 'Willie, you may tell Barnabas I accept his invitation with pleasure.'
- comes up, followed by the script continuing with:
(CONTINUED)
Revised 2/28/90
232 CONTINUED:
A beat longer, as Willie looks at her, then begins to nervously
back away.
WILLIE
Yeah ... okay, Vicki... I... I
gotta go now.
And he turns, runs, limping away. David shakes his head.
DAVID
He's a nutball, a total nutball.
She shakes her head, then holds up the note, begins to read it
again, intrigued.
|
And I say "nearly wrapping up the sequence as written" because there is a bit more to what was written for Scene 232 but in the pilot the conclusion of the scene was never done as it is written in the script, and with good reason because of the way the pilot is edited. But more on that tomorrow...
Until then, as for the dialogue, the only thing that's different in the pilot is that Willie adds a second "yeah" to the beginning of his line.
And when it comes to the direction and descriptions, Vicki's answer to Willie is still part of the continuous shot of her and the angle doesn't actually change until it comes time for Willie's part of Scene 232 - and while Willie moves out of frame after he says he has to go, we don't actually see him running or limping away - nor do we see David or Vicki shake his or her head before and after David says Willie is a "nutball" - and Vicki doesn't have to hold up the note again because she's been holding it up the entire time, though she does begin to read it again with a delighted smile on her face.
-
Before we get into what the next sequence in the script is (although it's already pretty obvious given today's capture [easter_wink]), it's necessary to mention that not only was the previous sequence of Scenes 227 through 232 preceded in the pilot by Scenes 244 through 255 (which, as I've previously explained, deal with the discovery of another dead body in the surf below Widows' Hill, the hypnotizing of Daphne, and its immediate aftermath (and so far as the script is concerned, also includes unshot Julia material)), it's followed up Scenes 256 through 271 (in the Great Hall Liz and Barnabas discuss furniture Liz has found, Julia meets Barnabas, Daphne is drawn to the Great Hall, Joe followed by Julia and Liz rush to Daphne's side after she collapses after seeing Barnabas, and so on until Barnabas leaves). In fact, the conclusion of Scene 271 is the next act break in the pilot - and Scene 233 begins the final act in the pilot. (And I've always found it a slight bit odd in the pilot that Barnabas is at Collinwood when he's expecting to entertain Vicki at the Old House, the preparations of which one would presume might consume all of Barnabas' attention - but I suppose Barn being at the Collinwood doesn't go against all logic by any means.) But since we're following the order of the script, the next scene in the slideshow will be Scene 233...
-
And one more thing before the start of Scene 233 - the scripted ending to Scene 232:
And as the lilting TUNE of an 18th century romantic ayre begins
to FILTER IN, we . . .
233 INT. OLD HOUSE - DRAWING ROOM - NIGHT
CLOSE ON a beautiful, small, crystal, old English MUSIC BOX,
open in Barnabas' hand ... as it continues to tinkle its
haunting little tune.
PAN TO HIS CLOSE UP as he smiles.
|
And that's when today's quote -
Page 102/Scene 233 - Barnabas: 'According to the papers I've found, Barnabas Collins purchased this for Josette the day it was announced they were to wed.'
- comes up in the script - however, in the pilot it's not actually delivered until Scene 234 - though when it is, while it's under other circumstances, it's delivered exactly as written. But more on that tomorrow...
And when it comes to the direction and descriptions, given what I've explained in reply #269 about Scene 232 actually being followed in the pilot by the sequence that begins with Scene 256 and not by Scene 233, obviously Scene 232 doesn't conclude in the pilot with the lilting tune of an 18th century romantic ayre beginning to filter in because that would make no sense when Scene 232 is followed in the pilot by a scene between Liz and Barnabas and not Barnabas with the music box - and one has to wonder if the rearrangement of the scenes was planned before shooting and not in the editing room because when Scene 233 begins, the music box is actually closed and sitting on a table and it's not until Barnabas picks it up and opens it that we hear the melody - and after doing so, in the pilot in more of a medium shot, Barnabas, rather than smiling, simply turns away from the table with the music box playing in hand.
-
Moving through the latest sequence to Scene 234:
234 ANOTHER ANGLE
TO REVEAL Vicki seated at a small table in front of the fire,
laid with beautiful silver, linen and china.
Barnabas, the music box in his hand, crosses to hand it to her.
She looks at it admiringly.
|
And that's when today's quote -
Page 102/Scene 234 - Vicki: 'It's lovely... such a beautiful melody.'
- comes up.
And as far as the dialogue goes, as I alluded to yesterday, Barnabas' line from Scene 233 is actually delivered at the outset of Scene 234 - and like Barnabas' line, Vicki's is also delivered exactly as written.
And when it comes to the direction and descriptions, as has more than likely already been deduced, especially considering it could be seen in yesterday's capture -
(http://www.dsboards.com/91quoteimages/1117ds91_0.jpg)
- Barnabas doesn't simply cross to hand the music box to Vicki, he delivers his explanation about it as he crosses over to her - and actually, Vicki eagerly reaches up to take the music box from Barnabas before he even really has the chance to offer it to her.
-
Continuing with Scene 234, including with edited material:
The warm glow from the fire and the candlelight only accentuate
Vicki's beauty.
The mood is intimate, romantic, the light and shadows playing
sensually off them both. He almost seems to lapse into a
reverie.
(CONTINUED)
234 CONTINUED:
|
And that's when Thursday's quote -
Page 103/Scene 234 - Barnabas: 'She would listen to it for hours... and claimed its tune would haunt her heart forever. It was her favorite gift.'
- comes up, followed by Friday's quote -
Page 103/Scene 234 - Vicki: 'The greatest gifts are always those given from love, no matter what they might be.'
- coming up, followed by the script explaining:
Barnabas looks at her a long moment, then, carefully...
|
And that's when Saturday's quote -
Page 103/Scene 234 - Barnabas: 'Yes... no matter what they might be.'
- comes up, followed by the script continuing with:
He sits, takes her hand, looks deeply into her eyes.
BARNABAS (CONT’D)
Have you ever been in love,
Victoria? Truly in love?
VICKI
Once... And you?
BARNABAS
Yes ... once.
Their eyes hold a beat, then the tune comes to an end. Vicki
closes the box.
|
And as for the dialogue, Barnabas' line "It was her favorite gift" is dropped in the pilot, which seems a tiny bit odd considering Vicki then opines that the greatest "gifts" are given with love, though her line still works because it's already been established that the music box was a gift to Josette - and also cut is the entire section where Barnabas asks if Vicki has ever been in love and both Vicki and he respond that they have - however, at least with that section, it's confirmed in "SHADOWS IN THE '90s: The Dark Shadows Concordance 1991" that that section was indeed shot - and depending on how it was shot, parts of it may have actually made it into the pilot - but more on that below...
And when it comes to the direction and descriptions, in the pilot Barnabas actually takes Vicki's hand in his before he says "no matter what they might be", so if the hand holding was shot for the cut section, as it is scripted, it still appears in them pilot, only earlier - and Barnabas doesn't sit down where the script says he does because, as has been obvious in the latest captures, Barnabas has been sitting since Vicki offered the opinion that music box is lovely -
(http://www.dsboards.com/91quoteimages/1118ds91_0.jpg)
- and while in the pilot the scene picks up after the cut section with Barnabas and Vicki's eyes holding a beat, what actually follows is Vicki pulling her hand away from Barnabas and then she closes the music box.
-
Picking up Scene 234 with the first part of yesterday's quote:
Page 103/Scene 234 - Vicki: 'You know, ever since I saw her portrait, I haven't been able to get Josette out of my mind...'
- which is followed in the script by:
A beat as her finger traces the intricate design on the lid of
the box.
|
And that's when the second part of yesterday's quote -
Page 103/Scene 234 - Vicki (CONT'D) It's almost as if, in some strange way, we're connected ... across time and the centuries.'
- comes up. However, while in the pilot Vicki's lines are delivered exactly as written, she doesn't actually trace her finger on the lid of the music box - and her lines are delivered without any delay between them and in one continuous shot.
And it's also worth mentioning that many moments from Scene 234 were used in the promos, including the first part of today's quote from Barnabas - but that's jumping the gun a bit because we won't be dealing with today's quote until next time....
-
Wrapping up Scene 234, with more edited material:
(CONTINUED)
_____________________________________________________________________
234 CONTINUED: (2)
Vicki sips from a goblet of wine, her eyes studying him
carefully.
|
And that's when Tuesday's quote -
Page 104/Scene 234 - Vicki: 'Somehow, Barnabas, you manage to see the beauty in everything. (a beat) You're so ... so optimistic.'
- comes up, followed by yesterday's quote -
Page 104/Scene 234 - Barnabas: 'The ability to hope, and to wait, are two of life's most rewarding virtues.'
- coming up, followed by today's quote -
Page 104/Scene 234 - Vicki (smiles): 'Especially if there's something worth waiting and hoping for.'
- coming up, followed by the script continuing with:
They look at each other, a long beat. Somewhere in the house
a CLOCK begins to CHIME the hour ... breaking the moment.
Vicki glances up and then to his plate.
VICKI (CONT'D)
It's late. I'd better be going,
and you've hardly touched your
plate.
BARNABAS
(deeply sincere)
The pleasure of your company,
Victoria, is more than enough for
me.
She smiles.
BARNABAS (CONT'D)
I'll see you to Collinwood.
They get up, head for the foyer, Barnabas calls Willie.
|
And as for the quoted dialogue, it's basically delivered as written with only a few minor changes that aren't worth getting into - but as far as the unquoted dialogue at the end of Scene 234, with exception of Vicki saying that it's late and she should be going, none of it appears in the pilot - though as with the earlier bits of Scene 234, those later bits were shot but were edited out.
And when it comes to the direction and descriptions, Vicki does not sip from a goblet of wine - Barnabas nods after Vicki agrees with his opinion on the virtues of waiting and hoping - and after Vicki says that she should be going, Barnabas and Vicki rise from the table and spend a few intense moments staring into each others eyes before moving to begin leaving the room - and Barnabas does not call for Willie.
-
Continuing the sequence with Scene 235:
235 INT. FOYER
As they enter, Willie appears with Vicki's jacket, a frightened
look on his face.
|
And that's when Tuesday's quote -
Page 104/Scene 235 - Barnabas: 'I'll be taking Miss Winters back to Collinwood now, Willie.
- comes up, followed by the script continuing with:
(CONTINUED)
235 CONTINUED:
He dons his cape, picks up his cane. Willie looks nervously
from one to the other.
WILLIE
You ... you don't have to do that,
Barnabas. I can walk Miss Winters
back.
Barnabas opens the door.
BARNABAS
Thank you, Willie. That will not
be necessary.
Vicki nods goodnight to Willie, steps out into the night.
Barnabas stands there for a beat, burns Willie with a killer
look, then follows her out onto the veranda, SLAMMING the door
behind him.
|
And when it comes to the dialogue, Barnabas actually calls for Willie as he and Vicki enter the foyer in this scene rather than as scripted at the end of Scene 234 - though the rest of the dialogue is pretty much as written.
However, when it comes to the direction and descriptions, Barnabas is already finishing putting on his cape as he and Vicki enter the foyer - and he picks up his cane before Willie even appears with Vicki's coat - and Willie is surprised when Barnabas takes Vicki's coat from him and then helps Vicki on with it as he tells Willie he'll be taking Vicki to Collinwood - and Barnabas doesn't open the door after Willie offers to take Vicki home - instead, after Barnabas tells Willie that won't be necessary, Barnabas simply gestures Vicki toward the door's direction - and before going Vicki does not nod a goodnight to Willie or step out into the night because she and Barnabas disappear from frame - which also means that we do not see Barnabas standing at the door for a beat, or burning Willie with a killer look, or following Vicki out onto the veranda (even though it would have been the terrace since there is no veranda), or slamming the door behind him - but what we do see after Barnabas and Vicki disappear from frame is the camera move in on Willie as he has an extremely nervous look on his face.
-
Setting up Scene 236:
236 EXT. WOODS - NIGHT
As Barnabas and Vicki move along the dark path toward
Collinwood.
BARNABAS
I've been thinking the strangest
thoughts this evening
She looks up at him.
|
And that's when today's quote -
Page 105/Scene 236 - Barnabas (CONT'D): '... Your extraordinary resemblance to the portrait of Josette ... and mine to my ancestor who's portrait hangs in the Great Hall ... (then) would it not be... exquisitely romantic... if we were indeed their reincarnations?'
- comes up.
And as far as the dialogue goes, Barnabas actually prefaces today's quote with "I've been thinking the most extraordinary thoughts this evening" - and at the beginning of today's quote, rather than use "extraordinary" again, Barnabas actually refers to Vicki's "remarkable resemble" to Josette's portrait.
And when it comes to the direction and descriptions, before we see Barnabas and Vicki in the woods, there's actually an establishing shot of the full moon in the sky -
(http://www.dsboards.com/91quoteimages/1128ds91_a.jpg)
- with clouds moving past it and the call of a nightbird can be heard in the distance - and at the start of Scene 236 Barnabas and Vicki are moving through a bit of fog that slowly begins to clear as he speaks - and Vicki actually looks at Barnabas the second he begins to speak.
-
Wrapping up Scene 236, beginning with Vicki's scripted reaction to Barnabas saying they could be the reincarnations of Josette and his "ancestor":
And that's when today's quote -
Page 105/Scene 236 - Vicki: 'You almost make me feel like we are.'
- comes up, followed by the script continuing with:
He smiles ... Then, as they continue up the dark path, SLOWLY
PAN AND TIGHTEN TO ...
(CONTINUED)
236 CONTINUED:
A small FIGURE standing deep within the trees, watching them
go... the figure of a LITTLE GIRL, in a long, white, lace
dress.
|
And as far as the dialogue goes, it's delivered exactly as written.
However, when it comes to the direction and descriptions, Vicki does not laugh in any way at Barnabas' idea that they could be the reincarnations of Josette and his "ancestor" because she takes it quite seriously, as does Barnabas because he doesn't smile after Vicki says he almost makes her feel like they are - and here's a screen capture as the camera pans to the "little girl" who watches Barnabas and Vicki:
(http://www.dsboards.com/91quoteimages/1129ds91_a.jpg)
-
Dealing with Scene 236A:
236A INT. COLLINWOOD - FOYER
As through the door, we SEE Barnabas and Vicki approach.
Barnabas opens the door for her.
VICKI
Thank you so much, Barnabas, I've
really had a lovely evening.
He looks at her, wanting the moments to last. Then, taking her
hand...
|
And that's when today's first quote -
Page 106/Scene 236A - Barnabas: 'I so look forward to our being together again...'
- comes up, followed by the script explaining:
There is enormous electricity passing between them ...
|
And that's when today's second quote -
Page 106/Scene 236A - Vicki: 'So do I.'
- comes up, followed in the script by:
He raises her hand to his lips, kisses it.
She hesitates a moment, then quickly leans forward, kisses him
on the cheek.
VICKI
Goodnight.
A beat, and she is in the door, closing it quickly behind her.
A long moment as he stands there, the wind swirling his cape.
Then, slowly he turns, moves off into the night.
|
End of scene - though certainly not the end of the sequence.
And as far as the dialogue goes, the only difference is that, interestingly enough, Vicki simply says "Thank you, Barnabas, I've had a lovely evening."
But when it comes to the direction and descriptions, there is actually an establishing shot of Collinwood -
(http://www.dsboards.com/91quoteimages/1130ds91_a.jpg)
- before the scene begins - we don't see, as if through the door, Barnabas and Vicki approach the door or Barnabas opening the door for Vicki because the scene actually begins with the inside of the foyer and then the door opens to reveal Vicki is the one opening it with Barnabas behind her, and then after Vicki steps in, she turns to him as Barnabas enters - and after the moment of electricity passes between them, Barnabas actually raises her hand to his lips and kisses it before Vicki says that she also looks forward to them being together again - and after Vicki bids Barnabas a goodnight, he backs away out the door like it's the last thing he wants to do - and after Vicki closes the door on him, she turns, stands there for a beat, a small smile appearing on her face, and then she moves out of frame - and as Barnabas remains standing outside the door, there is certainly wind, though it seems to move the leaves on the ground about more than it makes Barnabas' cape swirl.
-
Page 105/Scene 236 - Barnabas (CONT'D): '... Your extraordinary resemblance to the portrait of Josette ... and mine to my ancestor who's portrait hangs in the Great Hall ... (then) would it not be... exquisitely romantic... if we were indeed their reincarnations?'
I just remembered that the other day I forgot to mention that the script did indeed use "who's" where it should have used "whose". [easter_rolleyes]
-
Moving through several of the next scenes in the sequence:
237 INT. COLLINWOOD - VICKI'S BATHROOM - NIGHT
CLOSE VICKI, in her robe, looking in the mirror, as she brushes
her hair. Then, turning she crosses into the ...
237A BEDROOM
Where she moves to the big four-poster, turns down the
comforter.
238 EXT. WOODS - NIGHT
The dark figure of a man standing in the tree-line, looking up
toward her window. TIGHTEN TO HIM ... It is ...
238A BARNABAS
A look of desperate longing on his face.
239 OMITTED
240 HIS POV - ViCKI'S LIGHTED WINDOW
And then, Vicki, in her gown now, appears, opens the windows.
She stands there silhouetted against the light, looking out at
the night.
241 CLOSE BARNABAS
His eyes burning with unrequited passion, as he stares up at
her.
242 HIS POV - VICKI
Standing there for a beat longer, then turning and crossing away
as the light goes out.
243 BARNABAS
As the inhuman curse within him begins to rise like the force
of the wind, which has now begun to HOWL in the trees.
His face begins to change, his eyes become cold, feral, burning.
TIGHTEN TO HIM as his mouth opens to reveal the bone white,
needle-sharp fangs...
Then suddenly from o.s., the high, plaintive SOUND of a LITTLE
GIRL'S VOICE CALLING ...
|
And that's when the first part of today's first quote -
Page 107/Scene 243 - Voice (O.S.): 'Barn-abassss ... Barn-abassss..'
- comes up, followed by the script explaining:
Barnabas reacts, whirls around, listening intently, his eyes
darting frantically about him. Did he hear it? Is it the
wind?
Then, again:
|
And that's when the second part of today's first quote -
Page 107/Scene 243 - Voice (O.S.) (CONT'D): Barna-abasss ... Barn-abassss..'
- comes up, followed by the script explaining:
Suddenly he FREEZES.
243A HIS POV
Standing deep within the trees ... the same small FIGURE of the
LITTLE GIRL in white.
243B BACK TO BARNABAS
As he stares at her in stunned disbelief.
|
And that's when today's second quote -
Page 108/Scene 243B - Barnabas: 'Sarah ...?! Is that you?!'
- comes up.
And as for what's different as far as the dialogue goes, while Sarah does call to Barnabas twice the first time around, in the pilot she only calls to him once the second time.
And as for what's different as far as the direction and descriptions go, when it comes to Scene 237A, before Vicki enters her bedroom, she shuts off the lights in the bathroom, and before she turns down the comforter on her bed, she shuts off the light on her bedside table - and when it comes to Scene 238, Barnabas actually walks aways through the trees before he comes to stand and to look at Vicki's window - and when it comes to Scene 240, it's actually very hard to tell if Vicki has removed her robe or not because she seems to be wearing the same thing as earlier, which begs the question as to whether or not she was even wearing a robe earlier or if the whole time she's simply been in her nightgown? - and when it comes to Scene 243, while we don't actually hear the wind begin to howl in the trees, Barnabas does indeed turn feral and he begins to snarl (and it's very interesting to read how this is described in the script because I've never been a big fan of the snarling, but it works as described in the script) - and when Barnabas freezes, the camera moves in even closer on his shocked expression.
-
Two more scenes in the sequence:
243C BACK TO SARAH
As she continues in her little, thin voice:
|
And that's when today's first quote -
Page 108/Scene 243C - Sarah: 'You must stop, Barnabas. You must stoppppppp....'
- comes up, followed by the script continuing with:
243D BACK TO BARNABAS
As he begins to slowly move forward, he raises his hand.
|
And that's when today's second quote -
Page 108/Scene 243D - Barnabas: 'Sarah... you've come back!'
-comes up.
And the only difference in the dialogue is that Barnabas drops the "Sarah..." from his line.
And the only difference in the direction and descriptions is that, while Barnabas does begin to slowly move forward, he doesn't raise his hand.
-
Three more scenes in the sequence:
243E BACK TO SARAH
As the little girl slowly turns, begins to move away from him.
243F BARNABAS
As he calls:
|
And that's when the first part of today's quote -
Page 108/Scene 243F - Barnabas: 'Sarah ... ! No, wait! Don't leave me!'
- comes up, followed by the script continuing with:
And he begins to run.
243G SARAH
Now moving deeper and deeper into the dark woods.
|
And that's when the second part of today's quote -
Page 108/Scene 243G - Barnabas (CONT'D) (O.S.): Sarah...! No, Sarah... please don't go away!'
- comes up in the script.
And as far as the dialogue goes, what Barnabas actually says in Scene 243F is "No...! Sarah...! Wait...! Don't leave me!" - and the only part of Barnabas' lines for Scene 243G that's actually delivered off screen as part of that scene is the "Sarah...!" part. And that's because the rest of Barnabas' lines that are scripted to be delivered off screen in Scene 243G are actually delivered on screen in the next scene. But more on that tomorrow because there are also other deviations from the script coming up...
And as for anything different about the direction and descriptions, Barnabas actually runs after Sarah as he's delivering his lines in Scene 243F.
-
Wrapping up the sequence as scripted:
243H BACK TO BARNABAS
As he continues to run, breath ragged in his throat, futilely
calling after her ... until finally, exhausted, he can go no
further.
(CONTINUED)
Revised 2/28/90
243H CONTINUED:
He turns frantically about, but there is nothing ... the little
girl in white is gone.
TIGHTEN TO HIM, as the tears stream down his cheeks. He raises
his voice, SHRIEKS against the wind.
|
And that's when today's quote -
Page 109/Scene 243H - Barnabas: 'Oh Sarah...! Sarah...! My sweet little sister...! Come back!! (a wail) Please, do not hate me! I can not help myself ... !!!!!!'
- comes up in the script, followed by the script continuing with:
Then as the CAMERA SWOOPS UP AND AWAY, leaving his small,
anguished figure alone in the darkness below ... HOLD for a
beat, and . . .
(GO TO NEXT PAGE)
|
And as far as the dialogue goes, as I alluded to yesterday, the "No, Sarah... please don't go away!" part of what was scripted for Barnabas to deliver off screen in Scene 243G is actually delivered on screen in the pilot as we see Barnabas continue to run after Sarah at the outset of Scene 243H - and while the only bits different in Barnabas' next set of lines of dialogue are that he drops the "Oh" in "Oh Sarah...!" and he actually says "Please, don't hate me! Please!", he also delivers the entirety of that set of lines later than scripted. But more on that below...
And as for anything different about the direction and descriptions, there's quite a bit. As explained above, Barnabas does indeed continue to run after Sarah -
(http://www.dsboards.com/91quoteimages/1204ds91_a.jpg)
- at the outset of Scene 243H, but in the pilot he does not stop quite yet because we see yet another shot of Sarah -
(http://www.dsboards.com/91quoteimages/1204ds91_b.jpg)
- and she begins to completely disappear into the trees and fog - and it's after that that Barnabas comes to a stop after doing a bit more running and he looks about his surroundings, whereupon we see his POV as the camera scans those surrounding, which are now without any sight of Sarah - and it's not until after we see that Barnabas has frantically made a complete turn while looking for Sarah and he raises his right hand to his head in complete disappointment, that he begins to stagger along while saying "Sarah...! Sarah...! My sweet little sister...!", he comes to a stop and desperately cries out "Come back!!", he collapses to his knees with a wail, and the camera moves in tighter as he pleads "Please, don't hate me! Please!", and then, clenching his fists, he shouts "I can not help myself ... !!!!!!" - however, after all that, the camera does not swoop up and away, leaving Barnabas' small, anguished figure alone in the darkness below because what we actually see is the camera remain steady as Barnabas reaches both hands up to his face in total anguish, and then the image freezes with the words "TO BE CONTINUED" appearing on screen because, as edited, that's the final moment of the pilot. However, the script didn't intend it to be because there's almost a whole month's worth of material yet to come, beginning in tomorrow's slideshow with more apparently unshot Julia material. But more on that tomorrow...
-
And we start off the next sequence in the script with two scenes that were actually seen in the pilot after Scene 205 - and then we start with some unshot Julia material:
Revised 2/28/90
244 EXT. ROCKY COVE - BELOW WIDOWS' HILL - DAY
Where a cluster of frightened adults, children and the two
Paramedics stand looking o.s..
PAN TO REVEAL two sheriff's DEPUTIES, in rubber clothes, wading
into the rough surf to retrieve the floating body of a dead
woman.
245 EXT. COLLINWOOD DRIVE - DAY
The serenity of this woodsy setting is suddenly shattered as
Patterson's Patrol Car SCREAMS up the winding road.
As it roars BY CAMERA, PAN WITH IT to HOLD on the Great House.
246 OMITTED
247 INT. COLLINWOOD - JULIA'S LAB - DAY
A room on the main floor has been turned into a make-shift lab.
Julia is bent over a microscope while Woodard sits in the b.g.,
going through some papers.
|
And that's when today's quote -
Page 110/Scene 247 - Julia: 'My guess is that whatever's effecting these blood cells from the victims is parasitic.'
- comes up.
And as far as the dialogue goes, considering the only dialogue presented was never shot, there's nothing to comment about right now - however there will be something to comment about how Scene 245 is presented in the pilot, but we'll leave that until we get deeper into Scene 247 to the actually shot portions of the scene.
And as for anything different about the direction and descriptions in the two scenes that were shot, Sheriff Patterson is actually present on the beach in Scene 244 -
(http://www.dsboards.com/91quoteimages/1205ds91_a.jpg)
- and the script would seem to imply that the two paramedics we saw at the scenes of Daphne's and Gloria and Muscles' attacks are also present, however, as can be seen in the capture, there are two entirely different paramedics present on the beach - also, there are no children present on the beach - and we don't actually see the deputies wade into the surf to retrieve the woman's body because they're both already in the surf and carrying her out -
(http://www.dsboards.com/91quoteimages/1205ds91_b.jpg)
- while also examining her wound.
-
Continuing with Scene 247 with yesterday's quote -
Page 110/Scene 247 - Woodard: (thinking) 'But dormant. All the preliminary analyses suggest a passive nature.'
- coming up, followed by today's first quote -
Page 110/Scene 247 - Julia: 'You've been peeking over my shoulder.'
- coming up, followed by today's second quote -
Page 110/Scene 247 - Woodard: 'At my age, I'm thankful for small favors.'
- coming up, followed by the script explaining:
She smiles, they are interrupted as
|
And we'll leave things dangling there because tomorrow we're going to get into how the rest of the above description and the three bits of dialogue that follow are handled in the pilot quite differently from the way they were scripted...
And as far as the dialogue goes, on its own, yesterday's quote from Woodard would make it seem as if he simply thinks his dialogue - but in the context of what comes after, apparently what the script must have intended is that Woodard is seen thinking then he delivers his lines out load. If not, how could Julia accuse him of peeking over her shoulder if she has no idea what he said?
-
Picking up Scene 247 as scripted and where we left off yesterday with Julia's reaction to Woodard's joke:
She smiles, they are interrupted as Patterson is shown in by
Mrs. Johnson.
|
And that's where the first part of today's first quote -
Page 110/Scene 247 - Patterson: 'Thank you, Mrs. Johnson.'
- comes up, followed by the script continuing with:
She leaves. He crosses to them.
(CONTINUED)
Revised 2/28/90
247 CONTINUED:
|
And that's where the second part of today's first quote -
Page 111/Scene 247 - Patterson (CONT'D): 'Has Daphne said anything yet?'
- comes up, followed by today's second quote -
Page 111/Scene 247 - Woodard: 'She still remembers nothing.'
- coming up.
And as far as the dialogue goes, what is delivered in the pilot is delivered as written - however, the part where Patterson thanks Mrs. Johnson was dropped. But more on that below...
So, as far as the direction and descriptions go, Mrs. Johnson showing Patterson into Julia's lab and then leaving, and then Patterson crossing over to Julia and Woodard are not seen in the pilot - and actually, in the pilot Scene 247 hasn't even begun yet because, as can easily be inferred by today's captures, it's only the audio of Patterson's question -
(http://www.dsboards.com/91quoteimages/1208ds91_0.jpg)
Page 111/Scene 247 - Patterson (CONT'D): 'Has Daphne said
anything yet?'
- and Woodard's reply -
(http://www.dsboards.com/91quoteimages/1208ds91_1.jpg)
Page 111/Scene 247 - Woodard: 'She still remembers nothing.'
- that plays over the shot of Collinwood during the closing moments of Scene 245. Scene 247 won't actually begin in the pilot until tomorrow's installment of the slideshow...
-
Continuing with Scene 247 as scripted but still not quite as the script intended:
A beat, Patterson looks at them.
|
And that's when today's quote -
Page 111/Scene 247 - Patterson: 'We found another one this morning. Floating in the surf below Widows' Hill.'
- comes up.
And as far as the dialogue goes, it's delivered as written, though not under the same circumstances as written. But more on that below...
So, as far as the direction and descriptions go, we do not see Patterson look at Julia and Woodard because the "We found another one this" part of his dialogue is also only audio and also plays over the shot of Collinwood during the closing moments of Scene 245. Scene 247 doesn't begin in the pilot until Patterson finishes that sentence with "morning" - and as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/1209ds91_0.jpg)
- the only one we see on screen from Patterson saying "morning" off screen through his saying "Floating in the surf below Widows' Hill", also off screen, is Julia at her microscope.
-
Picking up Scene 247 after Patterson has announced the discovery of another body:
Julia and Woodard exchange a glance.
|
And that's when today's first quote -
Page 111/Scene 247 - Julia: 'The same circumstances?'
- comes up, followed by the script explaining:
Patterson nods. Then, in great frustration:
|
And that's when today's second quote -
Page 111/Scene 247 - Patterson: 'Four victims ... and the only one who's still alive can't remember a thing.'
- comes up.
And as far as the dialogue goes, Julia actually adds an unscripted and shocked "Really?!" before inquiring about the circumstances - and Patterson gives a slight nod because he actually adds an unscripted "Yeah" before musing on the situation they find themselves in.
And as for any differences in the direction and descriptions, we do not see Julia and Woodard share a glance because, as can be seen in today's capture -
(http://www.dsboards.com/91quoteimages/1210ds91_0.jpg)
- the camera stays on Julia as she looks up from her work in shock - and as Patterson moves closer to Julia as he speaks about the four victims, behind him Woodard also begins to move forward with, as can be seen in -
(http://www.dsboards.com/91quoteimages/1210ds91_1.jpg)
- today's second capture, an expression of deep frustration on his face.
-
And wrapping up Scene 247, beginning with:
A long moment as Julia studies the Sheriff.
|
And that's when today's quote -
Page 111/Scene 247 - Julia: 'But there may be a way to get her to remember. (they look at her) I think she's stable enough now to try it. It might work.'
- comes up, followed by the script continuing with:
And on Patterson's hopeful expression, we . . .
|
End of scene - but obviously not end of sequence...
And as far as the dialogue goes, the only bit that's different about the wording is that in the pilot Julia actually says "It just might work."
And as for any differences in the direction and descriptions, we do not see Patterson and Woodard look at Julia after she says there might be a way to get Daphne to remember - Julia removes her glasses after she offers that a way to get Daphne to remember might work - and as can be seen in this capture -
(http://www.dsboards.com/91quoteimages/1211ds91_a.jpg)
- the scene actually closes with both Patterson and Woodard exhibiting more confused than hopeful expressions.
-
Finally setting up the next scenes in the sequence:
248 INT. DAPHNE'S ROOM - DAY
CLOSE on a small CRYSTAL attached to a gold chain, as it
sparkles in the light, swinging, pendulum-like, in front of
Daphne's face.
Eyes almost closed, Daphne is lying propped up on pillows in
bed, slowly sinking into the deep trance.
|
And that's where the Saturday's first quote -
Page 111/Scene 248 - Julia (O.S.): (hypnotically) 'Keep watching the crystal Daphne... Keep watching it...'
- comes up, followed by the script continuing with:
PAN TO INCLUDE Julia sitting close to her, swinging the crystal.
In the near b.g., Woodard and Patterson are looking on.
(CONTINUED)
Revised 2/27/90
248 CONTINUED:
|
And that's where Saturday's second quote -
Page 112/Scene 248 - Julia (CONT'D): 'Your eyelids are getting heavier and heavier... Let them close.'
- comes up, followed by the script continuing with:
249 CLOSE - DAPHNE
As her eyelids continue to flutter ...
JULIA (O.S.) (CONT'D)
Let them closes, Daphne... Let them
close.
And at last she closes her eyes as her whole face relaxes.
|
And as far as the dialogue goes, Julia's first lines in Scene 248 are delivered exactly as scripted, but not in the same way as scripted, and there will be more on that below - and while the first part of Julia's second quote is also delivered as scripted (with a "Now" stuck in front of it), the "Let them close" part is completely dropped and the "Your eyelids are getting heavier and heavier..." part is moved to Scene 249 to combine with Julia's lines in that scene so that what actually plays in the pilot is Julia saying entirely off screen "Now, your eyelids are getting heavier and heavier... Let them close, Daphne... Let them close."
So, as far as the direction and descriptions go, in the pilot we don't actually see Daphne in Scene 248 because, as can be seen in Saturday's first capture -
(http://www.dsboards.com/91quoteimages/1212ds91_0.jpg)
Page 111/Scene 248 - Julia (O.S.): (hypnotically) 'Keep
watching the crystal Daphne... Keep watching it...'
- Daphne is nothing more than a blur as the crystal twists in sharp focus as Julia instructs Daphne to keep watching it - and after Julia's lines the camera does not pan to include Julia sitting close to Daphne and swinging the crystal, nor do we see Woodard and Patterson looking on - in fact, as can be seen in Saturday's second capture -
(http://www.dsboards.com/91quoteimages/1212ds91_1.jpg)
- in the pilot, Scene 248 quickly transitions to Scene 249 - and Julia's dialogue is altered to be delivered as explained above.
-
Continuing with the sequence:
250 BACK TO SCENE
As Julia nods, exchanges a look with the two men. Then, turning
back to Daphne:
|
And that's where the Sunday's first quote -
Page 112/Scene 250 - Julia: 'That's good, Daphne. You will sleep until I awaken you. But now I want you to think back to the night you were... hurt.'
- comes up, followed by the script continuing with:
251 CLOSE - DAPHNE
As we see an emotion of pain cross her face.
|
And that's where Sunday's second quote -
Page 112/Scene 251 - Julia (O.S.) (CONT'D): 'Are you back there, Daphne?'
- comes up, followed by Sunday's third quote -
Page 112/Scene 251 - Daphne: 'Yes...'
- coming up.
And as far as the dialogue goes, when it comes to Julia's lines in Scene 250, they're delivered as "That's good, Daphne. Now, you will sleep until I awaken you" - but there is a pause after that before Julia says "I want you to think back to the night you were hurt" without the "But now" and without the pause that was scripted between "were" and "hurt" - however, the quotes from Scene 251 are delivered as written.
But when it comes to the direction and descriptions, there are several differences in the pilot because at the start of Scene 250 Julia does not actually nod, nor does she exchange a look with Woodard and Patterson because what she actually does is remain fixed on Daphne - and after Julia says that Daphne will remain asleep until Julia awakens her, Julia lowers the crystal into the palm of her left hand and leans closer to Daphne before she says that she wants Daphne to think back to the night she was hurt - and as we can see in both Sunday's second and third captures -
(http://www.dsboards.com/91quoteimages/1213ds91_1.jpg)
(http://www.dsboards.com/91quoteimages/1213ds91_2.jpg)
- in the pilot Scene 251 is not shot with Daphne in close-up but from over Julia's shoulder, so Julia wasn't exactly off screen.
-
Continuing the sequence with Monday's quotes and the beginning of the next scene:
252 JULIA
As she shoots another glance at the others, continues.
|
And that's where Monday's first quote -
Page 112/Scene 252 - Julia: 'All right, you have just finished the books at the Blue Whale, and are walking along the dark street to your car...'
- comes up, followed by Monday's second quote -
Page 112/Scene 252 - Daphne (O.S.): 'Yes...'
- coming up.
And when it comes to the dialogue, Julia's line is actually broken up and delivered as "All right. Now, you have just finished doing the books at the Blue Whale, and are walking along the dark street to your car..." - but Daphne's quote is delivered as written (but then, there aren't too many ways to vary it).
And when it comes to any differences in the direction and descriptions, once again, in the pilot Julia does not look to Woodard and Patterson because her attention remains fixed on Daphne - and as is obvious given Monday's second capture -
(http://www.dsboards.com/91quoteimages/1214ds91_1.jpg)
Page 112/Scene 252 - Daphne (O.S.): 'Yes...'
- in the pilot not only doesn't Daphne deliver her line off screen, but the moment isn't shot favoring Julia as scripted but is once again shot over Julia's shoulder.
-
Moving through more of the sequence, first with Tuesday's first quote -
Page 112/Scene 252 - Julia: (gently) 'Tell us what is happening, Daphne.'
- and followed in the script by:
Revised 2/28/90
253 CLOSE - DAPHNE
As she begins to get more agitated. Her eyes, under her closed
lids, are showing rapid movement.
|
And that's where Tuesday's second quote -
Page 113/Scene 253 - Daphne: 'Someone... Someone is following me... My car! I must get to my car!'
- comes up.
And when it comes to the dialogue, Julia's line is delivered exactly as written - however, what Daphne actually says is "Someone's following me... My car! I have to get to my car!" (And how dare the word "must," the favorite word of everyone in Collinsport on the original show, be changed to "have to"! Whoever was responsible should be severely chastised, if not worse!! [13])
And when it comes to any differences in the direction and descriptions, the end of Scene 252 continues to be shot over Julia's shoulder - and while Daphne does exhibit rapid eye movement in Scene 252, as can be seen in Tuesday's second capture -
(http://www.dsboards.com/91quoteimages/1215ds91_1.jpg)
- in the pilot Daphne's eyes suddenly snap open in Scene 253 as she relives looking about her and realizing someone is following her - and which is also obvious from that capture, once again Daphne is not shot in close-up but over Julia's shoulder.
-
Catching up with the current scene in the sequence:
254 WHOLE SCENE
As Julia continues.
|
And that's where Wednesday's first quote -
Page 113/Scene 254 - Julia: 'Who is it, Daphne? Do you see this person?'
- comes up, followed by the script explaining:
Suddenly, the girl starts to thrash about, beads of perspiration
appearing on her brow.
|
And that's where Wednesday's second quote -
Page 113/Scene 254 - Daphne: 'Someone!... No... NO! I have to lock the other door!'
- comes up, followed by today's first quote -
Page 113/Scene 254 - Julia: 'Who is it Daphne? Can you see him?'
- coming up, followed by today's second quote -
Page 113/Scene 254 - Daphne (struggling): 'No... Yes! I can see him!... Please don't!'
- coming up.
And when it comes to the dialogue, in the pilot Julia's quote from Wednesday is delivered simply as "Who is it, Daphne?", with the "Do you see this person?" being dropped for the time being - Daphne's quote from Wednesday is delivered exactly as written - but Julia's quote from today is dropped entirely (possibly for redundancy) in favor of using the "Do you see this person?" that was dropped, or should I say, postponed earlier - and Daphne's quote from today is actually delivered in the pilot as "No... Yes! Oh God, I see him! Oh, please don't! No! Don't!"
And when it comes to any differences in the direction and descriptions, while we do see Daphne thrash about, we don't actually see beads of perspiration appear on her brow.
-
And with more of Scene 254:
JULIA
Do you recognize him?
DAPHNE
Yes.
Julia glances at Woodard and Patterson. They are all
surprised.
JULIA
You've seen him before?
DAPHNE
Yes ... I think ... I don't know
where...
|
And that's where today's first quote -
Page 113/Scene 254 - Julia: 'What does he look like, Daphne? What does he look like?'
- comes up, followed in the script by:
(CONTINUED)
_____________________________________________________________
Revised 2/28/90
254 CONTINUED:
|
And that's when today's second quote -
Page 114/Scene 254 - Daphne (becoming hysterical): 'Eyes... His eyes... Red!... his teeth... his teeth are... No! Nooo!'
- comes up, followed by the script continuing with:
Daphne's arms shoot up in a defensive posture as her words
become an hysterical SCREAM!
|
And when it comes to the dialogue, Daphne actually responds "Yes! Yes!" after Julia asks if Daphne recognizes the man - and rather than "You’ve seen him before?", Julia asks "Have you seen him before?" - and to that Daphne actually responds "Yes ... He ... He ... I don’t know where..." - and after Julia delivers today's first quote exactly as written, rather than as today's second quote is scripted, Daphne actually responds "Oh his eyes... his eyes are red!... oh God his teeth!... No! Oh his teeth! Nooo! Nooo! Please, don't! Nooooo! No!"
And when it comes to any differences in the direction and descriptions, believe it or not, after Daphne indicates that she recognizes the man, Julia actually does turn to glance at Woodard and Patterson - and after Daphne screams "oh God his teeth!... No!", we see an unscripted shot of Patterson turn to Woodard -
(http://www.dsboards.com/91quoteimages/1218ds91_a.jpg)
- and then they share a shocked look, and then things return to Daphne as she screams hysterically "Nooo! Please, don't!" and so on - and though in her hysteria tears are running down Daphne's left cheek, her arms do not shoot up in a defensive posture as her words become hysterical.
-
Wrapping up this particular section of the current sequence, beginning with Julia's scripted reaction to Daphne's hysteria:
Julia moves quickly to calm her, cradling her in her arms.
|
And that's where today's first quote -
Page 114/Scene 254 - Julia: 'It's alright. It's alright, Daphne. No one is going to hurt you. You can sleep now. You're safe... you're safe.'
- comes up, followed by the script explaining:
She settles Daphne back onto the pillows, watching her closely,
as the girl's breathing becomes more regular.
A beat, she turns to look at the two men. They are both
standing there, stunned by what's just happened.
254A CLOSE - WOODARD
As he studies the girl for a long moment. Then, eyes narrowing,
he turns to look at Julia. HOLD a beat, and . . .
|
And when it comes to what's different about the dialogue, what Julia actually says as she's calming Daphne is "It's alright, Daphne. It's alright. You're safe. You're quite safe here. Calm down. It's alright. No one is going to hurt you. No one will hurt you. You'll be alright, Daphne. There. Now... you can go to sleep. Quite safe" - and after a bit she also adds an unscripted "Go to sleep."
And when it comes to any differences in the direction and descriptions, while Julia does indeed move quickly to calm Daphne, she does not cradle Daphne in her arms because what she actually does is reach out and hold Daphne as she calms her with her words - and because of that Julia doesn't settle Daphne back onto the pillows, but she does watch Daphne closely as her breathing becomes more regular - and after having turned to Woodard and Patterson, Julia actually rubs Daphne's shoulder, and that's also when she adds the unscripted "Go to sleep" - and Scene 254A does not appear in any version of the pilot, nor is it indicated anywhere as having been shot.
-
Setting up the last scene in the sequence:
255 HALLWAY
As Julia, Woodard and Patterson WALK TOWARD CAMERA.
PATTERSON
We were so close! She's got to
be able to tell us more!
(a beat)
When can we try this again?
JULIA
Maybe tomorrow ... Let's see how
she is. Right now she needs rest.
|
And that's where today's quote -
Page 114/Scene 255 - Patterson: 'That stuff about teeth and red eyes... (shaking his head) What does that mean?'
- comes up.
And when it comes to the dialogue, the differences are so minor (a word added in a couple spots) that they're not worth getting into.
And when it comes to any differences in the direction and descriptions, the only thing is that Patterson doesn't shake his head before he asks what the stuff about teeth and red eyes means.
-
Wrapping up the current scene and sequence:
They all exchange a look. Woodard stops them.
(CONTINUED)
Revised 2/28/90
255 CONTINUED:
|
And that's where yesterday's first quote -
Page 115/Scene 255 - Woodard: 'George, since Daphne is the only who can identify... (he pauses a beat, choosing his words carefully) ... the person who did this ... is it not safe to assume that that person might come back?'
- comes up, followed by yesterday's second quote -
Page 115/Scene 255 - Patterson: 'Exactly what I've been thinking.'
- coming up, followed by today's first quote -
Page 115/Scene 255 - Woodard: 'I'm sure it would be alright with Elizabeth if you put a deputy here, at least for tonight.'
- coming up, followed by today's second quote -
Page 115/Scene 255 - Patterson (nods in agreement): 'Probably make everybody feel safer... if that's possible the way things have been going.'
- coming up, followed by the script explaining:
And as they continue up the hall, we . . .
|
End of scene/sequence.
And when it comes to the dialogue, the only thing here that's really different in the pilot is that Woodard actually says "I know it would be alright with Elizabeth if you put a deputy here, at least for the next few nights."
And when it comes to any differences in the direction and descriptions, it's really just Woodard and Julia -
(http://www.dsboards.com/91quoteimages/1221ds91_a.jpg)
- who share a look after Patterson wonders what the references to teeth and red eyes mean - and Woodard and Julia share another look while Woodard is choosing his words carefully - and after Patterson actually walks off first, and then Woodard, Julia actually remains for a few beats -
(http://www.dsboards.com/91quoteimages/1222ds91_a.jpg)
- looking as if she's deep in thought.
-
Setting up the first scene in the script's next sequence:
256 INT. COLLINWOOD - GREAT HALL - NIGHT
As Joe helps Willie carry out a beautiful antique dresser to be
loaded in the pickup outside.
In the b.g., Elizabeth is standing with Barnabas, as he examines
various other pieces waiting to be taken out.
|
And that's where today's quote -
Page 115/Scene 256 - Liz: 'We know the chair belonged to Barnabas and the bust of course is his father, Joshua Collins. The clock, I'm afraid, is a mystery.'
- comes up.
And when it comes to the dialogue, Liz' lines are almost completely reworked for the pilot because what she actually says "We know that the bombe chest belonged to Barnabas, the bust is Isaac Collins, and the clock, I'm afraid, is still a mystery."
And when it comes to any differences in the direction and descriptions, there's actually an establishing shot of Collinwood at night -
(http://www.dsboards.com/91quoteimages/1223ds91_a.jpg)
- before Scene 256 begins - and Mrs. Johnson makes an unscripted appearance in Scene 256 as she follows Joe and Willie -
(http://www.dsboards.com/91quoteimages/1223ds91_b.jpg)
(http://www.dsboards.com/91quoteimages/1223ds91_c.jpg)
- as they carry the chest - and which is obvious from today's capture and the captures above, it's actually Joe and Willie (and Mrs. Johnson) who are in the background and Liz and Barnabas who are in the foreground.
And as a side note, apparently even that nighttime shot of Collinwood is a victim of the incorrect color timing on the DVD sets:
(http://www.dsboards.com/91quoteimages/1223ds91_aa.jpg)
-
The start of the next scene as scripted for the sequence:
257 ANOTHER ANGLE
As Barnabas kneels to touch a beautiful 18th Century, French
CLOCK enclosed in a glass globe. He runs his hand lightly
across the glass.
|
And that's where Thursday's quote -
Page 115/Scene 257 - Barnabas: 'Not a mystery, a gift. It was a wedding present from Andre Dupres, whose daughter Josette was to marry Barnabas.'
- comes up. However, in the pilot it isn't so much a new scene as it is something else - but more on that next time when I deal with more quotes.
And when it comes to the dialogue, Barnabas delivers things pretty much as written with only a slight difference that isn't worth getting into.
But when it comes to the direction and descriptions, as can be seen in Thursday's capture -
(http://www.dsboards.com/91quoteimages/1224ds91_0.jpg)
- Barnabas does not kneel because the clock is right there on the table beside him - though he does run his hand lightly across the glass.
-
Finally picking things up with Liz' reaction to Barnabas knowing the history of the clock:
(CONTINUED)
__________________________________________________________________
Revised 2/27/90
257 CONTINUED:
Elizabeth smiles in wonderment.
|
And that's where Friday's first quote -
Page 116/Scene 257 - Liz: 'How in the world did you discover that?!'
- comes up, followed by the script continuing with:
Barnabas turns, glances at her. Just then, Julia can be seen
coming down the stairs in the b.g. He rises.
|
And that's when Friday's second quote -
Page 116/Scene 257 - Liz (CONT'D): 'Oh, Dr. Hoffman ... this is Barnabas Collins, my cousin from England.'
- comes up, followed by the script continuing with:
And that's when Friday's third quote -
Page 116/Scene 257 - Liz (CONT'D) (to Barnabas): 'Dr. Hoffman is staying with us to help Daphne recover.'
- comes up, followed by the script explaining:
Barnabas, suddenly very interested, steps forward to take
Julia's hand.
|
And that's when the first part of Saturday's first quote -
Page 116/Scene 257 - Barnabas: 'My pleasure, Doctor.'
- comes up, followed by the script continuing with:
A moment as their eyes meet, hold. Then:
|
And that's where the second part of Saturday's first quote -
Page 116/Scene 257 - Barnabas (CONT'D): A terrible misfortune. Will the young woman be all right?'
- comes up, followed by Saturday's second quote -
Page 116/Scene 257 - Julia: 'We're hopeful. (to Elizabeth) She's sleeping right now.'
- coming up.
And when it comes to the dialogue, Liz actually asks "Where in the world did you discover that?!" - and after Liz introduces Barnabas, Julia delivers an unscripted "Well, how do you do" before Liz explains why Julia is at Collinwood - but as for the rest of the dialogue, it's delivered pretty much as written with only a couple slight difference that aren't worth getting into.
But when it comes to the direction and descriptions, as I alluded to previously, what's indicated in the script as Scene 257 isn't so much a new scene in the pilot as it is a transition using some camerawork as the camera swings around behind Barnabas from his right to his left, as can be seen in Wednesday's, Thursday's and Friday's captures -
| (http://www.dsboards.com/91quoteimages/1223ds91_0.jpg) | (http://www.dsboards.com/91quoteimages/1224ds91_0.jpg) | (http://www.dsboards.com/91quoteimages/1225ds91_0.jpg) |
- and Liz' reaction to Barnabas knowing the history of the clock is much more one of shocked surprise than it is smiling in wonderment - and Barnabas doesn't rise as Julia approaches because he never knelt down in the first place - and as can be seen in the following capture -
(http://www.dsboards.com/91quoteimages/1225ds91_a.jpg)
- it's actually Julia who shakes Barnabas hand as she greets him before Liz explains about her so, therefore, Barnabas doesn't take Julia's hand after Liz has explained, nor does he step closer to Julia - and Barnabas and Julia's eyes don't meet and hold for a moment before Barnabas inquires if Daphne will be all right.
-
Picking up Scene 257 with Sunday's quote: Liz' explanation about Daphne's condition -
Page 116/Scene 257 - Liz (to Barnabas): 'Unfortunately, she still can't remember exactly what happened.'
- followed by Monday's first quote -
Page 116/Scene 257 - Julia: 'That may change. Today, we almost broke through her amnesia.'
coming up, followed by the script continuing with:
258 CLOSE - BARNABAS
As he reacts, then smiling:
|
And that's where Monday's second quote -
Page 116/Scene 258 - Barnabas: 'But that is good news.'
- comes up. And that's the end of that part of the sequence.
And as far as any differences in the dialogue go, Julia actually says "But things may change" - and Barnabas drops the "But" from his line, but he definitely still emphasizes the "is" even though, of course, it's far from good news to him.
And as far as any differences in the direction and descriptions go, in the pilot Scene 258 isn't actually a new and closer camera setup of Barnabas because as can be seen with the following two captures -
(http://www.dsboards.com/91quoteimages/1226ds91_0.jpg)
Page 116/Scene 257 - Barnabas (CONT'D): A terrible misfortune. Will the
young woman be all right?'
(http://www.dsboards.com/91quoteimages/1228ds91_1.jpg)
Page 116/Scene 258 - Barnabas: 'But that is good news.'
- it's pretty much exactly the same as the camera set up that was being used in Scene 257.
-
Dealing with the next several scenes in the sequence:
Revised 2/27/90
259 INT. DAPHNE'S ROOM
As her eyes suddenly pop open, her stare focused blankly in the
distance.
Rising stiffly, she slowly gets out of bed, walks trance-like to
the door, opens it, steps barefooted out into the hall.
260 INT. GREAT HALL
Where Julia, Barnabas and Elizabeth are still talking, as Joe
reenters having helped carry out the last piece of furniture.
Suddenly, he looks up, reacts o.s..
JOE
Daph ... !
The others quickly turn.
261 THEIR POV - DAPHNE
In her nightgown, standing at the top of the stairs, her body
rigid, staring down at them.
262 CLOSE - BARNABAS
AND FAST IN ON HIM as he tries to mask his emotions. His eyes
are riveted on her.
263 CLOSE - DAPHNE
Staring back at him, locked in his fierce gaze. She raises her
arms as if to protect herself, then... she collapses at the top
of the stairs.
264 FROM TOP OF STAIRS
With Daphne lying unconscious in the f.g., we SEE Joe bounding
up the stairs toward her. Julia and Elizabeth following quickly
behind.
He kneels by her, cradles her in his arms, begins gently
slapping her face.
|
And that's where Tuesday's quote -
Page 117/Scene 264 - Joe (frantic): 'Daph! Daph! Come on, baby, wake up!'
- comes up.
And as far as any differences in the dialogue go, at the outset of Scene 260, Barnabas actually delivers an unscripted "Be very careful with that, Willie" with reference to the clock - and Willie responds with an "Okay, Barnabas" as he picks up the clock - and as Willie takes the clock away, off screen Barnabas delivers an unscripted "My dear cousin, thank you very much. I can't tell you how grateful..." to Liz before being cut off by Joe calling out to Daphne - and as part of Scene 261, Joe delivers an unscripted "What are you doin' outta bed?" off screen - and as part of Scene 262, Joe delivers an unscripted "Hey, are you okay?" - and in Scene 264, as Joe rushes to Daphne's side, he delivers an unscripted "Daph! Daph! ... Daph!" before he reaches her to deliver Tuesday's quote, which is actually delivered as "Daph! Daph! Come on! Daph! Daph! Daph! Hey, come on, come on, come on! Hey, come on! Wake up!"
And as far as any differences in the direction and descriptions go, after Daphne wakes in Scene 259 and makes her way to the doorway of her room, she doesn't actually need to open the door because it's already open - and we can presume that she steps barefooted out into the hall, but we don't actually see her feet (though if this was the original show, we all know she would have gotten out of bed already wearing slippers or even shoes [nodassent]) - and Scene 260 does not begin with Julia, Barnabas and Elizabeth still talking but instead, as alluded to above and as can be seen in the following capture, with Barnabas telling Willie to be careful -
(http://www.dsboards.com/91quoteimages/1229ds91_a.jpg)
- as he picks up the clock from the table - and then after Willie picks up the clock, he takes it away as Joe enters the Great Hall and Barnabas thanks Liz - and as can be seen in this next capture -
(http://www.dsboards.com/91quoteimages/1229ds91_b.jpg)
- after Joe he looks up and he sees Daphne on the landing (though we don't), his reaction (calling out to her) occurs on screen - and while the others do quickly turn to see her, their reaction, as can be seen in the next capture -
(http://www.dsboards.com/91quoteimages/1229ds91_c.jpg)
- is actually shot from Daphne's POV - and Daphne doesn't actually raise her arms as if to protect herself before she collapses.
-
Finally getting back to wrap up the sequence and the entire script, beginning with the rest of Scene 264:
Now Julia and Elizabeth are there. Julia kneels beside the
girl, quickly takes her pulse.
Revised 2/27/90
265 CLOSE - DAPHNE
Her eyes begin to flutter, then open. She stares up at them,
that strange, trance-like look is still there.
Slowly she turns to look down toward the Great Hall, her face
registering a terrible fear.
266 CLOSE - JULIA
As she looks at the girl, frowns, turns to follow her stare.
267 HER POV - BARNABAS
And TIGHTENING TO HIM as he stands there, staring up at them.
268 BACK TO SCENE
As Joe hugs the girl gently to him, kisses her cheek.
JOE
You're gonna be okay, Daph.
You're gonna be okay
Julia's attention now comes back to Daphne.
|
And that's when December 30th's first quote -
Page 118/Scene 268 - Julia: 'Let's get her back to her room.'
- comes up, followed by the script explaining with:
Joe helps Daphne to her feet. Julia glances down the steep
flight of stairs.
|
And that's when December 30th's second quote -
Page 118/Scene 268 - Julia (CONT'D): '... and the first thing we're going to do is change her room to one downstairs.'
- comes up, followed in the script by:
She and Joe lead Daphne back toward her room. Before following,
Elizabeth turns to look back down at Barnabas.
|
And that's when December 31st's first quote -
Page 118/Scene 268 - Liz: 'Barnabas, I'm sorry...'
- comes up, followed by the script continuing with:
269 BARNABAS
As he raises his hand, as if to show he understands.
|
And that's when December 31st's second quote -
Page 118/Scene 269 - Barnabas: 'Of course ... I'd better be going.'
- comes up, followed by the script continuing with:
270 BACK TO ELIZABETH
As she nods, starts after the others.
Revised 2/27/90
271 CLOSE - BARNABAS
Eyes narrowing, as he stares after them. Then turning, he
strides out the door.
SLOWLY FADE OUT.
|
End of sequence. End of script. But that certainly wasn't the way the pilot ended - but more on that below...
And as far as any differences in the dialogue go, after Julia arrives at Daphne's side in Scene 264, Joe, in unscripted dialogue, continues to attempt to wake Daphne with "Daph, Daph, wake up. Come on" - and then, in more unscripted dialogue, he asks Julia "What's wrong with her?" before addressing Daphne again, in yet more unscripted dialogue, with "Daph", which then continues into Scene 265 with "Daph. Hey, hey, hey, hey. Hey, hey, hey, it's okay. It's okay. I'm here. It's okay." as she wakes up - and then in Scene 266 Joe is heard to say in even yet more unscripted dialogue "Ssh. It's okay. I'm here now. Breathe. Come on, breathe. It's okay. It's okay. Okay. Okay." as Julia turns to look down at Barnabas - and even in Scene 267 Joe continues softly with "Okay. Come one. Come on. It's okay", rather than what was scripted for him in Scene 268, which is dropped from that scene - but if you thought that means that's all there is from him, you'd be wrong because after Julia actually says "Let's take her to her room", Joe delivers an unscripted "C'mon" in Scene 268 as he helps Daphne to her feet (but other than that, there's no adlibbing from Joe/Michael T. Weiss [ghost_nowink]) - and Liz actually says "I'm sorry, Barnabas" when she apologizes to him - and he simply replies "Of course", with the "I'd better be going" part dropped.
And as far as any differences in the direction and descriptions go, in Scene 265 we do not see any eye fluttering from Daphne as she wakes, and when she does come around she doesn't look at either Joe or Julia because she immediately turns to look down at Barnabas - and Julia doesn't frown before she turns to follow Daphne's stare - and the camera doesn't tighten to Barnabas in Scene 267 while he's seen from Julia's POV because, as can be seen in the following capture -
(http://www.dsboards.com/91quoteimages/1230ds91_a.jpg)
- the scene remains a long shot - however, after the scene returns to showing Julia looking at him, it follows that with a tightening shot of Barnabas, but as can be seen in the following series of captures -
(http://www.dsboards.com/91quoteimages/1230ds91_b.jpg)
- it's taken from a different angle - and Julia doesn't actually glance down the steep flight of stairs because she directly addresses Liz when she says they're going to move Daphne downstairs - and not only does Joe help Daphne to her feet, but he picks her up in his arms - and Barnabas doesn't raises his hand in Scene 269, as if to show he understands - and Liz doesn't nod to Barnabas before she starts after the others - and after Barnabas begins to leave the foyer, as can be seen in this final capture -
(http://www.dsboards.com/91quoteimages/1231ds91_a.jpg)
- he actually stops to look back with a menacing expression on his face (no doubt when he decides there and then that Daphne is a definitely liability to him) before he moves off and the scene, rather than fading out as the end of the pilot, fades out as the next to last act break.
And I don't know about others, but I do think that moving these just wrapped Scenes 256 through 271 to follow Scene 232 in the pilot and moving Scenes 233 through 243H to act as the end of the pilot was a much more satisfying and a highly dramatic way for the pilot to conclude. Rather than simply making his way out of the Great Hall at Collinwood, Barnabas goes out collapsing to his knees and desperately lamenting that he cannot control himself. It's certainly much more suspenseful and far more likely to make a viewer want to tune in to see what happens next...
-
My good buddy Curt Ladnier just posted another collection of DS 1991 bumpers and ephemera he has digitized from his original 1991 home-recorded videotapes. You'll all have seen some of this in other venues, but there might be a few bits and bobs in here that are new. I don't know enough about it to confirm Curt's statement that some of this material has never been seen elsewhere since the original broadcasts:
https://www.youtube.com/watch?v=HmJIv3_CxS8
Best wishes,
G.
-
I don't know enough about it to confirm Curt's statement that some of this material has never been seen elsewhere since the original broadcasts
That is probably true in some of the cases - though I shared a lot of the same stuff back in '08 when we held the Watching Project for the '91 series. (And too bad he didn't share the "Lisa Going" promo - that screw-up was too [santa_rolleyes] (For those who don't recall, Joanna Going played Lisa Grady on Another World before joining DS and someone at NBC obviously confused Joanna with her AW character! But what would DS be without a flub like that?! [santa_wink]))
-
Question about the 1991 series: I decided to watch episode 6 this evening, which combines 2 to 3 months of the original 1967 storyline into 42 minutes. In a scene set in Carolyn's bedroom, she has this extraordinary, rather large high modern Satanic sculpture sitting near her bed. Does anyone recall reading anything about that? It stood out because so much of the set dressing in this series just seemed so unimaginative. But this was a brilliant touch, highlighting the evil influence Barnabas had his cousin under at this point in the story.
As usual I can't post an image but maybe somebody out there remembers this. It looks like a one of a kind sculpture.
G.
-
Question about the 1991 series: I decided to watch episode 6 this evening, which combines 2 to 3 months of the original 1967 storyline into 42 minutes.
Yes, unlike how a lot of the '91 Series' eps tend to condense about one month of the original shows' story, that ep picks and chooses elements from a few different months. But really that ep is somewhat of a major departure because it's really an amalgam given it includes things which are either more similar to hoDS or they never happened on the original show at all in the way they happen in the ep. For instance, yes, there was a costume party on the original show, but it was at the Old House and was ostensibly to celebrate the restoration, but on the '91 Series the party is tradition. And while on the original show a seance was held during the party and the seance turned out to have everything to do with Josette, using a Ouija board to possibly figure out who was behind all the recent attacks had never been done in any previous version of DS. In fact, though we saw crystal balls, we never saw a Ouija board on the original show. And Carolyn wasn't under Barnabas' power during the costume party on the original show, that was a circumstance in hoDS. And Barnabas wasn't against Julia during the party on the original show or the one in hoDS because with the former Julia wasn't even at Collinwood yet, and with the latter they barely knew each other.
In a scene set in Carolyn's bedroom, she has this extraordinary, rather large high modern Satanic sculpture sitting near her bed. Does anyone recall reading anything about that? It stood out because so much of the set dressing in this series just seemed so unimaginative. But this was a brilliant touch, highlighting the evil influence Barnabas had his cousin under at this point in the story.
Unfortunately, I haven't seen anything that talks about that particular piece of set dressing. But here are two screen caps of it:
(http://www.dsboards.com/91quoteimages_A/sculpture1.jpg)
(http://www.dsboards.com/91quoteimages_A/sculpture2.jpg)
Frankly, I think I'd be afraid to have that anywhere in my house because I'd be afraid the antlers might poke someone's eye out!! [ghost_wink]
And apologies for taking the caps from the DVD rather than the VHS, but as I've said before, taking caps from the VHS is a huge process. In this case, anyway, taking caps from the DVD not only still gets the same point across, the incorrect color timing helps to see the sculpture better...
-
Thanks for those great captures! I also thought that it would be amazing if Carolyn didn't impale herself on that thing getting out of bed in the middle of the night.
The specifics of her final attack on Julia made me think of an episode from the Summer 1968 storyline in which Cassandra pays a late night visit with a special treat for Adam when he's sleeping in a room in the West Wing. If that were true, that would mean that this episode didn't just condense material from separate months, but YEARS of the original show--LOL.
Maggie's Ouija board had a pentagram on it which I thought was another cool touch.
G.
-
Maggie's Ouija board had a pentagram on it which I thought was another cool touch.
Yes, I also thought that was a nice touch.
(http://www.dsboards.com/91quoteimages_A/ouija.jpg)
I wonder if the show bought that Ouija board or made it for the show and possibly added the pentagram themselves? I have a Ouija board, but it's packed away down my basement. I'm going to have to dig it out to see if it also has a similar pentagram. My guess is it probably doesn't...
-
That looks like a specially made board for the show. I've seen a lot of Ouija boards in my time and never come across one with that design. I think in the dialogue it may have been called a "spirit" board possibly because the name Ouija is under copyright from Parker Bros.
The standard design for the board is pretty non-threatening. But that hasn't stopped a lot of people from imputing diabolical powers to these things. I think there was this tacky horror movie in the 80s called "Witchboard" that helped feed the hysteria.
Nice shot MB!
G.
-
I checked for photos of Ouija boards online and then I went to dig mine out. I was surprised that I have this one -
(http://www.dsboards.com/images/ouija2.jpg)
- because I could have sworn I was going to find this one -
(http://www.dsboards.com/images/ouija3.jpg)
- but I guess I must have seen that design somewhere else and it just stuck in my mind.
Mine was a gift so I have no idea where the person who gave it to me got it. And as you can see, mine does indeed have pentagrams, but they're on the bottom left and right rather than in the center, and the pentagrams are a lot smaller than the one on Maggie's.
It's interesting that there also seems to be a design with stars on both the bottom left and right -
(http://www.dsboards.com/images/ouija4.jpg)
- however, there is a design with a center pentagram -
(http://www.dsboards.com/images/center2.jpg)
- though it's upside down, never a good thing if we can believe DS and other sources, and these next two designs seem positively scary -
(http://www.dsboards.com/images/upsidedown.jpg)
(http://www.dsboards.com/images/center3.jpg)
- but that's probably because of the reputation ouija boards have and, well, the upside down pentagrams along with the demon don't help! [ghost_wink] [ghost_cheesy]
-
I really appreciate the in-depth analysis of the script and different versions.
You really went above and beyond my expectations for anything like this Mysterious Benefactor.
In a way it’s too bad some of the character moments were edited out, but I imagine they were banking on the Victoria and Barnabas relationship to really sell the show. As a kid that is what really sold me on the 91 series, so I can understand the focus.
The next time I watch the pilot movie I’ll definitely have a better connection to all these details.
-
[pointing-up] I'm sorry you had to read the topic without all the links to the screen caps working. [hall2_embarrassed] I haven't found the time to fix them. But once I do, I'll post about it, and then maybe you'd like to come back and check them out...
As for the work I put into the topic, believe me, it was a labor of love. [hall2_smiley]
-
The missing picture/ videos didn’t bother me much, but I will check this out again.
I’m looking forward to watching my DVD’s of the 1991 series.
:) thanks again.