Trivia Overload |
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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 |
SCRIPT: KIRBY |
SCREEN: KIRBY |
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 EMMA 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 EMMA STEED EMMA 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 |
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 STEED 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 |
SCRIPT: EMMA She more or less dismisses the incident now. 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 KIRBY He peels off his 'bald pate' make-up - takes off the glasses. VON SCHNERK KIRBY nods - pulls aside wrapping on parcel - we now see that it contains a small cine camera - he lifts it out. KIRBY 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 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 DAMITA 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 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: 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: |
SCRIPT: This line does not appear in the script. |
Scene Forty Nine: SCREEN: EMMA |
SCRIPT: EMMA DAMITA continues knitting. EMMA DAMITA continues knitting. EMMA moves to DAMITA - grips her - shakes her. EMMA ... 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 |
SCRIPT: KIRBY EMMA does a comic reaction - looking behind her to see who he is addressing - then finally pointing to herself. KIRBY EMMA KIRBY EMMA KIRBY EMMA: KIRBY: EMMA stares at him - realising he means it! KIRBY ... 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 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 EMMA'S VOICE KIRBY'S VOICE |
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 As he talks - PULL OUT TO REVEAL KIRBY and DAMITA - both undisguised - both wearing robes, awaiting their next roles. VON SCHNERK KIRBY VON SCHNERK DAMITA hands him a script - he flicks through it. VON SCHNERK |
SCREEN: VON SCHNERK DAMITA VON SCHNERK KIRBY VON SCHNERK KIRBY DAMITA VON SCHNERK KIRBY and DAMITA laugh. They kiss. VON SCHNERK |
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 DAMITA VON SCHNERK (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 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 DAMITA VON SCHNERK He smiles at them both. VON SCHNERK PICTURE STARTS TO FADE OUT: VON SCHNERK 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 POLICEMAN EMMA POLICEMAN EMMA POLICEMAN EMMA POLICEMAN EMMA POLICEMAN EMMA |
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 POLICEMAN EMMA POLICEMAN'S face becomes official - he starts methodically to switch off his engine, dismount, produce a pad and pencil as: POLICEMAN EMMA POLICEMAN licks the end of his pencil. POLICEMAN EMMA POLICEMAN EMMA POLICEMAN EMMA |
Scene Seventy: SCREEN: POLICEMAN EMMA POLICEMAN EMMA POLICEMAN 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 He bends over the body. POLICEMAN EMMA POLICEMAN EMMA POLICEMAN EMMA POLICEMAN EMMA POLICEMAN writes VERY slowly. POLICEMAN EMMA POLICEMAN EMMA POLICEMAN EMMA POLICEMAN 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 ... KIRBY ... KIRBY DAMITA ... KIRBY 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 EMMA VON SCHNERK CLOSE UP. VON SCHNERK - the madness taking hold now - HOLD CLOSE ON HIS EYES as he stares at EMMA. 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 CLOSE SHOT. VON SCHNERK VON SCHNERK CLOSE ON EMMA reacting. HOLD HER. FADE OUT: COMMERCIAL BREAK |
SCREEN: VON SCHNERK moves around EMMA. VON SCHNERK EMMA VON SCHNERK 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 KIRBY DAMITA KIRBY DAMITA KIRBY EMMA |
SCRIPT: DAMITA KIRBY's face tightens bravely - he moves to gaze down on EMMA. KIRBY EMMA |
SCREEN: DAMITA KIRBY DAMITA KIRBY DAMITA KIRBY DAMITA KIRBY DAMITA KIRBY DAMITA |
SCRIPT: DAMITA - instantly - swings round into KIRBY's arms. DAMITA KIRBY DAMITA KIRBY DAMITA He cradles her close. KIRBY He whirls away to look down on EMMA. DAMITA moves to grip his arm.l DAMITA They leer down on EMMA. Scene Eighty One: SCRIPT 81. INT. VIEWING THEATRE. DAY. As door opens - STEED looks in. STEED 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 |
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 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 They look around. KIRBY 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 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 DAMITA KIRBY They move off to allow STEED in. KIRBY |
Scene Eighty Six: SCRIPT: Extra line before VON SCHNERK shouts "Stop him, Kirby. Stop him!" KIRBY |
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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