EXT. STREET - NIGHT
VINNIE is out for a stroll. Suddenly, the steel hatch SMASHES to the sidewalk in front of him, digging a big chunk out of the sidewalk. Vinnie takes, looks up. Shakes his head.
VINNIE: (gasp, then) Can you believe it?
And we're back inside the Huntership with Goliath, Lex and Brooklyn. That little touch of Vinnie in the night was scripted and I think boarded, but it was cut before the show was shipped because we were too long. It's a silly moment, but it does help motivate Vinnie a little more for his role in "The Journey," and anyway, I thought you all might get a kick out of it. (GDW / 12-5-97)
This scene would probably play better in context. So if you taped "Hunter's Moon, Part Three", then watch it right through "Robyn Correy's" video-phone conversation with "Dominique Destine". Dominique tells Robyn to enjoy life because it's so fleeting. The screen goes dark. Robyn nervously holds up the disk. Now pause the tape. Imagine one of our trademark "Claw Wipes" and read...
EXT. CLOCK TOWER RUINS - DAY
Elisa picks sadly through wreckage, occasionally placing something in a cardboard box. She bends to pick up a charred photograph.
TIGHT ON PHOTO
It is a snap-shot from last Halloween: Elisa in her "Belle" gown arm in arm with Goliath. Both very happy.
A tear rolls down her cheek. A shadow falls over her. Elisa turns.
ANGLE INCLUDES JASON
behind her on his sky-sled, in Hunter garb except the mask, aiming a tranq gun at her. Elisa drops the box and reaches for her holstered gun.
JASON: "Please don't. I'd just have to tranq you again, and I came here to talk."
She lowers her hand slowly. But she's still on guard.
ELISA: "Okay. Let's talk about what a monster you are."
JASON: "I never meant to hurt you --"
ELISA: "You really are a piece of work. Using me to get to the gargoyles."
JASON: "No! I admit I infiltrated the twenty-third because there were so many gargoyle sightings here. But I never planned--"
ELISA: "Lies. Everything was part of your plan. That phony accent... even that phony kiss..."
He looks desperate and vulnerable, despite the gun in his hand.
JASON: "That kiss was real. And I never planned on falling in love with you."
This hits her hard.
JASON (CONT'D): "The hunt's been my whole life -- I never realized how lonely I was...
ELISA: "But why are you hunting them?"
We see a flash of Jason's fiery determination. Elisa responds in kind.
JASON: "Those monsters killed my father!"
ELISA: "Those 'monsters' are my friends!"
He looks shocked and disgusted. This, he was not expecting.
ELISA: "And they couldn't have killed your father. When he died, they were in Scotland, frozen in stone by a magic spell."
JASON: "So they weren't personally responsible. They're still evil! All gargoyles are! My family has been hunting them for generations!"
Trying desperately to reach him.
ELISA: "BUT WHY? What started this blood feud?"
He's stumped. His fury won't help him on this one.
JASON: "I -- I don't know. It doesn't matter."
Elisa senses his uncertainty, presses her attack.
ELISA: "Of course it matters. You hate an entire race and you don't know why! Listen, Jason. You've been lucky so far. No one's been killed. Give up the feud. Turn yourself in. It's not too late to walk away from this."
TIGHT ON JASON
He hesitates, then shakes his head.
JASON: "Yes, it is."
He revs up the skysled and takes off fast. Elisa draws her gun, but she does not fire -- it's ambiguous whether that's because he's already too far away or because she feels too much for him to shoot him in the back. Her arm drops to her side. PULL BACK to show her forlorn and surrounded by rubble.
Now restart your VCR and pick up back at Elisa's apartment, where Elisa is trying to stop Goliath from playing vigilante. As she failed with Jason, she fails with Goliath, which leads to events at the dam, which propels things to their tragic (if semi-hopeful) conclusion.
INT. HOSPITAL CORRIDOR - NIGHT
An exhausted Elisa sits on a bench opposite a guarded hospital room. Robyn, no longer in armor, but handcuffed and under
police guard herself exits the room and approaches Elisa. Elisa raises her head. Robyn doesn't look happy.
After that silent exchange, Elisa and Jason have their scene beside his hospital bed. [Note the above scenelet was cut before it
was sent overseas for animation. There's no lost footage.]
EXT. CLOCK TOWER - DAY
It is late afternoon, the sun low in the sky. The Clock Tower and Precinct House, blown up in 4319-063, are under reconstruction. Large cranes, CONSTRUCTION CREWS, etc. continue their work. SFX.
PAN DOWN THE STREET
A long New York City Block to a lot jammed with temporary offices and trailers, housing the relocated Precinct.
PUSH IN on one trailer, where CAPTAIN MARIA CHAVEZ struggles to enter on crutches, one leg in a cast.
INT. POLICE TRAILER - DAY
Matt Bluestone is sitting huddled over paperwork at a cluttered desk opposite the door as Chavez enters.
I'm pretty sure that's my chair.
He looks up, caught off-guard by her arrival.
Captain, you're back.
She begins to maneuver awkwardly around the desk. He gets up fast to make way for her, and she eases herself into the chair.
Yeah, I'm back. What did I miss on the gargoyle front?
Multiple false alarms and vandalized stone statues. A lot of people are scared.
What about the Xanatos angle?
Uh, Elisa and I have both been up to the castle. Nothing... unusual to report.
INT. ELISA'S BEDROOM - DAY
The shades are drawn. Elisa's in bed, sleeping in an oversized pair of men's flannel pajamas. CAGNEY the cat jumps on the bed and starts pawing at her and purring.
Where is Maza?
(meow and purrrs)
Elisa opens her eyes.
O.K. Cagney, I'm up. I'll feed you.