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# 168 <7.13> Rescue Me After a filming hiatus, the rest of this season will be filmed entirely in and around Los Angeles. The producers will try to slow down the pace of storytelling for the remaining 16 episodes of the season a bit and to reduce the number of stories. Cast and crew background: TIM HUNTER, this episode's director, is JEFF FREILICH's closest friend from high school.   Different takes: The close-up of Shannon's locket with the photo of Julia is presented from a slightly different angle in the recap before the main title (screen grab 2) in contrast to the actual scene in the previous episode (screen capture 1).  Additional footage: The shot of Eric aiming at Pat Ambrose in the previous episode was presented with Eric's arm still bent upwards (screen grab 1). Although the recap before the main title of the current episode shows the same take, it is a little longer and stays on Eric until he fully aims at his target (screen capture 2). Uncredited extra SHARRI ZAK appears as the gray-haired Tuscany Valley socialite with the pony tail again, continuing her appearance from the preceding episode as a guest at Richard and Maggie's engagement soirée in the Falcon Crest Victorian Mansion.Compare # 202 for biographical details about this rôle and a list of appearances throughout the series. For details about the extra, compare # 009.
 The clock in the Falcon Crest Victorian Mansion foyer has shown the same time (9:35) for years. Besides the current episode, this could be seen very clearly in # 125 and 154 (screen captures 1 and 2 respectively), for example. The current episode proves that the clock does not work because it shows 9:35 towards the end of the party although Dimitrov stated during the soirée (at the end of the previous episode) that it was almost midnight.Beginning in # 171, the clock will finally show the correct time (see # 172 for details).  DAVID GUST, the tall, black-haired and mustached uncredited extra, who is best known for his rôle as an assistant district attorney (# 091, 092 and 154), but who also plays different characters in the series, is one of the last guests to leave the Falcon Crest Victorian Mansion after Richard and Maggie's engagement party. See below for two more appearances of DAVID GUST in a different part in this episode.Compare # 187 for a list of appearances throughout the series. For details about the extra, compare # 063.   The establishing shot of Dimitrov's black rental limousine is stock footage from a film library. Make and model have not been determined yet.The interiors, however, are portrayed by the same picture car that has been in regular use as Richard's limo in the scenes filmed in Greater L.A. since # 160. It is a stretched black 1985 Lincoln Town Car.
The Falcon Crest forklift is a Hyster H-Series model. This forklift is owned by the transportation department of CBS-MTM STUDIOS (now RADFORD STUDIO CENTER) and was already used in # 094 for the same purpose, in # 117 as the forklift on the truck parking lot in Tijuana / Mexico, in # 141 as the forklift near the warehouse in San Francisco where Erin and Meredith were shot by Green and in # 144 as the forklift at the Gioberti Winery.  DAVID GUST, the tall, black-haired and mustached uncredited extra, who is best known for his rôle as an assistant district attorney (# 091, 092 and 154), but who also plays different characters in the series, appears as a worker at the Falcon Crest Winery Building now — not a wise casting decision since he was seen earlier in his A.D.A. rôle (see above). See below for another appearance in this episode.Compare # 187 for a list of appearances throughout the series. For details about the extra, compare # 063.
 Agretti Residence interior set — inconsistency: From this episode on, the window in Melissa's den is no longer in the wall right next to the fireplace, but on the left next to the double doors.Refer to these screen captures from previous episodes (screen capture 1 from # 154 and screen grab 2 from # 152), the current episode (screen grabs 3 and 4) and a later episode (screen capture 5 from # 181) where this can be seen in detail. LORIMAR's original blueprints of the den set and many other sets are available for DFCF members in the Show – Production Office – Filming Locations – Movie Studios – Interior Sets section. Dan Fixx plays soul music from a ghetto blaster in the Agretti Residence: "Rescue Me" (also the episode title!) by ARETHA FRANKLIN. The same song is in the background when Carly is introduced and also later when she works in the vineyard. "Dancing in the Streets" by MARTHA REEVES & THE VANDELLAS is another song played later in this episode. Inside joke: HOWARD LAKIN, this episode's writer, is a rock 'n' roll fan; he included many tidbits from that era in this particular episode. Early script drafts played around with the idea of a (half-)brother to Dan before the writers agreed on creating the Carly character.
The scenes in front of that diner are sort of reminders of the rock 'n' roll era, too (see above).
 After his two earlier appearances in this episode (see above), DAVID GUST, the tall, black-haired and mustached uncredited extra, who is best known for his rôle as an assistant district attorney (# 091, 092 and 154), but who also plays different characters in the series, appears again — now as the Falcon Crest Winery Building worker again, placing bets in Breslin's warehouse. It does not seem to be a wise casting decision since the background actor was seen earlier in his A.D.A. rôle (see above).Compare # 183 for a list of appearances throughout the series. For details about the extra, compare # 063. Allusion to the movie industry: Dan mentions the Academy Awards.   When Dan arrives to pick up Carly, two more vintage cars are parked in front of Johnie's Broiler:One of them (screen capture 1) is a white / dark brown 1954 Ford Customline Tudor Sedan (type 70B). The other one (screen grab 2) is a black 1959 Chevrolet Impala Sport Coupé. Angela mentions Renoir's, another — obviously Tuscany Valley based — restaurant, which will never be shown.  The picture behind Richard's couch in his New Globe office — hanging on the wall from this episode on — is a 1987 painting of a desert landscape with a coyote by WILLIAM LYNN EVANS (1951 – 2010). Compare # 165 for another EVANS painting, his biographical background and connection to the show's producing staff as well as # 168 and 171 for two more of his pictures. Also compare # 177 for yet another EVANS painting that will replace the one behind the couch from the current episode.
Early script drafts staged the scene with Angela and Spence (conversation about Chase's codicil) in the Falcon Crest Winery Building. It was moved to Angela's study in the Mansion shortly before filming.  The filming location for the scene with Lance and Shannon at the lake is near the lagoon on the backlot of CBS-MTM STUDIOS (now RADFORD STUDIO CENTER), which was used for other purposes in # 089 (details see there in particular), 113, 124, 131, 135, 144, 146, 152, 153 and 163.LORIMAR's original map of this part of the studio lot is available for DFCF members in the Show – Production Office – Filming Locations – Movie Studios – Exterior Sets section.
 The establishing shot of Seattle, WA features the city with the Space Needle in the center of the picture. This view was shot from Puget Sound towards northeast and is stock footage from a film library.Early script drafts had the Devon Club housed in a luxurious mansion in Pacific Heights, a prestigious neighborhood in San Francisco, instead of in Seattle.
 The interior set used for the Devon Club, a white slavery organization in Seattle, is identical with the one used as the Agretti Residence upstairs hallway in # 166 and 167. The upstairs hallways in Richard's house are also the same interior set — redecorated and the walls arranged in a different position.Richard mentions the "Treasure Island" novel by ROBERT LOUIS STEVENSON. Inside joke: In an allusion to the movie industry, Carly compares the Falcon Crest Victorian Mansion with the famous house from ALFRED HITCHCOCK's "Psycho" movie.   Scenic art: In contrast to the previous ones (compare # 082, 099, 116 and 164), yet a new painted backdrop is visible at the entrance of the Falcon Crest Victorian Mansion.This is first visible when Shannon opens the front door of the Mansion, then later in the "exterior" scene with Lance and Shannon in front of the Mansion (also shot inside the sound stage). In contrast to the previous paintings, the art department's work is even worse this time. Besides being extremely light, the hills and sky appear blatantly fake; not even the greens department's movable prop plants, which were placed between the backdrop and the actors, were able to improve the situation. This matte painting completely fails to resemble the actual surroundings of the real Mansion. The palm trees, hedges and swimming pool from the real Villa Miravalle are conspicuously missing from the painting. A list of all episodes in which the backings of the Mansion are discussed is available in # 199. In early script drafts, this scene was staged on a country road: In a car race, Lance tries to stop Shannon. Early script drafts also had a different backstory for Shannon: The writers planned for her to be the daughter of a "godfather" of the most powerful "white tong", an organization which had its genesis in the American community in Taiwan and is nothing else but Caucasian-run organized crime. Shannon was promised in marriage to the son of a rival "white tong" leader on her 21st birthday and has been hiding for a year, trying to escape from being forced into an arranged marriage. This idea was dropped in favor of Shannon's relationship with Tony (to be revealed in the following episode).
  The Thirteen are mentioned for the first time; the search for Dimitrov leads Richard to them.The establishing shot of The Thirteen's New York City headquarters is a stock shot of the 200 Water Street skyscraper in Manhattan, which will also be featured again for # 180. Only twelve members are seated around The Thirteen's conference desk with Fred presiding. One of the partners recently died. But where is Rosemont? Is he supposed to be one of those sitting in the dark on the left hand side of the desk?
 The interiors of The Thirteen's headquarters — elevator, anteroom and conference room — are from the exact same room that was just dressed differently. It is a room in the former Los Angeles Design Center (Title Exchange Building) in downtown Los Angeles.The very same room, furnished differently though, was used as Riebmann's dining room in the Gianinni house in # 083.
"Workers of the world, unite!" — Carly's exclamation is a slightly changed quote of the final sentence in KARL MARX and FRIEDRICH ENGELS' "The Communist Manifesto" from 1848 ("Workers of all lands unite").
Real-life allusions: Kumar, the slave trader who is interested in buying Vickie, mentions real ballet companies: Kirov from St. Petersburg and Bolshoi from Moscow.  The interior set of another hallway in one of the upper floors of the Falcon Crest Victorian Mansion, which was newly built for this season, is different from the upstairs hallways shown in # 001, 002, 004, 005, 013, 031, 047, 063, 066, 099, 102, 103, 132 und 155 (compare # 066, 099, 132 and 155 for details). The most striking thing is that the wooden decoration is painted white now. This hallway will be used for the rest of this year and for the beginning of the next season. It must be a different part of the house again.LORIMAR's original blueprints of this set and many others are available for DFCF members in the Show – Production Office – Filming Locations – Movie Studios – Interior Sets section. Drawings of the Mansion (floor plans and architectural views) are available here.   Different camera angles: Right before the bullet hits the mirror in the upper floor of the Falcon Crest Victorian Mansion (one of the horror effects against Angela), a close-up of Angela is featured in the scene itself while the sneak preview before the main title (screen grab 2) presented a long shot of that very moment.  Cameraman's mistake: In the upper hallway of the Falcon Crest Victorian Mansion, one of the lights hung above the set in the greenbeds of the sound stage can be noticed for a short moment — both in the scene itself and in the sneak preview (yellow arrow on the enlarged part of the screen grab on the left).Also, on the lower right of the frame, the edge of the set wall between the hallway and the bedroom is visible (red arrow on the enlarged part of the screen grab on the right) although the set meant to create the illusion that the wall continues. In particular, it can be noticed that the lowest part of the wood paneling on the extreme right is still in the previous brown color and that the white paint was only applied on the parts that were meant to be seen on camera. The camera, however, was pulled back a little too far.  "Babe's exploding staircase":The diagram is a sketch by FRANK POPE, the special effects guy, for the production process of the scene with Melissa causing little explosions on Angela's stairway by using Foster Glenn's techniques. For the small explosions, rifle powder was wrapped in flash paper; the paper was then shot out of a steel mortar which created the flash and the plume of white smoke. FRANK POPE was up in the greenbeds, where the lights are hung above the set; he used his wires from there to set off the explosions. "Babe", by the way, is one of JANE WYMAN's nicknames on the set. Another one is "Janie". ← Previous episode... → Next episode... |
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