Chapter XXVIII: "Revelations"

Time to Ramble...

Fueled by (what I perceived in my own mind to be) the success of "City of Stone", I began to get more daring in my story structure. In Revelations, Cary and I utilized the time-honored tradition of "in medias res", where a story starts in the middle and catches the viewer up along the way. (Thanks, Homer.)

We also used voice over narration for the first time. It's interesting because Matt just seemed like a perfect character to do that kind of Philip Marlowe naration. But at the same time, it was daring, because of course, Matt is not a regular. The audience didn't know him that well. I think it showed the strength of our supporting cast that Matt could carry a show like this. Of course, having the massively talented Tom Wilson playing Matt helped. I knew he could handle it. And he did. Tom is terrific and VERY funny in the booth. I hope someday he gets his own tv show. (I also loved him as Coach Fredericks on Freaks & Geeks.)

The basic springboard for this episode came from four sources.

1. The notion that eventually Matt would have to find out about the Gargoyles. We didn't want to just throw it away or constantly come up with new excuses why he had "just missed them" or whatever.

2. Matt's pursuit of the Illuminati. What began as a Michael Reaves throwaway line in "The Edge" had evolved into its own subplot. Cary's "Silver Falcon" had taken us to the next level of hearsay. It was time to finally bring the Society into the series.

3. Disney's desire to do a cross-over event with their new "TOWER OF TERROR" ride down in Orlando. Unfortunately, they had wanted this much earlier -- in 1994. We had piggy-backed our World Premiere Screening of Gargoyles down in Florida in September of 1994 with the press event for the Tower's Grand Opening. (That's how Keith David, Marina Sirtis, Salli Richardson, Gary Krisel and I wound up riding the Tower of Terror together on the night before it opened to the general public.) But this was the soonest we could fit the notion into our continuity. You'll see in the memo that I just posted previous to this ramble, that when we were at the outline stage, I was still trying to more firmly tie the two properties together. Partway through the script process, someone at Disney changed their mind. They didn't want the tie-in anymore. I shrugged, I think. And the HOLLYWOOD TOWER became the HOTEL CABAL.

4. An episode of the British TV series, THE AVENGERS, called something like "The House That Jack Built". This was a classic that we ripped off shamelessly. (Wait, wait, I mean we paid it homage shamelessly.) It was about this nutty house designed, I believe, to trap spies inside and drive them bonkers and break them. Sound familiar? John Steed and Emma Peel redone as Goliath and Matt. Didn't you notice the resemblance?

(Gee, so far I've credited Raymond Chandler, Homer and THE AVENGERS as influences. What a fun episode.)

We reintroduced Hacker, mostly so that we could bookend him at the end as Matt's new Illuminati contact. This was something that Cary and I planned as far back as Silver Falcon. We always had to keep Hacker's agenda straight. Make sure any info he gave Matt was a wild goose chase, at least as far as Hacker knew.

In this episode, and only in this episode, Maria Chavez is played by the talented Elisa Gabrielli (also known as Obsidiana). Rachel Ticotin, our usual Chavez, was just unavailable. So Elisa filled in. She has a lighter sound. But I think it works. Did anyone notice? Both Elisa and Rachel are great. I used Elisa as the Doll Demon in 3x3 Eyes (now available on VHS and DVD).

My 3 year old son Ben, who at this point is used to me writing down what he and his older sister says during these viewings told me to write down the following: "When it's night, Demona's a gargoyle. When it's day, she's a human. He likes it when Demona's a human." This had absolutely nothing to do with this episode, but hey, who cares?

I really loved what Ed Asner did with the throwaway character of Jack Dane. "Tell him he's a bum." Dane was so much fun, I brought him back for TURF later.

CONTINUITY

Matt climbs into the clock tower and finds the TV he helped Elisa with on the day they met. That was fun. This whole episode ties back to Matt's Illuminati musings in "The Edge". It was nice to find another connection. Also, Elisa's been lying to him as long as they've known each other. Nice to remind the audience of that as well.

I like the "family of gorillas" line.

"The Dental Plan" line is vintage Cary Bates.

Elisa: "Matt, you haven't said three words all night..."
Matt: "Let me drive." HEY! THREE WORDS! :) This is fun because, I always thought of Elisa as someone who was such a control freak, she never let her partner drive her car. A big part of this episode, though it could easily sneak past you what with everything else going on, is revealing more facets of Elisa's personality. We learn much more about her and she grows here too.

It's fun to establish Xanatos as "a lower eschelon member". Immediately makes the Illuminati impressive, if Xanatos barely registers on their scale. Also sets up eventual conflicts with him.

First act cliffhanger: Here the threat is Matt. Again, how well did you all think you knew Matt? Here we're inside his point of view -- his narration. But we still try to play him edgy enough that we don't know if he'll kill them both. It helps that we opened with the shocker that he betrayed Goliath to Mace. How many people bought that? Thought Matt was the Judas that Mace said he was?

Anyway, I really like this scene. Elisa yelling at Matt. Matt getting out of the car and yelling at... no one. And Elisa's quiet revelation that Matt isn't crazy... "They don't follow me everywhere." Again, this line was as important for Elisa as for Matt. Sure she can count on the Gargoyles for help. But I never wanted it to seem like Lois and Superman. Like he was always around or would here her with super-senses everytime she screamed. Most of the time, Elisa's on her own.

"This time I'll drive."

Fun to see the gargoyles reactions when Matt is introduced. Goliath's not upset. He appreciates that Elisa has a loyal partner and probably gave her permission to bring Matt in from the cold long before. The truth is they know Matt already.

Elisa: "better late than never".

And then immediately Goliath is suspicious. "Trust is not... to be bartered."

As creators, we were playing both ends here. Omitting pieces of conversation. Trying to get the audience to believe that Matt might in fact be betraying G. But also making it believable that in hindsight, he wasn't. Not cheating, in other words.

At this point, my six year old daughter Erin said: "I don't like Bluestone in this one. He's usually very nice. But in this one he's mean." That's how she saw him. Not righteously angry with Elisa for the lies. Just mean.

It took remarkably more effort than I'd have expected to get things to hook up with our Teaser from the beginning of the act. To help, I reused a couple of Mace's line as prompts to the audience.

It's fun to hear Tom Wilson playing Matt playing at being a bad guy.

I like all the hotel references. "Check out time" etc.

Mace falls down the shaft and grabs the cables with his bare hands. One hundred years old or not, that's gotta hoit.

I like Matt using his coat as a parachute. That wouldn't be necessary except for that darn Gallileo. If it weren't for him, Goliath, being heavier, could have fallen faster than Matt to catch up to him. :)

And of course, I enjoy the irony of Mace being trapped in a Hell of his own making. And i like the notion that the Illuminati just left him there to rot. He had outlived his usefulness. A non-member had found him thanks to his annoying sentimental habit of visiting Pine Lawn. AND he had failed to hold the Gargoyle in the Cabal. Breaking a perfect record. Woops.

Goliath refers to Bluestone as his friend. That's to make sure the audience is clear that Goliath was in on the plan from the beginning. Later, I gathered, some people still didn't get that.

We have a great Turning to Stone sequence here. Every once in a while it's nice to remind the audience that this is unique and special. Seeing it through a new characrer's eyes is a great way to do that.

I love Elisa and Matt's conversation. Elisa reveals that she's subconsciously been keeping the gargs to herself because it made her feel special. Explains a lot about "Her Brother's Keeper", doesn't it? And Matt admits to something similar. I think we all do little things to help ourselves stand out, even if no one notices them but us.

Maria then helps us see that Matt and Elisa are going to be okay.

And finally, our Hacker tag. (This episode had like six tags.) Matt gets his pin. I thought that was kinda cool...

What say all of you....

Revelations Story Memo

In Prep for my coming RAMBLE on REVELATIONS, here's the memo I wrote to Story Editor Cary Bates in response to his outline...

WEISMAN 1-15-95

Notes on "Revelations" Outline...

GENERAL
NEW STRUCTURE
I was very concerned that the first act and much of the second act came across as prologue to our adventure. And yet most of it is necessary stuff. So I think we should open the story with GOLIATH trapped in the "house that Jack built" (HTJB) and flashback from there. Probably with MATT narrating the whole story in Voice Over.

I've suggested act breaks, but you don't have to feel married to them, if the timing or page count seems wrong.

Also, I didn't suggest any specific revisits to the HTJB (after the prologue) until our story brings us back there chronologically. If you want to revisit the present in the HTJB a few times to remind the audience of the current situation and to up the action with Goliath facing another death trap, go for it. Totally up to you.

I also moved the Hacker scene up, so that he can bookend the show a little more. In his first scene, he'll still be telling Matt that the Society is a myth. In his last scene, he'll be inviting Matt to join.

HTJB/MOUNTAIN RETREAT/TOWER OF TERROR/SEEDY HOTEL
It's a bit of a stretch to believe that Goliath would go to this "Mountain Retreat" with Matt. What do they hope to accomplish there, besides illegal search and seizure? Matt's "informant" is fishy beyond belief. So is the gizmo that gets them past the security perimeter. The point of which is lost on me, since they are immediately spotted by security forces. How does defeating these forces help? THEY'VE BEEN SPOTTED. What can they hope to accomplish now? These security guards can't radio inside to hide or destroy whatever data there might be? It's all adding up to a big old fishy mess. And yes, I realize that the Illuminati want Goliath inside and that Goliath wants to get "trapped" in order for Matt's plan to work out, but it's too convenient to say everyone is intentionally acting like idiots. The audience won't be in on it. They'll just be getting frustrated. By the time we reveal the truth, they'll just generally feel the whole story was contrived.

So let's start by ditching the mountain retreat. I like the Seedy Hotel better. Someplace that from the outside seems like a totally non-descript Manhattan building. Maybe it's boarded up and condemned. Getting in is not a problem. They land on the roof and sneak inside. But getting out is impossible.

The hotel is really the "House That Jack Built". Yes, steel shutters slam shut, trapping Goliath, but more importantly, we should really lose our bearings inside. Goliath rips open a window that he thinks leads outside, only to find it's a false facade that leads into another room. At another point, he thinks he has gotten back onto the roof. But this turns out to be another interior room, with a domed ceiling painted with stars. Another room has all the furniture on the ceiling and the razor sharp ceiling fan on the floor. Maybe another room rotates. Think about optical illusions, Escher paintings, etc. The death traps are fun, but we've done them before, so it's the mind-bending surreal stuff that will make this place special.

Also since the powers-that-be have asked, and since it fits our story, please refer to this place at least once as the "TOWER OF TERROR" and do at least one death trap with a rapidly falling elevator. This is "Synergy" with the Disney/MGM theme park's TOWER OF TERROR ride in Florida. I wouldn't suggest it if it didn't fit, but it fits just fine and that kind of goodwill never hurts. The name of the hotel should be the Hollywood Tower, cause that's the name in the ride. Now I know that seems like a weird name for a manhattan hotel, but if you figure it was built in the thirties or forties, during Hollywood's heyday, you can RATIONALIZE that even a New York Hotel would want to associate itself with the glamour of Hollywood. O.K. It's a stretch, but go for it.

MATT AND SECRECY
THE THEME OF OUR STORY IS TRUST. Hit it as much as possible. However, I don't want to replay Matt's emotional arc from Silver Falcon. He learned his lesson in that story. He no longer runs off without telling Elisa where he's going or what he's doing. Matt's honesty at the beginning of the story will contrast nicely with Elisa's deception about the gargoyles and with Matt's later bitter, furtive behavior. He can't feel too betrayed by Elisa's lies if he opened the story lying to her as well.

GOLIATH
In your beat #9, Goliath is behaving completely out of character. He may never have been introduced to Matt, but he's seen him from a distance and knows who he is. He must know from Elisa that Matt is a good guy. His long-term goal in Manhattan is to find acceptance with a growing number of humans. Elisa was the first (and is still the foremost), but Renard is a friend of Goliath's now. Jeffrey Robbins the novelist is a friend of Hudson's. Goliath tried to convince Elisa to tell the truth to her brother, etc. And in any case, he's not likely to physically assault someone for doing nothing else but looking at them. I know you want to set up a tense dynamic, but the one in beat 9 is totally artificial. So drop it.

BOTHERSOME QUESTIONS THAT MUST BE DEALT WITH IN THE SCRIPT
1. Why was it necessary for Mace to vanish in the twenties? (Perhaps he was recruited by the Illuminati, but was about to get busted for his criminal operations with Dracon. So he vanished with the money, and the Illuminati set him up with a new life. But why did they want him? Why would they bother?)
2. Why would Mace give up his glamorous gangster life to live in a seedy hotel for the Illuminati? (He obviously wouldn't. So let's not imply that he did.)
3. How did Matt make the connection between Mace and the Illuminati in the first place? (This question must get answered in this episode. In "Silver Falcon", the old photo of Mace and Dominic will depict Mace wearing the Illuminati pyramid/eye emblem. But don't count on the audience noticing or remembering that. And don't forget that Matt thought Mace was involved with the Society long before he saw that photo in Benton's office.)
4. Did Matt just get phenomenally lucky that he happened to go to Flo's grave at the same time as Mace? Was he planning on setting up 24 hour surveillance? Did he have some way of knowing that Mace visits and when?
5. How does Mace being alive prove the existence of the Illuminati? (Hint: it doesn't, by itself. See question #3.)

MALONE
Mace was a prominent gangster when he disappeared in 1924. If you figure he was about thirty, he'd be 100 now give or take five years. I think we should make a point of this. He looks great, thanks to the Illuminati's rejuvenation techniques. Like a man of 75 or 80. But he proudly tells Matt that today's his 100th birthday, or something like that.

BEAT OUTLINE
ACT ONE
1. Establishing shot of the Seedy Hotel. It's Friday night. Inside, Goliath is already alone. The steel shutters slam shut, trapping him inside, a mysterious voice (Mace) welcomes him to the "Tower of Terror". Maybe activate a death trap or two. Maybe Goliath finds an open window, but it leads back inside. Maybe the ceiling comes down on him or something.

2. Cut to the control room, where we see Goliath on a monitor. Mace is at the controls. (We don't yet know who he is.) And then pull back to see Matt looking over Mace's shoulder. We can't believe Matt is helping to trap and kill Goliath!! Push in on Matt. In his voice over, we find out he can hardly believe it either, it all began last Tuesday....

3. First flashback begins. Last Tuesday. It's the FBI target range and the scene with MARTIN HACKER. (Don't take for granted that the audience knows Hacker. Reintroduce all the necessary, pertinent info about him, Malone and the Illuminati -- pretend they've never been mentioned before this episode.) Hacker can't believe Matt is still chasing Mace Malone and the Illuminati. It's a wild goose chase that got him fired from the Bureau. When will he learn his lesson? But Matt is determined. He's going to prove the existence of the Illuminati, prove that he's not a nutcase. So Hacker gives him the info that he asked for: the location of Malone's step-son, a mobster who's part of the Federal Witness Relocation Program. (Hacker gives him this location because he knows that Malone's step-son has no idea where Malone is.)

4. Tuesday Night. Later at the precinct house, Matt sees Captain Chavez coming out of the Ladies room. He asks her if Elisa is in there. She says no. Matt doesn't get it. Her car is here, but he can't find her.

He finally finds Elisa exiting the broom closet. Has she been sitting in a closet for the last twenty minutes? Of course, not. She was just, uh... returning a mop. One of the sinks in the ladies' room overflowed. That's where she's been (yeah, that's the ticket) cleaning up a flood in the Ladies' Room. Matt is so stunned by her obvious and clumsy lie, that he doesn't immediately confront her with it. Unaware that she's been caught in a lie, Elisa quickly changes the subject. Why was Matt looking for her? He's got a lead on the Illuminati. After the Silver Falcon debacle, he's learned his lesson about keeping his partner in the dark. (He says pointedly.) He just wanted to let her know where he's going to be tomorrow. (As with Hacker, Elisa likes Matt but seems to only tolerate his obsessions. There's the tiniest bit of a patronizing attitude toward them. Perhaps Matt invites her along on his investigation, but she thinks it's a waste of time. She's nice about it, but Matt's V.O. narration lets us know that he knows she thinks he's a kook. Same with Hacker in the scene above.)

5. Wednesday. Matt confronts Malone's step-son, JACKSON DANE (or whatever) at the gym (or wherever). (Jackson's 80 if he's a day, but he can have Ferrigno-sized goons. Though you need to be careful that Matt doesn't come across as a dirty or rogue cop. I don't want him to break any laws.) Matt asks Jackson about Mace. Dane hasn't seen Mace since he was a little kid. Matt pulls out a photo that was taken at the memorial service for Jackson's mother (Mace's ex-wife), actress Flo Dane, when she died fifteen years ago. It was a big deal thing. We see a picture of Jackson in the front row. Did Jackson see Mace at the funeral. No. Matt takes out a second picture. A blow up of people in the back row. He points to one. Jackson looks carefully, and whaddaya know? It's Mace. Now Matt wants to know where Flo Dane is buried. Jackson says that his mom didn't want her grave to become a tourist attraction, so she was buried under her real name, FLORA DREEDLE. Did Mace know that name? Yes, he did.

6. Wednesday, just before sundown. Back at the precinct, Elisa asks Chavez if Matt's checked in yet. No. Elisa goes up to see the gargoyles. We follow her into the broom closet. The pull-down ladder is already down. She nervously pulls her gun and goes upstairs. Only to find Matt there. She's under time pressure to get him out of there, since it's nearly sunset. He points to the t.v. set. He remembers helping her bring that into the precinct the day they met. She had said it was for a friend. She pretends that this is her little getaway spot when police life gets too intense. Some getaway spot. An old lounge chair. A hot plate. Video game equipment. Books. Enough food for a family of gorillas. She says she may be bending a few regulations, but she's not breaking any laws. Don't tell Chavez, o.k.? (She has got to get him downstairs.) So how'd it go with Mace's step-son? He's still highly suspicious, but enthusiastic enough about filling her in on Mace that he allows her to guide him back downstairs. Matt has checked with the funeral home. Some old man shows up there every Thursday and leaves a rose for Flora Dreedle. It's a long shot but Matt is going to be there tomorrow to find Mace Malone.

7. Thursday. Matt finds Mace Malone, who goes into a bit of denial, but we'll give him an Illuminati tattoo on the palm of his hand (or something). Mace relents, impressed. The Illuminati has been aware of Matt's quest. They've thrown multiple roadblocks in his way, and still Matt found Mace. The Society has clearly underestimated the boy. Mace offers Matt membership based on a loyalty test. Matt: You want me to prove my loyalty? How do I know I can trust you? Mace: Fair question. What if I prove good faith by revealing a bit of information donated by one of our lower echelon members, David Xanatos. Matt's listening.

8. Very late Thursday night. Elisa and Matt are driving in her car. She's driving. She asks him if everything's all right. The shift's almost over and he hasn't said three words all night. "Let me drive," he says [exactly three words]. No way -- it's my car, she replies, only half-kidding. He INSISTS. She relents, realizing he's pretty upset about something. It's a very awkward moment. She has to stop the car, get out and switch sides with him. He's silent the whole time. He drives. Where are they headed? He ignores the question, but tells her that today he found Mace Malone. That's great, she says, but you're driving awfully fast. He ignores that too, saying he feels like he's on a streak. Now that he's proven the Illuminati exists, he's about to prove the existence of another urban myth that he's been taunted for believing in. Matt, she yells, you're driving us right into the path of some kind of danger!! That's right he says, and the only way we can be saved is if your gargoyles save us.

ACT TWO
9. Elisa manages to wrest the wheel from him and turn the car into a very uncontrolled 360° skid. Thank god for seat belts. They barely survive. Elisa is furious at Matt! What the heck does he think he's doing?! He's trying to get his partner to tell him the truth. He gets out of the car and yells to the sky. "I know you're out there! Show yourself!" Nothing happens. No gargoyles appear. Elisa gets out of the car. Matt's expecting another lie. But all she says is, "They don't follow me everywhere I go." They look at each other. C'mon, she says. I'll drive. (NOTE: I don't think we need to bring up informants. Elisa can believe that Matt has put two and two together from all the lies she's had to tell in the first act.)

10. But by the time they get back to the precinct it's dawn, early Friday morning. Too late, she says. He doesn't buy it. He knows that set-up in the clock tower must be for them. She's still reluctant to tell him the whole truth. Look, she says, you have to be patient for a little while longer. (Note: she has not actually apologized yet.) Meet me back here this evening. Ten minutes before sunrise.

11. Friday. Mace and Matt meet again. Has Matt seen the gargoyles yet? Tonight. But the information was correct? Yes, she friends with them. The Society has demonstrated good faith. Does Matt still want to join? Yes. Then you're willing to take the loyalty test? Yes, what do I have to do? Bring us a gargoyle.

12. Friday at twilight. Matt and Elisa head out the clock face's door (at roman numeral VI) Matt sees the statues of the gargoyles and gets pissed again. No stone statues are going to fool him. He knows they're flesh and blood. He's seen them (in previous episodes). She says hold on and stand back. The sun goes down. The gargoyles explode from stone. Milk this for all the awe and majesty, etc., that it's worth. Seeing it from Matt's point of view, we should all feel like we're seeing it again for the first time. The gargoyles approach. They all know Matt, even if he doesn't know them. Even Bronx is friendly. Matt is awestruck. Speechless. Elisa tells Matt that the Gargoyles have adopted the city and protect it as they once protected their castle in Scotland long ago. She asks him to keep the gargoyles' secret. He says he will, but he wants something in return. Goliath doesn't love the idea of being blackmailed into anything. Matt says he's tracked Mace to a seedy condemned hotel. He's sure he can get proof of the Illuminati's existence if he could just get into the hotel, but it's locked and boarded up on the ground floor. He needs Goliath's help to enter via the roof. The other gargoyles offer to help, but Matt isn't trying to lay siege to the place, he just wants to sneak in and sneak out. All he needs is Goliath. Elisa wants to go, but Matt specifically doesn't want her to. Why? Because I want to find out once and for all whether you trust me. So Goliath takes off with Matt. (AND I think we can assume that Matt filled Goliath in on his plan on the flight over to the seedy hotel.)

13. Friday night. They land on the roof of the hotel. With Goliath's help, they break into the stairway and go inside. Almost immediately, Matt is forcibly separated from Goliath and spirited away to join Mace in the control room. Mace is very pleased with Matt. He presses a button and steel shutters slam home in a repeat of scene 1. Which brings us up to date, end on a cliff hanger and go to commercial.

ACT THREE
14. Play Goliath in the HTJB. Have fun with it. You've got most of the act. Meanwhile, Matt asks Mace how long they plan to keep Goliath here. Why, we can keep him here forever. He'd never find his way out without help. So Matt has to secretly help Goliath. But you can't have that signal device. Where would Matt get it from? He's not Batman. So think of something else. Ultimately, they escape leaving Mace hopelessly lost inside the surreal world of his own making. (That's the Illuminati's punishment for him. He can die of dehydration there, some time in the future and we don't have to portray it or worry about S&P.) All this is done in such a way that the Illuminati would later blame Mace not Matt. If you need help to choreograph this, give me a call.

15. Pre-Dawn Saturday morning, Goliath and Matt return to the clock tower where Elisa and the others are waiting. We find out definitively that Matt tipped Goliath off to his plan on the way to the seedy hotel. He was hoping to join the Illuminati -- so he could bust them from the inside, but in order to escape, they had to trap Mace, his only Illuminati connection, in the HTJB, so it was all for nothing. Matt watches with Elisa as the Gargoyle's turn to stone. (Again, milk this. Through Matt's eyes it should feel like the first time.) Elisa and Matt have their little scene. She finally apologizes. He asks why she kept it a secret from him. And etc.

16. Matt walks outside and there's Hacker, who reveals that he's a member of the Illuminati who had been assigned to Matt to keep him away from the Illuminati. Matt can't believe it: Hacker helped him with info. Only info that Hacker thought led down a dead end. Matt just figured a way to do an end run around the dead ends. No hard feelings. Anyway, he always liked Matt, so he's proud to give him his official Illuminati membership pin. Matt doesn't get it. The society lost the gargoyle. Mace's fault, not Matt's. Hacker promises to keep in touch. He hops in an unmarked car and drives off. After he's gone, Matt says something determined about keeping in touch too. This isn't over.

Chapter XXI: "Vows"

Written by Shari Goodhartz
Michael Reaves, Story Editor

Benny: "But Daddy, when it's dark they get alive. But when it's light, the get frozen like a statue."

Last night, the kids, my sister, my wife and I all watched "Vows" together. Time to ramble.

Back to the Golden Cup Bakery Building. As I noted in the previously posted memo about this episode, I wanted a little opening battle, but I didn't want to waste time in a tight, packed script explaining how this came about. It does beg the question though. Assume that X contacted Elisa. She told Goliath. He went ALONE? His friends allowed this? Hmmm.

Xanatos knows from the letter to himself what to do, but I sometimes wonder just how detailed the letter was. I like to think it was fairly sketchy. That exactly HOW Xanatos got Goliath to come was his own machinations. Otherwise, though he takes the credit for the letter, the truth is that the plan itself wasn't his idea. He got the idea from the letter. And he wrote the letter based on what he had done, which he had gotten from the letter. None of this is really his to own, though he does claim ownership. So I like to think that at least some of the details were X's. For example, X knows what G will respond to, i.e. Demona.

Hudson, on hearing about the wedding, suddenly makes the connection to the long ago incident when he met the Goliath from the future. So he's strangely ambivalent. Elisa on the other hand, seems flat out jealous to me. After the events of "The Mirror" and "Eye of the Beholder", she's much more aware and focused on her feelings for Goliath. SHE DOES NOT WANT TO ACT ON THOSE FEELINGS. At this time, she thinks it's impossible. But that doesn't change how she feels. And now, she's jealous. Goliath's feelings for Elisa are just as intense, but so are his feelings for the "Angel" of his youth. He HAS to give it one last chance. (And this will be the last chance. The final nail in the coffin of his and Demona's "marriage".) Brooklyn, meanwhile, is just knee-jerk against anything involving Demona.

PETROS XANATOS is introduced. Again, I wonder why he was invited. Was he also included in the letter? Or did Xanatos invite him to prove something to his father. Is X that needy? Or did X invite him to the wedding, because of course he'd invite his father to his wedding, and his already planned "honeymoon" to 975 shouldn't alter his decorum. Perhaps he's mildly surprised his father winds up coming along? Anyway, Petros was a fun character. A tough hard physical man. With morals. A great contrast to the son. I knew even then that we'd give Petros and David an arc to their relationship, (one that eventually would culminate in Gathering2).

"Oh, reason not the need." A little King Lear is always nice. And I love Petros' attitude on the line, "And the armor?" I mean what would you say to your son if you saw him dressed like that? I'd like to know how many people had sort of forgotten that X was even wearing armor (we're so used to it) until Petros made an issue of it?

I love all the irony in the dialogue between Petros and David. David knows what he's planning. He must be smiling when Petros says "I'd like to get my hands on the man who gave you that coin." And when David says, "Someday, I'll prove to you that I'm a self-made man," he must really be patting himself on the back.

I love the voice work of Keith and Marina when doing their teen-age counterparts. So subtle, yet it's always clear which Goliath and Demona is talking at any given moment.

CONTINUITY:
Gotta love that storage room in the clock tower. The Eye of Odin, the Grimorum, half the Phoenix Gate, and, oh, yes, a comatose Coldstone. By the way, despite what the memo said, I think generally, Goliath carried that Gate in the pouch attached to his belt. Not behind some brick. We hadn't actually come up with that pouch yet, not until the World Tour. But using RetCon, I think that's where he kept it until they moved to the clock tower and Demona tried to kill him, Hudson and Elisa in "Long Way to Morning".

One interesting thing: this is the first episode where we actually CONFIRM that the ILLUMINATI does exist. Matt's mentioned it. Even chased it in SILVER FALCON, but we've never been shown any proof of it's existence until now. Was anyone surprised by that?

Judge Roebling was interesting in theory, though not so much in the episode. I'd like to do more with him some day. I also thought that it was interesting that despite seeing the tape of the Gargoyles in advance. And not reacting outwardly when he saw Goliath, he still gasps when Demona enters. What is it about her? When she entered, Benny turned to me and said: "She's queen of the Gargoyles." Oh. So that's it.

(And everytime Xanatos and Fox are on screen together, Benny likes to point out that he and Erin dressed up as them at the last Gathering. "That's me. That's you, Erin.")

To some extent, X must have filled D in on his plan. I love her "acting" when she enters and gives her bitter "excuse" for being there to Goliath. She's playing hard to get!

I love Petros: "Unnacceptable." He's still trying to teach David the error of his ways.

The Gate itself is very idiosyncratic. It's size, the size of its portal, and the duration the portal stays open seems to vary not just from episode to episode but from scene to scene. Sometimes it annoys me, like when Princess Elena removes the Gate from her sleeve, and suddenly it's bigger than her hand. But now I'm just amused by it. Again, if you think of it as a steam valve for the timestream, it explains a lot.

I love the little sound that Paca put in when the two pieces of the Gate first come together. What a tip-off that was, yet it's subtle. Did anyone think about the significance of the talisman that Demona had shared with Goliath before she started speaking in Latin and flames appeared out of nowhere?

It was hard to make people understand the time loop a bit. But it seemed really hard to make them see why I kept wanting to repeat scenes to show the connective tissue. We had to squeeze in Owen's "Honeymoon" line the second time. No one left space for it.

For the first of many times in the series, someone (X) says the line: "It's not where, it's when". (Erin: "I know when.")

I love X & Fox's relationship. "Having fun." "A marvelous time." Great stuff.

Hudson gets a close look at 1995 Goliath and immediately sees the age and wear and tear on the guy. (I love the shot of Goliath gagging him.) That says a lot for Hudson, because the visual difference between the two Gs was extremely subtle in the animation -- when it existed at all.

Knowing what we had planned (more or less) for Avalon, we were already laying groundwork here for that. Setting up the combined power of the Gate, Grimorum and Eye. Setting up the Archmage's desire for that power. Further demonstrating his enmity for the people he'd wind up using. Of course, making Demona his apprentice was fun. Tells a lot about her own desire for power that even when she was a good girl, she was still willing to work for the Archmage in order to learn his secrets. Willing even to steal for him.

The Norman Ambassador and Prince Malcolm make a BIG deal about how odd the Xanatoses' clothes are. But were they THAT strange? Was Fox's wedding gown that odd? And even if they were strange, did they look as shabby as Prince Malcolm seemed to suggest?

Not every episode gives you a double wedding. Fox and David. Elena and Malcolm. Hey, did anyone notice that we married off our lead villain? That was very daring, and we all but threw it away in Act One. Was anyone expecting Fox and X to really get married? And once they were, did you think you'd see them have a kid by season's end? I think we broke new ground there.

I like the exchange between Goliath and Hudson. Goliath's trying to explain that he's not a creature of sorcery, but a time traveler. H: "And I suppose you came back in time on the wind." O.k., well sorcery was involved if you're gonna get technical. And Goliath has some amusing tense problems while trying to describe what happened in his recent past, Hudson's FAR future. Then Hudson looks him in the eye and decides to trust him on no further evidence. Cool.

I knew a girl named Bryant from Bar Harbor, Maine once. That's where we got X's home town.

Fox is so proud of her man. But I love Petros' "Mr. Big-Shot Time Traveler" line. Or rather I love the way Morgan Shepard read the line.

How hard did Demona try to do things differently from the way she remembered them being done? She knows Goliath is going to fly down to try and join her and her younger self. She tries to leave before he can get there. But the gate stays open long enough for him to go with. Did it ever occur to her to go somewhen else other than 994? I guess part of it could be chalked up to dim memory. It was over a thousand years ago. And Demona lived through that 1000 years. Even for a very significant event in her life, it must still be very hazy.

That exchange between Demona and Demona is a lot of fun. Demona is so brutal to Demona. (And, hey, she spells out the Gate's power to any audience member who hasn't yet caught on.) "Do not share it with-- Do not share it!" I love that line. Also:

"I am what you will become."
"I will never be like you."
"I don't want to hurt you."
"And I don't want to BE you."

pretty cool stuff.

I also like the moment when we have two gates rolling about on the floor and young Demona and older Goliath both bend over to pick them up. At first we had a lot of discussion as to who should pick up which gate. But the discussion became moot, since after the gate pieces were reunited, they almost always seemed like they had never been broken in the first place. Magic.

And the young Demona, older Goliath scene is also gorgeous.

"What am I to do?"
"Nothing."

Love that. Love his whole "Do nothing/attend the petty jealousy" speech. I think it's very pretty. Very sad. At that moment, does Goliath hope he's changing the future? Or is he simply trying to spare this young Angel a couple extra decades of pain?

Showing Demona's natural bents again: Goliath isn't sure if he remembers the incantation, though he's heard it multiple times by this point. Young Demona, having only heard it ONCE, does remember and uses the Gate perfectly.

"Time Travel's funny that way." At least it is in the Gargoyle Universe with the strict, strict rules that I imposed. Of course, I've always thought that those strict rules made the stories more challenging for the writer and, yet, more fun and satisfying for the viewer.

I also really like Petros' "American Penny" speech. For once the "Xanatos Tag" of victory doesn't go to David.

Where did the expression "More's the pity." come from? I've heard it many times. I know what it means, though that's more from sound and context than from the words themselves. What am I quoting when I use it? Does anyone know? (This isn't a contest. I really don't know.)

Finally, my tape has the weird mistake ending that first aired, which shows Demona and Goliath in the clock tower. It's pretty, but it drives me nuts and I think it's really confusing. But I've talked about that many times before, and I'm sick of it, so this time, I'll let it go.

COMMENTS WELCOME!

Silver Falcon story memo...

I'm not sure when I'll get around to viewing the next episode of Gargoyles with my family, but I thought I'd get ready to ramble by posting my November, '94 memo to story editor Cary Bates. This was Cary's first Gargoyles script, so he was still new to the characters, which was one of the reasons he started with a single gargoyle story. Just Broadway, Elisa and a little Matt, basically.

You'll notice in what follows that some of the big twists still weren't present at this stage. We just hadn't cracked it fully yet. As I recall, Development Associate Eddie Guzelian suggested making the OLD MAN into Dominic Dracon. I was probably resistant a bit at first, just because of how much work that change would involve. But we all realized that Eddie's idea made the story much, much better. So the change was made...

Anyway, here's the memo, unedited as usual:

WEISMAN 11-7-94

Notes on "The Silver Falcon" Outline...

GENERAL CONCERNS
My main problem is that as a mystery story, this is a bit of a dud. We want to stump our audience, but here, we're cheating to do it. There's no way they could figure out where the diamonds are. We don't show them any options but the red herring. And if we did show them the true location, the answer becomes too obvious, and frankly not tricky enough. There's a silver falcon gargoyle on top of the speakeasy. There's another on top of the building across from Malone's office. We check both. One has it. One doesn't.

We need a double entendre here somewhere. We're looking for a silver falcon, and it turns out to be something that isn't literally that. Or in this case, Malone is being literal -- the jewels are in the silver falcon across from his office. But for most of the episode, we're looking for a more obscure answer, i.e. the speakeasy itself. Best not to have a literal silver falcon gargoyle in the vault at the speakeasy.

Even so, it's pretty straightforward. So let's make the whole situation more mysterious. Let's not learn what Matt was up to quite so fast. Let's not have Elisa be a Mace Malone expert. Let's not learn about the loot at all until act three. Let's misdirect more.

We also need secondary suspects. I suggest the Illuminati. That's the name of the Secret Society that Matt's always going on about. It'll be a huge red herring, if even Matt thought he was investigating the Illuminati, when in truth he stumbled on something considerably more mundane. For us, this would accomplish two goals. One, it misdirects Broadway, Elisa and the audience. Two, it sets us up for a future story where we actually use the Illuminati.

THEME
You get major points here. The theme is partnership, and it's presented clearly. Let's just give it more of an arc. Elisa doesn't have to be thrilled to have Sam Broadway Spade as a partner at first. She learns to appreciate the back-up.

S&P
You need to start thinking about the Audience you're writing for. Vogel's murder in the other premise, was never gonna fly. Likewise, here, a major clue revolving around alcohol consumption is definitely out. I wouldn't be afraid to do a story about alcohol, if we were really going to focus on that issue, but not as a throw away.

BROADWAY
Don't make him or his rookery brothers too young. They can have the occasional childlike response, but don't overdue it. Showing them enjoying a cartoon is one thing. Generalizing that they always are watching cartoons makes them sound like kids. Think of 19 or 20 year old Viet Nam Vets. These guys are warriors.

Also, when he's stone, Broadway is WAY TOO HEAVY for Elisa to budge.

And as flesh, Broadway getting shot is like anybody getting shot. Fatal. Or maybe he'd just bleed to death before sunrise. Even if sunrise were close, without surgery to remove the bullets, he wouldn't heal. Basically, what I'm getting at is that the gargoyles are NOT invulnerable.

DRACON AND GLASSES
Dracon is young and hungry. He's tough, violent, savvy, sarcastic. It's not that he can't get angry, but please resist the temptation to show him throwing temper-tantrums -- ranting (and whining) like a cliché d foiled villain.

He's got money, but he doesn't have the high-tech resources of a Xanatos. We have to be sparing with our use of that stuff. Which does not mean we can have massive gun battles with real bullets. (For S&P reasons.)

And if Dracon is not Xanatos, Glasses is not Owen. Glasses shouldn't quietly clear his throat so that he can feed his boss a plan. It's not that Glasses is stupid, but he's not the brains behind the organization either. He's an aggressive, tough and violent street thug in expensive clothes.

Let's also keep clear on Dracon's motivations and how they differ from Elisa's. He wants the loot, but he doesn't want to have to flee to South America with it. He's crossed the line by kidnapping two cops. He's going to have to kill them.... So he frees Elisa to follow her to the diamonds? Major problems all around. 1) Why does he think Elisa will be able to find them? 2) Why does he think she's even going to try after she's freed her partner? She has no motivation for finding the loot. She's a cop who's out to save her partner and bust the guy who kidnapped them both. (It's not that I don't buy her being curious. But that can wait until after Dracon is in custody.) 3) After she drops Matt off at her place, why don't Dracon's men sneak in and kill the unconscious detective? After all, they can't let him live. What are they waiting for? For him to wake up and come take them out? Etc.

Also, blowing up Matt's apartment is cool, but it has to feel like more of a last resort. Dracon doesn't want to draw any more attention to Matt's disappearance than necessary.

And, please note in your script that Dracon has a white streak in his hair from his previous encounter with the gargoyles.

CHAVEZ & BLUESTONE
Please do not play Maria as a callous boss, who doesn't care that one of her detectives has gone missing for two days. And yes, Matt's into secret society's and the like, but he's not the type to blow off work for two days in a row. Despite Matt's paranoia/hobby, he's a good partner and a good cop, someone that Elisa and Maria can count on.

On the other hand, Matt isn't psychic. He's seen gargoyles at a distance, but he knows nothing about them. Certainly, he has no idea of Elisa's connection to them. There's no way he'd casually decide that a "gargoyle" helped them crack a case. Why would it?

And we must resist the constant temptation to knock Matt out so that he doesn't find out the truth. We don't need it here. So I cut the drugged sleep.

HACKER
Let's change Hacker into a real character that we might want to re-use later. An FBI agent who used to be Matt's partner before Matt was booted out of the bureau for investigating the Illuminati Society. The bureau doesn't officially acknowledge the Illuminati's existence. (All this will be a revelation to Elisa. She didn't know Matt had ever been in the bureau. Her surprise about this will add to the general feeling of mystery in the story.) Matt is persona non grata with the FBI, and Agent Smith (or whatever) can no longer be seen with him, which explains the clandestine meeting.

LIBRARY
For future reference, the library is the other face of the same building that houses the twenty-third police precinct, above which is the clock tower where the gargoyles live. The library is closed at nights, and Goliath often reads down there. But I've cut the library scene, so it doesn't matter here.

BEAT OUTLINE
ACT ONE
1. Make the setting someplace other than a slaughterhouse, but otherwise MATT's kidnapping can play pretty much the way you had it.

2. Two days later at ELISA's place. BROADWAY is there to watch his video of the detective movie, (because Hudson is sick of him playing it over and over again on the tv set at the clock tower). Elisa gets a phone call from CHAVEZ. (Intercut.) Matt took some personal time to investigate Bigfoot or something. But he hasn't checked back in 48 hours, which isn't like him. And there's no answer at his place. Elisa hasn't heard from him either. This isn't good. Elisa's going to check on him on her way to work. Chavez makes Elisa promise to call for back-up if there's any trouble. Elisa says, yeah, sure, whatever.... (But she doesn't really think she needs any help.) Broadway overhears and wants to come along. He'll act as her back-up, her partner until she solves the mystery of the missing Matt. But Elisa's got one partner already. She doesn't need two. She'll handle this alone.

3. Matt's apartment. Elisa's outside Matt's door. She rings bell, knocks, calls for him. What she doesn't know is that the place has already been ransacked and that the ransack-er, a man dressed all in black and wearing a black SKI-MASK, is still inside. Plus another, bigger man in a trench coat and slouch hat (think Ben Grimm) is out on Matt's small terrace/balcony. (We should momentarily think these two men are working together -- the man on the balcony acting as look-out for Mr. Ski-Mask inside, but in reality, Ski-Mask is one of Dracon's men, and the guy on the balcony is Broadway. So in fact, Ski-Mask is unaware of Broadway's presence.) Elisa reaches above the door and finds Matt's spare key on the molding. She does not take out her gun. She is not expecting trouble. But inside, as she unlocks the door, Ski-Mask has his gun out and ready. Which is more than enough justification for Broadway to rip the terrace door right off and reveal himself, in a decidedly monstrous fashion. (NOTE: He does not crash through the glass!!) The clothes he's wearing should increase the scare factor, not make him look silly. By the time Elisa gets the door open, the terrified thug is pushing right past her and high-tailing it down the empty hallway with Broadway (who pauses only to say "Got you covered, partner") in close pursuit.
Ski-Mask makes it to the waiting elevator, and the doors close before Broadway can get to them. But Broadway pulls the elevator doors open and grabs the moving cable, which strains against him, until the elevator stops. Then he leaps down (about a flight) onto the roof of the elevator, shaking it's occupant. He rips open the trap door and yanks the guy up. By the time a stunned Elisa gets to the elevator, she barely misses getting hit by the flying thug whom Broadway has tossed out of the shaft. Ski-Mask crashes into the corridor wall and is temporarily knocked out.
Broadway climbs out of the shaft only to face the wrath of...ELISA. She definitely isn't pleased. But she's not going to fight with Broadway out in the open. They'll discuss things privately, in Matt's apartment. She indicates the thug. "Better bring him too."
Inside Matt's place, Elisa searches the thug, while she verbally chews Broadway out for interfering. She removes the ski-mask, but she doesn't recognize the guy. She does find a page that the thug clearly ripped from Matt's calendar with today's date, a time and a specific location (just saying Central Park isn't enough, it's a big park). Ski-Mask starts to come to just as Broadway suggests checking Matt's computer to see if they can find any info there. The thug panics, tipping Elisa off that the thug had rigged the computer to blow. She tries to stop Broadway from flipping the switch, but it's too late.
Cut to outside Matt's window. There is a brief high-pitch whine, during which Broadway leaps out holding both Elisa and the thug -- and then BOOM!! The force of the explosion propels them across the gap to another lower rooftop. (Broadway can't spread his wings because of his trench coat.) They land hard. Broadway drops both humans and the momentum nearly takes him over the roof. Elisa helps him up, and by the time they turn around, the thug has split.
Now Elisa is really ticked off. But Broadway points out that he did just save her life. Only after creating the dangerous situation in the first place, Elisa reminds him. Broadway's embarrassed, but tenacious. Look, it's obvious that Matt was working alone and got into something way over his head. If Elisa tries to handle this alone, the same thing could happen to her. We get tight on Elisa. What will she decide?

4. Elisa arrives alone at the meeting described on the page from Matt's calendar. She cautiously approaches a man, who turns out to be Matt's ex-partner from the FBI, AGENT SMITH (or whatever). It's tense at first, but once Elisa identifies herself, Agent Smith is very cooperative. Matt's told him that Elisa is all right. A good partner. (Elisa's a little embarrassed.)
So Smith fills her in. As usual, Matt's been trying to prove the existence of the Illuminati Society. He's been investigating a gangster from the 1920's who was rumored to have ties to the Illuminati and vanished mysteriously on March 22, 1924. Matt had found a letter, that he wanted Smith to authenticate. The letter was hand-written on Malone's pre-printed stationary:

MACE MALONE
3150 Third Avenue #45D, New York

March 21, 1924

D.D.,
Our little Society is turning a nice profit.
Everyday I see the Silver Falcon, I smile. You
would too, if you knew what I knew.

Your Senior Partner (and don't you forget it),

Mace

The ink and paper do date from the 20s and the signature checks out too. The letter is legit. But where did Matt get it? Smith doesn't know. What's the Silver Falcon? Smith doesn't know. Who's "D.D."? Smith doesn't know.
Smith isn't happy to hear that Matt is missing. If he can help Elisa in any way.... But Elisa insists she can handle it from here. So Smith takes off. Elisa stands there examining the letter. She seems to be talking to herself. The only real lead it offers is Malone's address, but what good could it be 70 years later.
And Elisa may never find out. Suddenly, we discover that Elisa is surrounded by three BAD GUYS, led by Ski-Mask. It looks bad.

ACT TWO
5. Elisa calls out: "Broadway, NOW!!" And Broadway comes out from wherever he's been hiding and takes out two of the thugs. But Ski-Mask hops into a getaway car that pulls up fast and takes off faster. Elisa handcuffs the two unconscious thugs to something, but she's worried. She doesn't know if the escaped thug heard her talking about Malone's old address. They have to get there before the Illuminati blow it up like they did Matt's apartment. Broadway sweeps her up and they're off.

6. 3150 Third Avenue. 45th floor. Elisa's inside. Broadway watches from the roof. (We need to somehow establish that Elisa and Broadway both might have seen the Falcon-heads across the street -- and yet we need to do it in a way that doesn't immediately tip off our audience. One thing that would help is if the chrome falcons were now literally black with NYC soot and grime.)
There's a light on in 45D. An OLD MAN answers Elisa's knock. He's an accountant, working late. She realizes it's a long shot, but wonders if he knows anything about Mace Malone. Turns out that he's something of a Mace Malone buff. That's why he rented this particular office. He's got Mace's original desk and everything. Here, sit down.
Mace's mysterious disappearance makes him a curiosity, and every once in a while someone stops by and asks questions. Why just the other day, that nice red-headed boy was here. Elisa realizes he's talking about Matt. What did the old man tell Matt? Nothing. He ran out of here, as soon as he saw the picture. What picture? This one. It's an old photograph of Malone and a couple of other men (at least one of which is Dracon's grandfather) in front of a non-descript building. Does the old man know where this was taken? Sure, that's Malone's old speakeasy, the Silver Falcon. He gives Elisa the same lower east side address he had given to Matt, and the same caveat... the Falcon was torn down ages ago, they built something else there. Elisa thanks him as she ushers him out of his own office. It's temporarily unsafe here. She asks him to call Chavez and fill her in on everything he told Elisa and Matt, (and also about the two hand-cuffed thugs). She's heading straight to the lower eastside, as the crow flies, so to speak.

7. Elisa and Broadway arrive at the scene-one location where we last saw Matt. They soon discover GLASSES and his salvage operation. He's clearly digging for something, but what? Matt is there. Tied up and blind-folded. But before they can get near him, Broadway's weight collapses the wooden staircase, and they're discovered. A brief battle ensues. Glasses and his MEN use their semi-hi-tech construction equipment as make-shift weapons. Plus maybe a stick of dynamite or something. There's a cave-in that buries Elisa and Broadway. Glasses turns to Matt and taunts him. So much for the cavalry, Bluestone -- That was your partner. And she's dead.

8. Cut to a small cavity, with-in the cave-in. It's pitch black except for Broadway's glowing eyes. Elisa asks Broadway if he's o.k. He says he is but his voice is clearly straining. As she fumbles for her pocket flashlight, Elisa points out that there can't be much air in here. Will Broadway be able to use his claws to dig them out? Broadway has a couple of problems with that. The main one being that he's starting to feel real tired and that can only mean one thing. What? But Broadway is strangely silent and his eyes stop glowing. Elisa finally clicks on her flashlight and looks. Broadway's frozen in stone.

ACT THREE
9. Outside, the sun has come up on a new day. Inside the cavity, Elisa realizes that when the cave-in occurred, Broadway acted as a living pillar, straining under the weight of a lot of rock and dirt, protecting them both from being buried alive. Now he stands there frozen like a medieval column. There isn't anything she can do but start digging.

10. Out in the main cave, Matt convinces Glasses to try and dig Elisa out. She's probably dead anyway, but she might have Malone's letter. If she does, Glasses' boss can stop looking for it. Glasses isn't dumb. He knows that Matt is simply trying to save his partner, but he can't deny Matt's sound logic regarding the letter, so he sets his men working.

11. Dissolve to a short while later. Glasses' men are getting close to Elisa, who's dug a little of the way out but is running out of air. She can hear them getting close, and she can't let them find Broadway in his vulnerable state. So to protect him, she pulls down one of the rocks above her own little dugout, and allows herself to be buried alive. Fortunately, she's timed it right. Glasses digs her out, but to all appearances, she's lucky to be alive and the guy in the trench coat is still buried under all that rock. She has Malone's letter. So the guy can stay buried.
Finally, DRACON arrives with the Ski-Mask guy from Matt's apartment and the old man from Mace's old office. Ski-Mask got to the old man before he could call Chavez, so there's no help on the way. (And Elisa realizes that the few minutes it would have cost her to call Chavez herself would have been well worth it.)
Dracon's fairly annoyed that Glasses hasn't finished digging through to the vault yet. Glasses explains the delay and produces the letter. But Dracon, shakes his head. We don't have to worry about someone else getting the letter, if we already have the loot. Dig out that vault!!
Loot? Vault? Dracon? What's going on? Matt fills Elisa in. Malone's letter didn't refer to the Illuminati at all, but to a bank robbing syndicate that included both Malone and Dracon's grandfather, Dominic Dracon (aka D.D.). Malone disappeared before he got around to telling Dominic where the loot from all their heists was. But the letter suggests that it might be here at the speakeasy. It wasn't found when the place was demolished decades ago, so Tony is convinced that there must have been an underground vault.
But how did Matt get involved? Matt had found the letter, among the younger Dracon's papers when Dracon was arrested months ago for grand theft. (Dracon's case is still pending. He's out on bail.) Matt investigated on his own, thinking he was on the trail of the Illuminati, and accidentally stumbled on this. Dracon kept him alive, because they wanted to make sure the letter was out of circulation. They didn't want anyone else stumbling on their little operation, before they had the loot. Matt apologizes for not keeping his partner up to speed. He really screwed up by acting alone.
Finally, Glasses hits pay dirt. There is a vault. Soon, they're burning through that. They break through. And inside... nothing. Nothing but a note:

Sorry, D.D.

Guess again.

Mace

Dracon is furious. But Elisa's not surprised. If the loot had been there, Dominic would have found it when he first received the letter seventy years ago. He must have been pretty confident it was here, or he wouldn't have gotten rid of Mace the day he received the letter. Dracon's a bit embarrassed by Elisa's superior powers of deductive reasoning. Embarrassed enough to tell Glasses to "take care of" the three hostages. But Elisa stays their hands by telling them she's figured out where the loot is hidden. Dracon demands to know where. But Elisa's not dumb. If she tells now, then she, Matt and the Old Man are wormfood. She's willing to take Dracon there. But it's pretty public, they'll have to wait until after dark, and we push in on the mound of dirt where Broadway is buried.

12. Let's indicate some passage of time here. The sun sets. Then we return to the underground chamber. No one's there at all. Broadway bursts from the cave in. He's panicked about Elisa. He finds Mace's second note and reads it with great difficulty. Will he figure everything out?

13. In a helicopter above the city, Dracon, Glasses and Ski-Mask are escorting Elisa, Matt and the old man to the roof of the building opposite Malone's old office. Matt whispers a warning: "They'll kill us as soon as you show them where the loot is." But Elisa says, "Don't worry, I've called for back-up. I think."
The building's too old to be equipped with a heli-pad, but Glasses manages to get close enough to allow Dracon and Elisa to jump onto the roof. Once on the roof, Elisa explains that from Malone's desk across the street, you can see these black bird-heads. And sure enough when she wipes the grime of seventy years away, she reveals the silver-like chrome beneath. Dracon probably has to check a couple heads, before finding the little bag of precious jewels that Mace had the bank loot converted to.
Now all Dracon has to do is get rid of his trio of hostages. He invites Elisa to step off the side of the building. And to his surprise she does.
Of course, she did it because she had already spotted Broadway, who catches her. (He didn't know anything about the loot or Dominic Dracon. But Mace's 2nd note invited "D.D." to guess again. The falcons on this building were the only other place Broadway could think of to check out. He's just glad he guessed right and that he was in time.)
Ultimately, Broadway takes out the chopper, without revealing himself to Matt or the old man. With Matt's help, Glasses, Ski-Mask and Dracon are all taken down. (This can all play largely as you had it.)
Matt thanks his partner Elisa for pulling his fat out of the fire.

14. And in the TAG at the clock tower, Elisa thanks her partner Broadway for doing the same.

That's it. Call me if you have any questions.

Chapter X: "The Edge"

By the end of this episode, everyone is happy.

Both Goliath and Xanatos are afraid they've lost their edge. Both are convinced by the end that they've regained it. Both are at least partially deceiving themselves. [One of the little ambiguities that I love about the Xanatos tags is that one way to interpret them is that David is just full of it. He loses, but claims victory anyway.]

But David is just so lovable in this episode. You gotta love the villain who does NOT penalize his subordinate for beating him in a judo match. And he has such great audacious dialogue (kudos to Michael Reaves and Jonathan Frakes). A few approximate samples:
--"I'm the best friend you have."
--"If you're going to be picky, we won't get anywhere."
--"You're taking this much too personally."
And those were all in one scene. A scene where he's just standing out there awaiting their arrival. I mean, a guy as busy as he is... Is that confidence/arrogance or what?

And he's not afraid to get his hands dirty. Giving X the armor was essential. Up to this point, David had been only the brains. But to be a true reverse-hero, he had to be a warrior as well. Here we showed he had what it takes to mix it up. But always without being stupid. Question: How many of you knew the "red robot" was Xanatos in armor before the tag? Of course, now it seems obvious, but what about the first time you saw this ep?

And yet Elisa "Wouldn't want his karma." What goes around comes around. All that arrogance, had to receive some commeuppance. (Can anyone say Oberon?)

One thing that I thought was TOO OBVIOUS was the Steel Clan theft of the EYE OF ODIN. I would have preferred if that scene had been more ambiguous in Act One. Preferred that the audience maybe think that the Robot WAS Goliath, so that when Matt takes aim at the cliffhanger, we think he's going to shoot Goliath. The cliffhanger doesn't really play as is. Only Elisa is fooled, not the audience.

Everyone wonders why Xanatos donated the Eye to the Museum of MODERN Art. (Maybe because it had mediocre security, but adequate security cameras.) But what I want to know is whether or not Edvard Munch's "The Scream" is really at that museum?

Speaking of THE EYE, I may have mentioned that this was actually the idea of the Disney interactive video game people. We wanted to be synergistic, and I kinda liked the whole idea, so we put it into the show. It was another of our step-by-step additions to the continuity. Intro it as a minor maguffin. A dewdad for Xanatos. And build from there, with the eventual plan to actually make it Odin's eye. At some point in all this, we completely forgot that the idea came from the interactive people. We went back to see them months and months later and were reminded. Luckily the concepts hadn't gotten too far away from each other. But the design did. Unfortunately, our design wound up looking a bit Egyptian for my tastes. The Interactive design had a great Raven motif. (Oh, well.)

New characters (more or less):

A cameo by Derek.

The first mention of the Emir.

The first appearance of Travis Marshall. Michael and I worked this guy out together. He wouldn't be one of those fluff journalists. He'd be old school. He wouldn't whitewash David, just because the guy was a rich man. We always made sure to give Travis that edge. And still, I always felt we underused him. In this episode, Matt gives him a lift in Derek's chopper. Matt says, "You owe me one." Eventually, I'd like to see Matt collect on that favor in a story focusing on the two of them.

And speaking of Matt...

The first real appearance of Matt Bluestone. This guy was largely Michael Reaves' creation. (Although the "Bluestone" name was one of our earlier choices for Elisa's last name. After Chavez, Reed and Chavez, but before Maza.) At first, I admit I was dubious about him being a conspiracy nut. But it so worked. And this was the first time I ever worked with Tom Wilson. He's just so great. And so damn funny to have in the booth. (I love him in FREAKS & GEEKS.)

Matt & Elisa discuss the Illuminati, UFO's and Loch Ness. I love how dubious she is, with her inside joke: "Believe me, the world's strange enough as it is." Little does she know.

But my favorite thing about Matt is that ultimately he's a healthy influence on Elisa... "Maybe that's when you need one [a partner] the most." He's just a really good guy.

As usual, characters keep their promises. Matt vows to find out what those creatures (the gargs) are. And by God, eventually he does.

More on continuity...

Elisa's only JUST coming back to work. In cartoon terms, the fact that we waited this long after her gunshot wound, was a relative eternity. The height of cartoon realism. It doesn't seem like very long, but months passed between the original airings of DEADLY FORCE and THE EDGE.

And Chavez won't let her go back on the job without a partner. Michael conceptualized Matt -- after I mandated the creation of Elisa's partner. Cops have partners. It is one of the defining things about cops. When cop-shows show cops working solo, it always bugs me. I felt we got away with it for a bit. But it was time to make Elisa a more real cop. And that meant a partner. Not a bad guy. But someone who could potentially cause her trouble. And yet still really be her partner.

Broadway is still very solicitous toward Elisa. Taking the tv from her. It's sweet.

Random stuff:

The show is gorgeous to look at. (Thanks Roy, et al.)

I love Lexington's line when he regains consciousness: "We're still alive. How come?"

Watching the show this time, my daughter was very nervous that the Statue of Liberty would be damaged in the battle between our gargs and the Steel Clan. But when Broadway nailed one robot by impaling him with a metal claw from the other robot, Erin said, "Nice one."

Goliath is reading Dostoevsky. Are you?