Writing the TV Drama Series 3rd Edition: How to Succeed as a Professional Writer in TV (17 page)

However, increasingly, title sequences along with theme music have been dumped by networks preferring to grab viewers with uninterrupted drama. The “tease” is the story itself, and titles scroll over Act One.

Often, a teaser sets out the problem of an episode. For example, on a detective show, the crime to be solved may be enacted or discovered in the teaser. But each show is unique. Looking back at the classic
Miami Vice
series, the lush teasers featured life in Miami and a provocative crime in progress in a textured environment usually involving drugs. The main cast never appeared in the teaser. Similarly, in
House
, a cinematic vignette involving the guest cast builds to a surprising medical twist in the teaser, though House and the other doctors don’t learn about it until Act One. In contrast, both
Law & Order
(in all versions) and most crime procedurals open with the cast arriving at a crime scene after the deed is done.

In many law and medical shows, a case arrives and incites the events of the episode. But in
The Good Wife
and
Grey’s Anatomy
, where emphasis is on the ensemble cast, teasers have sometimes shown the continuing characters waking, getting ready for work, or traveling to work, launching their personal stories that will spin out in the episode.

HBO’s
Six Feet Under
always opened with someone dying (as bizarrely as possible) who turned up in the Fisher family funeral home in Act One, underlining the show’s notion that life is random. But that teaser was rarely a component of the episode’s drama; its link is thematic. The prison drama
Oz
, which used to run on HBO, also opened with theme rather than continuing story — a philosophical monologue, in fact.
Dexter
uses a version of this as well, reminding viewers of the show’s psychological world instead of beginning a plot.

If you’re a new writer, though, I recommend sticking with story rather than message. A swiftly propelled dramatic tension will lure a reader to turn the page and a viewer to see what happens next. Real storytelling is difficult, and I’ve seen too many students fool themselves into thinking they can impress by opening with a weighty theme or abstruse philosophy, when they’re actually avoiding the challenge of impelling an arc. The best teasers tend to be the best drama.

A
BOUT
T
HESE
E
XCERPTS
…

With appreciation to Steven Bochco, Executive Producer of
NYPD Blue
and many other great drama series, who graciously gave permission, here is the Teaser and Act One of each of two Emmy-winning episodes that ran four years apart. I’ve chosen these historic examples partly because they’re so clearly crafted that you can easily grasp the structure, and also because they’ve stood the test of time.

The first excerpt is from “Simone Says,” which aired at the beginning of 1995; Story by Steven Bochco, David Milch, Walon Green; Teleplay by David Milch, Walon Green. This episode introduced the character of Bobby Simone (played by Jimmy Smits) in the middle of the second season. Other main cast — Andy Sipowicz (Dennis Franz), Lt. Fancy, Detectives Lesniak, Martinez and Medavoy, Asst. D.A. Sylvia Costas, and receptionist Donna, were established in the series at this point; the remaining names are guest cast. Read and try to identify the stories and think about the form. Following the script pages, I will analyze its dramatic elements.

After that, you’ll see another episode segment, along with a discussion.

NYPD BLUE “Simone Says”

FADE IN:

1   EXT. PRECINCT - DAY          1

To establish --

2   INT. LAVATORY - LOCKER ROOM - DAY          2

SIPOWICZ enters from the hallway wearing his jacket and carrying a small paper bag from a drug store. He goes to his locker, opens it takes his jacket off and hangs it on the open locker door. Crossing to the sink with the bag, he glances around as he steps in front of the mirror, removes a pair of drug store reading glasses from the bag and puts them on. A large tag hangs from the glasses, dangling against his cheek as he unhappily studies himself in the mirror. Sipowicz snatches away the glasses and stuffs them back in the paper bag as someone comes in.

He turns and sees BOBBY SIMONE moving to the bank of lockers to the left of the door, checking a small piece of paper in his hand on which a locker number’s been written.

SIMONE

’Morning.

SIPOWICZ

How’s it going?

Sipowicz steps over to him --

SIPOWICZ (CONT’D)

Andy Sipowicz.

Simone regards him, smiles and extends his hand --

SIMONE

Bobby Simone, nice to meet you, Andy.

SIPOWICZ

Yeah.

Sipowicz clears his throat, steps to the door and exits. Hold a beat on Simone, crossing Kelly’s name off the locker, inscribing his own, then --

CUT TO:

3   INT. SQUAD ROOM - DAY          3

Sipowicz crosses the Squad Room directly to Fancy’s office.

4   INT. FANCY’S OFFICE - DAY          4

FANCY looks up to see Sipowicz.

FANCY

’Morning Andy.

SIPOWICZ

That’s no good. That’s not gonna work.

FANCY

What isn’t?

SIPOWICZ

I just met this new guy.

FANCY

Simone.

SIPOWICZ

Yeah that’s not gonna work out.

FANCY

What happened?

SIPOWICZ

(waves dismissal)

Don’t get me started.

Fancy watches Sipowicz pace. BG In the Squad Room we see Simone meeting Medavoy, Martinez.

SIPOWICZ (CONT’D)

The whole attitude’s wrong. “How you doing,” this type of thing.

Fancy’s phone rings. As he picks up the receiver --

FANCY

He asked how you were doing?

(into receiver)

Lieutenant Fancy.

(beat)

Okay/

(hangs up)

We’re got a homicide.

(MORE)

FANCY(cont'd)

(beat)

You’re senior in the Squad. I want him with you, at least till he learns the precinct.

Sipowicz shakes his head, disaffected with his entire lot --

SIPOWICZ

I need glasses and everything else.

Off Fancy, as Sipowicz exists his office --

5   INT. DONNA’S DESK - DAY          5

Donna looks up from her desk to see JAMES ABRUZZO.

ABRUZZO

Yeah, I’m here to see Adrianne Lesniak.

DONNA

Your name is …

Abruzzo ignores her question, crosses to LESNIAK at her desk. Lesniak, just arrived, is putting her things away. She sees him and a look of weary desperation crosses her face --

LESNIAK

Jimmy …

ABRUZZO

What? It’s not like you give me a choice.

Lesniak faces him from her desk --

LESNIAK

Not here. Please.

He settles in a chair facing her --

ABRUZZO

Then where? I can’t talk to you outside work ‘cause I don’t know where you’re staying anymore, I can’t call you here, ‘cause you’ve told that bitch at the desk not to put me through …

(louder)

Where am I supposed to talk to you?

LESNIAK

We’ve got nothing left to talk about.

Abruzzo sees Donna staring at him ==

ABRUZZO

What are you looking at?

Donna looks back to her desk. She lifts the phone.

Abruzzo leans close to Lesniak, grips her wrist --

ABRUZZO (CONT’D)

You don’t know how much I love you.
You don’t know what I’d do for you.

LESNIAK

You’re drunk; Let go.

She tries to snatch her wrist away as Fancy steps up behind Abruzzo.

FANCY

All right, you get up and you get the hell away from Detective Lesniak.

Abruzzo slowly turns his head and looks at Fancy.

ABRUZZO

No, you get back. I’m holding a .38 pointed straight at her guts.

LESNIAK

Jimmy.

ABRUZZO

Let’s go. You want to keep this private, we’ll talk in private.

He brings her to her feet.

People in the room are frozen until Fancy lunges, grabs Abruzzo’s gun hand and swings the pistol toward the ceiling.

A shot is fired, but Fancy hangs onto the gun, preventing the cylinder from rotating to fire again. Abruzzo punches at Fancy who hangs on with both hands.

Sipowicz lunges for him but a kick from Abruzzo catches him in the stomach, he’s hurled back and his lower spine slams against a desk.

Abruzzo is pulling at the gun, swinging it wildly from side to aide while Fancy hangs on.

From over a desk, Simone flies through the air and hits Abruzzo with a tackle that hurls him to the ground. Fancy pulls away with the gun as Simone spins Abruzzo around and twists his arms behind him.

As Sipowicz comes forward with obvious lower back pain, Simone cuffs Abruzzo. Abruzzo is hauled to his feet in the circle of people.

LESNIAK

(miserably protective)

He’s from the two-seven, Lieutenant, he’s on the job.

FANCY

He’s under arrest.

(to Donna)

Get a D.A. down here.

(to the newcomer)

You’re Simone?

SIMONE

How you doing Lieutenant?

FANCY

(to Simone and the other Detectives)

I got this, get to your homicide, Thirteenth and Third.

ABRUZZO

(to Lesniak)

Are you happy? Look what you’ve done to me now.

FANCY

Shut up!

SIMONE

(to Sipowicz)

Are you hurt?

SIPOWICZ

I’ll live.

(beat)

C’mon, ride with me.

Off which --

SMASH CUT TO:

MAIN TITLES

6   EXT. STATION HOUSE - DAY           6

Sipowicz and Simone move toward Sipowicz’ car as in b.g. Medavoy and Martinez do the same.

SIMONE

Lesniak and Abruzzo were going out?

SIPOWICZ

(nods)

She broke up with him, got transferred, he went half-wacky.

SIMONE

Looks to me like he made the whole trip.

SIPOWICZ

(beat)

What was
your
last assignment?

SIMONE

Intelligence. I drove for the Commissioner.

They’ve reached Sipowicz’ car, are about to enter --

SIPOWICZ

You were one of those guys got grade promotions?

SIMONE

Yeah.

SIPOWICZ

(flat-voiced)

That was nice.

Off Simone, getting in, taking the hit --

CUT TO:

7   EXT. 13TH STREET AND 3RD - DAY          7

Sipowicz’ van pulls up at the crime scene and parks beside Medavoy’s car, from which we see Medavoy and Martinez exiting. Sipowicz and Simone get out.

In front of a remodeled apartment building, a body is on the street half under a bloody sheet.

Two units are parked with their bubble gums flashing and a paramedic van is at the curb. Sipowicz and Simone step up to the body.

A man in his thirties, dead in a blood-soaked linen suit.

SIMONE

Anyone check for I/D.?

UNIFORM

Waited for you.

MARTINEZ

(to Sipowicz)

Want me to get started on the canvas?

SIPOWICZ

Yeah, and have a uniform run the plates on these parked cars.

During which Simone has pulled his gloves on, crouched to look in the D.O.A.’s pockets for I.D. Sipowicz also crouches effortfully beside the body.

SIPOWICZ (CONT’D)

(to Simone)

Two in the chest. You see any other hits?

SIMONE

No.

(reads I.D.)

Raymond Alphonse Martarano, Jr., Bensonhurst.

(looks up)

The wise guy’s son?

SIPOWICZ

Or someone too stupid to change his name.

(to Medavoy)

Greg, find out if the M.E.’s responding and let Fancy know we’ve got a mobbed-up stiff.

MEDAVOY

Yeah, all right.

As Medavoy moves off --

UNIFORM

(to Sipowicz)

We found a shell over by that curb.

SIMONE

I got that.

Simone turns to go check it out, remarks to the Uniform re the on-lookers --

SIMONE (CONT’D)

Could you move the crime scene back twenty feet and get me a traffic cone to put over this shell?

UNIFORM

Sure.

Meanwhile Martinez has approached Sipowicz, points to a man on the sidewalk.

MARTINEZ

That man’s the super, he said the victim knew one of the tenants.

Sipowicz steps over to GOLDMAN, a middle-aged man in a blue baseball jacket.

MARTINEZ (CONT’D)

Mr. Goldman, this is Detective Sipowicz.

GOLDMAN

Yeah, hi …

SIPOWICZ

(re body)

Did you know this man?

GOLDMAN

Mr. Big Shot Ray Martarano Jr.? He’d tell the lamp-post who he was if nobody else was around.

SIPOWICZ

Who did he know in the building?

GOLDMAN

2C … Miss Anderson.

SIPOWICZ

You know where we can find her?

GOLDMAN

She’s a model. I’m supposed to call her agency number for emergencies.

SIPOWICZ

I need that.

Suddenly O.S. Shouts. Sipowicz turns. Across the street a woman shouts from a doorway --

MISS SAVINO

Help me! … Help! My mother’s been shot!

From the street, Simone races toward the building. He faces a woman, thirties who is standing in the doorway of an apartment. Her hand is covered with blood.

SIMONE

Where’s your mother?

MISS SAVINO

In there … in there …

8   INT. GROUND-FLOOR APARTMENT - DAY          8

Simone rushes into the ground=floor apartment. In the room by the window, an elderly woman is sitting in a chair, her head to one side. Miss Savino stands in the doorway as Simone rushes to her mother.

MISS SAVINO

I was at the grocery store.

Simone looks at the woman, who is obviously dead.

MISS SAVINO (CONT’D)

She’s dead, isn’t she?

SIMONE

(puts his hand on the woman’s shoulder)