domingo, 24 de abril de 2016

Curiosidades de los guiones de Outlander: capítulo 2.

OUTLANDER 
Capítulo 2x02
Escrito por Ira Steven Behr
Gracias a Nuria por la traducción 

Primero puedes leer la parte en inglés, e inmediatamente después, en español.
Gracis a screencapped.net por las capturas.

COMENTARIO 1

Jamie, SHOT FROM BELOW, is deep in mid-fuck pleasure, his every thrust an expression of intense passion. He gazes down at --

Claire, seen from Jamie's POV, her eyes locked on his as she pulls his every thrust deeper and deeper.

Jamie, all his doubts and fears vanquished, allows himself to be lost in the moment.

THEN WE HEAR, from beneath him --

JACK RANDALL
God. Don't stop.

Jamie looks down to discover he's making love to a smirking Black Jack Randall.

Jamie EXPLODES in rage. Suddenly there's a DIRK in Jamie's hand. He raises the weapon over his head and PLUNGES it into Randall's chest.

A fountain of blood splashes over Jamie's chest. Jamie stabs again. Thick gouts of blood spew over his body. Randall GARGLES and CHOKES his death rattle, but Jamie continues to stab again, and again, and --

Jack opens his eyes and grins sardonically at Jamie. Jack is still alive.

With a terrified SHOUT, Jamie awakens; his chest is drenched in sweat instead of blood. He quickly turns to make sure it is Claire in bed beside him. Claire is instantly awake. This has happened before.

CLAIRE
Another one? Another nightmare?

Jamie, his eyes brimming with tears, cannot manage to speak. He nods mutely. Claire puts a reassuring arm around him.

CLAIRE (cont’d)>br> Randall's dead, Jamie.

WRITERS' ANNOTATION

Jamie is clearly an exceptional man, but he IS a man, nonetheless. We wanted to be as realistic in our portrayal of the aftermath of what happened to him at Wentworth prison (Episodes 115 and 116) as we had been with the actual rape. We weren't interested in perpetuating the TV tropes of heroes who are punched and kicked and then drink a martini in the next scene with nary a scratch. We wanted to show the residual trauma and take the viewer on the journey to recovery with Jamie. This dream sequence seemed like a good way to give the audience a look into Jamie's mind at this point, and get that story started.

We also liked starting with Claire's firm conviction that Black Jack is dead, because, well... you'll see... 





Jamie es evidentemente un hombre excepcional, pero es un hombre, no obstante. Buscábamos ser tan realistas en nuestra descripción de las secuelas de lo que le había pasado en la prisión de Wentworth (episodios 15 y 16) como si fuese sido una violación real. No estábamos interesados en perpetuar los tópicos de la televisión en los que los héroes son golpeados y pateados y en la siguiente escena se beben un Martini sin ni siquiera un rasguño. Buscábamos mostrar el trauma residual y llevar al espectador por el camino de la recuperación con Jamie. Esta escena del sueño parecía una buena manera de mostrar al espectador una visión de la mente de Jamie en ese punto y hacer que la historia comenzara.

También nos gustó comenzar con la firme convicción de Claire de que Black Jack está muerto, porque, bueno…ya verás…

COMENTARIO 2

As the two women go down the stairs to the Foyer on the ground floor.

SUZETTE
But a woman of your distinction,
and with child no less -- it's just
not done.

CLAIRE
Fine. I shall endeavor to be...
sloppier in my personal habits.

SUZETTE
Oh, Madame, that would make me so
happy.

CLAIRE
I should be gone an hour or two.
Plenty of time for you to strip my
bed and remake it to your
satisfaction.

SUZETTE
Oh, Madame, you are too kind.

Claire walks over to the front door, which OPENS revealing MAGNUS, the butler, who holds out a cloak to place around her shoulders.

MAGNUS
Good morning, Madame. Your
carriage awaits you.

Claire rolls her eyes at the ceremony of it all.

WRITERS' ANNOTATION

The idea behind these scenes was to give the audience a visual reference for the new life Jamie and Claire are leading - to begin to establish the elegant world they've been thrown into - and to show just what a juxtaposition that is to the mud-soaked world of Scotland we/they are used to. We also wanted to play with how the Claire we know and love would react in this posh world. It's a far cry from her childhood with Uncle Lamb. 


La idea tras estas escenas era dar al espectador una referencia visual de la nueva vida a la que se están dirigiendo Jamie y Claire – para empezar a establecer el mundo de lujo en el que han sido arrojados – y para mostrar la yuxtaposición que hay con el mundo empapado en barro de Escocia al que estaban acostumbrados. También queríamos jugar con cómo la Claire que conocemos y amamos reaccionaría en este mundo de lujo. No tiene nada que ver con su infancia con tío Lamb.

COMENTARIO 3

CLAIRE (V.O.)
But even after several weeks, Paris
itself remained an endless source
of fascination. The last time I
had been here was during the
delirious celebration marking the
end of the Second World War. I had
hoped to climb to the top of the
Eiffe Tower, but the Nazis had
closed it during the occupation and
it had yet to re-open. Now I'd
arrived hundreds of years before it
existed.
(then)
As I gazed upon the quaint city
streets, I found it hard to believe
that in a mere forty years the
French Revolution would turn them
into rivers of blood.

WRITERS' ANNOTATION

It's always fun to remind the audience that Claire is seeing the world of the 18th century from a very particular perspective. This voice over does just that, as well as giving the viewer a snapshot of Paris in the mid-18th century. 


Siempre es divertido recordar a la audiencia que Claire está viendo el mundo del siglo XVIII desde una perspectiva particular. Esta voz en off es justo eso, además de dar al espectador un visión de París a mediados del siglo XVIII.

COMENTARIO 4

The girl points to where MASTER RAYMOND is crouched over a hearth, adding pieces of charcoal into the grate. He rises and smiles a greeting at Claire. Raymond is a barrel- chested, bandy-legged gentleman under five feet in height. He has slightly bulbous, friendly black eyes.

WRITERS' ANNOTATION

This is where we first meet Master Raymond, a very important character in Claire's life in Dragonfly. There were several longer iterations of this scene, but ultimately it was cut down for time. One of the things that got cut was a reference made by Raymond to "Vermis Mysteriis," as a little shout out to the author H.P. Lovecraft. We were sorry to lose that! 


Aquí es donde vemos por primera vez al maestro Raymond, un personaje muy importante en la vida de Claire en Atrapada en el tiempo. Había varias interacciones más largas en esta escena, pero finalmente se acortaron por la duración. Una de las cosas que se cortaron fue una referencia que el maestro Raymond hizo a “Vermis Mysteriis”, un pequeño reconocimiento al autor H.P. Lovecraft. Sentimos perder eso!

COMENTARIO 5

The CLANG OF STEEL as two SWORDS CRASH together. Jamie and Murtagh meet nose to nose as they work out their frustrations in the best way they know how: some good ol' friendly swordplay. The two men strain muscles as they struggle for supremacy.

Jamie's left hand [smashed by Black Jack Randall in Ep. 115] wears a leather brace and holds his dirk, which is locked against Murtagh's weapon. Jamie's hand is still weak from his injury, and Murtagh's dirk is inexorably moving towards his heart.

MURTAGH
Ye're a dead man, lad.

With a supreme effort, Jamie pivots and with his right shoulder shoves Murtagh back, disengaging the stalemate. They circle one another carefully, Jamie looking for an opening.

WRITERS' ANNOTATION

We loved the idea of using swordplay to reestablish Jamie and Murtagh's relationship for the audience. We debated whether to remove Murtagh's reference to Rupert and Angus as "Lard Bucket and Big Head," but ultimately we liked the idea that deep down inside Murtagh misses Rupert and Angus. In this scene, we also wanted to address – and defuse – what felt like an obvious question the audience might be asking, and that could be distracting to them as Jamie and Claire went forward with their plans to stop the rebellion: Why not just kill Prince Charles and be done with it? This scene also gave us an entertaining way to tell the audience that dueling is illegal in France – a piece of information that becomes important later in the season.


Nos encantó la idea de usar el combate de espadas para restablecer la relación de Jamie y Murtagh para el público. Nos debatimos entre eliminar las referencias de Murtagh a Rupert y Angus como Gordo y Cabezón, pero al final nos gustó la idea de que en el fondo Murtagh echaba de menos a Rupert y a Angus. En esta escena, también queríamos abordar - y distender - lo que sentimos como una pregunta obvia que se hacía la audiencia y que podría ser una distracción para ellos cómo Jamie y Claire siguieron adelante con sus planes para parar la rebelión: ¿por qué no simplemente mataban al príncipe Carlos y acababan con ello? Esta escena nos dio una manera interesante de decir a la audiencia que batirse en duelo era ilegal en Francia, un pedazo de información que se volverá importante a medida que avance la temporada.

COMENTARIO 6

Those men of noble birth and noble distinction who are in the audience react with nervous surprise and bemusement. Their wives? Here? It cannot be. They come to this place to get away from their significant others.

Jamie and Murtagh are seated at one of the tables, in the company of PRINCE CHARLES STUART. The Prince is twenty-four, a short, handsome, well-attired young man, with the haughty demeanor and manners of the well-bred aristocrat. The Prince speaks with a light Italian accent reflecting the country of his upbringing.

The table in front of them is strewn with empty wine bottles. The majority of whose contents has found their way into Charles' stomach. For a pampered young gentlemen, he holds his alcohol well.

PRINCE CHARLES
(delighted)
Look at their faces! Terrified
every one!

WRITERS' ANNOTATION

This is another scene that went through a few different versions. The "entertainment" at the brothel changed from iteration to iteration (wish we could have shot some of those to include on the DVDs...) but we felt like this version spoke to the theatrics of the French upper class at the time and served as a great platform to introduce Prince Charles.


Esta es otra escena que tuvo una par de versiones diferentes. El entretenimiento en el burdel cambió de repetición en repetición (ojalá podamos incluir alguna de ellas en los DVDs…) pero nos dimos cuenta que esta versión hablaba de la teatralidad de la clase alta francesa en ese tiempo y nos sirvió como una gran plataforma para introducir al Príncipe Carlos.

COMENTARIO 7

PRINCE CHARLES
Bravo! Very clever indeed! Mark
me, if I had a wife I'd buy all
three. For variety.

WRITERS' ANNOTATION

We did a lot of research on Prince Charles, but ultimately as writers you're tasked with bringing the man to life: finding mannerisms, little catch phrases, etc. Then you trust that an actor will take that and run with it, which Andrew Gower certainly did. You'll see that "Mark me..." becomes something that the Prince uses quite often when he wants to emphasize his point, and fits his character well.


Investigamos mucho sobre el Príncipe Carlos, pero somos los escritores los que en última instancia damos vida al personaje: en la búsqueda de los gestos, pequeñas frases, etc…Luego confiamos en que un actor lo cogiera y funcionara con ello, como Andrew Gower ciertamente hizo. Verás que “Me siguen” se ha convertido en algo que el Príncipe utiliza a menudo cuando quiere enfatizar su punto de vista, y le sienta bien a su carácter.

COMENTARIO 8

JAMIE
You ask of the clans? Well sire,
the truth of it is that the clans
canna agree on the color of the
sky, let alone put aside their old
grievances to band together to
fight the British. No, sire --
they are not ready to hear your
trumpet call and are not likely to
be so for many years to come.

WRITERS' ANNOTATION

We felt it important here for Jamie's character, that before he goes "undercover" and tries to thwart the rebellion using deceit and pretending to be Charles' friend and right hand, that he take a stab at telling the Prince the truth. This scene is Jamie's attempt to be straightforward and honest and give Charles his true opinion – that the uprising cannot be successful for a variety of reasons, including how hard it is to unite the clans. Unfortunately, Charles is determined in his mission and doesn't heed Jamie's advice. However, Jamie's honesty makes Charles trust him even more, and provides Jamie the entrée he needs to stay close to Charles and try to subvert the rebellion from his privileged post.


Creímos importante aquí para el personaje de Jamie, que antes de que se infiltrase e intentase impedir la rebelión mediante el engaño y pretendiendo ser amigo y mano derecha de Carlos, debería hacer un intento de contar al Príncipe la verdad. En esta escena Jamie intenta ser directo y honesto y decirle a Carlos su sincera opinión - que el alzamiento no tendría éxito por una variedad de razones, incluyendo la dificultad de unir a los clanes. Desafortunadamente, Carlos se reafirma en su misión y no hace caso del consejo de Jamie. Como sea, la honestidad de Jamie hace que Carlos confíe aún más en él, y proporciona a Jamie la entrada que necesita para estar cerca de Carlos e intentar subvertir la rebelión desde su posición privilegiada.

COMENTARIO 9

MARY HAWKINS, 17, a slight, shy girl with the china-white skin of a true English lass, enters the room dressed in her chemise and clutching her bodice around her.

LOUISE (cont’d)
Stop clutching yourself as if you
were in a slave market --

MARY
-- B-but, I'm as good as naked.

LOUISE
Ignorant child. Must I drop my
robe to show you what naked means?

MARY
Please don't.

WRITERS' ANNOTATION

This scene establishes the characters of Mary Hawkins and Louise. Louise's worldliness and Mary's innocence.
 


Esta escena define los personajes de Mary Hawkins y Louise. La sofisticación de Louis y la inocencia de Mary.

COMENTARIO 10

The groomer rips the linen from Louise's leg. Louise YELPS IN PAIN.

WRITERS' ANNOTATION

There was discussion about whether the "waxer" should be a man or woman. We ultimately settled on a man, which is how it would be done back then. 


Tuvimos una discusión sobre si el “depilador” debía ser un hombre o una mujer. Al final nos decidimos por un hombre, que es como debió ser en aquél entonces.

COMENTARIO 11

CLAIRE (cont'd)
Thoughts?

JAMIE
It's more complicated than it looks
thatched over.

He strokes it with his fingers. Claire smiles with pleasure.

JAMIE (cont’d)
Verra smooth.

CLAIRE
(inviting)
So do you like it?

Jamie hesitates. Truth is, he does like it, but this is more complicated than that. He crawls back up beside her.

JAMIE
You're a daring woman Sassenach. I
suppose it makes me a lucky man...

He kisses her, the first time in a long while. It feels good. But as it grows more passionate, Claire feels his hesitation. The kiss breaks off.

JAMIE (CONT'D) (cont'd)
... but a very tired man.

WRITERS' ANNOTATION

The waxing scene is a popular one from the book. We really wanted to include it, but initially thought we couldn't, since, in the book, Claire waxes her legs and her underarms and just TELLS Jamie that Louise and other women in Paris wax other places (i.e. the "honeypot") as well... OUR Claire doesn't have hairy legs or armpits. And then we realized, perhaps our Claire could do more than just TELL Jamie about the honeypot waxing...

One of the challenges, though, was to find the right tone in terms of where Jamie and Claire are emotionally in this episode. You want to touch on not only the fun, lightness we all loved in the book, but also the reality of the darkness plaguing our couple. One of the reasons Claire gets waxed is to intrigue Jamie and provide a fun, lighthearted way to ease him back into the physical connection they once shared. But it proves to be too early... Jamie tries, but he hasn't shaken the spectre of Black Jack and ultimately isn't ready to reconnect with Claire in bed.


La escena de la cera es una de las más populares del libro. Realmente queríamos incluirla, pero inicialmente se pensó que no podíamos, ya que en el libro Claire se depila las piernas y las axilas y sólo le dice a Jamie que Louise y otras mujeres en París se depilan otras zonas (como el pubis) también…Nuestra Claire no tiene piernas ni axilas peludas. Después nosotros nos dimos cuenta de que Claire podía hacer algo más que contar a Jamie lo de la depilación del pubis… 

Uno de los retos, pensamos, era encontrar el tono adecuado en el término en el que estaban Jamie y Claire emocionalmente en este episodio. No queríamos tocar sólo la diversión, la ligereza que nos encantó a todos en el libro, sino también la realidad de la oscuridad que asola a nuestra pareja. Una de las razones por las que Claire se hace la cera es para intrigar a Jamie y proporcionar una manera divertida y alegre de relajarse y que regrese esa conexión física que una vez compartieron. Pero eso prueba que es demasiado pronto…Jamie lo intenta pero no puede librarse del espectro de Black Jack y básicamente no está preparado para reconectar con Claire en la cama.

COMENTARIO 12

They turn to see Claire, wearing a gorgeous red dress and clutching a small fan, coming down the stairs.

CLAIRE (cont'd)
Murtagh, please try not to insult
too many people tonight.

Murtagh bows slightly, but Jamie is aghast at the cut of Claire's dress.

WRITERS' ANNOTATION

This of course is the famous "red dress" scene where Claire comes down the stairs and Jamie sees her dressed for Versailles. Both Murtagh and Jamie are awestruck by her beauty – and Jamie's line "First your honeypot and now this!" regarding her revealing dress, shows that though Jamie's in a dark place, he hasn't lost his sense of humor!


Esta es por supuesto la famosa escena del vestido rojo donde Claire baja por las escaleras y Jamie la ve vestida para Versalles. Ambos Murtagh y Jamie están pasmados por su belleza – y la frase de Jamie “Primero tu pubis y ahora esto” refiriéndose a su vestido sugerente, muestra que a pesar de que Jamie está en un lugar oscuro no ha perdido su sentido del humor.

COMENTARIO 13

A small room adjacent to The King's bedchamber. A crowd of nobles stand shoulder to shoulder watching The King, who is blocked from view. Jamie and Murtagh jockey their way toward the front of the milling throng.

ADVISOR (O.C.)
But surely The King is aware
that the Church considers
astrology to be one of the
dark arts.

KING LOUIS (O.C.)
And surely the Church is
aware that The King is
divine, and thus, his search
for knowledge, wherever it
may lead, holds no peril.

Jamie and Murtagh have made it to the front of the crowd, revealing KING LOUIS XV, seated slumped on a large ROYAL COMMODE. In his mid-thirties, The King is a tall, baby-faced gentleman with long wavy hair.

WRITERS' ANNOTATION

The historical accuracy of this scene was tweaked a bit, in terms of time of day. The levée would typically occur in the morning – where all would gather as the King dressed and did his "business" - but it had to be at night in our world, and who's going to pass up an opportunity to write a scene with a King on his ultimate throne?!

It was also important to show the King's advisor talking with him about the "heretical practices" going on in the city. Flagging that the dark arts are not tolerated in Paris at that time will figure later in the season for a dramatic development.



La exactitud histórica de esta escena sufrió una pequeña modificación, en términos de la hora del día. El levée normalmente tenía lugar por la mañana – donde todos se reunían mientras el Rey se vestía y hacía “sus cosas” – pero tenía que ser por la noche en nuestro mundo, y quién iba a dejar pasar una oportunidad de escribir una escena con un Rey en su mejor trono?!

También era importante mostrar a los consejeros del Rey hablando con él sobre las “prácticas heréticas” que tenía lugar en la ciudad. Al señalar que las artes oscuras no son toleradas en París en ese tiempo descubriremos más tarde en la temporada un desenlace dramático.

COMENTARIO 14

NOBLEWOMAN #2
Tell us Madame Fraser, what do
English ladies call a male member?

CLAIRE
Let me think. I've often heard it
referred to as "peter", though
there are some who prefer "prick."

The French women cannot hide their disappointment.

WRITERS' ANNOTATION

In this scene, we liked the idea of seeing Claire as the Sassenach again, but this time it's for being almost prudish in comparison to these French society gals and their abundance of nicknames for the male member.



En esta escena nos gustó la idea de ver a Claire como la forastera de nuevo, pero esta vez es casi una mojigata en comparación con estas chicas de la sociedad francesa y sus numerosos apodos para el miembro masculino.

COMENTARIO 15

DUVERNEY
I am told you are desirous of the
company of Monsieur Joseph
Duverney. Since I alone in all of
France answer to that name, it is I
you have been praying for.

At first Claire is pleased to meet the elusive Monsieur Duverney.

CLAIRE
This is indeed an honor. My
husband --

DUVERNEY
Let us not speak of husbands or
wives. Instead, let me worship at
your feet.

It turns out Duverney is speaking literally. He kneels down in front of Claire and grabs hold of her foot. He begins stroking it. Claire tries to jerk her foot away. He brings the foot to his mouth and begins kissing the toes with ardor.

WRITERS' ANNOTATION

Duverney was a fun character to expand on – his love of woman and drink. We had several versions of this scene, which changed mostly due to the reality of filming. As the location was secured, the scene was tailored to what we could accomplish physically, in terms of Duverney's encounter with Jamie and his ultimate fall into the water.
 


Duverney era un personaje divertido para desarrollar – con su amor por las mujeres y la bebida. Hicimos varias versiones de esta escena, que cambió sobre todo por la realidad del rodaje. Cuando se decidió la localización, la escena se adaptó a lo que se podría lograr físicamente, en términos del encuentro de Duverney con Jamie y su posterior caída en el agua.

COMENTARIO 16

DUVERNEY
Then you shall have it. Tell me,
do you by any chance enjoy the game
of chess?

MURTAGH
He's a master.

JAMIE
A master? No. But I've been known
to brood over a board or two.

DUVERNEY
Wonderful! We must have a game.

WRITERS' ANNOTATION

Duverney mentions here that he plays chess, and invites Jamie to play. This sets up an ongoing friendship and opportunity for Jamie to get close to Duverney and talk politics over the chess board in later episodes.


Duverney menciona aquí que juega al ajedrez e invita a Jamie a jugar. Esto establece una amistad en ciernes y la oportunidad para Jamie de estar cerca de Duverney y hablar de política sobre el tablero de ajedrez en futuros episodios.

COMENTARIO 17

Jamie rushes up and gets between Murtagh and The Duke.

JAMIE
Murtagh! You must never draw a
weapon in presence of The King.
It's death.

WRITERS' ANNOTATION

When Murtagh almost pulls his sword at the sight of the Duke, Jamie must restrain him. Although research showed us that men were required to carry a sword at Versailles, drawing your sword in the presence of the King was punishable by death – again, this was a small detail but a very important set up for something that happens later – when we will be reminded that no matter how great the motivation, one must not draw a sword at Versailles.


Cuando Murtagh casi desenvaina su espada delante del Duque, Jamie debe contenerlo. Aunque la investigación nos mostró que aquellos hombres eran requeridos para portar una espada en Versalles, desenvainarla en presencia del Rey se castigaba con la muerte - de nuevo, este fue un pequeño detalle pero un muy importante montaje para algo que sucedería después – cuando se recordará que no importa cómo de grande sea la motivación, uno no debe desenvainar una espada en Versalles.

COMENTARIO 18

Hoping to fluster the women, Murtagh thrusts out his hips and lifts his kilt high, giving them an unobstructed view of Murtagh Fitzgibbons Fraser, Jr. But, to Murtagh's disappointed surprise, the women are unfazed by his display. Instead they GIGGLE in appreciation; one of them crooks her finger at him, inviting him over. Murtagh lowers his kilt. These bawdy lasses have earned his respect. And as he saunters over to them...

WRITERS' ANNOTATION

The part where Murtagh is being gawked at by some French ladies, then turns around and flashes them his... wee Murtagh, answering the age old question "What does a Scotsman wear under his kilt?," served as a sort transition here, but was ultimately cut before being filmed. We were sad to see that one go. So was Murtagh.

La parte en la que Murtagh se queda boquiabierto ante algunas damas Francesas, se gira y se emociona su…pequeño Murtagh, hace que nos hagamos una vieja pregunta ¿Qué lleva un escocés debajo de su kilt? Sirvió como una pequeña transición aquí, pero finalmente se eliminó antes de ser filmado. Nos dio pena eliminar eso. Así era Murtagh.

COMENTARIO 19

CLAIRE
I don't understand. Isn't your
brother... you mean to say... he's
not dead?

ALEX
I certainly hope not. I received a
letter from Scotland this morning
that he posted only two weeks ago.

WRITERS' ANNOTATION

It felt dramatically satisfying to bookend the episode with Claire being certain Jack Randall was dead (and knowing this was a very important part of Jamie's healing) and then ending with the discovery that he isn't. We hoped it was one of those moments that gets the viewer to "lean forward" and think "Oh wow! I've got to see what happens next!"



Fue dramáticamente satisfactorio finalizar el episodio con Claire teniendo la certeza de que Jack Randall estaba muerto (y mostrando que esto era una parte muy importante en la curación de Jamie) y luego terminando con el descubrimiento de que no lo está. Esperamos que sea unos de esos momentos que hacen que los espectadores miren hacia delante y piensen “oh guau”!, puedo ver lo que va a pasar!

COMENTARIO 20

CLAIRE (V.O.)
I barely heard the fireworks. For
the first time since we arrived in
France our plan to stop the
rebellion was taking shape. But
what would happen when Jamie found
out that Black Jack Randall was
alive? Would his need for
vengeance eclipse our resolve to
prevent the uprising? Should I
even tell him? Or would it be
better to allow him to go on
thinking that Randall had perished
in the depths of Wentworth Prison?
But, even if I tried to keep that
appalling news from him, in time,
he'd be sure to learn the truth.
What then? 

WRITERS' ANNOTATION

This was a big scene that had to serve a lot of masters. You're juggling what is essentially several scenes combined into one. We're also introducing a new character (Alex Randall) and reintroducing an old one (Sandringham). Ultimately, we needed Claire's emotions to guide us through this maze. Voice over was used sparingly in this episode, but it served specific purposes – to set up the new world of Paris, to sum up the episode, and to emotionally locate Claire, while guiding us off into Episode 203.



Fue una gran escena que tenía que ser hecha con gran maestría. Hicimos malabarismos para combinar varias escenas en una. Estamos además introduciendo un nuevo personaje (Alex Randall) y reintroduciendo uno antiguo (Sandringham). Finalmente, necesitábamos que las emociones de Claire nos guiasen a través de este enredo. La voz en off se ha usado con moderación en este episodio, pero sirve para propósitos específicos – situarnos en el nuevo mundo de París, resumirnos el episodio, y para situar a Claire emocionalmente, mientras nos guía hacia el episodio 3.


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