Yesterday I showed you an episode of ALMOST PERFECT. Today I’m going to turn back the curtain and discuss the thought process that went into the story. It'll give you some idea of what we writers go through -- sometimes 25 times a year.
The staff worked out the story and writer Sue Herring did a great job of writing the actual script.
This was season two. After CBS made us lose her steady boyfriend after season one, we were scrounging around for good single dating stories for Kim (Nancy Travis). We established the character of Jack Chenault, her boss, the Canadian Ted Turner, and a former lover. Kim was hoping to rekindle that flame.
One comic trope we always loved was misdirection. One character mistakes a situation and suddenly everything they say has a double meaning. When structured correctly, every seemingly “straight” line can get a big laugh.
The key is the audience has to be in on it, and that requires that you deftly set up the confusion.
We thought it would be funny if Kim mistook a porn star for a distinguished actor from a PBS series. She tells Jack he is her date for the Emmys and that lie leads to one problem after another. All the while, everyone who encounters him also thinks he’s a classic thespian thus opening the door to more misdirection.
Okay, now here’s what we need to set up: Where does this takes place? How do we show who Steven Chatwyn (the British actor) really is? How does Kim think she’ll be sitting next to him? Why does Kim lie to Jack and say Steven is her date? What does Jack ask her to do that jeopardizes the whole ruse? How and when do we switch the British actor with the porn star? During the payoff scene, what various elements threaten to blow Kim’s crazy plan? And ultimately, how does Kim solve the situation? Remember, she’s our lead character so she actively has to orchestrate the solution.
We thought a good venue might be the Emmys. She could logically meet this actor there. There are also seat fillers, so he could leave and a seat filler could take his place. If he had the same name and people weren’t familiar with his work, we could justify the switch.
So let’s get started.
First scene – the writing room. Establish that the Emmys are coming up. Give everyone an attitude towards the Emmys. Make them different points-of-view. Rob is excited. Neil thinks they’re bullshit. We needed to establish that Kim wasn’t going. Easiest way was to see who everyone else was going with. Rob was taking his over-sexed airhead girlfriend, Shannon. We needed her for later (she’ll possibly recognize the porn star). We were looking for the most unlikely date for Gary and someone came up with a cop that let him out of a ticket.
We also needed to remind the audience of who Jack Chenault was and what his relationship with Kim was. Once all of that was set, we brought him in, learned he’s going alone, and he enlists Kim’s help if she’s going. She says she is. Clearly, it’s because she’s interested in Jack and if he’s going alone she feels they maybe can rendezvous during the evening. Farcical situations are built on lies.
Next scene in the lobby. More setting up was required, which we tried to deflect with good jokes. We used their assistant Denise to establish who seat fillers were. She also told Kim she’d be sitting next to Steven Chatwyn. We then were able to establish who he was and that nobody watched PBS.
Quick note: inside joke – Rob (Matthew Letscher) is wearing a brown tuxedo with peach ruffled shirt. David Isaacs and I were talked into wearing that combination for the Don Kirschner Rock Awards one year and looked like total idiots.
Jack enters and Kim is surprised he’s with a date. She doesn’t want to look like she doesn’t have one. We even have a line saying “that’s just sad.” So Kim lies and says she’s with Steven Chatwyn. Lie number two. And they’re romantically involved to make Jack jealous. Lie number three.
In farcical situations you’re always looking to tighten the vice. Jack wants an introduction.. Kim has to lie to avoid that. Jack wants him to guest on Kim's show. Kim has to lie her way out of that. Keep the pressure applied. Jack then says he wants her to arrange a party. Gulp. Now Kim is stuck.
Note: We also had the line where Jack says, “I’ve heard the name six or seven times tonight. Who is this guy?” We needed to establish that he doesn’t know Steven Chatwyn -- certainly can't identify him by face.
So the audience now thinks Kim's problem is she has to convince a noted British actor she doesn’t know to come to a party at her house and pretend that they’re involved. How is she going to swing that?
But wait! There's more! The big twist.
We go inside the theatre (we shot this in the large Paramount theatre on the lot – I directed this episode), establish the real Steven Chatwyn, make the switch, and (very important) establish that the new guy is a porn star.
Act two is the party at Kim’s house.
This was a creative choice on our part – we felt we needed to take the curse off the story. We needed a character to question why Kim was going to all these extraordinary lengths. So we had her justify why this was important. Could we have lived without it? Sure. But these were intelligent characters and if they’re doing extreme things we felt we needed to ground them in some reality. Audiences will accept intelligent characters going to outlandish lengths if they can buy their reasons for it.
At some point we needed to up the ante. Someone had to request to see him in action. We also needed to get Jack out of the room for the reveal.
Another great opportunity for laughs is everyone’s reaction to seeing Steve in action. The confusion is cleared up, but Kim still has a problem. This whole elaborate charade was to make Jack think she was going out with a great guy. She would be humiliated if he knew the truth and he’d be furious that he offered a network gig to a porn star.
Quick aside: In several episodes we had characters watching off camera porn and in each case we used the same music. Maybe five people in America got that inside joke.
Kim pushes Jack into the kitchen because we needed to keep him from seeing what was going on. Now it is up to our leading character to somehow get out of this mess. More fun as Kim offers up more lies. Always keep the pressure applied. From inside the living room we hear everyone reacting periodically to the porn they're watching. This requires more lies to deflect and makes it harder for Kim to keep him from entering that room. She seemingly gets away with it but at the expense of her possible relationship with Jack. She’s hoisted on her own petard.
We still had a few loose ends. Kim had to bribe Jack’s date to keep her silent. And then we made another conscious choice. If we’re keeping this even somewhat real, at some point Jack would logically get wise. He’d see the real Steven Chatwyn in People Magazine or on the next Emmys or whatever. So we felt the need to essentially say that. It makes Kim smarter than Lucy.
The tag was a bit of a problem. What we usually do is call back something from earlier in the show. We decided to reprise the cop, bring him in for one more joke. Not our greatest tag, but the show was really over at the end of act two.
So that’s the story behind this story. And the amount of discussion and crafting that went into this episode went into every episode (at least on our shows). The trick is to make the stories seamless. They should have a nice flow along with built-in surprises, solid structure, hidden but clear exposition, lots of laughs, and stakes high enough for an audience to care.
Again, thanks to Sue Herring for a wonderful script. Sadly, Sue passed away a few years ago. How nice that she can be remembered for the laughter she brought to everyone who knew her... and now you.