The Return of Yet Another New Slideshow (Sort of) [** Now featuring unshot Julia material - see reply #194**]

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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?"

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

And finally wrapping up the sequence by picking up after the scripted uncomfortable moment of David pulling away from Roger:

But Vicki steps in.

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:

Ep #1 - Barnabas: 'I hope I haven't upset the boy.'

[Mysterious Benefactor]

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.

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

Oops - I forgot all about getting back to the differences! 

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."

[Mysterious Benefactor]

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...

[Cousin_Barnabas]

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.   

[Mysterious Benefactor]

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!"

[Mysterious Benefactor]

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."

[Mysterious Benefactor]

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...

[Mysterious Benefactor]

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...