Sherlock: Hounds of the Baskerville – BBC vs. PBS edits

I have been dealing with a couple health setbacks since Saturday before it aired, so I have a later start with this than I had planned.  Now that I’m feeling almost 100% better, I can tackle the Hounds!

Thanks for those of you who told me they enjoyed my previous posts about the differences. Special thanks to the Baker Street Blog for being nice enough putting my write-up for Scandal in Belgravia on their news page.

To watch the PBS version online, you can view it for free on their website until June 19.

Sherlock, you should apologize

Mrs. Hudson storms out of their room, hurt by the deductions that Sherlock has made about her.

John:  What the bloody hell was that all about?

John-and-Sherlock-at-Baker-Street

(cut) Sherlock (gives out a short exhale, rocking himself in his non-rocking chair) You don’t understand.

John: Go after her and apologize (thumbing to the door behind him).

Sherlock: Apologize?

John (nodding): Mm-hmm.

Sherlock: (takes a breath) Oh, John, I envy you so much.

John looks at him, puts down his thumbed arm and rests his on his other arm.

John (not knowing whether to believe it or not): You envy me?

Sherlock: (looking off to the side): Your mind is so placid, straight-forward, barely used.  Mine’s like an engine, racing out of control.  A rocket, tearing itself to pieces, trapped on the launchpad. (cut ends) (shouts): I  NEED A CASE! (shaking his arms).

John: (shakes his arms, imitating Sherlock) YOU JUST SOLVED ONE! By harpooning a dead pig, apparently.

Importance — Somewhat.  Continues Sherlock’s opinion of John’s brain (and probably everyone else’s) not being seriously used.  And a side comment about Sherlock’s entrance with a harpoon, which is from The Adventure of  Black Peter.

To Gripen

A second here and there cut of the different shots of the moor. And a couple seconds of Sherlock and John silently traveling to Grimpen.  Also a second or two of mroe traveling after Sherlock and John take a stop to get a lay of the land.

At the inn

Shot of Sherlock walking in the door of the inn was cut.

Talking with Fletcher

A brief second cut from Sherlock and Fletcher’s conversation

At Baskerville

A couple quick shots when Sherlock and John pull up the the security gate are cut.

Keep-Out

After passing the main security gate, a few seconds are cut of Sherlock and John driving a bit more then getting out of the vehicle and begin walking.   Below is a shot that was cut, of them walking away from the vehicle.  Cut ends when Corporal Lyons drives up.

Going-on-foot

Importance – Somewhat.  One second they are in the Hummer-like vehicle, next second they are on foot.  This bit helps explain that.

Inside the labs

Sherlock and John are led by Corporal Lyons through the different labs.   John asks Lyons questions while Sherlock, while following, looks around the rooms.

John: So what exactly is it that you do here?

(cut) Lyons: I thought you’d know, sir, this being an inspection.

John:  Well, I’m not an expert, am I?

(cut ends) Lyons: Everything from stem cell research to trying to cure the common cold, sir.

A few seconds later, the three walk through swinging doors, approaching Stapleton

Lyons: Dr. Stapleton?

Sherlock (to himself): Stapleton…

Stapleton: (cut) Yes? (cut ends) Who’s this?

Importance — Very minor. Just a little snip.

Leaving Baskerville

Cut scene of Sherlock and John driving away from Baskerville:

John: So the email from Kirsty, the, uh, missing luminous rabbit?

Sherlock: Kirsty Stapleton, whose mother specializes in genetic manipulation.

John: She made her daughter’s rabbit glow-in-the-dark?

Sherlock: Probably a florescent gene. Removed and spliced into the specimen. Simple enough these days.

John: So…?

Sherlock: So we know that Dr. Stapelton performs secret genetic experiments on animals. Question is, has she been working on something deadlier than a rabbit?

John takes a breath and nods.

John: To be fair, that is a pretty wide field.

They both exchange looks.

Looking for trouble on the moor

Random shots of Sherlock, John, and Henry exploring the moor at night that were shortened or cut.

Back at Henry’s

This whole scene was cut. The three of them return to Henry’s right after the moor.

Henry: Look, you must have seen it, I saw it. You *must* have… you *must* have… why? (Sherlock walks to another room.  John and Henry continue into the living room) Why would he say that? It was there. It *was*…

John: Henry (takes Henry gently by the arm and points him to a place to sit down) Henry, I need for you to sit down. Try and relax. Listen, I’m going to give you something to help you sleep, alright?

Henry: (sitting down, while John is talking) I’m okay. I’m okay…

Henry unwraps and takes off his scarf while John goes to a corner of the room

Henry: It’s good… it’s all good.  I’m not crazy. (putting his scarf to the side, voice shaky) There is a hound. There is… And Sherlock, he saw it too.  No matter what he says, he saw it.

Scene cross fades from Henry in his home to profile of Sherlock at the inn in front of the fireplace joined by John. Cut ends.

Sherlock-and-Henry

Importance – Somewhat.  Begins to show that Henry feels confident that he isn’t crazy because he knows that Sherlock saw something  out there.

The sleepy meds aren’t working

Between John leaving Sherlock at the fireplaces, a short scene of Henry is cut.  Shows him not able to sleep after John had given him something.  He walks from the couch a few feet to the large windowed back wall.  He has violent memories of “Liberty” and  “In”.  Cut ends with John investigating the blinking lights.

Sherlock and John

A few shots of Sherlock approaching John in the church cemetery were cut.  And a little cut of Sherlock preparing John’s cup of coffee.

Lestrade on the case

After Lestrade interagates Billy and Gary at the inn, there’s a couple shots cut of Billy and Gary exchanging guilty glances.

Back to Baskerville

Sherlock and John drive back to Baskerville.  Stopping at the gate, a guard meets them.

(cut) Guard: Afternoon (?) sir.  Turn the engine off.

Sherlock hands over his proper ID now, and the guard walks away to check it.

Sherlock: I need to see Major Barrymore as soon as we get inside.

John: Right.

Sherlock: Which means you’ll have to start a search for the hound.

John: Okay.

Sherlock: In the labs.  Stapleton’s first.  Could be dangerous.

While Sherlock is talking another guard walks a dog to the front to check the vehicle.

The first guard hands Sherlock back his ID, and the gate opens. (cut ends) They drive through and down the road.

Cut of scene of  Major Barrymore and Sherlock in Barrymore’s office.

Barrymore (sarcastic): Oh, you’d know I’d love too.  I’d love to give you secret access to this place. Why not?

Sherlock: This isn’t a request major.

Barrymore (irritated): I’d never heard of anyhting so bizarre

Sherlock: Give me 24 hours.  It’s what I negotiated.

Barrymore: And not a second more.  I may have to comply with this order, but I don’t have to like it. (turns around in his chair.  Sherlock turns and begins to step out of the door)  I don’t know what the hell you expect to find here anyway.

Sherlock: Perhaps the truth.

Barrymore: About what? (looks down then up at Sherlock) Oh, I see.  The big coat should have told me.  You’re one of the conspiracy lot, aren’t you?  (smirks) Well, then, go ahead.  Seek them out the monsters, the death rays, the aliens.

Sherlock (raises an eyebrow): You got any of those?

Barrymore rolls his eyes.

Sherlock (sarcastically) : Oh, just wondering.

Barrymore (leans in): A couple.   Crashed landed here in the 60s.  We call it Abbott and Costello. (turns back to his desk) Good luck Mr. Holmes.

Sherlock turns and walks out, the door closing behind him.

Cut ends with exterior shot of Henry’s house

Importance — Pretty important.  Sets up more of what Sherlock’s plan was for he and John.  And hooray for the mention of Abbott and Costello! It ‘s thrown in there  oddly, but a mention non the less. Like Chaplin’s appearance in Scandal, I’m a big fan of Bud and Lou as well.

John investigates

A couple quick shots of John checking out the labs were shortened.

Cracking Barrymore’s password

Right before Stapleton, Sherlock, and John going to a lab room with computers, there is a shot of a man in camoflage gear walking out of another door before the camera pans over.

The rest of it is surprisingly intact. Yay!

June 1st, 2012 by
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