Last week the writers got together by the river at Teddington for an intensive workshop week, intensive because we are running one workshop this year rather than two (the cuts...). It was very full on for the writers, for me, and for our administrator Jane, but we managed to survive, and drama was confined to the screen rather than intruding into the personal.
The programme was a mixture of old and new, in the sense that we again had the pleasure of a visit from Paul Mendelson. We had a joint session with Susan Nickson and Tim Dawson, beacons of BBC3, and we were also joined by Kevin Cecil and Andy Riley, who brought along the cards which they use when planning an episode. Working with a three act structure, they write each element of the script on a separate card, including who is in which scene and what happens in it. By strewing them on the floor, it's possible to see if events are happening in the correct order, if someone disappears from the story for too long and, as Andy demonstrated, the cards can be moved around by foot. Much more helpful than having the information on screen.
We repeated the psychology of character session, heard from a producer, a director and a commissioner, and devoted two sessions to examining structure, which is something that everyone had requested.
So here, with apologies for the length, is my breakdown of a Fawlty Towers episode (we also looked at an episode of Curb Your Enthusiasm in a similar way). Fawlty Towers, of course, is effectively farce plotting, which is probably the most difficult form to pull off. But the engineering of the scripts, the ruthless application of consequences to every action, and the brilliance of almost every joke line being part of the plot means that there are general lessons, irrespective of comic style.
I'm here for the rest of the week, then on holiday, so if there are any comments I'll do my best to answer them before I go. And (disclaimer) this analysis is my own and not to be regarded as definitive. I watched a DVD and made notes on each scene, which isn't a bad thing to do if you want to teach yourself.
FAWLTY TOWERS
Character, structure and plot in The Kipper and the Corpse
Scene one - Bar, night 1
The Major is talking to Mrs Chase about her dog. There is a shitzu joke in the second speech and a lap/Lapp dog joke shortly thereafter. So the first laughs come early. Mrs Chase asks Basil to get a saucer of milk for the dog. Basil tells Manuel to get it. Dr Price arrives and asks if it's too late for dinner - he really feels like sausages. Sybil says dinner is over, but he can have a sandwich. She tells Basil to make it. An older man with a younger woman head for bed.
This scene establishes a number of things. First, it sets up the hierarchy of character. Basil tells Manuel what to do, but is in turn told what to do by Sybil. We see that Basil kow-tows to favoured guests. Second, it sets up the two episode sub-plots: Mrs Chase's dog, and Dr Price's desire for sausages. It suggests that the older man/younger woman might be a sub-plot. But there is no indication of a main story.
Scene two - Reception, night 1
Sybil is gossiping to a friend on the phone about the older man's latest young woman, when they arrive to pick up their key. Then a queasy man - Mr Leeman - arrives with some friends who say they will see him in the morning, then specifically at 9.30 in the morning. We learn twice that he is not feeling well. He asks for breakfast in bed, about which Basil makes a fuss, forcing Mr Leeman to say goodnight.
The older man/younger woman again feel like a sub-plot, but in fact they disappear from the episode after this. Given the precision of the story engineering, and the fact that they're not intrinsically funny and have no lines, they feel possibly like leftovers from a previous draft, or had a third appearance which was cut in the edit due to the length of the episode. Whatever the reason, they do not contribute to the story, and with over-long episodes the rule is always to preserve the story rather than jokes.
Sybil's phone conversation suggests that she regards the guests as a source of amusement and gossip.
Although the main story is not yet clear, there are strong hints in the repetition of Mr Leeman's morning meeting time, and of his illness, that the story of the week is going to be about him.
Hence, these two scenes would equate to the end of Act One.
Scene three - Dining Room, Day 2 (the rest of the piece takes place during the same day)
Dr Price orders sausages for breakfast from Polly, which is the first time we see her. There is a feeling of competence about her, underlined when Manuel can't understand that Mrs Chase wants tepid milk in a bowl, and not a saucer, for her dog, which Polly explains to him. And an extra cushion to raise him closer to the table.
This scene develops the dog and sausage sub-plots.
Scene four - Kitchen (continuous)
Basil walks into a busy scene, reading aloud from the paper about striking car workers. Sybil isn't interested. She has been preparing Mr Leeman's breakfast, and gives Basil the remaining kippers to return to the fridge. He is concerned that they are well past their use-by date. Sybil says it's all right.
We are reminded of Mr Leeman, and the idea is planted of out-of-date food. We infer that Basil is somewhat right wing, and the motif of strikers is revisited when Manuel later says he is on strike.
Scene five - Dining room (continuous)
Manuel returns with milk, and a cushion for the dog. After some business with the cushion on the table and the bowl on the chair, the dog bites Manuel. And then bites Polly. Mrs Chase orders sausages for the dog.
Further dog development. More sausages. And Polly is motivated to poison the dog.
Scene six - Kitchen (continuous)
Basil is still worrying about the kippers. Sybil tells him to bring up Mr Leeman's breakfast, and reminds him that the laundry men are coming later. Polly is putting pepper and Tabasco on the dog's sausages for revenge.
Further dog and sausage development, and planting the later arrival of the laundry men.
Scene seven - Staircase (continuous)
Basil is bringing Mr Leeman's tray upstairs.
Scene eight - Bedroom (continous)
Basil enters Mr Leeman's bedroom, Room 8, to find Mr Leeman expressionless and propped up in bed. Basil continues his rant about striking car workers, and tries to get a 'thank you' which isn't forthcoming.
It is quite clear that Mr Leeman is dead, but Basil's disinterest in people - other than those who appeal to his snobbery or self-interest - does not allow him to notice this.
Thus, in this scene it's clear that Mr Leeman is the subject of the main story, and the fact that we know he is dead, whereas Basil does not, establishes a sense of comic anticipation. Putting the audience ahead of a character can be useful.
Scene nine - Staircase (continuous)
Basil going downstairs passes Polly coming upstairs with milk, which had been left off Mr Leeman's tray.
Scene ten - Kitchen (continuous)
Basil complains to Sybil about Mr Leeman's rudeness in not responding. Sybil is filling a laundry basket.
More comic anticipation, and a visual reminder that the laundry men are coming. We also see Manuel getting salt.
Scene eleven - Dining room (continuous)
Basil goes into the dining room, to see that the dog is distressed. Mrs Chase is unhappy.
Both a continuation of the dog sub-plot, and a possible harbinger, in that Mr Leeman was complaining of being ill the night before, and a sub-text of food poisoning - accidental or deliberate - is emerging.
Scene twelve - Kitchen (continuous)
Terry gives Manuel Dr Price's sausages to serve. Manuel is putting salt on them when Polly arrives to announce that Mr Leeman is dead. Shocked, Manuel keeps pouring. Sybil and Polly leave for Room 8. Basil comes in, learn that Leeman is dead, realises he served Mr Leeman date-expired kippers, and rushes...
Scene thirteen - Staircase (continuous)
...upstairs, passing Sybil coming down on her way to fetch Dr Price.
Scene fourteen - Bedroom (continuous)
Basil joins Polly, who has stayed in the bedroom. He panics about the kippers and tries to get rid of them. Polly says Leeman had been dead for hours. Basil has to amend his joy to assumed grief when Sybil returns with Dr Price. The doctor puts him on the spot - why didn't Basil notice Leeman was dead? Polly tries to help, but fails.
Scene fifteen - Staircase/Reception (continuous)
Basil, Sybil and Polly rush downstairs, discussing what to do with the body. They have to move it from the room because another guest is arriving. Sybil says to put the body in the office until the undertakers arrive. As Sybil makes up Leeman's bill, which she will tuck into his wallet, Polly phones the undertaker. Basil grabs Manuel, and takes up upstairs to wrangle the body. Dr Price comes down, and says he has to report the death to the coroner. He goes back to try and get some breakfast.
Scene sixteen - Landing (continuous)
Polly keeps watch as Basil and Manuel manhandle the body, disguised as laundry, along the landing. The elderly Miss Tibbs, coming the other way, picks up a pillow which has fallen from the body, won't be shooed away, and in the kerfuffle the body is revealed. Miss Tibbs has hysterics, and starts to cry 'murder'. Basil encourages Polly to slap her, and when helping to guide Polly's aim manages to knock Miss Tibbs out.
Two guests, Mr and Mrs White, are coming upstairs, so both Mr Leeman and Miss Tibbs are dragged into the nearest bedroom. Which turns out to be that of the Whites. Polly tries to stall them, but they are insistent - they need to collect some things before going out. Basil locks the door.
Scene seventeen - Bedroom (continuous)
We see that the bodies have been stashed in the wardrobe.
Scene eighteen - Landing (continuous)
The bedroom door is opened.
Scene nineteen - Bedroom (continuous)
The Whites come in. Miss Tibbs is coming round, and is making noises from the wardrobe. The Whites are curious, won't be distracted, and then Miss Tibbs starts to bang on the wardrobe door. The Whites demand that she be let out. She is, but she is incoherent, and meanwhile Polly notices that Mr Leeman's arm is visible. The Whites are stunned.
This is the end of a continuous sequence from Scene three to Scene nineteen. It is marked by a fade out/fade in, whereas until this point there have been cuts.
Scenes twelve to nineteen are almost exclusively devoted to the main story, but Dr Price's sausages and the theme of poisoned/lethal food recur.
The continuous action, the use of stairs and of physical movement, creates a great sense of urgency. Sybil and the doctor are calm, contrasting with Basil's mounting panic. The problem of what to do with the body occupies much of the episode. Sybil's suggestion of putting it in the office until the undertakers arrive is eminently sensible. It is Basil who complicates matters by not being straightforward, and Polly, the other sensible one of the four, always wants to help Basil out rather than joining Sybil on the side of logic.
This is now halfway through the episode, and though the fade in/fade out might suggest a 'mid-point of Act Two', in fact the main story continues to develop rather than setting off in an unexpected direction.
Scene twenty - Office (check loc)
Sybil is trying to comfort Miss Tibbs, but is not really listening (oh, I know).
Scene twenty one - Reception/Office
The Whites are on the phone booking alternative accommodation. As they leave, Basil, Manuel and Polly come downstairs with Mr Leeman, and prop him on a chair in the office.
Scene twenty two - Office (continuous)
The Major pops in for a chat, sees the body, and treats it with equanimity.
Scene twenty three - Hall (continuous)
Basil rushes into the hall, to find Dr Price asking for his breakfast.
Scene twenty four - Dining room/Kitchen/Dining room (continuous)
Basil goes through the dining room to the kitchen and starts sausages cooking. He hears Miss Tibbs banging the reception bell and demanding to speak to him, and closes the door. He goes to the dining room to apologise to Dr Price, hears sounds of distress, and rushes out to find...
Scene twenty five - Office (continuous)
...Miss Tibbs passed out next to Mr Leeman, with Manuel being ineffectual. Sybil arrives and asks why they put the body in the chair. They set out to bring the body to the kitchen, but another guest comes downstairs, so they divert through the front door.
Scene twenty six - Hotel steps, exterior (continuous)
The Whites, just driving off, see Basil and Manuel with the body. Polly waves them back in as the coast is now clear. We hear the Whites, distracted, crash the car.
Scene twenty seven - Hall (continuous)
Basil and Manuel carry in the body, but are waylaid by Mrs Chase, who demands that Basil call a vet for her ailing dog.
Scene twenty eight - Kitchen (continuous)
Basil and Manuel bring Mr Leeman into the kitchen and put him on a work surface. The kitchen is filled with smoke, because Basil has forgotten the doctor's sausages. The doctor comes in, and says they have to get the body away from food. Basil and Manuel put the body in the laundry basket.
Scene 29 - Hall (continuous)
The Whites come in and go upstairs. Basil and Manuel bring the laundry basket into the hall, watched by a man. Basil calls Sybil, without response.
Scene 30 - Office (continuous)
Sybil is giving Miss Tibbs a medicinal brandy.
Scene 31 - Kitchen (continuous)
Basil apologises to the doctor, and starts cooking more sausages.
Scene 32 - Dining Room (continuous)
Manuel is cleaning up, removing tablecloths, etc. He and Dr Price have a set-to about whether breakfast is still available. Manuel says no. Basil comes in and pokes Manuel in the eye.
Scene 33 - Reception (continuous)
Sybil gives a guest the key to Room 8. Mr Leeman's friends arrive to pick him up. Basil and Manuel arrive with the laundry basket. The friends say they are meeting Mr Leeman, and ask Basil if he knows where Leeman is. The woman in the group says they have come to collect him. Basil mistakes them for undertakers. He opens the basket, but there is no body inside. Polly comes in and says the fresh laundry has arrived. She, Basil and Manuel rush out.
Scene 34 - Outside Hotel (continuous)
They stop the laundry van.
Scene 35 - Dining room (continuous)
Dr Price is sitting at a table, while smoke wafts from the kitchen.
Scene 36 - Hall (continuous)
Basil and Manuel bring in another laundry basket. "He's in this one."
One of the friends says they have come to collect him to take him to a meeting. Basil tries to recover the situation. Sybil emerges to deal with the situation, while...
Scene 37 - Stairs/Bedroom/Bedroom (continuous)...Basil and Manuel bring the body upstairs to Room 8, which is now occupied by a man in a dressing gown blowing up a sex doll. They take the body into the Whites' room, which is in darkness, but the Whites are in residence.
Scene 39 - Stairs/Hall/Kitchen/Hall (continuous)
Basil and Manuel take the body back downstairs and into the kitchen. Dr Price is cooking his own sausages. Basil wants Manuel to help him put Mr Leeman back in the basket, but Manuel goes on strike and gets into the basket himself. Basil is holding the body by the feet as Sybil emerges with Mr Leeman's friends. He props the body up in front of the hat rack, and shields it. One of Leeman's friends wants his hat. Basil stalls. Polly tries to help.
Miss Tibbs arrives, demanding to talk to Basil. The Whites come downstairs in a state. Mrs Chase turns up, saying that her dog has been poisoned. Dr Price emerges, saying that the sausages are off. Basil says that Sybil will explain everything.
As the crowd converges on her, Basil climbs into the laundry basket, and is carried off by two laundry men. Miss Tibbs turns to see Mr Leeman's propped-up body and has the vapours. Sybil shouts: "Basil!"
Scene 40 - Exterior Hotel (continuous)
The basket is loaded on the van and driven away.
This final scene brings together the dog sub-plot, the doctor's breakfast sub-plot, the poisoned/lethal food sub-text, and ends the story in a logical, if not an entirely satisfyingly dramatic way. There is no resolution - logically, there can't be, so Basil disappears, leaving Sybil to sort out the mess, and us to wonder how much punishment he'll receive when he gets home.
With the sitcom form dedicated to a return to the status quo at the end of each episode - in the sense that characters don't change their relationships, albeit that their circumstances can change - then this episode achieves that in the pattern of Basil mucks up, Manuel complicates, Polly tries to head off disaster, and Sybil (we assume) sorts it.
In this script nothing is wasted. Everything (apart from older man/younger woman) contributes to story, whether it is story unfolding in the present, or seeds being planted for later flowering.
Although the method of Fawlty Towers is one in which Basil - like Larry David - is the author of his own misfortunes, there is little moral context and there is a cruel element which does not have consequences. Basil is physically abusive to Manuel, and in this episode Polly kills a dog which, in any other show, would lead to an outcry from the audience.
