Author Topic: The Return of Yet Another New Slideshow (Sort of) [ Now featuring unshot Julia material - see reply #194] (Read 39510 times)

Mysterious Benefactor · « **Reply #165 on:** June 30, 2015, 10:26:13 PM »

And here's how Scene 144 plays in the pilot:

144 EXT. CAROLYN'S CAR - DRIVING - DAY Carolyn is driving her small, blue convertible. Vicki, in jeans and an oversized white knit turtleneck sweater, is beside her. Carolyn has been talking. CAROLYN So, when my mother called, I gave up the bright lights and came home. VICKI That's too bad. CAROLYN Tell me ... I was just starting to get somewhere. VICKI Well, are you still taking pictures? Carolyn looks at her and nods. (CONTINUED)

Revised 2/28/90 144 CONTINUED: CAROLYN Some. VICKI Well, maybe now that I'm here you can go back. They've reached the stable area. Carolyn pulls into the driveway. CAROLYN Yeah, it'd be, uh kind of tough to leave, ya know, right now. VICKI Yeah. I guess you're right. Carolyn parks, and Vicki gets out. VICKI Thanks, Carolyn. CAROLYN Take the chestnut mare. (a smile) Her name's Carolyn. I'll see you later. VICKI Okay. And putting the car in gear, Carolyn pulls away as Vicki turns, walks into the stable.

I suspect that perhaps the changes were made because initially when the script was written it was intended for Carolyn to be a few years younger than Vicki, as was the case on the original series. But after Barbara Blackburn was cast as Carolyn I suppose they figured they should age her and give Carolyn a career that she'd left behind to come back to Collinwood. Though very little of that matters so far as the NBC version of the pilot goes because basically all of Scene 144 was cut in that version and wasn't seen until the MPI VHS was released. The only thing that was seen on NBC was:

And putting the car in gear, Carolyn pulls away as Vicki turns, walks into the stable.

However, this moment from the restored footage was featured in the original slideshow:

Ep #1 (Extended) - Carolyn: 'It'd be, uh, kind of tough to
leave, you know, right now.'

And it shouldn't go without saying that today's quote -

Page 60A/Scene 144 - Carolyn: 'Take the chestnut mare. (a smile) Her name's Carolyn. I'll see you later.'

- is the one bit of dialogue that remains from the originally scripted version of the scene.

Mysterious Benefactor · « **Reply #166 on:** July 01, 2015, 09:44:52 PM »

And setting up the current scene:

145 INT. STABLE - DAY As Vicki enters, crosses to the stalls, where two or three horses stand quietly munching hay. (CONTINUED)

Revised 2/28/90 145 CONTINUED: VICKI Carolyn? A beautiful chestnut mare thrusts her head out of one of the stalls, whinnies. Vicki pulls a couple of pieces of sugar out of her pocket, the horse licks them out of her hand. She smiles. VICKI (CONT’D) You like that do you? She rubs its silken nose ... Suddenly a NOISE behind her. She jerks around ... 146 WILLIE Standing directly in back of her. VICKI Willie!

And that's when today's quote -

Page 61/Scene 146 - Willie: 'Don't be afraid, Miss Winters... I ain't gonna hurt ya.'

- comes up.

And as for differences, unfortunately for the two horses who are introduced in Scene 145, quite possibly they remained hungry because they're not seen quietly munching hay because they're simply standing in the openings to their stalls - and Vicki actually greats a black and white horse with an unscripted "Hi" as she goes over to it and rubs its nose and then says an unscripted "Hey there" - then she turns her attention to Carolyn with a big smile and a "Hi, Carolyn. Hi" before she takes out the sugar and gives it to Carolyn and then observes "Oh, you like that, don't you? Oh" - and Vicki doesn't actually hear a noise to alert her to Willie's arrival - he quietly appears from around a corner in the stable and she simply turns and is then startled to see him standing there.

Mysterious Benefactor · « **Reply #167 on:** July 10, 2015, 10:22:07 PM »

Picking up Scene 146 with Vicki's reaction to Willie:

Vicki stares at him. There's something strangely different about him ... He's oddly docile, almost child-like in a pathetic, sad way.

And that's when last Thursday's quote -

Page 61/Scene 146 - Vicki: 'Willie! Where have you been? Everybody's looking for you.'

- comes up, followed in the script by:

WILLIE Wh-- Why?!

And that's when last Friday's quote -

Page 61/Scene 146 - Vicki: 'They think you had something to do with what happened to Daphne.'

- comes up, followed in the script by:

Willie stares at her, suddenly becomes agitated.

And that's when Saturday's quote -

Page 61/Scene 146 - Willie: 'Daphne?! Wha--what happened to her?'

- comes up, followed by Sunday's quote -

Page 61/Scene 146 - Vicki: 'She's in the hospital. Someone attacked her.'

- coming up, followed in the script by:

Willie is stunned, becomes even more frightened. He knows it had to be Barnabas. (CONTINUED)

146 CONTINUED:

And that's when last Monday's quote -

Page 62/Scene 146 - Willie: 'Well, it ... it wasn't me, Miss Winters. I wouldn't do nothin' like that.'

- comes up, followed in the script by:

He nervously touches a dirty bandage on his neck.

And that's when last Tuesday's quote -

Page 62/Scene 146 - Vicki: 'Did you cut yourself, Willie?'

- comes up, followed in the script by:

He turns up the collar of his shirt, buttons it to conceal the dressing.

And that's when Wednesday's quote -

Page 62/Scene 146 - Willie: 'Huh? Yeah, I...I fell...'

- comes up, followed by yesterday's first quote -

Page 62/Scene 146 - Vicki: 'Willie ... I think maybe you should talk to someone ...'

- coming up, followed by yesterday's second quote -

Page 62/Scene 146 - Willie: 'No, no ... I don't want to!'

- coming up.

And when it comes to differences in the dialogue, there are a few words changed here and there, but nothing really worth getting into. However, when it comes to some of the actions described in the script, there are significant differences because Willie doesn't become agitated when Vicki mentions Daphne, nor does he become even more frightened when he learns Daphne was attacked - he remains docile throughout, and if he has a clue that Barnabas was responsible for the attack on Daphne, it isn't all that noticeable that that's his thought, though he does nervously touch the bandage on his neck - but when Vicki asks if he's hurt himself, Willie doesn't turn up the collar of his shirt or button it to conceal the dressing - however, what he does do is start to cry, and that's what prompts Vicki to suggest that he talk to someone.

Mysterious Benefactor · « **Reply #168 on:** July 11, 2015, 09:40:31 PM »

As was pretty obvious when it came to yesterday's installment in the slideshow -

Page 62/Scene 146 - Roger (O.S.): 'LOOMIS! WHERE HAVE
YOU BEEN?!'

- things changed between the script and the pilot because clearly Roger didn't deliver his lines off screen in the pilot.

Here's how things play in the script:

Suddenly, o.s., We HEAR the SOUND of a HORSE BEING RIDDEN INTO THE STABLE, and ROGER'S VOICE: ROGER (O.S.) LOOMIS! WHERE HAVE YOU BEEN?! Terrified, Willie turns. 147 ANOTHER ANGLE TO INCLUDE Roger angrily dismounting from a big, black STALLION. WILLIE (stammering) I ain't been no where, Mr. Collins. Roger tethers his horse, strides toward Willie, grabs him by the shirt front.

However, the way things actually play out in the pilot is that after Willie tells Vicki that he doesn't want to talk to someone, he suddenly gets a terrified expression on his face, and then we see outside the stable as a stablehand holds Roger's horse as Roger dismounts from the horse and stares right at Willie through one of the windows - and Roger then moves to enter stable - and Scene 147 actually begins in the pilot with Roger startling both Vicki and Willie as he violently slaps his riding crop against the open door to the stable as he storms inside and demands, as in yesterday's quote, to know where Willie's been as he makes a beeline to Willie as Willie claims, as in today's installment of the slideshow, that he hasn't been "no where" (yes, that's the way it's written in the script) and continues with an unscripted "I swear, Mr. Collins" - and as Roger reaches out to grab Willie, Willie pleads with an unscripted "No, please." Presumably the stablehand takes care of Roger's horse, but we don't see any of that.

Mysterious Benefactor · « **Reply #169 on:** July 17, 2015, 10:00:06 PM »

Finally picking up Scene 147 with Vicki's reaction after Roger grabs Willie:

Sunday's first quote -

Page 62/Scene 147 - Vicki: 'Please, Mr. Collins! He's hurt.'

- comes up, followed by Sunday's second quote -

Page 62/Scene 147 - Roger (snaps): 'Stay out of this, Miss Winters.'

coming up, followed in the script by:

Willie's eyes dart frantically from one to the other. (CONTINUED)

147 CONTINUED:

And that's when Monday's quote -

Page 63/Scene 147 - Vicki: 'He's not well. There's no need to be so rough with him!'

- comes up, followed by the script explaining:

Roger, still holding Willie by the shirt, turns to her.

And that's when Tuesday's first quote -

Page 63/Scene 147 - Roger: 'He's only drunk.'

- comes up, followed in the script by:

Then, dragging Willie toward the stable doors:

And that's when Tuesday's second quote -

Page 63/Scene 147 - Roger (CONT'D): 'The Sheriff wants to talk to you, Loomis.'

- comes up, followed by the script wrapping up the scene with:

And, as a concerned Vicki follows them out into the yard, we...

And as far as differences go, again, the dialogue is all basically the same as scripted save for a few words dropped here and there. What is worth getting into is that we don't see Willie’s eyes dart frantically between Vicki and Roger as they argue - Roger doesn't turn to Vicki before he insists Willie is only drunk because he keeps all his attention on Willie - as Roger drags Willie out of the stables, Willie turns back to look at Vicki as if he's begging for help - and we only see an extremely concerned and determined Vicki begin to follow them.

Mysterious Benefactor · « **Reply #170 on:** July 18, 2015, 10:50:06 PM »

And finally setting up the current sequence:

148 INT. COLLINWOOD - KITCHEN - NIGHT CLOSE ON Sheriff Patterson as he talks BY CAMERA. PATTERSON All right, Willie ... after you dropped off Miss Winters ... where did you go.? 149 ANOTHER ANGLE TO REVEAL Sheriff Patterson standing in front of a very frightened Willie, who is sitting in a kitchen chair, looking up at him. Also in attendance are Roger, Elizabeth, a very worried Mrs. Johnson, and Vicki. WILLIE I din't go nowhere... I just came back to the stables and got drunk... Patterson squints at Willie for a long moment. Willie squirms uncomfortably in his chair. PATTERSON What are you so nervous about, Willie? Willie throws a panicky look at Vicki, who gives him a nod of encouragement. (CONTINUED)

149 CONTINUED: WLLLIE I'm not nervous ... I'm just ... just ... Exasperated, Patterson leans toward Willie.

And that's when Wednesday's first quote -

Page 64/Scene 149 - Patterson: 'Okay, Willie, where were you the last three days?'

- comes up, followed by Wednesday's second quote -

Page 64/Scene 149 - Willie: 'Working. I was working...'

- coming up, followed in the script by:

ROGER Not here you weren't... A beat, as Willie looks from one to the other. WILLIE I was workin' somewhere else. ROGER (exasperated) George, how long are you going to put up with this?

And that's when Thursday's first quote -

Page 64/Scene 149 - Vicki: 'I'm sorry ... I know it's none of my business...'

- comes up followed by Thursday's second quote -

Page 64/Scene 149 - Roger: 'That's absolutely correct, Miss Winters.'

- coming up, followed by Thursday's third quote -

Page 64/Scene 149 - Vicki: 'How do you know he's not telling the truth?'

- coming up, followed by the script explaining:

Willie begins to whimper.

And that's when Friday's quote -

Page 64/Scene 149 - Willie: 'Please, I'm tellin' the truth. I don't feel so good.'

- comes up.

And when it comes to differences, there's really only one worth mentioning and that's that after Roger points out that Willie wasn't working at Collinwood, Willie doesn't look from Roger to the Sheriff, he simply says defiantly that he was working somewhere else.

Mysterious Benefactor · « **Reply #171 on:** July 27, 2015, 10:10:06 PM »

And finally concluding the above sequence:

PATTERSON All right, Willie, where were you working?

And that's when the 18th's quote -

Page 64/Scene 149 - BARNABAS (O.S.): 'He was working for me, Sheriff.'

- comes up, followed in the script by:

Shocked, they all turn to see Barnabas standing in the door (CONTINUED)

149 CONTINUED: (2) BARNABAS (CONT'D) I'm terribly sorry, but when no one answered the door, I took the liberty of letting myself in. (crosses to them) Willie is indeed telling the truth. He was pointed out in town as someone who knew the property and could be of great help to me. If I have created a problem, I beg your forgiveness. The Sheriff sighs, exchanges looks with Elizabeth and Roger...

And that's when the 19th's quote -

Page 65/Scene 149 - Roger: 'It would have been nice if someone had told us.'

- comes up, followed by the script continuing with:

Willie looks at him. WILLIE I'm sorry. I shoulda told you ... (then, to Patterson) But I know I been no good here gettin' drunk all the time and stuff like that. And Mr. Collins, he never did like me. (casts his eyes down) And I don't really blame him. (looks up at them again) I knew he was gonna fire me, so that's why I took the job. 150 FAVORING VICKI Her heart is breaking for this pathetic soul....

And that's when the 20th's quote -

Page 65/Scene 150 - Roger: 'You don't know what you're taking on here, Barnabas.'

- comes up, followed by the 21st's first quote -

Page 65/Scene 150 - Barnabas: 'Perhaps ... But I somehow feel that Willie truly wants to make a new start. (looks at Willie) Don't you, Willie?'

- coming up, followed by the 21st's second quote -

Page 65/Scene 150 - Willie (too quickly): 'Yeah, yeah... I do.''

- coming up, followed in the script by:

(CONTINUED)

150 CONTINUED:

And that's when the 22nd's quote -

Page 66/Scene 150 - Mrs. Johnson (a smile): 'Well that's fine, Willie. Helping Mr. Collins is a very good place to begin.'

- comes up, followed by the script continuing with:

BARNABAS Now, if you have no more for him, we have much work to do. PATTERSON (a beat) All right, Mr. Collins, you can take him with you. BARNABAS Thank you. (then, to the others)

And that's when the 23rd's quote -

Page 66/Scene 150 - Barnabas: 'By the way, you will all be amazed to see the marvelous progress we've been making. I've actually been able to move in.'

- comes up, followed by the script continuing with:

He directs the following to Vicki: BARNABAS (CONT’D) You must all come to see for yourselves. Vicki smiles at him. 151 CLOSE - BARNABAS As he turns to Willie. BARNABAS (CONT”D) All right, Willie. Come along... PAN WITH HIM as he starts for the door. As he passes Vicki, their eyes meet ... Then, HOLD on her as she watches him go.

And that's when the 24th's quote -

Page 66/Scene 151 - Mrs. Johnson (O.S.): 'All I can say is, Barnabas Collins must be a wonderful man.'

- comes up, followed by the script continuing with:

And on Vicki's pensive look, we . . .

And that concludes the sequence.

And when it comes to differences, as far as the scripted dialogue goes, again, there's not much different except for a word or two here and there - however there are some unscripted bits of dialogue added, as well as a switch in the order a line is delivered. After Barnabas appears and tells Patterson that Willie has been working for him, Roger introduces Barnabas with an unscripted "Sheriff Patterson, Barnabas Collins, our cousin" and Patterson responds with an unscripted "Mr. Collins" and shakes Barnabas' hand - and after Barnabas thanks Patterson for saying Barnabas can take Willie with him, Barnabas turns to Willie with a smile and says "Come along, Willie", rather than a similar line being the last bit of Barnabas' dialogue in the scene, and Willie gets up and both he and Barnabas move to the door - and since Barnabas asking Willie to come along with him happens a bit earlier in the scene, Barnabas' last bit of dialogue is actually an unscripted "Good evening", and then he turns to leave.

And when it comes to some of the differences from the directions in the script, there are several, as in Barnabas actually crosses to them after he shakes Patterson's hand and explains how he let himself in and he looks at Willie as he begins to explain that Willie is telling the truth - after which Patterson doesn't sigh, but he does exchange looks with Liz and a rather perturbed Roger - and as Willie is explaining his supposed reasons for "taking" the job with Barnabas, Scene 150 is much more than Vicki's heart breaking for Willie because Barnabas actually turns to her, and the two share a look with Vicki giving him a slight, somewhat nervous smile - and unlike the script indicating that Mrs. Johnson delivers her opinion on screen that working for Barnabas is a good way for Willie to begin a new start, she actually delivers those lines off screen -

Page 66/Scene 150 - Mrs. Johnson (a smile): 'Well that's fine,
Willie. Helping Mr. Collins is a very good place to begin.'

- and Vicki and Barnabas' eyes don't actually meet as he makes his way to the door (since he's already there), Scene 151 actually begins with Barnabas mentioning the progress that's been made at the Old House, and his and Vicki's eyes meet after he directs his comment to her that they must come to see the progress at the Old House for themselves and as she smiles at him - And in an exact opposite of the earlier Mrs. Johnson situation, unlike the script indicating that Mrs. Johnson delivers her compliment of Barnabas off screen, she actually delivers it on screen -

Page 66/Scene 151 - Mrs. Johnson (O.S.): 'All I can say is,
Barnabas Collins must be a wonderful man.'

- and along with looking pensive, Vicki smiles at Mrs. Johnson's comment that Barnabas must be a wonderful man.

Mysterious Benefactor · « **Reply #172 on:** July 29, 2015, 09:28:17 PM »

Setting up the current sequence (which will eventually contain material not in the pilot):

151A INT. COLLINWOOD - UPSTAIRS CORRIDOR - LONG LENS - NIGHT AND WIDENING WITH Vicki, as she walks up the corridor TOWARD CAMERA. Suddenly, we HEAR the SOUND of WHISPERED CHILDREN'S VOICES, David's and a little girl's: (CONTINUED)

151A CONTINUED:

And that's when Saturday's first quote -

Page 67/Scene 151A - Girl (O.S.): 'But why can't you play with me?'

- comes up, followed by Saturday's second quote -

Page 67/Scene 151A - David (O.S.): ''Cause I'm supposed to be asleep.'

- coming up, followed by the script explaining:

Vicki, frowns, stops in front of David's door, listens.

And that's when Sunday's quote -

Page 67/Scene 151A - Girl (O.S.): 'I never have to go to sleep.'

- comes up, followed by Monday's first quote -

Page 67/Scene 151A - David (O.S.): 'Where do you go then?'

- coming up, followed by Monday's second quote -

Page 67/Scene 151A - Girl (O.S.): 'I don't know... I just keep looking...'

- coming up. And that is perhaps one of the saddest lines the "Girl" delivers...

As for differences, there's actually an unscripted nighttime establishing shot of Collinwood, with the sounds of waves and crickets being heard as the camera zooms in on a lit second floor window:

And as for differences in the dialogue, it's basically delivered word for word as written with only the "'Cause" being dropped when David simply says "I'm supposed to be asleep" and the "then" being dropped when he simply asks "Where do you go?"

And as for differences in the script's direction, Vicki takes notice of the voices after David says he's supposed to be asleep, but she doesn't listen at his door until after the "Girl" delivers the "I don't know..." part of her line.

Mysterious Benefactor · « **Reply #173 on:** August 03, 2015, 08:56:44 PM »

Continuing with the sequence:

She listens carefully for another beat, but the voices do not continue. She taps on the door. VICKI David? DAVID (O.S.) Yes? 152 INT. DAVID'S ROOM - NIGHT As Vicki opens the door, enters, her eyes rapidly sweep the room. But there is only David, sitting in bed, the small bedside lamp the only light in the room. He looks up at her. VICKI David, were you talking to someone? DAVID Yes... She stands there for a beat looking around.

And that's when July 28th's first quote -

Page 67/Scene 152 - Vicki: 'Who were you talking to?'

- comes up, followed by the 28th's second quote -

Page 67/Scene 152 - David: 'I was talking to Sarah.'

- coming up, followed in the script by:

Another beat. (CONTINUED)

_________________________________________________________________

152 CONTINUED:

And that's when the 29th's first quote -

Page 68/Scene 152 - Vicki: 'But there's no one here, David.'

- comes up, followed by the 29th's second quote -

Page 68/Scene 152 - David: 'There was...'

- coming up, followed by the script indicating:

She crosses over to him, stands there looking down at him.

And that's when the 30th's quote -

Page 68/Scene 152 - Vicki: 'David, if Sarah was here, where did she go?'

- comes up, followed by the 31st's quote -

Page 68/Scene 152 - David: 'Where she always goes... just away.'

- coming up.

And when it comes to the differences in the dialogue, it's mostly all delivered exactly as scripted with the exceptions that Vicki moves the "David" bit in one line and actually delivers it as "But, David, there's no one here", and she completely drops the "David" when she actually asks "If Sarah was here, where did she go?"

And as a bit of trivia, the exchange between Vicki and David where she says there's no one in the room and David replies that there was, was featured in a some of the promos for the show, as fans who paid attention to the many promos will no doubt recall. In fact, back in '08 when we were doing the Watching Project for the '91 show, we shared one of the promos that includes the exchange - and I'm sharing that particular promo once again below:

(Note that the promo also includes the shot of Carolyn howling, which wasn't actually seen as part of the pilot until MPI released the restored version on VHS.)

And as far as any differences in the scripted direction vs. the actual pilot, Vicki's eyes do not rapidly sweep the room when she enters David's room because she looks directly at him - it isn't until David says he was talking to Sarah that Vicki looks around the room a bit - and I particularly love the devilish unscripted smile that comes over David's face when he tells Vicki that there was someone in the room - and when Vicki crosses over to David, she doesn't simply stand there looking down at him because she sits down on the side of his bed.

Mysterious Benefactor · « **Reply #174 on:** August 05, 2015, 09:00:28 PM »

Continuing with more of the sequence:

A long moment as Vicki looks at him, thinking, then decides to proceed as if everything’s normal. She sits on the edge of his bed.

And that's when Saturday's quote -

Page 68/Scene 152 - Vicki: 'Tomorrow morning I thought it might be nice if we took a walk over to the old house to see what Willie and Barnabas have been doing. Would you like that?'

- comes up, followed by Sunday's quote -

Page 68/Scene 152 - David: 'He's evil.'

- coming up, followed in the script by:

Vicki frowns. VICKI Who’s evil? DAVID Cousin Barnabas. I saw him here tonight.

And that's when Monday's quote -

Page 68/Scene 152 - Vicki: 'David, why do you say that? He's a very nice man.'

- comes up, followed by Tuesday's quote -

Page 68/Scene 152 - David: ''Cause Sarah told me.'

- coming up.

And as for differences in the dialogue, again, it's mostly all delivered exactly as scripted - what is different, which is only within Vicki's quote from Saturday, isn't even worth going into.

And as another bit of trivia, the exchange between David and Vicki in which she questions who it is that David thinks is evil and he responds with Barnabas was also featured in some of the promos for the show. And again, back in '08 when we were doing the Watching Project for the '91 show, we also shared one of the promos that includes that exchange - and that particular promo is below:

(Note that once again there's the inclusion of the shot of Carolyn howling - though we also get brief glimpses from two of Vicki's scenes that weren't seen until MPI restored them: as Vicki turns after her reaction to Liz' assessment of what constitutes style and before Vicki asks if the painting on an easel is a Seurat, and Vicki looking out her window when she's about to spot a figure(Barnabas) outside at the edge of the woods.)

And as far as any differences in the scripted direction vs. the actual pilot, obviously, just before Vicki asks David if he'd like to go the Old House, she doesn't move to sit on the edge of his bed because she's already done so - and we don't know if Vicki frowns or not when she asks who David thinks is evil because the camera is shooting David and we only see Vicki from the back:

Mysterious Benefactor · « **Reply #175 on:** August 07, 2015, 05:00:02 AM »

Don't remember Vicki mentioning her "friend" Amy in the pilot? Well, that's because she didn't. With today's quote the slideshow has reached the beginning of the part of Scene 152 that doesn't appear in any version of the pilot. And we'll get into all that in the next post...

Mysterious Benefactor · « **Reply #176 on:** August 07, 2015, 09:46:12 PM »

Continuing on as promised:

Another beat. VICKI Maybe, sometimes, your friend Sarah is wrong... (CONTINUED)

_________________________________________________________________

152 CONTINUED: (2) DAVID She's not wrong! Sarah would never lie to me. She smiles.

And that's when Wednesday's quote -

Page 69/Scene 152 - Vicki: 'Maybe, someday, you'll introduce me to Sarah. Will you do that, David?'

- comes up, followed in the script by:

David looks at her suspiciously...

And that's when Thursday's quote -

Page 69/Scene 152 - David: 'You're only pretending. You don't really believe she's real.'

- comes up, followed by today's quote -

Page 69/Scene 152 - Vicki: 'That's not true. I'm sure she is real. Certainly she is to you, and that's what counts. (a beat) I know that when I was a little girl your age, I had a small friend by the name of Amy, and nobody believed me either. But she was real, David ... real to me.'

- coming up, followed by the script really getting into what was dropped:

A beat as he studies her. DAVID What did you used to do with this Amy? VICKI I talked to her, we told each other things, we played games together. DAVID Do you still see her? VICKI (shakes head no) I stopped seeing her a long time ago. DAVID When? VICKI Oh, when I was eleven or twelve. (CONTINUED)

_________________________________________________________________

152 CONTINUED: (3) He thinks about this. DAVID Then she wasn't real. I'm never gonna stop seeing Sarah. VICKI That's the way I felt too, but you'll see. There'll come a time when you won’t need her anymore.

And that concludes the portion of the scene that doesn't appear in any version of the pilot. But before we get into that portion, lets go over the parts in this post that do appear.

As far as any difference in the dialogue goes, there isn't any: everything is delivered exactly as scripted.

And as far as any differences in the scripted direction vs. the actual pilot goes, there only one: Vicki doesn't smile before responding to David after he says Sarah would never lie to him because she takes a beat to think and then quite seriously asks if one day David might introduce her to Sarah.

Which brings us to the dropped portion of the script. Personally, it seems to me that Vicki's attitude and dialogue seem to discount the girl's voice that she herself heard coming from David's room. Did she think David had made up the girl's voice himself? Or perhaps she simply felt like forgetting about what she'd heard? But her dialogue would certainly seem to imply that as a child Vicki simply had an imaginary friend and it wasn't a child who was a ghost - or at least that's how Vicki perceives the experience as an adult.

Perhaps things were written the way they were because they wanted to position Vicki with only a belief in imaginary friends because they didn't want Vicki to seem to have had any type of supernatural experience until she meets Sarah for herself in an upcoming ep. And in the same vein, perhaps the reason it was dropped from the pilot was because they didn't want there to be even the slightest hint that Vicki may have experienced something similar to David's relationship with Sarah, whether Vicki perceived it that way or not. Who knows? But as far as whether or not the dropped part was ever shot goes, a synopsis of it was included in "SHADOWS IN THE '90s: The Dark Shadows Concordance 1991" along with synopses of all the other stuff that was shot but did not appear in the NBC version of the pilot. So we know for certain that it was shot. However, unlike the stuff that was dropped from the NBC version of the pilot but then restored for the MPI VHS, none of the dropped stuff from this scene was restored, which might lead one to believe that even though it was shot, as is the case with some other bits that were shot and not included in the MPI version (and another one of those will be coming up in the October slideshow with actual screen caps from it thanks to footage having been included on the DS Resurrected VHS), it was never included in what DC planned as the final version of pilot, so it wasn't material that had ever been edited out for the NBC broadcast but then later restored by MPI...

Mysterious Benefactor · « **Reply #177 on:** August 08, 2015, 09:08:04 PM »

Concluding the sequence and picking up the scene with how it concludes in the pilot:

The boy just lies there looking up at her. VICKI (CONT'D) Okay, time to go to sleep. She bends to kiss his cheek. He turns his head away. She sits there for a moment, then pulling the covers up around his neck:

And that's when today's quote -

Page 70/Scene 152 - Vicki (CONT'D): 'We're going to be good friends David. You'll see. Sleep tight.'

- comes up, followed by the script explaining:

And turning out the bedside lamp, she quietly goes out of the room, closing the door behind her. HOLD ON the boy as he lies there, eyes pools of darkness. And...

End of scene and sequence.

And so far as what might be different with the dialogue, again, everything is delivered exactly as scripted.

And as far as any differences in the scripted direction vs. the actual pilot goes, Vicki doesn't actually pull the covers up around David - and after saying that he'll see that they'll be good friends, Vicki gets up from the bed and goes to the doorway before she tells him to sleep tight and then shuts off the light via a switch on the wall before exiting the room.

One thing that is interesting is that as the scene plays in the pilot, the shot of David simply lying in his bed looking at Vicki appears to display his reaction to Vicki saying all that counts is that Sarah is real to him when as the scene was originally shot it was his reaction to Vicki saying a time will come when he won't need Sarah anymore. Though knowing David as we do, he was likely to have reacted the same way to either of Vicki's ideas.

Mysterious Benefactor · « **Reply #178 on:** August 11, 2015, 11:58:03 PM »

Setting up the current sequence:

153 EXT. OLD HOUSE - DAY Willie's pickup is parked in front. Two TEENAGERS from the village are busily cleaning away the brush, dead branches, etc., loading it all into the bed of the truck. 154 ANOTHER ANGLE As David and Vicki come out of the path through the woods, Vicki stops, stands looking at the house.

And that's when Sunday's quote -

Page 70/Scene 154 - Vicki: 'It's going to be beautiful, isn't it, David?'

- comes up, followed by Monday's quote -

Page 70/Scene 154 - David: 'It's gonna be awful.'

- coming up, followed by the script explaining:

She looks at him, smiles. VICKI Come on. (CONTINUED)

154 CONTINUED: And they start toward the house. As they pass the two boys: VICKI Is Mr. Collins inside? BOY #1 (shrugs) Mr. Loomis is. Vicki nods, they continue up on to the veranda. From inside, the SOUND of HAMMERING can be heard.

And as for differences in the dialogue, it's delivered basically word for word except that like David, Vicki also says "gonna" rather than the scripted "going to".

And as for differences in the script's direction and descriptions of scenes, there's much that's different (some no doubt necessitated by using Greystone for the Old House rather than a house similar to Spratt House of the original series). Willie's pickup is nowhere to be seen - there are actually four workmen seen clearing debris and/or working on the front of the Old House - obviously none of the cleared debris is being loaded into Willie's truck, it's simply carried away off screen - David and Vicki do not come out of a path through the woods as they're seen coming up the stairs to the terrace and they stop at the top of those stairs to look at the house - and as Vicki and David make their way toward the house, they only encounter one workman, who may indeed be a teenager (but the other men are older - and incidentally, Boy #1, the character that Vicki speaks to, is credited as Gardener in the pilot) and he doesn't shrug in response to whether or not Barnabas is inside, he simply says that Willie is before throwing a bag of debris on a pile - and considering that Vicki and David are already on the front terrace of the house, they do not walk to a veranda - and there is no sound of hammering heard coming from inside.

Mysterious Benefactor · « **Reply #179 on:** August 13, 2015, 12:08:11 AM »

The next scene in the current sequence:

155 INT. FOYER - OLD HOUSE - DAY The door, now reattached to its hinges, patched, but still not painted, stands open. Vicki stands there for a beat looking around, then steps inside, David following. 156 ANOTHER ANGLE As she sees Willie in the drawing room, working with another MAN, plastering the walls. VICKI Willie. He turns, is shocked to see her, becomes very agitated. WILLIE Miss Winters! I'm ... I'm sorry. I didn't see you standin' there. Uh, uh ... Is there somethin' I can do for ya? VICKI David and I Just wanted to come over and see how things were coming along. He quickly crosses to her. WILLIE Yeah, well, uh ... Things are comin' along good. VICKI Yes, it looks that way. Willie looks at the boy: WILLIE Hi, Davey. (CONTINUED)

156 CONTINUED: David doesn't say anything. He's just standing there looking around, an unhappy expression on his face. O.S. the SOUND of HAMMERING and SAWING can be HEARD from other parts of the house.

And that's when yesterday's quote -

Page 72/Scene 156 - Vicki: 'Is Mr. Collins here?'

- comes up, followed by today's quote -

Page 72/Scene 156 - Willie: 'Uh ... No ... No, he ain't, Miss Winters. He's, uh ... He's in Portland today ... buyin' some stuff we need. Yeah, that's where he is. Portland!'

- coming up.

And when it comes to the dialogue, there aren't any significant differences.

However, when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, again there's much that's different. Scene 155 doesn't appear in the pilot and who knows if it was ever shot? (Presumably not since there isn't any synopsis for it in the "SHADOWS IN THE '90s: The Dark Shadows Concordance 1991" book.) When we first see Willie in Scene 156, unlike what the script indicates, he's actually kneeling and stirring something in a large bucket, and the other man is actually gathering up whatever he's been working on - Vicki and David spot Willie from the doorway of the drawing room, and unlike what the script indicates, Willie goes over to her almost as soon as he sees her - and the workman leaves the room while Willie and Vicki begin talking and he passes by David, who remains standing near the doorway - and speaking of David, he doesn't actually look around the room with an unhappy expression on his face because he simply just stands there basically unmoving - and there are no off screen sounds of hammering and sawing where the script indicates because those sounds are actually heard at the very beginning of Scene 156 while Willie is seen doing his stirring.

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