Egan explained that “House is a guy who wanted the same carpet in his office even though was bloodstained ('Lines in the Sand' in season three). He is not really a guy who responds well to change.”
But as we learn, there is more to the missing book that immediately meets the eye, something that Nolan finds interesting until he realizes that it’s not just any book. It’s a medical text written by Cuddy’s great grandfather—something he’s been holding onto, he tells Nolan until he can give it to her for a special occasion.
“We know, of course that House cares a lot about her. And I think we can see that House feels he’s made mistakes with her.” And what’s next, if anything, House and Cuddy? Egan was predictably cagey (especially with the season finale days away). “I say wait and see,” she replied.
Egan and I talked a bit about season six as a whole and some of the challenges of writing the series as it goes into its seventh season. “There was a lot of thought about how much of an effect House’s stay at Mayfield has on him,” Egan said about season six. “If you can’t perceive any difference at all, you wonder if was it worthwhile going through all that. And if you do perceive a difference, how much of a difference was there?”
By the end of “Broken,” House is clearly ready to try something else. “He gets to the point where he is actually participating in trying to change himself.” But how does that change the character. “How is that going to affect his interactions with other people? He’s always going to be sarcastic. So, how far along the road to goodness do you take a guy like House? There was a lot of thinking about that at the beginning of the season,” Egan explained.
The six-act structure of the episodes continued all season to annoy fans and equally plague the series creative team. Although there are the same number of minutes in each script, most of the commercial minutes are pushed to the back half, which can render the second half choppy, and sometimes completely interrupt the episode’s natural flow for viewers. As Egan said, “it affects the rhythm of the episodes.”
Although the creative minds hate the confines of this structure, there’s little they can about it but try to work within it. “In a traditional four-act structure, you’re always working toward the ‘act-out’ (the end of an act), which is hopefully on a more dramatic point. But if there are six acts, you can’t have six dramatic points in 42 minutes or it will feel silly, but you can’t cut out of nothingness into commercials, because that’s also a little odd.”