Post by queensgirl on Mar 9, 2006 19:48:09 GMT -5
This episode marks the beginning of the epic battle of David Addison to finally express his feelings to Ms. Hayes, only to be foiled by the worst luck in the world. It is also the story of Maddie’s transition from the staid and serious boss, firmly protective of her private life, to an earthy and intensely emotional person quite eager to test the waters of the social world.
I have in other places brought up a few key moments in the written version of the episode, but I thought it’d be fun to take a more in-depth look. Stage directions may be underlined or as otherwise noted, and material edited for clarity. My comments in [brackets]. I’ll post in two segments to make it a little bit easier to read.
You may notice that some of the lines, especially the early ones in the office conversation between the detectives, will be similar to what you got on t.v., but the originals, without editing, contained even more shades of meaning. So they’re here even if there’s a little repetition.
According to the cover notes, the script went through at least 19, count ‘em, 19 revisions, and the copy I have is apparently from edition three. Sometimes what is removed or shifted is as little as a phrase, to leave things implied rather than overt. You will see that had certain lines been tweaked just slightly one way or the other, they would have given away important shades of meaning and made the delicate emotional stew boil over too soon. The genius of the show is that like one of those floor-sized dominoes puzzles, everything tips over just at the right time.
We open with the very provocative scene of Maddie picking out her dress for the evening.
And it’s morning.
The stage directions make it clear how different things are going to be.
Maddie in her black heels…holding up a new dress in front of her…it’s an incredibly sexy looking black dress, the tags still on it, and it’s obviously not something she’s going to wear to work…but she’s not thinking about that anymore…she’s in a weird mood and she’s playing. (Emphasis mine)
In the t.v. version, the song “Nasty” by Janet Jackson plays in the background. In the script, things are a little more involved.
Close on stereo…as her hand reaches into the frame to turn up the volume, and the throbbing red lights tell us it’s loud…
And we continue up along her body…finding her in that sexy dress, her head tilted back, her eyes closed, her arms across her chest…almost as if she’s hugging herself as she sways to the music…and we get the feeling that she’s trying to restrain a rebellious body…she looks incredibly sexy…but like a cat on a slippery tin roof…and her movements gradually become freer…in a most un-Hayes like way…and she starts to move…and dance…mouthing the words. And she stops suddenly as she catches sight of herself in the mirror…looking impressively disheveled…
[Not only is this scene shocking, at the end Maddie winds up in a state that is somewhat a reminder of the closing shot of the man at the door. Unkempt, and in an implication of the removal of sexual inhibition—also of somebody else discovering what you are really like.
In the script, it makes note that when Maddie starts the phone call, “her hair still hasn’t been combed.” On screen, her hair looks pretty smooth, almost as if she had gotten everything ready and then suddenly given up on her plans—much as she will later do at the bar.
Then we cut to the scene of Joan killing the man.
Then on to the scene of the card game at Blue Moon. Maddie walks in and ignores the fracas. In the t.v. version, one of the office workers is in the boxer shorts, and he wordlessly gets the rest of his clothes and hurries away. On paper, well, let’s just say it’s different.
It’s Bert who winds up in trouble, and Mr. Addison has words with him. Dave’s first line is the same. The rest, not so.]
David: Let’s not panic. I’m sure she meant to scream at us.
He hands the cards and visor to Viola, who wears nothing but the boxers…as he gets up, (David) pulls on the elastic waistband of Viola’s boxers and takes a quick peek down, then lets it go.
David: Think about cheating.
[I am not kidding. That’s what it says. ;D Different man left wearing shorts, and decidedly not the same departure line from Mr. Addison.
Then Dave heads for Maddie’s office and the scene proceeds at first pretty much as we see, until, just after David says his bit about ‘just because you don’t feel like arguing…’]
Maddie gives him a confused look…what’s he talking about…
David: You’re raining on our cloud, Maddie. That nice, comfortable cloud of perpetual anger under which Blue Moon thrives…
[Proceed with Maddie’s line about ‘not arguing is something many people aspire to,’ and then where David figures out something is seriously off.
Maddie makes her speech about not knowing where she’s going or when she’s coming back, leaving David to just stare in her wake.
She leaves. The script then says she’s “been gone all afternoon.” She returns after six in the evening, and the janitor is vacuuming in the hall. Maddie goes back to her office.
David then walks in and says his line about the deck of cards. Maddie’s reply has a rather interesting shade of meaning in the stage directions.]
Maddie (uneasy; not looking at him): Hi. (And then) Figured you’d be long gone…
Another angle…as David nods in the direction of his office…flashes the cards...
David: Yeah. (And then) No.
[Notice on screen, Maddie’s faintly smiling at him. A pretty fair change of mood from the almost guilty setting of the greeting here.
Skip to David’s remark about playing cards with Bert. David ends with the plea, “If you’ll just talk to me…” and then says how Maddie looks so blue she’s ‘damn near puce.’
Maddie “considers this for a long moment.” On screen, she seems, despite how she’s lying on the couch, to want to brush him off.]
Maddie: No. No, I’m sorry. (And then, rising, still not looking at him) Look…it’s not that I don’t want to talk to you. It’s that…there’s really nothing to talk about. What’s bothering me is so…
David: What?
[Skip through Maddie’s line about knowing Dave must be hurt, and until…the feeling being ‘something you get through.’
He continues to plead for her to talk.]
David: Talk to me Maddie…tell me.
Maddie: You don’t want to hear this…
David: I don’t want to hear this? That’s nuts.
[The rest of his line is the ‘causing you pain’ phrase. There is the spate of back-and-forth ‘Yes I do/No you don’t’ lines, and then:]
David: Yes I do. Maddie…I care about you. I want to know how you feel. I want to hear whatever you want to tell me.
[This was probably dropped out because it is much too obvious of a declaration from him.
Soon Maddie really gets going with her speech. David at first pretends it’s okay. The directions note, before his line, “That’s kinda what I figured,” that he is ‘lying through his teeth.’ A moment later, however, things get hectic. The directions have it that Maddie gets David by the shirt, and he panics.]
On David, still backing away…
David: I don’t want to hear this…
On Maddie, grabbing his lapels…
Maddie: Just be bad, be wonderful…
On David, still backing away…
David: I don’t want to hear this…
On Maddie, grabbing him even tighter…
Maddie: Just be great, all night long.
On David, suddenly pushing her away.
David: I don’t want to hear this!
Another angle, as the two of them stand there, across the room from each other, both cloaked in shadow—David where he stood, Maddie where he pushed her.
Maddie (finally, quietly): Well, it’s nice to know we can confide in our friends.
[Notice, on screen she walks away from him, into that half-light where her face is bright but he is in darkness. She does turn around for the rest of the speech, but she never touches him.
Proceed with her comment about how he wouldn’t be shocked if this were one of the men. Rest of scene as normal, until the line right before Maddie tries to leave.]
David (jumping in front of her, blocking the door): But Maddie…There are a lot of nuts out there!
[The script says he actually physically bars her. Not on t.v., when he didn’t quite get there in time and can only stand across from her as she keeps protesting.]
Maddie: There are a lot of nuts in here.
[Cue David’s terrified questions about where she really wants to go that night. But she storms out the door.
Next, the scene of David asking Bert to drive him ‘on a big, emergency case.’ Yes, David has to ask somebody else to drive him around, on this special secret case…
They walk down to the garage, where Dave swears Bert to secrecy.]
David: Which one is it?
Viola (pointing): Farther down. (and then, still thrilled) Agnes’ll flip.
David: Yeah she will…she really will, Bert. But this is confidential.
[Scene continues with David’s line about also not telling ‘the Big Blonde.’ Bert’s car is brand new, but it is an anonymous little sedan, and he hasn’t read the manual yet, which leads to all sorts of fun with him knocking around trying to find stuff. David, of course, has other things on his mind. ;D David throws them both to the ground as none other than Maddie herself drives past from the other end of the garage. Once she’s gone, they get up. Bert’s coat is a little messed up now.]
Viola: Good thing it’s synthetic, huh?
David (grabbing Viola, keeping low; continuing across the garage): If you’re not ready to get your hair mussed, Bert, you’re not ready to ride with me.
Viola: Oh, no, I’m ready, Mr. Addison. I’m more than ready. Muss away.
[They get in the car.]
Viola: You smell that smell? That new car smell? I love that smell.
David (clipped; strapping himself in) Turn the car on, Bert.
Viola: They gave me the radio and the rear-window defogger in the deal…What do you think?
David: Put it into gear, Bert.
[Bert lets it idle for a minute, because ‘the manual says you have to let it warm up.’ Dave actually throws it into reverse and stomps on Bert’s foot.]
David: Now put it into drive!
Viola: Drive?
David (reaching over and doing it himself again): Drive!
[He steps on Bert’s foot a second time. They chase Maddie down the exit ramp. As they drive, Bert rambles on about how grateful he is to finally be going on a case. Dave forces him to make that sudden left turn. After this, it starts to pour down rain. This is the first time the storm shows up; in the t.v. version, it started with a thunderclap back in the office, as a bad omen. Here, however, Dave remarks how he can’t see because of the rain, and why doesn’t Bert switch on the windshield wipers. Finally they find the wiper switch, so they can see Maddie’s car again, and the rain stops. Read into that what symbolism you want to.
They reach the grocery store, and Bert figures out who they’re really following. Turn to David’s point of view as they watch Maddie walk around in the store. The script notes that ‘an attractive man’ starts to follow Maddie.]
On Viola…he’s seen this too…and can’t help but notice the growing anxiety on David’s face…
Viola: You do this a lot?
David (still not taking his eyes from the glass): What’s that, Bert?
Viola (a small smile to himself; he knows what that means): Fine. You’re right. I’ll just shut up…mind my own business…
[Bert says his line about "Should we be following the boss?” as Maddie continues to walk around in shop; Addison snags right back, immediately making it clear that David is really talking about what he doesn’t want to talk about.]
David: I’m not in the mood for twenty questions, Bert.
As Maddie joins the line at the checkout stand…handing the cashier a lonely looking Lean Cuisine, a melon, a magazine and a ten dollar bill…sighing…waiting for her change…very much alone. (Emphasis mine)
[The next few pages are pretty much the same as you see on screen. We can skip several minutes, to the time when everyone arrives at Metropolis. The exception is that the rain starts again, and a lightning strike illuminates the car of Joan Tenewich. She’s driving a red Datsun 300 ZX, and as she pulls up to the club, the stage directions indicate that she parks illegally, compared to Maddie, who pulls evenly into a space.] ;D
I have in other places brought up a few key moments in the written version of the episode, but I thought it’d be fun to take a more in-depth look. Stage directions may be underlined or as otherwise noted, and material edited for clarity. My comments in [brackets]. I’ll post in two segments to make it a little bit easier to read.
You may notice that some of the lines, especially the early ones in the office conversation between the detectives, will be similar to what you got on t.v., but the originals, without editing, contained even more shades of meaning. So they’re here even if there’s a little repetition.
According to the cover notes, the script went through at least 19, count ‘em, 19 revisions, and the copy I have is apparently from edition three. Sometimes what is removed or shifted is as little as a phrase, to leave things implied rather than overt. You will see that had certain lines been tweaked just slightly one way or the other, they would have given away important shades of meaning and made the delicate emotional stew boil over too soon. The genius of the show is that like one of those floor-sized dominoes puzzles, everything tips over just at the right time.
We open with the very provocative scene of Maddie picking out her dress for the evening.
And it’s morning.
The stage directions make it clear how different things are going to be.
Maddie in her black heels…holding up a new dress in front of her…it’s an incredibly sexy looking black dress, the tags still on it, and it’s obviously not something she’s going to wear to work…but she’s not thinking about that anymore…she’s in a weird mood and she’s playing. (Emphasis mine)
In the t.v. version, the song “Nasty” by Janet Jackson plays in the background. In the script, things are a little more involved.
Close on stereo…as her hand reaches into the frame to turn up the volume, and the throbbing red lights tell us it’s loud…
And we continue up along her body…finding her in that sexy dress, her head tilted back, her eyes closed, her arms across her chest…almost as if she’s hugging herself as she sways to the music…and we get the feeling that she’s trying to restrain a rebellious body…she looks incredibly sexy…but like a cat on a slippery tin roof…and her movements gradually become freer…in a most un-Hayes like way…and she starts to move…and dance…mouthing the words. And she stops suddenly as she catches sight of herself in the mirror…looking impressively disheveled…
[Not only is this scene shocking, at the end Maddie winds up in a state that is somewhat a reminder of the closing shot of the man at the door. Unkempt, and in an implication of the removal of sexual inhibition—also of somebody else discovering what you are really like.
In the script, it makes note that when Maddie starts the phone call, “her hair still hasn’t been combed.” On screen, her hair looks pretty smooth, almost as if she had gotten everything ready and then suddenly given up on her plans—much as she will later do at the bar.
Then we cut to the scene of Joan killing the man.
Then on to the scene of the card game at Blue Moon. Maddie walks in and ignores the fracas. In the t.v. version, one of the office workers is in the boxer shorts, and he wordlessly gets the rest of his clothes and hurries away. On paper, well, let’s just say it’s different.
It’s Bert who winds up in trouble, and Mr. Addison has words with him. Dave’s first line is the same. The rest, not so.]David: Let’s not panic. I’m sure she meant to scream at us.
He hands the cards and visor to Viola, who wears nothing but the boxers…as he gets up, (David) pulls on the elastic waistband of Viola’s boxers and takes a quick peek down, then lets it go.
David: Think about cheating.
[I am not kidding. That’s what it says. ;D Different man left wearing shorts, and decidedly not the same departure line from Mr. Addison.
Then Dave heads for Maddie’s office and the scene proceeds at first pretty much as we see, until, just after David says his bit about ‘just because you don’t feel like arguing…’]
Maddie gives him a confused look…what’s he talking about…
David: You’re raining on our cloud, Maddie. That nice, comfortable cloud of perpetual anger under which Blue Moon thrives…
[Proceed with Maddie’s line about ‘not arguing is something many people aspire to,’ and then where David figures out something is seriously off.
Maddie makes her speech about not knowing where she’s going or when she’s coming back, leaving David to just stare in her wake.
She leaves. The script then says she’s “been gone all afternoon.” She returns after six in the evening, and the janitor is vacuuming in the hall. Maddie goes back to her office.
David then walks in and says his line about the deck of cards. Maddie’s reply has a rather interesting shade of meaning in the stage directions.]
Maddie (uneasy; not looking at him): Hi. (And then) Figured you’d be long gone…
Another angle…as David nods in the direction of his office…flashes the cards...
David: Yeah. (And then) No.
[Notice on screen, Maddie’s faintly smiling at him. A pretty fair change of mood from the almost guilty setting of the greeting here.
Skip to David’s remark about playing cards with Bert. David ends with the plea, “If you’ll just talk to me…” and then says how Maddie looks so blue she’s ‘damn near puce.’
Maddie “considers this for a long moment.” On screen, she seems, despite how she’s lying on the couch, to want to brush him off.]
Maddie: No. No, I’m sorry. (And then, rising, still not looking at him) Look…it’s not that I don’t want to talk to you. It’s that…there’s really nothing to talk about. What’s bothering me is so…
David: What?
[Skip through Maddie’s line about knowing Dave must be hurt, and until…the feeling being ‘something you get through.’
He continues to plead for her to talk.]
David: Talk to me Maddie…tell me.
Maddie: You don’t want to hear this…
David: I don’t want to hear this? That’s nuts.
[The rest of his line is the ‘causing you pain’ phrase. There is the spate of back-and-forth ‘Yes I do/No you don’t’ lines, and then:]
David: Yes I do. Maddie…I care about you. I want to know how you feel. I want to hear whatever you want to tell me.
[This was probably dropped out because it is much too obvious of a declaration from him.
Soon Maddie really gets going with her speech. David at first pretends it’s okay. The directions note, before his line, “That’s kinda what I figured,” that he is ‘lying through his teeth.’ A moment later, however, things get hectic. The directions have it that Maddie gets David by the shirt, and he panics.]
On David, still backing away…
David: I don’t want to hear this…
On Maddie, grabbing his lapels…
Maddie: Just be bad, be wonderful…
On David, still backing away…
David: I don’t want to hear this…
On Maddie, grabbing him even tighter…
Maddie: Just be great, all night long.
On David, suddenly pushing her away.
David: I don’t want to hear this!
Another angle, as the two of them stand there, across the room from each other, both cloaked in shadow—David where he stood, Maddie where he pushed her.
Maddie (finally, quietly): Well, it’s nice to know we can confide in our friends.
[Notice, on screen she walks away from him, into that half-light where her face is bright but he is in darkness. She does turn around for the rest of the speech, but she never touches him.
Proceed with her comment about how he wouldn’t be shocked if this were one of the men. Rest of scene as normal, until the line right before Maddie tries to leave.]
David (jumping in front of her, blocking the door): But Maddie…There are a lot of nuts out there!
[The script says he actually physically bars her. Not on t.v., when he didn’t quite get there in time and can only stand across from her as she keeps protesting.]
Maddie: There are a lot of nuts in here.
[Cue David’s terrified questions about where she really wants to go that night. But she storms out the door.
Next, the scene of David asking Bert to drive him ‘on a big, emergency case.’ Yes, David has to ask somebody else to drive him around, on this special secret case…
They walk down to the garage, where Dave swears Bert to secrecy.]David: Which one is it?
Viola (pointing): Farther down. (and then, still thrilled) Agnes’ll flip.
David: Yeah she will…she really will, Bert. But this is confidential.
[Scene continues with David’s line about also not telling ‘the Big Blonde.’ Bert’s car is brand new, but it is an anonymous little sedan, and he hasn’t read the manual yet, which leads to all sorts of fun with him knocking around trying to find stuff. David, of course, has other things on his mind. ;D David throws them both to the ground as none other than Maddie herself drives past from the other end of the garage. Once she’s gone, they get up. Bert’s coat is a little messed up now.]
Viola: Good thing it’s synthetic, huh?
David (grabbing Viola, keeping low; continuing across the garage): If you’re not ready to get your hair mussed, Bert, you’re not ready to ride with me.
Viola: Oh, no, I’m ready, Mr. Addison. I’m more than ready. Muss away.
[They get in the car.]
Viola: You smell that smell? That new car smell? I love that smell.
David (clipped; strapping himself in) Turn the car on, Bert.
Viola: They gave me the radio and the rear-window defogger in the deal…What do you think?
David: Put it into gear, Bert.
[Bert lets it idle for a minute, because ‘the manual says you have to let it warm up.’ Dave actually throws it into reverse and stomps on Bert’s foot.]
David: Now put it into drive!
Viola: Drive?
David (reaching over and doing it himself again): Drive!
[He steps on Bert’s foot a second time. They chase Maddie down the exit ramp. As they drive, Bert rambles on about how grateful he is to finally be going on a case. Dave forces him to make that sudden left turn. After this, it starts to pour down rain. This is the first time the storm shows up; in the t.v. version, it started with a thunderclap back in the office, as a bad omen. Here, however, Dave remarks how he can’t see because of the rain, and why doesn’t Bert switch on the windshield wipers. Finally they find the wiper switch, so they can see Maddie’s car again, and the rain stops. Read into that what symbolism you want to.
They reach the grocery store, and Bert figures out who they’re really following. Turn to David’s point of view as they watch Maddie walk around in the store. The script notes that ‘an attractive man’ starts to follow Maddie.]
On Viola…he’s seen this too…and can’t help but notice the growing anxiety on David’s face…
Viola: You do this a lot?
David (still not taking his eyes from the glass): What’s that, Bert?
Viola (a small smile to himself; he knows what that means): Fine. You’re right. I’ll just shut up…mind my own business…
[Bert says his line about "Should we be following the boss?” as Maddie continues to walk around in shop; Addison snags right back, immediately making it clear that David is really talking about what he doesn’t want to talk about.]
David: I’m not in the mood for twenty questions, Bert.
As Maddie joins the line at the checkout stand…handing the cashier a lonely looking Lean Cuisine, a melon, a magazine and a ten dollar bill…sighing…waiting for her change…very much alone. (Emphasis mine)
[The next few pages are pretty much the same as you see on screen. We can skip several minutes, to the time when everyone arrives at Metropolis. The exception is that the rain starts again, and a lightning strike illuminates the car of Joan Tenewich. She’s driving a red Datsun 300 ZX, and as she pulls up to the club, the stage directions indicate that she parks illegally, compared to Maddie, who pulls evenly into a space.] ;D
Dave keeps trying to run, but the cops are getting closer and the only way out is down. Into the garbage bin. Where he is promptly arrested.
Then he walks down the hall to Booking, all the while, yelling at newcomers who have no idea who he is.
