Trivia Overload

Scene-by-scene comparison of script and film

Mike Noon has kindly contributed this exhaustive comparison of an actual script with what made it to the screen. In honor of one of the episode's lines, the sections describing what appears on screen appear in  pink cells  while the original script is in white cells. This is a long document and may take a while to load...

Scene One:

SCREEN:

KIRBY
Yes, splendid. Perfectly splendid... Bit tall.

SCRIPT:

KIRBY
W..e..ll he looks all right.

SCREEN:

KIRBY
A beautiful performance.

SCRIPT:

This line is not in the script.

SCREEN:

The corpse is referred to as 'excellent' by Z. Z. Von Schnerk.

In the script it is 'beautiful'.

Scenes Two to Four:

(Coming out of the advertisement break following the 'Epic' title card and two-line teaser).

SCREEN:

Steed is standing outside the front door of Mrs. Peel's apartment. He rings the doorbell with the tip of his umbrella, then checks the top of the door for the spare key. Mrs Peel emerges and the dialogue detailed in the script section below takes place as they make their way through a short corner of the mews behind Mrs. Peel's apartment and take their seats in her car.

SCRIPT:

FADE IN:

2. INT. EMMA'S FLAT. DAY

CLOSE UP. EMMA'S PEARL HANDLED GUN - as the last couple of shells are pushed into chambers - the revolving chambers are spun, then snapped shut.

PULL OUT. REVEAL EMMA checking the gun - then moving briskly to the door. She opens it - and STEED stands there, smiling, hand raised just about to knock.

STEED
Mrs Peel ...

EMMA
Sorry, Steed - I'm needed elsewhere!

And twirling the gun, she walks out past him.

HOLD ON STEED - he double takes - then hastily turns to follow her.

3. EXT. MEWS AREA. DAY. (STUDIO)

NOTE: This is where EMMA keeps her car - but since we do NOT want to establish an exterior of EMMA's apartment, this should be conceived as the mews adjoining, or around the corner.

OPEN CLOSE ON EMMA'S CAR - as the engine roars into life.

PULL OUT as the car reverses - starts to make a turn prior to driving away.

STEED runs INTO SHOT - opens the door - climbs into the car - just in time. The car starts to speed away.

4. INT. EMMA'S CAR. DAY. (MATTE)

EMMA driving - STEED alongside - just settling himself.

STEED
(breathless)
Where are we going?

EMMA
North to Wittlesham Heath. Then we find Fitzroy Lane - drive exactly five tenths of a mile along it - and stop.

STEED
And then?

EMMA
I don't know.
(STEED reacts)
I just had an anonymous phone call. A man. I didn't recognise the voice.

She swings the wheel.

Scene Six:

After Steed tells Emma that the meeting could be a trap, the following lines occur in the script but are missing from the final version:

EMMA nods - pats the gun that rests on the dashboard ledge, before her.

EMMA
I know.

Scene Fifteen:

On screen, Steed has the more neutral line, "Shall we go back?"

In the script, there is more of a sense of menace:

15. INT. EMMA'S CAR. DAY. (STUDIO?)

As STEED and EMMA climb back in.

EMMA
False Alarm.

STEED
Perhaps.

Thoughtfully he gazes off back down the road - in the direction taken by KIRBY.

EMMA starts the car, prepares to drive off.

Scene Seventeen:

SCREEN:

EMMA
Well, if it comes to you in a blinding flash. Meanwhile, what can I do for you?

SCRIPT:

EMMA
Well, if it comes to you - let me know. I might play a little joke of my own.

She more or less dismisses the incident now.

EMMA
Now then - what can I do for you?

Scene Eighteen:

This scripted scene is not in the finished episode, and occurs in the script just before the three miscreants are seen viewing the film of Emma Peel.

18. INT. VON SCHNERK'S OFFICE. DAY.

CLOSE ON DOOR - it opens - KIRBY enters, dressed as vicar - he carries the paper parcel. He eyes DAMITA and VON SCHNERK.

DAMITA
Did she turn up?

KIRBY
(nods)
She turned up.

He peels off his 'bald pate' make-up - takes off the glasses.

VON SCHNERK
You got what you wanted?

KIRBY nods - pulls aside wrapping on parcel - we now see that it contains a small cine camera - he lifts it out.

KIRBY
I got it.

HOLD ON CAMERA.

Scene Twenty:

This scripted scene is not in the finished episode. It occurs just before Emma's car is sabotaged.

20. INT. EMMA'S FLAT. DAY.

CLOSE ON EMMA - preparing to go out - picks up a small purse - finally checks her car keys - moves to the door.

Scene Twenty Seven:

The following line is missing from the finished episode:

EMMA
I said Victoria Grove.

Scenes Twenty Nine to Thirty One:

The gun referred to in the scripted scenes below does not appear in the finished episode. Emma succumbs to the gas much earlier in the finished episode.

29. INT. TAXI. DAY. (MATTE)

EMMA is almost thrown from her seat by the turn - she stares at the DRIVER's back - bangs harder on the partition - but he does not turn.

Alarmed now, EMMA tries the door handles - they are locked - she is trapped in the cab.

She opens her purse, produces gun - brings the butt of it against the glass partition - but the glass does not break or even crack. The DRIVER does not turn - he swings the wheel.

30. EXT. DESERTED STREET. DAY. (LOCATION)

TAXI speeds around another bend.

31. INT. TAXI. DAY. (MATTE)

EMMA now turns the gun and points it at the partition - she fires a few shots - the noise fills the cab - but:

The glass partition remains unbroken. Now we see the TAXI DRIVER lean forward and pull a large knob on the dashboard before him. We HEAR THE HISS OF GAS.

EMMA reacts - starts to choke - pulls out a handkerchief to cover her face - but she starts to lose consciousness - she slides to the floor of the taxi.

ANOTHER ANGLE

HEAD ON SHOT OF TAXI DRIVER - fully seeing his face for first time - we recognise him to be a heavily disguised KIRBY. His face tightens into a smile.

ANOTHER ANGLE

EMMA lies unconscious on the floor of the cab.

HOLD THIS.

Scenes Thirty Five and Thirty Six:

These scripted scenes are not in the finished episode.

35. INT. STUDIO CORRIDOR. DAY.

One of those vast, bleak, soul-destroying corridors in ghastly, awful pink (Location?) - with doors off at regular intervals, leading to dressing rooms.

We are SHOOTING down the length of the corridor to where VON SCHNERK walks towards CAMERA. Save for his hollow footsteps, there is no other sound.

HOLD ON VON SCHNERK as he draws nearer - we see he wears the green eye-shield.

He almost reaches CAMERA - then stops at a door - a door bearing a faded silver star - he taps and enters:

36. INT. DRESSING R0OM. DAY.

Again - passé - decorated with ageing photos and posters.

VON SCHNERK enters - stops - looks to where DAMITA is seated before a dressing table (angled so that we do not see her reflection).

DAMITA is finishing making up - she wears a full length dress of very severe cut and sombre colour - beneath it (we shall see later) she wears full length leather boots.

VON SCHNERK
Are you ready, my squirrel?

DAMITA
Yes.

She rises, turns - and we see her face: she now wears a frightening make-up - death-like, green tinged - hard and cruel. She regards VON SCHNERK.

DAMITA
I am ready.

Her voice has a richer, plummier tone to it now.

VON SCHNERK regards her - then offers his hand - and together they exit.

Scene Forty One:

SCRIPT:

KIRBY moves to the door of the taxi - opens it - and EMMA tumbles out to lie unconscious on the floor. KIRBY regards her - then he reacts as he hears a RUSTLE OF SILK - FOOTSTEPS - a STRANGE TAPPING - and INTO SHOT glides DAMITA - and VON SCHNERK. The tapping is VON SCHNERK's riding crop - slapping against his leather boot.

All three regard EMMA - VON SCHNERK is very thoughtful - he slaps the crop against his leather boot - this is now the only sound - and a very menacing sound and gesture it should be too - menacing in its very simplicity, its regularity - the slap, slap, slap of the crop.

SCREEN:

There is no crop-slapping in the finished episode, which also contains this extra line of dialogue:

VON SCHNERK:
She is right. Absolutely right.

Scene Forty Four:

There is a subtle difference in intent between the script and the finished episode during this scene. The screen version plays it as if Emma is in her apartment up until the point where she pulls back the drape to reveal the cameras. It also does not overplay the wind motif which occurs throughout the scripted version.

SCRIPT:

44. INT. STAGE 4/EMMA'S APARTMENT. DAY.

OPEN CLOSE ON EMMA - unconscious, but beginning to stir. THE WIND MOANS SOFTLY HERE - disturbing EMMA's hair.

EMMA moans, her eyes slowly flicker open - stare but do not focus for a moment - she looks around - then reacts to:

CLOSE SHOT. EMMA'S EYELINE TO: a familiar piece of furnishing in her apartment.

EMMA props up on one elbow - she is facing, and will continue to face INTO set. PULL OUT WIDER TO REVEAL that she is back in her apartment.

(NOTE: The apartment should be lit against reality - lit so that it looks like a SET).

EMMA grips her head, shakes it - trying to clear her mind - trying to remember. She looks around the apartment. Then the WIND HOWLS LOUDER - and the drapes at the window start to buffet. EMMA moves to the window - pulls aside the drapes - looks out and reacts to:

Outside the window is a studio wall - and the sign: "NO SMOKING ON SET".

EMMA stares at it - then spins round and looks off in the opposite direction for the first time. She sees:

EMMA stands in the middle of what is obviously a 'set' of her apartment. We see where the set terminates and runs off onto the dark area of the vast studio floor beyond.

EMMA reacts to:

A blimped Mitchell camera on dolly - 'staring' at her like a great eye: An Arriflex mounted on tripod or similar...

The script and the finished episode converge at this point.

Scene Forty Seven:

SCRIPT:

EMMA reacts - she runs out of the storm of confetti - and up the graveyard rostrum to the top and KIRBY. As she reaches the top, she grabs at KIRBY, but he jumps aside - EMMA misses her footing - falls right over the rostrum top...

SCREEN:

She is pushed over the rostrum top by Kirby.

Scene Forty Eight:

SCREEN:

KIRBY:
"Mrs. Peel. We're waiting for you".

SCRIPT:

This line does not appear in the script.

Scene Forty Nine:

SCREEN:

EMMA
Who are you? And what part have you played in that little tragedy back there?

SCRIPT:

EMMA
Who are you?

DAMITA continues knitting.

EMMA
I think this whole thing has gone just about far enough. I don't find it particularly amusing ...

DAMITA continues knitting.

EMMA moves to DAMITA - grips her - shakes her.

EMMA
Do you hear me? I want an explanation ...

...

SCRIPT:

...(KIRBY) now wears a platinum, crew cut wig, monocle, a sabre scar - tight black trousers and sweater - and a medal slung on a ribbon around his chest.

SCREEN:

KIRBY is dressed as a Roman Legionnaire.

SCRIPT:

His name is Edgar

SCREEN:

His name is Alexander.

SCREEN:

KIRBY - How has my wicked little sister been behaving?

SCRIPT:

This line is not in the script.

SCREEN:

KIRBY - Well played.

SCRIPT:

This line is not in the script.

Scene Fifty:

SCRIPT:

50. INT. STAGE 4. DAY.

OPEN ON: The words: "CAME THE DAWN" fill the screen.

Then, as WE PULL BACK we see that it is merely an old card lying on the studio floor - HOLD IT - then PAN AWAY - PICK UP the foot of a large, outrageously ornate (albeit faded) bed. CONTINUE PANNING UNTIL we PICK UP EMMA in the bed.

SCREEN:

This opening gimmick is not used on screen.

Scene Fifty One:

SCREEN:

KIRBY
Tell you what. Give you three seconds to get out of town.
(He takes a drink)
One.
(Takes a step)
Two, Three.

SCRIPT:

KIRBY
I told you to get out of town.

EMMA does a comic reaction - looking behind her to see who he is addressing - then finally pointing to herself.

KIRBY
This town isn't big enough for the both of us. Hit leather!

EMMA
Hit...!? Oh, now look ... just a minute ...

KIRBY
Draw! (regards her) I'll count to three - and then I'm a gonna gun you down ...

EMMA
You're a gonna do no such thing.

KIRBY
One!

EMMA:
This is ridiculous.

KIRBY:
It's me or you. You'll have to kill me to stop me. Two!

EMMA stares at him - realising he means it!

KIRBY
Three!

...

SCRIPT:

KIRBY drops his gun - reels back against the bar - clutches his chest and blood appears between his fingers, and stains across his shirt - then he topples - falls to the floor and lies dead - blood staining across his shirt.

This is notable because it is a 'blood' situation in a Brian Clemens script.

Scene Fifty Two:

SCRIPT:

52. EXT. MEWS AREA. DAY. (STUDIO)

As STEED strolls across the mews - seeing EMMA'S CAR - registering it, strolling on and:

SCREEN:

This scene does not appear in the final version.

Scene Fifty Three:

Some of Steed's lines as he looks around Mrs. Peel's deserted flat are slightly different.

Scenes Fifty Four to Fifty Eight:

SCRIPT:

54. EXT. MEWS AREA. DAY. (STUDIO)

CLOSE ON EMMA'S CAR - then STEED ENTERS SHOT - looks around -even looks under the car.

STEED
Mrs Peel?

No answer - he is getting more puzzled - he is about to turn away when he sees:

Although the bonnet of the car is closed - a loose cable projects from it.

STEED reacts - opens the bonnet of the car - delves in, and comes up holding several cut cables. He studies them - remains close to the car.

CUT TO:

55. EXT. STAGE 4/MEWS AREA. DAY.

CLOSE ON EMMA - standing against her car (almost identical SHOT to preceding one of STEED) she is breathless, distraught - she looks about her - then moves OUT OF SHOT. HOLD ON CAR.

CUT TO:

56. EXT. MEWS AREA. DAY. (STUDIO)

CLOSE ON STEED standing beside EMMA'S CAR - holding the cut cables - realising something is very wrong. Then, he turns - starts to move away OUT OF SHOT.

57. INT. EMMA'S APARTMENT. DAY.

CLOSE ON DOOR - it opens - STEED enters, closes door, leans on it, holding the cables - looking at:

THE TAPE RECORDER linked to phone.

CLOSE ON STEED, as he starts to move away from the door.

CUT TO:

58. INT. EMMA'S APARTMENT. DAY.

CLOSE ON same door Steed leant against in preceding shot - as it is torn open (this door is made of taut paper) - and EMMA steps through into her apartment.

HOLD HER - then ZOOM OR PULL BACK TO REVEAL EMMA standing in the 'set' - with studio running away on either side.

CLOSE SHOT. EMMA - leaving the door - moving to where a dummy tape recorder and phone stand.

SCREEN:

These scenes do not appear in the final version.

Scene Fifty Nine:

(Steed is listening to the ansaphone.)

SCRIPT:

KIRBY'S VOICE
Mrs Peel?

EMMA'S VOICE
Yes.

KIRBY'S VOICE
I have to see you - it's imperative.

This dialogue is missing from the broadcast version

SCREEN:

Fitzroy Lane is added in as the meeting point.

Scene Sixty:

Some of the dialogue has been switched around.

SCRIPT:

VON SCHNERK
Life and death! The very fabric of drama!

As he talks - PULL OUT TO REVEAL KIRBY and DAMITA - both undisguised - both wearing robes, awaiting their next roles.

VON SCHNERK
A fabric woven from here...
(his head)
Here...
(his eyes)
...and here...
(his heart)
The substance of a great movie. The rest? ...merely shadows - brilliant shadows that I create.

KIRBY
And us?

VON SCHNERK
You? You, my pets are merely puppets. Scenario!

DAMITA hands him a script - he flicks through it.

VON SCHNERK
So far I have created a confined, claustrophobic atmosphere. Now we must open the story out - give it vista - breathe some air into it...

SCREEN:

VON SCHNERK
The substance of a great movie. A magnificent fabric. Woven from here...
(his head)
...and here
(his eyes)
...and here
(his heart)

DAMITA
And what about us?

VON SCHNERK
You? You, my pets are merely puppets.

KIRBY
Puppets, that's a bit thick.

VON SCHNERK
Now stop it. I said you were still under contract to me. Both of you.

KIRBY
That ridiculous small print.

DAMITA
You know, darling, we should have slaughtered that agent of ours.

VON SCHNERK
Don't ... don't ... don't despair. Remember my promise to you. This picture will restore you to your pedestals. It will send you soaring once more into the firmament, that galaxy where the stars shine brightest.

KIRBY and DAMITA laugh. They kiss.

VON SCHNERK
So far we have created a confined, claustrophobic atmosphere. Now we must open the story out - give it vista - give it air.

Scene Sixty Four:

SCRIPT:

64. EXT. PERIMETER WIRE. DAY. (LOCATION)

CLOSE UP. EMMA - running along - then stopping - regarding what lies ahead of her:

She has reached the perimeter fence of the studio - an area situated somewhere on the bleak back-lot - an area littered with studio bric-a-brac - including an old flat-top horse wagon - and a free-standing street lamp.

EMMA reacts with relief - moves to start climbing the high wire fence. Her hands are almost on it, when she sees:

CLOSE SHOT. At the top of the wire fence can be clearly seen an electric cable - and and insulator.

EMMA freezes - her hands a fraction of an inch from the wire - she draws back - looks around - sees street lamp. She heaves against it - sets it toppling over against the wire fence.

CLOSE SHOT. As the street lamp hits the fence there is a spray of sparks - a mild explosion - smoke clouds out the scene. Then, the smoke clears, and we see that the top of the street lamp has gone.

EMMA steps back - in no doubt now as to the lethal properties of the electrified fence.

SCREEN:

Extra dialogue:

VON SCHNERK
Pink pages, Kirby. This will mean pink pages. I will have to rewrite the script.

DAMITA
She went thataway.

VON SCHNERK
Don't worry. She can't escape. Now, its time I started planning the climax of this picture. The agonising climax. The real death of Emma Peel.

(Fade to commercial break).

Scenes Sixty Five to Sixty Seven:

SCRIPT:

65. EXT. STUDIO AREA. DAY. (LOCATION)

EMMA appears at corner of a building - looks around it - ducks back - then peers around it more cautiously at:

EMMA'S EYELINE - deserted stretch of studio and buildings - and - at the very far end: a telephone box.

EMMA reacts - is about to move towards it - when:

EMMA'S EYELINE - around the corner of the far building appears KIRBY and DAMITA - he is dressed as a Nazi S.S. Officer - she wears uniform of Nazi Concentration Camp Guard - both are armed.

EMMA ducks back - vague guttural voice is heard.

KIRBY is gesturing to DAMITA that she search one way - he the other. KIRBY strides away. DAMITA remains, holding a gun - moving slowly through the area - searching hiding places.

EMMA watches - her eyes again go to:

The telephone box that DAMITA has her back to. DAMITA moves on.

EMMA tenses - if she can reach the telephone box before DAMITA turns round - she will be safe. EMMA chooses her moment - then:

In a devastating sprint, she runs across the open space between her and the phone box.

DAMITA has her back to this action - she turns slightly - it seems she must completely turn and see EMMA - but no.

EMMA reaches the phone box - ducks inside, closes the door, just as:

DAMITA turns - looks towards the phone box - but from this angle all she can see is the solid back wall of the box.

DAMITA moves on.

66. INT/EXT. PHONE BOX. DAY. (LOCATION)

EMMA tensely watches DAMITA move past and away.

Then EMMA turns to the phone - starts dialling quickly. Then she reacts - the line seems dead. She jiggles the receiver.

EMMA
Hello ...Hello ...Hello!

Then she reacts as the phone box tilts slightly to her weight. She examines it more closely - sees that phone wires lead nowhere - realises that the phone box is merely a studio prop!

HOLD ON EMMA

67. EXT. STUDIO AREA. DAY. (LOCATION)

VERY HIGH SHOT - DOWN ONTO the minute figures of KIRBY and DAMITA - approaching warily from different areas - converging on a central point where VON SCHNERK sits in a director's chair which has a large parasol attached. As they reach him:

ANOTHER ANGLE.

CLOSE ON VON SCHNERK seated in his chair (which has his name on the back) - the parasol incongruously over his head - a BLEAK WIND WHISTLING AROUND HIM - rustling the script he holds.

DAMITA and KIRBY ENTER SHOT.

VON SCHNERK
Find her?

DAMITA
(shakes head)
No.

VON SCHNERK
(happily)
Well, no need to worry - she can't get away.
(flicks through script)
It's time we started planning the climax of this picture. The death of Mrs Emma Peel. The REAL death of Emma Peel. The first time it has been done in a movie - a REAL death. And every agonising moment immortalised on film!

He smiles at them both.

VON SCHNERK
If we were making a TV Film, this would be the ideal moment for a commercial break ...
(he gestures)
Fade out the picture ...

PICTURE STARTS TO FADE OUT:

VON SCHNERK
Bring up the music ... Da, da, dee da!

FADE OUT TO:

COMMERCIAL BREAK

SCREEN:

Much of this is missing from the broadcast version, but sections of the dialogue from the end of Scene 67 are used.

Scene Sixty Nine:

SCREEN:

The lamp post against the electric fence from Scene 64 in the script has been moved here.

Dialogue is slightly different.

EMMA
Am I glad to see you.

POLICEMAN
Are you madam?

EMMA
Mmmm.

POLICEMAN
This is a regular part of my patrol. I suppose you have some authority for being here.

EMMA
None at all. I was kidnapped.

POLICEMAN
Oh. Kidnapped. Would that be one 'p' or two, Madam?

EMMA
Two.

POLICEMAN
Two.

EMMA
And a man has been murdered.

POLICEMAN
Murdered.

EMMA
Over here. On one of the stages - come on...

SCRIPT:

The policeman's bike is not the pushbike used in the broadcast version:

...around the corner of a building comes a uniformed POLICEMAN (complete in tall helmet) - riding a Policeman's "Noddy" bike - the kind of bike used for patrol work - a low-powered, low-geared machine.

...

EMMA
(breathless)
Where... Where did YOU spring from?

POLICEMAN
Me, Madam? Why, this is a regular part of my patrol.
(EMMA stares at him)
Since the old studios closed down - always make a trip round from time to time ... make sure there's no pilfering ... vandalism ...
(face tightens)
I trust you have some authority to be here, Madam?

EMMA
Oh, no! I was BROUGHT here...

POLICEMAN'S face becomes official - he starts methodically to switch off his engine, dismount, produce a pad and pencil as:

POLICEMAN
Were you now...?

EMMA
I was brought here against my will. I was kidnapped!

POLICEMAN licks the end of his pencil.

POLICEMAN
(utterly calm)
Kid-napped. Is that one 'p' or two, Madam?

EMMA
(involuntarily)
Two.
(sharp)
Now wait a minute - perhaps you didn't understand...

POLICEMAN
Only too well, Madam. I was proceeding in a northerly direction, carrying out my usual surveillance of the area - when I observed you, Madam - standing on top of that roof and ...

EMMA
(interjects)
A man has been murdered!

POLICEMAN
Murdered?!

EMMA
(nods)
Over there - on one of the stages - come and see for yourself ...

Scene Seventy:

SCREEN:

POLICEMAN
Alright... don't touch him. I'll handle this. For a start I'll take a statement from you.

EMMA
The only statement I've got to make is there's a killer is around here (sic) while you're... while you're wasting time...

POLICEMAN
(interrupting)
First things first.
(he writes in his notepad)
Murder ... Investigation.
'Course you know I usually get shot down and killed before I arrive at the scene of the crime.

EMMA
Pardon?

POLICEMAN
Me. Invariably I'm shot as we arrive. Perhaps you've seen me? No? Look ... Police Car screams to a halt - eager policeman dashes out.

Extra lines in the broadcast version:

After POLICEMAN says 'Lovely style', EMMA's line, "If it ever comes back" is additional. KIRBY's line, "That's for the wife and kids" is additional.

In the broadcast version, the script's more obviously English 'Copper' is switched for the more US-friendly 'Cop'.

SCRIPT:

70. INT. STAGE 4. DAY.

CLOSE ON dead ACTOR lying as Emma last left him. Then EMMA and POLICEMAN ENTER SHOT - gaze down on ACTOR - EMMA moves to touch him - but:

POLICEMAN
No ... don't touch him!

He bends over the body.

POLICEMAN
I'll handle this. Don't you worry, Madam - we'll get to the bottom of this ... question all the suspects - find out the guilty party.

EMMA
But I KNOW who's responsible.

POLICEMAN
That's as maybe. Nevertheless ...
(produced notepad - licks his pencil)
... I'll start by taking a statement from you.

EMMA
For goodness sake!

POLICEMAN
Your name, please.

EMMA
Look - there's a madman running around loose in this studio ...

POLICEMAN
(firmly over-rides)
Your name please.

EMMA
Mrs Emma Peel.

POLICEMAN writes VERY slowly.

POLICEMAN
Can you prove that?

EMMA
What!?

POLICEMAN
(pedantic)
Have you proof of your identity? A driver's licence perhaps ...

EMMA
I told you - the killer is around here somewhere - while you're ...

POLICEMAN
(interjects)
First things first, Madam. Have to do things properly.
(writing on pad)
This is my first murder investigation - I'm usually shot down and killed BEFORE I arrive at the scene of the crime.

EMMA
I beg your pardon!?

POLICEMAN
Me. I invariably get shot as we arrive.
(EMMA stares open-mouthed)
Perhaps you've seen me? Police car screams to a halt - eager policeman dashes out ...

Scene Seventy One:

SCRIPT:

71. EXT. STAGE DOOR. DAY. (LOCATION)

CLOSE ON RED LIGHT FLASHING - and nearby a big sign: "QUIET - SHOOTING". HOLD ON 'SHOOTING'.

This additional 'detail' is missing from the broadcast version.

Scene Seventy Four:

As EMMA looks around the studio set version of her apartment the focus of the script is on her - the voices of KIRBY and DAMITA are heard in the background - in the broadcast version the camera cuts between the three of them.

Extra lines in the broadcast version:

KIRBY
Ah told you before. Stay away from Maw.

...

KIRBY
It was Hell, Maw. The noise ... the people ... those darn Yankees.

...

KIRBY
How is my baby Sister being?

DAMITA
She is evil.

...

KIRBY
They taught me, Maw. Those durn Yankees... they taught me.

In the script there is no mention of EMMA being KIRBY's 'sister', KIRBY uses the word 'Mother' rather than 'Maw', and there is no mention of 'Yankees'

The scripted line from EMMA, 'May I have your autograph' (to VON SCHNERK) is replaced by 'We are just good friends' in the broadcast version.

SCRIPT:

He moves back on her - and from hereon we will INTERCUT BIG CLOSE UPS OF VON SCHNERK with BIG CLOSE UPS OF EMMA - each CLOSE UP GETTING BIGGER & BIGGER.

VON SCHNERK
A tragedy, Mrs Peel. A drama that will place me forever amid the ranks of the immortal movie makers. Confusion - desperation - fear - horror - death ... and all of it authentic. Filmed - as it actually happened.

EMMA
But - why me?

VON SCHNERK
I needed a woman of courage - of beauty - a woman of action. And you - you have a certain reputation. That is why you were cast in the lead of "The Destruction of Mrs Emma Peel" ...

CLOSE UP. VON SCHNERK - the madness taking hold now - HOLD CLOSE ON HIS EYES as he stares at EMMA.

VON SCHNERK
Directed by Z.Z. Von Schnerk ...
conceived by Z.Z. Von Schnerk ...

CLOSE UP. EMMA - as Von Schnerk sees here - she is staring back, but, around her head (OPTICAL EFFECT) there is now the legend: "A Z.Z. VON SCHNERK PRODUCTION". HOLD THIS.

VON SCHNERK
(over)
A Z.Z. Von Schnerk Production. I will make you famous, Mrs Peel.

CLOSE SHOT. VON SCHNERK

VON SCHNERK
I will make a star of you ...
Posthumously.

CLOSE ON EMMA reacting.

HOLD HER.

FADE OUT:

COMMERCIAL BREAK

SCREEN:

VON SCHNERK moves around EMMA.

VON SCHNERK
A tragedy, Mrs Peel. A drama that will place me forever amid the ranks of the immortal movie makers. Confusion - filmed exactly as it happens.

EMMA
That's what they all say.

VON SCHNERK
I needed a woman like you Mrs Peel. A woman of courage - of beauty - of action. A woman who could become desperate - and yet remain strong. A woman who could become confused - and yet remain intelligent. A woman who could fight back - and yet remain feminine. You. And only you, Emma Peel, had all these qualifications. Your reputation preceded you. And you have lived up to it! I hope you die as bravely. I will make you famous Mrs Peel. I will make you a star! ...posthumously ... "The Destruction of Mrs Emma Peel" ... Conceived by Z.Z. Von Schnerk ... Written by Z.Z. Von Schnerk ... Directed by Z.Z. Von Schnerk ... A Z.Z. Von Schnerk Production.

Optical effect and fade to ads same as script.

Scene Seventy Five:

In the broadcast version STEED walks away after examining the electrified fence. In the script he drives away.

Scene Seventy Six:

SCRIPT:

KIRBY "is now dressed as a Frankenstein monster - complete with neck bolts"

The pendulum is not mentioned in the script.

Scene Seventy Eight:

SCREEN:

DAMITA
And you know what you do to beautiful things. You remember in the cellar at Bermanhoffen?

KIRBY
This is no time to be sentimental.

DAMITA
But she has wronged you.

KIRBY
Yesss. And I must be revenged.

DAMITA
Yes. I will fetch your knives. And your scalpels.

KIRBY
No. That would be too crude for her. Her death must have more... more... poetry. It will take time and yet be ... inevitable.
(to EMMA)
What do you think of that? Mein Leibchen? Mmmm?

EMMA
I think I'm in danger of becoming a split personality.

SCRIPT:

DAMITA
You must do it, Doctor Angali. You CAN do it. I believe in you.

KIRBY's face tightens bravely - he moves to gaze down on EMMA.

KIRBY
And what do you say to that - eh, my proud beauty? What think you?

EMMA
I was thinking...
(looking back at saw)
I'm in danger of becoming a split personality!

SCREEN:

DAMITA
Oh, Herr Doctor, Herr Doctor, Herr Doctor.

KIRBY
Shhh. Listen to me, Natasha. We will do it together.

DAMITA
We?

KIRBY
Yes

DAMITA
You said we?

KIRBY
Yes. I must be revenged.

DAMITA
Oh, Herr Doctor.

KIRBY
You have given me the courage to realise that my work must go on.

DAMITA
Together. Herr Doctor. I love you. I will go to the ends of the Earth for you.

KIRBY
Yes. Natasha. Now.

DAMITA
Now.

SCRIPT:

DAMITA - instantly - swings round into KIRBY's arms.

DAMITA
Oh, doctor, doctor, doctor.

KIRBY
Natasha. You must get a grip on yourself.

DAMITA
I love you, doctor. I would go to the ends of the earth with you.

KIRBY
Why - are you telling me all this?

DAMITA
Oh, doctor, doctor, doctor.

He cradles her close.

KIRBY
Natasha.
(briskly)
I'll do it! I'll do it!

He whirls away to look down on EMMA. DAMITA moves to grip his arm.l

DAMITA
Together - we will do it.

They leer down on EMMA.

Scene Eighty One:

SCRIPT

81. INT. VIEWING THEATRE. DAY.

As door opens - STEED looks in.

STEED
Mrs Peel ...?

He surveys the empty room - is about to depart - then he sees the blank screen. He gets an idea - slowly re-enters the room.

This scene is missing from the broadcast version.

Scene Eighty Two:

SCREEN:

Extra line:

EMMA
Gloat all you like. But remember. I'm the star of this picture.

Scene Eighty Three:

SCRIPT:

83. INT. VIEWING THEATRE. DAY.

OPEN CLOSE ON SCREEN

STEED and EMMA standing by their car (as in opening sequence) - USING MATERIAL ALREADY SHOT - NOW PRINTED UP IN BLACK & WHITE.

CLOSE SHOT. STEED.

Seated in theatre - watching - reacting to what he sees.

CLOSE ON SCREEN. (BLACK & WHITE PRINT)

EMMA - trying to start her car - taxi driving in.

CLOSE ON STEED - reacting.

CLOSE ON SCREEN (BLACK & WHITE PRINT).

EMMA fighting KIRBY - being knocked out.

CLOSE ON STEED - very alarmed now.

CLOSE ON SCREEN (BLACK & WHITE PRINT).

KIRBY machine-gunning POLICEMAN - EMMA running away.

CLOSE ON STEED - starting to get up from his seat - then seeing a script on the seat next to him. He picks it up - examines it:

INSERT. SCRIPT.

It bears the printed words: "A Z.Z. VON SCHNERK PRODUCTION - THE DESTRUCTION OF ..." The words "MRS EMMA PEEL" are pencilled in.

STEED reacts - opens the script - scans it - then hastily turns to the last page - he reacts as he obviously reads of the death of Emma - he tosses the script aside - rushes for the door.

SCREEN:

Only the section where STEED finds and reads the script are in the broadcast version.

Scene Eighty Five:

SCRIPT:

KIRBY
Need something to carry him on.

DAMITA nods - turns - sees an old wheelchair some way away - she moves to get it.

STEED - watches as DAMITA and KIRBY hump the dead ACTOR into the wheelchair - then plump the bowler hat on his head - well tilted so that his face is almost hidden.

DAMITA
His umbrella - he ought to be holding his umbrella.

They look around.

KIRBY
Must be around here somewhere ...

KIRBY and DAMITA split up - move away to search for umbrella - STEED's eyes narrow as he looks at the dead ACTOR slumped in the wheelchair.

ANOTHER ANGLE.

DAMITA finds umbrella some way away.

DAMITA
I've got it!

She turns - moves back - KIRBY reappears - takes the umbrella - and proceeds to put it into the dead hands of ... STEED - who has now swapped places with the dead ACTOR.

DAMITA and KIRBY grab the wheelchair - start to push it away.

SCREEN:

KIRBY
Now, I'll tell you what. You take his feet, Damita.

DAMITA
I cannot do it, Stewart. It is too heavy... There is an old wheelchair somewhere round here.

KIRBY
Oh is there?

They move off to allow STEED in.

KIRBY
Now, you take his umbrella, Damita, and help me with his hands will you?

Scene Eighty Six:

SCRIPT:

Extra line before VON SCHNERK shouts "Stop him, Kirby. Stop him!"

KIRBY
Curses! Foiled again!

SCREEN:

KIRBY putting his glasses on to avoid being hit is not in the script.

Note: The corner of the last page has been torn off, but there is not enough space left to account for the balsa chair sequence in the script.

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This website Copyright © 1996-2017 David K. Smith. All Rights Reserved.
Page last modified: 5 May 2017.

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