"Flying Dreams" The "Lost World" of Remember WENN

Lost Scenes Available:

As in every television series, Remember WENN occasionally has scenes that are cut for time purposes. Here for your amusement and edification—in the philosophy of "there's always room for more WENN" <g>—is a collection of them.

Please note that, as with all script excerpts throughout this website, the text may not be reproduced without the permission of its author, and I thank Rupert Holmes for kindly permitting me to share these unseen scenes with fellow WENN fans.

Lest you think Mackie was neglectful in not offering the other ladies at WENN his Benny Goodman tickets in "Sight Unseen," following are the scenes that originally framed his asking of Eugenia. (And for the record, Miss Reece, I do!):

CAMERA STAYS WITH Mackie as he listens to the piano music emanating from Gertie's radio. MACKIE You know, Gertie, I still have those tickets for Benny Goodman at Town Hall. The seats are right on top of Gene Krupa's tom-tom. What do you say? GERTIE I can't even think about it, Mackie. The Vagabond has spoiled me for all other men. It's him or no one. MACKIE (genuinely bewildered) But... that's me, Gertrude. I am the Vagabond. GERTIE I know, and Clark Kent is Superman. But who dreams about Clark Kent? And later: INT. THE STUDIO - JUST AFTER THE VAGABOND BROADCAST In the studio, MACKIE has collared the departing EUGENIA near the door. MACKIE ...and it's Benny Goodman's only concert in town this year. Eugenia is thrilled/flustered and flattered. EUGENIA Oh, Mister Bloom, I'm, I'm very tempted— (regretfully, prudently) But I don't think I should. MACKIE Why? EUGENIA Well, I was never going to say anything, but... (confides with great reserve) ...you must have noticed the dynamic atmosphere whenever we're on the air together. If we were to sit right next to each other in a concert hall, the jazz rhythms stirring our most primitive emotions to the surface... we wouldn't want to see that happen, Mr. Bloom. MACKIE No, I'm sure we wouldn't. EUGENIA I think we have to be strong and fight this, for the good of the station. But... thanks! Eugenia leaves the room, delighted. HILARY is reapplying lipstick and has obviously overheard this. HILARY Well... I'm sure in your wildest dreams you never thought this would happen, Mackie Bloom, but I will go to the concert with you. I adore Benny Goodman. You may take your seat with Hilary Booth on your arm! Mackie looks at her and the tickets unhappily. MACKIE Gee, I wouldn't feel right about that, Hilary. Jeff's my best friend. HILARY Oh, Jeffrey and I have a little "Understanding." I can be escorted to special events by other men... and he has to understand. (walks toward him) What row are the seats? MACKIE (proudly) Second row center, first balcony. HILARY Balcony? Balcony? Oh - oh no, I couldn't. I- "Hilary Booth was seen in the balcon-" no, I- I just couldn't. I couldn't. I'm terribly sorry. (shiver) The Balcony. (consoling) But thank you for such a tempting invitation!

In the initial script for "Sight Unseen," Jeff (dressed in his ringmaster tuxedo) and Hilary actually met Angela earlier in the story—here's the original sequence.

INT. THE GREEN ROOM Jeff enters the Green Room ... and immediately notices ANGELA seated on the couch. He likes her looks and says warmly: JEFF Well. Hello there. ANGELA Hello. (looks up expectantly) Are you... "The Vagabond?" JEFF What? Oh... (remembers his sophisticated outfit) No. Don't let appearances fool you. ANGELA I don't, generally speaking. Jeff moves to the couch perpendicular to the seat where Angela is sitting. He goes through the tongue- in-cheek formality of asking: JEFF Is this seat next to you taken? ANGELA (drily) I'm not sure. JEFF Well, I'll just have to take my chances. ANGELA You're Jeff Singer, correct? JEFF Yes. Have we met? ANGELA No but I wake up with you every morning. The show you do with your wife, Bedside Manor, it comes on the air just as I'm stepping out of the shower. Hearing your voice makes me feel practically naked at the moment. Am I blushing? JEFF Not so I'd notice. You live in Pittsburgh? ANGELA Avalon. I never get into town. I'm only here today to catch a train to New York. JEFF Pittsburgh is quite a town. If you find yourself with some free time some afternoon, I'd be glad to show you the sights. ANGELA That would make for a change. (laughs) I've hit the jackpot today. You're the second person in the last five minutes who hasn't realized I'm blind. Jeff had leaned forward intimately and locked his stare with her. He freezes, acutely embarrassed, and tries to cover, but Freud takes control of his slips. JEFF Of course you're blind. I was just joking... you see. (instantly regretting this last phrase) I mean, you don't see... uh, I mean: "don't you see." (desperate, glancing at his watch) Well. Oh My Gosh, just LOOK at the time! That is to say, my watch looks like it's time for me to— (rising, trying to get away gracefully and unable to do anything but slip on Freudians) —be on the air. So I'll be seeing you — uhm, saying you, saying so long for — ah, Hilary! HILARY BOOTH enters the Green Room just as Jeff was hoping to exit via the same door. JEFF Hilary, just in time! You're a sight for sore - uhm sure, uh, sure-ly you have never met this young woman here, she's a fan of our show... (to Angela) I don't know your name but of course this is my wife Hilary Booth as you can... see how time flies when we're all having such a nice … time. (pause for air) Hello Hilary. HILARY You're behaving very strangely, Jeffrey dear. (looks at attractive Angela) I suppose I needn't look far to see why. Hilary crosses to the couch where Jeff was sitting and sits in the same location. She continues to Angela: HILARY (cont'd) No doubt my husband has been giving you the eye. JEFF Hilary! HILARY (cont'd) (to Angela) Well, I assure you he's absolutely harmless. You'll just have to take my word for that on blind faith. That's it for Jeff. He's bailing out. JEFF Good-bye Hilary. Good-bye, Miss... Jeff leaves. Hilary smiles at Angela. HILARY So... you're a fan. Do you only know me from radio or— ANGELA Well, no, I did go to your show RAZZLE DAZZLE in New York a few years ago— HILARY So you saw me on Broadway! ANGELA Well, no, but let me explain— HILARY No need. I only missed one performance - that was the night Grace Cavendish filled in for me - oh, you must have been so disappointed! ANGELA Well, no I loved the show even though I wasn't able to— HILARY You actually liked her? No one has ever told me they liked her— ANGELA No, listen, you were performing when I went. I loved you, I heard you, I just didn't see you, because I happen to be blind. Hilary processes this for a moment. HILARY Oh, well thank heavens! I thought you liked her over me!! ANGELA No, you were wonderful. HILARY You're too kind. Oh, but of course that means you didn't get to see my dance number, "Tap Tap, Here Comes Connie..." Hilary puts her hand on Angela's arm chummily.
HILARY (cont'd) ...let me try to describe it for you. I appeared at the top of this long staircase...

Remember after Jeff and Hilary returned to the studio after the Benny Goodman concert to get the script that she forgot? Ever wonder what she disliked about that script?:

HILARY A powerhouse! What's that expression? "It doesn't mean anything if it hasn't gotten that swing!" (Hilary spots the script) There's that script! "PARADISE LOST!" Sounds depressing. JEFF It's in two parts. We don't lose it till Tuesday.

In "Like a Brother," two amusing Gertie scenes had to be cut. The first takes place after Mackie, dismayed at his comedy performance, has asked Mr. Foley for help, and before the scene in which Betty leaves to see about a location for Victor's memorial. Also note Maple's interest in a certain "man of a thousand voices":

INT. RECEPTION AREA - AFTERNOON - DAY 2 MAPLE has just entered, pretty sharp looking. GERTIE is at her desk, different outfit; C.J. THE ENGINEER is on his way out for a late lunch with his DATE, so there is a little more activity at reception than is usually the case. MAPLE Hi, C.J. See you later. Afternoon Gertie. You had lunch yet? GERTIE searches her memory. GERTIE Lunch. Lunch. I remember that word. Is that the traditional meal that office workers used to partake of around the noon hour....in the years before I came to work at WENN? MAPLE You want me to cover the phones for you? GERTIE Hallelujah! Just give me a second to— MACKIE has stepped over to Gertie’s desk and collars Maple. MACKIE Maple, you’re a musician, a sound person. MAPLE Sound of mind and body, Mackie, how about you? MACKIE You have to see what Mr. Foley has come up with. MAPLE Oh, but I just told Gertie... MACKIE You won’t believe it! He leads Maple away, as she shrugs an apology toward Gertie. Gertie muses wistfully: GERTIE Lunch. I remember lunch.

Gertie was also supposed to escort Pepper Canarsie into the Green Room to see Mr. Eldridge. This is the original scene, which shows Pepper still has "the touch":

PEPPER Ah, you're a sight for sore eyes. ELDRIDGE I have these drops I put in mine... PEPPER Same Tom Eldridge. ELDRIDGE Have you met Miss Gertrude Reece? Gertie smiles. GERTIE I tried to give him the grand tour, but he wanted to see you before anything. I have to get back to the phones. PEPPER You could give me the Grand Tour later on, Gertrude. GERTIE It’s a deal, Pepper. She leaves. Eldridge looks at Pepper with admiration. ELDRIDGE You work fast.

One of the many questions about "Who's Scott Sherwood?" on the newsgroup was "Why was the book of limericks used as the comparison for Victor's signature on the referral letter?" Hereby lies the tale:

GERTIE Well, all I know is we were all perfectly willing to build Victor a memorial. The reason Scott's the one in trouble is because he moved the money, opened the bank account, signed his own signature on the letter of transfer— BETTY Signature? His signature on the letter...? ELDRIDGE enters with a fresh pot of coffee. Betty continues: BETTY Where would I find a document with Victor's signature on it? GERTIE Victor's signature? In Mr. Sherwood's office, I guess. BETTY I know, but Pruitt's in there. ELDRIDGE One of the last things Victor ever signed is right in this room. Remember that book of Limericks I showed you? He goes to where the book of LIMERICKS (which he showed Betty in Episode 26) sits in its previous resting place. He picks it up, hands it to Betty. BETTY "To Tom..." ELDRIDGE That's me. BETTY I know, Mr. Eldridge. "...who makes all logic as clear yet as surprising as a limerick..." signed—"Victor Comstock." When did Victor give you this book? ELDRIDGE Mr. Sherwood brought it with him from London when he first showed up here, along with that letter. GERTIE What letter, Tom? BETTY The letter of introduction, the one that Victor wrote, telling us just who Scott Sherwood was...

One of WENN's favorite fictional denizens never made it to the cast's infamous "kill the series" defense of Scott in "Who's Scott Sherwood?" Stay tuned to hear how Mackie concluded your afternoon with The Vagabond. This came just before the Brent/Elizabeth farewell, cheerio scene, BTW.

INT. THE STUDIO — LATER MACKIE is The Vagabond again, wearing his trademark smoking jacket, as EUGENIA plays his theme, and FOLEY pops "champagne." Mackie suavely intones in his Vagabond voice: MACKIE And so we meet again for another private afternoon together, here in my luxurious penthouse high above the city. My dear, have you ever wondered why I - "The Vagabond" -meet you here in my secret hideaway each afternoon for dancing and champagne? MUSIC BUTTONS. MACKIE "levels" with the listener. MACKIE Well it's because I have a wife and six kids in the suburbs. Why else would I meet you in the middle of the afternoon for dancing and champagne? Now if you'll excuse me, I have to catch the six-forty-seven to Monroeville or the little lady will read me the riot act. (smiles) Hey, don't be a stranger, you hear? EUGENIA STRIKES A CHORD...

Here's the original opening scene from "The Importance of Being Betty"—wherein there's a lot more going on behind the scenes...:

MACKIE (WARM ANNOUNCER) Ladies... remember when "June" meant "honeymoon?" HILARY AS BECKY Ah yes. "I do." MACKIE Ah yes. Ladies, picture that quaint secluded hotel on the lake. The groom, still in his formal attire from the wedding ceremony, paces nervously outside the hotel room, while you change into something soft and alluring, just for him. Remember? HILARY AS BECKY How could I forget? MACKIE At last, the impatient Groom throws open the hotel room door...sees you...embraces you passionately... and then...and then... Hilary clamps her hand over her mike and asides to Mackie: HILARY ...and then usually the bride would come barging in. EUGENIA sounds "HERE COMES THE BRIDE." MACKIE Yes, weddings are a time for people to unite... not only bride and groom - (eye on Hilary) and their very dear friends - (back to mike) but the entire family renewing their bonds of loyalty and sacrifice...qualities you'll find right here in the little town of Bonneyville Mills on: "THIS GIRL'S KINFOLK." MR. ELDRIDGE steps alongside HILARY, sharing her mike. HILARY AS BECKY Oh Gramps! This wedding is costing you so much! MR. ELDRIDGE AS POPS I don't feel like I'm losing a granddaughter. I feel like I'm losing a grand. Mr. Eldridge looks about, re-consults script. MR. ELDRIDGE AS GRAMPS Sorry, gaining a grand. Son. HILARY AS BECKY I just pray nothing ever tears our family apart. Oh Gramps, Gramps... Emoting, she puts her arm around Mr. Eldridge's shoulder and says directly to him: HILARY ...I truly, truly love you. Mr. Eldridge takes this "overture" literally, looks at Hilary's arm around her shoulders and replies as himself: MR. ELDRIDGE Oh, thank you dear but...shouldn't we wait till we're off the air?

"The Importance of Being Betty"—Mackie sounds a bit perturbed...:

>>> TWO SCENES LATER, MACKIE fanfares a new cooking show: MACKIE Now stay tuned for some hot new recipes on "IS SOMETHING BURNING?" Today's menu will be... MACKIE reaches out his arm because he knows BETTY will walk through the door like clockwork which she does. She hands him the script, does a u-turn without breaking stride and exits just as quickly as she entered. MACKIE ...honoring The War of 1812, declared on this very date in June. We'll be presenting a French and British battle for your taste buds, featuring Beef Wellington, with Napoleons for dessert. (comments in direction of departed Betty:) Cute. Then we'll probably tell you how to "bone apart" a flounder.

This missing scene from "Pratfall" starts out in familiar territory, but then intertwines with two excised scenes that follow on Scott and Hilary's wastebasket encounter. Some familiar WENN themes are covered! (Note: The first missing sequence was actually filmed, but excised for time purposes.)

INT. THE STUDIO — MOMENTS LATER CLOSE-UP ON EUGENIA EUGENIA It's such a weight upon my shoulders. Such a heavy burden to bear alone. CAMERA PULLS BACK showing Eugenia on her back, with a big OLD-FASHIONED DUMB BELL POLE floating above her shoulders. [The spherical weights at either end are big enough that the pole floats above Eugenia's head.) Eugenia tries to push up on the dumb bell bar, but it won't move. GERTIE, ELDRIDGE and FOLEY look on sympathetically. GERTIE Eugenia, just because your calisthenics program is up for a Golden Lobe award doesn't mean you have to turn into Charles Atlas. ELDRIDGE Or even Charlene Atlas. EUGENIA Just being nominated is a great honor, people. To give the show anything less than my strongest effort would be like cutting off my Golden Lobe despite my face. ELDRIDGE It worked for Vincent Van Gogh. EUGENIA I've decided to build up my regime. ELDRIDGE That worked for Mussolini. GERTIE It looks very hard to lift, dear. EUGENIA I just need to think positive, like the little engine that could... you know I think I can I think I can I— She GRUNTS as she tries to lift the weight. She starts again EUGENIA — think I can I think I can I think I can... INT. BETTY'S OFFICE — MOMENTS LATER JEFF is standing at Betty's desk, upset, across from where BETTY is seated. JEFF I don't think you can do this to me, Betty, not two days before the awards. Having Scott replace me as YOUNG DOCTOR TALBOT could tip the voting in Scott's favor. BETTY Jeff, I have to think of more than just these Golden Lobe awards. We're getting a ton of complaints about the way you and Hilary aren't getting along on YOUNG DOCTOR TALBOT. JEFF That's because Hilary keeps injecting our personal problems into the program. She knows I can't get unmarried until they find my un-wife, and until I do, Hilary is undertaking to undo and unhinge me in every underhanded, unprincipled way possible. She's unbalanced, Betty. It's unbearable. BETTY Well, tell Hilary I'm only giving the two of you un — one last chance, Jeff. INT. THE STUDIO — CONTINUOUS EUGENIA is seated on the organ bench, being hugged by FOLEY and patted by GERTIE and ELDRIDGE; we see her head over FOLEY's right shoulder as she sniffles EUGENIA Oh I thought I could I thought I could I thought I could I thought I could... ELDRIDGE Now, now... GERTIE There, there... INT. HALL OUTSIDE WRITER'S ROOM / STUDIO — CONTINUOUS SCOTT, one waste basket in hand, is rounding the turn of the hall with HILARY. [They will eventually end up outside the studio doors]. HILARY Now not a word of this to anyone. I intend to use this information to get the PRAT award, by hook or by crook. SCOTT That's not very fair to the others. HILARY In our business, "hook" and "crook" come directly after "fair and square." Scott, if you tell anybody at this station that somebody at this station can get me the award that somebody of my station deserves, I'll tell Betty why you're carrying that waste basket. SCOTT Hilary you wouldn't do that to what am I saying of course you would — HILARY (simultaneously with him) —of course I would meanwhile I still don't know what Jeff's lawyers told him... She nods in the direction of the window in Betty's office. JEFF can be seen through it. HILARY They've probably advised him to go Flying Down To Reno for a quick honeymoon with the future "Former Mrs. Singer." SCOTT Come on, you know he's trying his best to untie the knot with Pavla. HILARY Fred and Ginger took less time to split up. HILARY I should have split his head when I had half a mind to kill him. She flounces into the Studio. Scott looks down at the waste basket "what am I doing with this?" INT. BETTY'S OFFICE — CONTINUOUS JEFF is protesting to BETTY. JEFF I don't see why I should be the one who has to give up my part. Why not replace Hilary? BETTY Because Scott is just as established as "Young Doctor Talbot" as you are. I mean, that's why you both were nominated for a Golden Lobe. SCOTT enters, his waste basket in hand. SCOTT Hi, uhm, just returning your waste basket, Betty. I'm afraid that letter you were looking for isn't in it. BETTY I've got the letter, it's the envelope I need. Scott sees a chance to read what Victor wrote — SCOTT (studied casual) Oh, well maybe if you were to show me the letter I'd be able to find what would fit around it. You know, like the Prince did in "Cinderella." JEFF No, no, that's not right, the Prince already had the slipper. He didn't look at Cinderella's foot and then go looking for a shoe that would fit it. SCOTT I don't mind looking at Betty's feet. JEFF By the way, I guess I should congratulate you, Scott. SCOTT (hopeful) Why, is Victor staying in Washington? JEFF No, you and I both got a Golden Lobe nomination for the same part. SCOTT Oh I don't care about that stuff, Jeff. It's your role. If I win, I'll give the award to you. Jeff nods, deeply touched and admiring of Scott. JEFF Somehow I, I knew you'd say that, Scott. (efficient) And actually, I've drafted a simple letter of agreement to that effect which I'd like you to consider signing — BETTY Uhm, shouldn't one of you two award-winning actors be on the air right now performing the part you made famous? Jeff looks at the clock, Scott looks at his watch. JEFF & SCOTT Oh will you look at the time.