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Riga 86: | Riga 86: | ||
=== Scene tagliate === | === Scene tagliate === | ||
* [T:10:30] Nell'episodio non è presente uno scambio di battute tra la [[Katherine Pulaski|Pulaski]] e La Forge nel Ten Forward. Le parti in grigio sono le battute presenti nell'episodio: | * [T:10:30] Nell'episodio non è presente uno scambio di battute tra la [[Katherine Pulaski|Pulaski]] e La Forge nel Ten Forward. Le parti in grigio sono le battute presenti nell'episodio: | ||
PULASKI | PULASKI | ||
<span style="color:#C0C0C0;">Yes, Holmes as well, but Holmes | <span style="color:#C0C0C0;">Yes, Holmes as well, but Holmes | ||
Riga 97: | Riga 97: | ||
-- combined with human intuition | -- combined with human intuition | ||
for which he cannot be programmed. | for which he cannot be programmed. | ||
GEORDI | GEORDI | ||
I disagree -- totally. | I disagree -- totally. | ||
PULASKI | PULASKI | ||
His victory at playing Sherlock | His victory at playing Sherlock | ||
Riga 107: | Riga 107: | ||
of information without any true | of information without any true | ||
understanding. | understanding. | ||
GEORDI | GEORDI | ||
<span style="color:#C0C0C0;">You're being unfair.</span> | <span style="color:#C0C0C0;">You're being unfair.</span> | ||
* [T:11:12] Quando Data, Geordi e la dottoressa [[Katherine Pulaski|Pulaski]] stanno per entrare per la prima volta nell'[[:Category:Holodeck|holodeck]], è stata tagliata un pezzo di scena iniziale, presente nello script: | |||
14 INT. HOLODECK - CONTROL FOYER | |||
Geordi dressed as Watson, Data as Holmes... and | Geordi dressed as Watson, Data as Holmes... and | ||
Pulaski in upper class Victorian finery, layers and | Pulaski in upper class Victorian finery, layers and | ||
layers of it. She fans herself with her hand as Data | layers of it. She fans herself with her hand as Data | ||
activates the Holodeck console and inputs a sequence... | activates the Holodeck console and inputs a sequence... | ||
PULASKI | PULASKI | ||
I've never been so hot in all my | I've never been so hot in all my | ||
life -- are these clothes really | life -- are these clothes really | ||
necessary? | necessary? | ||
GEORDI | GEORDI | ||
Believe me, you'd feel out of | Believe me, you'd feel out of | ||
Riga 131: | Riga 131: | ||
back to nineteenth century | back to nineteenth century | ||
England. | England. | ||
PULASKI | PULASKI | ||
Presuming I don't pass out first. | Presuming I don't pass out first. | ||
She fans herself all the more... and Data's still | She fans herself all the more... and Data's still | ||
inputting, as: | inputting, as: | ||
DATA | DATA | ||
The Victorians believed that any | The Victorians believed that any | ||
Riga 145: | Riga 145: | ||
they even went so far as to put | they even went so far as to put | ||
skirts and cuffs and sleeves on | skirts and cuffs and sleeves on | ||
the arms and legs of furniture. | the arms and legs of furniture. | ||
* [T:15:25] Nello script è presente un approccio a Data da parte di una prostituta: | * [T:15:25] Nello script è presente un approccio a Data da parte di una prostituta: | ||
22 LONDON STREET - ANOTHER ANGLE | 22 LONDON STREET - ANOTHER ANGLE | ||
Data leading them along it, looking for what is going | Data leading them along it, looking for what is going | ||
to begin this mystery. Geordi is with him, Pulaski is | to begin this mystery. Geordi is with him, Pulaski is | ||
a step behind. The prostitute comes out of the shadows | a step behind. The prostitute comes out of the shadows | ||
and approaches Data: | and approaches Data: | ||
PROSTITUTE (WHORE) | PROSTITUTE (WHORE) | ||
Hello, matey. For a few bob, I | Hello, matey. For a few bob, I | ||
can put some color in your | can put some color in your | ||
cheeks... | cheeks... | ||
DATA | DATA | ||
No thank you. | No thank you. | ||
PROSTITUTE | PROSTITUTE | ||
"No thank you" is it? | "No thank you" is it? | ||
(points to thugs) | (points to thugs) | ||
Rather hand it over to them... | Rather hand it over to them... | ||
Data leads the others past them. | Data leads the others past them. | ||
23 DATA AND GEORDI | 23 DATA AND GEORDI | ||
as they move along the street. The PROSTITUTE motions | as they move along the street. The PROSTITUTE motions | ||
to a COUPLE of dangerous THUGS, who are eyeballing Data | to a COUPLE of dangerous THUGS, who are eyeballing Data | ||
Riga 177: | Riga 177: | ||
side, PROFESSOR JAMES MORIARTY stands there as if | side, PROFESSOR JAMES MORIARTY stands there as if | ||
momentarily dazed by something. | momentarily dazed by something. | ||
* [T:21:38] È stata tolta anche la scena seguente, presente nello script. Le parti in grigio sono le battute presenti nell'episodio: | * [T:21:38] È stata tolta anche la scena seguente, presente nello script. Le parti in grigio sono le battute presenti nell'episodio: | ||
<span style="color:#C0C0C0;">GEORDI | <span style="color:#C0C0C0;">GEORDI | ||
Then you don't know what's coming | Then you don't know what's coming | ||
next? | next? | ||
DATA | DATA | ||
No. | No. | ||
GEORDI | GEORDI | ||
(still enjoying the | (still enjoying the | ||
game) | game) | ||
That's what I wanted to hear.</span> | That's what I wanted to hear.</span> | ||
37 LONDON STREET - ANOTHER ANGLE | 37 LONDON STREET - ANOTHER ANGLE | ||
Data and Geordi leave the scene of the crime as a | Data and Geordi leave the scene of the crime as a | ||
pushcart arrives to carry off the corpse and the bobby | pushcart arrives to carry off the corpse and the bobby | ||
and Lestrade lead the woman away. | and Lestrade lead the woman away. | ||
38 ENTRANCE TO THE WAREHOUSE | 38 ENTRANCE TO THE WAREHOUSE | ||
Data and Geordi approach. There are a couple of | Data and Geordi approach. There are a couple of | ||
drunken SEAMEN staggering along the sidewalk. Nearby | drunken SEAMEN staggering along the sidewalk. Nearby | ||
Riga 204: | Riga 204: | ||
vibrantly painted WHORE. A THUG comes up and grabs | vibrantly painted WHORE. A THUG comes up and grabs | ||
Data's coat. | Data's coat. | ||
THUG | THUG | ||
Do you have some coppers for a | Do you have some coppers for a | ||
hungry man? | hungry man? | ||
WHORE | WHORE | ||
I'll give you some value for your | I'll give you some value for your | ||
copper, mate... | copper, mate... | ||
There is an air of violence about this beggar. | There is an air of violence about this beggar. | ||
DATA | DATA | ||
Allow us to pass. | Allow us to pass. | ||
THUG | THUG | ||
Give it up. | Give it up. | ||
WHORE | WHORE | ||
Ain't no men left in London. | Ain't no men left in London. | ||
DATA | DATA | ||
Release my coat or I will be | Release my coat or I will be | ||
forced to give you a severe | forced to give you a severe | ||
thrashing. | thrashing. | ||
As the thug backs off, he bumps into Geordi, then | As the thug backs off, he bumps into Geordi, then | ||
pushes him aside and leaves. | pushes him aside and leaves. | ||
GEORDI | GEORDI | ||
<span style="color:#C0C0C0;">It's getting a little rough. | <span style="color:#C0C0C0;">It's getting a little rough. | ||
Where to, now?</span | Where to, now?</span> | ||
* [T:25:54] Dopo che Data e La Forge escono dal laboratorio del professor [[James Moriarty|Moriarty]], era prevista la seguente scena: | * [T:25:54] Dopo che Data e La Forge escono dal laboratorio del professor [[James Moriarty|Moriarty]], era prevista la seguente scena: | ||
43 LONDON STREET | 43 LONDON STREET | ||
Data and Geordi come out of the warehouse. The | Data and Geordi come out of the warehouse. The | ||
characters who have been inhabiting the street are more | characters who have been inhabiting the street are more | ||
Riga 245: | Riga 245: | ||
them. Data uses his hands to move a legless Beggar | them. Data uses his hands to move a legless Beggar | ||
out of his way. The Fellini-like scene goes on. | out of his way. The Fellini-like scene goes on. | ||
BEGGAR WHORE | BEGGAR WHORE | ||
A few coppers, mate... Give up Give me some money. You got | A few coppers, mate... Give up Give me some money. You got | ||
a few for a cripple. more than you need... | a few for a cripple. more than you need... | ||
BEGGAR WHORE | BEGGAR WHORE | ||
Have pity. You could be like Never mind her... Give it | Have pity. You could be like Never mind her... Give it | ||
me... I could never be like here... Don't pull away. | me... I could never be like here... Don't pull away. | ||
you again. | you again. | ||
BEGGAR WHORE | BEGGAR WHORE | ||
I got family... Don't let them They got not one to feed but | I got family... Don't let them They got not one to feed but | ||
be hungry. Just a few coppers. their face. I got a couple | be hungry. Just a few coppers. their face. I got a couple | ||
of young ones. | of young ones. | ||
BEGGAR WHORE | BEGGAR WHORE | ||
Won't mean a bit to you. I got me three of them. Get | Won't mean a bit to you. I got me three of them. Get | ||
a few bob up Lordy. | a few bob up Lordy. | ||
* [T:27:43] La battuta «Merde» di Picard, nello script è invece <pre>"Terrible!" (in French)</pre>. | * [T:27:43] La battuta «Merde» di Picard, nello script è invece <pre>"Terrible!" (in French)</pre>. | ||
* [T:28:50] Nell'episodio non è presente la scena in cui Picard interpella Deanna: | * [T:28:50] Nell'episodio non è presente la scena in cui Picard interpella Deanna: | ||
PICARD | PICARD | ||
Counselor Troi, have you a sense | Counselor Troi, have you a sense | ||
of our opponent? | of our opponent? | ||
TROI | TROI | ||
It is difficult for me to separate | It is difficult for me to separate | ||
Riga 276: | Riga 276: | ||
this is that I should not be able | this is that I should not be able | ||
to sense a holographic projection | to sense a holographic projection | ||
at all -- yet I do. | at all -- yet I do. | ||
* [T:35:13] Dopo la tentata rapina subita da Picard e Data, nello script era prevista la scena seguente: | * [T:35:13] Dopo la tentata rapina subita da Picard e Data, nello script era prevista la scena seguente: | ||
55 INT. WAREHOUSE (OPTICAL) | 55 INT. WAREHOUSE (OPTICAL) | ||
as they cross to the wall. | as they cross to the wall. | ||
PICARD | PICARD | ||
Moriarty is making it very easy | Moriarty is making it very easy | ||
for us to find him. | for us to find him. | ||
DATA | DATA | ||
Captain, permission to test my | Captain, permission to test my | ||
theory. | theory. | ||
PICARD | PICARD | ||
Granted. | Granted. | ||
Data removes a PHASER from his pocket, makes a slight | Data removes a PHASER from his pocket, makes a slight | ||
adjustment in the setting, then FIRES at a crate... | adjustment in the setting, then FIRES at a crate... | ||
55A CRATE | 55A CRATE | ||
as it BLOWS UP AND DISAPPEARS. | as it BLOWS UP AND DISAPPEARS. | ||
DATA | DATA | ||
Under normal circumstances the | Under normal circumstances the | ||
phaser would pass right through | phaser would pass right through | ||
the holographic image. | the holographic image. | ||
PICARD | PICARD | ||
How will it affect a character | How will it affect a character | ||
like Moriarty? | like Moriarty? | ||
DATA | DATA | ||
The effect on him should be the | The effect on him should be the | ||
same as it was on the crate. | same as it was on the crate. | ||
* [T:35:44] Le parti in grigio sono le battute presenti nell'episodio: | * [T:35:44] Le parti in grigio sono le battute presenti nell'episodio: | ||
PULASKI | PULASKI | ||
(answers Picard) | (answers Picard) | ||
<span style="color:#C0C0C0;">I'm fine. Except for being | <span style="color:#C0C0C0;">I'm fine. Except for being | ||
crammed full of crumpets.</span> | crammed full of crumpets.</span> | ||
DATA | DATA | ||
Crumpets? | Crumpets? | ||
PULASKI | PULASKI | ||
You look quite dashing, Captain. | You look quite dashing, Captain. | ||
This is the first time I get to | This is the first time I get to | ||
see you in action. | see you in action. | ||
MORIARTY | MORIARTY | ||
I hope you're not disappointed. | I hope you're not disappointed. | ||
PULASKI | PULASKI | ||
I'm sure I won't be. | I'm sure I won't be. | ||
PICARD | PICARD | ||
You two have gotten awfully... | You two have gotten awfully... | ||
MORIARTY | MORIARTY | ||
... chummy? Yes, this time | ... chummy? Yes, this time | ||
together has been quite pleasant. | together has been quite pleasant. | ||
<span style="color:#C0C0C0;">I am a civilized abductor, Captain | <span style="color:#C0C0C0;">I am a civilized abductor, Captain | ||
Picard. Civilized but still dangerous.</span | Picard. Civilized but still dangerous.</span> | ||
* [T:41:34] Dopo che Picard ha dato l'ordine di salvare il personaggio di [[James Moriarty|Moriarty]] nella memoria dell'<i>Enterprise</i>, la scena prosegue nello script in questo modo, spiegando anche il motivo per cui il foglio disegnato da [[James Moriarty|Moriarty]] è potuto uscire dal [[:Category:Holodeck|ponte ologrammi]]: | * [T:41:34] Dopo che Picard ha dato l'ordine di salvare il personaggio di [[James Moriarty|Moriarty]] nella memoria dell'<i>Enterprise</i>, la scena prosegue nello script in questo modo, spiegando anche il motivo per cui il foglio disegnato da [[James Moriarty|Moriarty]] è potuto uscire dal [[:Category:Holodeck|ponte ologrammi]]: | ||
DATA | DATA | ||
Right up to the end, he never | Right up to the end, he never | ||
knew. | knew. | ||
PICARD | PICARD | ||
No. He didn't. | No. He didn't. | ||
PULASKI | PULASKI | ||
Know. Know what? | Know. Know what? | ||
PICARD | PICARD | ||
That he could leave the Holodeck. | That he could leave the Holodeck. | ||
PULASKI | PULASKI | ||
But that's not possible. | But that's not possible. | ||
DATA | DATA | ||
I do not know how, but for | I do not know how, but for | ||
Moriarty it was. | Moriarty it was. | ||
PULASKI | PULASKI | ||
Then you lied when you told him | Then you lied when you told him | ||
he couldn't leave the Holodeck. | he couldn't leave the Holodeck. | ||
DATA | DATA | ||
No, what the captain said was that | No, what the captain said was that | ||
Riga 372: | Riga 372: | ||
Even after we review this program, | Even after we review this program, | ||
we still may not have the answer. | we still may not have the answer. | ||
PICARD | PICARD | ||
Doctor, even with all his | Doctor, even with all his | ||
Riga 382: | Riga 382: | ||
reputation through cunning and | reputation through cunning and | ||
deceit. | deceit. | ||
PULASKI | PULASKI | ||
But how do you know he could leave | But how do you know he could leave | ||
the Holodeck? | the Holodeck? | ||
PICARD | PICARD | ||
Data. | Data. | ||
Data reaches into his coat pocket and removes the paper | Data reaches into his coat pocket and removes the paper | ||
on which Moriarty first drew the sketch of the | on which Moriarty first drew the sketch of the | ||
Enterprise. | Enterprise. | ||
PULASKI | PULASKI | ||
The drawing? | The drawing? | ||
DATA | DATA | ||
No. The paper. This piece of | No. The paper. This piece of | ||
Riga 403: | Riga 403: | ||
leave the Holodeck, so too could | leave the Holodeck, so too could | ||
Moriarty. | Moriarty. | ||
PULASKI | PULASKI | ||
I'm impressed. | I'm impressed. | ||
DATA | DATA | ||
It is elementary, my dear | It is elementary, my dear | ||
Doctor... It is elementary. | Doctor... It is elementary. | ||
=== Script === | === Script === |
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