A Station Eight Fan Web Site
Story Editor: Brynne Chandler Reaves
Writer: Lydia C. Marano
Arguably the best single episode of the series. The animation is fluid, dynamic and very strong. The writing is sharp, even quite funny over and over. And yet, dramatically the story is still potent. It really advances the Goliath & Elisa romance arc. Changes Demona permanently. And introduces Puck -- and by extension, the entire third race: The Children of Oberon. All in a mere 22 minutes.
It's also very gratifying for me. A bit of a vindication. As you may have seen from the memos I wrote to Brynne & Lydia, there was some considerable resistance to the notion that none of the characters would notice their own personal change from one species to another. Most of my collaborators thought the idea was way too complicated to pull off. I argued that it might seem complex, but in fact it would play cleaner on screen -- and funnier and more directly to theme. In my mind, another title for this episode could have been -- had we already not been using it for our Werefox episode -- "Eye of the Beholder", because all the transformed characters really noticed was when someone else was "OTHER". Being a monster or being "normal" was based on their point of view, not any objective look in the mirror. [As it is, the title is the kind I like. Simple, objective and yet metaphoric. At one point, it was titled: "Mirror, Mirror". But we simplified it even more.]
But anyway, when the human Brooklyn, Lex and Broadway are confronted by "Gargoyles", the scene is an intentional mirror of the scene from AWAKENING, PART ONE where Brooklyn says, "If they think we're beasts and monsters..." Again, this is playing with the idea of "beasts and monsters" being merely in the eye of the beholder. The species have reversed, but the situation is exactly the same simply because the Trio remain in the minority. I suppose that's one thing that X-Men's mutants have in common with the Gargs. Both are a metaphor for being part of a minority. Feared almost automatically.
On the other hand, when Elisa is transformed, she believes that Goliath & Co. have been transformed into something like her. I think her immediate reaction is very telling about how she ALREADY felt about Goliath at that point. She's thrilled. She throws her arms about him. Now they're the same species. There's no impediment to their love. What's interesting is that if you stopped and asked Elisa under normal circumstances whether she would wish for Goliath to be transformed into a human, the answer would most certainly be "No." She knows that being a Gargoyle is fundamental to who he is. You can't change that without changing him -- and yet in that instant, in that unguarded moment, her desire to be with him overwhelms that rational knowledge. She's just happy.
At the museum, Elisa looks at herself in the mirror. She then moves, but the reflection holds. That was the idea of one of our board artists. A little clue that the mirror is magic. (It's not an animation error.)
Family Reactions #1
During that museum chase, my wife wanted to know why no alarms were going off. I figure Demona or the thieves just shut them off.
Erin didn't realize that that was Elisa dressed as a security guard at first. We were trying to withhold that information for a bit.
"Titania's Mirror", "The Children of Oberon", "Oberon sent me." We were laying groundwork to expand the entire series' base. But I don't know if back then I knew that much about what if anything I had planned specifically for Titania & Oberon.
Anymore than I knew then what I'd do with the "Dracula's Daughter" reference. But we try not to waste anything.
Coming up with that "Children of Oberon" name was a struggle. And so many people have asked me since whether or not Oberon is literally everyone's father, I almost regret landing on that choice. Our thought process is largely present in the episode when Goliath et al, go through various noms: Fair Folk, Dark Elves, Changelings, Shape-Shifters. Of course, at the time we were misusing the term Changeling. I think that was Odo's influence frankly, but I should have known better. I suggested "The Oberati". But the Reaves didn't care for that. I think they thought it sounded too much like an Italian sports car.
I do love the moment when Brooklyn cites Shakespeare's play as a sort of reference work on the Children. I hope we sent a few people to the library with that line. Did we?
I also love Hudson's line in response to Elisa's question: Are they real?
Hudson: "As real as I am, if the stories be true." It's full of delicious dramatic irony. If you can suspend belief on a bunch of gargoyles, then this shouldn't be a problem for you. I love things that work on multiple levels.
I also love Hudson's "Be careful what you wish for" line.
We were trying to show a bit here how Demona had managed to operate in the modern world up to this point. One of the thieves has clearly worked for Demona before without ever having laid eyes on her. Of course, showing Demona's M.O. here, was like giving it a swan song. Because after this episode, though she clearly doesn't realize it yet, her life is going to get MUCH easier. Being a human during the day is a great boon to all her scheming. I'm very curious about everyone's reaction to that? Shock? Amusement? I also tried to work very hard so that in that last two minutes of epilogue, everyone would get that she only was human during the day. I was very afraid that the audience would think she was permanently transformed into a human. Was anyone confused? Or was anyone surprised that Puck's revenge/gift STUCK? We wouldn't really explore the change until HIGH NOON. Had you forgotten about it by then?
Family Reactions #2
As Demona's casting the spell that will summon Puck. (Which I always thought was very cool, with the feather and all.)
Benny: "That's a magic mirror. Is Demona going in there?"
Erin: "Puck's gonna come out."
As I've mentioned before, during the writing of this story we figured out that Owen was Puck. So to play fair we dropped a hint here. Demona (who knows) says to Puck: "You serve the human. You can serve me." Puck changes the subject, replying "Humans [note the plural] have a sense of humor, you have none." This was done intentionally to distract the audience away from the hint we had just dropped. But obviously, in hindsight, it's a clear reference to Owen serving Xanatos. Anyone get it right off the bat? Anyone even take note of the line the first time? Originally, the line read, "You serve him, now you can serve me." With the "him" referring to Xanatos. But our S&P executive was afraid the "him" could be taken to mean Satan. I know that seems silly now. But keep in mind, we were very paranoid back then about the show being attacked for promoting devil worship. So we made the change.
Sensitive Broadway: "Maybe even love." It's a nice moment. Wistful.
Puck reminds Demona that the mirror isn't "Aladdin's lamp". At the time, the Aladdin series was still in production at Disney. So that's a bit of an in-joke.
And how about that: Demona is still carrying a torch for Goliath. On some level, she wants him more than almost anything. Yet she continually allows her hatred to get in the way. And the irony is, that at this point, pre-Vows it isn't yet too late for them. But her actions further serve to cement the Goliath/Elisa relationship. More now than ever before.
Puck/Brent Spiner is just fantastic. I love that "charming personality" line. And "You don't know what you're asking, believe me." And "I'll do EXACTLY as you asked." And "My mistake." And "A very long nap." He's just so rich.
Plus the boarding and animation on Puck is just great. As is the sound work that accompanies him zipping around.
I always wanted Puck to be the one character who could break the fourth wall and talk directly to the audience. Every time he appeared, we'd put a line or two in the script that was addressed to the audience. And every time, Frank or Dennis Woodyard would cut it out of the board. They didn't like breaking the fourth wall. (A lot of guys don't. I tried to do that with Max on Max Steel, but Richard Raynis and Jeff Kline wouldn't allow that either.) Oh, well....
Puck also establishes that Oberon's Children generally use rhyming spells instead of Latin or Hebrew or whatever. (Thus making life slightly -- but ONLY slightly -- easier on me and the writers.) But Puck isn't too formal: "Human's love a battle hearty, so does Puck, come on, let's Party!" Fun. (And I like Brooklyn's line, "Party's over." too.)
Family Reactions #3
When Elisa's transformed into a gargoyle.
Erin: "She looks cute." [I very much agree. Though I always wonder where her red jacket goes.]
Ben then asked why she was transformed.
Beth explained that Demona didn't want Elisa to be human anymore.
Erin then corrects my wife and explains that Puck is tricking Demona.
KIDS GET IT! Adults need to pay closer attention!
Goliath suddenly has lust in his heart:
G: "I never realized when you were human just how beautiful you were."
E (with a smile): "You mean you thought I was ugly?"
G: "Uh... careful! Updraft!!"
Man, that guy is smooth.
Anyway, that's one of my all-time favorite exchanges. I think it reveals so much. Somewhere underneath, Goliath has been attracted to who Elisa IS deep-down -- at least since AWAKENING, PART THREE. But he never thought of her as a potential love interest. He wasn't brought up liberally enough to think that way. After all, she has no wings, no tail. And those human shaped feet!
But suddenly, she's revealed as a FEMALE. Now, even when she goes back to being human, his perspective is permanently altered. Hers, however, is not. She's already consciously had those thoughts. Consciously rejected them. So at the end of the episode, he wants to discuss these (for him) new feelings -- but she does not. And the sun helps shut him up.
G: "That's not what I meant."
E: "But that's the way it is."
Another of my all-time favorite exchanges. (I'm really partial to things involving the G/E relationship. I know, I know, I'm a romantic sap.]
I also like the ongoing confusion. Elisa: "Everyone in Manhattan has been turned into... HUMANS!" Goliath: "No, no, no, no, no." And when the Gargoyles are changed into humans, Brooklyn is so sure that they've always been humans, it's funny. Like that moment in CITY OF STONE, when he's convinced that the "statue of Elisa" is a bad likeness of her: "They got the nose wrong."
FYI, there was an honest attempt, within the logical parameters of what our gargs looked like, to make their human versions resemble the actors who played them. Thus Goliath has darker skin than the others, because Keith David is African-American. (Though otherwise Goliath really looks like Conan to me.) The bald Lex has brown hair and the bald Broadway has blond like Thom Adcox and Bill Fagerbakke respectively. Brooklyn resembles Jeff Bennett but with Brooklyn's white hair instead of Jeff's blond. And Hudson looks like Ed Asner with a beard. More or less. Thom Adcox is the one who most looked like the human version of his character.
Cool little touches:
Demona nudges an unconscious Puck with her tail.
She continues to call Hudson, "Old Soldier". Her tenth century "name" for him.
Her line about the "gift of being a gargoyle". I love that superior attitude.
Lexington's "Fun, but weird" line.
Hudson wrapping the sheet over the mirror.
Elisa and Demona have a brief "cat-fight" as Gargoyles. Not quite as diverting as the one they'll have as humans in High Noon. But it was nice to put them on equal physical footing for a change. Let them have it out.
Demona mentions that Puck isn't too tired to make himself "invisible to the crowd". This was us trying to plug a hole in our story. We felt it would undercut the mob's reactions to our newly human heroes if they had the same reaction to seeing Puck. And yet Puck clearly looks more human than Gargoyle. More "other". So we slid that line in to avoid the whole problem.
FAMILY REACTION #4
Beth laughed at Hudson's very Scots reading of "No doubt about it." Which is pronounced more like: "No doot aboot it."
More sappy stuff (which I love):
Goliath's line: "I'll always be there to catch you."
Elisa completely forgetting her fear of flying in order to save the MAN she loves.
That brief moment when both Elisa and Goliath are humans at the same time.
Hudson's wistful line about seeing the sun, just once.
Although it had little to do with the metaphor, we couldn't really resist the notion of showing Bronx transformed into a dog. We picked the biggest dog we could think of, a Wolfhound type, though a bulldog might have been more reminiscent.
In the script, Demona smashes the mirror upon seeing her human reflection in the glass. But somehow the scene never got animated. So we added the sound of the mirror being smashed to the exterior shot at the end. This was important in order to give the story full closure. The initial point of the episode was to prevent Demona from getting Titania's Mirror. Structurally, therefore, I couldn't allow her to keep it.
But no fear, later we introduced Oberon's Mirror (clearly part of a matching set) in THE GATHERING, PART ONE.
I wonder what all those Manhattanites thought when suddenly they realized they were all barefoot.
I have a question. Did you ever plan on using John DeLancie (he played Q in Star Trek: The Next Generation) and/or Patrick Stewart as any guest voices? If you did, what parts were you planning on having them play?
John played L'Étranger on Max Steel. He was great. I didn't have any specific role in mind for him on Gargoyles, but I wouldn't be opposed to the idea either.
Patrick Stewart was considered for at least two important roles on the show. But his management would not allow him to consider the offer at the prices we were paying. I think the two roles are fairly obvious, but I also think it would be something of a disservice to the fine men who wound up playing those parts to specifically indicate that they weren't first choices.
Written by Brynne Chandler Reaves & Lydia C. Marano
Story Edited by Michael Reaves
Well, I watched "Lighthouse" again last night with my family. First thing I noticed was the bad "Previously" recap. This is all my fault. The recap features Macbeth, because I wanted to make sure the audience knew who he was. But that blows out the first act surprise reveal that he's behind it all. Up to that point in the story, you'd be thinking Xanatos. But because of the dopey recap, you know it MUST be Mac. Later in the season, after I got hammered over these recaps by the folks on the Disney Afternoon e-Mailing list, I learned never to put anything into the recap that wasn't revealed in the first five minutes of the show to follow. But here's a perfect example of me screwing up my own mystery.
We introduce archeologists Lydia Duane and Arthur Morwood-Smythe. Dr. Duane was named after writers Lydia Marano and Diane Duane. Professor Morwood-Smythe was named after writers Arthur Byron Cover and Peter Morwood. Arthur is Lydia's husband. Peter is Diane's husband. I don't know anyone named Smythe.
Macbeth episodes, at least up to this point, seem to be cursed with mediocre animation. (Of course, everything's relative. Mediocre on Gargs was still better than most series got. But relative to our expectations, this ep is pretty weak.) I bet Elisa would have really looked cute in that red baseball hat if the animation had been even slightly better.
I don't know how clear it is in the prologue. The idea there, was that the wind was blowing through the lyre. The haunting sound drew the archeologists further into the cave. They read the warning which indicates that the seeker of knowledge has nothing to fear, the destroyer everything. They are supposed to hesitate, look at each other, decide that they are seekers not destroyers and then open the chest. Merlin's clearly put a safety spell of some kind on the chest. An image of the old man appears and basically checks to confirm whether the archeologists are in fact seekers or destroyers. Satisfied, the spell disipates. But you can imagine what would have happened if a Hakon type had stumbled in.
Anyway, it never felt like all that came across. Did it?
Brooklyn (re: Broadway): "Ignorance is bliss." In High School, I had a classmate named Howard Bliss. We had chemistry together with Mr. Miller. Mr. Miller once asked the class a question that we all should have known. No one knew the answer, and our own idiocy generated laughter among Miller's students. He just shook his head and said: "Ignorance is bliss." He forgot that he had a student named Bliss. It generated more laughter. I don't know why I told you that. But it's what I thought about when Brooklyn read that line.
There's a semi-heavy-handed "Read More About It" feel to the clock tower conversation regarding Merlin. Goliath practically quotes those public service announcements, saying there are many books about him in the library. I don't mind. I had wanted to cite a few actual books -- like Mary Stewart's THE CRYSTAL CAVE -- but our legal department wouldn't give us clearance for that. Very short-sighted.
A connection is made between Merlin and the Magus. This was not an accident, as at that time, I had planned to have the Magus journey with Arthur on his Pendragon quests to find Excalibur and Merlin. I later changed my mind. But the Magus does at least play a Merlin-esque roll in the Avalon three parter.
I always wonder who was playing in "Celebrity Hockey" that night.
Macbeth's standard Electro-Magnetic weapon was my idea. I didn't design it exactly, but I did make crude little drawings of something that looked vaguely like a staple gun, with two electrodes that generated the charge. I was always proud of that weapon. It was uniquely Macbeth's (and Banquo and Fleances'). Set him apart from all the concussion, laser and particle beam weapons we used elsewhere. (I did the same kind of thing on the Quarymen's hammers.)
It's fun to listen to B.J. Ward voice both sides of the confrontation between Fleance and Duane.
Banquo's model sheet showed him squinting out of one eye. Some episodes, not so much this one, but some took that to mean he only had one eye. So he walks around looking like Popeye for the entire episode. (His big lantern jaw helps accentuate that.) There are a couple of Popeye moments in this ep. But more in his next appearance I think.
It was my idea to just have Mac's mansion rebuilt without explanation. I don't exactly regret it, but it's kinda cheap. We burned it way down. He has it rebuilt. It makes sense. But we usually dealt with consequences more than that.
When he rebuilds it, he installs those cannons. They were supposed to be giant-sized versions of the hand-held E-M guns. But they don't come off that way. Instead they fire at the gargoyles. And mostly seem to destroy the various turrets of Macbeth's own place. Ugghh.
As in "Leader" we get another scene of Goliath and friends confronting Owen at the castle. Looking for Xanatos, when in fact Xanatos isn't the threat. It made sense in both episodes. And it's always nice to showcase Owen a bit. But after two of those in four episodes, I wasn't gonna do that again. (At least not until KINGDOM.)
I love the "Macbeth Theme" that Carl Johnson created for the villain, which is featured at the end of ACT ONE.
Macbeth opens the "second scroll" and starts to read Merlin's seal. This caused tons of fan confusion, as he read "Sealed by my own [i.e. Merlin's] hand". No one seemed to get that he was reading that. They thought Mac was saying that he [i.e. Macbeth] had sealed the scroll. Of course that notion renders the whole thing confusing as hell. But it never occured to us that anyone would take it that way.
We also introduce Jeffrey Robbins and Gilly in this episode. Gilly is of course short for Gilgamesh, one of the legendary characters that Robbins once wrote about. It's just a bit odd, because Gilly is a female.
Robbins is a very cool character. Wish we had had the opportunity to use him more.
I like how when Robbins and Hudson are introducing themselves, Robbins gives his first and last name. Hudson says, I'm Hudson, "like the river". An echo of how he got the name. And a reminder that names aren't natural to him. Even if they are addictive.
John Rhys-Davies is just fantastic as Macbeth. I love his speech to Broadway. It accomplishes everything we needed it too. That line about the "human heart" by the way is a reference to the Arthur/Lance/Gwen triangle.
I also love his line: "I'm Old, but not THAT Old." This was a little hint to what we'd reveal in CITY OF STONE. Sure Macbeth's from the eleventh century, but not the fifth or sixth. It's like someone saying to someone my age, "So what did you do during World War II?"
Lennox Macduff. That was a cool touch. Also a hint as to how Macbeth feels about Shakespeare.
I like the Phone Book scene too. Hudson says "Hmm. Magic Book." Robbins replies: "Aren't they all." Great stuff.
By the way, as Robbins goes through the phone book, scanning names, he passes "Macduff, Cameron". One of my college roommates was Cameron Douglas, who was really interested in his Scotish heritage. That was a mini-tribute to him.
My daughter Erin reacts to the fact that Macbeth threatens to use Merlin's spells on Broadway. She points out that Macbeth had promised to let Broadway go after he had the scrolls. She's surprised he hasn't kept his word. My wife at that point reminds Erin that Macbeth is the villain. Erin gets that. But you can tell it isn't quite sitting right with her.
Later when Macbeth DOES let everyone go without a struggle, Erin is clearly not sure what to make of him.
And on one level, that's exactly as we wanted it. Macbeth is a troubled guy -- a hero who's devolved into a villain. A suicidal villain on top of that, though we hadn't revealed that yet. But he is a villain. Later, it's debatable, but here he's taken to being an ends-justify-the-means kinda guy. And even his ends are hazy at best.
I love Broadway's "precious magic" speech. It's so wierd hearing poetry from the big galoot. But that's so Broadway. The soul of a poet. Bill Faggerbakke was a huge help.
And I love Robbins "They are lighthouses in the dark sea of time..." speech. I love that it's not exactly the title. Brynne and Lydia did fine work on this one.
I wonder what happened to that lyre?
Keith David, the voice of "Goliath", is currently appearing at the Delacourt Theatre in Manhattan's Central Park (the one right below Belvedere Castle) in William Shakespeare's A WINTER'S TALE. He's playing the lead Male role of LEONTES, the jealous king. It's a great part. A great play. A great theater. And a great actor. Plus it's FREE. I wish I could get to NYC and see it. PLEASE, someone go see the show, and report back how it was. PLEASE. This really is a DON'T MISS Opportunity.
How come you didn't use the silent c pronunciation for Cuchulain (phonetic: Koo-hul'-in)..I noticed this in a reference guide in the Morgan Llywelyn novel Red Branch. Is she in error listing it thusly, or is either pronunciation considered acceptable. Just curious :)
The pronunciation we used is the pronunciation we were told was correct. I can't verify it. And at this point, I don't remember who told us. It might have been Sheena Easton and/or Scott Cleverdon. It might have been Diane Duane and or Peter Morwood. It might have been Michael Reaves. I don't remember. I just know, I didn't know, and asked. The pronunciation we used was the one we were given.
It looks like my question got lost in the crash, so I will try to recreate it.
I was wondering how the voice recording was done. In one of your ramblings you mentioned that some careful editing was done of the voice tracks to make the timing of the dialogue smoother. This makes it sound like each voice actor was recorded separately. Was this actually the case? I would have thought that it would be easier for the actors to be able to play off of each other as they are reading in order so get into the proper mood of the action.
I was also wondering which comes first, the voice recording or the animation? If the voice recording is done first, are the actors filmed so that the animators can transfer some of the facial expressions to the characters? There are some animation shows where the mouth movements do not even remotely correspond to the dialogue. That is very distracting to me; I have never had that feeling with Gargs.
As often as possible, we tried to get the entire cast together. But that wasn't always possible. Jonathan and Marina had Star Trek duties. Keith spent most of the second season in New York doing Seven Guitars on Broadway. And etc.
But even when we did have people together, you need to understand that we'd occasionally mix and match everyone's takes. Sometimes Jeff's best take might be number three. And Thom's was number one. And Bill's was number two. Why not take their best takes if we can? And we could. So we did. Also sometimes we wanted the dialogue to overlap. But if we record it overlapped, then it makes it hard for the Track Reader to instruct our overseas animators on the lip synch. So we'd record the lines separately, and then overlap them in our edits.
Voice Recording almost always comes BEFORE animation. In TV, we generally do not film the voice actors. We don't have a budget for that step.
This got lost in the queue, so I'll post it again.
Why did Micheal did the voice of Taurus, even if he is doind the voice of coldstone?
Michael Dorn was a natural to play Taurus. It was a very Worf-like character in many ways. But because we already had used him as Coldstone, we decided to hire someone else. That person did NOT work out well at all. (That entire episode was a problem. We had another Proteus and another Boreas as well.) Since we had to re-spend the money to recast so many people, I didn't want to take any chances the second time. (There was no way that we'd be allowed a third chance.) So we went with three people we knew we could count on, i.e. Roddy McDowell as Proteus, Dorian Harewood (am I spelling these correctly?) as Boreas and of course Michael Dorn as Taurus.
This is more of a comment than a ramble, but here you go. :)
I've always admired Goliath. Not only is he handsome, seven feet tall and very strong, but he's much more. He's loving, caring, and so romantic. The way he talks, the way he smiles (when he does) the way he looks at Elisa, the way he touches her hair. Like in the episode "Deadly Force." He almost fell off the castle when Owen told him the bad news. How he almost killed Dracon seeking for revenge.
He is so romantic, it's like he carefully looks for the perfect thing to say all the time. I just love him.
Not only is he loving and caring, but he is intelligent, in his own special way. He may not understand this new world in its entirety, but he does, and he's learning fast. That's one thing I've always admired about him, he's a fast-learner, even Thailog complimented him on that in "Sanctuary."
But that temper. Anything ticks him off. If he could just learn to control it, I think he'd be perfect. For example, "Enter Macbeth," when he found Elisa, Hudson and Broadway outside the castle, and when Elisa told him about "their new home." He was furious, he even screamed at her. "How dare you!?!" Broadway had to pitch in to knock some sense into him, but he still wouldn't listen. That was, until Hudson spoke. He respects Hudson, and that's obvious, but he still couldn't help but roar to the night. And how everyone gasped at that, wow. Great episode.
Back to Goliath. Umm, what else can I say about him? Oh, he can dance. :) And beautifully, may I add. "Eye of the Beholder" is one of my favorite episodes, the way they danced. The way he bowed to her, the way he twirled her. Wow. I've lost count of all the times I've hit the rewind button to watch that scene all over. :)
His sense of honor. He waited for Odin to get up to strike again. He even stopped Demona from dropping a human to a certain death. He lost Demona for struggling to do what was right. Wow.
His manners. He bowed to the Princess even if she had called him and his kind "beasts." It wasn't stern, it wasn't sarcasm, he really meant it. He left the Princess speechless with his manners.
His vocabulary. The only thing close to a curse he's ever said is "Jalapena," and that's not even a curse. He barely uses contractions, too. For example, he says "cannot" instead of "can't." He is so nice. I just love his way of speaking.
His skill, that's one thing I love of him. That's why the Pack wanted to hunt him, Lexington just came in as a bonus, they wanted the excersise, they wanted a thrill. And Goliath was just it. But he beat them, with the help of Lexington.
Oh, yeah, his looks. :) That's the first thing I noticed about him. After thoroughly analyzing the episodes, I realized that he's more than good looks. But back to it, he is handsome. There's no denying that. Elisa literally fell for him the first time she saw him. :) I still don't understand how his hair stands uop like that, but it still makes him very handsome.
His colors are great, too. I mean, he's not dark, nor too light. The colors just suit him. That lavender skin, with that brown hair blue and black wings. Wow. :)
The way he smiles, the way he walks, the way he speaks... it's just so unique. Not even Thailog's like him, and he's a clone. :)
I sound a like a huge fan, don't I? Well, I am, I've always been, and I will always be a huge fan. :)
BTW, I saw somewhere that Goliath had mutliple spikes coming from his arms, and also the tip of his tail ended like Ottello's before he was changed to the way he is now. but a ball or something. Anyway, who changed those features? And why? I think they made him very distinctive.
So, that's all for now. :P I think... there's much more I like about him. Anyway, thank you for your time!
-A devoted fan
Wow. An ode.
I like him too. But credit where credit is due, a lot of people were involved in Goliath's creation.
First and foremost, Greg Guler, who created the basic design that our current Goliath is based on. Frank Paur chose to streamline that design so that our animators had the best possible chance of animating him consistently and well.
Numerous other artists both here in L.A. and in Japan also contributed. There's one guy in particular in Japan, who jumped on and made a pass in between Greg and Frank. His name, I think, is Mr. Takeuchi. But I'm not 100% sure, and I can't check my files at this moment. My apologies if I've gotten that wrong. (I only ever met him once.)
Then, of course, the writers. Michael Reaves, Brynne Chandler Reaves, Gary Sperling, Cary Bates, Lydia Marano, Steve Perry and others. They captured his voice.
And actor Keith David, who really brought life into that voice. I can't say enough about Keith's talent, training and natural abilities. But I will say that Keith is also a big fan of Goliath's. That may sound strange, but he's said to me that he admires many of the qualities that you listed above. He became a real watchdog (particularly on Goliath Chronicles) to make sure that Goliath sounded like Goliath in voice and in diction. Of course, I also need to credit Jamie Thomason, our voice director. He and Keith made Goliath sound like Goliath.
And Paca Thomas at Advantage Audio who created the growls and roars to supplement Keith's work.
The list is endless, but that's a partial attempt. I'm proud to be one of that group of many.
Story Editor: Michael Reaves
Written by Marty Isenberg & Robert N. Skir
I just watched "Legion" again. Time to Ramble.
From the memo I posted earlier this week, you'll see that the never used on screen names of Othello, Desdemona and Iago were my idea. But I've always wondered if that's the case. The outline that Marty and Bob wrote immediately prior to that memo had all the Othello elements very, very present in the story. All they didn't do was NAME the characters. I always wondered whether they and/or Michael had the Othello story specifically in mind, consciously or un-, and I just capitalized on it.
The Goldencup Bakery Building, which semi-secretly houses a defense department hi-tech research and development installation is modeled after the Silver Cup Bakery Building -- which actually exists in Brooklyn (as I recall). That Building was trashed in the original HIGHLANDER movie in the final battle between Connor and the Kragen (who was played by a pretty damned horrific Clancy Brown). Small world.
I was always worried that the whole Othello, Desdemona, Iago, Cassio (whoops, I mean Goliath) backstory was a bit vague in this episode. Did anyone have problems getting it?
I don't think I'd like to be one of those Goldencup Guards. Coldstone punches one of them out. That's gotta hoit. He just seems fairly unstoppable in that Xanatos-program controlled sequence. I like how that plays.
Matt says to Elisa: "You never let me drive." My wife's reaction: "Was that in homage to me?" My wife, you see, almost always drives when we're together. She gets carsick when anyone else drives. And I don't much care.
Speaking of Matt, we've got that line about him spending six months reading RECAP manuals to justify why a normal detective would be in charge of RECAP in the first place. Just trying to avoid either adding a superfluous character and/or making the situation seem artificial.
Another appearance of the Scarab Corp. Logo, even though Scarab is never mentioned by name. Oh, well...
Coldstone flees the Goldencup. Goliath and Lex pursue, and Coldstone attacks them. Then he immediately stops, when he sees it's Goliath. The problem I always had with that scene is that the lighting made it obvious that it was Goliath from moment one. (Not just to us, but to Coldstone.) If Goliath had been in shadows, it would have played better.
Minutes later Lex asks Goliath if it's wise to take Coldstone into their home: "He hasn't always been your friend." This was, theoretically, a reference not simply to the most recent attack, nor even only to the events of "Reawakening", but also a reference to the pre-Massacre backstory of the actually non-existent love triangle (or square or pentagram if you include Demona) that caused Goliath and Othello to fight way back when. Lex remembers those days too. Othello was always a bit of a hot-head.
I love Goliath's response: "Without trust there can be no clan." And I love that this is part of a Lex/Goliath exchange. It fits in perfectly with the message they taught each other in "Thrill of the Hunt". Gotta take some chances on occasion. Or else you'll always be alone. It's an anti-Demona mentality. Or rather a mentality that is strikingly un-Demona-esque.
From the moment Coldstone premiered in "Reawakening" I knew (that if we survived to a second season) we'd discover that he was created from three Gargoyles. Tried to work that conceptually into the design more, but we never quite achieved it. So basically that becomes something that the audience has to take on trust.
Which brings me to the title "Legion". It's a one-word title which usually is a tip-off that it's one of mine. I know it's a biblical reference. Some possessed guy with a demon/devil inside who goes by the name "Legion". But that's not actually where I got it. When I was a kid, I saw this tv movie based on Mary Shelley's FRANKENSTEIN. It starred Michael Sarazan or Chris Sarandon. (I always used to mix those two guys up.) It was trying to present a more realistic believable version of the Frankenstein story. I was pretty young. And I don't remember too much about it. I do remember that I was supposed to be asleep -- past my bedtime in the days before my parents gave up and I began going to bed long after they were asleep. But instead of being asleep, I was watching it, in the dark, with the volume turned as far down as possible, me sitting right by the set, so I could flip it off if I heard my parents' door opening. (This was long before remote controls were common.) Anyway, the one scene that I really remember is a scene where they put the Monster under hypnosis. The voices of all the people who "donated" body parts begin to speak. And one of them quotes the "Legion" thing from the bible. But I didn't know that. That is I didn't know back then that he was quoting anyone or anything. It just seemed like a very powerful, poetic and humanly true statement. So it wasn't until college that I read that passage in the bible and realized where it was from. Can anyone cite the actual quote? I can't remember where exactly it's from, and I don't feel like searching right now.
Anyway, all this is relevant because Coldstone was ALWAYS our Frankenstein character from the "IT'S ALIVE!" moment to the "Legion" stuff here.
Coldstone calls Hudson "Mentor". That's a "name" I've been long considering for Hudson's "designation" in the DARK AGES prequel spin-off.
Coldstone shoots Goliath at point blank range. Goliath gets up unharmed. A far cry from what happened to G in "Long Way to Morning." Now in the outline and script, it says that Coldstone uses his "concussion cannon" as opposed to his laser cannon. But nothing in the as-aired episode makes that distinction. And so it just looks irresponsible to me. Like suddenly we're saying violence has no repercussions. Did that bother anyone else?
I love the dark comedy of Coldstone going bonkers at Ellis Island. Fighting with himself. I think Michael Dorn did a terrific job playing all four aspects of CS's personality. Which of you figured out what when? I'd like to know.
The Trio has the Recap visor. Now all they have to do is find Goliath, Hudson and Coldstone. How will they do that? "Three guesses?" A very elegant way to explain how in a huge city, they're able to locate three gargoyles.
Kenner's Coldstone toy is a lot of fun. With it's window into Coldstone's soul. And the spinner that allows any of the four personas to take over at random.
Xanatos doesn't even appear until the VERY END of Act Two. And it's not even really Xanatos, just a program designed by him. Normally, I'd say that wasn't playing fair. But I feel like his presence was obvious all-along. (And did David personally design that program. Or did he just put his stamp on it, management-style?)
There's a moment when Goliath, thrilled to see his rookery sister again, hugs Desdemona. She is immediately annoyed, because she knows that hug is prone to misinterpretation. It's a nice little touch in the animation.
I always wondered what if anything Demona thought about that ancient conflict way back when. Was Iago playing her as well? Trying to make her jealous of Desdemona? I think maybe he did try. But wouldn't it be cool if she didn't credit it for a second. If she just knew intuitively that Desdemona didn't present any threat at all to her relationship with G? Because, I feel the opposite is true. That Demona knew intuitively that Elisa DID present a threat. Say what you want for Demona, but her subconscious knows her man.
I love that moment where BOTH Iago and Xanatos are whispering in Othello's ears. Poor slob never stood a chance.
We've got a nice little Xanatos tag in this one too. Certainly not a doozy as in "Leader" or "Metamorphosis", but it's got a nice little kick to it, I think. And that's THREE episodes in a row. X had been busy.
And then I love the last beat back at the clock tower. Goliath has confiscated Coldstone's body, to keep it safe and "among friends" should he/she ever wake up again. I wanted to keep it in the corner from that point until "High Noon". Always present and visible. We didn't for two reasons. First, we figured it would be a bit confusing. The Batcave can get away with the giant penny and other souvenirs from Batman's cases, because there ARE multiple souvenirs. But just having one immobile gargoyle in the background, as cool and creepy as that is, would be horribly distracting for any audience member who missed this one particular episode. And second, we had our tier system. What if "Legion" wasn't ready as scheduled. We couldn't have Coldstone sitting around the clock tower in later episodes that we'd be forced to air first. Talk about disconcerting. So we invented a back room. Where Coldstone, the Grimorum, the Gate and eventually the eye could be stored.
Comments welcome, as usual...
I re-watched "Legion" the other night. I'll post my Rambling on it sometime this week, but first here's a memo from September, '94, written by me to Michael Reaves in response to Bob Skir & Marty Isenberg's first draft outline on the episode [reprinted here unedited]:
Notes on "LEGION" Outline...
Lots of great stuff in here. I just want to make sure that (1) we're clear on the theme and we milk it for all it's worth; (2) we're not skipping beats that will keep things mysterious and interesting for our audience; (3) we clarify the relationships (and names) a bit, and (4) we divorce it all from the 994 Viking attack.
General notes, in no particular order:
O.K. I'm as well versed in our series as anyone is going to get, and even I found myself confused by (and backtracking because of) our name problem. Coldstone... Pre-Coldstone... Coldstone's Love... Coldstone's Foe... Coldstone's Dyslexia could cause Coldstone's Ulcer. So let's give our "internal characters" names. I would suggest carrying these names into the script for use in character descriptions and stage directions. Use the names to indicate who is controlling the Coldstone creature at any given moment. And when we are in the inner world of Coldstone's psyche they can also be used as headings for the dialogue. The only place where we should not use these names is in the actual spoken dialogue. They are for our designation only, since, as we all know, gargoyles had no names in the tenth century.
COLDSTONE = The cyborg/gargoyle creature currently known as Coldstone and voiced by Michael Dorn. Use this name only when referring to him in the present. Or in stage directions when referring to the external creature. And obviously, this is the one name we can use in spoken dialogue.
OTHELLO = (Hey, we've already done Macbeth.) The situation you described naturally brought Othello to mind. Othello will refer to Pre-Coldstone (also voiced by Michael Dorn) when he is internally depicted as he was in the tenth century.
DESDEMONA = Will obviously refer to Othello's female gargoyle lover. (Please remember that Desdemona was a warrior in her own right. She can justifiably be confused by this new and bizarre situation, but she shouldn't be weak, clingy or changeable.)
IAGO = Will refer to Othello's male gargoyle foe.
The main problem I had with this backstory was its tough-to-swallow interweaving with the Viking massacre. I sense you were trying to explain how all their gargoyle parts got mixed up together. This isn't necessary. I think it's safe to assume that when Demona and Xanatos were gathering parts to create Coldstone, they couldn't find enough usable parts from any single gargoyle. We don't know the magical and scientific details that were necessary to revivify this creature, but I think we can safely assume that neither Demona or Xanatos simply wanted to graft Othello's head onto a robot body. Demona especially would have wanted the creature to be as much a gargoyle as possible. So she found a large chunk of Othello's head and a few other usable pieces. She chose him because the Viking who shattered him was lazy and left some chunks intact, but also because she may have had reason to believe that Othello had shared her negative views of humanity. Unfortunately, there wasn't enough of him to build Coldstone. So she turned around and found a nice unbroken piece of Desdemona. And over here, a piece or two from Iago. Toss in Xanatos' computer parts and you've got yourself a creature. She didn't have to be mixing them together by accident. We can posit that she did it out of necessity.
That gives us the freedom to remove this event from the Viking attack. We don't need to imply that Goliath is distracted by an impending Viking attack (which frankly I don't think he was expecting). And we don't need to sandwich in Othello's pursuit of Goliath on the fateful night. And we don't have to toss Demona into this particular story at all. (It's crowded enough as it is.) In fact, the incidents of this story's flashback could have happened months or years before they were all destroyed by Hakon's men. Let's give ourselves this breathing room.
I think Coldstone only has one voice-box: Othello's. No matter who controls the creature from the inside, from the outside he sounds like Michael Dorn. I'm not simply suggesting this for logic and/or economy (we'll still cast a different actress and actor for Desdemona and Iago in the mind-world sequences), but because I think we'd be missing a bet by not keeping our audience guessing until the third act as to what's causing the odd behavior of Coldstone. When Othello is in control, he will remember the events of "Reawakening". Neither Desdemona or Iago will, and they will react very differently to being awakened in the 20th century. When the computer is in control (i.e. when Xanatos is issuing simple and direct commands), Coldstone will respond like an automaton. But in every case, he will speak with Dorn's voice. This does more than present an interesting challenge for Dorn. It keeps our audience guessing as to what is going on.
However, we have no desire to keep our storyboard artists and animators guessing. Please resist the temptation to write the script as a mystery that only reveals things to the reader when the audience discovers the same truth. We need this teleplay to be a blueprint: as clear and straightforward as possible. We need to track who is in control of Coldstone at all times. (And if the above paragraph goes without saying, accept my apologies in advance.)
The theme of today's adventure is TRUST. And I really want to emphasize it as much as possible. Misplaced trust. Lack of trust. The need for trust. Betrayed trust. All those good trust beats. Goliath puts his trust in Coldstone, who seems to betray it. Othello trusts Iago instead of Desdemona and Goliath. Iago puts his trust in Xanatos. Etc. Etc. Etc. Just at the point where you've put the trust brick through the plate glass window of our audience's attention is the point where we've hit the mark. Anything short of that is liable to get lost in the shuffle of such a complex story. Playing this theme in action and dialogue will help keep us focused.
Goliath's goal is to restore Coldstone to the clan. Goliath misses his rookery brother. Remember, there are so few gargoyles left, that Goliath would value every one.
THE POLICE TICKING CLOCK
Rather than create a whole new character in charge of the police probe robot, I'd like to use Matt Bluestone. It's a bit of a stretch, I know, but there've been episodes of Hill Street where normal everyday cops were given the opportunity to test and evaluate new hi-tech material to see how it performed in real life situations. I think we can buy into it here as well. Particularly given Matt's personality. He's the kind of guy who would study the manuals and learn how to use this stuff. He's seen Goliath and Coldstone battle in Times Square. And he's an odd combination of compassionate idealist and minor paranoid. He might feel that it's better to know how this stuff works than be at the mercy of it. He could get into it.
And once the VR hook-up was "borrowed", he'd be pretty intent on finding out what was going on. He knows weird shit has been happening in Manhattan, but we've kept him an outsider to the world of the gargoyles. Though he's a decent guy, his ignorance makes him a viable threat to our heroes.
SCIENCE, SORCERY & CYBERSCAPE
In the beat sheet that follows, I've tracked the story in the most basic terms. [The science mostly.] But as you noted in your outline, Coldstone was created from both science and sorcery. So feel free to embellish the basics which I describe here. Particularly in the cyberscape scenes. Here, I've laid out only the bare bones to make sure the story tracks. The cyberspace reality should be fluid and changing, easily influenced by the thoughts, emotions and memories of the players involved. (Particularly Othello, but also Desdemona, Iago and even Xanatos and Goliath if appropriate.)
ACT ONE - (The idea in this act is to depict Coldstone under the control of each of his four masters (Xanatos, Othello, Desdemona and Iago) in turn, without revealing to the audience or our characters what exactly is happening.)
1. The George Washington Bridge, just before sunset. Coldstone's red robotic eye burns awake in the muck beneath the bridge. Automatic repair work begins. (Remember, the last time we saw him, Demona blew him away with a cannon.)
Intercut between these repairs and brief flashbacks to 10th century Scotland. Fleeting images of Othello and Desdemona in love. Of Iago sewing seeds of jealousy in Othello while Desdemona confides with Goliath. Of Othello attacking Goliath. Of Desdemona coming between them.
Then repairs complete, Coldstone rockets into the night sky. The creature speaks with Coldstone's voice (Michael Dorn) but in a modulated automaton-like fashion. "Repairs complete. New programming downloaded. Initiating Prime Directives."
[Basically Xanatos has broadcast a new binary code and reactivated the creature. It is Xanatos' computer programming which is now in control. Othello is still dormant.]
2. Goldencup Bakery Building, dusk. (Since this is a fictionalized location anyway, let's relocate it to Manhattan, so that we can pretend that it is located within Elisa and Goliath's "beat".) Coldstone [still under complete computer control] raids the government installation. His approach is anything but subtle. Alarms sound.
3. Clock Tower, just after sunset. Elisa's tosses Lex a headset receiver/transmitter. She tells him that she and Matt had been put on alert and now they got the call. Something's going down and they're going to test "the thing". It's clear from dialogue that they've discussed this already, as Lex is very excited to see how and if "the thing" works. Goliath is curious. What are they talking about? A new police robot probe for dealing with high-risk situations. The cops control it by using a virtual reality hook-up. Goliath: "Virtual... Reality?" This he has to see. He and Lex will follow her by air. They promise to stay out of sight.
4. Back at Goldencup, Coldstone moves like a juggernaut towards the computer room. He does not fight against the building's security forces, he simply ignores all opposition. Finally, he plugs into the computer. Suddenly Coldstone seems to have no idea where he is, what he was up to or why everyone is shooting at him.
[Although we shouldn't reveal what's going wrong yet, the computer virus has begun its attack on Coldstone's programming. It causes the creature to freeze up for a moment, and then Othello wakes up within his own body.]
Not knowing how he came into the windowless room, Coldstone doesn't even know the way out of the building. Well, he may not have the answers, but he can do something about his attackers. He begins to fight back. The humans are driven out.
5. Outside, Morgan tells Elisa & Matt that some kind of semi-robotic creature is pinned down inside. Matt is putting on the VR interface visor. Elisa asks him if he's sure he knows what he's doing. Matt says "Trust me, I didn't study all those manuals for nothing." The probe robot moves in. (Obviously, this thing shouldn't come close to being on a par with any of Xanatos' robots, but let's not make it a push-over either.) Lex and Goliath watch from building-tops, despite Elisa's warnings that they could be mistaken for the "creature". Lex is fascinated with the probe. Goliath is more interested in seeing what kind of creature the probe flushes out.
6. Meanwhile, Matt is getting the hang of the probe robot. At first it doesn't seem to be responding well. It freezes up by a computer bank and the visor goes dark for a few seconds, but then it kicks into gear. The robot approaches Coldstone. Matt tries to get Coldstone to surrender, via his connection to the Probe. But Coldstone's still a 10th century warrior at heart. He won't surrender to some Iron Tree stump (or whatever it looks like). So now it's Coldstone vs. the Probe. The Probe gets in a couple good shots, but soon it's on the ropes. Matt whips the visor off, just before the probe is destroyed. The feedback could be dangerous. (But note, the robot should not be blown to bits, just wrecked.) At any rate, the battle has led Coldstone to an exit (or at least to a small window, which he cannons into an exit). He takes off. Spotted by Lex and Goliath who pursue.
7. Goliath, Lex and Coldstone are reunited. (Maybe Coldstone is defensive and antagonistic until he gets a clear look.) They pause on a building top to talk. Goliath is thrilled that Coldstone is still alive. Coldstone is mightily relieved to see a friendly face. Lex is a bit dissatisfied with Coldstone's non-answers to his questions about what he was doing at Goldencup. But Goliath happily invites Coldstone to join the clan at their new home. They take off. Lex glides up close to Goliath and quietly questions the wisdom of taking a former enemy (and a guy who's acting pretty strange) into their home. But Goliath TRUSTS his rookery brother.
8. They arrive at the clock tower. Coldstone is especially thrilled to see his "Old Mentor", Hudson. Coldstone didn't see Hudson in "REAWAKENING" and is thrilled that Hudson survived the centuries. Nearly overcome with emotion Coldstone says there's only one other that he would be happier to see alive. And suddenly, he begins acting very odd. "Where am I? Goliath is that you? What's wrong with my voice?" That kind of stuff.
[The virus has had a systemic effect on Coldstone. It broke Xanatos' pre-programmed control, allowing Othello to regain control of his body. But as the system continues to break down, other voices are coming to the surface. You could call them ghosts, if you want. But they are the personas "haunting" the pieces of Coldstone that were neither Othello nor electronic. The first to surface is Desdemona, summoned to some degree by Othello's intense emotional memory of her. She has not been briefed on her circumstances and is legitimately confused.]
Somewhere in here, Coldstone catches sight of its own reflection, freaks out and takes off. Goliath and Hudson pursue. Brooklyn and Broadway are about to follow, when Lex stops them. Something's wrong inside Coldstone's head. And he thinks he knows how to find out what.
9. Goliath and Hudson catch up to Coldstone (after a chase?) at Ellis Island. As they approach, Coldstone stands very still, out of breath. Stunned by the huge city of Manhattan.
(Note: somewhere in here, Brooklyn glides toward them, spots them and then instead of landing, doubles back.)
Goliath asks "What's wrong?" Coldstone's whole demeanor changes: "What's wrong? Why, nothing. Nothing at all."
[The enormity of events has weakened Desdemona's hold over Coldstone. Iago has stepped in. The difference is that Iago arrives prepared. He has been briefed by the Xanatos programming. More on this later.]
Goliath hesitates for a moment, but in for a penny, in for a pound. He trusts Coldstone, approaches him openly. And Coldstone takes the opportunity to blow Goliath away.
ACT TWO - (In this act, Coldstone's deterioration continues. The personality shifts come quicker and ultimately don't wait for Othello to vacate control.)
10. Hudson moves quickly to Goliath's side. Good news. Coldstone used his concussion cannon, so Goliath is still alive. Of course, that could change. Goliath and Hudson barely avoid a blast from Coldstone's other cannon. The one that could kill them. Goliath can't understand what's going on, but Hudson points out that he's not going to have a chance to figure it out if they don't start fighting back. So it's a fight.
11. Meanwhile at Goldencup, Elisa and Matt are tying up loose ends. Lex arrives, and via his headset hook-up and her hidden microphone and ear piece, he tells her that the creature was Coldstone and that he's acting really weird. She's not surprised. Coldstone had plugged into a computer usually loaded with military defense secrets. But Goldencup had received a tip that there might be trouble. (That's why the Police had the Probe Robot ready.) But Goldencup took extra precautions, the defense computer was loaded with a new computer virus. It's probably destroying Coldstone's internal programming.
Lex takes this all in and then makes his request. He needs Matt's VR visor and the interface off the wrecked Probe Robot.
12. Back to Goliath and Hudson vs. Coldstone. Just as the tables might be turning, Coldstone's demeanor changes again. Why is Goliath attacking him?
[Iago was afraid of losing. During that moment of doubt, Othello regained control. As yet, Othello is unaware of the changes Coldstone's been going through.]
Now at this point, both Goliath and Coldstone [Othello] are pretty suspicious of each other. Goliath doesn't want to be fooled again. Coldstone says he blacked out at the clock tower. Now he's here and fighting with his rookery brother? He's confused and his head hurts....
And now Coldstone goes through some major mood swings.
[Rapid fire changes from Othello to Desdemona to Iago, etc.]
And now things get really strange. Coldstone can't seem to control some of his body parts. He's arguing with himself -- out loud. (Note: all these voices are still Michael Dorn.)
[Though Othello retains partial control, the other personas are bubbling to the surface as the whole system continues to break down. Now for the first time, Othello can hear the other voices, but it is a cacophony that is driving him nuts. I don't think he yet recognizes them specifically as Desdemona or Iago.]
Some of the voices tell him to trust Goliath. Some say destroy him. Some reiterate the events we saw in the flashback.
The "argument" gets more violent. Coldstone holds his head. He demands silence. He begins to fire blindly in all directions as if he could silence the voices that way. He's losing it. Goliath and Hudson dive for cover.
Suddenly Lex dive-bombs in, smashing into Coldstone and, not-so-incidentally, installing the VR interface hook-up. Coldstone collapses to his knees, begging for quiet.
Brooklyn and Broadway come in for a landing behind Lex. (While Lex was getting the equipment from Elisa, they had been scouting for Goliath, Hudson and Coldstone. When Brooklyn spotted them, he doubled back to tell Lex where to find them.)
Goliath tells them that Coldstone is being destroyed from the inside out.
Lex agrees and holds up the visor. If they want to save him, someone's going to have to go inside to do it.
13. Back at Goldencup, Matt tells Elisa that the VR visor and the hook-up have been stolen. Since secretly she took them and gave them to Lex, she shrugs and says they'll turn up. He's sure they will. This was expensive equipment with built-in homing beacons. He shows her a tracking device. They'll find them, all right. And when they do, he won't be half surprised if they find their creature as well.
14. Back on the Island, Lex is not at all thrilled about Goliath's decision to put on the visor himself. Lex feels that he's the best qualified to handle the technology, which is exactly why Goliath needs him on the outside in case something goes wrong. Goliath puts on the visor. An aura of Electricity and Magic surround him and Coldstone.
15. Goliath finds himself in cyber-sorcer-limbo-space . In front of him is a bridge leading over a swirling vortex [the virus] . There's nowhere to go but across. So he goes. There are already holes in the drawbridge. And the holes are getting bigger.
[The virus is now eating away at the VR interface.]
Goliath realizes that he's going to have to fix this problem, and get back across the bridge/interface before there's nothing left of it. On the other side of the bridge rising out of the cyber-mist is a dreamscape version of the 10th century Castle Wyvern. There are three gargoyles (Othello, Desdemona & Iago) frozen in cyber-stone. And half-hidden in the shadows is another familiar face -- Xanatos. He welcomes a shocked Goliath as we fade to black.
ACT THREE - (Revelation and conflict inside the deteriorating mind of Coldstone.)
16. The vortex is everywhere, and the castle is slowly sinking into it. Goliath demands an explanation from Xanatos, who steps out of the shadows and reveals that his body is full of cyber-holes, and is partially gone. Like the bridge, he is being eaten away by the virus. Xanatos explains that he is not in fact Xanatos, but a computer program with a primary objective to enslave Coldstone to Xanatos' grand design. Goliath is determined to stop him.
Suddenly the three gargoyles explode free of their stone shells. Othello again drops to his knees. Still traumatized. Desdemona runs to Goliath. (She was his rookery-sister, and he would remember her and greet her as such.) Now she fills in the blanks. Xanatos used more than one gargoyle to build his creature. They all live on inside it. But Iago is trying to wrest control of the creature from Othello. He's made some kind of deal with the human (i.e. Xanatos). But she won't let it happen. She loves Othello. Goliath must help her save him.
But meanwhile, Iago and Xanatos haven't been wasting any time. They whisper in Othello's ear. "See how Goliath steals your love away? It was the same 1000 years ago and now, once again, they have betrayed your trust."
Othello turns on Goliath. Knocks him back. Basically, tries to drop-kick him into the vortex.
17. On the outside, a catatonic Goliath and Coldstone seem to reel from the blows of invisible foes. Lex doesn't know what to make of the glowing aura that surrounds them. But Hudson recognizes sorcery when he sees it. Coldstone was created by science and sorcery. It was something Lex hadn't counted on. Then, via headset, Elisa alerts Lex that Matt is determined to get to the bottom of this mystery and that he and the authorities are closing in on them by SWAT helicopter and police boat. They better make tracks. Lex tries to take the visor off Goliath but the aura throws him back. It ain't gonna be that easy.
18. Inside, Desdemona tries to separate Goliath and Othello. Othello: "Again, you come to his defense." But she protests. He is forgetting what happened. 1000 years ago he was jealous of Goliath, but needlessly. Her love for him is eternal and true. And Goliath was not and is not his enemy but rather his brother and true friend. He has been tricked again by Iago. It's a crucial moment. Who will Othello trust? Desdemona & Goliath or Iago & the human Xanatos? Othello will trust his heart. He turns to face his true enemies.
But it's too late. The partial Xanatos is already merging with Iago. Together they are transformed into a Cyborg version of Iago, but giant-sized. The giant Cyborg-Iago smashes Goliath and Othello and prepares to throw them over the ramparts and into the vortex. With his other hand, Iago lifts Desdemona to eye level and invites her to merge with him as well. Then they can finally be together as Iago always knew they should be.
19. Outside, Lex stands watch over Coldstone and Goliath, while Hudson, Brooklyn and Broadway try to sabotage Matt's attack force without hurting anyone or being seen. They cut fuel lines on the choppers. Overturn the boats or whatever.
20. Inside, Desdemona tries to hand Cyborg-Iago his head. She's a warrior and will choose her own love. This gives Othello and Goliath the chance to recover. Now it's the three gargoyle heroes against the giant cyborg-monster. Maybe the castle landscape itself begins to change and mutate into a hollow vision of Coldstone. (They are battling for the soul of this creature-amalgam.) Ultimately, (surprise, surprise) it is the giant-cyborg-Iago that is tossed into the vortex.
But time is running out. Othello and Desdemona insist that Goliath return to his own body before the vortex swallows everything. But what about them? They are finally together. If they can halt the vortex, so be it. If they fall to it, so be that. At least they will be together. The bridge appears. Goliath crosses it, just as it collapses into the vortex.
21. Outside, the magical aura fades away just as Broadway, Brooklyn and Hudson return. Authorities are still coming. Couldn't do anymore without revealing themselves. Goliath removes the visor. Lex removes the interface from Coldstone. For the first time since scene one, Coldstone's red robotic eye dims and fades.
22. Matt and Elisa finally arrive on the island. Matt uses his tracking devise to lead them to the equipment. They find the visor and interface on the ground. The area is otherwise deserted. Not a creature in sight.
23. At Xanatos' castle, Xanatos asks Owen if there were any problems. Besides the minor setback of losing Coldstone, no. Xanatos' Scarab Corp. Robotics Division confiscated the remains of the Probe Robot (including the interface and visor) which they had supplied to the police in the first place. Coldstone was the perfect cover for the Probe Robot to get what Xanatos really wanted: the virus. Forget defense secrets, the virus is the deadliest weapon he knows of. It even defeated the mighty Coldstone.
24. Inside the clock tower, Goliath has installed the dormant Coldstone in the corner. Someday, he trusts, his rookery brother and sister may fight their way to the surface. He wants them among friends when they do.