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

[Mysterious Benefactor]

Moving on to the current sequence, starting with Vicki:

79   INT. BATHROOM      As she enters, hangs her robe on a hook, opens the medicine      cabinet, takes out a bottle of bubble bath. 80   ANOTHER ANGLE      As she crosses to the bathtub, puts her hand on the shower      curtain, pulls it back.      SUDDENLY, a FIGURE leaps out at her, SHRIEKING! 81   ANOTHER ANGLE      As Vicki, SCREAMING, falls back against the wall, gasping for      breath ...      This is her introduction to young DAVID COLLINS. 81A  INT. BEDROOM      A small, thin, sallow-faced nine year old in pajamas and robe,      David runs into the bedroom, stands there staring back at her.                          VICKI                     (gasps)                David...? David, my God!

And that's when today's first quote -

Page 30/Scene 81A - David: 'I scared you, didn't I?'

- comes up - and the script continues with:

Vicki struggles to pull herself together, starts toward him.

And that's when today's second quote -

Page 30/Scene 81A - Vicki: 'You certainly did ...'

- comes up.

And when it comes to the differences, there's only that when it comes to Scene 81, Vicki doesn't actually fall back against a wall, though she certainly jumps back as she screams - and then David runs from the bathroom.

[Uncle Roger]

Interesting how strongly this parallels the Vicki/David introduction in the 2012 film.

[Mysterious Benefactor]

Continuing on:

DAVID                I don't want you here.                          VICKI                What...?

And that's when Thursday's quote -

Page 30/Scene 81A - David: 'I don't want you here!!'

- comes up - and the script continues with:

(CONTINUED) 81A  CONTINUED:      She reaches for him.

And that's when Friday's quote -

Page 31/Scene 81A - David: 'Don't touch me!'

- comes up - and the script continues with:

He pulls away, runs for the door. Before he can open it, she      slams her hand against it.

And that's when today's first quote -

Page 31/Scene 81A - Vicki: 'David, I am not here to hurt you...'

- comes up - and the script continues with:

Suddenly his eyes go cold and hard.

And that's when today's second quote -

Page 31/Scene 81A - David: (very quietly) 'You better open the door ...'

- comes up - and the script continues with:

The child's look is so chilling she almost feels the hair stand      up on her arms. A beat ...                          VICKI                All right, David, let's go to your                room.      The child just stares back at her.      Very gently she takes him by the arm, leads him out of the room.

End of scene.

And when it comes to the differences, here there's only that when leaving her bedroom, Vicki doesn't actually take David by the arm, very gently or otherwise, nor does she lead him out - Vicki simply opens the door, David exits, and she follows, closing the door behind her.

[Mysterious Benefactor]

Getting into today's new sequence:

82   INT. DAVID'S ROOM - NIGHT      Not your typical boy's room, in that there are not a lot of      toys, banners, posters, etc. in evidence.      The door opens and Vicki leads him to his bed.      When she tries to help him off with his robe, he pushes her hand      away, takes it off himself, climbs into bed.

And that's when today's first quote -

Page 31/Scene 82 - David: 'I'm going to scare you again...and again...'

- comes up - and the script continues with:

She sits on the side of the bed.

And that's when today's second quote -

Page 31/Scene 82 - Vicki: 'David, I'm here to be your friend.'

- comes up. - and the script continues with:

Another beat as the child just looks back at her, eyes      unblinking. She pulls the blankets-up around him.                                             (CONTINUED) 82   CONTINUED:                          VICKI (CONT.)                     (gently)                Now go to sleep, and I'll see you                in the morning.      Again, no response. He turns away from her on his side.      Quietly she gets up, turns off the bedside lamp, exits the room. 83   CLOSE - DAVID      As he lies there in the darkness, eyes wide open, staring INTO      CAMERA.

End of sequence.

And when it comes to the differences, there may not be banners or posters in David's room, but toys are certainly in evidence - again Vicki doesn't lead David, he enters his room first - when Vicki tries to help David with his robe, he actually pulls his shoulder away and then takes his robe off himself - Vicki pulls the blankets up around David and she sits on the bed all before he warns her he's going to continue to scare her - Vicki breaks up her last line to "Now go to sleep. I'll see you in the morning." - Vicki actually turns off all the lights in David's room by flicking a light switch on the wall - and David doesn't turn away toward camera until Vicki is leaving the room. 

[Mysterious Benefactor]

Interestingly, before we get to the scene that contains tomorrow's quotes, preceding that scene there's one in the script that does not appear in any version of the pilot - though it does foreshadow aspects of the '04 pilot script:

84   EXT. COLLINSPORT - HELICOPTER SHOT - NIGHT      "Something" sweeping low over the dark pine forests below, the      SIGHTS and SOUNDS MAGNIFIED, as if viewed by a creature with      heightened senses and night vision.      Whatever it is, is rapidly approaching the lights of the village      in the distant b.g.

End of scene.

[Mysterious Benefactor]

Moving on to the current scene:

85   INT. BLUE WHALE - NIGHT      Daphne, sitting with Sam at a back table, is just finishing the      books. In the b.g., Maggie is getting ready to shut down for      the night.                         DAPHNE                    (a smile)               Okay, Sam. As usual, the               government owes you.      She closes the books, rises.

And that's when today's first quote -

Page 32/Scene 85 - Sam: 'You're a genius, Daph. Without you I'd be in jail.'

- comes up - and the script continues with:

Maggie calls from in back of the bar:

And that's when today's second quote -

Page 32/Scene 85 - Maggie: 'That's for sure.'

- comes up.

And as far as differences go, most things play pretty much as scripted with the exception that Daphne laughs after Sam's remark, she doesn't close the books until after that, and she doesn't get up from the table until after Maggie's remark.

[Mysterious Benefactor]

Continuing on:

Sam helps Daphne on with her coat. They start for the door.

And that's when today's first quote -

Page 32/Scene 85 - Maggie (CONT'D) (smiles): 'I keep tellin' ya, Daph, fishermen who go to bed early don't make for an exciting love life.'

- comes up - and the script continues with:

(CONTINUED) 85   CONTINUED:      Daphne laughs.

And that's when today's second quote -

Page 33/Scene 85 - Daphne: 'It's the best I can do.'

- comes up.

And as to what's different, after Daphne picks up her coat from the back of the chair she was sitting in, she and Sam walk over to Maggie at the bar, and that's where Sam helps her on with her coat - Maggie actually says "I keep tellin' ya, Daph, fishermen that go to bed early don't make for a very exciting love life" - Daphne immediately responds with "Oh, well ... it's the best I can do" - and then she laughs.

[Mysterious Benefactor]

Finishing the scene:

SAM               Where's your car?                         DAPHNE               I left it at Rotolo's. It needed               a charge.                         SAM               Okay.                    (gives her a kiss on                    the cheek)               Thanks again, sweetheart.      And as Maggie calls "goodbye" in the b.g., Daphne goes out into      the night.

End of scene.

And as for differences, Maggie gives him a cup of coffee as Sam actually asks "Where'd you put your car, sweetheart?" - Daphne replies "Oh, it's over at Rotolo's. I had to get it charged" - Sam responds with "Oh", makes an "Mmmm" sound as he kisses her cheek, and then says "Thank you again" - to which Daphne replies with an unscripted "Oooo, thank you, Sam" - Sam laughs - Daphne then delivers an unscripted "See you later, Maggie" - and Maggie replies "Bye" as Daphne goes off.

[Mysterious Benefactor]

Before we get into today's scene we have to deal with Daphne:

86   EXT. STREET - NIGHT      DOLLYING IN FRONT OF her, as tightening her scarf, she heads      for the gas station, two blocks away. In the b.g., WE WATCH      the sign over the restaurant go out.      O.S., the DISTANT SOUND of DOGS beginning to BARK. 87   FROM ACROSS THE STREET - MOVING      Something is there, following her. 88   CLOSE - DAPHNE      As she continues along the deserted street. Suddenly, she      thinks she hears something behind her. She stops, looks back. 89   HER POV - PANNING      Nothing. Just some very scary shadows and the SOUND off the      branches CREAKING overhead in the wind. 90   BACK TO DAPHNE      As she resumes walking, but now quickens her pace. The SOUND      of the DOGS' BARKING grow more agitated. 91   HER POV - MOVING      Rotolo's gas station. One small light in the window. Her car      parked in front... a block and a half away. 92   FROM ACROSS THE STREET      As she quickens her pace ... a pair of old fashioned, soft,      leather boots ENTER SHOT, start after her. 93   DAPHNE'S FEET      Walking faster and fester. 94   MEN'S BOOTS      Now crossing the street, beginning to gain on her. 95   DAPHNE      As she throws a terrified look back over her shoulder, breaks      into a panicky run. 96   DAPHNE - LONG LENS      Through the window of her car, running in terror, TOWARD CAMERA.      Finally, she reaches the car, grabs the door handle, pulls it      open, jumps inside.      Suddenly something ENTERS FRAME, pulls the door open, as a      strong hand with a LARGE BLACK STONE RING, grabs her viciously      by the throat.      She lets out a WRENCHING SCREAM, and we ...

End of sequence.

As we can see, the sequence was scripted to be shot much closer to the Daphne scene in hoDS, but in the actual pilot it didn't end up as quite as much of a ripoff, er, "homage" to that. And as for the differences between the script and the pilot, there is no dollying involved in Scene 86 and Daphne doesn't tighten her scarf, she's simply holding it - and there are no sounds of barking dogs at this point, only nearby clanging buoys and a boat's horn - before Scene 87 there's a shot of Daphne walking along a different street as she adjusts her scarf around the collar of her coat, and that's when the sounds of dogs howling in the distance begins to be heard - there are no sounds of creaking branches in Scene 89, but sounds of barking dogs can then be heard and the howling grows louder - and Scenes 91 and 92 do not appear in the pilot - nor does Scene 94.

[Mysterious Benefactor]

Moving on to today's scene:

97   EXT. ROTOLO'S GAS STATION - NIGHT      A grim scene ... Two police cars, lights flashing, and an      ambulance backed up to Daphne's car. A team of paramedics are      crowded around an unconscious girl hooking up I.V.'s, etc.      Maggie stands with a group of people off to the side, watching      in horror. Sam hurries INTO SHOT.

And that's when today's quote -

Page 34/Scene 97 - Sam: 'I called Joe ... Mrs. Stoddard is on her way. (a beat) How is she?'

- comes up - and the script concludes the scene with:

Maggie numbly shakes her head. Sam puts his arm around her.

And as far as differences go, we don't actually see Rotolo's Gas Station - what we do see is only one police car and Daphne is out of her car (which we also don't see) and on a stretcher on the ground as the paramedics work on her - and as Sam makes his way to Maggie, he asks an unscripted "Excuse me" of a man who then moves out of the way so that Sam can move close to Maggie.

[Mysterious Benefactor]

Moving on to the next scene in the sequence:

98   SHERIFF PATTERSON      A big open-faced man in his late 40S ... MOVING WITH HIM as he      crosses over to the paramedics.                          PATERSON                Is she gonna make it?                          PARAMEDIC #1                Don’t know ... She lost a whole                lot of blood.      PAN DOWN to Daphne, her face as white as chalk. The Sheriff      kneels down to examine the ugly wound on her neck.

And that's when today's quote -

Page 35/Scene 98 - Patterson: 'What do you think did this?'

- comes up, followed by today's quote:

Page 35/Scene 98 - Paramedic #2: 'You tell us. Like some kind of wild animal tried to rip out her throat.'

And as for differences, we actually see Patterson drive up in and exiting his car before he goes over to Daphne and the paramedics - and once he gets there Patterson displays an extremely shocked reaction to Daphne's state, whereupon we see a shot of an extremely bloody Daphne - and after Patterson kneels down he doesn't actually examine Daphne's wound, he simply asks her condition as scripted - and Paramedic #2 (who later in the series will be identified as Deputy Jonathan Harker (wink, wink - oh so clever)) actually says "You tell us. It's like some kind of wild animal tried to tear her throat out" - and after that Patterson gives a look in the direction behind the paramedics and asks an unscripted "Is that her car?"

End of scene - though not end of sequence...

[Josette]

I'm curious about the description.  I'm wondering just what is meant by an "open-faced" man.  I assume the casting director would have to look for the appropriate person.

[Mysterious Benefactor]

When applied to a person, I've always taken open-faced to mean someone whose face appears honest and sincere.

[Josette]

I suppose that's a good description, but I'm still considering the casting director having to find someone who is open-faced!

[Mysterious Benefactor]

Moving on to the concluding scene in the sequence:

99   CLOSE - SHERIFF      As he looks around.

And that's when today's first quote -

Page 35/Scene 99 - Patterson: 'Where'd it all go?'

- comes up - and the script continues with -

The first paramedic is now applying a dressing to the bloody      wound.

- before today's second quote -

Page 35/Scene 99 - Paramedic #1: 'Where'd what go?'

- comes up.

And as to what's different, Patterson actually walks over to Daphne's car and checks around with his flashlight before he actually asks "Where did it all go?" - and beyond doing something to Daphne, we can't actually see what Paramedic #1 is doing because his back is to the camera - but before he asks Patterson what he's asking about, he turns around to look at him.