|Script Post: "Reality Takes a Holiday", Part I
||[Mar. 30th, 2016|04:44 pm]
In which I compare my copy of THE Eerie, Indiana script to what actually aired...
It was actually both exciting and a little disconcerting to come home and find this one in the mail.
No comments, all blue pages. Note on the top right of the cover reads
January 27, 1992
Rev. 2/7/92 BLUE
(PLEASE NOTE!! ENTIRE SCRIPT IS NEW--NO ASTERISKS, NEW SCENE NUMBERS)
Some evidence of the earlier draft appears in the episode itself, but I'll get to that later.
This does look exactly like what we see of the first page of the script in Marshall's hands a bit later. Right down to "Simon sits there looking orphanish."
A couple of minor dialogue changes in the next couple of scenes:
In the script, after Syndi finishes reading the Wilson Twins' review, Marshall says, "I'll pass. I've got too much corn in my life as it is."
In the final episode, that's replaced with this exchange:
Marshall: "Since when did you become such as cinephile?"
Syndi: "You’d better watch your mouth!"
Not in the script, after Simon says how much he loved the original: "Especially the part where he’s taking that guy’s head, and he..." and accompanying hand gestures.
Not seen in the episode after Edgar's "Two fingers up" line: "Edgar can't decide which two fingers to use to demonstrate."
Also, in the script, Simon says, "See you after the movie, Marshall." In the final cut, Marilyn and Edgar are left to say goodbye, because Simon is too busy being verbally excited about Corn Critters.
A couple of action changes from the script: The walk from the breakfast table to the front door is cut, the crow flies off on its own instead of Marshall having to shoo it away, and the script is not in a manila envelope.
There's also a minor continuity error in the script which is corrected in the episode itself. When Marshall is reading page 1, the script has him saying "Edgar, Marilyn, Syndi, Simon and Marshall are having breakfast..." The final episode has Saturday brunch and the names in the order on Page 1.
In the script, after realizing something is wrong, Marshall runs all the way out the front door before running into the film crew.
The V.O. from page 5 is missing:
Also Joe Dante's line as the director is slightly different: "Cut, cut, cut. Don't print that one. Everybody back to the top for take, uh, 13. This'll be the lucky one, right, pal?"
The dialogue on page 6 is different as aired:
[Note: DIRECTOR is not specifically Joe Dante anywhere in the script, despite being played by him, but he is in my head, so that's how the notes turned out.]
Dante: "Omri? Earth to Omri."
Dante: "Are you all right? Okay, I understand. Maybe you're tired. But this is television, you can't get tired. It costs too much. We're on a really tight schedule here and we're way, way behind. You gotta help me out here. I mean, can't you just be a little bit more professional?"
Mars: "What are you talking about? Who are you? What's going on? What happened to my house?!"
Dante: "Okay, lunch."
Dante: "We'll pick this up right at the same place. Omri, let's not make this any more difficult than it already is." [Puts his hand on Omri/Marshall's shoulder, then off Marshall’s look] "Hmm, Mr. Sensitive."
In the script, instead of appearing with Marshall's coat and leaving with the script, prop master Lyle originally tries to also grab the evidence locker key!
Added line: "Nobody respects the prop man." Probably so we can all be sure who this character is.
Also, Mary-Margaret is smoking.
Slight change to Francis' line and the laugh before Chekhov. Also added in the final cut: The "I recall I was directing Malkovich in The Homecoming..." bit as they walk off.
Interesting to note: At this point in the script, it's MARY-MARGARET and FRANCIS, but still SIMON.
This changes on the very next page, where the scene between Justin and Julie is quite a bit different than what finally aired:
Which, um, ew.
"I am not going to take this from a sexist pig nine-year-old..." is much better.
Note the scene with Francis and Mary-Margaret at the end of this and the beginning of the next page which did not make it into the ep.
It's called out in the script that Dash's chair says "Dash." Actually, it says "Dash X" as shown in the episode (also, when his "last name" is in this script), even though it's "Dash-X" in the Variety we see Justin reading later, so whether the hyphen or space is canon is probably debatable.
Dash is not surrounding by his fangirls at this point in the script.
Instead of "Later" in the final episode, Dash says, "Well, after today, you'll never need to know" and also doesn't touch Mars here. He does touch Justin on the way out of the scene.
There is no script explanation for the difference in Dash's voice in NBC-reality.
The action with Justin and some of the dialogue is slightly different in the next scene. As scripted, Justin wanders up, Marshall grabs him, and there's a bit where they move around the set as Marshall looks for the Secret Spot. In the final episode, Justin's sitting in front of it and just says, "What are you talking about? The Secret Spot set is right behind me" when Marshall asks.
The big difference is that this line is not in this draft: "You know what you need, Omri? Meditation. Guru Yogi Shwarma helped me work through my Care Bear fiasco." The bit where Justin hands Mars the guru's pamphlet later is also not here.
The next part, where Marshall goes to the World O' Stuff and finds Radford is cut down quite a bit from the script. We start out with Marshall finding the exterior.
In this case, what actually airs, with the random gladiators and the science fiction props, is actually weirder than what's described in the script. Most of the background in this episode is like this.
So in the script, we first have to establish that the EXT. and INT. World O' Stuff are different, and then the conversation between Radford and Marshall is really long.
In the final episode, Marshall's V.O. is "Just when I thought my brain would implode into a swirling vortex of unreality, I heard a familiar voice" and we just handwave that he goes into the World O' Stuff and it is the World O' Stuff.
"Weird kid, this Teller boy."
Here, Mr. Radford is the first one to bring up Hollywood, and also takes time to mention the fake Radford. (This becomes somewhat important later.)
As aired, this is all cut down quite a bit while still conveying basically the same information. (The first three lines on p. 14 are condensed to "Somehow Eerie's become, become some Hollywood studio. My family and my best friend think they’re actors on a TV show. My house has exploded..." for example.)
The script page seen after "What do those pages say is supposed to happen next?" is likely from an earlier draft. The lines I can see on freeze frame are:
RADFORD: "They don’t make [something] like they used to."
MARSHALL: "But what about me being your only customer? It's Saturday, usually the place would be filled with customers."
These do not appear anywhere in the draft I have.
So remember when I said fake Radford becomes somewhat important later? Well, in the scene where Marshall barges into Jose Schaefer's office, there are some minor differences and one major one:
Yes, Schaefer was originally going to be Fred Suggs, compulsive imposter. I don't know why that was changed, but oh, what might have been!
Some minor differences in the action and dialogue as they act out Dash's ideas for the death scene. Also, Dash's whole bit with the golf club is unscripted.
Act I also cuts off earlier in this draft:
Instead of just Dash saying, "Well, Marshall, what do you think?"--and Jose not commenting at all on Dash calling him Marshall--the final ep has these lines before the fade:
Dash: "Good and dead."
JS: "I smell Emmy."
Dash: "What do you think, Slick?"
Marshall: "What...what do you mean when you say 'dead'?”"
JS: "I mean offed."
JS: "Kicked the bucket."
Dash: "Pushing up daisies."
JS: "Bought the farm."
Dash: "Did I mention...rigor mortis?" [maniacal laughter]
And that wraps it up for Act I and Part I of this post.