Old Acquaintance Script Plus Skewed Thoughts
This is a partial crosspost with profiler_fans. In that post I stuck with minimal thoughts and stuck to the script, here it'a appropriate to add some thoughts. I've interjected them between the stars.
Recently I was gifted with several Profiler scripts which I'm currently going through and comparing them with the DVDS. Many thanks to lord_a_valente for the gift!
In Old Acquaintance I found one deleted scene in which Sam, Bailey, George, John, and Grace are going over the case of the clerk Sharon killed. Also I found some major script differences in two Jack scenes - he's colder to Sharon and her feelings for him are more evident. And finally, there was some additional difference in dialogue in one of the scenes in which Sam is talking to Melinda Gillespe. So, under the cut, I give you all four scenes, verbatim from the script :)
Deleted scene set between Sam, Bailey, John and Grace assessing the crime scene at the boutique where Sharon left her school colors and the scene where Sharon brings Jack the clerk's ear:
INT. VCTF - COMMAND CENTER - NIGHT
Sam, Bailey, John, George, run down the killing. We see
crime scene photos and close-ups of evidence on the Barco
Board.
GEORGE
So far the victim has no connection
to Sam. Recently moved here from
Seatttle, just married. No known
enemies.
JOHN
No indication of robbery, cash still
in the register. no message from Jack.
BAILEY
Maybe he wasn't involved.
SAM
I don't think he was. Seems an odd
choice for him, too eay. For her it
might have been a step up. But she
wasn't comfortable killing alone.
In the B.G. Grace approaches with findings.
JOHN
Goes to a women's boutique, knows she
won't be overpowered.
GRACE
Or positively ID'ed. She went in
disguise. Those strands came from a
human hair wig. But get this, the
wig was dyed. True color was basic
brown.
SAM
Anything on the type of dye used?
GRACE
Drug store quality, because she's worth it.
GEORGE
I'll run a check, see if I can match
the manufacturer and retail outlets.
BAILEY
Wig's already a disguise, why dye it?
SAM
She purchased it. Maybe Jack didn't
approve of her color choice. She's
his creation. He wants to be
responsible for a complete
transformation.
JOHN
Like the Bride of Frankenstein.
BAILEY
Question is, does Jack know what his monster is up to?
*************************************
The VCTF scene is interesting in that we see that Sharon is perhaps in some way less than happy with her new identity. She doesn't like that Jack's changed her. I also really liked Sam's notion that Sharon isn't comfortable killing by herself yet. Not all the way to jealousy by any means but definately putting Sharon in her place and delineating her from Jack.
*************************************
In the show Sharon tries to explain to Jack that she killed for him and then he throws her screaming into a closet but in the script it's sounds more like a cage. It reads a bit more violent and shows Jack being very callous and well- Jack-like. Also in the script Sharong gives Jack a small box with the ear, not the box in a box in a box we see in the show and the tree seen isn't very skimpy.
The ear presentation scene from script:
INT. JACK'S LAIR - NIGHT
Angles, distortions. Voices are modulated. JACK decorates
a skimpy Christmas tree. Sharon approaches, hands behind her back.
SHARON
I have something for you.
Sharon offers a small box wrapped in Christmas paper, Jack lifts off the top.
JACK
The matador only takes the ear
after a good fight. Was it?
Jack detaches the earring O.C. and lifts it in the light.
SHARON
Did it myself. You like it?
Jack's breathing deepens. Sharon awaits her accolades.
JACK
You think you have a self?
Sharon senses his turn. In a flash, Jack grabs her by the
hand, starts dragging her across the floor
SHARON
Jack... Don't! Don't!
He opens a small door, exposing a black chamber. He shoves
her in, slams the door on her, spins the padlock on it's
front. Through an air grate, Sharon screams.
SHARON
I did it for you! I killed Cooper--
all of it-- for you, Jack! For you!
ANGLE - JACK AT COMPUTER
ignoring Sharon's WAILING. On his computer, images of Sam.
He touches the monitor with his fingertips, misses her.
*************************************
Absolutely love that Jack is able to ignore Sharon's distress and focus on his Samantha. It seems to fit his personality. And the idea of him putting Sharon in a cage vs a closet seems more cruel. I think that both deleted scenes convey just what Jack's attitude towards Sharon was.
*************************************
In the script, the scene where Jack lets Sharon out of her confinement and gives her the bracelet, Jack is portrayed more coldly and Sharon's feelings for him are a bit more clear and some slight dialogue difference. Also we see that Jack has non-stop video surveillance of his lair.
Sharon being freed and gifted from script:
INT. JACK'S LAIR - A DARK PLACE - NIGHT
Quiet sobbing. The rattle of a lock, the opening of a
door. Light streams in, revealing Sharon, squint-eyed.
SHARON
I'm sorry.
Sharon scrambles out of the darkness, follows Jack around.
SHARON
Are you still mad?
JACK
No. I have a gift for you.
Jack hands her a velvet box. Sharon snaps it open, finds
a jeweled bracelet. She's stunned, slips it on her wrist.
SHARON
I'ts beautiful. I love it.
Jack throws on a coat. Sharon realizes he's still angry.
SHARON
Jack, I know what I did was wrong,
but it's only because I want to make
you happy. I want to understand you.
JACK
I'm going out. Don't touch anything.
He's out the door, clangs it shut behind him. Sharon
stands there. Hurt, lonely. She focuses on one of Jack's
mounted security cameras. JUMP ZOOM TO IT.
SHARON AT JACK'S COMPUTER AREA - A RACK OF MISMATCHED
VIDEO RECORDERS
Sharon's fingers walk down the machines, hitting all the
stop buttons. Corresponding video monitors go blank. She
scans the shelf of tapes. Plunks one into the VCR.
A SERIES OF CUTS:
Sharon pushes the buttons for playback on the computer
display. Video footage of their daily life flies by in
fast forward. Sharon slows the tape, stops it at a point where
Jack sits down at his computer. Sharon manipulates the
image by ZOOMING to the display, which is prompting Jack
for a password. Another enlargement brings up the ECU of
JACK's HANDS as he types the password.
SHARON
R - Z - L
SHARON ON THE COMPUTER
logging in. Types R - Z - L. She smiles at having broken
into Jack's mind. But her smile fades.
She sees image after image of Sam, including blue light
messages to her -- "Miss you Sam," etc Sam's FBI
personnel record. Images of Sam and Coop with Coop ex'ed
out. A number of timed and dated surveillance shots of
Sam -- including one of her at the supermarket (which we can
ID by it's signage later.)
SHARON
No, it's not fair... it's not fair...
ANGLE - FRONT DOOR
is left ajar, swinging slightly. Sharon is gone.
*************************************
It's nice seeing Sharon telling Jack she wants to understand him and it's also very telling of how little she really knows him or that he lets her in. Sharon's emotions are more obviously fixated on Jack. Also find it interesting that Jack doesn't allow Sharon to think she's completely out of trouble - it gives him a harsher more commanding edge in the script.
*************************************
Some additional and different dialogue during one of Sam's scenes with Melinda Gillespe. Shows some anger and vulnerability in Sam and less certain about Jack's invasion into her life. Also a few lines were added to the show not in here.
Sam in Melinda's office shortly before Sharon parking lot showdown from script:
SAM VISION - FLASHBACK - LIMBO - ALL IN CHROMA GREEN
Sam runs her hands through her hair, frantic, explosive.
Minimum props and set dressing. Discuss with director.
SAM
So what am I supposed to do?
GILLESPE
Sam, no one can tell you how to
live--
SAM
(breaking wide open)
--Why not? You're a smart woman.
Tell me how you'd live my life? How
would you have handle having your every
move monitored? How would you feel
knowing that no corner is small
enough for you to hide in? Or that
anyone you love is in danger just by
their existance? How the hell
would you handle not having the power
to make any of it stop -- ever.
A beat as Sam shivers with anger, tears.
GILLESPE
I don't know.
SAM
That's right. You don't know.
GILLESPE
You're not his prisoner. Jack needs
you. You're part of him... and in
some ways he's a part of you.
SAM
How can Jack be part of me?
GILLESPE
Because you let him, and he preys on
that. He wants you to think you're
the same. But you're not.
(beat)
And the only way you'll ever know
that is to do what you've been afraid
to do until now... take a look inside
yourself.
*************************************
This scene had things I liked and others I didn't. What I liked was that Sam had more anger in her. Yes she's still crying but there's some underlying rage and her snapping at Melinda gives a lovely hint at the notion she's not all merry sunshine.
I did feel that the additional dialogue in the show where Melinda enumerates the things Samantha has in common with Jack was a nice addition. In that respect I didn't like the difference.
*************************************
Overall, the changes are minor in their technicality but I think that the original intention had a darker tone and portrayed Sam more on the edge, more vulnerable to Jack and I'm glad to have read the script and seen the differences.
Recently I was gifted with several Profiler scripts which I'm currently going through and comparing them with the DVDS. Many thanks to lord_a_valente for the gift!
In Old Acquaintance I found one deleted scene in which Sam, Bailey, George, John, and Grace are going over the case of the clerk Sharon killed. Also I found some major script differences in two Jack scenes - he's colder to Sharon and her feelings for him are more evident. And finally, there was some additional difference in dialogue in one of the scenes in which Sam is talking to Melinda Gillespe. So, under the cut, I give you all four scenes, verbatim from the script :)
Deleted scene set between Sam, Bailey, John and Grace assessing the crime scene at the boutique where Sharon left her school colors and the scene where Sharon brings Jack the clerk's ear:
INT. VCTF - COMMAND CENTER - NIGHT
Sam, Bailey, John, George, run down the killing. We see
crime scene photos and close-ups of evidence on the Barco
Board.
GEORGE
So far the victim has no connection
to Sam. Recently moved here from
Seatttle, just married. No known
enemies.
JOHN
No indication of robbery, cash still
in the register. no message from Jack.
BAILEY
Maybe he wasn't involved.
SAM
I don't think he was. Seems an odd
choice for him, too eay. For her it
might have been a step up. But she
wasn't comfortable killing alone.
In the B.G. Grace approaches with findings.
JOHN
Goes to a women's boutique, knows she
won't be overpowered.
GRACE
Or positively ID'ed. She went in
disguise. Those strands came from a
human hair wig. But get this, the
wig was dyed. True color was basic
brown.
SAM
Anything on the type of dye used?
GRACE
Drug store quality, because she's worth it.
GEORGE
I'll run a check, see if I can match
the manufacturer and retail outlets.
BAILEY
Wig's already a disguise, why dye it?
SAM
She purchased it. Maybe Jack didn't
approve of her color choice. She's
his creation. He wants to be
responsible for a complete
transformation.
JOHN
Like the Bride of Frankenstein.
BAILEY
Question is, does Jack know what his monster is up to?
*************************************
The VCTF scene is interesting in that we see that Sharon is perhaps in some way less than happy with her new identity. She doesn't like that Jack's changed her. I also really liked Sam's notion that Sharon isn't comfortable killing by herself yet. Not all the way to jealousy by any means but definately putting Sharon in her place and delineating her from Jack.
*************************************
In the show Sharon tries to explain to Jack that she killed for him and then he throws her screaming into a closet but in the script it's sounds more like a cage. It reads a bit more violent and shows Jack being very callous and well- Jack-like. Also in the script Sharong gives Jack a small box with the ear, not the box in a box in a box we see in the show and the tree seen isn't very skimpy.
The ear presentation scene from script:
INT. JACK'S LAIR - NIGHT
Angles, distortions. Voices are modulated. JACK decorates
a skimpy Christmas tree. Sharon approaches, hands behind her back.
SHARON
I have something for you.
Sharon offers a small box wrapped in Christmas paper, Jack lifts off the top.
JACK
The matador only takes the ear
after a good fight. Was it?
Jack detaches the earring O.C. and lifts it in the light.
SHARON
Did it myself. You like it?
Jack's breathing deepens. Sharon awaits her accolades.
JACK
You think you have a self?
Sharon senses his turn. In a flash, Jack grabs her by the
hand, starts dragging her across the floor
SHARON
Jack... Don't! Don't!
He opens a small door, exposing a black chamber. He shoves
her in, slams the door on her, spins the padlock on it's
front. Through an air grate, Sharon screams.
SHARON
I did it for you! I killed Cooper--
all of it-- for you, Jack! For you!
ANGLE - JACK AT COMPUTER
ignoring Sharon's WAILING. On his computer, images of Sam.
He touches the monitor with his fingertips, misses her.
*************************************
Absolutely love that Jack is able to ignore Sharon's distress and focus on his Samantha. It seems to fit his personality. And the idea of him putting Sharon in a cage vs a closet seems more cruel. I think that both deleted scenes convey just what Jack's attitude towards Sharon was.
*************************************
In the script, the scene where Jack lets Sharon out of her confinement and gives her the bracelet, Jack is portrayed more coldly and Sharon's feelings for him are a bit more clear and some slight dialogue difference. Also we see that Jack has non-stop video surveillance of his lair.
Sharon being freed and gifted from script:
INT. JACK'S LAIR - A DARK PLACE - NIGHT
Quiet sobbing. The rattle of a lock, the opening of a
door. Light streams in, revealing Sharon, squint-eyed.
SHARON
I'm sorry.
Sharon scrambles out of the darkness, follows Jack around.
SHARON
Are you still mad?
JACK
No. I have a gift for you.
Jack hands her a velvet box. Sharon snaps it open, finds
a jeweled bracelet. She's stunned, slips it on her wrist.
SHARON
I'ts beautiful. I love it.
Jack throws on a coat. Sharon realizes he's still angry.
SHARON
Jack, I know what I did was wrong,
but it's only because I want to make
you happy. I want to understand you.
JACK
I'm going out. Don't touch anything.
He's out the door, clangs it shut behind him. Sharon
stands there. Hurt, lonely. She focuses on one of Jack's
mounted security cameras. JUMP ZOOM TO IT.
SHARON AT JACK'S COMPUTER AREA - A RACK OF MISMATCHED
VIDEO RECORDERS
Sharon's fingers walk down the machines, hitting all the
stop buttons. Corresponding video monitors go blank. She
scans the shelf of tapes. Plunks one into the VCR.
A SERIES OF CUTS:
Sharon pushes the buttons for playback on the computer
display. Video footage of their daily life flies by in
fast forward. Sharon slows the tape, stops it at a point where
Jack sits down at his computer. Sharon manipulates the
image by ZOOMING to the display, which is prompting Jack
for a password. Another enlargement brings up the ECU of
JACK's HANDS as he types the password.
SHARON
R - Z - L
SHARON ON THE COMPUTER
logging in. Types R - Z - L. She smiles at having broken
into Jack's mind. But her smile fades.
She sees image after image of Sam, including blue light
messages to her -- "Miss you Sam," etc Sam's FBI
personnel record. Images of Sam and Coop with Coop ex'ed
out. A number of timed and dated surveillance shots of
Sam -- including one of her at the supermarket (which we can
ID by it's signage later.)
SHARON
No, it's not fair... it's not fair...
ANGLE - FRONT DOOR
is left ajar, swinging slightly. Sharon is gone.
*************************************
It's nice seeing Sharon telling Jack she wants to understand him and it's also very telling of how little she really knows him or that he lets her in. Sharon's emotions are more obviously fixated on Jack. Also find it interesting that Jack doesn't allow Sharon to think she's completely out of trouble - it gives him a harsher more commanding edge in the script.
*************************************
Some additional and different dialogue during one of Sam's scenes with Melinda Gillespe. Shows some anger and vulnerability in Sam and less certain about Jack's invasion into her life. Also a few lines were added to the show not in here.
Sam in Melinda's office shortly before Sharon parking lot showdown from script:
SAM VISION - FLASHBACK - LIMBO - ALL IN CHROMA GREEN
Sam runs her hands through her hair, frantic, explosive.
Minimum props and set dressing. Discuss with director.
SAM
So what am I supposed to do?
GILLESPE
Sam, no one can tell you how to
live--
SAM
(breaking wide open)
--Why not? You're a smart woman.
Tell me how you'd live my life? How
would you have handle having your every
move monitored? How would you feel
knowing that no corner is small
enough for you to hide in? Or that
anyone you love is in danger just by
their existance? How the hell
would you handle not having the power
to make any of it stop -- ever.
A beat as Sam shivers with anger, tears.
GILLESPE
I don't know.
SAM
That's right. You don't know.
GILLESPE
You're not his prisoner. Jack needs
you. You're part of him... and in
some ways he's a part of you.
SAM
How can Jack be part of me?
GILLESPE
Because you let him, and he preys on
that. He wants you to think you're
the same. But you're not.
(beat)
And the only way you'll ever know
that is to do what you've been afraid
to do until now... take a look inside
yourself.
*************************************
This scene had things I liked and others I didn't. What I liked was that Sam had more anger in her. Yes she's still crying but there's some underlying rage and her snapping at Melinda gives a lovely hint at the notion she's not all merry sunshine.
I did feel that the additional dialogue in the show where Melinda enumerates the things Samantha has in common with Jack was a nice addition. In that respect I didn't like the difference.
*************************************
Overall, the changes are minor in their technicality but I think that the original intention had a darker tone and portrayed Sam more on the edge, more vulnerable to Jack and I'm glad to have read the script and seen the differences.