Author Topic: The Return of Yet Another New Slideshow (Sort of) [ Now featuring unshot Julia material - see reply #194] (Read 39709 times)

Mysterious Benefactor · « **Reply #255 on:** November 02, 2015, 11:36:06 PM »

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).

Mysterious Benefactor · « **Reply #256 on:** November 03, 2015, 10:38:08 PM »

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 -

- 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 -

- 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:

Mysterious Benefactor · « **Reply #257 on:** November 04, 2015, 09:10:25 PM »

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 -

- 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...

Mysterious Benefactor · « **Reply #258 on:** November 05, 2015, 08:40:16 PM »

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.

Mysterious Benefactor · « **Reply #259 on:** November 07, 2015, 08:30:03 PM »

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.

Mysterious Benefactor · « **Reply #260 on:** November 09, 2015, 09:42:12 PM »

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.

Mysterious Benefactor · « **Reply #261 on:** November 11, 2015, 12:32:07 AM »

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.

Mysterious Benefactor · « **Reply #262 on:** November 12, 2015, 12:50:16 AM »

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 -

- 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!

Gothick · « **Reply #263 on:** November 12, 2015, 04:01:48 AM »

Not sure what Nathan Forbes' revolutionary wang has to do with this, but I'll take what I can get.

Bottoms up?

G.

Mysterious Benefactor · « **Reply #264 on:** November 12, 2015, 10:26:40 PM »

That was partly in honor of yesterday's holiday - but also up for interpretation if one considers Nathan's seemingly favorite pastime!!

And there were actually three different versions of it that alternated between running at the bottom of every other post that I made yesterday...

Mysterious Benefactor · « **Reply #265 on:** November 13, 2015, 01:04:58 AM »

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.

Mysterious Benefactor · « **Reply #266 on:** November 15, 2015, 12:02:31 AM »

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.

Mysterious Benefactor · « **Reply #267 on:** November 16, 2015, 01:44:12 AM »

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 . . .

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...

Mysterious Benefactor · « **Reply #268 on:** November 16, 2015, 10:16:41 PM »

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.

Mysterious Benefactor · « **Reply #269 on:** November 17, 2015, 11:10:18 PM »

Before we get into what the next sequence in the script is (although it's already pretty obvious given today's capture

), 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...

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