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Post by Uncle Algernon on Jun 20, 2020 17:50:58 GMT -5
I'm still pretty sure Olaf also intentionally arranged for the Baudelaires to fall into his care in the book, you know. He didn't have a plan, and if he had anything to do with the Fire it was unplanned — but as soon as he heard the news, I'm quite confident that it was no random coincidence that the Baudelaires showed up on his doorstep.
I suppose it's possible he already had the marriage plan worked out; my assumption was that he formulates the plan (with the help of his troupe) while offscreen, but even accounting for the fact that the troupe are smarter than he is, this may be a bit too far-fetched for some.
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Post by gothicarchiesfan on Jun 20, 2020 18:34:51 GMT -5
I'm still pretty sure Olaf also intentionally arranged for the Baudelaires to fall into his care in the book, you know. He didn't have a plan, and if he had anything to do with the Fire it was unplanned — but as soon as he heard the news, I'm quite confident that it was no random coincidence that the Baudelaires showed up on his doorstep. I suppose it's possible he already had the marriage plan worked out; my assumption was that he formulates the plan (with the help of his troupe) while offscreen, but even accounting for the fact that the troupe are smarter than he is, this may be a bit too far-fetched for some. I'm not disputing that, don't worry. My only point was that in the show we see Olaf being vastly more proactive than in the books since he's already hinting at the Wedding plot the same day the children arrive. Given how much the show compresses time though, it makes sense. I do like how the show managed to integrate the VFD storyline into the first four books fairly seamlessly. But I also liked how it kept them mostly out of the narrative until part 2 as that allowed the first episode to really focus on the children and their plight, leaving the second one to begin expanding the world.
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Post by Optimism is my Phil-osophy on Jun 20, 2020 20:20:19 GMT -5
I'm still pretty sure Olaf also intentionally arranged for the Baudelaires to fall into his care in the book, you know. He didn't have a plan, and if he had anything to do with the Fire it was unplanned — but as soon as he heard the news, I'm quite confident that it was no random coincidence that the Baudelaires showed up on his doorstep. I suppose it's possible he already had the marriage plan worked out; my assumption was that he formulates the plan (with the help of his troupe) while offscreen, but even accounting for the fact that the troupe are smarter than he is, this may be a bit too far-fetched for some. I'm not disputing that, don't worry. My only point was that in the show we see Olaf being vastly more proactive than in the books since he's already hinting at the Wedding plot the same day the children arrive. Given how much the show compresses time though, it makes sense. I do like how the show managed to integrate the VFD storyline into the first four books fairly seamlessly. But I also liked how it kept them mostly out of the narrative until part 2 as that allowed the first episode to really focus on the children and their plight, leaving the second one to begin expanding the world. I can say that establishing the whole history of VFD from the beginning forces writers to change some things (some of these changes are subtle). Olaf is a member of a secret organization, he has been trained by the secret organization, and knows what it means in loco parents. He drew up the plan without reading the book. Marriages to orphaned children should be common within VFD with the aim of preserving inheritances. This explains why Olaf could have thought of that plan so quickly without even researching local laws. (He does not like to research, yet he knows the law and the Latin expressions of the law. This can only have come from his training.) Olaf only needed to include the part of the play, because theater is his life. Note: it is so good to be able to make theories of the series without the bonds of books ... I feel in a whole new field.
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Post by gothicarchiesfan on Jun 20, 2020 21:16:24 GMT -5
Here is all the concept art I've been able to find for these two episodes. The Baudelaire Mansion's Library. Justice Strauss' House. Olaf's House. Olaf's House's Foyer. Olaf's Filthy Bedroom. Olaf's Filthy Bathroom. Olaf's Tower Room. The V.F.D. Tunnels. The City's Park. Olaf's Tower. The Grand Theatre.
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Post by catastrophist on Jun 21, 2020 1:18:25 GMT -5
Late to the party but happy to join. I haven't rewatched the series since it ended so it will be interesting to revisit it with some distance, though I should warn you that my POV will be blurred by nostalgia. Shows like this don't come around every day and I miss getting to professionally play in the ASOUE-verse. I'll try to share what I can remember, though some questions may be better left unanswered, in the way that some sugar bowls may be better left unopened.
Hermes brought up those pre-fire scenes with Klaus and Violet helping each other, so it might be interesting to know those scenes originally involved the Baudelaire parents instead: Bertrand was helping Violet with her toaster clock, while Beatrice was helping Klaus translate Proust. The problem, as you can probably guess, is that there turned out to be no way to film those scenes without blowing our Mother/Father red herring, since it would be immediately obvious that B&B and the Quagmire parents were different actors. Which is why those scenes were rewritten to show Klaus and Violet helping each other instead. It ended up being a nice way to reinforce their sibling bond but, as Hermes points out, it does have the unintentional effect of undermining their individual specialities. And it would have been nice to get a look at the entire Baudelaire family together in happier times.
Jean Lúcio noted that the series worked to fill in Klaus's personality and differentiate him from Violet. Something that I don't think has been mentioned anywhere before is that legendary screenwriter Scott Frank ("Out of Sight", "Get Shorty") was a consultant in the early days of the writers room. Scott's the kind of writer who's beloved by other writers, and if you're interested in screenwriting, I highly recommend seeking out his writing on the topic. Scott's big contribution was challenging us to consider the psychological need beneath each of the Baudelaire's talents: Violet's an inventor because, as the older sibling, she sees it as her job to find solutions and fix what's broken; Klaus is a researcher because he's a twelve year-old trying to make sense of the world around him (and clinging to facts as a refuge)... All stuff that's probably obvious to anyone on this board, but especially in the early books, there's a tendency to treat "the Baudelaire children" as a singular entity, so giving them each a separate need became a way to keep them distinct and real in their scenes.
(I will say that sticking too much to those psychologies sometimes had the unintended effect of putting Violet in a parental/maternal role while Klaus got to be the one investigating mysteries, which meant Klaus got the spyglass while Violet was left holding Sunny. It's partly why we wanted to flip those roles towards the end of the season -- so, in MM Pt 1, Violet's the one desperate to solve the mystery while Klaus wants to keep his siblings safe. Which felt appropriate since MM is the book where the roles flip anyway.)
Scott's other big contribution, for me at least, is that he's the one who recommended to Netflix that they give me my own script in Season One, which I wasn't guaranteed, and which led to me becoming the writer on set and a producer on the series. So I owe him a lot. (Proof that, despite what Gustav says in Pt 2, sometimes you should listen to a consultant.)
Finally, on the topic of things that were cut from the scripts... while Eleanora was always conflated with Polly Poe, Daniel's early drafts of BB also featured Geraldine Julienne (as the reporter interviewing Olaf backstage) and cameos from Kit and Jacques Snicket, who were investigating the fire. The latter two were cut so we didn't run the risk of casting them too soon with actors we'd never be able to get again, but we did assume we'd eventually introduce Geraldine in S2. Except, by the time S2 came around, Eleanora had already stolen Geraldine's catchphrase, star reporter job, and function in the story, so adding a new reporter became redundant, and Geraldine, like Polly before her, was doomed.
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Post by gothicarchiesfan on Jun 21, 2020 2:18:09 GMT -5
Late to the party but happy to join. I haven't rewatched the series since it ended so it will be interesting to revisit it with some distance, though I should warn you that my POV will be blurred by nostalgia. Shows like this don't come around every day and I miss getting to professionally play in the ASOUE-verse. I'll try to share what I can remember, though some questions may be better left unanswered, in the way that some sugar bowls may be better left unopened. Hermes brought up those pre-fire scenes with Klaus and Violet helping each other, so it might be interesting to know those scenes originally involved the Baudelaire parents instead: Bertrand was helping Violet with her toaster clock, while Beatrice was helping Klaus translate Proust. The problem, as you can probably guess, is that there turned out to be no way to film those scenes without blowing our Mother/Father red herring, since it would be immediately obvious that B&B and the Quagmire parents were different actors. Which is why those scenes were rewritten to show Klaus and Violet helping each other instead. It ended up being a nice way to reinforce their sibling bond but, as Hermes points out, it does have the unintentional effect of undermining their individual specialities. And it would have been nice to get a look at the entire Baudelaire family together in happier times. Jean Lúcio noted that the series worked to fill in Klaus's personality and differentiate him from Violet. Something that I don't think has been mentioned anywhere before is that legendary screenwriter Scott Frank ("Out of Sight", "Get Shorty") was a consultant in the early days of the writers room. Scott's the kind of writer who's beloved by other writers, and if you're interested in screenwriting, I highly recommend seeking out his writing on the topic. Scott's big contribution was challenging us to consider the psychological need beneath each of the Baudelaire's talents: Violet's an inventor because, as the older sibling, she sees it as her job to find solutions and fix what's broken; Klaus is a researcher because he's a twelve year-old trying to make sense of the world around him (and clinging to facts as a refuge)... All stuff that's probably obvious to anyone on this board, but especially in the early books, there's a tendency to treat "the Baudelaire children" as a singular entity, so giving them each a separate need became a way to keep them distinct and real in their scenes. (I will say that sticking too much to those psychologies sometimes had the unintended effect of putting Violet in a parental/maternal role while Klaus got to be the one investigating mysteries, which meant Klaus got the spyglass while Violet was left holding Sunny. It's partly why we wanted to flip those roles towards the end of the season -- so, in MM Pt 1, Violet's the one desperate to solve the mystery while Klaus wants to keep his siblings safe. Which felt appropriate since MM is the book where the roles flip anyway.) Scott's other big contribution, for me at least, is that he's the one who recommended to Netflix that they give me my own script in Season One, which I wasn't guaranteed, and which led to me becoming the writer on set and a producer on the series. So I owe him a lot. (Proof that, despite what Gustav says in Pt 2, sometimes you should listen to a consultant.) Finally, on the topic of things that were cut from the scripts... while Eleanora was always conflated with Polly Poe, Daniel's early drafts of BB also featured Geraldine Julienne (as the reporter interviewing Olaf backstage) and cameos from Kit and Jacques Snicket, who were investigating the fire. The latter two were cut so we didn't run the risk of casting them too soon with actors we'd never be able to get again, but we did assume we'd eventually introduce Geraldine in S2. Except, by the time S2 came around, Eleanora had already stolen Geraldine's catchphrase, star reporter job, and function in the story, so adding a new reporter became redundant, and Geraldine, like Polly before her, was doomed. Thank you so much for joining us catastrophist . On behalf of the rest of the forum, especially the excellent tk who got the ball rolling on this whole rewatch to begin with, I am delighted to welcome you to these rewatches. Funnily enough, I was actually just about to post some quotes from your book on the series; TIHOSO, when I got a notification that the page had been updated. I very much look forward to your insights and comments as the rewatch continues.
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Post by Optimism is my Phil-osophy on Jun 21, 2020 3:53:07 GMT -5
Late to the party but happy to join. I haven't rewatched the series since it ended so it will be interesting to revisit it with some distance, though I should warn you that my POV will be blurred by nostalgia. Shows like this don't come around every day and I miss getting to professionally play in the ASOUE-verse. I'll try to share what I can remember, though some questions may be better left unanswered, in the way that some sugar bowls may be better left unopened. Hermes brought up those pre-fire scenes with Klaus and Violet helping each other, so it might be interesting to know those scenes originally involved the Baudelaire parents instead: Bertrand was helping Violet with her toaster clock, while Beatrice was helping Klaus translate Proust. The problem, as you can probably guess, is that there turned out to be no way to film those scenes without blowing our Mother/Father red herring, since it would be immediately obvious that B&B and the Quagmire parents were different actors. Which is why those scenes were rewritten to show Klaus and Violet helping each other instead. It ended up being a nice way to reinforce their sibling bond but, as Hermes points out, it does have the unintentional effect of undermining their individual specialities. And it would have been nice to get a look at the entire Baudelaire family together in happier times. Jean Lúcio noted that the series worked to fill in Klaus's personality and differentiate him from Violet. Something that I don't think has been mentioned anywhere before is that legendary screenwriter Scott Frank ("Out of Sight", "Get Shorty") was a consultant in the early days of the writers room. Scott's the kind of writer who's beloved by other writers, and if you're interested in screenwriting, I highly recommend seeking out his writing on the topic. Scott's big contribution was challenging us to consider the psychological need beneath each of the Baudelaire's talents: Violet's an inventor because, as the older sibling, she sees it as her job to find solutions and fix what's broken; Klaus is a researcher because he's a twelve year-old trying to make sense of the world around him (and clinging to facts as a refuge)... All stuff that's probably obvious to anyone on this board, but especially in the early books, there's a tendency to treat "the Baudelaire children" as a singular entity, so giving them each a separate need became a way to keep them distinct and real in their scenes. (I will say that sticking too much to those psychologies sometimes had the unintended effect of putting Violet in a parental/maternal role while Klaus got to be the one investigating mysteries, which meant Klaus got the spyglass while Violet was left holding Sunny. It's partly why we wanted to flip those roles towards the end of the season -- so, in MM Pt 1, Violet's the one desperate to solve the mystery while Klaus wants to keep his siblings safe. Which felt appropriate since MM is the book where the roles flip anyway.) Scott's other big contribution, for me at least, is that he's the one who recommended to Netflix that they give me my own script in Season One, which I wasn't guaranteed, and which led to me becoming the writer on set and a producer on the series. So I owe him a lot. (Proof that, despite what Gustav says in Pt 2, sometimes you should listen to a consultant.) Finally, on the topic of things that were cut from the scripts... while Eleanora was always conflated with Polly Poe, Daniel's early drafts of BB also featured Geraldine Julienne (as the reporter interviewing Olaf backstage) and cameos from Kit and Jacques Snicket, who were investigating the fire. The latter two were cut so we didn't run the risk of casting them too soon with actors we'd never be able to get again, but we did assume we'd eventually introduce Geraldine in S2. Except, by the time S2 came around, Eleanora had already stolen Geraldine's catchphrase, star reporter job, and function in the story, so adding a new reporter became redundant, and Geraldine, like Polly before her, was doomed. Thank you for all your hard work in this series. I can see your passion for ASOUE every moment. And thank you for helping me to improve my point of view about the show. And thank you for publishing the book about the show. And as I am black and ex-fat, I thank the casting of actors for the Poe couple and for having taken care to write in a way that racial or appearance issues did not gain undue prominence. Eleanora Poe was an excellent character! A feminine force that steals attention before Esmé's presence. And the "say it" line was perfect. Eleanora perfectly represented the powerful force of the media, and if she were a character without a strong presence on screen both because of the acting and because of the script, this part of the media portrayal would go unnoticed. Especially here in Brazil, where many children and teenagers watched the series, I think they got the message: don't necessarily believe everything you consume as being news. There may be an Eleanora Poe distorting the facts.
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Post by Hermes on Jun 21, 2020 11:58:44 GMT -5
That bit about Geraldine is very interesting. Her name is one of those which appear in teh tunnels, which made me sure for a long time that she was going to appear.
First half of episode 2:
So, the 'consultant' scene. It's interesting that Lemony mentions TV directors among those who want to know how the Baudelaires ended up with Count Olaf, showing that it is something of a plot hole which needs to be filled. In the books it was not really a problem; the Baudelaire parents, who were not originally seen as members of a secret organsisation, were not expecting to die, so there was no reason for them to make very precise arrangements for the care of their children; Count Olaf is a convenient relative, so he steps into the role of guardian. A more efficient banker might have put more effort into checking him out, but we can't expect that of Mr Poe. In the film, things just happen in the most absurd way possible; we are told that he is the 'closest relative', and we just have to accept that that is how things work. But here, an attempt is actually being made to give things a rational explanation, so we are shown how Mr Poe was deceived into accepting this plan.
I agree that Jacquelyn was not originally meant to be the Duchess. Her initials are JS (though I don't think this is revealed until the next episode), and presumably she was meant to appear in TPP as the fourth (or fifth) JS.
It's interesting what L says about Beatrice - that when he asked her to marry him, for complex reasons she gave him 'no answer'. This is not quite what happens in the books. Do later events bear it out?
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Post by catastrophist on Jun 21, 2020 12:59:57 GMT -5
And now we get to Jacquelyn... It's true she wasn't originally conceived of as R, though when we filmed the consultant scene, everyone instantly fell in love with Sara Canning's performance and it kicked off three seasons of internal discussions about whether to reveal her to be a canon character or not. In fact, when we shot the Prospero scene in RR Pt 2, Barry gave Neil the note to say the name "Jacqueline" as if it could be an alias. So fans who theorized that she might be Kit weren't necessarily wrong: at that point, we were leaving all options open.
Keeping Kit and Jacquelyn separate was ultimately Daniel's decision when we were writing S2, and by that point he'd already made her another JS (via her film credit in RR Pt 1), so we knew she'd at least have one canon role to play down the line. That would be the end of the story until, when Allison Williams wasn't able to attend our Season 3 table read, Sara stepped in to read the part of Kit -- creating for one afternoon an alternate universe where the fan theories were right, and Kit and Jacquelyn were the same person after all.
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Post by Optimism is my Phil-osophy on Jun 21, 2020 13:23:38 GMT -5
Sara stepped in to read the part of Kit -- creating for one afternoon an alternate universe where the fan theories were right, and Kit and Jacquelyn were the same person after all. I'm glad it didn't happen. Jacquelyn became loved by many of the fans for having a personality of their own and for being part of something they didn't see happening in the books. Especially in TPP (in the books), Lemony narrates that there are a lot of things happening at the same time that the Baudelaire story was happening. Being able to follow someone's adventures openly from VFD (on the fire extinguishing side) was a great experience. In addition, Kit Snicket's arrival at the end of the second season was very epic. I wonder, if Jacquelyn was actually Kit, who would be that woman who appeared at the end of the second season? (I would have theorized that it would be Beatrice who survived).
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Post by catastrophist on Jun 21, 2020 13:47:27 GMT -5
Yes, I think one of the risks of showing so much of VFD is that, paradoxically, the more you see of it, the smaller the organization seems, and combining Kit and Jacquelyn would have shrunk it even smaller. By the time we wrote her first true appearance at the end of CC Pt 2, we knew Kit would be her own character (and the previous Madame Lulu).
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Post by Optimism is my Phil-osophy on Jun 21, 2020 13:56:40 GMT -5
How was the decision to make Olaf more funny in the show than in the books? Did you have influenced by Jim Carrey's acting?
I'm not complaining. I really liked all the Olafs so far.
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Post by gothicarchiesfan on Jun 21, 2020 16:08:52 GMT -5
Excerpts from the Bad Beginning section of The Incomplete History of Secret Organizations BARRY SONNENFELD (Executive Producer): The opening scene at Briny Beach has always had a special place in my heart. We shot it on the very first day, and it was really proof of concept for all three seasons — the acting and just the fact that we built a beach on a stage. For the shot that starts with Violet’s invention and follows the arm as it retrieves the rock, we had to pull the camera back through the doors to another stage just to get that distance. All these very specific shots had to be designed and planned out even before we started pre-production. If anything was proof that we could pull the whole series off, that scene was it. (From the Season 1 VFX Breakdown by Zoic Studios) BO WELCH (Production Designer): You know how actors build a whole story in their head to come up with a character? I do the same thing designing. You go through your own methodology of building a backstory for a set or a prop. Every element has its own little history. So I asked Barry, “This house in Season One that Olaf lives in, where did he get that?” And in talking with him, we decided that he probably married or moved in with some wealthy old dowager and then when she died, he kept the house. And of course, he didn’t have the resources and it went to seed, like everything else in this Series of Unfortunate Settings. BARRY SONNENFELD: I really like “The Bad Beginning” because it set the tone for the show in terms of look and flatness. It can be goofy, but it’s never goofy-stupid. Jacquelyn having to carry the tree that she was tied to on her back somehow works. So I’m proud of the beginning because it set the tone for the other directors in the series. We did have a few standing sets that lasted all three seasons. We had Lemony’s motel room. We had the tunnels, where we would change up the walls and the escape routes from episode to episode. And we had Mr. Poe’s office. If you were to say, “What set both visually and storytelling-wise manifests itself to be the ultimate A Series of Unfortunate Events set?” I would say Mr. Poe’s office. BO WELCH: Mr. Poe’s office is one of my favorite sets. He’s the guy that’s literally standing between Olaf and the Baudelaire fortune. So I was able to conjure up a very direct and graphic illustration of that concept. BARRY SONNENFELD: It’s a narrow room with file cabinets that go up eleven feet, all the way to the ceiling, and Poe is at the end of it, with the Baudelaire fortune in a safe behind him, just waiting there for the taking. BO WELCH: Poe has such visions of banking grandeur, and yet he’s in this tiny hallway of an office surrounded by paperwork. It’s taking the idea of that kind of job and under-lining how boring it is. And from a director’s standpoint, I love it because it dictates the staging in a way that’s very graphic and simple. BARRY SONNENFELD: You always knew you were going to get comedy gold. You always knew that no director could screw it up because the lines were so straight, it didn’t give you any room to block a scene other than a very specific, direct way. To me, it’s the entire three seasons in a nutshell. It was the very first image Bo drew that I showed to Netflix and said, “This is our show. This is the level of stylization we intend to do in every set.” (From The Incomplete History of Secret Organizations by Joe Tracz)
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Post by gothicarchiesfan on Jun 21, 2020 16:20:51 GMT -5
Season 1: Trailers
The fake teaser that had a lot of people fooled
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Post by gothicarchiesfan on Jun 21, 2020 16:33:42 GMT -5
TBB: Script Excerpts
“THE BAD BEGINNING: PART ONE”
INT. JUSTICE STRAUSS’S HOUSE - LIBRARY - DAY
An enormous room — far bigger than the building could possibly hold. There are shelves everywhere and those old-fashioned wheeled ladders to reach the very high shelves, along with big reading tables and overstuffed leather chairs and, f*ck yeah, ottomans. with my family. That’s not so bad, is it Baudelaires? I'm sure you'll be fast friends with Edgar and Albert.
INT. POE'S HOUSE - KITCHEN - NIGHT 18
The Baudelaires sit stricken and silent at a cramped table in a busy family kitchen that needs a remodel. They're flanked by the Poe offspring: EDGAR is pale and gaunt, probably a poet or at least a big fan of the Smiths, and ALBERT is a loud all-American athlete, maybe wearing a helmet.
EDGAR
It's a raven.
Mrs. Poe sits down opposite her husband and pulls out a NEWSPAPER.
ELEANORA POE (CONT'D)
But, honey, look!
She unfolds it and we see it's The Daily Punctilio, with the headline BAUDELAIRE MANSION DESTROYED. The Baudelaires sit stunned.
MR. POE
Dearest, maybe not in front of the children--
(CONTINUED)
ALBERT
What does blanched mean?
EDGAR
It means to go pale, with horror.
Klaus answers automatically.
KLAUS
It means boiled.
ALBERT
Nobody asked you.
MR. POE
Now, now, son.
ELEANORA POE
No, my darling Albert is right.
Nobody asked the Baudelaires.
specific about your being raised by the closest living relative.
KLAUS
That's not usually what "closest living relative" means.
VIOLET
If he lives so close by, why didn't our parents ever invite him over?
MR. POE
Possibly because he was very busy. As a banker, I'm very busy myself. That's why this guardian drop-off will be a bit hasty. "Hasty" means (MORE)
(CONTINUED)
Mr. Poe has just rung the doorbell.
MR. POE
That's strange. He said specifically he was waiting very eagerly to get his hands on you.
The Baudelaires are looking up at the tower.
VIOLET
I think there's someone up there.
Mr. Poe rings the doorbell again.
intonations.
COUNT OLAF
Hello, hello, hello. Hello, hello, hello. Hello. Hello! Hello?
Finally, the door swings open.
EXT. COUNT OLAF'S HOUSE - ENTRYWAY - DAY 29
The camera moves from the grimy, eye-decorated floor to a pair of raggedy shoes to a tattoo of an eye - or is it three initials? - on a dirty ankle, up the tattered once-elegant clothing to the one-eyebrowed face of Count Olaf, staring hungrily down at the children. He's a quintessential villain, too ridiculous to be truly terrifying but also too terrifying to be truly ridiculous.
COUNT OLAF
Hello, hello, hello, children. I am Count Olaf, the renowned actor and your new guardian. You're
his collection of BAUDELAIRE ESOTERICA into a suitcase.
LEMONY SNICKET
Some things in life are difficult to understand, even after years and years of thinking about them while wandering alone through desolate landscapes usually during the off- season.
There's a furious POUNDING on the door. Mr. Snicket quickly grabs the suitcase and hops out the window. Onto the next destination...
INT. JUSTICE STRAUSS'S HOUSE - LIBRARY - NIGHT 81
Justice Strauss, looking melancholy, is tidying up the library. She picks up her copy of Adoption Law & You. Reflects sadly on what might have been...
LEMONY SNICKET (V.O.)
The Baudelaires did not understand why they were now off toward an unknown relative, instead of living with Justice Strauss.
She shelves it. As she does, she spots The Incomplete History of Secret Organizations, still half-sticking out.
LEMONY SNICKET (V.O.)
But as with so many unfortunate events in life, just because you don't understand it doesn't mean it isn't so.
(CONTINUED)
On the Baudelaires, who don't see this as a good thing.
LEMONY SNICKET (V. O.)
It seemed to the children that they were moving in an aberrant-- a word which here means "very, very wrong, and causing much grief" -- direction.
EXT. RUINS OF BAUDELAIRE MANSION – NIGHT 83
Mr. Poe's car drives by the Baudelaires' destroyed home, and a newspaper blows in front of the camera: The Daily Punctilio: EXCITING NIGHT AT THEATER, ORPHANS RESCUED.
INT. FORTRESS CELL – NIGHT 84
CLOSE ON: the same newspaper, now being slid under the heavy door of a fortress-like prison cell. FATHER picks it up.
INT. TUNNEL INTERSECTION- NIGHT 85
Jacquelyn is at the tunnel intersection, speaking into a WALKIE-TALKIE.
JACQUELYN
Gustav, have the Baudelaires arrived at Dr. Montgomery's? Repeat: Have the Baudelaires arrived at Dr. Montgomery's?
EXT. EDGE OF A POND – NIGHT 86
GUSTAV is standing by the side of a pond with a WALKIE-TALKIE at his ear.
Not yet. But I am literally standing at the edge of a pond.
Something whistles through the air to land in his neck.
GUSTAV (CONT'D)
Ow!
He pulls it out to discover:
A FEATHERED DART.
JACQUELYN (O.S.)
I have a lead on our missing parents. They're alive, but they've been taken to--
ALT: I have a lead on Olaf. Tell Dr. Montgomery to beware of strangers dressed as--
Gustav knows this is the end for him. One last urgent code:
GUSTAV
The world is quiet here.
Then -- SPLASH! He falls face-first into the pond. The WALKIE-TALKIE clatters to the ground and we hear a staticky voice.
JACQUELYN (O. S.)
Hello? Hello?
One lone bubble pops to the surface.
END OF EPISODE
MOTHER (CONT'D)
Grappling hook.
FATHER
Where'd you learn that one?
MOTHER
(proudly)
As if you don't know.
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