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# 156 <7.01> Opening Moves
(revised 05/06/2024)

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Tentative title: "Aftermath".
As in the season 6 première, not only a recap of last season's finale and a sneak preview of the current episode are featured before the main title, but also a sneak preview containing scenes of the first twelve episodes of this season in random order to thrill and mislead the audience. The following episodes will feature both a recap and a sneak preview of the current episode before the main title, as in season 6.
The recap shows Melissa driving into the bay from a different perspective. Comparing the sequence with the one used in the previous episode, the footage was filmed with another camera from a different angle at the same time.
The background picture on JANE WYMAN's main title card features a view from River Road in the Tuscany Valley over the walnut tree-lined main driveway to Falcon Crest and parts of the wine estate's vineyards, particularly the Gioberti Estate. It is previously unused footage — the beginning of a longer sequence, whose later segments were used in # 132 (compare the scene with Julia and Tony in his car on the top of River Road).
The background picture on DAVID SELBY's main title card is a southeastern view of the Golden Gate Bridge with San Francisco in the background. It was shot from Conzelman Road in the Golden Gate National Recreation Area while shooting # 165 (compare there for details about Liz's faked ninja story).
The background picture on LORENZO LAMAS' main title card features the Tuscany Raceway, in real life the Sears Point Raceway (nowadays Sonoma Raceway) outside Sonoma, CA; see # 157 for details about this location. The clip is otherwise unused footage from the shooting for # 159.
Lance's racecar is different from the prop used in # 155. This season, it is a Tiga Sports 2000 Class built in the UK. It is a mystery what happened to the car from the previous episode, but it seems that this car is actually supposed to be a different one also in the storyline because the vanity license plate number is now "DINA 87" (best visible in # 167) while it was "DINA 1" on the other car in # 155.

The background picture on JOHN CALLAHAN's main title card (roulette table) is stock footage from a film library.

The background picture of Monaco on DANA SPARKS' main title card features a western view over the city's La Condamine neighborhood. It is stock footage from a film library, shot from the Fort Antoine in Monaco-Ville over Port Hercule (the yacht harbor).
Angela's new limousine, which is presented in the main title, but will be featured in a real scene in # 166 for the first time (aside from its first presentation in an establishing shot in # 159), is an anthracite gray 1985 Cadillac Fleetwood 75. The customized limo was stretched by Ohio based coachbuilders Hess & Eisenhardt.
The picture of SUSAN SULLIVAN is specifically filmed for this season's main title on the driveway to Richard's native stone home during the shooting of # 162.
The car in the background is a dark blue / beigeish 1974 Rolls-Royce Silver Shadow I, which was parked on the driveway to Richard's home while filming of Michael's birthday party took place (# 162). On script supervisor LEE WALKLING's set photo of two crew members (right picture), the Californian vanity license plate TIPP 2 is legible on the car. The car itself has no connection to the storyline of the series.
For the other actors' pictures in the main title, especially those coming from various scenes, see the information listed in the respective episodes.
Series time frame: This episode opens right after the season 6 cliffhanger. Giving respect to the time frame as stated in # 155, it is April 1987.
The San Francisco Bay area scenes are filmed at the Port of Los Angeles (the harbor in San Pedro) again, with the Vincent Thomas Bridge doubling as the Oakland Bay Bridge in the background, as in # 155.
The complete bay sequence — both for the season 6 cliffhanger as well as for this season's opener — was shot on one day, i.e. 03/18/1986, which was the penultimate shooting day of season 6 (compare the General Information). After the cliffhanger scene, the cast and crew had lunch and then immediately returned for the shooting of the première scene of year 7, but none of the cast members whose characters ended up in the bay (except BOB FOXWORTH, who had already been fired weeks before) actually knew if they would be back for the new season. They were excited to find out after the lunch break who would stay on the show. The big surprise was that LORIMAR executives had prepared the new contracts during lunch and handed them to the cast members asking them to sign right there and play — or leave.
The Coast Guard vessel is a 41-foot Utility Boat built by COAST GUARD YARD in Curtis Bay, MD. The large vessel was a standard utility boat used by the U.S. Coast Guard for a variety of onshore and offshore missions. The model used here (a type built between 1973 and 1981) was one of three vessels of the Coast Guard Station Los Angeles — Long Beach that were retired in 2011.
The identification code of the Coast Guard helicopter is 1402.
It is a Sikorsky HH-52A Seaguard helicopter.
Mistake: The building in the background gives away where the scene is filmed as the lettering says "Port of Los Angeles" (yellow mark). The prop department was negligent not to cover it.
DAVID GUST, the tall, black-haired and mustached uncredited extra, who is best known for his rôle as an assistant district attorney (# 091, 092 and 154), but who also plays different characters in the series, is a worker at pier 52 in this episode. Not a wise decision to choose this extra because of his usual appearances as a Tuscany County A.D.A., particularly because he will appear at the Del Oro later this episode (see below).
Compare # 187 for a list of appearances throughout the series.

The first ambulance at pier 52 in San Francisco is a Dodge Ram.


Both S.F.P.D. patrol cars at the port are 1981 Chevrolet Impala models.

The large vessel visible in the background across from (fictional) pier 52 is what used to be the Royal Viking Sea back in the day, a cruise ship built by WÄRTSILÄ HELSINKI SHIPYARD in Finland in 1973 and owned by the ROYAL VIKING LINE. It was docked at the Los Angeles World Cruise Center in San Pedro during filming. She started her cruise from there, which is visible later in the episode when she leaves the port. After a series of sales, the cruise ship is nowadays known as the MS Albatros.
When Dan is pulled out of the water into the helicopter, BRETT CULLEN is replaced by a stunt double.

License plate number of Lance's new black Mercedes-Benz 560 SL convertible (type R107): 2PAO139. It is the same number as on his silver Porsche 911 Carrera Sport Convertible in season 6.

Prop inconsistency: Whereas a pink / purple phalenopsis was in the vase on Angela's desk in the season 6 cliffhanger, the première of year 7 features a white flower, which does not even resemble the orchid in any way.
Early script drafts: The scene after Lance's arrival in the Falcon Crest Victorian Mansion foyer was initially longer: Towards the end of the scene, when Lance runs up the stairs and Angela is with Chao-Li, she tells Melody, coming from the kitchen and pantry, to call an ambulance. Then, Angela climbs up the stairway. The last few parts of this scene were dropped so MELODY McCORD had no appearance in the final version of this episode.
The ambulance arriving at Falcon Crest to take Chao-Li to the hospital is a 1980 Ford Econoline E-Series of the Riner company. As in # 128 (details there), the name of the privately owned ambulance and medical equipment company in the Napa Valley, CA, Piner, was changed by the prop masters by modifying the "P" into an "R" — creating the fictional Riner company.

The second ambulance at pier 52 in San Francisco, a white / blue colored van, is a Ford Econoline.

It seems mysterious how long Melissa was under water before she finally came out. The Coast Guard have arrived and rescued Richard and Dan in the meantime. Or did she also emerge from the water earlier in an unseen moment?
Falcon Crest Victorian Mansion set — inconsistency: The rooftop scenes with Emma are a strange montage. Parts of these scenes are filmed at the real house, other parts at the studios.
In parts of these scenes, the roof (main tower) can be seen directly behind Emma. This is a set built on the sound stage. The slope of the roof is different from the real house; also the center ornament in the small triangle gable of the main tower is missing in the replica, and the look of the shingles is different — it looks more like a roofing felt, carton or plastic, not like the real slate shingles. What is brilliantly done, however, is the illusion of the clouds moving, which was created by the painted backdrop on the sound stage being slightly moved during the scene.
In other parts, MARGARET LADD is standing on top of the front veranda. These parts are filmed at the real house. She is standing next to the little "balcony" atop the entranceway (see mark) — approximately where the roof of the entranceway and the top of the veranda roof meet.
The close-ups of Lance and Emma, however, are filmed on the set on stage.
The window Angela looks out cannot be near Emma's position. There are no diagonal elements of the wooden decoration on the front of the real house. The only diagonal wooden decoration in the real house is on the back (above the study), but the window there is different from the one in the set — there are only sash windows in the real house (except the dining room window), but no casement windows opening to the outside (see right photo) — a poor set.
The shape of the attic Lance (or Chao-Li in the previous episode) climbs up does not fit into Villa Miravalle's real floor plan properly.
If the set were taken seriously, the stairway would be in front of the two southern second floor windows. This makes no sense of course. Only the shape of the roof and the chimney made from brick (eastern wall) fit into the real floor plan. The characteristic stained glass window (compare # 155 and 172) Lance looks out is nowhere in the real house.
Strange: Why did Angela not notice Chao-Li fell off the stairway in the previous episode? She was in the study of the Falcon Crest Victorian Mansion and should have heard the noise even though the pocket doors were closed.
In the close-up, Lance and Emma are filmed in a different position on the roof than in the subsequent wide angle shot.
Again, this is the typical mistake caused by the particular close-up filming technique — check # 001 (Chase and Maggie at the Gioberti Family Cemetery) for details.
Uncredited extra SHIRLEY ANTHONY appears as Dr. Lee Walkling again — this time at the docks in San Francisco. With reporters present, it seems that she — most likely now in her position as a Senator (compare # 182) — wants to be informed by the rescue team about the news concerning the search for Chase.
Compare # 207 for biographical details about this minor rôle and a list of appearances throughout the series.
For details about the extra, compare # 016.
The establishing clip of the Palace of Westminster (Houses of Parliament) in London is purchased from a film library (filmed in northwestern direction). Mistake: It is 10:00 AM on the clock tower (Big Ben). The scene prior to that clip, however, depicts the events in the San Francisco Bay on the day of the accident. The next San Francisco scene after the London scene is on the evening of the very same day. Giving respect to the time gap (San Francisco time is eight hours behind London time), it cannot be 10:00 AM in London.
The season 7 bible and original script drafts suggested Nicole's last name be Sauget. It was only later in the production process when it was changed to Sauguet.
In the scene when Nicole Sauguet is introduced and in many other scenes with her in this and the following episodes, MARK SNOW uses "Nicole Sauguet's Theme", a score he specifically composed for the series.
In 1990, MARK SNOW uses that score with minor modifications in the CBS TV movie "Miracle Landing" (written by GARNER SIMMONS) in a scene with ANA-ALICIA, who plays a flight attendant there.
The first floor bedroom and bathroom in the Napa Valley residence used as Richard's house is the filming location for Nicole's bedroom and bathroom in her London townhouse.
On 10/09/2017, the house burnt to the ground in the Napa Atlas Peak Fire, one of many disastrous wildfires in the Napa and Sonoma Valleys.
Actress HELEN MIZOGUCHI was originally cast to play the Queen of the Valley Hospital Nurse. But GLORIA HENDRY finally won the rôle.

The filming location for the San Francisco Police Department (all interior scenes in this episode) is the Hall of Justice of the County Court building complex in Napa, CA, which also houses jail cells. This building's exteriors were briefly visible in the background in # 139 when Maggie was in front of Chase's campaign headquarters.


The establishing shot of Westminster Bridge in London with the Houses of Parliament in the background (filmed in southwestern direction) is stock footage from a film library.

The London segments that create the illusion of being filmed from Nicole's POV out of her car are also stock footage from a film library.
The first one features Trafalgar Square (filmed in northeastern direction).
The second one features The Mall with St. James's Park in the background (filmed in northeastern direction).
The bridge over the River Thames in London (where Nicole throws her "CG" ring into the water) is the same location used as in # 105 and 137 (compare there). A prop statue was installed on the riverside railing this time. Having undergone major reconstruction work in 1992, Third Street Bridge in Napa changed its looks (compare the 2004 photo). In the meantime, the bridge has been updated again.
As Nicole's Rolls-Royce drives on the right side of the road, this must be a one-way street — considering left hand traffic in the UK.

The lion statue near the bridge (see screen capture 3 in the above set of pictures) is the same prop that was used as one of the two statues at the entrance of the home Emma and Dwayne were interested in buying in # 123. It is the statue on the right (yellow mark).

Nicole's vintage car is a black Rolls-Royce Phantom III Convertible.
It is a two-door car, but director REZA BADIYI chose extreme close-ups and odd angles to obscure that fact and to create the illusion of a four-door car, which is noticeable when examining the scene closely though: When the chauffeur gets off (screen capture 2) and then — after a cut — opens the door for Nicole (screen grab 3), she apparently uses the driver's door on the right-hand side (note the steering wheel on screen capture 4) and pushes the seatback forward to get out (screen grab 5). She could actually have gotten off in the first place as soon as the driver hopped out. It was only for a more dramatic effect that the director chose to have the (same) door being opened for her.
Mistake: Nicole takes the ring with Chase's initials off her finger and places it into her cupped hand (close-up). In the wide angle shot, she throws it away; LESLIE CARON, however, still wears the ring on the intermediate phalanx of her middle finger with the "CG" engraving facing her cupped hand. She clenches her fist to actually keep the prop when she creates the illusion of throwing it into the river.
First, Maggie places Kevin's baby bottle horizontally on the sideboard in the hospital room in San Francisco. In the subsequent frame filmed from across, however, the bottle is standing on the sideboard
Again, this is the typical mistake caused by the particular close-up filming technique — check # 001 (Chase and Maggie at the Gioberti Family Cemetery) for details.
Early script drafts: The opening scene of act 2 featured Richard leaning against his limo in front of the Tuscany Valley Bank, waiting for Angela. When she — dressed in red — steps out, he warns her not to bulldoze Maggie. Angela ridicules him as Maggie's guardian angel and says they will just have to see what is in Chase's will. This scene was omitted in rewrites.
Edited scene: The breakfast scene with Emma, Lance and Angela on the Falcon Crest Victorian Mansion veranda was initially longer: It started with Emma explaining to Lance that she made the artichoke waffles herself to thank him. That part of the scene was removed in post-production. The artichoke waffles, however, can still be seen on Lance's plate towards the end of the scene.
By the way, in season 8, Emma tells Daniel Cabot she hates artichokes. Interestingly enough, the fact that the part about the artichokes in the current episode was edited, avoided any consistency issues with Emma's dislike of artichokes.
In early script drafts, the scene in the current episode had a different ending: Emma was supposed to exit the scene after Angela arrives. At the end of the scene, Lance provocatively asks Angela what she is going to do now; he says that life is not going to be much fun for her without Chase to plot against. He wonders if Richard is going to be enough for her. The scene underwent several rewrites.
Stock footage of a jet in the clouds (a Hawker Siddeley HS.125-600A, built in 1972) is used as Nicole's jetliner; the same footage was used in # 154 as Richard's jet. Compare there for the source of this footage.
Inconsistency: That jetliner model is not capable of a trans-Atlantic flight (London — Tuscany Valley) without refueling several times though.
N711AG is the license number of Nicole's jet. This is the real registration of this jetliner.
As the first letter of the registration number ("N") indicates, this aircraft is registered in the U.S. This seems odd because Nicole's company is headquartered in London where she also resides. It was obviously not a very careful selection of stock footage in post-production.

Product placement: Nicole's briefcase as well as her baggage (which will be seen later at the Del Oro) are Louis Vuitton products.

The Bonarc Casino in Monte Carlo where Eric and Vickie spend the evening is actually the Gold Room, one of the ballrooms, at the Biltmore Hotel (nowadays Millennium Biltmore Hotel) in Los Angeles. The same location was used in # 062 (see there).
Also see # 166 for this filming location.
Len Potts' law office is actually an office in the Hall of Justice of the County Court complex in Napa, CA (compare the San Francisco Police Department above).
The script suggested that, in the scene with Garth breaking into Len Potts' office, a sign be shown to identify the law firm as Potts, Darnell and Gersh (Potts, Honig and Gersh in earlier script drafts). In the final version, Potts was a single attorney at law.
Inside joke: The Darnell name was borrowed from story editor and writer CYNTHIA DARNELL.
Early script drafts suggested for act 2 a night scene in which, besides Garth on Richard's behalf, also Angela herself breaks into Len Potts' office to look for Chase's last will and testament. This idea was dropped in rewrites.
Cast and crew background: ED MARINARO is a good friend of JEFF FREILICH's.
Early script drafts suggested Remick fighting in Zaire, West Africa. This was changed to North Africa in order to be politically correct and not to name a specific African country a battle field.
The original choice for John Remick's last name was Merrick in early script drafts.
In the wide angle scene of the North African battlefield, ED MARINARO is replaced by a stunt double (JOE STONE).
JOE STONE is a key stuntman in seasons 6 and 7, who played various parts already. For another appearance in this episode, see below. Compare # 183 for a complete list of appearances.
Early script drafts included a scene at the beginning of act 3 with Remick coming to a bank named Second Mercantile Trust in New York City (Première Banque de Genève in Geneva / Switzerland in even earlier drafts and Première Banque de France in earliest drafts). He enters the vault and takes the Army service revolver from the safe deposit box. The scene was omitted in the final script revision. The gun, however, is seen when John first appears at the Gioberti House.

The establishing shot of San Francisco to introduce act 3 is a view of the city from Fort Baker. It was photographed during the shooting of a scene with Maggie and John in # 157.


Uncredited extra KEVIN G. TRACEY appears as the thick-eyebrowed Tuscany Valley gentleman again, who works as the concierge at the Del Oro.
Compare # 185 for a list of all his appearances throughout the series.
For details about the extra, compare # 001.


Uncredited extra LARRY HUMBURGER appears in another rôle — this time in the Del Oro lobby.
Compare # 227 for a list of appearances throughout the series.
For details about the extra, compare # 078.

DAVID GUST, the tall, black-haired and mustached uncredited extra, who is best known for his rôle as an assistant district attorney (# 091, 092 and 154), but who also plays different characters in the series, goes through the Del Oro lobby with his golf equipment this episode. He was seen in a different character in a scene at the port at the beginning of this episode (see above).
Compare # 187 for a list of appearances throughout the series.
For details about the extra, compare # 063.
Mistake: In the scene between Angela and Nicole in the Del Oro lobby, when Angela looks towards Nicole's baggage, two hotel patrons (a black-haired woman and a man with receding hairline) are walking from the hallway that connects the guest rooms and the lobby past Angela and Nicole between the luggage carts and the reception. A few seconds later when the camera is back on Angela and Nicole, however, the very same extras are walking along the exact same route again although they would have to have reached the lobby somewhere near the fireplace or the bar in the meantime.
Once again, this is the typical mistake caused by the particular close-up filming technique — check # 001 (Chase and Maggie at the Gioberti Family Cemetery) for details.

Uncredited extra DOUGLAS MAIDA appears as Dave in this episode again — as usual as a bellboy at the Del Oro.
Compare # 224 for biographical details about this minor rôle and a list of appearances throughout the series.
For details about the extra, compare # 034.


Stock footage from a film library of a Boeing 747 aircraft of TWA (the now defunct Trans Word Airlines) is used to establish John Remick's flight from North Africa to the U.S.

The aircraft interior set used as Nicole's private jet and the Boeing 747 John uses to fly to the U.S. is the same. Only minor changes in the set dressing were made to save production costs.
The photo of Chase, John and other soldiers in Viet Nam is a montage. A cut and paste technique was used to insert ROBERT FOXWORTH's head from another old black and white photograph (Nicole's photo).
According to the standard procedure in TV productions to pay a cast member for the use of a still photo in an episode for which no principal photography has been taken of that cast member, ROBERT FOXWORTH received payment from LORIMAR for using this black and white photo twice in the episode as well as for the use of his color portrait shot in the Gioberti House (Nicole's arrival). The selection of photographs was subject to his approval.
Edited scene: The segment in the sitting room of Richard's house when Garth informs him that their men lost sight of John Remick in New York was initially longer: It began with Garth taking down the old artwork from above the fireplace and Richard telling him to send back the other pictures to the art gallery. This part was shortened in post-prodcution; what reminds of this part are the props, particularly the paper-wrapped pictures, and the empty space on the wall above the fireplace mantle.
Also, the scene was changed towards the end on very short notice while shooting: In the script, the conversation between Garth and Richard about Chase contained Garth's cautious remark that everyone knew Richard had nothing to do with Chase's death while Richard is packing up his briefcase; also, Richard kicks only one of the pictures, so it crashes into the wall. The final version, in contrast, is a lot more emotional — Garth's resassurance that Richard and Chase are half-brothers (at least as far as they knew at the time) leads to Richards statement that he is getting sentimental about family matters and losing his temper when he kicks and destroys various decorative objects between the door and the fireplace, including the bust of PLATO.
John Remick's rental car is a gray Chrysler Fifth Avenue.
The shot of the vehicle on the Gioberti House driveway is not a real night shot. It is actually a "day for night", a cinematographic technique to simulate a night scene while it was actually filmed in daylight; it is usually underexposed and processed through a special filter in post-production to create the illusion of darkness.
Edited scene: The segment with Emma joining Angela in the Falcon Crest Victorian Mansion study late at night and confronting her about Richard's identity was initially longer: It began with Angela's unsuccessful attempt to call Peter Stavros. The scene was shortened in post-production.
Allusion to Greek mythology: In her conversation with Angela about Richard, Emma refers to the legend of Medea, who killed her children.
After his first appearance in this episode (see above), JOE STONE is participating again. He is a key stuntman in seasons 6 and 7, who played various parts already, and portrays Richard's bodyguard now, who attacks John Remick on the veranda of the Gioberti House. Compare # 183 for a complete list of appearances.
Early script drafts suggested a scene in which Dan picks up Melissa from jail in San Francisco. A media crush is there, awaiting her release. One of the reporters is the one who reported from the pier about Chase's disappearance in an earlier scene. The reporter says that judge Danziger set bail for Melissa at $ 250,000. Dan protects Melissa against the cameramen and reporters by telling them that she is deeply sorry for any grief she may have caused Mrs. Gioberti. This scene was omitted.
The final part of the conversation between Vickie and Maggie about Chase's death was rewritten several times. Early script drafts put even more emphasis on how much Vickie hates Richard. These drafts suggested that she tell Maggie to count her out of her life as long as Richard is a part of Maggie's life; he came between her and Chase, and she was stupid enough to fall for it.
Inconsistency: Eric's hair has apparently grown between # 155 and 156 although the end of season 6 and the beginning of season 7 are the same day. JOHN CALLAHAN had some time off after season 6 before his first season 7 scene was shot.

License plate number of Eric's new gray 1986 Chevrolet Corvette C4 Convertible: 2CSI908 — the same number Chase's red Porsche 928 S4 had last season! What a silly prop policy!
Early picture car planning suggested a Ferrari for Eric.

The conversation between Vickie and Eric was rewritten several times. Early script drafts put even more emphasis on Eric's callous attitude about Chase's death: When Vickie asks him how he is going to pay back all his IOUs from Monte Carlo, he murmurs: "Where there's a will there's a way." This is a nice pun, considering Chase's will. The line, however, did not make it to the final shooting script.
Deleted scene: The scene in which Spence hires the assailant to kill Richard was filmed, but removed in post-production in order not to spoil the surprise in this episode's final scene.
Despite LORIMAR's "new wardrobe for new season" policy, this episode, Emma wears the yellow blouse she already wore in # 140.

License plate number of Dan's new gray 1986 Jeep Comanche 4x4 Pickup: 2U23230 (old blue California plate with yellow lettering).

The former Inglewood Estate Winery (nowadays Sinegal Estate) in St. Helena, CA seen in # 027, 079, 130 and 134 is used again — this time, as the Agretti swimming pool between the vineyards (as it will be in # 157 through 158 and 160).
But in this episode, the yellow pool house can be seen in the background.
LORENZO's tattoos are covered well with special camouflage "make-up" in the pool scene. The make-up artists finally found the perfect solution: bat guano!

The interiors of the Gioberti Winery are filmed at Stags' Leap Winery, as they will be in # 158 and 164.

Early script drafts included scenes with Maggie and Nicole in Len Potts' office: First, Maggie learns that Chase's will that was left at Len's law office was a dummy copy; Chase never consulted the attorney about his estate. Len says that John Remick might have the real will, as Maggie already knows. When Maggie leaves the office, she passes Nicole Sauguet, whom she does not know yet. When Nicole presents her documents concerning Chase's estate to Len, he is surprised. These scenes were omitted during script revisions. This made room for the storyline about Chase's codicils later in the seasons as they were stored at Len Potts' office.
The San Francisco Police Department Impound Yard where the Volvo Melissa dove into the bay with is stored is actually the southern lot of the real Napa Police Department. In the late 1990's, the building was completely remodeled and another wing was added; it houses also the Napa Fire Administration.
Inconsistency: After its recovery from the bay, the golden Volvo 780, which had been stolen by Melissa, has some damage that is incoherent with the dive into the water. In particular, the deformation of the hood looks as if it had suffered from strong forces from either side of the front fenders. This is caused by the use of a different picture car in Napa, which had actually been totaled in a different accident.
Early script drafts contained a scene in the tool shed at Falcon Crest towards the end of the episode, which features the pool boy, stripped to his shorts by the assailant, who puts on his clothes. The scene was omitted in order not to spoil the surprise in this episode's final scene.

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