Author Topic: The Return of Yet Another New Slideshow (Sort of) [ Now featuring unshot Julia material - see reply #194] (Read 38930 times)

Mysterious Benefactor · « **Reply #60 on:** February 16, 2015, 06:34:20 PM »

And onto the script's next scene:

28 INT. PICKUP - MOVING - NIGHT The truck rumbles along the road, its dim headlights barely keeping ahead of them. Willie glances at Vicki, giving her a long once-over. WILLIE Cold out tonight. (CONTINUED)

Revised 2/28/90 28 CONTINUED: She looks at him and holds it as he leans over and punches open the glove compartment. Taking out a PINT BOTTLE of Wild Turkey, he unscrews the cap, slugs at it ... then offers it to her. VICKI No thank you. He smiles, takes another, longer belt, wipes his mouth with the back of his sleeve.

And that's when Friday's quote -

Page 16/Scene 28 - Willie: 'Collinsport's a dump! [He looks at her, she doesn't respond.] Fulla creeps, like lover boy, back there. Collinwood ain't no better. Small town, small minds. (a grin) Know what I mean?'

comes up - followed by Saturday's quote -

Page 16/Scene 28 - Vicki: 'I haven't really seen enough of it to say.'

- which is then followed in the script by:

WILLIE You will. And anybody give you any hassle, you need somebody to set 'em straight, I'm the guy. Okay? Vicki pauses a beat, concludes that humor is the best policy, and nods. VICKI Okay. Willie smiles, glad that he's making headway.

End of scene.

And coming up next we'll get back to things that are in the pilot...

Mysterious Benefactor · « **Reply #61 on:** February 17, 2015, 08:44:03 PM »

And moving on to a sequence that plays in many parts the way it's written:

29 EXT. COLLINWOOD GROUNDS - NIGHT The pickup turns into the long driveway to the house... 30 INT. COURTYARD - NIGHT As the truck rumbles up and skids to a stop IN FRONT OF CAMERA. (CONTINUED)

Revised 2/28/90 30 CONTINUED: Willie jumps out and grabs Vicki's bag from the back of the truck. 31 FAVORING - VICKI As she steps out, stands there taking in the awesome sight of the great manor house. Willie, looks at her, grins.

And that's when Sunday's quote -

Page 17/Scene 31 - Willie: 'Some dump, huh?'

- comes up - which is then followed in the script by:

He giggles inanely. She follows him as he starts toward the great front door.

End of scene.

The ways things differ is that Willie's truck doesn't skid to a stop, it merely stops - we don't see Willie go for Vicki's bag because things focus on her and Willie merely comes from the back of the truck already carrying the bag - and Willie doesn't grin at Vicki when he says "Some dump, huh?" but rather says it seriously - nor does he giggle inanely afterward. What he does do after saying that is merely tell Vicki an unscripted "Come on" and they turn and begin walking toward the house.

Mysterious Benefactor · « **Reply #62 on:** February 19, 2015, 09:48:00 PM »

Moving on:

32 INT. COLLINWOOD - GREAT HALL - NIGHT As Elizabeth enters from the drawing room, crosses to the foyer, opens the door. Willie strides right in, leaving Vicki a step or two behind.

And that's when Monday's quote -

Page 17/Scene 32 - Liz: 'Welcome to Collinwood, Miss Winters. I'm Elizabeth Collins Stoddard.'

- comes up - and then the scene continues with:

VICKI Thank you, Mrs. Stoddard. Vicki follows her into the Great Hall. LIZ I'm so sorry you had to wait. VICKI It was no problem really, I'm just glad to be here. She glances around at the family portraits that fill the walls, then fixes on the stairway, where... Carolyn comes bounding down. LIZ My daughter, Carolyn, Victoria Winters. CAROLYN Hi, Vicki. Glad to meet you.

End of scene - though not end of sequence. And what's upcoming in the sequence is shot differently in the pilot from the way it is in the script. But I want to wait until after tomorrow's quotes (yes, there will be two) to get into it, so more on that in the next post...

However, before the next post there are several things to point out that are different here. First, Willie doesn't enter before Vicki - he comes in behind her. Next, Liz doesn't say "Welcome to Collinwood, Miss Winters" - she sighs with relief at finding Vicki at the door and then it's simply "Welcome to Collinwood" before introducing herself. Next, after Liz' apology that Vicki had to wait, Vicki actually responds with "Oh, that's no problem, I'm just glad to be here." And Vicki doesn't actually glance at any of the family portraits or turn to the stairway, where Carolyn comes bounding down, because immediately upon entering the Great Hall with Liz, Carolyn is already entering from the direction of the stairway. And Carolyn's appearance seems to surprise Liz because after seeing her Liz says an unscripted "Oh" before making the introductions.

Mysterious Benefactor · « **Reply #63 on:** February 20, 2015, 09:18:00 PM »

Next the script indicates:

33 HIGH ANGLE - THROUGH UPSTAIRS BALUSTRADES SOMETHING WATCHING them... (CONTINUED)

33 CONTINUED LIZ Willie, take Miss Winters' bag upstairs for her, and your aunt wants to see you.

And that's when Tuesday's quote -

Page 18/Scene 33 - Willie: 'Hope you like this freak palace, Miss Winters...'

- comes up - and the script then explains:

Willie ogles Vicki once more, then heads up the steps. 34 FAVORING CAROYLN As she waits a beat until Willie is out of earshot.

And that's when Wednesday's quote -

Page 18/Scene 34 - Carolyn (to Vicki): 'You can ignore Willie. He's weirder than jello, but harmless.'

- comes up - and the script next explains:

Elizabeth gives her a look, then smiles at Vicki motioning toward the Drawing Room.

And that's when Tuesday's quote -

Page 18/Scene 34 - Liz: 'Can I offer you a cup of tea while I call Mr. Collins?'

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

Page 18/Scene 34 - Vicki: 'That would be very nice. And David, is he asleep?'

- and then today's second quote -

Page 18/Scene 34 - Carolyn: 'He better be.'

- and the scene concludes with the indication that -

They head for the Drawing Room.

- but all of that is not quite how things play out in the pilot.

First off, the camera shot from the high angle (though not through the upstairs balustrades but, rather, over the railing) doesn't come until later in the sequence - things continue to be shot the way they have since the outset of the scene. And unlike the way it's written in the script, Liz pauses between asking Willie to bring Vicki's bags up and telling him his aunt wants to see him. Also, Willie doesn't ogle Vicki "once more" before making his way to the stairway because he hasn't been ogling her at all. And unlike the script, the camera angle does not change to favor Carolyn - it still stays the same as thankfully Carolyn's remark that Willie is "weirder than jello" was dropped and she simply bids Willie an unscripted "Ciao" and then tells Vicki "Don't let him bother you. He's weird, but harmless." Then Liz doesn't motion to the Drawing Room before delivering her next line, which is actually "Mr. Collins will be down soon, may I offer you a cup of tea?" But after Vicki replies that that would be very nice, Liz does move to lead them to the drawing room - and at that point is when the camera changes to shooting from a high angle (over the railing), with the script indicating that that's supposed to signify that someone is watching them. But the funny thing is I never picked up on that. Given DC's penchant for odd camera angles (just look at much of hoDS and especially NoDS), until I read the script, I simply thought that was his way of throwing an odd angle into the scene. Now I see it can be a way to indicate that David is watching them, particularly because the conversation shifts to his whereabouts - but I wonder how many other heads in the audience that has gone over? By example, the possibility of it doesn't even appear in the synopsis of the scene in either the SHADOWS IN THE '90s: The Dark Shadows Concordance 1991 book or the DS Resurrected book.

And just one last comment before I end this post: something I do find fascinating about what we've been seeing of Willie in the script is that he was written more like the original Willie than we might have imagined - but obviously before shooting the decision to go in a different direction was made.

Mysterious Benefactor · « **Reply #64 on:** February 21, 2015, 10:40:19 PM »

The script begins the outset of the current scene with:

35 INT. COLLINWOOD KITCHEN - NIGHT Where Mrs. Johnson stands at the counter, preparing a tray of finger sandwiches. A beat, and Willie enters in the b.g. WILLIE You wanted to see me, Auntie? She turns to him. MRS. JOHNSON Yes, I did, Willie. Willie walks over to her, looks at the tray, then grabs a couple of the dainty sandwiches, stuffs them in his mouth. (CONTINUED)

Revised 2/28/90 35 CONTINUED: WILLIE (chewing loudly) Not bad. And he reaches for another. She stops him.

And that's when Monday's quote -

Page 19/Scene 35 - Mrs. Johnson: 'Willie, when I promised your father I would look after you, I never imagined you would make it so difficult.'

- comes up. And the differences in this part are that Mrs. Johnson is chopping vegetables when Willie arrives, though he does grab an already prepared finger sandwich - Mrs. Johnson's first line is changed up a bit to "Yes, Willie, I did" - Willie adds an "Mmm" before saying the sandwich isn't bad - and Mrs. Johnson merely asks "Willie, why do you always have to make things so difficult?" rather than including the whole part about promising Willie's father.

Mysterious Benefactor · « **Reply #65 on:** February 25, 2015, 08:52:18 PM »

Catching up a bit with the current scene, after Sunday's two quotes -

Page 19/Scene 35 - Willie: 'Well it ain't always my fault! What do you want me to do? Bow down and kiss that guy's feet? Everything was all right before he got here.'

'Page 19/Scene 34 - Mrs. Johnson: 'No, it wasn't.'

- the script continues with -

WILLIE Well, it don't make no difference anyway. I figured it out. MRS. JOHNSON (frowns) Figured what out? He grins conspiratorially.

- before Monday's quote -

Page 19/Scene 35 - Willie: 'The jewels. I know where the jewels are. We're gonna be rich.'

- comes up. And the differences here is that Willie actually says "Wha... It ain't always my fault! What do you expect me to do? Bow down and kiss that guy's feet? Everything was all right before he came here.

Uncle Roger · « **Reply #66 on:** February 26, 2015, 12:55:07 AM »

This little exchange reminded me of Gerard and Carlotta in NODS. Did anyone else have that reaction?

Mysterious Benefactor · « **Reply #67 on:** February 28, 2015, 07:13:19 PM »

Until you brought it up, I hadn't really thought about the '91 scene in those terms - but, yes, it certainly has similarities to the NoDS scene.

And given DC's penchant for "reworking" already existing material, I guess we shouldn't be surprised by that, now should we?

Uncle Roger · « **Reply #68 on:** February 28, 2015, 08:10:52 PM »

Considering what's coming up, obviously not!

Mysterious Benefactor · « **Reply #69 on:** February 28, 2015, 10:14:00 PM »

And picking up where we left off with Scene 35:

MRS. JOHNSON Willie, where do you get these crazy ideas? WILLIE (anger rising) They're not crazy! She sighs wearily. (CONTINUED)

Revised 2/28/90 35 CONTINUED: (2)

And that's where Tuesday's quote -

Page 20/Scene 35 - Willie: 'I found these books, see... They're all in codes and weird poems... but I figured it out... The stuff is in a secret room in the family tomb.'

- comes up, followed in the script by:

A beat as she stares at him, aghast: MRS. JOHNSON Willie, I don’t want to hear anymore of this. He grabs her. WILLIE I’m tellin’ ya! The jewels were buried by one of the guys in those pictures out there! He points toward the Great Hall.

Which brings things to Wednesday's quote -

Page 20/Scene 35 - Willie: 'It was during the Revolution... you know, that big war we had in the 1700s... well this guy... Barn-abas an' his old man... they hid the family jewels... to keep 'em safe. (a grin) In the tomb.'

- followed by Thursday's quote -

Page 20/Scene 35 - Mrs. Johnson: 'Willie... I just wish you'd do what you're supposed to do around here instead of acting like a fool with all this scheming. It can only lead to trouble.'

- and then Friday's quote -

Page 20/Scene 35 - Willie: 'Okay! But when I blow this joint with a pile of dough, we'll see who's laughin'.'

- whereupon the script ends the scene with -

And turning, he walks out of the kitchen.

- but that's not the end of the sequence in the script. And more on that in the next post. But before we leave this post, the differences here are that Mrs. Johnson doesn't sigh after Willie insists his ideas aren't crazy - Willie actually says "I found these books, okay... And only they're all in these codes and weird poems... but I figured it out... The stuff is in a secret room in the family tomb" - Willie doesn't grab Mrs. Johnson after she says she doesn't want to hear anymore - Willie then actually says "I'm tellin' ya! The jewels were buried by one of them guys in them pictures out there!" though he doesn't gesture toward the Great Hall - next Willie actually says "It was during the Revolution... that's this big war we had back in the 1700s... well, anyway, this guy... Barn-abas an' his old man... they buried the family jewels... to keep 'em safe. (a grin) In the tomb" - then Mrs. Johnson actually says "Willie... I just wish you'd do what you're supposed to do around here instead of acting like a fool with all these schemes. It'll only lead to trouble" - to which Willie actually finally says "Okay! Okay! But when I blow this joint on a pile of dough, we'll see who's laughin'." And I love how Willie nervously and violent pulls at his hat as he says that - which is not a direction that appears in the script - but it adds so much to the moment. And Willie doesn't so much as walk out of the kitchen as storm out, slamming the door behind him.

Mysterious Benefactor · « **Reply #70 on:** March 01, 2015, 07:28:08 PM »

Coming up next in the script are two scenes that don't appear in any version of the pilot.

First up, the concluding scene in the kitchen sequence:

36 CLOSE - MRS. JOHNSON As she stands there watching him go, she shakes her head sadly.

And that's where yesterday's quote -

Page 20/Scene 36 - Mrs. Johnson: (softly) 'May God help you-- I certainly can't...'

- comes in as the end of the scene. And that is followed on the next page of the script by the next scene:

Revised 2/28/90 37 INT. GREAT HALL As Willie enters from the direction of kitchen, stops in front of a large portrait done in somber blues and blacks. It is the brooding figure of an eighteenth century man, a cape around his shoulders, a silver wolfheads cane in his hands, a large distinctive black, stone ring on his middle finger. Willie stands there for a beat, staring up at the dark eyes.

And that's where today's quote -

Page 21/Scene 37 - Willie: (mutters) 'I got you now, mister... I got you now...'

- comes in. And the scene continues with:

And he turns, starts toward the big, front doors. CAMERA HOLDS on the portrait... 37A And then BEGINS A SLOW MOVE IN to the EYES... As a LOW THUMPING SOUND of a HEART BEAT begins to filter in.

End of scene.

Mysterious Benefactor · « **Reply #71 on:** March 02, 2015, 09:36:06 PM »

And onto the script's next scene (which is one that only appears in MPI's restored version of the pilot):

39 INT. DRAWING ROOM - NIGHT Vicki is finishing her tea and Mrs. Johnson's sandwiches with Elizabeth and Carolyn.

And that's when today's first quote -

Page 21/Scene 39 - Vicki: 'How long has David been without his father?'

comes up - followed by today's second quote -

Page 21/Scene 39 - Liz: 'Almost six years, now. I brought him back from England shortly after his mother... took ill. [Vicki subtly shakes her head, digesting the situation.] LIZ (CONT'D) - 'It's been hard on him. But he's a very bright boy and he has an amazing imagination.'

And the only differences here are that Liz actually says "Oh, it's been about six years, now. I brought him back from England when his mother took ill." And then she continues with "It's been very hard on him. But he's a bright boy and has an amazing imagination."

One thing that is interesting is that the SHADOWS IN THE '90S: The Dark Shadows Concordance 1991 book seemed to think that Vicki's line was a blooper in the script and she should have been asking how long David has been without his mother. However, in earlier scenes the point is made that Roger has only recently returned to Collinwood and that he may not be completely aware of the severity of everything that has gone on with David, so I don't honestly think it is a blooper.

Mysterious Benefactor · « **Reply #72 on:** March 07, 2015, 08:40:52 PM »

Picking up where we left off with Scene 39:

After Liz mentions David's "amazing imagination," Tuesday's quote -

Page 21/Scene 39 - Carolyn: 'If you call putting garden snakes in my dresser imaginative.'

- comes up - and then the script continues with:

Roger enters in the b.g. LIZ Roger, I'd like you to meet Vicki Winters. (CONTINUED)

Revised 2/28/90 39 CONTINUED: He cordially takes her hand. ROGER I'm Roger Collins, David's father. VICKI It's nice to meet you.

And then Vicki continues with Wednesday's quote -

Page 22/Scene 39 - Vicki: 'You have a lovely home.'

- after which Roger replies with Thursday's quote -

Page 22/Scene 39 - Roger: 'Thank you. My sister has always had a gift for maintaining the grand style.'

- and Liz responds with Friday's quote -

Page 22/Scene 39 - Liz: 'And why not? Style should be the dress of thought. It tempers life with grace.'

- and then the script continues with:

LIZ (turns to Vicki) Don't you think so, Miss Winters? VICKI (smiles) Yes, I do.

And the differences in this section are that Carolyn actually says "Mmm - if you can call putting garden snakes in my dresser imaginative" - as Roger enters the drawing room, he delivers an unscripted "Hello" - Liz actually says "Oh, Roger, I'd like you to meet Victoria Winters" - after Vicki compliments Collinwood, Roger actually says "Well, thank you. My sister has always had a gift for maintaining in the grand manner" - and when Liz responds, Roger and Carolyn share an unscripted look as if to say "she's waxing rhapsodic again." And Liz doesn't look to Vicki when she asks if she agrees because Liz has been looking at her the whole time.

Mysterious Benefactor · « **Reply #73 on:** March 07, 2015, 09:10:40 PM »

Oops - I forgot to post that the March 6, 1990 issue of Soap Opera Digest included this short article:

DARK SHADOWS RETURNS

With the forthcoming debut of ABC's
TWIN PEAKS, and NBC commissioning
producer/director DAN CURTIS to do a TV
movie revival of DARK SHADOWS, it's evi-
dent that prime-time soaps are far from
dead. In fact, DAVID JACOBS, creator of
both DALLAS and KNOTS LANDING, in-
sisted in an interview recently that serial-
ized TV formats are "the only way [the net-
works] can compete in the nineties." Take
a look, he said, at LA LAW and other night-
time dramatic shows that may not be soap
operas per se, but definitely use serialized
construction.
His thoughts get some indirect support
from NBC's programming chief BRANDON
TARTIKOFF, whose network has long been
frustrated in its inability to launch a suc-
cessful prime-time soap, but still keeps try-
ing. In fact, Tartikoff is considering running
his upcoming PARENTHOOD series -- a
spinoff from the feature film -- in twice
weekly installments because that seems
the only way to handle such a large group
of characters and stories. And it's Tartikoff
who is pushing Curtis to return to SHAD-
OWS, explaining that this show will be a
"prime-time Gothic serial," and noting that
some of the original characters will return.
(Of course, the launching of DARK SHAD-
OWS as a regular nighttime series will de-
pend on how well the TV movie does.)

(* the Parenthood series referenced here shouldn't be confused with the one that recently ended on NBC because they're completely different. And at the time this article was written it was intended that the DS TV movie would run earlier/separate (likely around Halloween/October 1990) from the series - but later it was decided to hold the movie to run as part of the series...)

Mysterious Benefactor · « **Reply #74 on:** March 11, 2015, 09:24:05 PM »

Moving on, in reference to Vicki, Scene 39 continues with:

She glances over at a painting.

And that's when Vicki asks Saturday's first quote -

Page 22/Scene 39 - Vicki (CONT'D): 'May I ask if that's a Seurat?'

- whereupon the script indicates -

Elizabeth turns to Roger, smiles.

- which is when Liz answers with Saturday's second quote -

Page 22/Scene 39 - Liz: 'Actually, it's a copy... It was painted by...'

- before Roger interrupts with Sunday's first quote -

Page 22/Scene 39 - Roger: (overriding, curtly) 'It was painted by another artist.'

- to which the script explains -

Elizabeth gives him a quick glance and frowns.

- and then Vicki comments -

Page 22/Scene 39 - Vicki: 'Well it's very good.'

- with Sunday's second quote - after which the script indicates that -

Roger lights a cigarette.

- before he asks -

Page 22/Scene 39 - Roger: 'Do you enjoy art, Miss Winters?'

- as Monday's quote.

(CONTINUED)

Revised 2/28/90 39 CONTINUED: (2)

And Vicki responds -

Page 23/Scene 39 - Vicki: 'It's one of my favorite subjects to teach. I think children express themselves very well through drawing and painting.'

- with Tuesday's first quote - to which Roger replies -

Page 23/Scene 39 - Roger: (cynically) 'I suppose you can get to know them that way.'

- but Vicki explains -

Page 23/Scene 39 - Vicki: 'And they can get to know themselves, that's the challenge.'

- with today's quote - and then the script indicates that:

Roger and Elizabeth exchange a glance, then Roger looks at Vicki, there may be more to this young lady than he expected.

And that ends the discussion of art in the scene, and it's a shame it was all cut from the NBC version of the pilot because there are some great character moments there. Though, of course, on the restored MPI VHS not everything plays out quite the way it does in the script. The largest differences are that Liz doesn't turn to smile at Roger when Vicki brings up the painting but rather looks toward the painting as she begins to explain before Roger cuts her off and she gives him a puzzled look, which doesn't escape Vicki. And after all that, Vicki walks over to examine the painting closer before she turns back to say how good she thinks the painting is. Also, Roger doesn't light a cigarette before asking Vicki if she enjoys art. And we see no exchanged glance between Roger and Liz after Vicki comments that the challenge to teaching art is allowing children to get to know themselves - nor do we see any indication that Roger may think there's more to Vicki than he expected.

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