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ROSWELL CONSPIRACIES BIBLE: 8th Chunk

SUPPORTING CAST

THE QUICK
AIDAN MAGUIRE
Like Siobhan, Aidan is Sidhe. But that's where the resemblance ends. The Sidhe are a matriarchal race. And that's no accident. Females of the species are incredibly powerful. Males are not. Aidan is 4'11", which is average height for his race and gender. When Aidan takes his Sidhe form, there's no great release of energy. No Banshee wail or bolts of lightning. He can float and he can pass through solid objects, but that can be a handicap, as he can't physically touch or move anything.

Aidan was born in Scotland in 1930. When he was fourteen years old he met Warren Burdette and told him of the existence of the Cadre. When the Alliance was formed, the young Aidan became Burdette's aide-de-camp. He now performs the exact same function for Hawking. In theory, Aidan is 69 years old, but his race is extremely long-lived. Except for his white hair, he hardly looks a day over twenty.

JOHN GERALD MCKAY
Jack McKay is Hawking's peer and best friend. Like Hawking, he's a veteran of WWII and numerous alien conflicts. He's seventy-seven years old. A good old boy from Texas. Once upon a time, he was a star athlete at his high school, but these days he doesn't look much like an action hero. He's about 5'10", has quite a spread around his gut and a distinct lack of hair on top of his head. But he's still sharp as a tack. He's theoretically retired from the Alliance, but his "homespun advice" is usually dead on the money. Both Hawking and Artie Kateras count on him for strategy and feedback. Like Hawking, McKay is a consummate actor, though he only ever plays one part: the common sense Sheriff Emeritus. An Andy Taylor for the conspiracy set.

TRISH AINSLEY
Now 73 years old, Trish Ainsley was once a key operative of the Alliance. That changed when she got pregnant with Patricia and left the organization so that her daughter could have a normal life. She had originally hoped that Hawking would leave as well, and she was tremendously disappointed when he chose to stay in Roswell. Years later, she was equally devastated when her daughter enlisted too -- though it was Trish that presented Patricia with the choice in the first place. Trish loves her daughter. And deep-down, she still loves her husband as much as she ever did. But something else has changed. For reasons that aren't yet entirely clear, Trish seems to have soured on the Alliance completely. She knows something that we don't.

FRANK DOMINIC
Markus' cousin Dom is 42 years old. He's a big man -- bigger than Markus -- who's put on a bit of a spare tire, but still looks like he could hold his own in a brawl. These days Dom describes himself as a small businessman, who spends his days sitting behind the only desk at Dominic Bail Bonds in Los Angeles. But Dom was once the best skip tracer in the business, and he taught his younger cousin Tony everything he knows. When things at the Alliance get too weird, Dom is the guy Markus turns to for cool-headed advice. When nothing is as it seems, and nobody can be trusted, Dom is always gonna be Dom.

THE DEAD
WARREN BURDETTE
Died in his sleep in 1982 at the age of 83. Burdette founded the Alliance and was it's first Night Officer, a position he held until the day he died. He was a tough, smart man and a hero to Aidan Maguire, Will Hawking and many others. He's still missed.

SEGUNDO VASQUEZ
Dr. Vasquez was a brilliant theoretical physicist and one of the original agents of the Alliance. A chain-smoker, he died of lung cancer in 1961 at the age of 50.

MICHAEL TYLER
Another charter operative, Dr. Tyler was killed in early 1999 in the line of duty. He was 84 years old, had led Alpha Cell since 1945, and had run the entire "Research" Section since 1964. Despite Tyler's advanced age, Hawking felt that Alpha never worked better than when Michael was teamed with Miguel Cabral and Michel Thibideaux. "The Mikes" worked in perfect synch until the day Tyler was killed.

ERICH DIENER
Erich Diener of West Berlin was recruited to join the Alliance when West Germany joined TGA in 1955. At the time he was 25 years old. While an "Inquiry" agent, he met and fell in love with "Surplus" worker Maria Vasquez. They were married in 1970 and had two children, Alex and Gisela. Erich was killed on a mission in 1980. He was 50 years old. His daughter was only five.

MARIA VASQUEZ DIENER
Maria Vasquez was the daughter of Segundo Vasquez. She joined "Surplus" section in 1957 when she was 18 years old. Her father died when she was 22. She married Erich Diener in 1970. She was 31 years old. Alex was born in 1971, Gisela in 1975. Erich was killed in 1980. Maria was killed during a prison break in 1989. She was 50 years old, the same age her father and her husband were at the time of their deaths.

REIKO TAKASHI
Reiko Takashi of Nagasaki, Japan, joined "Inquiry" in 1996, when Hawking finally convinced TGA to allow him to recruit individuals into the Alliance without regard for their citizenship. For almost three years, Reiko was Tri Chung's partner. She was as open and warm as he was taciturn and closed off. They fell in love. Although the Alliance encourages "office romance," no one thought it would be a good idea for "Inquiry" partners to marry. Reiko applied for a transfer to "Delivery". But before her request could be acted on, she and Michael Tyler were killed during a mission. Tri was there, but couldn't save her. It was early in 1999. Reiko was 32 years old.

M.I.A.
JOSEPH TEN-SAMSONS SENIOR
Joseph Ten-Samsons Senior was one of the original operatives of the Alliance. He led "Delivery" for years, just as his son does now. In 1980, he disappeared while on a mission in Ireland. He was 55 years old. He hasn't been seen since, but if he's alive today he'd be 74 years old.

NIKO KATERAS
Artie's uncle Niko joined the Alliance in 1972 when he was 21 years old. He was an "Inquiry" Senior Agent for years. He and his nephew Apollo disappeared in 1997. They were not on duty at the time. Niko was 46 then, and he'd be 48 now.

APOLLO KATERAS
Artie's twin brother Apollo was recruited with her by their uncle Niko in 1983. They were 22. Both of them entered "Inquiry" together. Artemis excelled. Apollo did not. He transferred to "Surplus." Apollo and his uncle Niko disappeared without a trace in 1997. They were not on duty at the time. Apollo was 36 then, and he'd be 38 now.


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Roswell Conspiracies Bible: 7th Chunk

Here's the 7th Chunk from the darn long Roswell Conspiracies Bible:

THE ALLIANCE - TODAY.
[NOTE: This is a snapshot, taken (more or less) at the beginning of our second episode. What follows represents each character's job assignment at that time. Over the course of our series, we can expect a lot of shifting. Markus, in particular, will fast-track through the ranks, until in our final episode, he'll become the Alliance's third and final "Night Officer". For the purpose of our character's ages, I'm assuming that "today's date" is September, 1999. ]

"MANAGEMENT"
NIGHT OFFICER - WILLIAM T. HAWKING
Since the Alliance was formally inaugurated in February, 1945, it has only ever had two Night Officers. The first was the late "General" Warren Burdette. The second was and is Will Hawking, who's been with the Alliance from the beginning. Hawking is tall (over six feet), thin and fit. He's seventy-seven years old, way past the age of retirement. He claims he'd be happy to step down -- if anyone ever got up the nerve to suggest it out loud. He's British, but he's posed as an American for so long that he's no longer sure which of his accents is real, which affected. He's a veteran of World War II and an additional few hundred alien conflicts. Once upon a time, he was Burdette's right-hand man. There isn't any job in the Alliance (save for some of the hard science positions) that Hawking hasn't personally tackled and excelled at. Today, he cuts a lean, hard figure. With his gray crewcut, he resembles nothing so much as a steel beam -- in both appearance and temperament. He does, however, have a grim sense of humor, or at least an appreciation of irony. He's also a consummate actor. At the drop of a hat, he can appear to be a tired old man, a paranoid or an eccentric, a showman or a recluse... or all of the above at the exact same time.

The Alliance is a lean organization. Hawking has a small command staff working under him, but he largely counts on his four SECTION CHIEFS to keep "Management" informed and the Alliance running smoothly.

"INQUIRY"
SECTION CHIEF - ARTEMIS KATERAS
Artie Kateras is a thirty-eight year old woman with light brown hair. Born in Greece, she and her twin brother Apollo were recruited into the Alliance by their uncle Niko when they were in their early twenties. Artie is very down to Earth and had no trouble fitting into what was then the largely male world of the Alliance. She rose quickly through the ranks. When Jack McKay retired, he hand-picked Artie to take his place as Section Chief of "Inquiry". Today, it is very much HER section, remade in her image. "Inquiry" is an Alliance euphemism for the multiple investigative units that seek out any sign of alien activity throughout the world. Artie rarely goes out in the field herself, but she chooses and pairs her agents carefully. She knows how to listen to them, and she knows how to drive them to get the information the Alliance needs.

"Inquiry" is the largest of the Alliance's four Sections. Artie currently has thirty-five investigative units working under her command. That's seventy agents. (Don't panic. We'll focus on two units. Four agents.)

UNIT #7
SENIOR AGENT - TRI CHUNG
Tri is Chinese-Vietnamese. He was born in Vietnam but when Saigon fell, he had to flee by boat as a child. He wound up in San Francisco. The Alliance recruited him out of the F.B.I. when he was in his late twenties. Today, he's thirty-six years old. A suit and tie type. He's about 5'7" and in excellent physical condition. He's smart, fast and experienced. Like his new partner Markus, he's not too talkative, which is probably how both men manage to get along. Tri's former partner was REIKO TAKASHI. Tri was in love with her. She's dead now.

SECOND AGENT - TONY MARKUS
Markus is young, but hard. As taciturn as his partner. He's big on observation. Big on determination. He's also a fast study. He knows he can learn a lot from Chung, whom he quietly respects. Markus is 25 years old and approximately six feet tall. Born and raised in Los Angeles, California.

UNIT #27
SENIOR AGENT - ALEX DIENER
Alex is a third generation operative of the Alliance, joyously following in the footsteps of his grandfather, mother and father. Alex lived above the Bunker on the Vasquez Ranch until he was eighteen, when he was officially recruited into the family business. Alex is German on his father's side. Mexican-American on his mother's. At heart, he is a rogue and a pirate: life has to get pretty grim for Alex to take it seriously. He's very good-looking with brown skin, jet black hair and the devil's own smile. He's about 5'10". Because Alex's grandfather, father and mother each died at the age of 50, twenty-eight year old Alex is convinced that he's currently invulnerable. He's equally convinced that he's destined to die in 2021, the year he himself turns fifty.

SECOND AGENT - CLEA BALEWA
Clea is Nigerian. She's a pretty and petite 5'4" with very short hair. She dresses chic, though not sexy. She's warm, open, funny. Simply a joy to be around. She's also smart (heck, everyone in the Alliance is smart), highly-trained and dangerous when necessary. She's 23 years old and has been an operative of the Alliance (and Alex's partner) for a year.

"RESEARCH"
SECTION CHIEF - DR. MIGUEL CABRAL
Dr. Cabral is Portuguese. He's forty-two years old and specializes in theoretical physics. He's a bullish guy, short with very broad shoulders, dark hair and a mustache. He's the impatient type. Always scowling. And, of course, flat-out brilliant. He's been an operative of the Alliance for twelve years. He was a protégé of Dr. Michael Tyler's (the previous Section Chief) and considered the late scientist to be both his mentor and his best friend.

Cabral's "Research" Section -- a.k.a. the Alliance's scientific branch -- operates from a pool of some fifty experts, specialists and technicians all working in well-equipped labs inside the Bunker. A few of these scientists have received additional training so that they can function in the field as "Research Cells." There are four cells of three scientists each. Cabral gets antsy inside his lab, so when it's called for, he leads Alpha Cell himself.

ALPHA CELL
CELL LEADER/PHYSICS - DR. MIGUEL CABRAL
(See above.)

TECHNOLOGY - MICHEL THIBIDEAUX
Tib is French. Twenty-eight years old, from Paris. He's 5'9" with bleached-blond spiky hair. He's highly enthusiastic. And very good with his hands. Tib was personally recruited by Dr. Tyler in 1995 when France rejoined TGA. For four years, until Tyler was killed, Alpha Cell was known as "The Three Mikes" (Michael, Miguel and Michel). Despite their age differences, they were very tight.

BIOLOGY - DR. GISELA DIENER
Gisela is Alex Diener's younger sister. She's twenty-four years old. Blonde, tan, pretty. About 5'8". If Alex is the sinner, Gisela is the saint. Despite her medical and scientific background, Gisela has a distinct spiritual side. Alex can't understand it, but Gisela believes in little things like magic and mysticism, and big things like God and Destiny. Subsequently, she seems more fragile than she really is. Everyone's very protective of Gisela. Both of her parents were killed on Alliance missions. Her father Erich, when she was five years old; her mother Maria, when she was 14. She was basically adopted by the Alliance. They raised, trained and educated her. She joined "Research" after receiving her M.D. at age 19 and her Ph.D. at age 21. After three years in the "pool," Dr. Cabral chose her to replace Dr. Tyler as Alpha Cell's Biological expert.

"DELIVERY"
SECTION CHIEF - JOSEPH TEN-SAMSONS
Joe is another Alliance legacy. His father, Joseph Senior, worked in "Delivery" until the day he disappeared. Joe Jr. is a Navajo Indian, born fifty-two years ago in Roswell, New Mexico, exactly one month before the infamous "Roswell Crash." But don't let his age fool you, Joe is a very young 52. He's over six feet tall and solid as a New Mexico mountain. And there's very little erosion.

"Delivery" is the Alliance's combat unit. They're only sent out in case of an emergency -- to clean up a real mess. Anything short of a disaster can theoretically be handled by one of the other sections. Unfortunately, disasters aren't as uncommon as you might think. Joe always leads his team into battle himself. When that happens, he wears an exo-brace that enhances his natural movements. His strength, agility, etc. are all exponentially increased.

CODENAME: MILKMAN - YA-TUK
Ya-Tuk is an alien. A member of the peaceful, reclusive QUA-YETI race. Tuk wasn't born here, but he's lived on our world for over two hundred years. (That's almost half his life.) He sincerely wants to help preserve the planet Earth from all its various invaders and so joined the Alliance in August of 1945. He's extremely good-natured. Even a touch mischievous. He's also 8'7" and weighs 524 lbs. He's covered with snow white fur. Ya-Tuk cannot pass for human. So even when a disaster forces "Delivery" Section into the field, Joe still has to decide whether the disaster is big enough to warrant bringing the "Milkman" along. (Of course, it usually is.) Tuk possesses incredible strength, stamina and a complete imperviousness to the cold. He's also has an almost childlike fascination with technology, though his huge four-fingered hands don't exactly lend themselves to this pursuit. His quarters are highly air-conditioned. He's not at all fond of warm weather.

CODENAME: PAPER BOY - SIOBHAN BARROW
Siobhan (pronounced "sha-VAWN") is also an alien. She's a member of the SIDHE (pronounced "shee") race. In fact, her mother is the BHAN SIDHE (pronounced "bVawn SHEE"), Warrior Matriarch of the entire Earth Clan. Siobhan was born on Earth, (specifically in Ireland). Our planet is the only home she's ever known. She's nineteen years old, the youngest, least experienced operative in the entire Alliance. But what she lacks in experience, she makes up for in power. She can pass for human when she wants to: a pretty young woman, 5'10" tall with white-blonde hair and pale, pale blue eyes of (only) a slightly odd shape. But at anytime, she can transform, taking on her true Sidhe appearance with a devastating burst of energy that shreds her clothes and knocks out anyone standing within ten feet of her. When this happens, she becomes a creature less of matter than of energy. Her hair goes shock-white, with a slight blue tint. Her eyes crackle with power. An electric aura surrounds her body, allowing her to float a few feet off the ground or to fire off a bolt of lightning. She is ethereal, capable of passing through solid objects. And she can release the BANSHEE WAIL - a brief but violent burst of sonic energy that few can stand against. In fact, this is Siobhan's true form. Maintaining her human appearance requires some effort and discipline. When she loses consciousness (or even just her concentration), she always reverts to Sidhe.

And just to complicate things a bit more, Siobhan's loyalty isn't exactly at the 100% level. She's torn. Like Ya-Tuk, she wants to protect the planet Earth. But she's just not sure she wants to do that by betraying her own people. When you put all these things together, Siobhan is clearly the most dangerous creature our man Markus has ever encountered. Although the main reason for that is probably still related to the fact that he's falling in love with her.

CODENAME: POSTAL WORKER - CEDRIC HARRIS
Cedric is thirty-six years old. An African-American man from South Bend, Indiana. He's the WeaponsMaster of the group. You don't want to mess with Mr. Harris. He was recruited out of the Navy SEALs when he was only twenty, and he's a battle-hardened veteran of innumerable alien conflicts. He's also huge. Not Ya-Tuk huge, but the human equivalent. If Alex is a tight end, Markus a quarterback and Joe a fullback, then Harris is a linebacker (or two).

"SURPLUS"
SECTION CHIEF - PATRICIA AINSLEY-HAWKING
Patricia is twenty-seven years old. She's Hawking's daughter, but she was raised in England for most of her life by Hawking's estranged wife Trish Ainsley. Against her mother's wishes, Patricia joined the Alliance the moment she turned 21. She requested an assignment to "Surplus" -- considered the least appealing duty in the Bunker -- and quickly rose to the position of Section Chief. Still, her relationship with her father is uneasy at best. The Alliance has made nepotism into something akin to an art-form, but no one can complain about Patricia's performance as Section Chief. She's made sure of that. She believes that distancing herself from her father is a professional necessity, though deep down it's also a personal cop-out. Patricia is a tall red-head, but she's not exactly hot-blooded. She'd almost have to have ice in her veins to run "Surplus," the euphemism for the Alliance's alien prison. Patricia runs that prison with cold efficiency.


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Chapter XXXIII: "The Price"

Ramble, ramble, ramble...

The other night my family and I sat down to watch "The Price"...

Director: Dennis Woodyard.
Writer & Story Editor: Michael Reaves
Based on Comic Book Material by Lee Nordling

RECAP
It seems like I was starting to learn my lesson about not giving too much away in the "Previously on Gargoyles" section. This one is really all about Hudson, and issues of old age and mortality. I think it tends to hint that maybe, just maybe, we were thinking of killing him off. Anyone else think that perhaps we might?

There's some really great, really good looking character work in this animation. Pretty stuff.

There's a great moment where Hudson banks off an office building. Very cool.

Also, I like it on those rare occasions when we do weather in New York. Snow here. Or rain. Usually, it's all left standard for the same reason Elisa usually wears the same clothes. It's cheaper.

As the story opens, we're again trying to set Hudson up for possible termination, at least in the minds of the audience. He says, "Not a bad life all things considered..." which is usually an invitation for something really horrible to happen.

TIER STUFF

This is the last episode of our third tier. I had always hoped it would air last, since what happens at the end to Owen's hand would make interchanging very difficult. But on the first go-round it was ready long before a couple of other eps in the tier. So it aired early. (Particularly before Owen's appearance in "The Cage".) I tried to correct that for later runs. Sometimes with success. Sometimes not.

Anyway, because I couldn't be sure it would air in the right order, you can see that we hedged our bets a bit. Goliath doesn't understand how Macbeth escaped the Weird Sisters. He's not referring to events in "High Noon" which he could not have known about and which I could not guarantee would air before "Price". He's referring to events in "City of Stone, Part IV".

*At the moment he brought them up, my daughter Erin just happened to be coloring a picture of the Sisters drawn by artist David Wong (I think that's his name) who was selling them in the Dealer's Room at the Gathering 2001 in L.A. Erin was very excited by the kismet of the moment.*

Did you guys register Mac's limited dialogue? It would be tough in the first fight by itself. He does have four lines. And GARGOYLES was never a show to go in for extensive quipping during battles. So four lines may have seemed like enough.

And did you register the "Magic Sparkly Powder" when it first hit Hudson?

This ep is fun because there are so many layers of deceit going on.

Note that at this early stage, Goliath doesn't intend to kill Macbeth. He aims for the Sky-sled's control panel and hits it. The fact that the sled goes down is an unfortunate and unavoidable result. And Goliath clearly feels at least a little guilty. Hudson doesn't mind though. He thinks Goliath's action was perfectly reasonable.

I don't suppose anyone thought Mac was really dead? I wasn't really even trying to trick you into that one. Between the immortality info that you (but not the Gargoyles) knew from City of Stone and the early timing of the death in the episode, I figured nobody would be fooled. And I didn't want anyone fooled. Because that wasn't what I wanted to fool you guys about. I didn't want you to figure out that Macbeth was a robot. So I intentionally did not show the body, on the assumption that most everyone knows that if you don't see the body, the victim probably isn't dead. That way when Mac came back, you'd all be thinking, "Hah, Immortal!" instead of "Hah, Robot!"

BTW, everyone always asks how Hudson can believe Mac is dead and then later acknowledge Mac & Demona's immortality to Xanatos. But Hudson was thinking of immortality in the sense of living on without aging, ala the Norse Gods. Not in the sense that Mac was somehow immune to all injury and death ala the Greek Gods. Clear?

Lucky for Xanatos that all the Gargs seem to have favorite poses. (Cheaper that way, don't you know.) Of course it also helps that since they all wake up and go to sleep at the same time, they rarely get a good look at each other's poses. Makes statue prep easier, huh?

Anyway, when Hudson didn't wake up, did everyone buy the magic powder/he's not waking up scenario? Had anyone seen Lee Nordling's Disney Digest comic story that inspired this gimmick. I've never met Lee, but he came up with the idea of replacing a sleeping garg with his statue. He used Goliath, not Hudson. But it was the same basic principle. I gave the idea to Michael (just that notion) and he ran with it to create this entirely different story? Did anyone see Lee's story and still not get it?

I can't remember why we wound up cutting Banquo & Fleance. Guess we were saving money or time at some stage. So Mac's mansion works on auto-pilot, I guess. Though those cannons still aren't too effective against gargs. And who else would attack?

Back to Brooklyn and Broadway guarding "Hudson". We wanted to keep the focus on Hudson, which is tough, since he's not moving. Brooklyn's worried about the reality of being able to find a cure. Again, we're expressing his leadership tendencies without confirming them since we couldn't guarantee that "Upgrade" would air first.

Then, finally at the end of the act, we reveal the real Hudson. My kids got very excited. Erin said: "The stone guy's not the real him." And Benny chimed in with: "That's the real one!" What were you thinking at this moment?

I even had the odd notion last night that we could have gone the direction of Hudson's "prison" being all in his mind. That the statue was him, and that he couldn't wake up until he escaped this mental/dream prison. Obviously, not the way we went. But it's a cool story idea. Anyone think THAT?

So then we come back from commercial and reveal Xanatos who claims he wants Hudson's skin. The line is said in such a way that we and Hudson are geared to think the worst. Which sets up the fun.

Hudson: "You'll have the devil's own time getting it."

Xanatos: "Gee, that wasn't as hard as you made it sound."

Ah, STONE skin. For the Cauldron of Life. I'm pretty sure the Cauldron was Michael's idea.

Everything has a price. Xanatos just doesn't get that yet.

But Hudson has X's number. They're exchanges throughout this episode are a lot of fun. Like a flip on the Goliath/Renard exchanges in "Outfoxed". But better done, frankly. Less preachy.

These exchanges may have been the inspiration for Hudson and Xanatos killing each other in "Future Tense". Owen's watching and subconsciously realizes that in some way, Hudson and Xanatos make better natural adversaries than Goliath and Xanatos. Maybe.

Hudson: "Growing old terrifies you doesn't it?
Xanatos: "Nothing terrifies me, because nothing's beyond my ability to change." (Who else can lie and tell the truth in the same sentence with this much charm. I'm so proud of this boy.)
X: "What about you? Still wasting your nights in front of the television?" (An only semi-dated reference to both Hudson's origins as the comedic gargoyle Ralph and to the way we occasionally still relegated him to clock tower duty in order to have fewer characters to deal with.)

Note that Xanatos plans on giving Fox immortality as well. He knows he loves her at this point. Wouldn't leave her out.

He doesn't mention Owen though, and in general doesn't treat Owen with his usual respect. Goads him a bit. (Macbeth has already died for me once.) Or rather teases him. He probably figures that Owen can take it. But I think it gets to Owen a bit. Xanatos wasn't expecting Owen to test the Cauldron for him. Owen felt the need to prove something. As he says: "Service is its own reward."

Lots of people watched this episode and e-mailed me that X was a big jerk for treating Owen this way. Particularly at the end of the episode when Xanatos seems completely unfazed by Owen's stone hand. Of course in our minds, this was all a very subtle clue to Owen's true identity. Xanatos and Owen both know that this condition is only as permanent as the Puck chooses to make it.

"Over-sized chamber pot." Heh.

X loves them zingers. He nails Hudson with that "the hardest part was finding a replica for your sword."

I like Goliath's desperation in the scene with him and Elisa. "We need a sorceress. We need Demona. You are a detective."

She doesn't know how to find Demona though.

Meanwhile Mac's back, still using only those same four lines. Anyone catch on here? Or wonder why Mac was working for Xanatos again?

Broadway now knows the expression is "Sitting Ducks" not "Sitting Dorks" as he said it in "Enter Macbeth". A little inside joke.

Okay. Very little.

Erin sees Hudson pick up the stone skin and asks what it is.

Sunrise. At the end of Act Two, Elisa has an oddly timed slow reaction to events, that I wish we had found a way to trim a bit.

Benny was worried: "He's gonna break into pieces and never be alive again."

Erin was a bit more tv-savvy: "He's not going to break into pieces. Or this would be the last [episode]."

I didn't really think anyone would think we were actually going to kill BW here. I think the interest is to wonder over the commercial break exactly how the hell we're going to get out of this.

Beth asked: "How'd Elisa know to shoot at that box? Who came up with that? She clearly didn't like it."

Michael Reaves put in this bit about BW turning to stone in mid-air. And I cut it. That's right. Cut it. I thought that it was too big a deal to fit into this story or at any rate that we could never make the rescue convincing. But ultimately I put it right back in. Michael was right. We needed it here. Everyone worked very hard to make Elisa's save as real as possible. The carpet sign established in advance. The multiple shots it takes her just to hit the rope twice. And Brooklyn and Goliath's exchange:

Brook: "It's a miracle!"
Gol: "A miracle named Elisa."

We're acknowledging how unlikely this is and hoping you'll just share it with us.

I still don't know. It's fun. But I'm not sure we really pulled it off in a convincing way. What did you all think?

"Jalapeña, you're still alive!" Another tier risk. Since I couldn't be sure this would air after "Protection".

X: "Hudson, your bath is ready."

This is another cool exchange. The Price metaphor really comes through here.

The title, I think, was one of mine. Inspired by the Arthur Miller play and the Jim Starlin Graphic Novel of the same name.

Back at the Macbeth battle, here he is again. By this time, the robot thing may be more obvious. Same four lines. We still tried to preserve suspense. Since he's presumably working for Xanatos to distract the Gargs that may explain his behaviour. Anyone who thought he was the real Macbeth right until the moment G gutted him?

Elisa is out of bullets. At the time, I thought that made realistic sense. Always hated guns that seemed to have unlimited bullets. Now it just feels like she was dumb for not reloading.

But one other thing strikes me -- in today's environment, we probably wouldn't have been allowed to let Elisa use a realistic gun at all.

Boom. The Hudson statue is blown to bits. By this time you all knew it wasn't Hudson, but we were hoping that for a split second, the image itself would be shocking enough to make you forget. Just for a second.

I think it worked. Ben needed to reassure himself: "That's okay. It's not the real Hudson." I don't think he would have even bothered to say that, if for a split-second he hadn't thought it was.

Of course, Goliath, who had been on the verge of putting two and two together just before this attack, goes positively medieval on us. Before he aimed for Mac's sky-sled. Now he wants "Gargoyle Justice". He's trying to kill Macbeth. It's just lucky that (a) it was a robot and (b) we had a very understanding S&P executive.

I think the robot's death scene is pretty cool. We had John Rhys-Davies come in just to record five lines. The four that we reprinted over and over and one more 'winding-down' take on "You'll have to do better than that!" It's very cool. With the eye popping out and everything. Nice stuff.

One thing I remember discussing with Michael was the rescue of Hudson. Originally, I think he had Goliath and the boys figure it out and have them show up to get H. But I felt strongly that Hudson had to rescue himself. Prove to all concerned that his age was not the liability that X thought.

This is fun.

And I love that Hudson won't destroy the Cauldron.

Like Xanatos, we think that H is "just full of surprises." But it shouldn't be much of a surprise. I think that was right in character for Hudson.

And I love his parting shot: "What will be your legacy, Xanatos?"

Frakes and Asner were both just amazing in this episode.

X: "Let him go. He's earned it." Of course, that's right in character for X too. No revenge. No jumping up and down and whining.

And hey, now Owen's arm can live as long as the mountain stones.

"How literal-minded." I think that line was one of mine. Not sure. It would probably have helped if I had read those two drafts of the script I posted yesterday. But I didn't have time.

So there's my ramble. Where's yours?


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ROSWELL CONSPIRACIES BIBLE: Chunks 5 & 6

Continuing the posting of pieces of the Bible for the version of THE ROSWELL CONSPIRACIES that I developed for BKN.

Here's the fifth chunk:

ROSWELL, NEW MEXICO - June 14, 1947.
Nothing happened. Nothing at all. Every witness on every side of every version of every event was already working for the Alliance. Oh, today, you might be able to find some old civilian who swears he or she saw the crash from a distance. But that's just a tip off that they're telling tales. Nothing happened.

Vasquez did call the Sheriff to report the crash. And Vasquez, McKay and Ten-Samsons did convene in the desert. And McKay did radio Walker Air Force Base.

Air Force Captain Will Hawking was dispatched to the site of the incident -- with a full platoon of men. Alliance men.

On June 15, the news services did report that a U.F.O. had crashed near Roswell. Captain Hawking did confirm the story later that day.

June 16. General Burdette explained about the weather balloon. And the Vasquez Ranch was declared off-limits to all non-Alliance personnel. Heavy machinery was brought in. Underneath the ranch, construction began on the Bunker to end all Bunkers.

By July 7, the Alliance was able to remove every sign that work was proceeding underground.

On July 8, Trish Ainsley filed her U.F.O. story. The Alliance made sure it never got on the wire. It also made sure that copies of the story were circulated privately, but widely.

July 9. Captain Hawking resigns his commission. He disappears to supervise the completion of the Bunker.

July 16. Ainsley contacted Vasquez, McKay and Ten-Samsons, laying the groundwork for decades of obfuscation.

May, 1948. The Bunker was completed. The Alliance was up and running.

In between investigative assignments for the Alliance, Trish Ainsley continued to "pursue the Roswell story." The plan was clearly working. Most people either believed in weather balloons or casually and unconcernedly assumed that the U.S. government was covering up the existence of aliens on our planet. The few who actively pursued the latter course, were led down a garden path of false witnesses and manufactured evidence designed to lull them into believing that aliens are little grey men in flying saucers. Recent arrivals. Largely harmless. And nothing like the truth.

1949. T.G.A., The Global Alliance admits ten more nations: Belgium, Canada, Denmark, France, Iceland, Italy, Luxembourg, the Netherlands, Norway & Portugal. The Alliance began drawing the best and the brightest from all of TGA's member nations.

1952. Greece and Turkey join TGA. West Germany will join three years later.

March, 1955 - The Alliance used Tyler and Ainsley to seed the story of recovered alien bodies.

November, 1960. Segundo Vasquez, a chain-smoker, was diagnosed with terminal lung cancer. Since he couldn't be cured, the Alliance decided to take advantage of this "unique opportunity" to add another layer to the lie.

January 4, 1961. With Alliance help, Joseph Ten-Samsons Senior faked his death. The story was spread that he died of cancer.

December 13, 1961, Segundo Vasquez did die of cancer.

1964. Dr. Tyler retired from the U.S. Army and then vanished off the face of the Earth. Actually, he became the Alliance's head scientist, and thus no longer had the time to lead a double life.

1965. France breaks with TGA for thirty years. They will rejoin the organization in 1995. Meanwhile, Spain will join in '82 and the newly reunited Germany will replace West Germany in 1990.

Meanwhile, back in July, 1971, after over two decades of being Burdette's right hand man, Hawking was ordered to resurface in order to rekindle the lie. Together, Hawking and Ainsley produced the Alliance-written fiction: THE ROSWELL CONSPIRACIES. They also fell in love and were secretly married.

February, 1972. Trish Ainsley discovered that she was pregnant. She chose to leave the Alliance in order to give her baby a normal life. Hawking elected not to join her.

May 1, 1972. The Alliance helped Trish Ainsley fake her death in a car accident. She returned to Great Britain to give birth and raise her child. Hawking went back underground as a full time Alliance operative.

June 14, 1972. On the twenty-fifth anniversary of the Roswell Crash, Alliance operatives McKay, Vasquez Diener and Kateras staged a press conference to keep the curious guessing.

August, 1980. Erich Diener -- an Alliance operative and the husband of Maria Vasquez Diener, a second generation Alliance operative --was killed in the line of duty. The story in above-ground Roswell was that he ran off and abandoned Maria and their two children.

June 1, 1982. 83 year old Warren Burdette passed away in his sleep. The story was put out that he died of cancer. Hawking was promoted to Night Officer.

June 14, 1982. Will Hawking resurfaced on the thirty-fifth anniversary of the Roswell crash. He and Jack McKay became very public spokesmen for both versions of the lie.

December 13, 1986. Hawking and the Alliance bought the ranch adjacent to the old Vasquez place in order to expand the Bunker even further.

March 18, 1989. Maria Vasquez Diener died in the line of duty. Again, cancer was blamed. Her son Alex, a third generation operative, was given his first taste of action and obfuscation.

In 1995, under Alliance supervision, the U.S. Air Force launched a new investigation into the Roswell Incident. The resulting report sounded so pat and phony that most people either believed it flat out or assumed that all the Roswell myths must be entirely true.

1996. Hawking convinces TGA to allow him to recruit individual operatives without regard to their citizenship or the membership status of their country of birth.

September, 1999. Roswell, New Mexico is both a serious tourist trap and a Mecca for true believers seeking (inaccurate) knowledge about extraterrestrials on this planet. Every Friday night, McKay and Hawking stage another debate about the Incident. They don't have to do it. They just enjoy it.

And now the 6th Chunk:

ROSWELL, NEW MEXICO - September, 1999.
Tony Markus -- I bet you thought I forgot about him -- comes to town a half-step behind Siobhan Barrow. At this point, the only thing that's clear to Markus is that he's never had a case like this before.

Siobhan seems to have some kind of super-natural power --impressive super-natural power -- though not quite as impressive as that of the Tall Women pursuing her.

Likewise, the "Honeymooning Couple", though clearly not what they pretend to be, are also not what they seem to be either. Markus had thought they were Feds, but they've got some mighty strange methods, some even stranger weapons and the strangest possible friends.

Eventually, all is revealed. Siobhan is a member of an alien race, the SIDHE. She's on the run from her own people (the Tall Women) and is simultaneously trying to avoid being captured by ALEX DIENER & CLEA BALEWA (agents of the Alliance), who want to give her a life sentence simply because she exists. Markus just wants to get her back to L.A. so that cousin Dom doesn't have to pick up a fifty grand tab on her bail. Despite her power, Markus manages to reel her in and convince her to head west again with him. Together, they manage to stay a step ahead of both the Sidhe Warriors and the Alliance Agents. But all the good luck and skill in the world can't last forever.

Markus and Siobhan are cornered in the GRAND CANYON. The Sidhe attack, and it's the Alliance that comes to the rescue. But not Alex and Clea. The cavalry consists of JOSEPH TEN-SAMSONS JR., CEDRIC HARRIS and the alien YA-TUK. After an impressive battle, the Sidhe Warriors are captured. And Markus' life has been changed forever. There are aliens -- dangerous aliens -- loose on our world. He feels like his eyes are open for the first time. But he's not the only one. The Alliance has been very impressed with both Markus and Siobhan. They offer them each a job.

Markus, with his skills and experience, will become an investigator like Alex and Clea. Siobhan, with her raw power, will join Ten-Samsons' combat unit. Neither are sure they want what's being offered. Ultimately, Siobhan doesn't have many sunnier choices: (a) Life on the Run from her fellow Sidhe; (b) Life in an Alliance Prison, or (c) Life as an Alliance Operative. She chooses option (c).

As for Markus, it comes down to accepting the challenge. Hunting aliens. The ultimate skip chase. How can he resist? Well, once he's made sure that Dom hasn't been left in the lurch, the answer is: he can't. Thus Tony Markus and Siobhan Barrow become the two newest operatives of the Alliance.


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"THE PRICE": "Final" Draft Script

This script is listed as a "Final Draft" after I took my pass on it. But skimming it, I'm not sure how final it actually was. It may have still gone through some changes, both before and after record.

GARGOYLES

"The Price"

Written by:
Michael Reaves

Based on comic book material by:
Lee Nordling

Revised draft: January 25, 1995
Final draft: February 1, 1995

Story Editor:
Michael Reaves

WALT DISNEY TV ANIMATION

GARGOYLES

"The Price"

CAST LIST

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

XANATOS
OWEN

RECURRING
MACBETH Actually a robot, (actually two robots), but visually indistinguishable from the real thing. He only speaks four lines, using them over and over.
BANQUO From 4319-022. Seven lines.
FLEANCE From 4319-022. Five lines.
STEEL CLAN ROBOT No lines.

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.

LEXINGTON (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.

BROOKLYN
Yeah -- it's colder.

FAVOR GOLIATH - PANNING

He permits himself a small smile.

GOLIATH
It's almost dawn, and we've
completed our patrol. Let's
return to the clock tower for
a good day's sleep.

FAVOR HUDSON - PANNING

He looks contented.

HUDSON
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 he wants to end it!

WIDE ANGLE - INCLUDE OTHERS

Hovering as Macbeth heads toward them again, aiming one of his electro-magnetic 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 LIGHTENING BLAST RIPS THROUGH SHOT.

MACBETH
I've been looking for you!

TRACK WITH GOLIATH

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

GOLIATH
Spread out! Attack formation!

EXTREME WIDE

The gargoyles split up and swoop toward Macbeth from opposite directions in a pincers strategy.

GOLIATH
I don't know how you escaped
the Weird Sisters, Macbeth --

BROOKLYN
But you're gonna wish you hadn't!

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
(laughs)
Trophies!

He sends a ray CRACKLING directly at us.

REVERSE ANGLE - BROOKLYN

The ray ZAPS him, causing him to fall O.S.

BROOKLYN
(stunned grunt)

ON GOLIATH

Reacting in shock. He dives down O.S.

ON BROOKLYN

Semi-stunned, dropping in a steep glide, about to pass out entirely. Goliath swoops INTO SHOT and grabs him.

ANGLE INCLUDES ROOF

He glides to it and deposits his stunned comrade safely on a snow-covered ledge. (STORYBOARD NOTE: During these last shots the eastern horizon is starting to glow with Pre-Dawn light.)

CLOSER ON GOLIATH

He launches himself from the rooftop again.

ON LEXINGTON AND BROADWAY

Heading toward us, grim and intent.

BROADWAY
We'd better finish this fast. The
sun's about to come up.

ON MACBETH

He triggers a control on the platform's console. A small canister shoots out O.S. from the platform's base.

TRACK WITH LEXINGTON AND BROADWAY

The canister sails IN, BURSTS apart and releases a rapidly-expanding net that settles over them. They react, but too late.

LEXINGTON, BROADWAY
(surprised walla)

ANOTHER ANGLE

The net ELECTRIFIES, shocking both of them into unconsciousness.

LEXINGTON, BROADWAY
(cries of pain)

ON ROOFTOP

They tumble down and CRASH on the rooftop beside the unconscious Brooklyn.

FOLLOW HUDSON

He catches an updraft and wheels about, drawing his sword.

TRACK WITH MACBETH

As he flies. Hudson is heading right for him.

HUDSON
(growls)

CLOSER ON MACBETH

He dips his hand into one of his coat's many pockets, and as Hudson comes at him he hurls a small packet right into the gargoyle's face. The packet hits Hudson and BURSTS, scattering a sparkling mist of white glittery powder all over him.

HUDSON
(surprised sputter)

ON FLYING PLATFORM

The craft drops, letting Hudson sail on O.S.

ANGLE INCLUDES ROOFTOP

Temporarily blinded, Hudson CRASHES on the rooftop alongside the still-unconscious Trio.

HUDSON
(impact grunt)

He rises to his knees, frustrated. He pulls the net off of Broadway and Lex.

TRACK WITH PLATFORM

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

GOLIATH
(growls)

ANOTHER ANGLE

Macbeth manages to twist his weapon back. He fires it right into Goliath's side, blasting him off the platform.

MACBETH
You'll have to do better than that!

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

MACBETH
Farewell, my enemies!

ANGLE INCLUDES

RACK FOCUS from the lightening gun and Macbeth's hand in EXTREME f.g. to the trio and Hudson in b.g.

CLOSER ON HUDSON AND TRIO

The Trio's starting to revive, but won't recover in time. Hudson protectively steps between them and Macbeth.

TRIO
(groans)

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 the flying platform's control console. There's a huge ELECTRICAL DISCHARGE, and the platform goes into a dive.

WIDE ANGLE

All the gargoyles (the trio have recovered by now) stare in shock as the platform passes out of view behind a skyscraper. Followed seconds later by a huge EXPLOSION. Flaming debris flies back into shot.

ON HUDSON AND TRIO

They move so that they can see where Macbeth crashed. Flickering light paints their faces and bodies. Goliath drops down INTO SHOT beside them.

LEXINGTON
I don't believe it.

ON WRECKAGE

A mini-inferno of twisted, flaming metal. No one could have survived that crash.

HUDSON
Believe it, lad. 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 four of you.

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

HUDSON
No one's questioning you, Goliath.
(beat)
We'd best prepare to sleep right
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)

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 evening shadows lengthen

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 (EXCEPT HUDSON)
(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. (Note: the stone Hudson is holding his sword, which is not stone.) REFIELD TO INCLUDE Goliath and the trio, staring at him in stunned disbelief.

GOLIATH
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.

BROOKLYN
Powder?

FAVOR GOLIATH

He peers closely at the powder.

GOLIATH
Sorcery. A magical concoction
to keep him asleep.

WIDE ANGLE - ALL

Goliath and the trio stand around the stone Hudson.

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

LEXINGTON
But how? Macbeth's dead --
who else would know about the
powder?

FAVOR GOLIATH

Having come to a decision.

GOLIATH
Lexington and I will go to Macbeth's
mansion and question his lackeys.
Brooklyn, Broadway, stay here
and protect Hudson.

ANGLE INCLUDES ROOFTOP'S EDGE

Goliath and Lex prepare for flight. Brooklyn puts a hand on Goliath's arm.

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

Goliath is in some denial.

GOLIATH
There is a cure. There must be.

DRAMATIC ANGLE

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

CLAW WIPE TO:

EXT. MACBETH'S MANSION - ESTABLISHING - NIGHT

PUSH IN and

CUT TO:

INT. MANSION'S CONTROL ROOM - ESTABLISHING - NIGHT

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

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

FLEANCE
Relax. We could use a little peace
and quiet.
(beat)
See you and raise.

ANOTHER ANGLE

She tosses two chips in. Banquo scowls and looks at his cards.

BANQUO
Okay, whatcha got?

ANGLE INCLUDES MONITOR

Showing a view from the roof. Fleance grins and starts to lay her 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. 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. MACBETH'S 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 her.

FLEANCE
In range in forty seconds ...

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

FLEANCE (CONT'D)
(startled cry)

ON BANQUO

Seated at his cannon. He turns, looks. ANGLE ADJUSTS TO INCLUDE the other cannon, now manned by Goliath and aimed right at him.

BANQUO
Hey! What in --?

Banquo dives out of the way, just as Goliath BLASTS Banquo's cannon with a lightening bolt.

BANQUO (CONT'D)
(dive)

CLOSER

Banquo covers his head to protect himself from flying debris. 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

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 magic -- all
of it -- now.

ANOTHER ANGLE

Banquo is obviously too scared to lie.

BANQUO
I don't know where he keeps it!

Goliath drops him on top of his unconscious comrade and turns to Lex.

GOLIATH
We must search the house.
(beat; to Banquo)
Find another job. Macbeth
won't be coming back.

He and Lexington turn away as we

CUT TO:

EXT. - ROOFTOP - NIGHT

Broadway and Brooklyn flank the stone Hudson.

BROADWAY
I'm worried. Even if Goliath
finds something at Macbeth's place,
how are we gonna make it work?
None of us are sorcerors.

ON BROOKLYN

Suddenly, determined.

BROOKLYN
Let's just focus on protecting Hudson.
We can't let anything happen to him.

CUT TO:

INT. CAGE - NIGHT

Large, like a high-tech version of 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 a figure in sillouette at first. Then the figure steps into the light. It 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 --!

FADE OUT

END ACT ONE

ACT TWO

FADE IN:

INT. CAGE - HUDSON -CONTINUOUS

We still don't know where we are. Hudson is pacing his cage like a trapped tiger.

CLOSE ON HIS FEET

We can see now that he's walking on bars that raise the cage perhaps six inches above a steel tray; basically a larger version of the tray used in pet cages to catch droppings (although this is for a different purpose). Scattered on the tray below the level of the bars where Hudson walks are the stone shards of his skin, shed this past dawn.

WIDE ANGLE

An O.S. CREAK OF HINGES stops his pacing. 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. OWEN shadows him silently. 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.

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

FAVOR XANATOS

Urbane and unconcerned as ever.

XANATOS
Really?

Xanatos pulls a remote control from his pocket. He presses the button. The tray beneath Hudson's cage automatically SLIDES out. Xanatos crouches and picks up a few long shards of stone exoderm. He presses the button again, and the tray returns to it's normal position.

XANATOS
Gee, that wasn't as hard as you made
it sound.

HUDSON
So you're through with me.

XANATOS
Not quite. I need your help to
conduct a small experiment.

Hudson glowers at Xanatos, who presses another button on the remote. In b.g. a STEEL CLAN ROBOT carries a huge wooden crate IN and sets it down near the cage.

HUDSON
Experiment? What kind of
experiment?

ANOTHER ANGLE

The robot RIPS open the wood as though it were Christmas wrapping, showing us what's inside the crate: a huge iron cauldron, obviously very old. The robot turns and EXITS.

FAVOR XANATOS AND HUDSON

Xanatos stares at it with tense excitement; Hudson is wary.

HUDSON
What'll that be, then?

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. The legend
says it grants whoever bathes in
it "will live as long as the mountain
stones."

FAVOR HUDSON

He raises an eyebrow.

HUDSON
Ah. You wish to be ... immortal?

XANATOS
Of course. What good are all the
riches on Earth if Fox and I can't
enjoy them forever?

FAVOR HUDSON

He's settled into a poker face.

HUDSON
And how do I fit into all this?

ON XANATOS

Xanatos leans toward the cage and holds up the shards of exoderm.

XANATOS
One of the key ingredients in
the cauldron's brew is the
stone skin of a gargoyle.

ON HUDSON

He moves in too, getting face to face with Xanatos without touching the electrified bars.

HUDSON
These ancient talismans are often
dangerous, Xanatos. I would've
thought your experience with
the Eye Of Odin had taught you
that.

XANATOS
You could be right. Maybe it
would be a good idea to test
the brew first.
(beat; evil grin)
Any volunteers?

The Steel Clan robot reenters, now carrying a large plastic container filled with water. Xanatos and Owen watch, as the robot pours the water into the cauldron. Xanatos holds the handful of stone skin fragments in one hand.

FAVOR HUDSON

He scowls.

HUDSON
You mean to dunk me in that
oversized chamber pot?

CLOSE ON CAULDRON

Xanatos tosses the shards 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.

XANATOS
Eventually. The legend says the
skin must boil for a night and
a day first.

FAVOR XANATOS

His usual smug, superior self. He glances at his watch.

XANATOS (CONT'D)
So be patient. 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 Owen 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.

XANATOS (CONT'D O.S.)
(sticking it to him)
The hardest part was finding a
replica for your sword.

Xanatos turns to Owen.

XANATOS
Still there's no sense being
complacent. Let's make sure
the other gargoyles don't think
to look for him here.

WIDE

Xanatos exits. The robot remains on guard. Owen is about to follow, when Hudson calls out to him.

HUDSON
And what's in this for you?

FAVOR OWEN

OWEN
Service is it's own reward.
I would have thought you knew
that.

XANATOS (O.S.)
Owen, I want the gargoyles distracted.

He nods slightly, poker-faced as usual.

OWEN
Understood, sir.

SMASH CUT TO:

EXT. ROOFTOP - NIGHT

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

BROOKLYN, BROADWAY
(surprised cries)

ANGLE INCLUDES

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

BROOKLYN
It can't be!

BROADWAY
There's no way he could've
survived that crash!

WIDE ANGLE

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

BROOKLYN
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.

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

ON MACBETH

He aims his weapon and FIRES again. During this:

MACBETH
(re-use line #??)
I've been looking for you!

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

CUT TO:

INT. ELISA'S APARTMENT - NIGHT

WIDE

Goliath and Lex have been filling Elisa in.

ELISA
Any luck finding the cure at
Macbeth's house?

GOLIATH
No. We searched from attic to
cellar, but found nothing.

CLOSE ON GOLIATH

This is a real last resort for him.

GOLIATH (CONT'D)
There's only one other hope.
We need a sorceress. We need
Demona.

ON ELISA

She's stunned by his request.

GOLIATH (CONT'D O.S.)
You are a detective. You must help
us find her.

FAVOR GOLIATH

Elisa puts a hand on his shoulder.

ELISA
Goliath, you know I'd do anything to
help. But honestly, I wouldn't even
know where to start looking.

GOLIATH
We can't just give up!

ELISA
We won't. I promise.

ANGLE INCLUDES

the brightening eastern horizon. Lex glances at it.

LEXINGTON
It's not long to sunrise. We should
head back. Brooklyn and Broadway will
be worried.

FAVOR ELISA AND GOLIATH

ELISA
I'd like to go with you.

Goliath nods and lifts her into his arms.

CUT TO:

EXT. ELISA'S APARTMENT - PRE-DAWN

TRACK WITH GOLIATH AND LEX

the former carrying Elisa, as they glide uptown.

CUT TO:

INT. DUNGEON

Hudson glowers at Xanatos, as the latter enters and peaks into the boiling cauldron. He warms his hands above it. The robot remains immobile in the b.g.

XANATOS
The soup's cooking nicely.

HUDSON
You've obviously gone to a lot
of trouble. Had to carve your
statue weeks in advance. Tell me
something: Why me?

FAVOR XANATOS

Who thinks the answer is obvious.

XANATOS
Because you're old and getting
older. I thought you might even
appreciate the opportunity.

ON HUDSON

He crosses his arms. He's just picked up on one of Xanatos' few weaknesses.

HUDSON
Growing old terrifies you,
doesn't it?

ECU ON XANATOS

Hudson's pressed one of his few buttons.

XANATOS
Nothing terrifies me. Because
nothing is beyond my ability to
change.
(beat, petty)
What about you? Still wasting
your evenings in front of a
television set. You're of
little use to your clan; you
might as well be of some use to
me.

CLOSER ON HUDSON

Xanatos hasn't rattled him a bit.

HUDSON
Open this cage and I'll show
you just how useless I am.

HOLD ON XANATOS

He doesn't have a comeback. He burns, turns and leaves.

ON CAGE

Hudson SLAMS a fist into his palm in a frustrated gesture and turns to resume his pacing.

CLOSER ON HUDSON

He notices something at his feet. MOVE WITH him as he kneels to look closely at the slivers of rocky exoderm -- some of which are as long as a knife blade. Hudson reaches through the grated floor and touches his shed skin thoughtfully.

CLAW WIPE TO:

EXT. WAREHOUSE DISTRICT - ESTABLISHING - PRE-DAWN

A dark and dreary area, the deserted streets narrow and winding, with tall dark warehouses lining them. VERT. PAN UP TO FRAME Brooklyn 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
(reuse line #??)
Farewell, my enemies!

TRACK WITH BROOKLYN AND BROADWAY

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

BROADWAY
At least we led him away from
Hudson!

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

ON BROADWAY - FLYING

His expression becomes determined.

BROADWAY
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.

BROADWAY (CONT'D)
Besides we gotta nail him. He's the
only one who can cure Hudson!

ON MACBETH - FLYING

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

MACBETH
(reuse line #??)
You'll have to do better than
that!

ANOTHER ANGLE

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

BROOKLYN
(grunt of surprise)

ANGLE INCLUDES BROADWAY

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

TRACK WITH BROOKLYN

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 Broadway to sail IN and be BATTED aside like an annoying insect by Macbeth's one-armed blow.

BROADWAY
(stunned grunt)

ON BROOKLYN

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 wall that reads ROYAL PERSIAN CARPETS.

ON BROADWAY

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

BROADWAY
(groans)

ABOVE A NEARBY BUILDING

Goliath, Lex and Elisa glide into view.

GOLIATH
Look! Over there! It's Broadway!

LEXINGTON
The sun's about to come up!

CLOSE ON GOLIATH AND ELISA

He looks at her and comes to a decision. He and Lex land on the rooftop. He puts Elisa down, and looks O.S. in astonishment. The world is trembling on the edge of dawn.

ANGLE INCLUDES MACBETH

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

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

ZAP! Macbeth FIRES O.S.

ON BROADWAY

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

ON GOLIATH, LEX AND ELISA

Goliath prepares to leap into the air, but Lex and Elisa grab his arms and points O.S. eastward in horror.

ELISA, LEXINGTON
Goliath! You can't! / The sun!!

ANGLE INCLUDES

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

RESUME GOLIATH AND LEX

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

GOLIATH
(strains)
Broadway --!

And then he is stone, as is Lex.

ON BROADWAY

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

ON BROOKLYN

Brooklyn 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.

BROOKLYN
No!!

Then Brooklyn TRANSFORMS.

ON ELISA

In shock as she watches BROADWAY falling.

HER POV - BROADWAY

Falling away from us as we

FADE OUT

END ACT TWO

ACT THREE

FADE IN:

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

The stone Broadway 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. (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 -- most of the bullets STRIKE the hoist cable at the pulley junction, its weakest point. The cable SNAPS.

PULL BACK 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 Broadway CRASHES down on top of them, bounces, lands again on the very edge of the pile and lies still.

ANOTHER ANGLE

Elisa leans back against Goliath's petrified form.

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.

MACBETH
(reuse line #??)
(laughs)
Trophies!

RESUME ELISA

Watching him go.

CUT TO:
INT. DUNGEON

Xanatos stares at the stone form of Hudson. Looks into the boiling Cauldron. Owen enters.

OWEN
We have a field report from
"Macbeth". He kept the gargoyles
busy throughout the night.

XANATOS
Better watch out Owen. This Macbeth
fellow may be gunning for your job.
He's already died for me once on
this project. It's hard to top that.

ON OWEN

He raises an eyebrow.

WIPE TO:

EXT. WAREHOUSE DISTRICT - DAY

Elisa supervises as the crane lifts Broadway up toward the rooftop where Goliath and Lex are frozen in stone.

DISSOLVE TO:

EXT. EYRIE BUILDING - TWILIGHT

The sun sets.

CUT TO:
INT. DUNGEON

Hudson explodes out of his stone shell.

HUDSON
(awakening roar)

TIGHT ON HUDSON

He reaches behind him, as if to check that he still has a weapon stuck in his belt. Though we don't see it, he obviously still feels it there, and looks relieved.

CUT TO:

EXT. WAREHOUSE ROOF - DUSK

Elisa is there with Goliath, Lex and Broadway. Brooklyn glides in for a landing. He immediately rushes to Broadway.

BROOKLYN
Jalapeña, you're still alive!
It's a miracle!

Goliath looks at Elisa who smiles.

GOLIATH
Yes -- a miracle named Elisa.

FAVOR LEX

Wheels clearly turning.

LEX
What I don't get is Macbeth. Why
did he cut and run?

BROOKLYN
Good question. He keeps saying he
wants us as trophies. Why didn't
he come back for us while we were
stone?

FAVOR GOLIATH

Suddenly realizing that "Hudson" has been left unprotected.

GOLIATH
Hudson!

DRAMATIC ANGLE

As all four gargoyles launch themselves into the night. Goliath carries Elisa.

CUT TO:

INT. DUNGEON - NIGHT

FAVOR XANATOS AND HUDSON

Xanatos turns from the boiling cauldron to the old gargoyle. He holds Hudson's sword in one hand. With the other, he presses his remote. The cage opens. The Steel Clan Robot grabs Hudson and pulls him out. Owen is also present.

XANATOS
Your bath is ready, Hudson.

ON HUDSON

Hudson is there, arms held by a Steel Clan robot. Head high, determined to show no fear.

HUDSON
Listen to me, Xanatos. What
you seek demands a heavy price.

CLOSER ON HUDSON - INCLUDE XANATOS

Xanatos is listening, politely but with barely concealed impatience.

HUDSON (CONT'D)
I've been alive for over eleven
hundred years. Most of my clan
is dead and dust, and I am a
stranger in a strange land.
(beat)
Demona and Macbeth are immortal.
Has it brought them happiness?

XANATOS
Save your breath, Hudson. Old
age has its price as well, and
it's too expensive for me.

CUT TO:

EXT. ROOFTOP - NIGHT

Where the "Hudson" statue keeps its lonely stone vigil. The gargoyles land and look about warily.

BROADWAY
No sign of Macbeth.

BROOKLYN
I still want to know how he
lived through that crash --
and 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
(reuse line #??)
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 LIGHTENING BLASTS.

GOLIATH
Keep him away from Hudson!

ON "HUDSON"

A nearby BLAST PEPPERS the statue with stone shrapnel.

ON BROOKLYN AND BROADWAY - FLYING

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

BROADWAY, BROOKLYN
(impact grunts)

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

BROOKLYN
This is gettin' old ...

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 takes aim at Macbeth with her gun.

ELISA
Don't do it!!

She fires, but she used all of her bullets to save Broadway. The gun CLICKS harmlessly.

QUICK CUT - LEXINGTON

He sees what's going to happen and reacts in horror, but he's 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. DUNGEON - 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
(roar of pure fury)

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 does a quick barrel roll and gets back on track.

GOLIATH
(growls)

WIDE ANGLE - MACBETH'S FLYING PLATFORM

Goliath gets one hand on the platform. He ignores another BLAST by sheer force of will and climbs aboard.

CLOSER

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

ANOTHER ANGLE

Goliath's too 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
(reuse, but slow down, line #??)
You'll have ... to do ...
better ... than ... that ...

Goliath stares in disbelief.

CUT TO:

INT. DUNGEON - 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 behind him and beneath his hauberk and pulling out a long sharp shard of epithelial stone.

HUDSON
Swordless, 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.

ANGLE INCLUDES XANATOS

Who gets to his feet somewhat shakily. He looks at Hudson standing there with his sword ready. In a heartbeat he's recovered his poise.

XANATOS
I underestimated you. Very
resourceful, using your own
skin as a weapon. I should
have thought of that.
(beat)
I suppose you'll destroy the
cauldron now.

TWO SHOT - XANATOS AND HUDSON

Hudson raises an eyebrow.

HUDSON
And why would I be doing that?
What you choose to do with
your life is your own affair --
as long as it's got nothing to
do with me.

ANGLE INCLUDES DOOR

Hudson backs toward the doors warily, sword ready. For once in his life Xanatos looks surprised.

XANATOS
You're just full of surprises.

ANOTHER ANGLE

Hudson reaches the doors. Stops and turns.

HUDSON
A friendly word of advice. True
immortality isn't about living
forever, man. It's about what
you do with the time you have.
(beat)
When all your scheming's done,
what will be your legacy Xanatos?

WIDE ANGLE

Hudson sheathes his sword, KICKS the doors open and runs O.S.

ON XANATOS AND OWEN

Owen pulls a pocket communicator from his coat, but before he can use it Xanatos puts a forestalling hand on his arm.

XANATOS
No. Let him go. He's earned it.

DISSOLVE TO:

EXT. ROOFTOP - NIGHT

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

GOLIATH
Hudson was the greatest warrior
I have ever known. His loss
diminishes us all.

BROOKLYN
Yeah. Now I wish I'd... He was
one in a million.

As they speak, Hudson drops silently down INTO SHOT behind her. He grins as he hears the impromptu eulogies.

FAVOR LEX, BROADWAY AND ELISA

Holding back tears. From this angle we can't see Hudson.

LEXINGTON
He's forgotten more things than
we'll ever know.

ELISA
He was always there for us.

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

HUDSON (O.S.)
All things considered, I'm just
as glad it did, laddy.

The gargoyles and Elisa whip about in comical astonishment. REFIELD QUICKLY TO INCLUDE Hudson, leaning against a rooftop chimney and grinning widely.

FAVOR HUDSON

The others rush to his side.

GARGOYLES, ELISA
(walla)
Hudson --? What --? You're
not dead? I don't get it!

Hudson holds up a hand in a calming gesture.

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

ANGLE INCLUDES STATUE RUBBLE AND "HUDSON" HEAD

Hudson turns and 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.
(beat)
Let's go home.

ON ROOF'S EDGE

The gargoyles glide into the night. Goliath carries Elisa.

CLAW WIPE TO:

EXT. DUNGEON - NIGHT

The cauldron still BUBBLES in b.g. Xanatos looks at it.

XANATOS
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 as he goes.

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 is now solid stone. Owen reacts quite unemotionally. He TAPS it against the side of the cauldron.

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

XANATOS
Yes ... what was the legend?
Whoever bathes in it "will live
as long as the mountain stones."
How literal-minded.
(beat)
Thank you, Owen. That will
be all.

He turns and walks O.S., leaving Owen standing there with his new stone hand. Owen calmly rolls down his sleeve and rebuttons his cuff as we

FADE OUT

THE END


Bookmark Link

"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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"Upgrade" MEMO

[In preparation for my new ramble for ASK GREG & the DCV, here's my original memo to Story Editor Gary Sperling on Adam Gilad's first draft outline of the episode "Upgrade". Note the date. At the time I wrote this, "Deadly Force" had just recently aired, but the rest of the first season was being saved for early 1995.]

WEISMAN 11-30-94

Notes on "Upgrade" Outline...

GENERAL
TRIO
My big fear is that Brooklyn didn't feel like leader material in this. To our audience he's going to come off as cautious and wimpy throughout most of the episode, with the added problem that he's subject to peer pressure. This is particularly problematic in that Brooklyn has always been defined as the MOST adventurous of our trio. Ultimately, the qualities that will define him as a leader include strategic abilities, common sense, a willingness to sacrifice... and, yes, knowing when to retreat and/or call for help. But if we make the latter quality into Brooklyn's first instinct, it will overshadow the others. And our audience won't buy him as leader. Maybe more important than all of this should be a natural unconscious quality of leadership, which parallel's Broadway and Lexington's roles as followers. When they stop thinking and slip into automatic pilot, Brooklyn naturally seems to give the orders and the others naturally follow.

These guys do work well as a team, don't be afraid to show that. We've got a competitive thing going between them that will tend to screw up their natural teamwork, but if we're going to prove our point, then we need to see moments when they forget to be competitive and just cooperate. In any case, let's not make them infantile. When you define competitiveness think Tom Cruise and Val Kilmer in Top Gun. These are young warriors, not children elbowing each other as they fly.

Let's also avoid setting up non-existent flaws in Lex and Broadway. Things like Broadway being slow to awaken is just not born out in any of our other episodes. They all wake up within a few seconds of each other at sunset.

Having said all this, you'll see below that I gave them less screen time, mostly because it choreographed cleaner, but also because it really put something at stake other than the contest for leader (i.e. the lives of their friends). Plus I've isolated them from everyone that usually provides them with help or advice (Goliath, Hudson, Elisa and even Bronx). So I'm crossing my fingers that what we lose in quantity time, we will make up for in quality.

PACK
I'm also concerned that we've Upgraded the Pack, only to make them seem even more incompetent than ever. They've got to feel considerably more dangerous. We need to believe the Gargoyles barely survived this go 'round. The Pack's leadership issues cannot get too far in the way of their success. Ultimately the gargoyles do triumph because their teamwork under Brooklyn defeats a divided Pack. But if the Pack members are just at each others throats through the whole program, they'll never feel like a viable threat. Remember, despite the dangerously unstable personalities involved (including Coyote, but not Dingo), the Pack's fighting style is based on teamwork by definition. Let them play to their strength, that way it'll be even more ironic when the gargoyles defeat them through teamwork driven by sound leadership.

PACK UPGRADE SPECS
What follows may be what you had in mind, but I want to make sure we're all operating off the same page.

WOLF - gets turned into a werewolf. The biggest and most obvious change will be to his head, which will have a canine shape. Like Talon and his mutants, Wolf will be covered with hair all over, his hands will be clawed, and he'll have haunches. He cannot fly, but he can leap far distances. He'll probably have a better sense of smell and hearing, but I want to downplay these last qualities, because I think they can come off as silly. (Let's not make him an object of ridicule to his teammates simply because he's gotten more dog-like. They are all themed off canines. Both Coyote's head and Dingo's helmet will be dog-shaped as well. I would think that Jackal, Hyena and Coyote would all respect the power which came with his choice of Upgrade. Hyena might make an obnoxious comment here or there, but the only one who's really attacking his choice is Dingo -- and obviously it's not for aesthetic reasons.) Wolf will be much stronger than he was, now on a par with Goliath.

JACKAL & HYENA - become Cyborgs. Half human. Half machine. And the machine parts are NOT camouflaged as human. They have built in weapons. Cyborg legs will also allow them to leap far distances. Maybe even built in flight capabilities. And their strength will increase to Gargoyle level. Maybe not as strong as Goliath or Broadway, but equal or above the others.

DINGO - wears full body armor, including a helmet. Sort of like what we thought Xanatos was wearing as Coyote (in "Leader of the Pack") before we found out Coyote was a robot. (Model sheets are available for Coyote if you're unclear.) The focus should be on his armor, not on "weapons". All the weapons are built in. And the armor should be as flexible and powerful as Xanatos' own Gargoyle armor (screen "The Edge"), plus whatever latest innovations were thrown into this design. That means Dingo should be able to fly. Rocket jets in his boots. Or a rocket pack on his back. Probably not as maneuverable or graceful as a Gargoyle, but he can hover, which they can't do. Again, his strength level is now increased. Probably just under Wolf and Goliath range. (Note: Dingo also has less screen time than I'd like to be able to give him here, so we've really got to make his moments of uneasiness about his partners count. One visual clue that I think will help is the fact that Dingo removes his helmet every chance he gets. He subconsciously needs periodic reassurance that the helmet isn't a part of him and that he hasn't in fact relinquished his humanity.)

COYOTE - Although he's still programmed to have a slightly more vengeful version of Xanatos' personality, Coyote doesn't look like Xanatos anymore. What would be the point? He looks like a huge exaggerated version of the original Coyote. Mighty Joe Young may be a little too big, but you get the idea. If Goliath is eight feet tall than Coyote-II is more like ten or eleven, and built like a gorilla. Coyote is definitely stronger than Goliath, and he can fly. Being huge may have it's disadvantages, but not too many. This is the most powerful and sophisticated robot that Xanatos has built yet. It's computer brain (at least part of which should be the damaged head from "Leader") is well-protected in the robot's chest.

PACK ATTACK VEHICLE - This isn't and never was a van. It flies. It submerges underwater. This is super high-tech. I'm not sure if it even has an exhaust pipe. Model sheets exist if you need to see them.

OWEN vs. COYOTE'S HEAD
You can't have Owen. He's a stand-in for Xanatos, and you've already got one of those: the damaged head of Coyote from "Leader".

LEXINGTON'S TRACKING DEVICE vs. FOX
You can't have this device either. I don't want to ever make the gargoyles too high-tech in their crime-fighting. If we give Lex the ability to make one of these here, we're stuck with him having this knowledge and wondering all the time why he doesn't use it over and over. Besides, why would he create a device that tracks, but only tracks when it's inhaling carbon monoxide fumes?

At any rate, the gargoyles may not need the device. They have a secret ally that even they are not aware of: Fox. It's obvious here how Xanatos is manipulating his chess pieces. But Fox doesn't seem to be moving hers in opposition. She's simply counting on them to defeat the Pack. In some subtle way, let her "move" her pieces too. [Note: the method I use below is semi-goofy at best. If you like it you can use it, but feel free to come up with something better.]

Also, please be careful that Xanatos doesn't say anything that might imply that he threw the match. If he wasn't trying his best to win, he wasn't respecting Fox as an opponent.

MONTAGE vs. NO MONTAGE
Sorry. After cuts were made for both S&P and for things that I did not want to reveal, there wasn't anything left. So out it went.

HUDSON
All gargoyles sleep as stone to recharge during the day, which allows them to operate at their peak throughout the night. Hudson's peak may not be what it once was, but he doesn't need extra downtime at night.

BEAT OUTLINE
ACT ONE
1. Night. Bank job being carried out by what's left of the PACK: WOLF, JACKAL, HYENA and DINGO. There's an air of desperation here. They need money because they are on the run. They get to the roof, where their PACK ATTACK VEHICLE is hovering. And where it has attracted the attention of the patrolling gargoyles: BROOKLYN, LEXINGTON, BROADWAY and GOLIATH. There is a battle. The Pack is a bit out-classed, but only just. The Pack has the weapons and technology. What they lack is flight capability, brute strength (Wolf is incredibly strong for a human, but no match for Goliath) and leadership (Wolf acts like he's the leader, the others just don't naturally follow him). In contrast, Goliath leads his troops effectively. Give the Pack credit for figuring that out. They agree to take out the leader. And they do. Goliath is injured.
The Pack get away in their vehicle, but without the money. Lex momentarily wants to pursue his hated enemies, but as sirens approach, Brooklyn thinks the priority should be to get Goliath back to the safety of the CLOCK TOWER. He asks Broadway to help him carry Goliath. Neither Lex or Broadway question Brooklyn's leadership at this stage. Nor do any of the three, including Brooklyn, make a point of saying that Brooklyn is in charge. He just says some very common sense things and the others see the sense in it and follow his lead.

2. Meanwhile, the Pack Vehicle flies through the Manhattan Night. Maybe some brief sniping between the members, before there's a knock on the door... which seems odd at this altitude. Almost despite himself, Dingo opens the hatch to reveal COYOTE'S HEAD flying alongside on it's little mini-rocket. It still has half of Xanatos' face, and it asks politely in Xanatos' voice if it can come in. (There's also a model sheet completed on this damaged head. It looks pretty cool if you want the reference.)

3. Back at the Clock Tower near dawn, HUDSON tends to Goliath. It's a bad laser burn, but it'll heal when the sun rises and they turn to stone. But it brings up something that's concerned Hudson for awhile. He hates to even say it, but next time Goliath might not be so lucky. Goliath needs to name a second-in-command. Goliath chooses Hudson, of course. But Hudson declines. Goliath was Hudson's lieutenant and became his successor when it was time for Hudson to step down. Goliath needs to choose one of the trio. But first Goliath must sleep. The trio hear all this. Hudson has intentionally made no attempt to hide the conversation from them. They all straighten-up, leader-like. And the sun rises. Goliath turns to stone still cradled in his comrades arms.

4. Because the sun has risen, the Pack Vehicle dives beneath the surface of the Hudson River (or the East River or the Bay or whatever). It comes to a stop on the bottom and rests.
Inside, the Coyote Head has literally latched itself onto the ships computers. He's lowered a screen and is starting his sales pitch. Tired of being out-classed by the gargoyles? Ready to be as strong as them? To fly like them? Etc.? Well, let me show you what we can do. Is Genetic-Engineering your passion? (He shows footage of TALON in action trashing Goliath.) Or is Cybernetics more your style? (He shows footage of COLDSTONE trashing Goliath.) A little high-tech haberdashery, perhaps? (Footage of XANATOS in his GARGOYLE ARMOR trashing Goliath, with at least one shot of Xanatos with the helmet off.) Or my favorite, Robotics? (Footage of COYOTE trashing Goliath. This obviously doesn't apply to the four humans, but I want to get it in here to hint at Coyote's rebirth as well.)
Obviously, they are all very interested. Dingo goes for the armor and pretty much writes off the rest as horror show. The other three don't state their preferences. Coyote Head: "All made possible by the men and women of XANATOS ENTERPRISES." Where is Xanatos? Occupied at the moment, but happy to be of assistance.

5. At the castle, Xanatos and FOX seem to be playing chess, but we don't get to see the game board or the pieces. Xanatos has made the first move.

6. Super: ONE MONTH LATER. Clock Tower. The trio are just leaving to patrol the city separately and in competition. They've hardly done anything else, each is so intent on being Goliath's second in command. Hudson's in his comfy chair with the t.v. set on, but he's not watching. After the trio leave, he chides Goliath, who has to decide between the three young warriors. Goliath seems strangely reluctant to choose.
Just then ELISA enters. The desk sergeant just received an "anonymous" tip on the Pack's location. S.W.A.T. Teams from three precincts are mobilizing. But Elisa has listened to a recording of the tip and recognized the voice as Xanatos'. She'd like to be there in an unofficial capacity. Goliath agrees. No time to wait for the trio, but the Pack can be tough, so they'll take BRONX. They leave in such a hurry, Hudson doesn't bother to turn off the t.v.

7. An abandoned building scheduled for demolition, which the police have totally surrounded. The S.W.A.T. LEADER talks through a megaphone, giving the Pack a chance to surrender peacefully. There is no response. Tear gas canisters are shot through the windows -- followed by an explosion that practically levels the building. The tear gas couldn't have caused that. The building must have been rigged to blow.
Goliath, Elisa, Hudson and Bronx watch from a nearby rooftop. At first they don't notice the little Coyote Head, which zips around the site like a humming bird looking for food. Then the head spots them and approaches. It tells them that this little display was just designed to attract their attention. If the gargoyles really want to find the Pack, they're going to have to follow the head, which they do.

8. Goliath, Elisa, Hudson and Bronx follow the Head to a construction site. It's the skeletal beginnings of a skyscraper. As soon as they arrive the new ARMORED DINGO flies in. After Dingo, comes the new CYBORG JACKAL and HYENA, followed finally by the new WERE-WOLF. Our heroes are surrounded.

ACT TWO
9. Picking up where we left off, we have a fight. The Coyote-Head zips away and with Hudson's blessing Goliath follows it. (He thinks it will lead to the source of the trouble.) Although the Pack works together, there are hints that they are in some competition with each other. Ultimately, the Pack knocks out Hudson, Elisa and Bronx, with Wolf personally taking down Hudson.
Elsewhere in the structure, Goliath catches up to the Head which says that it would like to introduce Goliath to its "better half". A huge shadow looms.
Back with the Pack, where we get a sense of the tension between the members. As Dingo takes off his helmet, hint that he hasn't been able to get over the horrific things that his teammates have had done to their bodies. We also find out they've been fighting over who should lead. They agreed before the fight that whoever took out the biggest gargoyle, would get to be the leader. Wolf took out Hudson, so he feels entitled.
On cue, Goliath is knocked through a brick wall. He falls unconscious at their feet. And then the rest of the wall is knocked down to reveal the new robot COYOTE-II: "Sorry, Wolf. I think my Goliath tops your Hudson."
The Pack are all stunned, but for Hyena it's love at first sight: "Coyote, honey, is that you?" A panel slides open inside Coyote's chest to reveal the Coyote Head literally plugged into the inner workings of this huge machine. No way Wolf is taking orders from a machine. No one ever said Coyote was part of the contest. Wolf is still leader. But Hyena disagrees, she's siding with her new boyfriend. Jackal can't believe his sister has fallen in love with a glorified toaster oven. He's not exactly Wolf's biggest fan, but he's got to go with old furball. They all turn to Dingo to break the tie. Dingo looks at his helmet. He makes it clear that he's not wild about his options: a robot who thinks he's human or a lunatic who gave up his humanity. But he turns to Coyote and says, "O.K. boss, what's our next move?"

10. Back at the Clock Tower, the trio are each getting back after a night of competitively patrolling the city alone. Lex prevented two muggings. Brooklyn prevented one mugging and scared off a burglar. Broadway stopped three muggings and an armed robbery: "Just have to know where to look," he says proudly. Then they realize that the tower is empty. Even Bronx is gone. And if Hudson and Goliath lugged Bronx along with them it must have been trouble.

11. Cut to the interior of some kind of hanger for the Pack Attack Vehicle. We do not get an exterior to show us where we are, but we do hear a train go by every minute or so. Goliath, Hudson, Bronx and Elisa are in a glass chamber filled with a colored gas that keeps them unconscious. Wolf isn't at all pleased about waiting around. How is sitting on their hands going to help them find the other gargoyles? But Coyote has a plan. It's midnight now. At 4:30 am they'll release Bronx from the chamber. He'll almost definitely lead them straight to the Gargoyle's Home Base. And he should get there just before sunrise, allowing the Pack to arrive just after sunrise and smash the remaining gargoyles into gravel.

12. In Xanatos' office, he and Fox are still playing chess. Xanatos: "You're in check, my dear."

ACT THREE
13. The trio are still waiting for Goliath et al at the clock tower. It's 3 A.M. and they are very worried. It's only a couple hours 'til sunrise. And no sign of Elisa either. And the tension isn't doing wonders for their dispositions. They argue over what to do. The television gives them a clue when a report comes in about the bombing at the abandoned building. The report mentions that the fire was contained because the police were already on the scene, having received a false tip that those escaped felons (and former television stars) known as the Pack were there. They're about to head out to investigate, when they hear "The following is a paid commercial message." Lex recognizes the voice as Fox's. Brooklyn didn't think Fox was still in the Pack. But the commercial continues. "Tired of walking up Lexington Avenue? Sick of taking the bus down Broadway? Fed up with driving your car to Brooklyn? Then take the subway!" And an image appears on the screen of a place where multiple tracks criss-cross above ground. Well, that can't be a coincidence. One of them recognizes the location, he's flown over it. But is this a tip or a trap? Well, what choice do they have? Off they go.

14. Trio arrive at Train crossing. Again, there are multiple tracks crossing in multiple directions, and every minute or so, another train rushes by at high speed. They find a large metal shack, that's supposed to house train cars or something, but is acting as a hangar for the Pack Vehicle instead. They sneak in and get a look at the upgraded Pack and their sleeping friends. Broadway and Lexington are all for mounting an immediate attack. Brooklyn is reluctant. Just look at the size of Coyote, who's in the middle of putting a tracking device on Bronx. They need help to defeat these guys. But where are they going to get help? From Goliath and the rest. Our priority should be freeing them. Both Broadway and Lex try to peer pressure him. Maybe he's afraid to fight without Goliath, but they're not. But Brooklyn isn't biting. He's not scared, and he's also not stupid. They need a plan.
A little bit later, Brooklyn makes his presence known and then takes off as a decoy. Coyote figures as much, but Wolf and Jackal won't listen to reason and take off after him. And right after they leave, the power goes out inside the hanger, thanks to Lex. Dingo reaches for his helmet, but it's not there. Broadway has it and throws it with all his might at the sleep chamber. The helmet smashes a hole in the chamber, allowing the gas to pour out. But meanwhile things don't look good for the trio. Coyote slams into Broadway carrying them both outside. Hyena and Dingo pursue Lex.
So outside the battle continues amid the backdrop of unpredictable and speeding trains shooting past on random tracks. Eventually, however, Brooklyn's delaying tactic pays off. The others have been given the opportunity to recover from the sleep chamber. They join the fight, and the tide of the battle turns. The Pack is defeated. GARY, LET'S DISCUSS WHAT HAPPENS TO THE PACK AT THE END OF THIS SHOW.

15. Back at the clock tower, Goliath realizes that tonight's events only prove what Hudson has been saying all along. He must choose a second in command. He's had a choice in mind for weeks, but has been reluctant to reveal it, because he was afraid that it would drive a wedge between the trio. But tonight they worked together and saved the clan. He has to trust that they are mature enough to handle this. He chooses Brooklyn. (This without being aware of who spear-headed tonight's success.) The others are genuinely happy for Brooklyn. He proved himself to them. They take their places outside and Brooklyn looks across the city. A siren wails. He shakes his head and tells Goliath to be careful. He's in no hurry to take his place. They turn to stone.

16. Dawn. Fox says checkmate, and we reveal the board with its pieces based on our characters. She knows her husband doesn't like to lose. Is he upset? Of course not, he's happy to have an opponent to match his skill. Made the game more fun. "Care to play again?" FADE OUT.


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Chapter XXIX: "Double Jeopardy"

My family and I watched "Double Jeopardy" a few nights ago for the DCV and for my (belated) but on-going Ramblings on each of the Gargoyles episodes...

(This 'chapter'/episode was written & Story Edited by my old buddy Cary Bates.)

It's literally been over a year since my kids or my wife have seen an episode of Gargoyles. I've occasionally had to check out individual scenes and/or credits for things I've been working on, but I don't think I've sat down to watch a whole episode beginning to end in quite some time either.

Watching the opening titles, my five year old son Benny remarked to his seven year old sister Erin: "You have [Brooklyn] and I have Goliath." He's referring to the Kenner toys I gave them a couple Christmas' ago. Erin, I believe has Brooklyn, Broadway and the Steel Clan robot. Benny has Goliath, Lex and Xanatos.

Then when Benny saw Xanatos in the credits, he said, "I was Xanatos last year." Here, he's referring to the fact that he dressed up as Xanatos for the costume ball at G2000. I had to point out that that was nearly TWO years ago.

TITLE

Cary must have come up with this one, I think. I tend to favor one-worders myself. His original title was "Thailog Rules", which I didn't care for. I liked "Reversals" but he must have convinced me to go for "Double Jeopardy".

Erin, who can now read, asked what "Jeopardy" meant. I said "Trouble". And she was very amused that the title 'translated' as "Double Trouble". She liked that better, I think. She also enjoys reading the various on-screen scrawls, like "One Year Ago" and "One Year Later". Reading is like a super-power to her now. I hope she doesn't lose that.

THE FLASHBACK

So we open with a touch of continuity. Or retcon, I suppose. Though to me retcon is a nearly derogative term suggesting that continuity has been abused to fit new circumstances and I think our little flashback here fits in nicely with what we already knew of that time. A Steel Clan Robot interrupts Elisa trying to convince G that they need to find a new home. Goliath puts the bot down hard and fast. It's a cool and well-timed scene.

It's nice to see Goliath's old stubbornness there too.

Now, to the present. There's a color error (or perhaps cheat) where we see a flash of what will eventually turn out to be Thailog's arm. It's Goliath's color, not Thailog's.

Then we hear the maniacal laughter, which Hudson will later comment on: "Do you even know how to laugh maniacally?" he'll ask Goliath. The answer, surprisingly, is yes. Though I had forgotten, Goliath laughs pretty darn maniacally in "Enter Macbeth" after Macbeth suggests that Demona will come to Goliath's rescue. Still, one of the impulses that made me want to create Thailog was Keith David's talent. The fact that he was brilliant as Goliath, but that Goliath didn't allow us to show but a fraction of Keith's true range. Creating Thailog allowed Keith to do things that he otherwise wouldn't. And I think he's amazing. There's never any question as to which character is speaking whether that character is on-camera or not. And he does it all with acting. The voice itself is the same. Thailog lets Keith cut loose and just be BAD.

Also, a touch of Jeff Bennett's amazing flexibility too. Jeff does a Schwartzenegger impersonation for the mercenary. Beth immediately recognized it as an Arnold takeoff, but didn't know who was voicing it. She was suitably impressed to find out it was yet another creation of JB's.

I like Lex's line: "Made my hair stand on end... if I had any". (Note, all quotations are approximate.)

I had some fun trying to mess with the audience's minds. Which is tough, because honestly you guys (tv watchers in general these days) are pretty savvy people who know most writer-tricks. When you saw Thailog frozen in stone on the parapet, before the real Goliath & Brooklyn appeared in the episode, what did you think was going on?

Benny (still focused on the prologue) theorized: "It's a robot that also can be turned to stone."

Erin knew it wasn't Goliath. And after a few minutes wondered if the robot had cloned Goliath. (NOTE: Both kids have seen the episode before. But long ago. And for Benny, so long ago, that there's really no possible way he could remember it. Erin doesn't remember either, at least not consciously, but she may have more of a sense of it buried in there somewhere.)

CONTINUITY:

The Emir is mentioned again. I think, though I can't remember for sure, that by this time, I had some vague notion of picking up on the throw away mention of this guy in "The Edge" and using him as a character later. So we mention him having deadline problems. In theory, he's already working on the Anubis plan that Xanatos agreed to bankroll back in "The Edge" -- but which wouldn't come to fruition until "Grief".

Owen is fun here too for me: "Is this a plan you neglected to mention?" A reasonable possibility, though it's hard to imagine that Xanatos would work anything behind Owen's back. I also like the bit about how Xanatos has never lacked for formidable enemies.

And Arnold's line about Sevarius giving him the creeps is truer now than ever before. Sitting in front of me is an article from this past Sunday's L.A. Times about Dr. Severino Antinori's real life cloning experiments. I even have a picture of the guy. He doesn't look much like our Anton. But the name and the sliding ethics sure sound spookily like Dr. Sevarius. As far as I know, that's a name that Michael Reaves made up out of the blue. It's really weirding me out.

Owen & Xanatos figure out that the kidnapper is Sevarius, and Xanatos has that great resigned villainous speech about how "An example must be made." It's funny. We have to work to get him to do anything that an everyday cartoon villain would do without breaking a sweat.

Also, we get the first mention of the "Thailog Project". The word "Thailog" itself, as I may have mentioned before, was another major impetus (is that spelled right) for creating the character.

While we were mixing the 35mm movie version of the pilot, there was one scene that was giving us trouble. The guys at Disney Sound kept rewinding across this scene over and over and I kept clearly hearing the same word "Thailog" over and over again. I eventually realized it was Elisa saying Goliath backwards. I just liked the sound of Thailog and that gave me the idea of creating an evil (i.e. backwards) Goliath. Again, that would also give Keith some fun opportunities.

But one thing I didn't want to do was to make Thailog a true dead-ringer for Goliath. I felt that had been done to death. It was fun to misdirect in the first act. But after that, I wanted something different. Thus we have the 'pigmentation' change brought on by the accelerated aging process. (This was another thing that mattered to me. Clones who miraculously are the same age as the original bug me. I wanted to at least pay lip service to the notion that theoretically a clone should age normally. The color change was an attempt to kill two birds with one stone.)

The specifics of the color change were actually inspired by John Byrne's tenure on the FANTASTIC FOUR at Marvel. He did a bunch of issues where the FF went to the Negative Zone, and when they emerged, their uniforms were altered from black and light blue to white and dark blue. It always seemed like a simple but stunning change. So Thailog was a nega-Goliath. (And, yes, Darkwing's foe Negaduck also had an influence, I'm sure.)

MORE CONTINUITY

Broadway's ongoing 'learning to read' subplot is advanced. Lex has put two and two together and guessed that what they saw might just be a clone. Which is smart o him, I think. But BW has to figure out what Lex was spelling out. Perhaps even more of a challenge for a guy that didn't care about the written word, just a few short months before.

Erin saw her birthday on the Thailog project logs, and was very tickled. (Of course, it's really no coincidence.) I felt a little bad, since Benny's birthday never appears in the show. (Since he wasn't born yet.)

BW: "This is bad news."
LEX: "You can say that again."
BW: "This is bad news."
Erin: <LAUGHS> "He said it again."

Love the X & Sev scenes. It's always fun to give Tim Curry a chance to really HAM it up. (You can see how a lot of our work was inspired by the talents of our cast.) But I just love cross-purpose conversations in general. And this one is a blast. It's also nice to see Xanatos confused for a change. Props to Jonathan Frakes, who always gave us a very non-showy but spot on performance. Particularly once the voice and animation were put together.

X: You're the kidnapper.
Sev: I guess I am at that.

Goliath sees Thailog for the first time and reacts very badly. I think it's (dare I say it) very human of him. He thinks Thailog is an abomination. I love the "...pieces out my soul" line. Love it.

***HEY! I know I've said this before, but in case everyone's forgotten... These ramblings are admittedly a little obnoxious. I'm like praising my own work here. Except (a) some of it isn't my work, but the work of my colleagues and it still impresses me and (b) I'm genuinely fond of all this stuff so forgive the indulgence.****

Anyway, Elisa points out that Thailog is almost Goliath's son.

This was another ongoing point of behind-the-scenes contention. Since Thailog appears to be Goliath's evil twin, Cary and others thought we should play them as brothers instead of father & son. But that just seemed wrong to me. That wasn't the relationship either genetically or otherwise. And I liked the notion of Thailog having three fathers that he was in constant conflict/competition with.

All the father/son stuff is great.

I love the "Chip off the old block" "All the old blocks" exchange. Pun intended of course.

And Thailog's line "...just to raise a fool."

And Sev's "You do and do and do for them."

Thailog laughs maniacally multiple times. YAY!

Round about here, Erin muttered: "This is an odd episode."

Note that Thailog is attracted to Elisa from the start. Creepy. But also he's more in touch with his body chemistry than Goliath is. Guess it helps if you haven't had a decades of socialization.

Actually, everyone admires Elisa. X for her delicate wrists. The bit with Elisa slipping out of her manacles always seemed like a bit of a cheat to me. (See, sometimes there are things I don't like.) The handcuffs line was a semi-feeble attempt to cover.

I like the idea that Sev had worked up a garg specific knock-out gas that Thailog used.

I liked the animation and sound work on Thailog tearing open the oil barrels.

I liked Thailog's line "Now I know where I got the temper." But does he really have much of a temper. He seems much more Xanatosian than Goliathesque in that regard. But I do think he holds more of a grudge. He just hides it.

Tangent, but I believe that this maybe explains his relationship (still to come) with Demona a bit. I think he knows on some level that Demona likes him because he's the Goliath she always wanted. And Thailog is very into being his own man. He wants nothing from his fathers that he hasn't TAKEN.

Thailog won't leave without his money. I'd ask in hindsight whether or not at that point the money was even still in that briefcase.

Goliath by the end is now fully on-board with the notion of Thailog being his son. His clannish instincts have taken over. And he feels that all of Thailog's rookery fathers (X, Sev and G) have failed Thailog. The notion of multiple fathers is something that's easy for him to grasp. But of course, he takes his own failure to heart more than the others. Cuz he expects THEM to be jerks.

And now our patented Xanatos Tag. Only it's flipped into a Thailog tag. I love Owen's line: "He's out there, he has the money, he's as powerful as Goliath and he's smarter than you." Only Owen could slam X like that with impunity. And X's return: "Owen, I think I've created a monster." Love that too.

Still not sure whether I love the super-imposed Thailog head. But I do like Thailog's maniacal laughter. Never get enough of that.

Erin: "[Thailog] practically is a monster. Gargoyles are supposed to be monsters. Only they're nicer. Thailog is a monster."

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


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Double Jeopardy Outline Notes

[With the DCV moving into episodes that my rambles haven't yet covered, I'm again going to try to reprint old memos from the series. What follows are my notes on writer/story editor Cary Bates' outline for what eventually became "Double Jeopardy". By the time we wrote this memo, we'd clearly gone through three iterations of the story (which I no longer possess). This version related below, is darn close to what we finally wound up with, and should give you an idea of how closely I worked with the story editors, though it reveals little about who came up with what, since even I don't remember how much of what follows was new to this document and how much was part of what came before. Enjoy.]

WEISMAN 12-24-94

Notes on "Thailog Rules" Outline...

GENERAL
O.K. You're last beat sheet was a big improvement. Particularly the Sevarius stuff. But something still seemed missing. So I reviewed all three versions of this thing and after dancing them around in my head a bit, came up with the following. It preserves the mystery of Goliath's strange behavior a little longer, but keeps the plotline moving along fast.

TITLE
I'm afraid "Thailog Rules" tips our hand too much. What do you think of the title "Reversals"? Or something similar with the word "negative" in it? Or something like "Sins of the Fathers"?

FIRST ENCOUNTER
I traded Brooklyn for Elisa. That way, we could get rid of the awkward phony weapons bit. Thailog (or Sevarius) could have left an anonymous tip for Elisa that brought her (and Lex and Broadway) past the right place at about the right time.

THAILOG'S DICTION
Can be very colloquial. Direct. Like his menacing laugh, it'll be weird for our audience to hear Keith's deep voice comfortably use edgy modern parlance.

BEAT SHEET
ACT ONE
1. Prologue. One year ago at Eyrie Building. Night. Keep very brief and simple. ELISA is trying to convince GOLIATH that he must find a new home, before Xanatos is released from prison. Suddenly, a STEEL CLAN ROBOT goes berserk, making a bee-line for Elisa. Goliath puts it down hard. OWEN apologizes and "treats" Goliath's small cut.

2. One year later. On a stormy night, Elisa is driving along Riverside Drive in upper Manhattan, where there's a bit of a cliff down to the water. LEXINGTON and BROADWAY are gliding through the storm above her. Lex wears a radio headset like the one he wore in "Legion". He uses it to communicate with Elisa, letting us in on the anonymous tip that brought them up here, and how it must have been a crank call, since it turned up nothing. (We need to believe that whatever this call claimed to reveal was something that would have led her to bring Lex and Broadway instead of Matt.) Just off shore, we should see an old oil rig platform. Suddenly, Lex and Broadway are attacked, and Elisa is "strafed" and nearly forced off the road and over the cliff. (Keep her point of view very tight and claustrophobic inside her car. Between the poor visibility and multiple "blind spots", she won't know where the next attack will come from.) As dangerous as the whole thing is, there's something almost childish about the attacks. Ultimately, Elisa gets control of her car, pulls over and gets out. Lex and Broadway land next to her, and they see their attacker. It's clearly "Goliath", though we only see him in silhouette, laughing. Then he is gone.

3. At Gen-U-Tech, DOCTOR SEVARIUS is making a down payment to LEAD MERCENARY. The Doctor's having a damn good time.

4. At the Clock Tower, just before Dawn, Elisa, Broadway and Lex have just finished describing Goliath's strange behavior to HUDSON. No one has a clue as to why Goliath would act that way, and they'll have to wait until sunset to find out. He and BROOKLYN were supposed to be out patrolling, and with Dawn fast approaching, they probably found a ledge to spend the day on: somewhere Goliath would feel safe.

5. Daytime at Eyrie Building. "Goliath" is frozen in stone on the highest tower of the Eyrie Castle. (Note: when "stoned" there's no way to tell the difference between Goliath and his counterpart.) XANATOS chats with Owen about how nice it is to have "him" here, guarding the castle. (Since they both know who they are talking about, they don't have to mention him by name.) Suddenly, MERCENARIES led by Sevarius' Lead Mercenary, land. Xanatos and Owen are caught off guard. Mercenaries leave with stone "Goliath" and Xanatos can't shoot them down without risking the gargoyle's life.

6. From his helicopter, the Lead Mercenary calls Sevarius by Video Phone, telling him that the mission is accomplished. They have the statue in the cargo hold in back. Sevarius is pleased and tells them to bring it to the rendezvous point, but not until after dark.

7. Night at the clock tower: Elisa, Hudson, Broadway, Lex and BRONX watch Goliath and Brooklyn come in for a landing. Goliath is bombarded with questions, but he doesn't know what they're talking about. Brooklyn confirms that Goliath has been with him the whole time. Well, if that wasn't Goliath they saw, then who was it?

8. In their helicopter, the mercenaries rendezvous with Sevarius at the abandoned oil rig platform. Sevarius is carrying a tranquilizer gun, which mystifies the lead mercenary. What's he gonna do, tranq the statue? The mercenaries open their hold, only to be confronted by THAILOG -- shock white hair, photo-negative colors, bad attitude, but otherwise a dead ringer for Goliath. (Incidentally, this is the last we'll ever see of these particular mercenaries.)

ACT TWO
9. Lex and Broadway have brought Goliath to the riverside location of the previous' night's "attack". They find a Gen-U-Tech tracking bracelet (like the one in "Metamorphosis"), right where "Goliath" had been standing. Lex wants to check out Gen-U-Tech. Goliath sends him and Broadway to do it, while he and Elisa look around for whoever or whatever that phony Goliath was.

10. Back at the Eyrie Building, Owen hands Xanatos the phone. The voice on the other end has been electronically altered beyond recognition, which doesn't prevent it from demanding a ransom for Thailog: $20 million in cash to be delivered to Oil Rig Platform #18 (or whatever). Owen tries to trace the call. No luck. But he can trace Platform #18. It doesn't belong to Demona, Macbeth or Renard. In fact, it belongs to Xanatos Enterprises. That's all Xanatos needs to hear. He can barely believe it, but Sevarius must have betrayed him. It all fits. Sevarius works for X.E. and he's the only other person who knew that Thailog existed. Xanatos hates to lose a talent like Sevarius, but he can't permit this kind of behavior from his employees. He's just going to have to make an example of Dr. Sevarius.

11. At Gen-U-Tech, Lex and Broadway break in. Lex has an idea. He types "C-L-O-N-E" into the computer and gets the scoop on Project Thailog.

12. Goliath and Elisa have been searching the area. They've looked everywhere and found nothing. Almost everywhere. Goliath points to the oil rig.

13. Xanatos, wearing a trench coat and carrying a suitcase, has taken a launch out to the oil rig. He is greeted warmly enough by Sevarius. He shows Sevarius the money. Sevarius: "What? Oh, the money. You know in all the excitement, I almost forgot about it. Actually, I've never seen that much money in one place. Mind if I take a peek?" And while he does, Xanatos removes his coat, to reveal that he is wearing armor. Thinner, lighter than his Gargoyle armor. Not as effective in a huge battle, but still formidable and obviously, easier to conceal. He grabs hold of Sevarius and explains, that although he's not by nature a vengeful man, Sevarius has forced him to make an exception.

14. Pull back to reveal, Goliath and Elisa watching all this from above. She wonders what could set Xanatos and Sevarius against each other? "Some new abomination they created together." They decide to take a look around.

15. Meanwhile, Sevarius is stunned at Xanatos' attack. What did he do wrong? Xanatos can't believe he's asking. Kidnapping, extortion, betrayal -- how's that for a start? Sevarius suddenly gets conspiratorial and whispers, "Oh, I get it. Somebody's watching us. Don't worry. I'll make it look good." Then he hams it up big time: "YES, I BETRAYED YOU!! YOU TOOK MY CREATION AWAY FROM ME!! IT WAS ONLY AN ACT OF JUSTICE TO STEAL IT BACK!!" And then he whispers to Xanatos, "How was that?"

16. Goliath and Elisa find Thailog chained up in an oil storage tank. Goliath is horrified. How can this be? Thailog explains very briefly that he is a clone of Goliath, created from his blood. Goliath feels violated and speaks rashly about the horrors of modern science and the evil of Xanatos and Sevarius. Thailog seems hurt and glowers angrily at Goliath. Elisa yanks Goliath aside. "Listen, you have a right to be angry, but you shouldn't take it out on Thailog. It's not his fault he was created. And however it happened, he's still a gargoyle. In a way, he's kind of your son. And you're rejecting him."

17. A very perplexed Xanatos is finally putting it together. Sevarius thinks this is all an act. Now Sevarius is confused. Isn't it an act? I only followed your instructions. What instructions? Sevarius had gotten instructions from Xanatos' office over electronic mail to do everything he had done. Far from betraying Xanatos, he had thought he was helping Xanatos in his latest Machiavellian scheme. Except Xanatos doesn't know anything about this. Who else has access to his personal computer? Sevarius: "Owen? Fox?" Xanatos: "Don't be ridiculous." "Well, has anyone else had access to the castle?" Xanatos thinks about it, and then... laughs.

18. Back in the oil tank, Goliath knows that Elisa is right. He goes to free Thailog. But Thailog says it won't be necessary. The shackles weren't locked. He grabs Goliath, puts him in a wrestling hold and slams a gas mask over Goliath's mouth and nose. Before Elisa can do anything but gasp, Goliath slumps unconscious in Thailog's arms. And Thailog laughs.

ACT THREE
19. Xanatos is still laughing. He's figured out that it was all Thailog's plan, and he's proud of his boy. Thailog comes out, smiling. And he's carrying a little bonus -- an unconscious Goliath and Elisa. (He took her out during the commercial.) Better and better. The kid is a real chip off the old block. "Yes, I am... All the old blocks." And he slaps an electro-disk onto Xanatos, shorting out his armor and knocking him unconscious. Screen goes black.

20. When Xanatos regains consciousness, he is chained next to Goliath, Sevarius and Elisa (in the oil tank maybe). Thailog enters with murder in mind. He's learned from all of his "proud fathers". But he has no intention of going through life as Sevarius' guinea pig or Xanatos' stooge. It's time to leave the nest. And twenty million should help him make his mark. Sevarius protests: How are you going to spend it? You can't exactly open a checking account. But Thailog has learned enough from Xanatos to know that with that much money, he can find a way to make it work for him. After all, he set all of them up without any cash incentives. Imagine what he could do with 20 mil? Goliath tells Thailog that he doesn't need the money. He can join the gargoyle clan. Thailog: "Do I look like a sap to you?" He has no desire to waste his time acting as guardian angel to a city full of ignorant humans. He had toyed with the idea of sharing the money with Goliath. That's why he had arranged for Goliath to join the party. But their little family reunion pissed Thailog off. "So I've decided to hate you too." He approaches Elisa, caresses her face. It seems like a waste, but she's going to have to die too. Nothing personal. He leaves, activating a death trap. (Maybe the oil tank starts filling with oil or something.) At any rate, the four work together to escape the trap. Though they set the rig on fire in the process.

21. Topside, they arrive just in time to stop Thailog from escaping with the cash. Thailog is furious that they've escaped. Big battle mostly between Thailog and Goliath. Broadway and Lex finally arrive but by this time the rig is about to collapse. Goliath tries one last attempt to reason with Thailog. They must escape. Thailog won't leave without the money. He goes after it, is caught in an explosion and apparently dies. Xanatos and Sevarius escape in Xanatos' launch. Broadway, Lex and Goliath leave with Elisa. They've survived. But at such a great cost. Goliath would like to blame Xanatos and Sevarius for corrupting Thailog. But all of Thailog's fathers hurt him. Goliath cannot exonerate himself.

22. Epilogue: One week later. Xanatos, Sevarius and Owen are talking about a brand new, more secure computer system. Price tag: just under $20 million. Xanatos chuckles at the irony, and then almost chokes on the chuckle. He suddenly realizes that if he had been in Thailog's shoes, he would have planned a contingency for their escape from his death trap. He would have faked his own death so that he could get away with the money. Sevarius: "You mean that monster's still out there. It has the money... and it's smarter than you?" Xanatos, dead serious: "Owen... I think I've created a monster."


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Grad Thesis semi-Answers

I got the following e-mail from Gore the other day. I don't usually encourage going around the system this way. But the guy seemed to be under deadline pressure, so I cut him some slack and moved him to the head of the line. I'd ask that others not abuse the process. Thanks.

Subject:
[Fwd: Graduate Student needs Greg's Help]
Date:
Thu, 14 Mar 2002 20:21:44 -0500

Just forwarding something that was sent to me.

-[Gorebash]

-------- Original Message --------
Subject: Graduate Student needs Greg's Help
Date: Sun, 10 Mar 2002 14:21:57 -0500

Dear Mr. Weisman,

My name is John Diego Hernandez. I am a full time graduate student in public relations at Rowan Univeristy in Glassboro, New Jersey. My research topic for my thesis is "toys and cartoons" and how the two fields relate to one another when it comes to development of both toy lines and animated serials. As part of my thesis research I am required to survey individuals who pertain to my investigative studies. As creator of an animated television serial, your knowledgeable expertise would be an invaluable
wealth of information that would remain in my thesis throughout perpetuity.

The survey consists of 12 short questions posted below. It will only take 20 minutes of your time - no longer. If you can find some time from your busy schedule, I would be most indebted. You do not have to answer all the questions if you choose not to. If you wish to remain anonymous, I will not put your name or personal data in my thesis.

Thank you for your time,

John Diego Hernandez

1. Do toys affect what cartoons you make?

Yes. The profit margins on children's programming are so slim these days (largely because of misguided government regulation coupled -- ironically -- with the deregulation that has allowed entertainment companies to vertically integrate) that potential money from consumer products (including but not limited to toys) has become a greater factor than when I started in the business in 1989. Toy companies can help fund programming -- for better and for worse -- that might not otherwise get made. And even original properties benefit if there are multiple forces (e.g. a toy line) that maintain incentives to keep a show alive.

2. Do you choose what toys are made?

Never.

3. How significant is a hit animated show to sales of toys?

It can be very significant, in that an animated series can virtually act as a 30 minute daily commercial for the toy -- a commercial that establishes play patterns and allows the audience to invest in both characters and the property as a whole.

4. How many cartoons a year are related to toy lines?

I have no idea.

5. Must the toy manufacturer pay royalties to cartoon producers?

Depends on the origin of the property.

6. Does a successful cartoon guarantee a hit toy line?

No. Some shows are not considered 'toyetic'.

7. Does a successful toy line guarantee a hit cartoon?

Never. But it doesn't hurt.

8. When your company is in search of a new animated serial, where do they look first - current toy lines or creative innovators?

There's no one place. (And that either/or you just gave me is ridiculously simplistic. Implicitly biased even. There are plenty of creative innovators working at toy companies, for example. And there are more than just two places where you might look for inspiration or series springboards.)

9. Approximately how much do cartoon producers allocate to the funding of toy lines?

Doesn't work that way. Toys help fund cartoons (in simplistic terms) not the other way around.

10. Which usually comes first - the toy line or the cartoon?

Again, there's no one rule. In certain countries, like England, if a toy line exists already then you CAN'T air the property at all. But here in the U.S. it can go either way. Though often the cartoon will appear first to help promote the toy line.

11. May I attribute your responses? Yes / No

Yes.

12. If yes, please list name and/or title and company name:

Greg Weisman
Freelance Writer/Producer


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While I'm thinking of it....

Behold the following exchange (then skip to the bottom):

Received from pc-17.di.uoa.gr on Monday, September 17, 2001 04:52:03 AM
Aris Katsaris writes...

'kay, you were in your Disney office and couldn't answer this the last time I asked it, so you told me to repost it... Here goes:

<g> Another timeline thingy - this time less of a question though and more of a possible correction (unless I'm missing something)...

You recently said that Tom, Katherine and Magus entered Avalon on September 28th 995. But we also know that the eggs would normally hatch on the spring equinox (about March 21st) of 998. This means that there normally remained 2 and 1/2 years for the eggs to hatch... This time they spent on Avalon.

You can probably see where I'm going... Multiply by 24, and we see that they had to spent 60 years (Earth time) on Avalon. This takes them all the way to 995+60 = 1055.

Obviously the closest "20-year circle of the earth" was 1058... Quite near by. So why did you have them hatch on 1078, 20 years later, instead?

I don't think I've made any errors with the math... :-)

Greg responds...

The eggs were laid in 988. From 988 until 995 (seven out of the normal ten years for gestation) time passed normally. That means they needed @three more years to hatch once they arrived on Avalon. One year on Avalon equals 24 in the real world, as you noted. 3 x 24 = 72. 995 + 72 puts us at 1067. Making the closest twenty year cycle at 1078, as I noted.

You're calculations assume two and a half years instead of three to hatch. And that makes sense given the dates listed. The obvious dopey answer is that I was not calculating to the month but to the year. And so I could acknowledge the mistake and redo everything. And maybe on my next pass through the timeline, I'll do just that.

But to be honest, maybe I won't. When dealing with Avalon's mysterious flow of time, I believe my calculations are close enough. If the eggs weren't ready until March of 1059 even, then I'm still correct -- so it's not quite as big an error as it appears at first glance. Four years passing in the real world represents only two months on Avalon. Perhaps all that traveling and magic, etc. set the eggs back just a bit. If it set them back two months, then I'm right, and they're just slightly late bloomers.

And yes, I'm making excuses. So I'll save this exchange and decide at a later date.

For now, I'm sticking with my current calculations.

recorded on 03-04-02

With all this in mind...

I know I've established -- both here and in my own head (particularly with regards to G2198) that eggs hatch on the Spring Equinox.

But does anyone remember whether (and where) I've established what month the eggs are laid in?

I can't recall if this has come up yet.

Anyone know? And would this solve my problems at all?


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GOLIATH AND DEMONA: A RESPONSE

Here's another post I just know I'm going to regret. But I can't seem to help myself.

Mooncat, please don't take this personally, but I think you're viewpoint on Goliath's "shallow" love for Demona is misguided.

Let me make a few parallel changes to illustrate my point.

1. Let's say both Goliath and Demona were humans.

2. Let's say Goliath was a woman named Gina.

3. Let's say Demona was a man named Dan.

4. Let's say that instead of taking place atop rooftops and castles, these events were taking place in a two-bedroom house in suburbia.

5. Let's say that instead of using laser bazookas and the like, Dan was simply using a baseball bat. Or his fists.

Now take your scenario. Once upon a time, when they were young, Gina swore undying love for Dan. They got married. Spent years together. Even had a daughter together. There may have been hints along the way as to Dan's troubling nature, but Gina ignored those hints. She still loved Dan.

But, hey, sometimes things change. They go from good to bad to worse. Now Dan beats her. He hurts her. He's tried to kill her more than once and has nearly succeeded. He runs off. Shows up again, and behaves the same way. He has successfully killed other people in cold blood. Sometimes Gina reaches out to him. Sometimes he pretends to be good. And hey, he never, ever hurts their daughter. But he always winds up hurting Gina again. I can't tell you how many times Gina has been taken to Sunrise Hospital for treatment. Well, I could tell you. You could count for yourself, I guess. But once is too many, and we both know it.

Whatever oath Gina took once upon a time is, as I see it, moot. No one should stay in an abusive relationship. I wouldn't want my daughter to do it. I wouldn't want my son to do it. And I wouldn't want Gina or Goliath to do it either. To not respect Gina for moving on with her life given Dan's behaviour, is IMHO kinda horrendous.

Now I'm not saying Dan is Satan. He may have a decent side to him. He may have taken some hard knocks himself, maybe even as a child. He's certainly lonely as hell inside his own skin. All mitigating factors. Certainly Dan needs help. Would benefit from counseling. But to put that all on Gina's shoulders, the VICTIM, is beyond unreasonable. Love is NEVER enough in these situations. You may feel that Goliath didn't make a big enough effort, but you weren't the one being shot at. (And my comment in the CR about how maybe Goliath looked for her between episodes, was way beside the point as well.)

Personally, I have tremendous empathy for Demona. Not mere sympathy but empathy. I feel that there but for the grace of God, go I, more often than I care to admit. But empathy or sympathy doesn't cut it. She's committed cruel and violent (murderous) acts against other living beings.

And to use your own example, if Elisa went "Dark" and Goliath had to chose between saving her and an innocent. I'd hope he'd save the innocent. I hope that's the kind of guy he is. That he does the right thing, no matter how personally painful.

And if you think what happened with Demona wasn't personally painful for him on every level, then I failed as a storyteller.


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Testing, one, two, three...

Just checking to make sure this is working.


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OH, YEAH...

I was watching Gilmore Girls the other night and I realized that I've neglected to mention a show that was a subconscious influence on Gargoyles.

I LOVE LUCY

Here was a series set in Manhattan that periodically took its main characters on trips to other 'more exotic' locations. Like Europe, Cuba, Hollywood, etc.

Just thought I should mention it.


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Where have I been?

Around.

True, my computer crashed last Thursday, and because I took my daughter to Catalina Friday-Sunday, I wasn't able to get it fixed until yesterday.

But that's not really why I haven't been answering questions here.

The reason, which is perhaps obvious, is September 11th.

Like just about everyone, I've been deeply effected by the events of that day and by what has followed. I'm at a loss, to say the least.

I can't see my way clear to an end... Even in a strictly fantasy sense, given super-powers or magical assistance, I can't imagine a satisfying conclusion. It's not like I see the world ending. (And perhaps I've been living in blissful ignorance for too long...) But the world just seems so ugly right now, and I don't see that changing. Don't know how it changes at this point. And thus I'll admit I'm having trouble getting back into a daily routine -- even a full four weeks later.

It probably doesn't help that (a) I'm unemployed. There's no structure to my days beyond the structure that I impose. And (b) I'm naturally lazy. Any excuse, right?

But I'm going to try. I've lost all the time I gained during the August break, and I still don't think I'm ready to power through all your questions. But I have to start somewhere, sometime. And, heck... maybe a few of those lightbulb jokes will cheer me up.


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Keith David, Live and In Person

For those of you in the Greater Los Angeles area looking for some much needed diversion...

Keith David (the voice of Goliath, of course) will be singing and performing live at CINEGRILL inside the Hollywood Roosevelt Hotel at 7000 Hollywood Boulevard (between La Brea & Highland) at 8pm on both Friday, September 21st and Saturday, September 22nd, 2001. My wife and I will be going Friday night. It would be great to get a nice garg-fan turnout. And I know that I personally can use the break from news reports, etc. Reservations are suggested but not required. Call: (323)466-7000.

Hope to see at least a few of you there.



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