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

[Mysterious Benefactor]

Picking up where we left off:

157   CLOSE - DAVID       As he looks at Willie. This guy is really weird. 158   INT. DRAWING ROOM       As Vicki crosses into the big room, looks around. Willie is       right behind her.                           VICKI                 How many people do you have                 working with you, Willie?                           WILLIE                 Uh ... We got about five helpin'                 us.       In the b.g., we SEE David, unnoticed, turn, disappear out of       the foyer.

And that's when Thursday's quote -

Page 72/Scene 158 - Vicki: 'What a magnificent home Barnabas is going to have.'

- comes up, followed by the script indicating:

And she walks over to examine some of the newly restored       moldings.

And that's when yesterday's quote -

Page 72/Scene 158 - Willie: 'Yeah, yeah ... it's gonna be okay.'

- comes up.

And as for anything different in the dialogue, Willie actually answers that they have about eight guys working with them.

And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, there's several things. Scene 157 doesn't appear in the pilot and who knows if it was ever shot? (Again, presumably not because there isn't any synopsis for it in the "SHADOWS IN THE '90s: The Dark Shadows Concordance 1991" book.) And in Scene 158 Vicki does look around but doesn't actually move from her spot at all before she asks Willie how many people are on the workforce - David slips out into the corridor outside the drawing room - Vicki doesn't actually walks further into the room until she remarks about how magnificent Barnabas' home is going to be - and Willie doesn't come up behind her until just before he agrees - and then they share a big unscripted smiles.

[Mysterious Benefactor]

Moving on to the next scenes in the sequence:

159   INT. FOYER       As David looks around for a beat, then quietly opens a door       under the stairs. 159A  INT. BASEMENT       GO WITH HIM as he starts down a winding, stone flight of steps       toward the dark basement below. He is almost at the bottom,       when suddenly, from behind ...       A HAND grabs his shoulder! 160   CLOSE - DAVID       As he almost jumps out of his skin. It is Willie.

And that's when Saturday's quote -

Page 73/Scene 160 - Willie: 'What are ya doin'?! You can't go down there!'

- comes up, followed by the script indicating:

David twists in his grip.

And that's when Sunday's quote -

Page 73/Scene 160 - David: 'Let go of me! I can go where I want! This isn't your house!'

- comes up, followed by the script explaining:

Now Vicki APPEARS IN SHOT, coming down the stairs.                           VICKI                 David, come back upstairs.                 Willie's only concerned that you                 might hurt yourself. It’s dark                 down there.       David pulls away from him, runs up the stairs by Vicki. We HEAR       him RUNNING OUT OF THE HOUSE.                           VICKI                 I'm sorry, Willie. I'm sure David                 didn't mean to upset you.

And that's when today's quote -

Page 73/Scene 160 - Willie: 'That's okay ... that's okay. I just don't want nothin' happenin' to him.'

- comes up, followed in the script by:

And as the two of them go back up to the foyer, close the door,       we HOLD a beat, and ...       SLOWLY PAN AWAY and TIGHTEN into the dark recesses of the cold,       dank, stone cellar, where we SEE ...       A sinister, large, black COFFIN.

End of scene and end of sequence.

And as for differences in the dialogue, when Willie sees David, he actually shouts "Davey! What are ya doin'?! You can't go down there!" - David actually responds with "Yes, I can! Let go of me! I can go where I want!", but the "This isn't your house!" part is dropped in the pilot - when Vicki arrives on the scene, she actually just shouts out "David!", the "come back upstairs" part is dropped there, but after Vicki explains that she thinks Willie is only concerned and that it's dark down there, she actually adds "Now, come on, let's go upstairs" - but the rest of the dialogue is delivered basically as written.

And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, there are many differences. In Scene 159 as David makes his way through the foyer to the door to the basement, in the background we first see one workman walking behind him to put a bucket down on the floor, and then we see another workman who's up on some scaffolding working on a wall - in Scene 159A we do see David go down the stairs, but we also see him reach a gate with a link of chain hanging on one side of it, and David momentarily picks up the chain and makes a face as if to say that wouldn't stop him - and in scene 160, as David begins to descend another set of stairs, we actually hear Willie shout out his name - nowhere is Scene 159A or 160 do we see a hand grab David's shoulder - and David whirls around to see Willie rushing toward him before Willie grabs him to forcibly stop him from continuing down the stairs - and David does indeed run upstairs, but we do not hear him running out of the house - and we do not see Willie and Vicki go back up to the foyer and close the door because first Vicki goes up the stairs, and after looking down the remaining stairs, Willie follows - though once Willie has disappeared from sight, the camera does indeed pan to reveal the coffin, which is actually barely visible in dim candlelight, so it's completely unclear if it's black or not.

[Mysterious Benefactor]

Setting up the new sequence:

160A  INT. ROADHOUSE - NIGHT       A typical New England roadhouse, just outside of Collinsport.                                               (CONTINUED) 160A  CONTINUED:       Noisy, crowded, raucous, the kind of place where the beer and       the music go all night. Several YOUNG PEOPLE are crammed onto       a small dance floor amidst the hooting and hollering.       Carolyn, looking sexy as hell, is dancing up a storm. Her       townie FRIEND is having a tough time keeping up. 160B  ANGLE AT BAR       A slutty-looking, pretty mini-skirted young girl, GLORIA, is       draping herself over her boyfriend, MUSCLES, a typical punk in       a black leather vest.       But he only has eyes for Carolyn, staring at her as she       undulates on the floor. A beat, then undraping Gloria, he heads       for the floor.       She glares angrily after him. 160C  ON DANCE FLOOR       Carolyn, concentrating on her moves, spins away from her       partner, doesn't notice Muscles moving toward them.       The tough guy taps the townie on the shoulder. The kid takes       one look and disappears.       Carolyn turns back to find she's got a new partner.

And that's when today's quote -

Page 74/Scene 160C - Carolyn: 'Hey, what happened to...?'

- comes up.

And as for anything different in the dialogue, Muscles actually mouths an unscripted "Move it" after he touches Carolyn's dance partner's shoulder - and when Carolyn turns back and notices that her original partner has been replaced by Muscles, what she actually asks is "What happened to, uh...?"

And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, there may be fewer differences here than in the previous sequences - but there are still some. Scene 160A actually starts off with a shot of saxophones playing as the roadhouse band performs, and then as the camera pans the band and then the crowd, we soon see Carolyn dancing - shortly Carolyn and her partner move further into the crowd and by the time of Scene 160B they pass by Gloria and Muscles at the bar - and in an unscripted move, Carolyn notices Muscles (who actually wears a leather jacket, not a vest), takes his beer from his hand, takes a swig, and then hands it back to him, none of which exactly thrills her dance partner or Gloria - though Carolyn soon moves on, followed by her partner, sort of like he's Carolyn's puppy dog - but Carolyn's actions have definitely 'stimulated' Muscles, who soon disentangles himself from Gloria and goes off in Carolyn's direction, leaving an angry Gloria behind - and after Muscles gets rid of Carolyn's dance partner, we notice that while Carolyn has been turned away, she's actually been dancing with another guy (shades of the original series' Carolyn is Ep #2!!  ).

Sadly for Carolyn's original dance partner, the actor portraying him goes unidentified in the pilot's credits. And he's not even identified on IMDb.

And finally, eagle-eyed viewers may actually spot Matthew Hall as an extra at some point in the above sequence. 

[Midnite]

Muscles and Gloria-- the Romeo and Juliet of DS.  <snicker>

I enjoyed quoting these two way too much.

[Mysterious Benefactor]

Continuing the scene and with regard to Muscles:

He grins.

And that's when the first part of Wednesday's quote -

Page 74/Scene 160C - Muscles: 'He's takin' a rest.'

- comes up, followed by the script indicating:

Carolyn stops dancing, looks around for her friend. Muscles       gives her a long once-over.

And that's when the second part of Wednesday's quote -

Page 74/Scene 160C - Muscles (CONT'D): Anybody ever tell ya... ya gotta a great set of wheels, kid?'

- comes up, followed by the script explaining:

Carolyn looks him up and down, the anger in her beginning to       rise.

And that's when Thursday's quote -

Page 74/Scene 160C - Carolyn: 'Yeah, hundreds of times... but you aren't ever gonna ride 'em.'

- comes up, followed in the script by:

She turns her back on him, stalks away into the crowd, her saucy       little rear-end disappearing into the crowd.                                               (CONTINUED) 160C  CONTINUED:       The guy stands there for a beat, glaring after her. Then GO       WITH HIM as he angrily strides back toward the bar ...       He's just in time to see Gloria storming out.

End of scene - though far from end of sequence.

And as for anything different in the dialogue, Carolyn mouths an unscripted "Oh" after Muscles tells her that her original dance partner is taking a rest - Muscles actually says "ya gotta a fine set of wheels" with the 'kid' part dropped (and that could again be because when Barbara Blackburn was cast as Carolyn, she was aged a bit from what was originally intended) - and Carolyn actually replies to him with "Yeah... hundreds of times... but you know what... you're never gonna ride 'em."

And as for the differences between the script's direction and its descriptions of scenes and what actually happens in the pilot, Muscles doesn't actually grin when he tells Carolyn that her original dance partner is taking a rest - nor does Carolyn stop dancing to look for him because she actually keeps on dancing - and Carolyn doesn't look Muscles up and down or get angry after his remark about her "wheels" because she actually gives him a big smile, perhaps like he has a chance - and in an unscripted move, Carolyn even puts her arms around Muscles neck before she shuts him down by telling him that he isn't ever going to ride her, uh, wheels (and I love the smirk on her face after she tells him that) - and Muscles goes after Gloria after she storms off.

And finally, eagle-eyed viewers may also be able to spot Matthew Hall as an extra at some point in Scene 160C. 

[Mysterious Benefactor]

Muscles and Gloria-- the Romeo and Juliet of DS.  <snicker>

Yes, it's great to see them both make their appearances in the slideshow! 

I enjoyed quoting these two way too much.

And I was quite jealous once I realized you were going to get them in one of your months! 

[Uncle Roger]

That exchange of dialogue between Muscles and Carolyn is one of my favorite DS moments ever. I don't know if it was planned that way but the Barbara Blackburn Carolyn seemed to be channeling Mae West at times.(Whereas Blackburn's Millicent reminds me of Cybill Shephard).

[Mysterious Benefactor]

Moving on to the next scenes in the sequence:

161   EXT. ROADHOUSE - NIGHT       As Gloria comes out the door, really angry. Muscles is just       behind her.                           MUSCLES                 Hey, where you goin?!       He grabs her by the arm. She belts him in the face.                           GLORIA                 Bug off!       She pulls away, starts across the lot.                           MUSCLES                      (shouts out)                 Have a nice hike, Gloria--!       He pulls out a crumpled pack of cigarettes, lights one up. 162   GLORIA       MOVING WITH HER as she walks angrily between the rows of cars.       Suddenly, she jumps back as a dark figure steps from around a       van.

And that's when yesterday's quote -

Page 75/Scene 162 - Gloria (giggling nervously): 'Boy did you scare me--'

- comes up, followed in the script by:

163   ANOTHER ANGLE       TO REVEAL it is Barnabas standing there. He smiles.

And that's when today's quote -

75/Scene 163 - Barnabas: 'I'm terribly sorry. I didn't mean to startle you.'

- comes up.

And as for differences in the dialogue, basically it's all the same as written.

And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, the only thing different is that Gloria doesn't actually belt Muscles in the face because she forcefully pushes him away.

[Mysterious Benefactor]

Continuing along with the sequence and with Gloria's reaction to Barnabas:

She likes what she sees. Then, examining him more closely:

And that's when Monday's quote -

Page 75/Scene 163 - Gloria: 'Hey, where are you from? You talk kinda funny. I never seen you around here before.'

- comes up, followed in the script by:

(CONTINUED) __________________________________________________________________ 163   CONTINUED

And that's when Tuesday's quote -

Page 76/Scene 163 - Barnabas: 'Has anyone ever told you that you are a very pretty young lady?'

- comes up, followed by Wednesday's quote -

Page 76/Scene 163 - Gloria: 'Yeah, just about everybody. Right before they hit on me.'

- comes up, followed by the script explaining:

Barnabas frowns.                           BARNABAS                 "Hit" on you?       She smiles seductively, walks up to him.                           GLORIA                 Yeah, you know ... like when they                 only wantcha for your body.                      (a beat)                 But you don't look like that kind                 of guy. I bet you’re a real                 gentlemen.       She puts her hand on the side of his face.                           GLORIA (CONT'D)                 What do you say, good lookin'...                 how 'bout givin' a lady a lift                 home?                           BARNABAS                 I would be happy to.       And taking her arm, he leads her around the van. 164   ANOTHER ANGLE       As they come around the van, Barnabas turns, takes the girl in       his arms. TIGHTEN TO HER as she giggles.

And that's when yesterday's quote -

Page 76/Scene 164 - Gloria: 'Hey, big fella, can't you even wait 'til we get into the car?'

- comes up, followed in the script by:

She pushes herself up against him. 165   CLOSE - BARNABAS       As suddenly his mouth opens wide revealing two needle sharp,       bone white incisors gleaming in the parking lot light. 166   BACK TO GLORIA       As her eyes go wide in horror, she SCREAMS. 167   BARNABAS       As he buries his fangs in her neck. 168   MUSCLES       Having heard the scream, is up on the steps, trying to see       what's happened. He breaks into a run across the lot. 169   BARNABAS AND THE GIRL       Her body crushed to his, his mouth fastened to her neck. She       is moaning in ecstasy and pain.       Suddenly, Muscles rounds the corner of the van, skids to a stop.                           MUSCLES                 Wha—-!? 170   CLOSE ON BARNABAS       As he raises his head, the blood dripping from his mouth, his       red-rimmed eyes burning. 171   MUSCLES       For a moment, he is immobilized, then suddenly he charges       forward.       But Barnabas shoots out a powerful hand, grabs the boy by the       throat, slams him violently up against the van. 172   MUSCLES' BOOTS       Frantically kicking as Barnabas finishes him off. And we . .       .

End of scene, end of sequence, and also the fourth act break in total as well as the first of the second hour.

And as for differences in the dialogue, it's delivered basically as written with the exceptions that Gloria doesn't refer to Barnabas as "big fella" (what a shame, right?  ), and Muscles doesn't say "Wha—-!?" when he first comes upon Barnabas attacking Gloria.

And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, Barnabas gives an unscripted understanding nod after Gloria explains what she meant by being hit on - Barnabas does take Gloria's arms but he doesn't lead her to the back of the van because she playfully pulls away from him as she makes her way toward the back of the van, though Barnabas, still holding her arm in his grip, whirls her around to face him - and Gloria doesn't push herself against him because once she sees Barnabas face to face again, what she sees but we don't quite yet see is his fangs - and Scene 172 is done differently in the pilot because instead of seeing Muscles' boots frantically kicking, we actually see Barnabas attack Muscles and Muscles scream, which may be the one and only time DC ever showed a male-on-male vampire attack.

And as a bit of Trivia, Scenes 167 though 170 were shown in 1990 on Halloween night as part of the Horror Hall of Fame special's Sneak Peak World Screamiere segment, presented by comedian Sam Kinison, of all people. He introduced the clip with "Dark Shadows is back. The story of a monster who will suck the life right out of you. Oh, oh, they call them vampires. You know what I call them, divorce attorneys! Oh! OooohhhH!!" Funny, huh? Not so much!    (Though even he said afterward that he'd dug his own grave with some of his intros in the segment.) But honestly who cared what he said?! All we were interested in and thrilled to see was the clip!!    Especially when it was the first actual footage from the pilot that we ever got to see. And interestingly enough, on that same day in 1990, Scenes 167 though 171 were shown as part of a spotlight segment on the new series that CNN's Showbiz Today did. So, if fans missed one of the shows, they might have caught the other. (And actually, there was a bonus when it came to Showbiz Today because we also got three separate and brief glimpses of the scene of Barnabas spotting/chasing Sarah through the woods.) And something else that's also interesting is that once those two segments aired on Halloween, it seemed like nearly every article that came out about the show included a still of Barnabas attacking Gloria. But more on that once we get to October and beyond in the slideshow...

[Mysterious Benefactor]

I forgot to mention on Wednesday that all the roadhouse scenes were filmed (in Malibu, inside and outside the Trancas Restaurant & Nightclub) on the very first day of shooting on the pilot. And even though the scenes in the parking lot with Barnabas were supposed to begin shooting as soon as it got dark, because of delays that took place, they didn't actually begin shooting until midnight and didn't finish up until 3:30am.

[Mysterious Benefactor]

Moving on to the next sequence:

173   EXT. ROADHOUSE PARKING LOT - LONG LENS - NIGHT       PANNING Sheriff Patterson's patrol car, its red light flashing,       SIREN BLARING, as it roars into the confusion. 174   ANOTHER ANGLE       MOVING WITH Patterson and his Deputy as they sprint out of the       vehicle, run to where a crowd has gathered around the van.       Three or four Deputies are holding back the rubber-neckers.       Parked in the b.g., the Paramedic van, doors wide open, plus       two other police patrol cars, all with lights flashing.                                               (CONTINUED)       Revised 2/28/90 174   CONTINUED:       Patterson kneels next to the white coated Paramedics.       The boy and the girl are lying sprawled on the pavement, their       necks ripped open, their heads at a very strange angle.

And that's when yesterday's quote -

Page 78/Scene 174 - Paramedic #1: 'Same wounds as the Collins girl...'

- comes up, followed by today's quote -

Page 78/Scene 174 - Patterson: 'Yeah, except there's one difference. These two are dead.'

- coming up, followed in the script by:

174A  CLOSE - CAROLYN       Where she stands in the crowd of horrified onlookers. TIGHTEN       TO her shattered expression. HOLD a beat, and . . .

End of scene and end of sequence.

And when it comes to anything different in the dialogue, again, it's delivered basically as written.

And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, Scene 174 is actually shot from the same angle as Scene 173 - we don't actually see any deputies holding back the rubber-neckers, though there are plenty of those, including Carolyn - we see only one other police car - the paramedics are dressed in black (as they were at the scene of Daphne's attack) - Patterson doesn't kneel but instead remains standing and shines his flashlight on Gloria's and Muscles' wounds - and their heads don't appear at any sort of strange angle - and Carolyn actually walks closer to Patterson before the camera moves in on her, though not so close as to be a close-up.

[Mysterious Benefactor]

Setting up what was scripted to be a new sequence but what in the pilot is actually simply a new scene:

175   INT. SEROLOGY LAB - HOSPITAL - NIGHT       CLOSE on BLOOD SLIDE magnified through a microscope lens.

And that's where the first part of today's quote -

Page 78/Scene 175 - Dr. Fisher (O.S.): 'The same traces of human saliva.'

- is scripted to come up, followed in the script by:

176   ANOTHER ANGLE       To include Woodard and Patterson standing beside him. Fisher       looks up.

And that's where the second part of today's quote -

Page 78/Scene 176 - Dr. Fisher: 'But there is something else. I didn't mention it to you earlier because I wasn't sure what it was ... I discovered a very strange cell in Daphne's blood sample.'

- is scripted to come up.

And when it comes to anything different in the dialogue, once again, it's delivered almost exactly as written.

However, when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot things are definitely different. Scene 175 doesn't really take place at all because what we first see is not a blood slide magnified through a microscope lens because rather than Dr. Fisher being off screen, we actually see him on screen at a microscope - and so we also see him as he delivers his line about there being the same traces of human saliva - and there isn't another angle to include Woodard and Patterson because Dr. Fisher simply moves back from the microscope to reveal them - and Fisher stands before he reveals his discovery of the strange cell in Daphne's blood sample.

And it's too bad that today's capture, which depicts Woodard wearing a bow tie -

- wasn't yesterday's capture. Why is that some of you might ask? Well, it's because yesterday was National Bow Tie Day!!  Missed it by only a day. 

[Mysterious Benefactor]

Continuing with and concluding the current scene:

We start off with Sunday's quote -

Page 78/Scene 176 - Woodard (frowns): 'What kind of cell?'

- coming up, followed by Monday's quote -

Page 78/Scene 176 - Dr. Fisher: 'I can't answer that ... I've never seen anything like it before. I sent it to Boston, but they can't identify it either. (looks at them) I found the identical cell in the blood samples of the two new victims.'

- coming up, followed by the script explaining:

Woodard and Patterson exchange a glance.                                               (CONTINUED)       Revised 2/28/90 176   CONTINUED:                           PATTERSON                 So what have I got here? Some                 kind of a lunatic with a weird                 blood disease?                           DR. FISHER                      (shaking his head)                 I don't know what you've got,                 George. That's the problem.       Patterson turns to Woodard.                           WOODARD                 We're stumbling about in the dark                 gentlemen, we need help.                           PATTERSON                 What do you suggest, Mike?

And that's when Tuesday's quote -

Page 79/Scene 176 - Woodard: 'I happen to know an expert in the field, who may be able to shed some light on this ... at New York University.'

- comes up, followed in the script by:

PATTERSON         Well let's get him on the phone.

And that's when today's quote -

Page 79/Scene 176 - Woodard (a little smile): 'Her name is Julia Hoffman.'

- comes up, followed in the script by:

And on Patterson's look of surprise, we . . .

End of scene and end of scripted sequence.

And when it comes to differences in the dialogue, everything is basically the same with the exception that instead of asking "What do you suggest, Mike?", Patterson asks "Any suggestions, Professor", which continues with the previously established fact that in the actual pilot, unlike in the script, Patterson and Woodard aren't on a first name basis - and Woodard adds the word "down" when he actually says "down at New York University."

And when it comes to the differences between the script's direction and descriptions of scenes and what actually happens in the pilot, when Woodard asks what kind of cell Dr. Fisher has found, we have no idea if Woodard frowns or not because, not only isn't his face on screen when he asks the question -

Page 78/Scene 176 - Woodard (frowns): 'What kind of cell?'

- he's barely on screen when he asks the question - and Woodard and Patterson do not exchange a glance before Patterson asks what sort of situation he's dealing with - what Patterson actually does is cross his arms tightly across his chest - and Patterson doesn't turn to Woodard before Woodard says that they're stumbling in the dark - Patterson doesn't actually turn to him until after Woodard begins to explain that he knows an expert - and Woodard actually smiles after he reveals that his expert is a woman - and why even in 1990 a man should be surprised that a woman can be an expert in something is anyone's guess. Though perhaps they wanted to continue the original show's tradition of often being sexist...

And interestingly enough, this is one of the few scenes the slideshow will cover this month that is actually in the pilot. Beginning tomorrow the slideshow will start to cover quite a bit of material with Julia that wasn't even shot...

[Mysterious Benefactor]

Oops - I forgot to include in yesterday's post that this moment -

Ep #1 - Prof. Woodard: 'We're stumbling about in the dark,
gentlemen - we need help.'

 - was featured in the original slideshow for the '91 series.

[Mysterious Benefactor]

Setting up the new (though unshot) sequence:

176A  INT. NYU SEROLOGY LAB - DAY       CLOSE on the unconscious face of a MALE PATIENT, his face covered       with breathing apparatus. The CAMERA MOVES along an intricate       network of intravenous tubes, heart and blood pressure monitors,       and other equipment to reveal four white-clad, surgically masked       figures hovering over the body on an operating table.       The room is gleaming with high-tech. Counterpoint to the       location and what's taking place, MARIA CALLAS can be heard,       swooning and soaring through "Madame Butterfly" piped into the       lab from a stereo.                                               (CONTINUED)       Revised 2/28/90 176A  CONTINUED:                           INTERNE #1                      (very nervously)                 Patient's heartbeat, blood pressure                 and all vital signs constant...                 I wish I could say the same for                 myself. 176B  CLOSE - ON A PAIR OF SERIOUS EYES       Which is all we can see between the mask and skull cap, as they       look across to the interne and answer with a very classy English       accent.                           JULIA                 Are you okay, Tucker? 176C  ANGLE TUCKER (THE INTERNE)       He nods, but he doesn't look okay. Sweat beads his brow. 176D  ANOTHER ANGLE       As Julia turns to the man next to her.                           JULIA                 Zipper him up, doctor. Any                 complications, I'll be in my                 office.       She turns to leave, then stops, and motions for Tucker to follow       her. He does. 176E  HALL       As Julia exits the lab with Tucker behind her. She quickly       removes her mask and for the first time we notice her       blood-splattered gloves. We also see her face. Almond-shaped       green eyes and a severe expression belie the fact that beneath       the professional facade is an exotic and sensual woman.

And that's when today's quote -

Page 79A/Scene 176E - Julia: 'Tucker, I find it hard to believe that someone who is interning for a career in serology can't stand the sight of blood.'

- comes up.

And of course, considering that none of this was shot, there's absolutely no way to know whether or not there might might have been any differences when it comes to the dialogue and/or any differences between the script's direction and descriptions of scenes and what might have actually happened in the pilot...

Though what is fascinating is all the background the current and upcoming scenes will provide about Julia. Background that, sadly, DC didn't feel needed to even be shot, much less included in the pilot. But then, as we're all too aware (especially when it comes to hoDS), DC will always jettison the character scenes in favor of the blood/gore/ripping/tearing because, well, he's that sort of director.