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

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 -

- 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:

Julia crosses to them.

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 -

- 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 -

- 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 -

Page 116/Scene 257 - Barnabas (CONT'D): A terrible misfortune. Will the
young woman be all right?'

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  ) - 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 -

- 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 -

- 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 -

- 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  ) - 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 -

- 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 -

- 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 -

- 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 (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?!  ))

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:

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!! 

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.

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 -

- because I could have sworn I was going to find this one -

- 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 -

- however, there is a design with a center pentagram -

- 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 -

- but that's probably because of the reputation ouija boards have and, well, the upside down pentagrams along with the demon don't help!   

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. 

   I'm sorry you had to read the topic without all the links to the screen caps working.    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.