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"The Price": First Draft Script

In preparation for my episodic rambles, I usually post the memo I wrote to the story editor with notes on that editor's first draft outline. This time, on "The Price", there was no memo. The outline must have been in very good shape. So instead I thought I'd post a couple scripts. Usually, I can't do that because back then I tended to edit by hand, and have my script coordinator, Denise Byrne, enter my changes into the computer. But this time, for whatever reason, I did (at least some of) the changes myself, so I still have both drafts on my computer. This one here is Michael Reaves' first draft script. [Note: some or all of the formatting will likely be lost in posting it here at ASK GREG. Read this for content, not format.]

GARGOYLES

"The Price"

Written by:
Michael Reaves

[based on comic book material by Lee Nordling]

1st draft:
1/12/95

Story Editor:
Michael Reaves

WALT DISNEY TV ANIMATION

GARGOYLES

"The Price"

CAST LIST

REGULARS
GOLIATH
BROOKLYN
HUDSON - There is also a stone statue of Hudson in a typical sleep pose.
BROADWAY
LEXINGTON

ELISA

SEMI-REGULARS
XANATOS
OWEN

GUESTS
MACBETH Actually a robot, but visually indistinguishable from the real thing. He only speaks three lines, using them over and over.

NON-SPEAKING PARTS
MATT BLUESTONE Non-speaking cameo.
3 COMMANDOS
1 STEEL CLAN ROBOT

GARGOYLES

"The Price"

ACT ONE

FADE IN:

EXT. MANHATTAN SKYLINE - NIGHT - PANORAMIC POV

A spectacular gargoyle's eye view of the city, covered by a thick pelt of snow. CAMERA MOVES SLOWLY through the maze of skyscrapers. Below, headlights and neon signs play prismatic colors. An enchanting vista.

BROOKLYN (V.O.)
Boy, the city sure is different
when it snows.

TRACK WITH GARGOYLES

As GOLIATH, BROOKLYN, BROADWAY, LEXINGTON and HUDSON ride the night wind. Broadway hugs himself against the cold.

BROADWAY
Yeah -- it's colder.

FAVOR GOLIATH - PANNING

He permits himself a small smile at Broadway's discomfort.

GOLIATH
It's almost dawn, and we've
completed our patrol of the
city. Let's return to the clock
tower and a warm meal.

FAVOR LEXINGTON - PANNING

He looks contented.

LEXINGTON
Not a bad life, all things
considered ...

WIDE ANGLE - ALL

Suddenly an ELECTRO-BLAST CRACKLES THROUGH SHOT, missing them narrowly and causing them all to scatter.

GARGOYLES
(surprised cries)

TRACK WITH BROOKLYN

He recovers his equilibrium, looks O.S. and reacts in shock.

BROOKLYN
Yeah ...

HIS POV

of MACBETH, swooping around on a return path, riding a small open-air flying platform supported and propelled by a repulsor device.

BROOKLYN (O.S. CONT'D)
Too bad it's about over!

WIDE ANGLE - INCLUDE OTHERS

Hovering as Macbeth heads toward them again, aiming one of his ray guns. (NOTE: We will learn later that this Macbeth is a robot, one of several constructed by Xanatos. For now, treat him as the real thing.)

HUDSON
(shocked)
Macbeth!

They scatter as another RAYBLAST RIPS THROUGH SHOT.

TRACK WITH GOLIATH

He folds his wings, drops, peels out O.S. During this:

GOLIATH
Spread out! Attack formation
Spartacus!

EXTREME WIDE

The gargoyles split into two groups and swoop toward Macbeth from opposite directions in a pincers strategy.

MACBETH
You'll have to do better than
that!

ANOTHER ANGLE

Macbeth's platform suddenly shoots straight up out of the gargoyles' paths. Our guys only manage to avoid colliding with each other by adroit maneuvering.

GARGOYLES
(startled cries)

FOLLOW MACBETH

He does a steep glide and turn, FIRING down O.S. as he does.

TRACK WITH GOLIATH

He narrowly dodges a CRACKLING RAY. As he flies:

GOLIATH
Why do you attack us? What do
you want?

ON MACBETH - FLYING

Intent, murder in his eyes. He raises the gun again.

MACBETH
I want your hides for trophies!

He sends a ray CRACKLING directly at us.

REVERSE ANGLE - LEXINGTON AND BROOKLYN

The ray ZAPS both of them, causing them to fall O.S.

LEXINGTON, BROOKLYN
(stunned grunts)

ON HUDSON AND BROADWAY

Reacting in shock. They dive down O.S.

ON LEXINGTON AND BROOKLYN

Semi-stunned, dropping in steep glides, about to lose consciousness entirely. Broadway and Hudson swoop INTO SHOT, Broadway grabbing Lexington and Hudson grabbing Brooklyn.

HUDSON
(straining)
Easy, lads -- we've got you --!

ANGLE INCLUDES ROOF

They glide to it and deposit their stunned comrades safely on a snow-covered ledge. (STORYBOARD NOTE: During these last few shots the eastern horizon is starting to glow with daylight.)

FOLLOW GOLIATH

He catches an updraft and wheels about, heading back.

TRACK WITH MACBETH

As he flies. Suddenly Goliath, eyes white, drops down INTO SHOT above him, grabbing him from behind in a bear hug.

GOLIATH
(growls)

MACBETH
(startled grunt)

ANOTHER ANGLE

A massive ELECTRICAL JOLT from Macbeth's armor knocks Goliath O.S. He falls from the platform.

GOLIATH
(cry of pain)

ON SKYSCRAPER PINNACLE

Goliath manages to land atop the pinnacle of a building which rises to a needle-like spire. He grips the spire with one hand, head drooping in a dazed slump, looking like King Kong just before taking that final dive.

GOLIATH
(dazed groan)

TRACK WITH MACBETH

He zooms down, a small packet held in one hand. As he sails past the gargoyles on the roof he hurls the packet at Hudson, who's a bit separated from the other three.

ON HUDSON

Before Hudson can dodge, the packet hits him and BURSTS, scattering a sparkling mist all over him. He reacts in surprise and confusion.

HUDSON
(startled cry)

ON MACBETH

He turns on the platform and aims his ray gun down O.S.

MACBETH
Farewell, my enemies!

ANGLE INCLUDES

The trio in b.g., the ray gun and Macbeth's hand in EXTREME f.g. RACK FOCUS from the gun to them.

CLOSER ON BROADWAY

He reacts. He could save himself, but he won't leave his friends. (They're starting to revive, but won't recover in time.)

BROADWAY
(gasps)

ON GOLIATH

He reacts in horror as he sees the O.S. Macbeth's intention. His eyes blaze white.

GOLIATH
No!

Clinging to the pinnacle with one hand and both feet, he SNAPS off the six-foot long tip of the spire.

ANOTHER ANGLE

Goliath hurls the spire like a javelin with all his strength.

GOLIATH
(effort grunt)

DRAMATIC ANGLE - MACBETH

Just as he's about to trigger the ray gun the spire arrows INTO SHOT and SKEWERS him square in the chest! There's a bit of an ELECTRICAL DISCHARGE about the entry wound, nothing too noticeable; we assume it's his body armor shorting out. Macbeth stiffens, but does not cry out. He collapses over the control panel of his platform, sending it into a dive.

WIDE ANGLE

All the gargoyles (Lex and Brooklyn have recovered by now) stare in shock as the platform COLLIDES with a huge ornate stone gargoyle on the top of a nearby building and EXPLODES. Flaming debris rains down O.S.

ON GARGOYLES

Staring O.S. in disbelief. Flickering light from the twisted, flaming wreckage paints their faces and bodies.

LEXINGTON
I don't believe it.

BROOKLYN
Believe it. Macbeth's dead.

FAVOR GOLIATH

Staring grimly O.S. Behind him the sky is roseate with dawn.

GOLIATH
I had no choice. He would have
killed the three of you.

Hudson moves IN beside him, absently brushing at the sparkling dust on his hauberk as he speaks:

HUDSON
No one's questioning your act,
Goliath.
(beat)
We'd best prepare to sleep here.
Dawn is upon us.

WIDE ANGLE

The gargoyles assume threatening positions as the sun rises.

SLOW DISSOLVE TO:

EXT. NEW YORK SKYLINE - PANORAMIC VIEW - DAY (TIME LAPSE)

Let's try something difficult (and expensive): A TIME LAPSE shot showing the whole day compressed to a few seconds. Clouds boil and writhe across the sky, lights wink on and off in windows, shadows flow like spilled ink as the sun arcs quickly from east to west.(As if Frank didn't have enough to worry about ...) As evening shadows lengthen we

SLOW DISSOLVE TO:

EXT. BUILDING ROOFTOP - ON GARGOYLES - DUSK

Start with Goliath and PAN across the gargoyles as they each in turn SHATTER their carapaces and stretch in awakening.

GARGOYLES
(wake up)

PAN STOPS on Hudson; it's his turn to awaken. But nothing happens. The last flicker of sunlight disappears from his adamantine form. REFIELD TO INCLUDE the others, staring at him in stunned disbelief.

BROOKLYN
Hudson ...?

BROADWAY
What's wrong? Why doesn't he
wake up?

FAVOR GOLIATH

As he approaches, gingerly touching the old warrior's stone face. He's totally at a loss, and maybe there's just a bit of panic in his face and voice -- this is totally unprecedented.

GOLIATH
I-I don't know ...

CLOSER

He looks closer. The fading light shows some glittery powder on Hudson's granite shoulder.

GOLIATH (CONT'D)
Wait ... last night Macbeth
threw some kind of powder on
Hudson. Here -- see?

The others crowd around.

BROADWAY
That's right -- I saw it.

FAVOR LEXINGTON

He peers closely at the powder.

LEXINGTON
I don't think there's any 20th
century science that can turn
flesh to stone.

GOLIATH
Sorcery, then. Macbeth put a
spell on him.

WIDE ANGLE - ALL

Grouped around the stone Hudson.

GOLIATH (CONT'D)
And it's up to us to find a way
to break it.

BROOKLYN
Sure, but how? Macbeth's dead --
who else would know about the
spell?

FAVOR GOLIATH

Having come to a decision.

GOLIATH
Lexington and I will go to Macbeth's
mansion and search it. Perhaps he
left some clue there.
(beat)
Brooklyn, you and Broadway will
stay here and protect Hudson.

ANGLE INCLUDES ROOFTOP'S EDGE

Lexington and Goliath prepare for flight. Broadway puts a hand on Goliath's arm.

BROADWAY
(worried)
Goliath -- what if there is no
cure?

We can see that this has occurred to Goliath too.

GOLIATH
Then we will mourn our friend
and mentor.

DRAMATIC ANGLE

Goliath and Lexington take off from the rooftop and glide O.S. Broadway and Brooklyn watch them go.

CLAW WIPE TO:

EXT. MACBETH'S MANSION - ESTABLISHING - NIGHT

PUSH IN and

CUT TO:
INT. MANSION'S CONTROL ROOM - ESTABLISHING - NIGHT

As we last saw it in Episode #4319-008. Here we find BANQUO and FLEANCE (last seen in #4319-22), desultorily playing penny-ante poker. Behind them the monitor screens show various views of the grounds and mansion interior. Banquo tosses a coin on the pile. PUSH IN SLOWLY on them as they play.

BANQUO
Raise.
(beat)
Y'know, when we took this job,
BANQUO (CONT'D)
the Boss promised us lots of
action.
(looks around;
disgusted)
Right.

FLEANCE
Relax. After what happened with
them gargoyles last time I can
use a little peace and quiet.
(beat)
See you and raise.

ANOTHER ANGLE

He tosses two coins in. Banquo scowls and looks at his cards.

BANQUO
Okay, wise guy, whatcha got?

ANGLE INCLUDES MONITOR

Showing a view from the roof. Fleance grins and starts to lay his cards down.

FLEANCE
Read 'em and --

Suddenly an ALARM KLAXON SOUNDS and the words INTRUDER ALERT begin flashing in red over the roof view on the screen. PUSH IN quickly on the screen as Banquo and Fleance react and look. We can see the winged shape of Lexington silhouetted against the moon, approaching.

ON FLEANCE AND BANQUO

Startled at first; then they grin at each other.

FLEANCE
One'a those gargoyles.

BANQUO
All right. Payback. C'mon!

They head O.S. The door SLAMS. PUSH IN on another one of the monitors, this one covering one of the mansion's walls. We can see a shadowy shape climbing it. Another KLAXON SOUNDS and the red INTRUDER ALERT sign starts flashing on that screen too ...

CUT TO:

EXT. ROOF - NIGHT

The two electromagnetic cannons used in #4319-022 rise up from the roof as Fleance and Banquo dash IN and man one each.

ON FLEANCE

POWERING UP the gun. A green screen with a blip on it appears on a console before him.

FLEANCE
Be in range in forty seconds ...

Goliath's hand reaches IN behind him, grabs him by the collar and yanks him O.S.

FLEANCE (CONT'D)
(startled cry)

ON BANQUO

Also seated at the ray cannon. He turns, looks. ANGLE ADJUSTS TO INCLUDE the other cannon, now unmanned.

BANQUO
Hey! What in --?

He jumps out of his seat, fumbling for the gun on his belt. Before he can free it Fleance flies INTO SHOT, SLAMMING into Banquo and knocking him back against the cannon.

BANQUO (CONT'D)
(stunned grunt)

CLOSER

Fleance is out; Banquo dazed. He looks O.S. and reacts.

BANQUO
(cry of fear)

HIS POV

Goliath, face in shadow save for his glowing eyes. He looks quite fearsome. Lex glides IN and lands beside him.

GOLIATH, LEXINGTON
(growls)

ON BANQUO AND FLEANCE

Goliath steps IN, seizes Banquo by the shirt front and lifts him up. He gets in the terrified guard's face and growls:

GOLIATH
I want your master's collection
of magic spells -- now.

BANQUO
I-I dunno where it is! Macbeth
keeps 'em locked up. He-he ain't
been here for weeks!

GOLIATH
If you're lying --!

ANOTHER ANGLE

Banquo is obviously too scared to lie.

BANQUO
It's the truth! I don't know
where he is!

Goliath drops him on top of his unconscious comrade.

GOLIATH
Find another job. Macbeth
won't be coming back.

He and Lexington turn away as we

CUT TO:

EXT. ROOFTOP - NIGHT

Goliath and Lexington have joined the others and the stone Hudson.

GOLIATH
His lackeys say he hasn't been
there for weeks. There was no
time to search the entire place
before dawn.

BROOKLYN
But we've got to do something.
Hudson can't stay stone forever.

FAVOR GOLIATH

Looking very grim as he tries to think of a way to save his old friend. HOLD ON him, and then

CUT TO:

INT. CAGE

Large, like an old lion cage, lit by a single bulb. Where it's located is not immediately clear -- all is darkness about it. Within the cage is Hudson, flesh and blood and pissed as hell. (MODEL NOTE: Hudson does not have his sword.)

HUDSON
(raging)
You can't keep me in here
forever!

He grabs the bars; they deliver an ELECTRICAL SHOCK that knocks him back.

HUDSON
(cry of pain)

CLOSER ON HIM

Angrier than we've ever seen him.

HUDSON
I'll get out, d'you hear me?!
I'll get out, and when I do --!

He whips out his sword, brandishing it menacingly as we

FADE OUT

END ACT ONE

ACT TWO

FADE IN:

EXT. ROOFTOP - CONTINUOUS

Goliath and the others with the stone Hudson.

LEXINGTON
Brooklyn's right -- there must
be some way we can help.

GOLIATH
Broadway, Lexington -- remain
here with Hudson. Brooklyn --
return to the clock tower and
check the Grimorum. Perhaps it
contains a counterspell.

BROOKLYN
Right.
(beat)
What about you?

FAVOR GOLIATH

Looking even grimmer than usual.

GOLIATH
With Macbeth dead, only one other
knows enough about magic to help
Hudson.

INCLUDE OTHERS

They look at him like he's nuts.

BROOKLYN
(incredulous)
You can't ask Demona for help!

GOLIATH
There is no other alternative.

ON EDGE OF ROOF

Goliath prepares to take off.

BROADWAY
How will you find her?

GOLIATH
I'll find her. Somehow.
(beat)
And then perhaps I can --
bargain -- with her.

FAVOR LEXINGTON

Puzzled.

LEXINGTON
What could you offer Demona
to make her help you?

ON GOLIATH

We can see that it pains him to say this, but he says it with chilling determination.

GOLIATH
Her life.

WIDE ANGLE

Goliath and Brooklyn take off O.S. in different directions as we

CLAW WIPE TO:

INT. CAGE - HUDSON

We still don't know where we are. Hudson is pacing in his cage like a trapped tiger. An O.S. CREAK OF HINGES stops him. He looks O.S. and reacts grimly.

HUDSON
About time you came back.

ANOTHER ANGLE

We can tell now that we're in a dim-lit dungeon chamber. A shadowy figure approaches the cage as Hudson continues:

HUDSON (CONT'D)
Why did you kidnap me? What
d'you want of me?

ON SHADOWED FIGURE

Approaching. As he speaks he steps into the range of light from the cage's bulb and is revealed to be XANATOS. He's holding a small box in one hand.

XANATOS
Nothing much, Hudson. Just --
your skin.

TWO SHOT - XANATOS AND HUDSON

Hudson glares warily at Xanatos, sword still at the ready.

HUDSON
You'll have the devil's own
task getting it.

FAVOR XANATOS

Urbane and unconcerned as ever.

XANATOS
I need your help in conducting
an experiment. It's dangerous,
so I felt it necessary to insure
your cooperation.

HUDSON
Experiment? What kind of
experiment?

ANOTHER ANGLE

Xanatos makes a dismissive gesture.

XANATOS
I won't bore you with technical
details. If the procedure is
successful, I'll release you.

FAVOR HUDSON

He trusts Xanatos about as far as he can comfortably spit a rat.

HUDSON
And if it isn't ...?

CLOSE ON XANATOS

He smiles.

XANATOS
Then you'll have the privilege
of giving your life for science.

ANGLE INCLUDES HUDSON

Furious.

HUDSON
My clan will never rest until
they know where I am!

Xanatos is spectacularly unconcerned.

XANATOS
But they already know where
you are.

CLOSE ON HUDSON

Off his puzzled look, we PAN AWAY TO FRAME Xanatos as he opens the box and takes out a tiny statue of Hudson in sleep pose. He holds it up.

ANGLE INCLUDES HUDSON

Who stares at it.

XANATOS
This is just a sculptor's model,
of course. The real thing is
life-size -- and very life-like.

CLOSE ON HUDSON

He's screwed, and he knows it.

CUT TO:

EXT. EYRIE BUILDING - CASTLE COURTYARD - NIGHT

Xanatos and OWEN are conversing.

OWEN
The overseas shipment will
be here, but not before dawn.

CLOSER - FAVOR XANATOS

He's unusually excited. He slams a fist into a palm.

XANATOS
Very good, Owen. Now we have
to make sure the gargoyles don't
think to look here for Hudson. I
want them -- distracted.

ON OWEN

He nods slightly, poker-faced as usual.

OWEN
Understood.

SMASH CUT TO:

EXT. ROOFTOP - NIGHT

Where Lex and Broadway are guarding "Hudson". An ELECTRIC BOLT ZAPS the roof near them, scorching it and startling both of them.

LEXINGTON, BROADWAY
(surprised cries)

ANGLE INCLUDES

Macbeth, swooping toward them on another flying platform. Broadway and Lex are astounded to see that he's apparently risen from the dead.

LEXINGTON
It can't be! He's dead!

WIDE ANGLE

Macbeth ZAPS another bolt at them; this one comes perilously close to the Hudson statue. Both Lex and Hudson are forced to leap from the rooftop to avoid it.

BROADWAY
Well, for a ghost he sure
packs a wallop!

TRACK WITH GARGOYLES

As they swoop away from the rooftop.

BROADWAY
We've got to make him follow
us -- lead him away from Hudson!

Another POWER BOLT SCORCHES between them. They look back. REFIELD TO INCLUDE Macbeth, zooming after them.

LEXINGTON
I don't think that'll be a
problem!

ON MACBETH

He aims his weapon and FIRES again. During this:

MACBETH
I want your hides for trophies!

In the heat of battle, neither gargoyle notices that he says this exactly the same way he said it before; we should re-use the reading. Macbeth GAINS O.S. as we

CUT TO:

EXT. PRECINCT HOUSE - NIGHT

ELISA is just leaving, her shift over. MATT BLUESTONE parts company with her at the bottom of the steps.

ELISA
'Night, Matt.

EXT. PARKING LOT - NIGHT

Elisa is about to get into her car when a winged figure steps out from the shadows of the building.

ELISA
(surprised)
Goliath?

ON GOLIATH

He joins Elisa, glancing about to make sure they're alone.

ELISA
What's up?

ANOTHER ANGLE

Before Goliath can reply Brooklyn drops down INTO SHOT, landing next to them. Elisa reacts.

BROOKLYN
(to Goliath)
Figured I'd find you here.
(beat)
Nothing in the Grimorum that'll
help us.

FAVOR GOLIATH

He nods; the news is disappointing but not unexpected. He turns back to Elisa.

GOLIATH
We need your help finding
someone.

ELISA
Sure, you got it. Who you
looking for?

CLOSER - FAVOR BROOKLYN

Obviously not at all in favor of this.

BROOKLYN
(disgusted)
Believe it or not -- Demona.

REACTION SHOT - ELISA

She is, of course, quite taken aback.

ELISA
Must be important.
(beat)
You gonna tell me why?

FAVOR GOLIATH

We see he wants to, but:

GOLIATH
There's no time. But it's
imperative that we find her.

ELISA
We don't have any files on her;
most people don't even know she
exists. Finding her could take
weeks.

ANGLE INCLUDES

the brightening eastern horizon. Goliath glances at it.

GOLIATH
Do what you can -- please.
(beat)
I must go.

He and Brooklyn turn away, then stop as they and Elisa hear over Elisa's car radio:

DISPATCH (V.O.)
All units. Aerial disturbance at
South and Caroline streets. Laser
fire reported; use caution.

ANOTHER ANGLE

Elisa, Goliath and Brooklyn look at each other.

BROOKLYN
That's not far from where we
left Hudson!

GOLIATH
Take to the air -- quickly!

ANGLE INCLUDES BUILDING

The two gargoyles climb swiftly up the side, digging holes in the masonry with their claws. APPROPRIATE SFX. PAN TO Elisa as she turns and dashes for her car.

CUT TO:

EXT. WAREHOUSE DISTRICT - ESTABLISHING - NIGHT

A dark and dreary area, the deserted streets narrow and winding, with tall dark warehouses lining them. VERT. PAN UP TO FRAME Lexington and Broadway, fleeing for their lives, as another ELECTRICAL BOLT ZAPS a brick wall near them, SHATTERING it.

ANGLE INCLUDES MACBETH

Zooming along on his flying platform in close pursuit. We can see that the eastern sky is lightening.

MACBETH
Farewell, my enemies!

Again, the line is spoken exactly as previously.

TRACK WITH LEXINGTON AND BROADWAY

Flying through the narrow streets like Luke zooming along the Deathstar trench.

LEXINGTON
At least we led him away from
Hudson!

BROADWAY
Yeah -- now if only someone'd
lead him away from us!

ON LEXINGTON - FLYING

His expression becomes determined.

LEXINGTON
It's almost dawn -- and then
we'll be sitting ducks!

ANGLE WIDENS as he does a barrel roll, looping up in a backwards arc. During the next few shots we should be seeing the sky growing lighter and lighter.

LEXINGTON (CONT'D)
(battle cry)

ON MACBETH - FLYING

As Lex comes swooping down behind Macbeth, the latter turns and lines up on him with his weapon.

MACBETH
You'll have to do better than
that!

ANOTHER ANGLE

Just before Macbeth fires, however, Broadway CRASHES into him from behind. Macbeth does not cry out from the impact (he's a robot, remember?), nor is he knocked down as we would expect a human to be. Instead he turns and grapples with the surprised Broadway.

BROADWAY
(grunt of surprise)

ANGLE INCLUDES LEXINGTON

swooping down toward them; he reacts in astonishment as Macbeth picks up Broadway and hurls him from the careening platform.

BROADWAY
(surprised cry)

TRACK WITH BROADWAY

He pops open his wings, catches air, slowing his drop. As he does so, he looks up and reacts in surprise as he sees:

LOW ANGLE - MACBETH'S FLYING PLATFORM

Just in time for Lex to sail IN and be BATTED aside like an annoying insect by Macbeth's one-armed blow.

LEXINGTON
(stunned grunt)

ON BROADWAY

He lands on the fire escape next to a crane which holds a huge shipping crate on the end of its cable. The building has a sign on the building's wall that reads ROYAL PERSIAN CARPETS. We can see the street; at the far end of it Elisa's car SCREECHES around the corner and heads toward us.

ON LEXINGTON

Rising on a thermal while he recovers from Macbeth's blow.

LEXINGTON
(groans)

ON TOP OF NEARBY BUILDING

Goliath and Brooklyn sail IN and land on the ledge, looking about for their clan mates. The world is trembling on the edge of dawn. Goliath points O.S. in astonishment.

GOLIATH
Over there!

ANGLE INCLUDES MACBETH

Turning his platform to come back for another shot at Lex.

GOLIATH (O.S. CONT'D)
Macbeth -- still alive?!

ZAP! Macbeth FIRES O.S.

ON LEXINGTON

The BOLTS SCORCH the air directly beneath him, forcing him to rise higher and higher.

ON GOLIATH AND BROOKLYN

Goliath prepares to leap into the air, but Brooklyn grabs his arm and points O.S. eastward in horror.

BROOKLYN
Goliath!

ANGLE INCLUDES

The horizon, where the molten edge of the sun has appeared across the East River.

RESUME GOLIATH AND BROOKLYN

The PETRIFACTION starts, moving swiftly up their bodies. Goliath stares up O.S., struggling against the inevitable.

GOLIATH
(strains)
Lexington --!

And then he is stone, as is Brooklyn.

ON LEXINGTON

ON THE CUT he TRANSFORMS also, and drops like -- well, like a rock.

ON BROADWAY AND ELISA

Elisa now standing beneath Broadway, both of them staring up in horror. Broadway has an extra second of consciousness before the terminator moves down the building and envelopes him -- just long enough to see his friend plummeting toward certain death.

BROADWAY
No!!

Then he TRANSFORMS.

ON ELISA

In shock as she watches Lexington falling.

HER POV - LEXINGTON

Falling straight toward us as we

FADE OUT

END ACT TWO

ACT THREE

FADE IN:

EXT. WAREHOUSE DISTRICT - LOW ANGLE SHOT - DAWN - CONTINUOUS

The stone Lexington falling right INTO CAMERA.

ON ELISA

She's only got a couple of seconds to come up with something. She looks frantically this way and that, then spies something O.S. (Needless to say, these scenes must play like lightning.)

HER POV - SHIPPING CRATE

The huge shipping crate at the end of the crane cable, level with the second story of the building. ZOOM IN on the box's side, where the words ROYAL PERSIAN CARPETS are stenciled.

ON ELISA

She whips her gun from its shoulder holster, aims and FIRES up O.S. repeatedly, emptying the clip.

CLOSE ON CRANE BOOM

She's a helluva shot -- the bullets STRIKE the hoist cable at the pulley junction, its weakest point. The cable SNAPS; PULL BACK TO WIDE as the crate falls and SHATTERS on the street, releasing its cargo: a couple of dozen rolled up thick carpets. They barely have time to hit the street in a pile six feet thick before Lex CRASHES down on top of them, bounces, lands again on the very edge of the pile and lies still.

ANOTHER ANGLE

Elisa races to Lexington's side. His stone form is unharmed.

ELISA
(big sigh)

CLOSER ON HER

She remembers Macbeth and looks up O.S.

HER POV - SKY

We can see Macbeth zooming away on his platform.

RESUME ELISA

Watching him go.

CLAW WIPE TO:

EXT. EYRIE BUILDING - CASTLE COURTYARD - DAY

Where Xanatos and Owen are looking at a large wooden crate sitting on the flagstones. They each use a crowbar to lever the top open. The wood falls away with a CRASH.

ANOTHER ANGLE

Showing us -- and the two men -- what's inside the crate: a huge iron cauldron, obviously very old.

OWEN
Might I ask what it is?

FAVOR XANATOS

He runs his hand over the cauldron's lip. We can see Celtic runes engraved along the iron side.

XANATOS
The Cauldron Of Life.

WIDE ANGLE

Xanatos SNAPS a finger and several FLUNKIES come forward and begin DISMANTLING the crate. This action continues in b.g. as Xanatos and Owen walk away.

XANATOS (CONT'D)
I learned about it from ancient
Celtic texts. The legend says
it grants to whoever bathes in
it "a life as long as that of
stone itself."

OWEN
Ah. Your interest in it now
becomes clear.

XANATOS
Exactly. What good are all the
riches on Earth if Fox and I
are not around to enjoy them
forever?

CUT TO:

INT. GREAT HALL - DAY

Xanatos and Owen walk IN cross to the elevators.

OWEN
These ancient spells are often
dangerous. Our experience with
the Eye Of Odin proves that.

CLOSER ON THEM

The elevator doors open and they step in. As the doors close:

XANATOS
Which is why we'll test it
first.

CUT TO:

INT. DUNGEON - ON CAGE

Which contains the now-stone Hudson. REFIELD TO INCLUDE elevator doors, which open to reveal Owen and Xanatos. They
cross to the cage. During this:

XANATOS
Gargoyle physiology is similar
enough to humans to make
Hudson a good test subject.

CLOSE ON CAGE

On the floor of the cage we can see several shards of stone epidermis that Hudson shed the previous night. Xanatos' hand reaches IN and picks one up. PULL BACK TO INCLUDE him and Owen as he holds it up to examine it.

XANATOS (CONT'D)
Also, one of the key ingredients
for the cauldron's brew is the
stone skin of a gargoyle.

OWEN
Quite expedient.

XANATOS
Yes. And if the old gargoyle
is made young again, we'll
know it works.

ANOTHER ANGLE

Owen checks his watch.

OWEN
A pity we'll have to wait
twelve hours to test it.

ON XANATOS

Eyes all but glowing in anticipation.

XANATOS
Twelve hours isn't too long
to wait for eternity.

DISSOLVE TO:

EXT. WAREHOUSE ROOF - DUSK

Where the stone statues of Brooklyn and Goliath have been joined by Lexington and Broadway. Elisa is there waiting for them to wake up.

ANOTHER ANGLE

The sun vanishes beyond the western horizon and the four gargoyles SHATTER their stone skins and awaken.

BROOKLYN, GOLIATH, LEX, BROADWAY
(wake up)

FAVOR GARGOYLES

Lex's clan mates are surprised and overjoyed to see him. Lex is no less surprised at being there.

LEXINGTON
Hey -- I'm still alive!

BROOKLYN
It's a miracle!

Goliath looks over at Elisa, who smiles.

GOLIATH
Yes -- a miracle named Elisa.

WIDE ANGLE - ALL

The gargoyles crowd around Elisa.

LEXINGTON
How'd you save me from
shattering?

ELISA
That was easy. The hard part
was convincing the rug merchant
to have you and Broadway put up
on the roof.
(beat)
Now; I think I've earned the
right to know what's going on.

FAVOR GOLIATH

He picks Elisa up in his arms.

GOLIATH
We will show you.

CLAW WIPE TO:

EXT. ROOFTOP - NIGHT

Where "Hudson" keeps his lonely stone vigil. The gargoyles land, Goliath setting Elisa down. She's astonished.

ELISA
He's still stone!

ANOTHER ANGLE

Elisa touches "Hudson", unable to believe this.

ELISA (CONT'D)
But it's night time.

GOLIATH
Precisely. Macbeth put a spell
on him.

BROADWAY
We haven't figured out why --
or why he keeps attacking us.

FAVOR GOLIATH

Thinking hard about it.

GOLIATH
It's almost as though he's trying
to keep us off guard while
something else goes on ...

ANOTHER ANGLE - ALL

A POWER BOLT from O.S. SHATTERS the edge of the roof, nearly toppling them all into the street.

GARGOYLES, ELISA
(surprised cries)

WIDE ANGLE

Here comes Macbeth again, FIRING furiously.

MACBETH
Farewell, my enemies!

ON GARGOYLES AND ELISA

Elisa dives for cover behind a brick chimney, pulling her gun as she does so. The gargoyles take to the air as more BOLTS ZING THROUGH, some coming perilously close to Hudson.

AERIAL SHOT - WIDE

The gargoyles circle Macbeth, avoiding the POWER BLASTS.

GOLIATH
Keep him away from Hudson!

ON ELISA

Lying behind the chimney, unable to get a clear shot. She ducks and covers as another nearby BLAST PEPPERS the chimney with stone shrapnel.

CUT TO:

INT. GREAT HALL - NIGHT - CONTINUOUS

The Cauldron now sits in the center of the Hall, filled with water. Xanatos and Owen watch. Hudson is there, arms held by a Steel Clan robot. Xanatos holds a handful of stone skin fragments in one hand and Hudson's sword in the other.

XANATOS
Now for the final ingredient ...

CLOSE ON CAULDRON

He tosses the fragments in the water, and they DISSOLVE in a mystical flash. A beat; then, though no fire burns beneath the cauldron, the water apparently begins to BOIL.

FAVOR XANATOS AND HUDSON

Xanatos turns to the old gargoyle.

XANATOS
Time for your bath, Hudson.

CUT TO:

EXT. ROOFTOP - NIGHT - CONTINUOUS

A POWER BOLT KNOCKS Broadway and Brooklyn out of the sky.

BROADWAY, BROOKLYN
(impact grunts)

They land on the roof's edge, half-stunned.

ON GOLIATH AND LEXINGTON

Swooping around for another pass. BOLTS SIZZLE THROUGH SHOT.

ON HUDSON STATUE

The POWER BOLTS are coming closer to it.

QUICK CUT - ELISA

She sees what's going to happen and reacts in horror.

QUICK CUT - LEXINGTON

He has the same reaction, but is too far away to do anything about it.

LEXINGTON
(gasps)

ON GOLIATH

Arrowing straight toward us, hands outstretched.

GOLIATH
Hudson --!!

ON "HUDSON"

As a POWER BOLT STRIKES the statue squarely, BLOWING it to hell and gone.

REACTION SHOT - GOLIATH

Utterly horrified, as we

SMASH CUT TO:

INT. GREAT HALL - NIGHT - CONTINUOUS

The robot lifts Hudson from behind. Hudson struggles futilely.

HUDSON
(struggles)

WIDE ANGLE

The robot carries him toward the cauldron as we

CUT TO:

EXT. ROOFTOP - NIGHT - CONTINUOUS

The dust still settling from the destruction of the statue. Goliath drops INTO SHOT beside the fragments.

ON GOLIATH

His eyes blaze white. He is in a killing rage, angrier than we have ever seen him before. He glares up O.S. Another POWER BOLT BLISTERS the roof right next to him, but he doesn't even notice it. With a:

GOLIATH
(scream of rage)

he leaps from the roof and soars up O.S.

ON MACBETH

FIRING O.S. at the oncoming juggernaut.

ON GOLIATH - FLYING

He takes an almost-direct HIT by a BOLT; it knocks him back, but he flaps his wings and recovers, gets back on track.

GOLIATH
(growls)

He's HIT again, but nothing can stop him.

WIDE ANGLE - MACBETH'S FLYING PLATFORM

Goliath muscles his way through another BLAST by sheer force of will and lands on the platform.

CLOSER

Before Macbeth can fire again Goliath tears the weapon from his hands and CRUSHES it.

ANOTHER ANGLE

Goliath's to angry to notice Macbeth's lack of fear. He grabs the robot, sustaining a massive SHOCK doing so. But he doesn't let go. Holding on with one hand, ELECTRICITY CRACKLING the length of his arm, he cocks the other fist back.

GOLIATH
Murderer!!

CLOSE ON THEM

As Goliath SMASHES a piledriver blow straight into Macbeth's chest, CRUSHING it. Circuitry SPARKS, FLASHES. Macbeth spasms as his system shorts out. When he speaks his voice RUNS DOWN like a slowing tape:

MACBETH
You'll have ... to do ...
better ... than ... that ...

Goliath stares in disbelief.

CUT TO:

INT. GREAT HALL - NIGHT - CONTINUOUS

Hudson's about to be dumped in the cauldron. He struggles.

HUDSON
(struggles)

FAVOR XANATOS

He holds up the sword tauntingly.

XANATOS
Relax, Hudson. Without your
sword, you're helpless.

CLOSE ON HUDSON

And we see that his struggles mask the sight of one hand reaching beneath his hauberk and pulling out a long sharp shard of epithelial stone.

HUDSON
Weaponless, maybe ...

WIDE ANGLE

As Hudson whips his arm around, driving the shard back directly into the face plate of the robot behind him. The robot SHORTS OUT spectacularly and falls away. During this:

HUDSON (CONT'D)
Helpless, never!

ANOTHER ANGLE

With one side free, Hudson drops his feet on the cauldron's side, balancing on the narrow lip, then leaps forward.

HUDSON
(battle cry)

PAN WITH HIM as he does a forward flip over the cauldron, wings folded, and IMPACTS feet-first squarely into Xanatos, KNOCKING the latter O.S. Owen reacts in surprise.

XANATOS
(impact grunt)

ON WALL

Xanatos SLAMS against it, dropping Hudson's sword. He then slides down to sprawl on the floor, stunned.

XANATOS
(stunned grunt)

ON HUDSON AND OWEN

Hudson grabs up his sword and whips about to face Owen. He points a warning finger at Xanatos' charge d'affaires.

HUDSON
Behave yourself, boy.

It's a Mexican stand-off for a beat, then:

ANGLE INCLUDES DOORS

Which SMASH open, revealing Goliath, Lexington, Broadway and Brooklyn, all of them decidedly pissed off.

GOLIATH
Xanatos, you will pay for --

He breaks off in astonishment at the sight of Hudson, alive and well.

BROOKLYN
Hudson?!

ANOTHER ANGLE

Hudson's clan mates rush to him.

HUDSON
It's about time you showed up.

LEXINGTON
We thought you were dead!

BROADWAY
We saw Macbeth shatter you!

BROOKLYN
Yeah -- we left Elisa to guard
your remains.

FAVOR HUDSON

He's got no idea what they're talking about.

HUDSON
Macbeth? Remains? Have ye all
gone daft?

FAVOR GOLIATH

He notices Owen, standing by Xanatos' stunned form and speaking sotto into a cellular phone.

GOLIATH
I think explanations had best
wait. Come!

CUT TO:

EXT. EYRIE BUILDING - CASTLE - NIGHT

The gargoyles leap from the battlements and soar away over the city just as several of Xanatos' COMMANDOS rush IN. They FIRE LASERBLASTS after them, but it's too late.

DISSOLVE TO:

EXT. ROOFTOP - NIGHT

Elisa stands looking forlornly at "Hudson's" remains. The flying platform and the ruined Macbeth robot are nearby.

ELISA
I'm sorry, Hudson ... I wish
it hadn't turned out this
way ...

As she speaks, the gargoyles drop silently down INTO SHOT behind her. Hudson now has his sword in his belt. They grin as they hear Elisa's words.

HUDSON
All things considered, I'm
glad it did, lass.

ANOTHER ANGLE

Elisa whips about in comical astonishment.

ELISA
Hudson --? What --? You're
not --?

HUDSON
It's a long story, my bonnie,
and one best told over a hot
cup of tea.

WIDE ANGLE

Goliath scoops Elisa up. Hudson picks up the statue's head.

HUDSON
I think I'll keep this as a
souvenir. Not everyone can
reclaim their head after
losing it.

ON ROOF'S EDGE

The gargoyles glide into the night, Goliath holding Elisa.

WIPE TO:

EXT. GREAT HALL - NIGHT

Owen is helping Xanatos to his feet. The cauldron still BUBBLES in b.g. Xanatos is angry.

XANATOS
Blast it! I was so close to
finding out if the legend was
true. Now there's no one to
test it on.

REVERSE ANGLE

Owen crosses to the cauldron in f.g., pulling up his sleeve.

OWEN
Allow me, sir ...

CLOSE ON WATER

Owen plunges his fist into the "boiling" water.

TWO SHOT - OWEN AND XANATOS

Xanatos watches in surprise as Owen pulls his fist out. The fist and arm are now solid stone up to the cuff's edge. Owen reacts quite unemotionally to this.

OWEN
It would appear, sir, that
the cauldron's spell of
immortality has a price.

XANATOS
Yes ... what was the legend?
"A life as long as that of
stone itself."
(beat)
Thank you, Owen. That will
be all.

He turns and walks O.S., leaving Owen standing there with his new stone hand as we

FADE OUT

THE END


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ROSWELL CONSPIRACIES: 3rd & 4th Chunk

Here's a couple more chunks from the 1998 Roswell Conspiracies Bible...

3rd Chunk:

EURASIA - 1944
In the last year of World War II, a select group of Allied Intelligence operatives stumbled upon a threat to the planet Earth that would make the War seem like a church social.

Aliens -- extraterrestrials from half a dozen different planets --had invaded our world. Some of them had been here for centuries. Some could pose or pass as humans. Some had infiltrated our governments and institutions, insinuating themselves into positions of power throughout the world.

Leaders of four of the most prominent alien races had formed a CADRE. Using the chaos caused by the War, the Cadre was positioning itself to take our planet for themselves.

Fortunately, their plan was discovered by O.S.S. agent Warren Burdette. Burdette's only problem was that no one believed him. Still, he was determined to save humanity despite itself. He gathered evidence -- some of it living.

An earlier, more mundane intelligence operation had once resulted in Burdette saving the life of WINSTON CHURCHILL. Burdette called on Churchill again and presented his evidence. Churchill was convinced. He contacted FRANKLIN ROOSEVELT and "THE GLOBAL ALLIANCE" (T.G.A.) was officially chartered. At the time, it consisted of only two nations, the United States and Great Britain.

Burdette was named the Alliance's first NIGHT OFFICER, (a euphemism for Head Honcho). His team consisted of an elite group of spies, soldiers and scientists from both nations, as well as a few aliens with an interest in seeing the Cadre defeated. Early operatives included:
--Lieutenant William Hawking, British Intelligence;
--Doctor Michael Tyler, a British Biologist;
--Colonel Joseph Ten-Samsons, an American Fighter Pilot;
--Sergeant John Gerald McKay, an American Army Commando;
--Doctor Segundo Vasquez, an American Physicist;
--Aidan Maguire, an alien of the Sidhe race;
--Ya-Tuk, an alien of the Qua-Yeti race.

Burdette's first mission was to stop the Cadre. This was accomplished most elegantly by turning the four member races against each other. In September, 1945, after a final battle in the Himalayas, the Cadre was finally smashed.

But the Alliance's work had only just begun. Now that the Wars (both Wars) were over, the Alliance needed a permanent base to carry out their on-going mission: to protect Earth from both its alien inhabitants and any future invaders. All without panicking the human population of the planet.

1946 was spent preparing for this new scenario.

A site for the base was chosen in an intentionally unlikely location: Roswell, New Mexico -- the home town of Joseph Ten-Samsons.

Segundo Vasquez bought a ranch using Alliance money.

Jack McKay came to town from Texas. Word "somehow" got out that he was a war hero, and when he ran for Sheriff, he won handily. He hired Joseph Ten-Samsons as his deputy.

Will Hawking and Michael Tyler were carefully trained to speak "American." Tyler was given a new identity as a U.S. Army surgeon. Hawking was made a Captain in the U.S. Air Force. He was assigned to Walker Air Force Base.

Burdette became an instant Two-Star General.

British spy (and new recruit) Trish Ainsley became a wire service reporter.

By now, it was June, 1947. The stage was set.

4th Chunk:

THE BIG LIE
The Lie was designed to operate on four levels in order to achieve three objectives:

Level #1: An incident is created that presents a plausible scenario, including witnesses and some evidence, for the limited arrival of intelligent alien life on our planet.
Level #2: An equally plausible counter-scenario is offered, including witnesses and some evidence, detailing a mundane explanation for the same events.
Level #3: In order to explain discrepancies between the first two levels, Level #1 is embellished with supplementary testimony in order to suggest that a government cover-up and conspiracy exists designed to hide any evidence of alien contact.
Level #4: None of these scenarios are completely plausible. None are completely without the ring of truth. None of the pieces fit perfectly. No theory or explanation is beyond reproach. The evidence is limited, inaccessible and/or unreliable. Witnesses appear and disappear. They change their stories. Nothing is made 100% clear.

Objective A: People who are inclined to believe in an alien visitation are given a safe (and inaccurate) outlet for their curiosity. They can believe in aliens, be paranoid about conspiracies and investigate both to their hearts' content without ever getting close to the actual truth.
Objective B: People who are disinclined to believe in the paranormal are offered a suitable explanation and an excuse to regard anyone who does believe as a fanatic.
Objective C: In general, the sum total of all this is such a quagmire that most people -- even if they believe in the possibility of alien visitation and/or government conspiracy -- will quickly lose interest and simply go on with their daily lives.

To date, few government programs in history have been quite so successful at meeting all of their objectives as the Big Lie.
****************


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ROSWELL CONSPIRACIES BIBLE - 2nd Chunk

That first chunk was pretty short. Hardly enough to pique your interest. So here's another piece...

ROSWELL, NEW MEXICO - June 14, 1947.
Rancher SEGUNDO VASQUEZ is sitting on his porch admiring the quiet desert night. Something, something fast, streaks across his field of vision. A shooting star? He's not sure. He doesn't get a good look. He stands and scans the sky. Suddenly a fiery explosion lights up the night! Now Vasquez can see flaming debris crashing to the Earth a few miles away. Thinking an airplane has gone down, he makes a quick call to the Sheriff, then gets in his pick-up truck and heads out into the desert to see if he can find any survivors.

Roswell Sheriff JACK MCKAY and his Deputy JOSEPH TEN-SAMSONS arrive on the scene an hour after Vasquez. McKay immediately radios his dispatch and has them connect him to WALKER AIR FORCE BASE.

Air Force Captain WILL HAWKING is dispatched to the site of the crash, with a full platoon of men.

The next morning, June 15, the news services report that a U.F.O. has crash-landed on the Vasquez Ranch near Roswell, New Mexico. Captain Hawking is quoted, and he confirms the story later that day.

June 16. The Air Force releases a correction. Two-Star General WARREN BURDETTE explains that Captain Hawking was mistaken. What he took for a U.F.O. was actually a weather balloon. Hawking cannot be reached for comment. And the Vasquez Ranch is off-limits to all non-military personnel.

July 7. The U.S. Armed Forces finally pulls its last transport out of Roswell. On July 8, in a SANTA FE motel room, Captain Hawking speaks to wire service reporter TRISH AINSLEY. Hawking maintains his original story. He saw a "saucer-shaped" vehicle broken into two distinct pieces with assorted small debris. He saw one corpse and one badly injured survivor. But neither individual was human. Their skin was grey. Their heads were disproportionately large. So were their eyes. They had no ears or nose or teeth. They had two long fingers and a thumb on each hand. Neither was over five feet tall. There's no doubt in Hawking's mind that what he saw was extra-terrestrial. An ALIEN SPACECRAFT from another world that had crashed on our planet, killing one occupant and injuring the other. Hawking claims that the U.S. Military knows all of this and is covering it up. They have removed the bodies and every trace of debris from the Vasquez ranch. Ainsley tries to get Hawking to call the aliens "Martians". She tries to get him to speculate as to what the government has done with the craft and the bodies. Hawking refuses to take the bait. He saw what he saw. The rest is as much of a mystery to him as to anyone. That night, Ainsley turns in her story. But her employers -- calling it preposterous -- refuse to put it on the wire.

July 9. Seven hours after the story is rejected, Captain Hawking resigns his commission. He phones Ainsley and tells her the resignation was less than voluntary. Then, he disappears.

July 16. Ainsley contacts Segundo Vasquez. But he won't talk to her. Won't even let her on the property. She goes to the Sheriff's office and speaks to McKay. McKay confirms the official version. He had seen everything Hawking had seen. There were no bodies. And the shattered craft was a weather balloon. McKay's deputy sits silently and listens to his boss speak. When Ainsley turns to Ten-Samsons, he simply stares back at her. He won't confirm. He won't deny. He won't open his mouth at all. That night, she confronts him in a local bar. He's silent. She presses. Finally, he speaks: "Don't ask me to talk to you. I have a son that I love." He leaves the bar. Ainsley doesn't follow.

But Trish Ainsley continues to pursue the story, to the detriment of her legitimate career as a journalist. Years pass, but she tracks down every army grunt who had ever set foot in Roswell, New Mexico. Most won't talk to her, and the few who will won't say anything on the record. But she begins to piece it together.

March 10, 1955. Following up on an anonymous tip, Ainsley finds an Army Surgeon, MAJOR MICHAEL TYLER, who claims to have seen and worked on the two recovered aliens.

January 4, 1961. Joseph Ten-Samsons dies of cancer.

December 12, 1961, Segundo Vasquez is on his deathbed, another cancer victim. Trish Ainsley arrives and speaks to him before he passes away early in the morning of December 13.

1964. Dr. Tyler retires from the U.S. Army and then seems to vanish off the face of the Earth.

Then in July, 1971, Will Hawking resurfaces after over two decades in hiding. Together, Hawking and Ainsley write a book: THE ROSWELL CONSPIRACIES.

May 1, 1972. Two weeks before the book is scheduled to be published, Trish Ainsley dies in a car accident. Hawking disappears again.

May 18, 1972. Nevertheless, the book is published. It reiterates Hawking's original story and expands upon it, using material that Hawking gathered while underground, combined with interviews that Ainsley had conducted over the last twenty plus years. These interviews include a startling 1961 deathbed confession from Segundo Vasquez, confirming Hawking's version of events. Vasquez explained his previous silence by detailing numerous threats against and attempts upon his life. He also hinted that his cancer was the result of his exposure to the broken and glowing alien spaceship all those years ago. Finally, Ainsley also claimed that in his last moments, Segundo had given Ainsley a piece of twisted metal from that craft that was clearly extra-terrestrial in origin.

The book also included Dr. Tyler's description of the alien autopsy, as well as his attempts to resuscitate the second, injured, alien. When it seemed certain that those attempts were failing, Dr. Tyler had been instructed to place both the dead alien and his still-breathing companion in cryogenic stasis. As late as 1963 (the last time either Hawking or Ainsley had seen Tyler), both alien popsicles were still in the custody of the Joint Chiefs.

The Roswell Conspiracies causes a minor sensation. It is on the non-fiction best-seller list for four weeks, peeking at #7. Although few legitimate scientists take it seriously, the Air Force issues an immediate and all-encompassing denial on June 2.

June 14, 1972. On the twenty-fifth anniversary of the Roswell Crash, Sheriff McKay actually holds a (fairly well-attended) press conference to debunk the book's findings. He reiterates his own version of events: simply put, there was a fallen balloon and some high-tech military debris on the Vasquez Ranch. Although, McKay doesn't pretend he could identify every bit of it, there was certainly nothing alien in it's design. And he literally scoffs at the notion that there were any bodies (living, dead, alien or human). The idea that exposure to the downed craft was carcinogenic seems to be belied by his own robust good-health.

At the press conference, McKay is joined by MARIA VASQUEZ DIENER, Segundo's daughter. Maria confirms that Ainsley had spoken with her father the night before he died. But Maria claims that in his delirium, her father spoke only in Spanish. Ainsley had admitted at the time that her command of that language was limited at best, but she nevertheless insisted on speaking to Segundo alone. Thus no one else heard this so-called confession, and the book gives no indication as to what language Segundo was using when he spoke these "startling revelations".

Maria is questioned about the piece of "alien metal" that her father supposedly gave to Ainsley. She confirms that her father had kept a piece of wreckage from the crash as a souvenir. This was no secret to his friends or family. It had been sitting on his mantel for over a decade. The Air Force had allowed him to keep it, so it couldn't have been too startling in anyone's version of events. A few days after the funeral, Maria noticed that the relic was missing. She can now only assume that Ainsley stole it. McKay chimes in with an observation. He acknowledges that Ainsley's death is a tragedy, but since the chunk of metal was conveniently missing from her effects, legitimate science has been prevented from examining it to confirm (or dispute) her conclusions.

At this point, reporter NICK KATERAS asks McKay if the timing of Ainsley's death isn't extremely suspicious. McKay agrees that it is. He's checked into it. Ainsley's body was cremated within 48 hours of her death, and the only person who identified that body was the now missing Hawking. McKay can't help wondering if Ainsley is actually dead, of if the whole thing isn't a publicity stunt that doubles as a way for her to dodge some tough questions. After all, if there really was a conspiracy that wanted her dead, wouldn't she have been killed BEFORE she wrote the book, or at least before she had delivered the manuscript to her publisher?

June 16, 1972. Jack McKay issues an apology to Trish Ainsley's "friends and family." It was insensitive to imply even in jest that she could or would have faked her own death for the sake of book sales.

The book drops off the best seller list, though it remains in print. Royalties are held in trust for Hawking. Ainsley has no living relatives. She does not resurface.

August, 1980. Maria Vasquez Diener's husband ERICH DIENER abandons her and her two children. She struggles to maintain the ranch.

June 1, 1982. Retired Four-Star General Warren Burdette dies of cancer. He was 83 years old. To the end, he refuses to comment on Roswell.

June 14, 1982. Will Hawking resurfaces on the thirty-fifth anniversary of the Roswell crash. He collects a substantial royalty check from his publisher and makes the rounds of all the morning talk shows. Jack McKay is a surprise guest on one of these, and Hawking and McKay engage in an intense and bitter debate on the air. Hawking is goaded into producing the "Roswell Fragment," the twisted piece of chrome-like metal that Ainsley either stole or received from Vasquez. Hawking insists that a battery of tests have already proven that the fragment is of extraterrestrial origins. McKay suggests that Hawking turn it over for independent testing, but Hawking refuses to let the evidence out of his sight.

December 13, 1986. Hawking uses his military pension and book royalties to buy the ranch adjacent to the old Vasquez place.

December 31, 1986. Jack McKay retires as Sheriff after 40 years in office. He purchases the old Vasquez place from Maria Vasquez Diener.

March 18, 1989. Maria Vasquez Diener dies of cancer. Her teen-age son ALEX DIENER claims that she lied about Segundo's last meeting with Trish Ainsley, because she was afraid of Jack McKay and his "friends."

June 14, 1992 - On the 45th Anniversary of the Roswell Incident, Jack McKay and Will Hawking once again do their point/counterpoint routine on television talk shows. They display hostility laced with humor and are a genuine success. Together, they are booked on lecture tours.

In 1995, after an investigation into the Roswell Incident intended to end the various rumors, the Air Force now maintains that the debris was part of Project Mogul, a formerly top secret operation using acoustic equipment on high altitude balloons in an effort to detect foreign atomic tests. When one of the Mogul balloons was downed in '47, the Air Force moved in to retrieve it before security could be further compromised.

The USAF also says that it conducted a variety of experiments in the same general area involving test dummies dropped from balloons and aircraft in order to measure the effects of falls from various altitudes. The dummies match the descriptions of the "aliens" reported by witnesses. The Air Force feels that the connection between the dummies and the balloon has been exaggerated over the years.

June 14, 1997. The 50th anniversary. Jack McKay now admits to having seen the dummies at the site. He claims he was asked not to mention them by the U.S. government, and he complied like any good patriot would. Hawking, his regular sparring partner, wonders aloud what else this patriot has lied about over the years. The debate that follows is lively, but it's clear that over the years Hawking and McKay have developed a strange little friendship. They actually like each other.

September, 1999. Roswell, New Mexico is both a serious tourist trap and a Mecca for true believers seeking knowledge about extra-terrestrials on this planet. Every Friday night, McKay and Hawking stage another debate about the Incident. Admission is a modest four dollars.

And by the way, almost none of the above is true.


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ROSWELL CONSPIRACIES BIBLE: 1st Chunk

Hi. In 1998, I started developing a series for BKN called "The Roswell Conspiracies". This was not an idea I created. (The credit for that, I believe, goes to Kaaren Brown.) But I did do extensive work on the project. I tried to create a detailed universe, and wrote a detailed bible, a timeline and a one hour pilot script (which some of you who attended Gathering 1999 in Dallas may recall). I wound up not doing the project, and my work was redeveloped by others before the show went on the air. I never saw the finished project so I have no idea (and little interest) in how it turned out. But I was thinking about it the other day and reread the materials. I think it's kinda some cool stuff. So I thought you might be interested in seeing it. (I figure the show's come and gone. I'm no longer revealing any secrets.) I'll post a chunk at a time here, as I have the time.

THE ROSWELL CONSPIRACIES:

Aliens, Myths & Legends

(development bible)

written by

Greg Weisman

SE: GDW

June 5, 1998
Revised: June 12, 1998

THE ROSWELL CONSPIRACIES:
Aliens, Myths & Legends
(development bible)

LOS ANGELES, CALIFORNIA - Present Day.
TONY MARKUS is an L.A.-based skip tracer, a bounty hunter employed by DOMINIC BAIL BONDS to track down deadbeats who skip out on their bail. Saying Markus is a loner doesn't quite do him justice. He's cynical, hard and generally uninterested in the human race. His cousin (and boss) FRANK DOMINIC is the only guy that Markus has any tolerance for, and that's only because Dom knows Tony well enough to leave him alone. None of this makes Markus a particularly pleasant dinner companion. But it's done wonders for his career. He's relentless. Unemotional. Unflinching. And he has a near-perfect track record. Only one guy ever successfully skipped on Markus, and that was a long time ago during his first month on the job, back when he was pretty darn green. But green or not, Markus didn't like failing. So he just doesn't fail anymore. When Dom gives Tony Markus a skip to trace, Dom knows his cousin is going to deliver.

Which brings us to Markus' current assignment: her name is SIOBHAN BARROW. She's skipped on a Felony Assault Charge, and Dom is potentially out fifty grand on her bail. The trail is three days cold by the time Markus is on the hunt. But that's not the problem. Barrow is fleeing across state lines, from CALIFORNIA to ARIZONA and finally into NEW MEXICO. But that's not the problem either. She's also tougher than she looks, leaving a fair number of additional assault victims in her wake. But even that's not the problem.

The problem is that Markus isn't the only guy hunting her down. Two FEDERALES are after her too. At least he thinks they're Feds. They act like Feds, pretending to be Honeymooning Tourists. And then there are the TALL WOMEN. Scary types, but bearing a certain family resemblance to his quarry. They could be trying to help Ms. Barrow get away. Except that Siobhan Barrow seems more afraid of them than anyone. Markus doesn't know why there's a crowd after Siobhan, he only knows that he's going to be the one to run her down first.

The chase leads all interested parties to ROSWELL, NEW MEXICO. And that's when things really start to cook.


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Chapter XXXII: "The Cage"

For ASK GREG and the DCV, here's my ramble on "The Cage"...

Director: Dennis J. Woodyard
Story Editor: Brynne Chandler Reaves
Writer: Lydia C. Marano

SEMI-NEW CHARACTERS:

We'd seen a photo of Beth Maza before, but this was the first time we actually met her.

This is also, arguably, Vinnie's first real appearance. We'd heard his voice before, and we later decided that he had appeared two or three times before. But here was the inspirational moment. The character that we fell in love with, that went on to STAR in "Vendettas" and "The Journey". Throughout our viewing of the episode, my wife kept asking who did this voice, who did that voice? Every single time, I answered "Jeff Bennett." Then at the end, she asked: "Who's voicing Maggie? Don't tell me it's Jeff." For the record, it's Kath Soucie.

And here's the first real characterization for Fang & Claw as well. Fang was voiced by Jonathan Frakes for his one line in "Metamorphosis". But we cast Jim Belushi to play Mr. Obnoxious from this point out. I fell in love with Jim's take on Fang. His performance alone was one of the big inspirations for BAD GUYS. He's got some great lines:
--"Cat got your tongue... don't you get it?"
--"Like you're some kind of expert on evil monsters!"
--"I'll have to clear my social calendar."

Note also, to save money, Diane Maza never speaks. This episode had a huge cast. Making Claw a mute was a fun way to save money.

LITTLE THINGS I LIKE:

--Elisa refers to her brother as Derek. Goliath uses the word Talon.

--I love how Xanatos says: "Goliath and Elisa are always welcome here." He's so slick. He's far from in control in this episode. But he never stops playing the various characters against each other. He's constantly adjusting to new information. Never flustered.

--I like how Sev is basically talking to himself in his cage. With only the growling monster for feedback. Amazing how much one can gleen from a growl.

--Broadway praises the concert music simply by virtue of it's volume.

--Brooklyn's line: "I'm not a man. I'm a gargoyle." And don't you forget it.

Goliath kidnapping Sev and withholding info from Elisa to 'spare her pain', presiges his behavior in "Eye of the Storm".

Maggie is interesting to me in this. Though she's never going to be an action hero -- we intentionally didn't want to make her a strong female, because it seemed like every other female in the show was strong -- she seems to come into her own a bit here. She speaks her mind. She wields some power over Derek, even if she doesn't realize it. She's still stronger than she gives herself credit for. (Geez, I must suck at weak women characters.)

Although it's not used in the body of this episode, in the credits we refer to Maggie as "Maggie the Cat" for the first time. A Tennessee Williams "Cat on a Hot Tin Roof" reference.

FLASHBACKS

Lots of 'em. The recap. And TWO separate internal flashbacks in the show. I'm trying to remember if the board was short or if we just really felt like this was a tough story to get if you didn't have a TON of back-info.

Elisa even has a line, that I think works pretty well, where she's imagining telling her family about Derek -- and in one quick speech, she spews out all the pertinent details. We were clearly nervous about this episode being able to stand alone. Did anyone else have problems with this? Particularly anyone who saw this one without having seen "Metamorphosis" already?

When you see Maggie in flashback, book-ended by her current appearance, you can really see how different the designs were between "Metamorphosis" and "The Cage". I greatly prefer the later designs. Though I think I miss the tails.

FLAWS:

--Throughout the episode, I have numerous problems where identities seem to me to be given away before I want them to be given away.

In the opening scene, we want the audience to think that the snooping winged creature is Goliath. But there are two problems. One is all the Talon scenes in the "Previously on Gargoyles..." recap. The second is that we get too clear a glimpse of Talon.

Later, Goliath kidnaps Sevarius and holds him captive. But we wanted the audience to think it's Talon. But again, I think we get glimpses of Goliath that are just too clearly Goliath.

The concept of seeing a character "in shadows" or in partial "silhouette" just seemed tough to get across the ocean and back with our production team on this ep.

Did anyone think that Talon had kidnapped Sev? Was anyone shocked when it was revealed that Goliath was the kidnapper?

--On my tape, Anton's briefcase mispells his name: SERVARIUS. I hope that was corrected for later airings. I hope.

--The scene between Talon and X in the latter's office is clunky. The cityscape visible through X's window looks to be painted onto the window. And Talon's footsteps are very labored and clunky.

Xanatos admits that Sev's original "Metamorphosis" cure was just a placebo. If we stop here, then Talon should stop being angry at Goliath. Goliath neither killed Sev nor did he destroy a viable cure, nor did he have any impact on Talon's chance at a cure. But at this point, Talon's blinded by rage.

There's some really nice animation of Brooklyn and Fang climbing through the air.

KID RESPONSE:

My daughter Erin thought that Fang looked more wolf-like than cat-like.

She also figured out pretty fast that Goliath was the kidnapper. And when it was revealed she said, "I knew it all along."

CONTINUITY

Brooklyn acts as leader in Goliath's absense. But we don't have anyone comment on it. That was just in case this episode wound up airing before "Upgrade". I think Brook makes some wise moves here though. I also like his emotional resonance with Maggie: "You know I wanted to be your... friend."

I also like when he refers to her "persecution complex". Is he projecting?

We re-intro Cyberbiotics Underground Lab from the pilot, in preparation to turning it into the Labyrinth.

I like Goliath and Elisa's exchange in the lab. Lines like:

G: "You were in so much pain."
E: "Who would we test it on?"
E: "The ends can't justify the means. That's Xanatos' way. Not yours."

Other cool lines:

Fang: "I like this body."

Maggie: "Is your vengeance more important than our humanity?" The ultimate question to put to anyone pursuing vengeance.

Xanatos: "You always over-play your hand, Anton." Anton's just a ham to the core.

Xanatos: "He's the scientist. You're just the experiment."

Xanatos: "Hello, Goliath. Didn't even notice you there."

(X is so cool.)

Talon finally, finally figures out what Elisa has been trying to tell him since "Her Brother's Keeper". Took long enough. This arc for Talon was something we had been planning out as far back as our original unsold first dramatic over-pitch to Eisner. Back when Talon was both Scientist and experiment, and the character (created by Fred Schaefer) was known as Catscan.

I like Talon & Maggie's relationship. Don't know if they ever would have gotten together as humans. But they are so natural with each other as Mutates.

Talon: "We're not strong alone. We're strong together."

Goliath verbalizes here that Elisa is part of the clan.

Talon has his own clan (the Mutates) and his own family (the Mazas). The Mazas learn about the Mutates and are reunited with their son. But Goliath is hiding behind the curtain. Elisa's still not ready to share that secret.

Ending: Contrast this (relatively) upbeat ending with the endings from "Metamorphosis" where Elisa is left in tears and "Her Brother's Keeper" where she is left alone in the snow and wind. Things are looking up.

And, of course, we end on the image of the open cage door. That was important to me, because the cage was never more than a metaphor. We didn't really need it for Sevarius. We needed to see that Maggie and Talon were in cages of their own making. (Sev too, really. And Goliath. And maybe Elisa, although now I'm stretching it.)

Anyway, that's my ramble. Where's yours?


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"Protection" Addendum

One thing I forgot...

When Glasses first shows up at Mr. Jaffe's store, he knocks over a bunch of cans.

Later Dracon shows up, and he also knocks over the cans.

I'm reminded of the Steve Martin movie "The Jerk".

"He hates these cans! Stay away from the cans!"


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"THE CAGE" Memo...

In prep for a ramble on "The Cage", here is the memo that I wrote to Brynne Chandler Reaves on Lydia Marano's 1st draft outline...

WEISMAN 12-13-94

Notes on "The Cage" Outline...

Brynne, call me when you get these.

GENERAL
I hate to sound like a broken record but this begins too slow. I've tried not to write a whole new story. But I have condensed things -- moving the kidnapping up into the first act, etc.

A secondary problem that only occurred to me Sunday is that we have to re-introduce Talon to our audience before we begin to misdirect them into thinking that Talon is the kidnapper. Otherwise, they'll see the silhouette of a big guy with wings and correctly guess that the kidnapper is Goliath. (When the story begins, Talon will have only appeared in one other episode; Goliath will have been in at least 25.) Talon won't even enter their minds until he is re-introduced later in the first act. By that time, we'll need to change their mind regarding the kidnapper's identity. A difficult task, considering that the audience already would have assumed the truth.

MUTATE rather than MUTANT.

At start of story... Goliath is to Talon what Xanatos is to Elisa.

THEME: Cages of all kinds. Use every opportunity to reinforce it.

Need to make sure that in the first two acts, we've set up Maggie's desperate need for a cure. But more importantly, we must set up the warm interdependent relationship between Maggie and Talon. Need to believe their feelings for each other are real before we get to Act Three.

BEAT SHEET
ACT ONE
I. Maza Family Dinner. Beth spots winged creature at window.

II. Clock Tower. Elisa talks to Goliath.
A. She hates to lie to her family about Derek.
1. Even if it's just a lie by omission.
B. By the way, G has to be more careful. Beth spotted him.
1. Wasn't me, Goliath says.
2. One of the other gargs? G doesn't think so.
3. Elisa's very excited. Could it be Derek?
4. Goliath is quiet. Deciding what to do.
C. G reveals to E that Talon and Mutates are back w/Xanatos.
1. Last few weeks, he's seen them near Eyrie Building.
2. Didn't tell her because he knew it would hurt her.
3. He feels powerless to help her.
D. Elisa insists that Goliath take her there.

III. Eyrie Building.
A. Action. Goliath vs. Talon, Fang & Claw.
1. Elisa tries to stop fight. Talon is torn.
2. Maggie stops fight.
a. She hates the fighting.
b. We see that Talon listens to her.
3. Magnanimous Xanatos seconds the motion.
a. He's pleased that the Mutates defend his castle.
b. But Goliath and Elisa are not the enemy.
B. Elisa confronts Talon: X is the enemy.
1. Maggie defends X as their only chance for a cure.
2. Elisa says X is the cause not the cure.
3. Talon: No -- Sevarius and Goliath caused this.
4. Reveal that Talon believes Sev. to be dead.
a. Either show flashback to "Metamorphosis"
b. Or be very clear for our audience:
i. Why he thinks Sev is dead.
ii. And why he blames Goliath.
5. Elisa hasn't seen Sev, so she can't be sure.
a. But she expresses some doubt that he's dead.
b. Talon: if Sev is alive now, he won't be for long.
6. Elisa and Goliath leave.
C. X secretly tells Owen to warn Sev to disappear for awhile.

IV. Gen-U-Tech.
A. Sev is kidnapped. Nobody sees. Very Quick.
B. Elisa arrives seconds later in her car.
1. Confirms w/security guard that Sev is alive.
a. She just missed him.
2. Another winged figure listens from above.
a. It's actually Talon.
b. But audience, and even Elisa, will assume it's G.
i. Elisa's touched G's so concerned about her.

V. Sev caged by unseen captor in underground Cyberbiotics Lab.

VI. Eyrie Building.
A. Owen has not been able to reach Sev.
1. Talon probably got to him first.
B. On battlements, Talon returns. Mutates confab.
1. Talon now knows Sev didn't die in "Metamorphosis".
2. But "dealing" with Sev is only half the job.
3. Sev couldn't have faked his death without help.
4. Goliath is Talon's #1 suspect.
5. Maggie doesn't agree but...
a. She let's slip about the Clock Tower.

VII. Fang, Claw and Maggie attack Clock Tower.
A. Maggie is present but is terrified by fighting.
B. Hudson and Bronx are the only Gargoyles there.
1. They put up a valiant fight but are defeated.

ACT TWO
VIII. Underground Lab. Sev agrees to work on cure for unseen captor.

IX. Clock Tower. Hudson regains consciousness.
A. Fang & Claw await Goliath's return.
1. So they can bring him back to Talon, as ordered.
2. Hudson warns them it'll be a long wait.
a. Goliath said he'd be gone for a few nights.
i. It's actually the truth.
ii. But the mutates don't buy it.
iii. Neither will the audience.

X. Eyrie Building.
A. Owen checks all locations where Talon might hold Sev.
B. Talon confronts X.
1. Until recently, Sev was alive & working at G-U-Tech.
2. X admits that he was fooled by Sev's "death".
a. Goliath and Sev must've been working together.
b. G wants Sev to create more monsters like him.
c. This confirms Talon's suspicions.
3. X has known for some time that Sev was alive.
a. He's had Sev working on a cure at Gen-U-Tech.
b. Didn't want to get Talon's hopes up.
4. But Sev was close to a cure.
a. If it's not too late...
b. Talon should release him to X's custody....

XI. Clock Tower. Trio return home.
A. Hudson manages to warn them.
B. Battle.
1. Fang & Claw are more powerful...
2. But Gargoyles are more experienced fighters.
3. Gargoyles win.
C. Brooklyn talks to Maggie.
1. He's over his crush on her.
2. But he still tries to get her to see reason.
a. G was there that night to save her from Sev.
b. G & Sev aren't partners.
c. Xanatos must be culprit.
3. Maggie doesn't want to hear it.
a. Xanatos is their only chance for a cure.
b. Gargoyles must be at fault.
4. To prove her wrong, Brooklyn lets the Mutates go.

XII. Gen-U-Tech. Elisa's back, still looking for missing Sev.
A. She's very worried that Derek has done something stupid.
B. Checking security-camera footage for when Sev left earlier.
1. Does enhancing tricks to confirm Sev was snatched.
2. Enhances more to get a look at kidnapper.
a. Off her reaction...

XIII. Cyberbiotics. Reveal Goliath as kidnapper of Sev.

ACT THREE
XIV. Eyrie Building. Talon tells Xanatos that he doesn't have Sev.
A. Owen enters w/news from Gen-U-Tech.
1. Looks like Sev. "left with" Goliath.
a. Comes across as proof that Sev & G are partners.
2. Doesn't take long for Owen to deduce where G is.
a. Only one abandoned lab that G knows about.
i. CyberBiotics Underground Research Lab.
B. Talon takes off.
C. Other Mutates are just getting back from Clock Tower.
2. They go after him.

XV. CyberBiotics. Goliath is watching Sev work on serum.
A. Elisa enters. (Calm before the storm.)
1. She deduced his location (same as Owen did).
2. Why did Goliath do it?
a. He could see how Derek's condition hurt Elisa.
b. He was afraid that if Talon got to Sev first...
i. then Sev wouldn't survive to cure Derek.
c. Seemed like only way to get cure from Sev.
3. Elisa: Ends don't justify the means.
a. Besides, wouldn't work anyhow.
b. They can't trust Sev.
i. How do they know "the cure" is safe?
4. Goliath agrees to release Sev.
B. Too late. Talon arrives, with Mutates on his heals.
1. Positive that G and Sev are in cahoots.
2. Talon attacks G.
a. This time E. can't stop them.
C. Mutates join in.
1. It's curtains for Goliath and Sev.
D. Sev tries to save his skin with the cure.
1. There's enough here for one.
b. But he can make enough for all four.
2. Talon and Fang don't care.
a. Claw and especially Maggie care a great deal.
b. Maggie reaches out to Talon.
i. What's more important?
ii. Vengeance or Humanity?
3. For her sake, he relents, and gives her the serum.
a. Maggie clutches the serum like it was a diamond.
4. Sev tries to get Talon to take it instead of Maggie.
a. Which makes everyone suspicious.
b. Situation on verge of heating up again.
E. Armored Xanatos steps out of shadows.
1. Rescues Sev.
2. Things seemed under control.
a. But Sev overplayed his hand, as usual.
3. Talon finally gets message about X.
4. X: "So sue me." or some such.
5. He takes off with Sev.
a. Parting shot from Sev: "Serum's poison."
F. Maggie still wants to take it.
1. She thinks Sev lied to preserve his "creations".
a. It's a risk she's willing to take.
b. Because it's better to die than to live a monster.
2. Talon disagrees strongly.
a. Life is more important than normalcy.
b. Besides, he's a monster too.
3. She thinks he's stronger than she is.
4. But Talon couldn't have made it without her.
a. Neither are strong alone.
b. They are strong together.
5. She puts the serum aside.
G. Goliath offers Mutates a home with his gargoyle clan.
1. Thanks, but no.
2. Talon has his own clan (i.e. Mutates).
3. And his own family...

XVI. CYBERBIOTICS UNDERGROUND LAB - A few NIGHTS later.
A. Elisa brings Peter, Diane and Beth.
1. They are reunited with Talon.
a. Hint Maggie.
b. Fang and Claw in b.g.
B. Goliath watches, pleased.
C. Sevarius' cage sits empty. The door wide open.


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Chapter XXXI: "Protection"

Watched "Protection" last Saturday with my wife and kids. Here's a ramble:

CAST
I'm immediately struck by our large supporting cast. Probably because so few of our regulars (Elisa, Goliath, Broadway only) appear in the episode.

THE CROOKS: Dracon, Glasses and Pal Joey. (All very fun to write for.)

THE COPS: Matt, Maria, Morgan. (All three go undercover and do a bit of play-acting, which is also fun.)

THE CIVILIANS: Art, Lois, Dave, Mr. Jaffe, Travis Marshall. (Each is characterized rather quickly, but memorably, I think. It was particularly cool to play off the Matt/Jaffe relationship previously referred to in "Reawakening".)

As for our regulars, we intentionally reduced the number of 'goyles in this one so that we had the space in our short 22 minutes to focus on other things. Goliath and BW seemed the appropriate two to bring along for various reasons -- established most obviously in "Deadly Force" and "The Silver Falcon".

I liked how Goliath reacted to the perversion of the concept of "Protection" and how the movie-savvy BW shakes his head but takes it in stride.

ELISA
Okay, I figure we didn't fool many of you into thinking that Elisa had actually gone bad. I was pretty sure we wouldn't. At least not the older fans. So I tried to fool you another way in the first few minutes. Glasses tells Dracon about a lady cop, but doesn't mention who. Chavez accuses Elisa, but Elisa pleads her innocence. Did anyone think that Elisa was being framed?

My daughter did. But in a way that I hadn't considered, despite the fact that "Double Jeopardy" was part of the same tier and naturally led to her conclusion.
--Erin: "That's not Elisa, is it?"
--Benny: "Yes, it is."
--Erin: "Yeah, that's not her. She never dresses like that."
--Benny: "It's a wig. How'd she get her hair like that?"
--Erin: "It's a clone."

A clone? Of course! That's the problem with introducing so many concepts. Too many options for the viewer. Did anyone else think clone? Erin maintained this idea right until the end of the episode. She kept saying with increasing frustration: "That's not Elisa. It's not."

SPEAKING OF NEW CLOTHES...
I loved Elisa's new outfit, I only wish the animation -- the character modeling -- in the episode had been better. It's not always very flattering to her. Sometimes it seems to WAY flatten her out. Other times, it makes her huge. (Yes, I'm focused on her breasts. I'm a heterosexual male. What do you want from me?) But it never makes her look real. Still, it's just nice to see her wearing something -- ANYTHING -- different. I wish we had had the resources to give her more clothing options in general.

DIALOGUE
Some nice lines in this one...
Elisa to Goliath: "What are you, a puppy?"
Elisa to Glasses, et al: "You tough guys just gonna stand there all night?"
Goliath to Elisa & Dracon: "Money and power sound very appealing."
Dracon to Elisa: "Keep the jar."
Elisa to Broadway: "Keep the jar."
Dracon to Goliath: "So she's your woman. You have good taste."
Broadway to himself: "Why are bad guys always in such a hurry."
Broadway to Pal Joey: "Sorry, Pal."
Broadway's slightly dated black & white movie gangster lingo.
All of Dracon's on-going Honey, Sugar, etc. references and Elisa's reaction to them. Makes me smile still.

JALAPEÑA
You've all heard this story, right?

Okay, BRIEFLY...

Keith David used the exclamation "Jalapeña" all the time. More or less as a replacement for Halleluia. It was an expression he had gotten from a female jazz singer (whose name escapes me at the moment -- as it usually does for some reason). One day in the control booth, voice director Jamie Thomason turned to me and said, "I bet you can't get that into a script." I said, "I bet I can."

Shortly thereafter, poor innocent writer/story editor Gary Sperling turned in a perfectly normal script. I then added this entire "Jalapeña" subplot. (I had to add all this stuff about room service, jars, etc. to justify the last word in the episode.) I fell in love with the idea. I thought it would give us a curse word, basically. (That's how BW uses it in the ep.) Most everyone else hated it. But directors Frank Paur, Dennis Woodyard and Butch Lukic didn't know how far I planned on taking it. They thought it would be a one episode thing, so they indulged me here. In fact, they suggested the massive "Jalapeña!" echoes at the end of the episode. ("If you're gonna do it, do it!")

Jamie would later goad me by saying things like, "Yeah, but I bet you can't get Hudson to say it." And so one by one, everyone said it. Again, I thought it was fun and useful.

But eventually the art staff literally revolted against it. Frank told me I HAD to stop. So what you'll notice is that starting with this episode we ramp up and begin to use the word a lot. And then it peters out and disappears entirely from the show -- until "The Journey" my farewell episode. I put one "Jalapeña" in that. Disney executive Jay Fukuto asked me why I had done that: "I thought Frank hated it." That's why I did it, to annoy Frank and gratify myself.

Frank and I are all good again now. We look back on our Garg days and realize that we didn't even know how good we had it. But I'd say that in 1996 our relationship had deteriorated a bit. The stress of doing 65 episodes had taken a bit of a toll. We weren't at each others' throats or anything. But we were just a bit on edge. Like I said, ancient history. I'd love to work with Frank again now. But there you have it.

DRACON & GLASSES
Lots of loyalty from Glasses. These second banannas always fascinate me. Of course, Xanatos usually treats Owen with the utmost respect. Dracon isn't quite as good a boss. He has a line of contempt after Glasses tells Dracon that the shopkeep [Matt] wants to meet with the boss. Dracon to Glasses: "And he knows it's not you." You wonder why Glasses puts up with it.

I love how quickly Dracon adjusts to the Gargoyles too. The concept of controlling them is so appealing, it submerges his fears. He quickly starts referring to them as Guests, and then as Partners. He even puts a hand on Goliath's shoulder -- briefly.

BOMBS OVER BROADWAY
This guy seems to deal with bombs a lot. This time he hold it in his teeth, which I thought was cool.

THE GROCERY STORE
Poor Mr. Jaffe. He gets robbed all the time. Then he has to put up with a Werefox attack. And now a particle beam battle.

And what's with those giant bags of flour? Who buys those?

And I wish those hidden cameras had actually been hidden.

I'm not in love with the battle choreography here. Elisa gets the jump on Dracon, which is okay, I guess, as he was hoping he could trust her. But then Dracon gets the jump right back. She should have been better prepared. It's all a touch clumsy.

Goliath's roar is interesting. Usually we use more effect and less Keith. This one is more Keith. A lot more Keith.

G's eyes are glowing as he takes Dracon into the air. But you'll notice they stop glowing just before he drops Dracon. This is a clue that he never really intended to let Dracon die. His anger has already ebbed. And after all, "Gargoyle justice is not human justice." Had this been Gargoyle justice, you get the sense that Dracon would have wound up, dare I say it, "Street Pizza."

Things wrap up. Chavez of course is still largely in the dark. But you'll notice that things were staged so that you could believe that Matt may or may not have been in the dark too. Since this episode was part of the same tier as "Revelations" we didn't 100% know for sure whether or not Matt would know about the Gargoyles by the time this aired. So we tried to play it ambiguously here.

ELISA & GOLIATH
Jalapeñas aside, I like the final scene between E&G. They reaffirm their mission and their love for each other. The first explicitly. The second implicitly.

Also we use the scene to justify why Dracon would buy something that I knew the audience wouldn't. "The corrupt are the first to believe that others can be corrupted." If you never thought for a moment that Elisa was dirty then there's hope for you yet. Either that, or your hopelessly cynical about the rules of television.

But did you still think she was a clone?

Anyway, that's my ramble. Where's yours?


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"PROTECTION" Memo

[In prep for my ramble on "Protection", here's the memo I faxed to Story Editor/Writer Gary Sperling. (Actually, I'm retyping it -- old typos and maybe some new ones included -- because I don't have a computer file. Just the hard copy.) You'll notice that it's more abbreviated than usual. Note the date. I was on vacation at the time. Plus, the outline may have been in better shape. Also note that the episode's original title was "Undercover". But we realized that Elisa wasn't so much going undercover, and that we'd save that concept for what eventually became "Turf". Besides the one word title, "Protection", was hard to resist given our on-going themes.]

WEISMAN 12-29-94

Notes on "Undercover/Protection" Outline...

BEAT SHEET
ACT ONE
1. Restaurant blows up. Keep very brief.

2. Glasses joins Tony in the limo. Glasses has heard that dirty cops are muscling in on their protection racket.

3. News report to Gargoyles. PRoTECTION RACKET. Goliath wants to see Elisa. She hasn't stopped by in days. Where has she been?

4. ChAvez asking Matt same question. As MATT brings in #3 to question him about restaurant bombing. Elisa arrives late. Matt: "Where you been?" Don't crowd me Bluestone. Asks for time alone with #3 Matt gives it. Elisa starts to talk obliquely about her moving in. Chavez interrupts and suspends her while she's under investigation. Maza protests that she's innocent. HAs to turn in badge and gun.

5. Elisa storms outside. Goliath and Broadway follow.

6. #3 calls Dracon.

7. Pool Hall - reveal Elisa.

ACT BREAK??

Glasses and #3 comes in.

8. Pursuit.? or HUSSLES ELISA OUT.

9. Goliath and Broadway intervene. CHASE.

Elisa pulls the rug out from under G. She leaves w/Glasses.

Goliath says she's under a spell. BW says maybe there's another explanation.

10. Glasses and Dracon. Elisa in the next room. Send her in. You guys get to work.

Elisa and Dracon.

11. Grocery Store: MATT (disguised) and owner. Matt and Glasses.

12. Some phony store. Maria, Morgan and #3. After #3 leaves they make reference to one of their plans is sure to nail Dracon.

13. Goliath and Broadway have gone bad at Dracon's Penthouse.

ACT BREAK

Finish out 13.

Intercut:
14. Broadway helps Maria and Morgan against #3 (and Glasses?)

15. Matt and Elisa nab Dracon. He's ready with men and bomb.

Goliath and Elisa work together to diffuse situation.

(Matt and Goliath relationship should be vague.)

Elisa gets her shield and gun back.

16. Reveal clearly what everyone probably knows by now. Elisa was undercover. BW figured it out and tipped off G. Some PROTECTION TAG.

DRACON OUT ON BAIL?????????


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Chapter XXX: "Upgrade"

Here's a new ramble for ASK GREG & the DCV...

As usual, I watched the episode recently with my family.

And as usual, everytime my five year-old Benny, sees Xanatos and Fox, he tells his seven year old sister Erin, "You were her. I was Xanatos and you were Fox." [All quotations (both from my kids or from the episode) are approximate.]

ATTITUDES

This is a big episode for attitudes.

Xanatos and Fox pit multiple individuals against each other in life and death circumstances and regard it all as a game.

Lex still hates the Pack.

Dingo is disgusted with the Pack's life of crime, and then even more disgusted with what his teammates do to their bodies. Cool lines like "Save the horrorshow..." or "I hope you don't eat your catch..." or "You're barely our species..." or "I still can't get over what you three did to yourselves..." or "I'm a partner in a freakshow..." or "...after they went Frankenstein on me..." all help distinguish him, perhaps for the first time. We had a notion of where Dingo was going. And this episode helped bridge the gap to "Walkabout". And eventually to the development I did with Gary Sperling, Bob Kline, Troy Adomitis, Doug Murphy and Patrick Archibald on "BAD GUYS," which some of you have seen at the Gathering.

How the mighty have fallen. My point-of-view and Dingo's matched up. The Pack were beginning to feel pathetic. The problem with villains is that after the heroes keeps beating them over and over, you need to find a way to keep them competitive. This episode (reflected in its title, which may or may not have been one of mine, but which I latched onto EARLY and stuck with) was always part of my plans for the Pack. Intro them in the first season as humans. This was necessary, because the world of our first season was MUCH more normal. I wanted to weird the world up in small steps. Don't intro Oberon first, intro Puck. That kind of thing. So once the science was established, we'd upgrade.

This dovetailed nicely with the need for Goliath to 'upgrade' one of his warriors to Second-In-Command. Goliath had been Hudson's second. Demona had been Goliath's. But it was past time to name a new successor. We always had Brooklyn in mind for that roll, but I remember asking Gary whether he felt we had succeeded in establishing that without ever having stated it. He felt we had. What did you guys think when you first saw the episode?

The battle at the bank. On my tape, there's an animation glitch where Dingo hits his head and then seems to intentionally hit his head again. I'm hoping it got fixed for later airings.

Anyway, the battle winds down. No one's done very well. But the Pack is on the run. Erin at this point says, "There's no messing with the big boys." Proving that the Pack was no longer competitive.

Wolf yells, "This isn't over!" sounding very much like Hakon to my ears.

Lex wants to pursue, but Brooklyn already the subconscious leader of everyone's choice, says, "Helping Goliath is more important."

Hudson gooses Goliath to choose a second. Refuses the job himself. This is another example of Hudson being the guardian of tradition. He knows they live in a brave new world. But he wants to preserve what worked in the old one as well.

Erin says, "I think Goliath's going to choose the red guy." Meaning Brooklyn. I am briefly horrified that my own kids don't reliably know the names of the lead characters. (Of course, before last week, we hadn't watched the series in a year. But still...)

I love the idea of Coyote's head knocking on the door of the Pack's ship. For starters it's so odd to get a knock while in flight. Second, how did he knock. Why with his forehead of course...

The trio begin their competition. Bronx is disgusted.

The new Pack is revealed. What was everyone's reaction? The Coyote-Head had laid out the options, but were you at all shocked at the upgrades when you first saw them?

I like the creepy Addams Family moment with Jackal's arm. I like that this Wolf and Dingo are now competitive in strength with Goliath.

I find it interesting that we had Goliath say, "What manner of trickery is this?" instead of "What sorcery is this?" I mean, who were we kidding, right?

Hudson then brings up the Archmage's sorcery. Just a reminder that the Archmage existed for what we knew was coming in Avalon.

I don't know if this was fixed for reairing, but their's a big mistake in this first battle. Goliath spots COYOTE the robot flying off and goes off alone in pursuit. This was supposed to be him spotting just the little head. He goes off after the head, thinking he'll find Xanatos or something. Then the giant Robot steps forward. Would have been a much better reveal.

I love the interaction as the Pack chooses a leader.

Cree is great reading: "Coyote, honey..." and "I find him very attractive." Hyena's attraction to Coyote was a fun running gag. But did it influence her choice of upgrades?

Jackal is grossed out, proving as ever, that he's just a tad saner than his sister. "Well, that's sicker than usual." He sides with Wolf, just for that reason.

Leaving Dingo with the deciding vote.

More animation errors that I hope got corrected eventually: Fox's lips don't move. So suddenly we're hearing her internal monologue.

Note that Broadway actually foils the most crime in their nightly competition. We did that on purpose. To show that was never the point.

Xanatos says, "Clever move." to end an act.

Then we come back, and he's confident saying, "I think I've still got the edge." Of course that line was a literal reuse of the line from "The Edge". We had a lot of so-so animation in this episode. It forced us to cut the show tight enough that we had to add footage. So we reprinted the shot of X&F playing chess and reused the old line to fill the space.

Final battle.

Everytime Hyena's hand folded backwards, Erin would say: "Eww, that's disgusting!"

CONTINUITY: Just as Lex dislikes the Pack, Bronx seems to particularly dislike Coyote. He's always chewing on that bot, forcing Coyote to threaten to "send this puppy into orbit!"

I love Hyena's line: "I wonder if Gargoyles taste like chicken?" Can't help thinking she'd sincerely like to know.

Frank Paur had this idea that when Wolf got angrier, he'd morph even wolfier. But the animation never quite worked on that. It was a great idea, but the transformation doesn't play dramatically, so it just looks like the model changes part way through the fight.

Coyote's demise was heavily influenced by the first Terminator movie. We keep destroying the darn bot, but it just keeps getting up.

Morgan reappears. I was never wild about his "Hospital, Machine Shop or Vet" line. It's okay, but it seemed a bit too flip.

Goliath, like the production staff, had his choice in mind all along. Brooklyn. By now the trio's come around to the same idea, except Brooklyn himself, who suddenly realizes the weight he'll be carrying around. A prelude to "Kingdom", as he says to Goliath, "Be careful. I'm in no hurry to take your place."

(Nice moment in their when Hudson pets Bronx. It has nothing specific to do with anything else, but it's a nice touch.)

Fox & Xanatos make such a cool couple. I love that he doesn't mind losing to her. Happier to have found a true equal.

And I love that chilling, funny ending: "Care to play again?"

Ever wonder about their next game?

Anyway, there's my ramble. Where's yours?



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