SPOILER ALERT: This post spoils episode seven of Margo’s Got Money Troubles.

What proves an emotional story point in the latest episode of Apple TV’s Margo’s Got Money Troubles took just as much behind-the-scenes planning, choreography and stuntwork to pull off safely for the actors.

Book readers may have seen it coming, but that doesn’t make Jinx’s very graphic drug relapse any less tragic, especially when Susie (Thaddea Graham) and Margo (Elle Fanning) rush to rescue his limp body from an almost overflowing bathtub.

Offerman had already done some stuntwork for his wrestling scenes, but art imitated the reality of the heavily-scripted sport with sequences made painless by choreography. Not only did the actors need to deliver their best reaction performances to Jinx’s relapse, but they needed to safely execute the action of hauling Jinx out of the tub.

“I think I probably took more of a beating in that scene than I did in the wrestling scenes, because wrestling mats are somewhat padded, but that floor was — slippy — [as Thaddea says,]” the actor told Deadline. Also, there was an element of danger, and doing a scene that is really arduous, achieving an emotional peak for an amount of time and performing physical acts and screaming [about] a matter of life and death. There’s also just an element of, as a longtime fight choreographer and enjoyer of stunts, there’s a sense also of just making sure everybody is safe, and we’re all feeling like we’re getting the help we need to pull the scene off without hurting each other.”

As if moving his muscular deadweight weren’t a task itself for the two girls, there’s a point where Jinx falls onto Margo and pins her underwater in the tub.

“That was a heavy day. I have to say it was a long day and a hard day, because Thaddea and I were completely, head to toe soaked because it’s supposed to be that I slip in the tub. So then half of the scene, I would be just drenched in water,” Fanning said. “Nick had to be in there. He also can’t help us pull him out. At times he would [try and] give, but we really, for the most part, we were really trying to tug on him. There was definitely a lot of stunt work and some tank work that when I fall back, there’s a shot of me in the water.

Thaddea Graham and Nick Offerman praised their stunt coordinators and the team behind the scene, who made time for extensive stunt rehearsals and thought through all the aspects that seamlessly show up on camera.

“It was a huge team effort. That’s one of the days I’m most proud of because there was so much conversation leading up to it. There was so much prep from every department,” Graham said. “They were thinking about ‘How can we shoot it in the most concise ways [where] there’s [the] least repetitions possible?’ They made time for stunt rehearsals, making sure that everyone was comfortable. Costumes had repeats for the outfits. People were coming in to dry,the bathroom, to reset. And that takes an awful lot of work.”

Offerman pointed out that “two inches of water on the floor” from his “flopping into the tub” had to be cleaned up after every take. Clothing dye from Susie and AMrgo’s outfit would also run into the water which required resetting for it to be clear on the next take.

“I remember coming home at the end of that day and going, ‘I’m exhausted, but I feel like we’ve done a really good day’s work as a team.’ And the thoughtfulness and the awareness they have of making a version of the bath that is rubber, or the setup for that fall, they set a tank outside the set that you could fall into safely, and they had the camera set up in a special way,” Graham said. “There’s just an incredible, incredible amount of preparation and skill set and knowledge that I don’t have that was amazing to see and to learn from. And I was so curious about how we would do the tricks and where we would shoot from, or where are you going to put a boom when everything’s moving? It’s a really, really cool thing to be part of. We definitely felt the responsibility of this story that we were telling.”

Offerman echoed creator David E. Kelley’s desire “to keep that story point in the show.”

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