An idea that I really like is starting with Rogers and Ethel and their arrival on Indian Island. What I'm asking for are some ideas, and some people to help me workshop. Some of my more extravagant ideas - especially showing life for some of the guests even just a day or two prior to the start of the story threaten to burden the script and detract from the intensity of the island's isolation once the guests have arrived. The drama of their arrival in the train station and riding to the village is potentially simmering, but I'm having difficulty getting there. There isn't much drama in having people arrive singly on train, and most of the guests do. I've had some ideas, but they all have one problem or another. I mean, I love the story, but I'm having a hard time capturing a good beginning for telling the story visually.
#AND THEN THERE WERE NONE PLAY SCRIPT PDF MOVIE#
I'm thinking about adapting the story for a new movie script. because the show isn't available for mass consumption, I have to write to him and probably address both ideas at once - First, may I have a copy of your script? and Second, what would it take for you to permit me to produce it? Normally, before I'd ask him for the rights, I'd like to have read the show. It's just frustrating that he hasn't found any publishers - not as in people to hold the rights for production, but as in people who are willing to reproduce copies of his script. I don't understand why I have to just randomly wait - if Elyot is willing to let me produce his play.
#AND THEN THERE WERE NONE PLAY SCRIPT PDF LICENSE#
If I wanted to utilize the new work by Kevin Elyot (the fellow who re-interpreted her work and wrote a new play, with special license to do so from the Christie estate), then similarly I could negotiate with him, or wait for *his* material to fall into public domain - that I understand. If I wanted to adapt Christie's novel myself, then I'd have to negotiate with her estate, or else wait for the material to become public domain - that I understand. I don't doubt that you heard it, but I wonder, if it's true, at the decision-making process that would have gone into that change.Īs for waiting until the rights are available, I don't understand what you mean. Nothing about it is unstageworthy or unstageable. I don't see why it would *have* to change at all. I don't know what I'd think of his death, in particular, changing. Nothing I've seen yet has indicated that any deaths had changed, aside from being more gruesome versions of thier originals. I know as a fact that Cluedofan has seen it. The projectile vomit idea is awesome! The whole play also sounds brilliant.
I had been dying to see that! Unfortunatly I couldn't go to England. Lord Caspen wrote:Does anyone here know anything about the London's West End production of And Then There Were None as re-written by a man named Kevin Elyot? Apparently the fellow had never, at the time of writing to the time the show was mounted, seen or read any of the movies or the play - he had read only the novel and others of Christie's works. I don't suppose we have the extraordinary good fortune that someone here actually witnessed that production? He just let it go the way of unknown shows, and, I don't know, keeps the script in a shoebox someplace or something else equally ridiculous.
I'm terribly interested to get my hands on a copy of the script for this show - most particularly because there are multiple locations, the play follows the book, and because everybody dies - but alas the author didn't actually publish the script after the play closed. Also, Lombard and Vera have sex on the beach, some night, which I think is stretching the "this is what Agatha would have wanted" argument a bit, but which is not entirely implausible as an idea unto itself. Marston, for example, explosively vomits when he downs the poison, and Rogers's and Blore's battered corpses make physical appearances, head trauma and all. Now, he developed the story just a little bit further, in that he was certain there were some places Christie had intended to go, or rather would have intended to go were she alive today, that even had she wanted to she couldn't have done in her own time because of audiences' expectations of modesty.Īs a result, in his own version, all the deaths are violent and on-stage. Interestingly enough - he stayed true to Christie's own ending! Does anyone here know anything about the London's West End production of And Then There Were None as re-written by a man named Kevin Elyot? Apparently the fellow had never, at the time of writing to the time the show was mounted, seen or read any of the movies or the play - he had read only the novel and others of Christie's works.
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