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# 215 <9.10> Danny
(revised 09/17/2018)
Early script drafts suggested that, in the opening scene, Emma and Sydney return in the morning of 12/25/1989 to the Falcon Crest Victorian Mansion, having been interrogated by the police all night. - That idea was dropped.

The logo on the patrol car ("Tuscany Valley Sheriff") in front of the Falcon Crest Victorian Mansion is the oldest one known from the series. - The establishing shot was originally featured in # 001 and is reused now.

License plate number of the ambulance taking Ian's body to the forensics: 2B70687.

The filming location for the San Francisco restaurant (scene with Michael, Genele and Danny) is the restaurant at the Warner Center Marriott in Woodland Hills, CA. For previous filmings at this hotel, see # 137 and 139.

Labeling name: Danny as short form for Daniel - meaning "God is my judge" (Hebrew origin) - reveals Danny's attitude to accept a higher power ruling over his life. This very well alludes to the fact that Danny takes up a subordinate rôle to his alleged father and will even let Michael Sharpe fight Danny's love interest, Sydney.

Product placement: Archive boxes by Acorn Office Products are shown in one of the offices in the Falcon Crest Winery Building.

The clip with the exterior shot of Sharpe's limo crusing through San Francisco is stock footage from a movie library.
The camera is placed on Drumm Street, following the car coming from Market Street (the building on the corner is the Matson Building, which posed as Channing Enterprises until the previous season), making a turn into Drumm. When the camera pans, where a view up west on California street offers a glance of the white triangular base of the 101 California Building (which posed as Gioberti Enterprises in seasons 6 and 7).
In the scene with Sharpe, Ed and Danny in Sharpe's limo, various streets of San Francisco can be seen through the back windows. The blue screen technique worked pretty well this time - this is a scene filmed entirely on the sound stage!
The first street to be seen through the rear window is a view southeast on Columbus Avenue. The most distinct buildings to be seen are the Transamerica Pyramid at the corner of Columbus Avenue, Washington Street and Montgomery Street and the green Columbus Tower at the intersection of Columbus Avenue and Kearny Street.
In the close-up of Danny, the intersection of Hyde Street and North Point Street is visible. The camera faces east while the limo is running south on Hyde.

After that, the block of Hyde Street beginning at North Point Street (cross street) is visible. The typical Victorian row houses are filmed towards east while the limo is running south on Hyde.

The close-up of Sharpe in his limo features a blue screen projection of the 2500 and 2400 blocks on Hyde Street (between Bay Street and Chestnut Street); the approximate position on the screen capture is across the T-crossing of Francisco street. The camera faces west while the limo is heading south. The concrete railing with Russian Hill Park in the background is visible.
In the next close-up of Danny, traveling further south on Hyde Street (camera facing east), the intersection of Hyde and Bay Street is visible.
In the following close-up of Sharpe, Hyde Street with the concrete railing and Russian Hill Park in the background is visible again. They are a little further south now than in Sharpe's previous close-up.
Mistake: The blue screen projection with the concrete railing in this and Sharpe's previous close-up are placed in the wrong order of the drive. Comparing both sides of Hyde Street, Sharpe's first close-up actually would have to be after shot of Danny at the intersection of Hyde and Bay and the following one with the three townhouses because the concrete railing and the park are further south on Hyde Street.

In the next close-up of Danny, traveling further south on Hyde Street (camera facing east), townhouses on Hyde between Bay Street and Francisco Street are visible.

In the following close-up of Michael, the visible cross street is Chestnut Street. The camera faces west while the limo is running further south on Hyde.
Mistake: Giving respect to the actual location, this blue screen projection is in the wrong place also because the intersection of Hyde and Chestnut is actually located further down south - after the following cross street visible in the next close-up of Danny.
In this close-up of Danny, traveling further south on Hyde Street (camera facing east), the intersection of Hyde and Francisco Street is visible.
When the camera focuses on Ed and the rear window again, Columbus Avenue (in southern direction) is visible again. This time, they are a little further up north, shortly after the 3-way intersection of Columbus with Greenwich Street and Mason Street.
Mistake: This blue screen projection does not make any sense because, as the following close-ups indicate, they are actually still on Hyde Street.
In the next close-up of Danny, traveling further south on Hyde Street (camera facing east), the intersection of Hyde and Chestnut Street is visible. Yerba Buena Island is in the background.
In the interior shot of the limo, Columbus Avenue is visible again through the rear window, just as at the beginning of the drive (reuse of the same clip).
Mistake: This route is illogical. The limo would have to have started driving along Columbus Avenue all over again from back south within a few seconds, which is just impossible.
In the last close-up of Michael in the limo, the intersection of Hyde Street an Vallejo Street is visible. The camera faces west while the limo travels further down south on Hyde. The characteristic blue apartment house on Vallejo Street is no longer there; it was replaced with lower row houses in 1987 already (the stck footage used for the blue screen projection is older).
Mistake: Click here for a *.pdf file with a visualization of Sharpe's limo ride through San Francisco on a map.
As good as the blue screen projection is this time from a technical standpoint, the various shots behind Michael, Ed and Danny do not match as far as the topography is concerned.
Falcon Crest Victorian Mansion interior set - inconsistency: The upper floor hallways are becoming more and more like a labyrinth. In the hallway, which led to Emma's bedroom in # 214, a T-shaped crossing with a hallway (adjacent to Emma's room) is featured now; it leads to double French doors; these double French doors, however, are the same as the ones featured in the hallway leading to Emma's bedroom in # 207 (compare there for the position of that bedroom set).
The secret of the set construction: The photos in the left column show the same hallway set - up to # 212 (last row) without the door, but with a wall and a picture in that place. This used to be the hallway leading to Angela's bedroom; but since the final scene in # 213 (see there), Emma's bedroom has been accessible from here.
The changes in the set might indicate that these are supposed to be different hallways in the upper floors of the mansion.
For more information about this interior set, also refer to # 220.
The redressed Walton House at WARNER BROS. STUDIOS doubles again as the Falcon Crest Victorian Mansion in exterior shots (compare # 209 for details).
The perspective of Danny standing at the limo and Sydney at the window, however, does not match the real layout of the Falcon Crest Victorian Mansion and its surroundings. The limo is parked right in front of the mansion's entrance on the driveway. The way Sydney looks down to Danny and the limo creates the illusion the mansion might have an additional wing in a 45-degree angle towards the driveway.
The window, by the way, is a set, which does not match the architectural style of any of the windows in the real Villa Miravalle. The window and the wall behind Sydney are construction components rigged on a platform attached to a Titan crane next to the Walton House.

The exterior shots of the offices of Channing & Sampson are the former Bank of America headquarters (nowadays 555 California) in San Francisco. - The shape of the windows as seen in the interior shots (compare # 209), however, does not match the exteriors.

Mistake: In the scene with Richard, Emma and Stan Wallis, the attorney, the close-ups and wide angle shots of Richard and Emma are from various takes that were combined in the editing process. This becomes apparent when Richard's left arm is not around Emma's shoulder in one moment (close-up) whereas it is in the subsequent frame (wide angle).
Again, this is the typical mistake caused by the particular close-up filming technique - check # 011 (Lance and Lori) for details.
Early script drafts suggested that Richard's lawyer, Julius Karnow, also be Emma's lawyer. Only in later rewrites, the rôle was replaced by Stan Wallis.

The filming location for the Tuscany Valley hillside road where Sydney and Danny make out in his car is the driveway to the private home in Topanga Canyon that is used to portray the Daniels House.

Product placement: Sharpe mentions Ferragamo, the fashion company.
Despite LORIMAR's "new wardrobe for new season" policy, this episode, Emma wears the lilac night robe she already wore in season 8.
License plate number of Danny's blue Ford convertible: 2NBO647 - the same number as on Peter's silver / brown Rolls-Royce Corniche convertible in season 6 (compare # 132)!
By the way, the car itself is the very same prop used as Pilar's car in season 8 and the vehicle Carly drove once in season 7 (compare # 191).
Sharpe's new modern house is introduced (balcony set). - The exteriors of the house will be shown in # 219 for the first time.

Product placement: Sharpe reads Barron's, the weekly publication for investors from the publisher of the Wall Street Journal.

Product placement: When Richard and Lauren are at the soda shoppe, an ad for Chapman's Ice Cream, a real ice cream company, can be seen in the background.
The soda shoppe was a permanent interior set at LINDSEY STUDIOS (now VALENCIA STUDIOS) in Santa Clarita, CA.
Interesting prop: One of the bottles in the courtroom (in the middle) is an old bottle the prop masters surprisingly dug up: A Falcon Crest Cabernet Sauvignon from 1984.

The heavily filmed courtroom at LINDSEY STUDIOS (now VALENCIA STUDIOS) in Santa Clarita, CA (see # 210 for details) is used again for the shooting.

Actor RICHARDSON MORSE appears as a judge again. - Inconsistency: Whereas he was called Russell Cavendar in # 122 and 124, his last name has mysteriously changed to Weybourn now.

The Tuscany County Courthouse stenographer in the civil lawsuit between Sharpe and Emma (played by an uncredited extra) is the same court reporter known from various court proceedings and an FBI investigation (see # 054, 057, 078, 091, 098, 122, 154, 180 and 204).

An old clip of Riebmann's limo driving along River Road (from # 071) is reused. It is used to pose as Sharpe's limo (making this his third one, by the way) in the current episode.
The blue screen technique for the scenery seen through the back windows has improved compared to the previous episodes. But the marks on the road as seen through the back windows of the car are wrong; there are no marks on River Road at all. The second mistake is that the marks seen behind Danny are white, but the ones seen behind Ed are yellow because it is footage from different roads.
The footage behind Danny is the same as the one seen in # 209 (Lance's convertible). Compare there for another previous use of that footage.
Edited scene: Before Emma leaves the Falcon Crest Victorian Mansion, she and Richard are sitting in the living room, looking at photos of Angela. - This part was edited in post-production.
Season time frame:
This episode opens the night of 12/24-25/1989. The following scene depicts the events on 12/27/1989, which can be concluded from the officer's statement that it has been 48 hours (re: Charley's disappearance).
The end of the episode (day 5) must be in January 1990; before the first meeting of Emma and Stan Wallis, her attorney, some time must have gone by. If there were not a few unseen days, the hearing in the lawsuit between Sharpe and Emma would be on Saturday, 12/30/1989, which would be completely unrealistic.

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