And Even Yet Another New Slideshow

[Josette]

Wowie!!!  Usually one sees a little bite mark on the neck.  That's an unbelievable take on it, particularly since this is Carolyn and not some unknown victim.

[Nicky]

Lest we ever forget, almost every incarnation of a Nancy Barrett character (including the poor Carolyn of HODS) became Barnabas fodder:  current time Carolyn, Millicent in 1795, Charity in 1897, the Carolyn of PT 1970; only Leticia escaped, I think (although I suppose Melanie did too; after all, doesn't Ben gently remind us that the bites really were just an animal's?  I wouldn't actually know; I've never seen the last episode all the way through.  I tried really darned hard this time, but 1840 bored the crap outta me and I could NOT get into 1841 PT.  But I digress.  Carolyn Stoddard ... chomped.)

[Mysterious Benefactor]

Before I finally get into the ways in which the release of Angelique scene is different in the pilot vs. the script, I'd like to say that, while I understand why the pilot combined the dining room scene in which Vicki asks about David with the scene in which Elizabeth actually tells Vicki about David's mother and all of that plays much earlier in the pilot, the opening of the release of Angelique scene really does play more interestingly in the script than it does in the pilot because in the script, rather than coming after the discovery of Kelly's body, as it does it the pilot, it comes directly after Elizabeth and Vicki have been discussing David's mother, so there could be an even greater possibility in the audience's minds that the woman's voice calling to David really could have been his mother's voice. But alas, that's not the way things play out in the pilot.

But anyway, the first difference is that rather than David asking:

Half-asleep, David turns toward the window.

...

DAVID
Wha... what's wrong?

...

David actually asks "Mamma, what's wrong?"

Then, rather than simply responding with:

WOMAN'S VOICE
Help me... please...

The voice calls out with "Help me... please, David, help me..." and as David makes his way to the cemetery, it continues to call out with "David, help me...", "Daaaavid..." again, and "Help me!" rather than the scripted line of:

WOMAN'S VOICE
It's so dark... Help me...

Then, rather than:

... At the base of the trees, a MOUND OF LEAVES AND DIRT.

WOMAN'S VOICE CONT'D)
David... I'm here...

In the pilot it's "I'm here, David..." followed then by "It's so dark..." And after David has feverishly dug though the leaves and muck to uncover the bones beneath, David does not scream -

DAVID
NO!

- as scripted. Nor does he discover that religious crosses dangle from the skeleton's neck. Instead, there is a jewel encrusted dagger stuck into the chest. Though when the voice asks that it be taken away, David does so. And it's at that point that Angelique announces "I'm here, David" and appears in the flesh, so to speak. And after David asks who she is and whether or not she's alive, rather than the way things are scripted -

Dressed, in 18th-century servant's clothing, her blonde hair aglow in the moonlight. She smiles darkly and begins to FLOAT toward David, unnatural, her arms reaching out to him.

- Angelique isn't dressed in an 18th-century white servant's dress with her blonde hair aglow in the moonlight. For one, the pilot's Angelique is a redhead - and for two, she's dressed in a red flowing dress as she is in this publicity still:

And in addition, as Angelique moves toward David, she does not deliver the line -

ANGELIQUE (CONT'D)
But we will be friends all the
same.

- as scripted but rather "But I shall love you... all the same" as she approaches him. To which David does not respond with -

DAVID
No... NOOOO!!

- but rather the terrified boy screams at the top of his lungs.

FADE OUT

END OF ACT THREE

[Gothick]

That's a great still of Ivana as Angelique.  I don't recall having seen that and I certainly don't recall the red hair.

Was I asleep at this point?  I do actually recall the ending of the pilot.  I hated it.

But, onwards.  Great shot of Carolyn after Barnabas has been her his "attentions>

G.

[Mysterious Benefactor]

Getting back to nearly the present point in the slideshow, here's how the scene that takes place the morning after David's frantic return to Collinwood plays in the script:

EXT. COLLINWOOD - DAY

Late afternoon... long shadows cross the grounds.

INT. DAVID'S BEDROOM - DAY

The door opens and Victoria looks in. A mound under the covers suggests David's still asleep.

VICTORIA
David? It's almost 4:00... you've
been sleeping all day.

Only silence from the bed. Moving quietly, Victoria enters David's room, noticing a

PHOTO

on the bed-stand. It's in a colorful frame, the words "Mom And Me" printed in the plastic. As Victoria holds the photo to the light, she sees a much younger David, smiling and happy, standing next to a woman. Eerily, though, the

WOMAN'S FACE HAS BEEN TORN OUT,

leaving only a ragged, empty hole. Victoria stares at the bizarre image with a SHIVER, then reaches out toward the bed.

VICTORIA (CONT'D)
David?

As she gently shakes the blankets, they fall away, revealing an arrangement of PILLOWS and

ANGELIQUE'S SILVER AMULET

lying on the sheet. Realizing David's gone, Victoria grabs the amulet and bolts for the door.

However things don't quite play out entirely like that. And once we get to how they do play out, it will be clear as to why the current slideshow scene between Vicki and Sophia was dropped. But more on that after I catch up to explaining the differences in this scene...

[Mysterious Benefactor]

And here's how the script plays up to the point that we're at in the current scene:

INT. KITCHEN - COLLINWOOD - DAY

Victoria rushes into the kitchen, finding Sophia chopping vegetables for dinner.

VICTORIA
Sophia, have you seen David?

SOPHIA
He grabbed a sandwich about an hour
ago and took off. Why?

[Mysterious Benefactor]

As you've probably already figured out by today's quote, the slideshow has moved on to another scene without concluding the kitchen scene between Vicki and Sophia. That's because 1) there are so many short scenes in the script to cover for October, and 2) the kitchen scene was never even shot for the pilot. But picking up exactly where we left off, here's how the scene concludes in the script:

VICTORIA
Did he say where he was going?

SOPHIA
No, he just ran outside... is
something wrong?

Victoria opens her hand, looking at the silver amulet.

VICTORIA
I need a car... and directions to
the old house.

OFF Victoria's determination...

Vicki does indeed go to the Old House after having discovered that David is not in his bedroom - but she's prompted to do so in a different manner that I'll deal with once I get to explain the differences between the way the bedroom scene plays in the script vs. the pilot...

[Gothick]

I think one more Barnabas scene--maybe the last one?--may be coming up!  Whoo and Hoo.

I didn't realize that Alec Newman had so little to do in this.  It would help if I could remember more about the screening.

G.

[Mysterious Benefactor]

And as you've also probably already figured out by now given the graphic displaying for the past couple of days, the latest scene in the slideshow is also another that was never shot. And the reason why the background of the graphic is blank is because the scene takes place outside the Old House, and considering that the exterior of the Old House was completely CGI and no photos and/or captures have ever been released publicly, there's nothing to share (though if you do want to have at least some idea of what the Old House looked like, revisit reply #51 on page #4 of this topic).

So, without further ado, here's how the scene plays in the script up to the point that we're at in the slideshow:

EXT. OLD MANOR HOUSE - DAY

The afternoon shadows are lengthening as Victoria pulls up behind the old manor house and parks next to several construction vehicles. As she gets out, several

CONSTRUCTION WORKMEN

approach carrying tools and lunch boxes, like they're finishing for the day.

VICTORIA
Excuse roe, is Mr. Collins inside?

WORKMAN
(a derisive snort)
Mr. Collins? I wouldn't even know
what the dude looks like.

[Mysterious Benefactor]

I think one more Barnabas scene--maybe the last one?--may be coming up!  Whoo and Hoo.

Once I get to explain the differences in the next upcoming scene, Barnabas will indeed make an appearance, though not in the scene that I suspect you may be thinking about because that particular scene is a while off yet...

I didn't realize that Alec Newman had so little to do in this.

Yes, Barnabas definitely isn't the center of attention in the pilot - though in my opinion that's a good thing because most of the main characters get exposure pretty much equally and, frankly, that's the way it should be.

If any character has the most focus, it's Vicki. And again, that's a good thing because, in the pilot anyway, part of her role is to be the stand in for the audience as we learn about almost all the characters through her.

[Mysterious Benefactor]

The slideshow has skipped some dialogue in the current scene, so picking right after the workman says that he wouldn't even know what Barnabas looks like:

Victoria is puzzled by that, but has more pressing concerns.

VICTORIA
I'm looking for a little boy...
he's nine, brown hair...

The WORKMAN considers, nodding back toward the old house.

WORKMAN
I haven't seen anyone, but the
foreman's still inside. He might
know something.

Victoria nods her thanks and continues toward the

OLD MANOR HOUSE.

As she approaches, she's awed by its sheer Gothic "presence." It's a towering stone edifice that's on the verge of collapse. Parts of the roof have already fallen in, exposing the interior to the elements, and a mossy

STONE STAIRWAY

leads up to the battered front door. Yellow "DANGER - CONSTRUCTION" tape is everywhere, circling stacks of lumber and construction equipment. Victoria ducks under the tape and goes up the stone steps, peeking inside the door.

And it's at that point that today's quote comes up -

Page 50 - Victoria: 'Hello? David?'

- to brings things up to date.

[Gothick]

that's a very cool description of the Old House.

Given how dilapidated it is, I wonder where Barnabas is supposed to be keeping his coffin at this point?  In the Secret Room?

G.

[Mysterious Benefactor]

Remember, that's how the Old House is described in the script. As we'll discover very soon, much of it is actually in much better condition by the time we see it in the pilot. Apparently the workmen Barnabas hired are exceptionally talented to get so much done in about three weeks.

And interestingly enough, Barnabas doesn't have a coffin at the Old House. Where he rests during the day should prove quite interesting for those who don't know or don't remember. 

[Gothick]

Wow, the image was updated to show a gorgeous interior of the OH.  I have no memory at all of this. 

I love surprises and I love having a treat to anticipate, so I look forward to the horrifying revelation regarding the coffin of Barnabas Collins!

G.

[Mysterious Benefactor]

Once again the slideshow has already moved on to a new scene without finishing the previous one, so picking up where we left off with Vicki calling out to David from the outside of the Old House:

No answer. She's not sure how to proceed when she spots

A CHILD'S JACKET

lying rumpled near the front door. She picks it up and checks inside the collar, finding the name "DAVID C." written in laundry pen.

VICTORIA (CONT'D)
David!

Concerned, Victoria pushes inside.

End of previous scene. Though keep in mind that none of that scene is in the pilot because it was never shot. In fact, once Vicki discovers what David is up to, the pilot moves from the scene in David's bedroom to one inside of the Old House - though rather than having Vicki searching for David, it's David searching for Sarah (which is why David is featured in today's graphic). But more on that once I catch up to it to explain the differences between the script and the pilot...