Before selecting which passages, I decided to visualize them in my head and imagine them either as a radio remake or a television remake. That offered me a sense of what each one would be like if it were to be produced. For Radio Remake 1, I chose that passage because of the descriptiveness. In my head, I could imagine the suspense and thought that scene would put the listener on edge. The passage for Radio Remake 2 was selected for about the same reason: I thought the emotions would translate more intensely through audio rather than imagery. While TV Remake 1‘s passage is the opening paragraph of the story, I thought it did a great job of setting the stage and started the audience with a specific picture in their mind. I chose the passage for TV Remake 2 because I thought that it really captured the sense of Sherlock’s personality and capabilities, therefore enriching his character and making him more personable on a screen.
Radio Remake 1:
With long bounds the huge black creature was leaping down the track, following hard upon the footsteps of our friend. So paralyzed were we by the apparition that we allowed him to pass before we had recovered our nerve. Then Holmes and I both fired together, and the creature gave a hideous howl, which showed that one at least had hit him. He did not pause, however, but bounded onward. Far away on the path we saw Sir Henry looking back, his face white in the moonlight, his hands raised in horror, glaring helplessly at the frightful thing which was hunting him down. But that cry of pain from the hound had blown all our fears to the winds. If he was vulnerable he was mortal, and if we could wound him we could kill him. Never have I seen a man run as Holmes ran that night.
Radio Remake 2:
“Yes, I did write it,” she cried, pouring out her soul in a torrent of words. “I did write it. Why should I deny it? I have no reason to be ashamed of it. I wished him to help me. I believed that if I had an interview I could gain his help, so I asked him to meet me.”
“But why at such an hour?”
“Because I had only just learned that he was going to London next day and might be away for months. There were reasons why I could not get there earlier.”
“But why a rendezvous in the garden instead of a visit to the house?”
“Do you think a woman could go alone at that hour to a bachelor’s house?”
“Well, what happened when you did get there?”
“I never went.”
“No, I swear it to you on all I hold sacred. I never went. Something intervened to prevent my going.”
“What was that?”
“That is a private matter. I cannot tell it.”
“You acknowledge then that you made an appointment with Sir Charles at the very hour and place at which he met his death, but you deny that you kept the appointment.”
“That is the truth.”
Again and again I cross-questioned her, but I could never get past that point.
“Mrs. Lyons,” said I as I rose from this long and inconclusive interview, “you are taking a very great responsibility and putting yourself in a very false position by not making an absolutely clean breast of all that you know. If I have to call in the aid of the police you will find how seriously you are compromised. If your position is innocent, why did you in the first instance deny having written to Sir Charles upon that date?”
“Because I feared that some false conclusion might be drawn from it and that I might find myself involved in a scandal.”
“And why were you so pressing that Sir Charles should destroy your letter?”
“If you have read the letter you will know.”
“I did not say that I had read all the letter.”
“You quoted some of it.”
“I quoted the postscript. The letter had, as I said, been burned and it was not all legible. I ask you once again why it was that you were so pressing that Sir Charles should destroy this letter which he received on the day of his death.”
“The matter is a very private one.”
“The more reason why you should avoid a public investigation.”
“I will tell you, then. If you have heard anything of my unhappy history you will know that I made a rash marriage and had reason to regret it.”
“I have heard so much.”
TV Remake 1:
Mr. Sherlock Holmes, who was usually very late in the mornings, save upon those not infrequent occasions when he was up all night, was seated at the breakfast table. I stood upon the hearth-rug and picked up the stick which our visitor had left behind him the night before. It was a fine, thick piece of wood, bulbous-headed, of the sort which is known as a “Penang lawyer.” Just under the head was a broad silver band nearly an inch across. “To James Mortimer, M.R.C.S., from his friends of the C.C.H.,” was engraved upon it, with the date “1884.” It was just such a stick as the old-fashioned family practitioner used to carry—dignified, solid, and reassuring.
“Well, Watson, what do you make of it?”
Holmes was sitting with his back to me, and I had given him no sign of my occupation.
“How did you know what I was doing? I believe you have eyes in the back of your head.”
“I have, at least, a well-polished, silver-plated coffee-pot in front of me,” said he. “But, tell me, Watson, what do you make of our visitor’s stick? Since we have been so unfortunate as to miss him and have no notion of his errand, this accidental souvenir becomes of importance. Let me hear you reconstruct the man by an examination of it.”
TV Remake 2:
Sherlock Holmes had, in a very remarkable degree, the power of detaching his mind at will. For two hours the strange business in which we had been involved appeared to be forgotten, and he was entirely absorbed in the pictures of the modern Belgian masters. He would talk of nothing but art, of which he had the crudest ideas, from our leaving the gallery until we found ourselves at the Northumberland Hotel.