I had the pleasure of winning one of Chris Boucher's eBay auctions last month, and today the item arrived in the mail: a camera script of Rescue. It's in shooting order rather than story order, but I'm piecing together the differences between it and the transcript.
If anyone wants to know details of the shooting order or anything else, just ask! If it went as the script indicates, it proceeded in quite a jumble from a story perspective, starting with Dayna and Tarrant going down the stairs through the end of the episode, then taking Dorian's earlier scene in the cave, then some scenes on the base... although, the *original* end of the episode was scheduled to be shot at the end. ;-)
I don't know, of course, what if any missing scenes were actually shot and what were cut before shooting.
So here's the transcript from Lysator, trimmed down (because you can get the whole thing for yourself if you want); my cuts for length are marked with [snip], and additions from the camera script have "#" down the left side.
Enjoy! Claudia -=-=-=-
Here are what I consider significant changes, dropped scenes, etc.:
[Planet Terminal. Exterior. There is a continuous background sound, a throbbing, much like a heartbeat. Avon is kneeling on snow covered ground. He scans the terrain below with binoculars. Dayna is squatting beside him, a federation assault weapon on the ground beside her.]
Dayna: Servalan told us it was an old ship.
Avon: It's what she didn't tell us that interests me.
[snip]
Cally: (v.o. scream) Blake.
[Scorpio. Interior, flight deck. A blonde man is the only occupant of the flight deck. His name is Dorian. He bends over to check something on the ship's instruments. Finished, he moves around the flight deck.]
Dorian: Slave.
Slave: Yes, Master.
[snip]
Slave: Thought is beyond my humble capacities, Master.
Dorian: True.
# Increase speed by twenty percent
# Slave: Yes, Master.
# Dorian: Scan for wreckage. Analyse anything associated # with the explosion pattern.
# Slave: Of course, Master. I would most respectfully point out however that there is unlikely to be anything worth salvaging.
# Dorian: You're thinking, Slave.
# Slave: I'm sorry, Master. I meant to disrespect. I am # your most humble slave, in all -
# Dorian: Enough!
# Slave: Yes Master.
# Dorian: I expect a positive identification of the cause of that explosion within the hour Slave.
# Slave: I will do my poor best.
# Dorian: You will indeed. If it was the Liberator the crew # may still be alive, and helpless, down on that planet.
# Slave: A rescue mission, Master?
# Dorian: Not exactly, Slave.
[Space. Terminal is visible.]
[Planet terminal. Exterior, night. A crude camp has been made. A small fire burns in the center. Dayna, Tarrant and Avon are seated around the fire. Avon has Orac in his lap and is attempting to repair it.]
Tarrant: Vila rescued me?
Avon: You were injured trying to rescue Cally. He rescued you. Suddenly I am hip deep in heroes.
[snip]
Vila: (enters carrying wood for the fire) Orac got a bit dented. For which he blames me. It seems I rescued the wrong one.
# Avon: Nothing personal. It's just that Orac could have # sent for help. You can't.
# Tarrant: Nobody's perfect. What about the ship Servalan left?
# Dayna: That's a bit dented too.
# Vila: We're stuck on this miserable planet for the rest of # our lives.
# [ANIMAL NOISES]
# Vila: Not that that's likely to be for very long
Avon: First light, we'll make for the high ground to the south.
# Tarrant: Is it worth the effort?
# Avon: Are you ready to lay down and die?
# Tarrant: (RUBBING HIS HEAD) I think I already have.
# Vila: Liberator destroyed, Cally dead, no way off this # armpit of a planet. He may have the right idea.
# Avon: Well, you must please yourselves of course. # But tomorrow morning I head south, and I'm taking # the gun with me.
# [The snarling scream sounds again.]
# Vila: You talked me into it.
[Planet Terminal. Exterior, morning. Avon, Vila and Dayna move single file across the snow covered ground. Dayna is carrying Orac. Avon is in the lead. He carries the Federation gun. They halt.]
Avon: Where's Tarrant?
Vila: He was right behind us.
[snip]
Tarrant: What? While something is eating me you can get away?
Avon: Or visa versa.
[I'm pretty sure this should be 'vice versa'. -- Claudia]
Tarrant: (grins) I'll drink to that.
[There is the sound of a weapon discharging some distance from them.]
# Avon: Can you walk?
# Tarrant: Not as fast as I can run.
# Avon: Let's do it.
[Planet Terminal. Exterior, top of the cliff. Dorian assists Dayna, then Vila. Vila groans and rubs his arms.]
Tarrant: (enters) You all right?
[snip]
Avon: (smiles) You know what they say. No good deed goes unpunished.
[snip]
Avon: I want it flown, not cataloged.
Tarrant: No problem.
Dorian: Uh, one problem. It happens to be my ship.
Avon: (points the gun at Dorian) No problem.
# DORIAN SUBSIDES AND, LOOKING BEATEN, SLOPES OFF TO ONE OF THE # AUXILIARY CRASH COUCHES. UNSEEN BY AVON AND THE OTHERS HE SMILES # TO HIMSELF.
[Tarrant sits at the primary flight position. He activates a control. The flight deck seals. Dayna appears to be nervous.]
Vila: It's all right. On these old cargo ships only the main deck is pressurized in flight.
[snip]
Tarrant: Listen, if I get it wrong, you'll be as dead as the rest of us.
Dorian: You're the pilot. You work it out.
# (GLANCES AT AVON) I don't give much for my chances # either way.
[The ship lurches suddenly. There is the sound of explosions outside the ship.]
[snip]
Dayna: Cheer up, Vila. You've got a lot of very bright associates too.
Vila: Oh yeah? Name six.
[Exterior. Scorpio in flight.]
[Planet Xenon. Interior. Control room, Xenon base. An alarm is sounding. A blonde woman enters. She is Soolin. She shuts down the alarm and opens a comm channel.]
Soolin: Scorpio. Scorpio this is base. Do you copy? (waits for a response) Scorpio. Scorpio this is base. Do you copy?
[Exterior. Scorpio in flight.]
# Vila: Perhaps we should answer.
# Dayna: Terrific idea Vila. Let's warn them we're coming.
# Vila: They might be friendly.
# Dayna: You want to take the chance?
# Vila: He did save our lives.
# Tarrant: He could be a bounty hunter for all we know.
Soolin: (v.o.) This is Xenon base calling Scorpio. Do you copy?
[snip]
Dorian: You're going to kill me anyway. Sooner or later.
Avon: You would prefer it sooner?
Dorian: (reaches for a control and presses it) Xenon base, this is Scorpio. Do you copy?
Soolin: About time, Dorian. I have satellite visual confirmation. Orbit and landing sequences are green. Confirmed?
Dorian: (v.o.) Confirmed.
# Dorian: Sorry I kept you waiting Soolin. Small problem...
# (AVON IS READY TO KILL HIM)
# Dorian: ... with the communicator.
# Soolin: Apology accepted. Out.
[Interior. Scorpio flight deck.]
Dorian: (turns to Avon) You'll never get away with it, you know.
[snip]
Dayna: Beneath that cold exterior, beats a heart of pure stone.
Dorian: Shall we go? (exits)
Avon: Why not?
[Interior Xenon base lounge. Soolin sets out glasses on a tray. She stops, regards the tray and then takes another glass from the shelf. She begins to pour wine into the glasses. Dorian leads the group into the lounge. Dorian grabs her and kisses her.]
## Here's a nice bit from the camera script:
# DORIAN PUTS ORAC DOWN # AND MOVES TO KISS # SOOLIN LIGHTLY ON THE # CHEEK.
# IT IS A GESTURE OF # GREETING RATHER THAN # AFFECTION
Soolin: Are you all right?
Dorian: A little tired. It took me longer than I expected. (to the others) May I present Soolin. My... companion.
[snip]
Tarrant: What do you think?
Avon: I think his taste in wine and women is impeccable.
# Tarrant: Why do I get the feeling he's been in complete control # of everything we've done right from the beginning?
# Avon: Because you're not as stupid as you look Tarrant. # None of us are, with one possible exception.
# (THEY LOOK TOWARDS VILA WHO IS PROFERRING HIS EMPTY GLASS # FOR A RE-FILL)
# Soolin: I see you're a connoisseur.
# Vila: I appreciate the best, whenever I can get it. # (CONFIDENTIALLY) Tell me Soolin what exactly # does a ... companion ... do?
# Soolin: Nothing you could cope with.
# Vila: (DISCOMFITED) Ah.
# (SOOLIN MOVES AWAY)
# Dayna: (TO VILA - GRINS) Next question.
# Vila: Can I help it if I've got a weakness for lady gunfighters.
# Dayna: You've got a weakness for ladies of any description.
# Vila: I'm just naturally affectionate.
# Soolin: If you'd like to follow me.
# (SOOLIN MOVES TO EXIT. THE OTHERS MOVE TO FOLLOW. # FEATURE ORAC WHERE DORIAN LEFT HIM. # IT IS CLEAR THAT THEY HAVE FORGOTTEN HIM)
[Planet Xenon. Interior. A room below the base. There is a circular staircase leading upward. A mist hangs near the floor. There is a constant sound rising and falling. The walls of the room seem to glow with a dim, bluish light. A hatch opens in the ceiling above the staircase and Dorian descends. His appearance is altered considerably. He seems to have aged. He moves with difficulty.]
Dorian: Are you there? I have them. They're here.
[snip]
Creature: Soon. It must be soon.
[Dorian convulses, screams and collapses on the floor. Opposite him, the creature writhes in pain.]
# CREW ROOM. NIGHT.
# (THE ROOM IS DESERTED, THE MAIN LIGHTING SWITCHED OFF.
# AFTER A MOMENT AVON ENTERS WARILY. HE HAS CHANGED INTO HIS # NEW COSTUME. HE STILL CARRIES ONE OF DORIAN'S HANDGUNS. # HE CROSSES TO WHERE ORAC WAS LEFT. IT IS NO LONGER THERE.
# ON AVON'S REACTION)
[Interior, corridor Xenon base. Vila is attempting to open the door to the landing silo. Tarrant and Dayna stand watching him.]
Tarrant: Get on with it, Vila.
Vila: Will you keep your voice down.
Dayna: Well, can you get it open or not?
[snip]
Vila: I'm going to give up drinking, you know. It'll be pink asteroids next.
END
# CREW ROOM. NIGHT.
# (AVON AND VILA SIT WITH DRINKS.
# TARRANT ENTERS)
# Tarrant: No sign of her anywhere.
# Avon: As long as she can't get to the ship.
# Vila: No-one can get to the ship.
# Tarrant: You've got time to work on that now.
# (DAYNA ENTERS WITH MAGAZINES FOR THE GUNS)
# Dayna: I found the armoury.
# Avon: You know this base could be quite useful to us. It's outside Federation territory. It's well hidden.
# Vila: (RAISING HIS GLASS) Well equipped.
# Dayna: And there's a lady gunfighter running around loose. Not to mention a very weird basement.
# (AVON PICKS UP A SMALL REMOTE CONTROL DEVICE AND THUMBS THE BUTTON.
# AFTER A MOMENT THERE IS THE DISTANT MUFFLED SOUND OF AN # UNDERGROUND EXPLOSION)
# Avon: Strike one basement. (TO VILA) Now I suggest you get that landing silo open. (TO DAYNA AND TARRANT) And you find Soolin. (HE RISES) While I get the teleport system working.
# Tarrant: Do you think you can?
# Avon: Yes.
# Tarrant: Do you want us to kill Soolin?
# Avon: Do you think you can?
# Tarrant: (GRINS) No.
# Avon: Then don't.
# (AVON PAUSES IN THE DOORWAY AND LOOKS BACK AT THEM)
# Avon: Dorian might have beent elling the truth about himself # and that room, but he was insane you know, quite insane.
# (AVON EXITS)
# Dayna: What brought that on?
# Tarrant: (GRINS) Something Dorian said. Avon belongs to us, as we belong to him.
# Vila: Oh well I agree with him.
# Dayna: Dorian?
# Vila: Avon. Dorian was obviously insane.
It's always interesting to find out what was written but never filmed.
Incidentally, practically all the cut dialogue was in the novelisation of the episode (in "Scorpio Attack" by Trevor Hoyle).
Maybe he was given an early version of the script, rather than copies of the actual episodes to work from.
I seem to recall that the book came out pretty quickly, but I'm not sure about that. The episodes novelised are "Rescue", "Traitor" and "Stardrive". Could these have been the first three scripts to be finished at the time of novelisation? "Rescue" is a pretty obvious choice for the first section, but surely the next episode would have been a better choice, following on directly as it does (the book doesn't explain how they got back to Scorpio).
The other two novels comprise following-on episodes as far as I can tell. "Blakes 7" (incidentally, am I the only one to write this sans apostrophe?) comprises The Way Back, Space Fall, Cygnus Alpha and Time Squad - pretty completely, I think.
"Project Avalon" contains the episodes Duel, Project Avalon, (about half of) Deliverance and Orac - two groups of two episodes.
When were the three novels published (in relation to the original broadcasts)? The first two of them add details to the episodes (things like "West-Europ Dome ... ump" and Blake being in the engineering division; also Amersat, planet of the dead (Duel). The third novel seems to stick pretty closely to the episodes as televised (or as scripted at least). I think.
Apologies if this email is slightly disjointed - I just realised that it's ten to 7am and I haven't gone to bed yet! Luckily, I don't have to be up until 2 or 3pm (I work 4.30 to 11pm, so I'm in a weird time zone - what area is about eight hours ahead of the UK?)
Good night
Wildean
"Pat Sumner" Wildean@btopenworld.com wrote: : Incidentally, practically all the cut dialogue was in the novelisation of the : episode (in "Scorpio Attack" by Trevor Hoyle).
I thought that might be the case, because most of it sounded quite familiar. I only read Scorpio Attack once, though.
: I seem to recall that the book came out pretty quickly, but I'm not : sure about that. The episodes novelised are "Rescue", "Traitor" and : "Stardrive". Could these have been the first three scripts to be : finished at the time of novelisation?
Well, given some bits I *didn't* type up, by the time the camera script for Rescue was ready, they knew enough of the plot of Headhunter to ask that space be left aside on the Scorpio deck for the cryogenic suspension capsule. I don't really know what the overall order of preparation was.
: "Blakes 7" (incidentally, am I the only one to write this sans apostrophe?)
Chris Boucher does. :) I do when I'm careful, but "'s" is a typing habit that's hard to break.
: Apologies if this email is slightly disjointed - I just realised that it's : ten to 7am and I haven't gone to bed yet! : Luckily, I don't have to be up until 2 or 3pm (I work 4.30 to 11pm, so I'm : in a weird time zone - what area is about eight hours ahead of the UK?)
Hm, if you work 4:30 to 11, wouldn't you analogize to "9 to 5" and be 6 or 8 hours *behind* the UK instead? Which puts you somewhere between the US midwest and west coast. ;-) In other words, right where my not-getting-to-sleep-on-time sleep cycle is, on the east coast.
Claudia
From: "she goes out and steals the king's english" padme@bantha.org Subject: Re: [B7L] Rescue script notes
: Apologies if this email is slightly disjointed - I just realised that it's : ten to 7am and I haven't gone to bed yet! : Luckily, I don't have to be up until 2 or 3pm (I work 4.30 to 11pm, so I'm : in a weird time zone - what area is about eight hours ahead of the UK?)
Hm, if you work 4:30 to 11, wouldn't you analogize to "9 to 5" and be 6 or 8 hours *behind* the UK instead? Which puts you somewhere between the US midwest and west coast. ;-) In other words, right where my not-getting-to-sleep-on-time sleep cycle is, on the east coast.
Absolutely right - that's what I meant.
But it was my equivalent of "well past bedtime" so I'll stick to that as my excuse!
Claudia (I think) wrote:
: Apologies if this email is slightly disjointed - I just realised that it's : ten to 7am and I haven't gone to bed yet! : Luckily, I don't have to be up until 2 or 3pm (I work 4.30 to 11pm, so I'm : in a weird time zone - what area is about eight hours ahead of the UK?)
Hm, if you work 4:30 to 11, wouldn't you analogize to "9 to 5" and be 6 or 8 hours *behind* the UK instead? Which puts you somewhere between the US midwest and west coast. ;-) In other words, right where my not-getting-to-sleep-on-time sleep cycle is, on the east coast.
While touring the Caribbean, my editor said he'd finally worked out what time zone my body was living in.
Thank you for sharing all that with us. :-)
I can see why most of the changes were made, but there are a couple of exchanges I'd dearly love to have seen:
# Avon: Can you walk?
# Tarrant: Not as fast as I can run.
and
# Tarrant: Why do I get the feeling he's been in complete control # of everything we've done right from the beginning?
# Avon: Because you're not as stupid as you look Tarrant. # None of us are, with one possible exception.
I wonder if there's any change we could someday get a DVD version with outtakes and bloopers and such......
Susan Beth (susanbeth33@mindspring.com)