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

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 -

- 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 -

- 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 -

- 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":

She laughs softly.

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:

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 -

- 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". 

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 -

- at the outset of Scene 243H, but in the pilot he does not stop quite yet because we see yet another shot of Sarah -

- 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 -

- 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 -

- while also examining her wound.