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Is Mrs. Peacock Movie Ending the Least Satisfying?
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Which Is Your Favorite Ending.
Miss Scarlet
47%
 47%  [ 11 ]
Mrs. Peacock
17%
 17%  [ 4 ]
Everyone
34%
 34%  [ 8 ]
Total Votes : 23

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Murder by Death
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PostPosted: Sun Oct 08, 2017 11:17 pm    Post subject: Reply with quote

OCTOBER 8, 2017

I just watched CLUE and realized that in the Peacock Ending, Wadsworth doesn't explain how Peacock kills the motorist. He says she killed them all, yet doesn't explain when she killed the Motorist.

She would have had to come up out of the Cellar, gone to the Study, broken into the cabinet, then gone to the Conservatory, gone through the secret passage to the Lounge, killed the Motorist, back through the secret passage to the Consevatory, then back to the Cellar, all without Plumb, Scarlett, nor Mustard noticing her.
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CluedoKid
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PostPosted: Mon Oct 09, 2017 12:52 am    Post subject: Reply with quote

Scarlet would have been in the Ballroom, and as Mustard is to be believed, in the Kitchen doing something - but still a very risky gamble.
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alwaysPeacock
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PostPosted: Mon Oct 09, 2017 10:24 pm    Post subject: Reply with quote

Maybe there's a secret secret passage from the cellar to the other passages...

I'd never really thought about that point, before now. Wadsworth says she did it, killed them all, and we accept it & move on.

In a way, I wish they'd decided to scrap this ending in favor of keeping the Peacock-Plum BUT REALLY Wadsworth ending. I could see that one playing out nicely with fake flashbacks of P&P, and the prospect of seeing Curry running about wielding some of the weapons seems like it could have been cinematic gold.

If only they'd known then how Clue would resonate as a cult film & how rabid the nerd/fandom culture would become 30-odd years later (not to mention the advent of little discs & digital video files which could contain 3 or more totally different edits of one film), perhaps we'd have had easier access to the cut footage (little scenes, alternate takes, the full Peacock ending, and whatever parts of the 4th ending were actually filmed). I'd love to see some alternate angles of the scenes, or a blooper reel of this golden cast breaking up during a take.
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Murder by Death
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PostPosted: Tue Oct 10, 2017 4:18 pm    Post subject: Reply with quote

alwaysPeacock wrote:
Maybe there's a secret secret passage from the cellar to the other passages...


Oh, we've discussed the secret passages ...

http://www.theartofmurder.com/forums/viewtopic.php?t=2354
http://www.theartofmurder.com/forums/viewtopic.php?t=463
http://www.theartofmurder.com/forums/viewtopic.php?t=1939
http://www.theartofmurder.com/forums/viewtopic.php?t=3505

Another thing I realized, is I don't believe there is a reason for Peacock to kill the Motorist, much less to go out of her way to kill him.

Come to think of it, other than the Cook, was there a reason for her to kill Yvette, the Cop, and the Singing Telgram Girl?
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alwaysPeacock
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PostPosted: Wed Oct 11, 2017 12:35 am    Post subject: Reply with quote

Maybe just to be safe? The suspects have no way of knowing how much all of Boddy's informants know about the 6 of them. By killing all the informants and Boddy, there's no chance their secrets can get out (unless one of them blabs, but that's not likely to happen).

Theoretically, the killer glanced through the contents of Wadsworth's envelope before burning it (it's explicitly stated as such in the novel based on the screenplay, though it's not as clearly played in the final cut). This means the killer would have known exactly who to be looking out for that evening, and therefore who needed to be eliminated. In the case of the Peacock ending, as a senator's wife she'd want to be absolutely certain nobody could leak her secret & tear down her husband's career (and by association, the lifestyle his job would have afforded them). The only way to do that is to kill Boddy and everyone who knew him.

So there's the reason/motive. As for the means, I suggest suspension of disbelief. It's a farce with some dead bodies.
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PostPosted: Wed Oct 11, 2017 12:09 pm    Post subject: Reply with quote

alwaysPeacock wrote:
Maybe just to be safe? The suspects have no way of knowing how much all of Boddy's informants know about the 6 of them. By killing all the informants and Boddy, there's no chance their secrets can get out (unless one of them blabs, but that's not likely to happen).

Theoretically, the killer glanced through the contents of Wadsworth's envelope before burning it (it's explicitly stated as such in the novel based on the screenplay, though it's not as clearly played in the final cut). This means the killer would have known exactly who to be looking out for that evening, and therefore who needed to be eliminated. In the case of the Peacock ending, as a senator's wife she'd want to be absolutely certain nobody could leak her secret & tear down her husband's career (and by association, the lifestyle his job would have afforded them). The only way to do that is to kill Boddy and everyone who knew him.

So there's the reason/motive. As for the means, I suggest suspension of disbelief. It's a farce with some dead bodies.


Ah yes, I'd forgotten about that. Even in the film, the evidence is sort of spread out. And that happens before the cabinet is unlocked and the Motorist killed. So that makes sense, Mrs. Peacock broke away to get rid of the evidence, only to discover the Motorist was involved, and decided she had to kill him before returning to the basement. I just scanned through the script again too, and it's all there in the dialogue. Doh!

Wadsworth before the first ending: Then,-having-found-out-the-whole-story-the-murderer-opened-the-cupboard-with-the-key-,took-out-the-wrench.

Wadsworth to Peacock (2nd ending), in answer to why she would kill all the others: Obviously -- in case Mr. Boddy had told them about you too.

Obviously that motivation works for everybody as well.

It really is too bad, as I suspect, that Eileen Brennan wasn't available to shoot flashbacks for her scene, as the others appear to have been. It would have been very easy to insert a line about her killing the Motorist over a re-enactment, and expand the explanation of her killing the Cook and Boddy as well. Not to mention the most important part -- reshooting the ending where she's shot in cold blood by the Chief. And it would have gone a long way toward plausibility by showing her actively avoiding someone, as in the case of Mustard/Scarlett searching the first floor. -- and ultimately make her ending much more satisfying.

Of course, if Mrs. Peacock was just getting rid of anyone who might be a threat to her later, she really should have killed Wadsworth. The others, given their positions in government, would be relatively safe since she knows all of their secrets as well (and vice-versa). But there's no reason why any of them should have left Wadsworth alive after killing everybody else.

But in going back through it, it seems pretty clear to me that the only two people who could not have killed the Motorist were Yvette and Green, considering they were together in what appeared to be an open attic, and with the lights on, impossible for one to get away and return unnoticed.
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alwaysPeacock
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PostPosted: Wed Oct 11, 2017 10:32 pm    Post subject: Reply with quote

I wonder how long after the principal shooting was finished the actors were regrouped to film the flashbacks. It's just occurred to me that Peacock doesn't even get one in the "They all did it!" ending. Nor does Plum...and now I wonder if that's another reason the 4th ending was abandoned. McKean has said he's not sure they ever finished filming it, and the only bit any of us may ever see is the still photo in the storybook, and the 2 seconds of Peacock & Plum inexplicably spliced into a TV trailer for the movie. Perhaps once it was clear Brennan & Lloyd wouldn't be available to shoot flashback murders, there wouldn't be any point going forward with an ending focused so heavily on the two of them for the first third.

I'm assuming, of course, that there might have been plans to film false flashbacks for the 4th ending up until Plum turns it on Wadsworth. Big assumption, but not improbable.

(That, and it's a pretty bleak ending for a comedy)
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