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Another memo to Japan...

Here's a follow-up memo on the character designs to the one I just sent praising "Designer E". Mr. Tokunaga sent us a note asking for feedback on the other five designers who had made an attempt on the Trio and Goliath....

To: Motoyoshi Tokunaga 7-26-93

From: Greg Weisman 818-754-7436

Re: GARGOYLES DESIGN WORK

Dear Mr. Tokunaga,

Per your request, a quick note on Designs A-D and F, with a reminder that just because the designs didn't suit our purposes, doesn't mean they weren't worthwhile attempts.

Designer A has the action feel of the show, but to be honest, the designs on Goliath, Brooklyn and Lexington were too unappealing. Although the characters are monsters, they need to be heroic monsters. It's a tightrope we're walking, and this group didn't seem redeemable. Broadway was more appealing, but a little goofy looking, and he seemed to be scaled too large.

Designer B was too cartoony on Lexington, Broadway and even Brooklyn. We're looking for more of an action feel. Goliath, particularly in B-7 and B-8, seemed too human. Like a man wearing a mask. Not unique enough. B-10 was a nice pose, though.

Designer C was just too cartoony. And the trio of smaller gargoyles looked more like aliens from another planet than medieval stone creatures.

Designer D's Goliath was an interesting interpretation. D-1, D-2 and D-3 were all nice poses that gave us the feel we were looking for. But in D-3, Goliath seemed too reminiscient of the Beast from Disney's Beauty and the Beast; and we're already a bit too close to that concept for comfort. We don't want to emphasize the similarities further than necessary. And though it seems like a minor point, we all really didn't like his chicken feet. And again, the gargoyle trio seemed too cartoony.

Designer F obviously stuck the closest to our original designs. Even closer than Designer E, whose work we liked. They seem to be simplified tracings, without the wings. I'm not sure how to describe my response, but the magic just seemed to be out of the drawings. The characters seemed unappealing, unexpressive and flat. Everything that E wasn't.

The "GOLIATH SPECIAL by Hashimoto" didn't grab us. Again he seemed like a normal man, an older man, with pointy ears and big hair.

Hope all the above is helpful.

Greg.

cc: Bruce Cranston, Barbara Ferro, Lenora Hume, Gary Krisel, Paul Lacy, Tom Ruzicka, Dave Schwartz.


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Design work memo...

The following is a memo I sent to Walt Disney Japan. They sent us character designs (based on inspirational work by Greg Guler and Dave Schwartz) on Goliath, Lex, Broadway and Brooklyn by at least five different designers. (Maybe more, I can't remember.) We immediately liked designer E (Kazuyoshi Takeuchi) and he eventually became the lead character designer for the series' first season.

I know what follows may be a tad frustrating since it refers to art you can't see. But I thought you might be interested anyway.

To: Motoyoshi Tokunaga 7-21-93

From: Greg Weisman

Re: GARGOYLES DESIGN WORK

Dear Mr. Tokunaga,

We were very excited to receive the preliminary design work on the four major gargoyle characters. Designer "E" seemed to come the closest to capturing our vision of the series. His or her work impressed us, but begs the question whether or not you believe we could effectively animate designs that are this complex?

If the answer is yes, we'd like to see Designer "E" continue his development of the characters, focusing particularly on heads, faces and wing design. As a secondary concern, we might attempt line drawings, turnarounds and even some color.

Gary and Lenora have asked me to gather together a few notes, thoughts and suggestions for you. So here goes...

GOLIATH
E-1, E-3. A major concern for all of us is figuring out how the wings attach to the gargoyles' backs so that there is a real feeling of believable musculature. How does it look from the rear, for example, when we can't hide where they attach behind a shoulder blade?

E-3, E-4. When the wings are spread, and particularly when they are in flight, we probably want to cheat them larger, so they fill the screen except from an extreme distance. We really need to believe they are large enough to carry his weight.

E-3. We like the dramatic posing on all the shots. But in E-3, he looks satanic rather than heroic. Occasionally, we'd like to see a more classically heroic pose. We want to make sure that Goliath and the others don't look consistently demonic.

E-5. It's lovely how the wings are draped here.

E-2, E-5, E-6. This is a great start in terms of facial expressions. We'd like to see more of them...a greater range of expressions. Intelligent. Laughing. Pensive. Wry. Perplexed. Noble. Mildly amused. Etc.

Gary also has some concerns about the head's design. He wants to make sure that the head or face does not lose its "depth"; (meaning "depth" as a measurement like "width" or "height", not "depth" as a personality trait). I'm not sure I see this problem myself, but I might suggest keeping the ears back, the jawline long and the jaw square.

E-3, E-5. We want to make sure that the hair on his head has mass, but falls like hair, and doesn't look like a removable helmet. The key here might be in the way it is layered.

I've included some old designs done by one of our artists last year. They should give you some ideas on color, simplicity, etc. Don't feel bound by them. I've numbered them for discussion, Disney-1, Disney-2, etc.

In Disney-1, Gary felt very comfortable with the simplicity of the lines and design of the body. But he did not like the head, again feeling it did not have enough depth.

It's also important to set the balance between the animalistic and human in all of these characters. Some of the "Disney" drawings may be too human in the face. And there's a nice animalistic quality about some of the "E" drawings. But we need to be careful we're not losing Goliath's nobility either. We need to strike a balance.

Disney-1 gives an example of the classically heroic pose that we will need on occasion.

Disney-1 also serves to illustrate how we'd like the hair to fall.

Other questions raised by Disney-1, include whether or not Goliath looks broad enough in chest and shoulders?

Also, whether he should have Disney-1's high weight-lifter's belt around his stomach, or whether we should lower it to his waist as in Disney-4?

Disney-4 also illustrates a head shape that may have the depth that Gary's looking for.

Also, notice the arm hair in Disney-1. It's always been a bit problematic, a bit stiff. But we think it might add something in color. Helps break up the design a bit. But we're not sure if it's worth it. It might be something for all of you to experiment with.

Disney-5 helps illustrate how the length of Goliath's wings will constantly be cheated to suit the situation or pose. But they should always give the illusion that if they were spread out to full size, the wing-span would be fairly enormous.

BROOKLYN, LEXINGTON & BROADWAY
E-7, E-9, E-10. We have similar concerns for Brooklyn & Broadway, regarding wing construction, attachment and musculature.

E-8. Lexington's glider-wings in the down-shot seem to be coming out of his stomach and the bottoms of his arms. We prefer how it looks in the up-shot, where they are webbed between his back and the tops of his arms. I like how the wings are attached to both sets of arms, not just the upper arms as in our original designs. A big improvement.

E-7, E-8, E-9. As for faces, Gary is concerned about animating emotions and expressions when we don't have pupils in their eyes. We discussed the possibility that they normally have pupils, but that when they are in battle, their eyes glow solidly. Again we'd like to see a range of expressions. Particularly because it is so easy for the trio (Lexington especially) to look demonic, we'd like to see some softer, gentler expressions.

E-10. We're also interested in the trio's scale relative to Goliath. Goliath should still be the biggest of them by some visible amount.

Thanks again for all your efforts. Good luck on the next go 'round.

cc: Bruce Cranston, Barbara Ferro, Lenora Hume, Gary Krisel, Paul Lacy, Tom Ruzicka, Dave Schwartz.


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An old memo...

It's been awhile, but I'd like to try and continue to post old memos and such from my development file.

This is where we left off in July of 1993...

[2] From: Bruce Cranston 7/16/93 10:57AM (801 bytes: 10 ln)

To: Suzanne Prescott
cc: Greg Weisman, Paul Lacy, Adrienne Bello

Subject: CYBERCORP.

------------------------------- Message Contents -------------------------------

In our outline for the Gargoyle's pilot, we refer to a fictional robotics company named CYBERCORP. Adrienne suggested that I have you check that there's no real company by that name. They aren't bad guys or anything. The bad guys steal something from them. But I guess we should check. Does it cost money to check7

It isn't necessary to check it at this point, especially if the clearance fee is more than $100.00 or so.
Please just remember to do a check once we get the go-ahead to production.


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Memo for "Avalon, Parts Two and Three"

In preparation for my ramblings, here's the memo written to Brynne Chandler Reaves & Lydia C. Marano on the last two parts of their Avalon outline. I've added a few [notes], to indicate some handwritten changes to the document.

WEISMAN 2-2-95

Notes on "Avalon, Parts Two and Three" Outline...

GENERAL

ARCHMAGESES
For purposes of clarity, I'm going to refer to the new and improved Archmage as Archmage+. There will be a number of scenes where the Archmage and the Archmage+ will be appearing together. And a few scenes (including one scene repeated twice) where two Archmage+s will appear together. For those scenes I'll refer to them as 1st Archmage+ and 2nd Archmage+, but they'll look exactly alike.

CLARITY
It goes without saying that any time travel episode is going to be complex. So make an extra effort to be as clear as possible. Both in stage description for the artists, and in dialogue for the audience. I know we resist expository dialogue generally. But as you'll see below, the Archmage+ needs to explain things to the Archmage. So it won't feel artificial.

ACT BREAKS
I'm going to leave that up to you. See how the scripts progress.

BEAT SHEET
"Avalon, Part Two"
1. Pick up right where we left off. Pretty much your beat XX. Tom does need to explain that he still refers to the gargoyles as
"eggs". It's an old habit. He apologizes if it caused confusion, but they have been in Avalon long enough for him to grow old. Of course the eggs hatched some time ago.

Also none of the wounded gargoyles should be at the shore. We'll see them back at the palace.

Also don't forget that Angela has Goliath's coloring, which doesn't escape Elisa's notice. And on your Beat XXB1c. the line should expand to: "Daughters and sons belong to all of us, Elisa. That is the gargoyle way."

2. At Oberon's palace. Pretty much your beat XXI. But keep in mind, that the palace is in crisis mode. Acting as a hospital of sorts, to many wounded gargoyles.

Elisa should notice the tenderness between Tom and Katharine when they are reunited. She should also notice the pain it causes the Magus.

Don't forget to describe the Magus as 72 years old. Also describe Gabriel as looking like a young Othello with Desdemona's coloring.

The fact that the young gargoyles act more human than the trio may be too fine a point to get across. They've been raised by humans, but as a practical matter a lot of what we would think of as human is really just contemporary. And obviously, the trio are much more contemporary than these gargoyles.

You need some reason why Tribeca doesn't already have a name. Maybe, Katharine and Tom had tried not to name any of the gargoyles at first, but it just got too difficult for them with the sentient ones. But they didn't bother to name the Beasts? [We dropped the Tribecca notion eventually, and Tribeca became Boudicca. -GW 5/21/02]

Also, both Gabriel and Tribeca will be present in beat 1. So you may want to introduce them there along with Angela. That frees Beat 2 to reintro Katharine and the Magus. (Magus may be acting as a healer, using natural remedies and polstices.)

When Magus makes his point about Oberon's Children having been absent for nearly 1000 years, he might slip in a subtle reference to the sleeping King. (i.e. Arthur.) Something like: "The island's totally deserted except for the sleeping king." And then before anyone has a chance to ask about the sleeping king, something forces a change of topic.

3. Pretty much your beat XXII. Except that the Magus and Tom should probably be the ones to go into detail. The Magus knew the Archmage the best. He'd recognize that the Archmage has evolved into the Archmage+. If the Magus wasn't positive that the Grimorum cannot be brought onto Avalon, he'd swear that the Archmage+ had it. Plus when the Archmage appeared, he carried the Phoenix Gate and wore the Eye of Odin. Goliath realizes that those items must have been stolen from him.

Tom led the first disastrous attack. He saw Demona (doesn't know her name, but recognized her as Goliath's former love) plus some human in strange armor who used a weapon that fired lightning (Macbeth) and the Weird Sisters who once guarded the island. Again Goliath and Elisa can put two and two together. Macbeth and Demona never escaped the Weird Sisters. The Sisters have been using them all along. When Demona and Macbeth stole Coldstone, it was just a cover to steal the Eye, the Gate and the Grimorum. They must have given the items to the Archmage.

All Tom knows is that the Archmage+ is incredibly powerful. So powerful, he sometimes seemed to be in two places at once.

4. Enemy camp. Obviously, somewhere on the island, but where? In or in front of a cave? Someplace pleasant and relaxing, since the villains have every reason to be confident? I'll call it the GROTTO for easy reference, but anywhere is fine. [In the margin, I wrote: "Vengeance Angle"]

Present are the 3 Weird Sisters, Demona, Macbeth and... TWO Archmage+s. Each carries his own Phoenix Gate. And each wears his own Eye, (maybe imbedded like a third eye in his forehead?). They are dressed in black. Their beards are short. Maybe a metal skullcap (ala Merlin in EXCALIBUR). All very dangerous looking in contrast to the cliché Archmage that we knew.

1st Archmage+ says to 2nd Archmage+: "Shouldn't you be going?"
2nd Archmage+: "I suppose I should." 1st Archmage+: "You know what to do?" 2nd Archmage+: "Of course. I watched you do it." So the 2nd Archmage+ raises his Phoenix Gate and says the Phoenix Gate spell, disappearing into the past (see "Vows").

5. We follow 2nd Archmage+ back to 984 A.D. (He can even say: "First stop: 984 A.D." He can have a lot of attitude.) He arrives just outside the cave and secretly watches the battle between young Goliath, Hudson, Demona and the original Archmage ("Long Way To Morning"). (Again, he can fill us in, by commenting on it wryly to himself.) The Archmage loses the Grimorum and falls into the bottomless fissure, the Archmage+ uses the Phoenix Gate to pop into the fissure. He then uses the gate to transport himself and the Archmage to safety.

6. A hilltop or someplace safe. The Phoenix Gate deposits both the Archmage and the Archmage+ a few feet above the ground. The Archmage+ floats. He says "Freeze". And the Archmage freezes in mid-air. The Archmage+ says "Feathers". And a huge pile of feathers appears right below the Archmage. Archmage+: "Resume". And the Archmage tumbles into the pile of feathers.

We get some sputtering and outrage from the Archmage. And introductions. Archmage+ is his future self. Archmage realizes that means sometime in the future he accomplishes his goal of getting the Eye and the Gate. But what of the Grimorum? Archmage wants Archmage+ to use the Gate to go back and take the Grimorum back from the Gargoyles. Archmage+ says they can't accomplish their goals that way because they didn't accomplish it that way. History cannot be changed. But don't worry. We'll get the Grimorum. He uses the Gate and they both vanish again. [In the margins, by these two paragraphs, I wrote: "You want power, revenge. Allies Soldiers Weapons Base]

7. They reappear in 995 A.D. just in time to see the Magus use the Grimorum to reflect the Weird Sister's spell, turning all three of them into owls. (Archmage+ continues to use one word commands like "Float" and "Invisible" to keep them above water and undetectable. His command of magic is that complete. He can also fill Archmage and audience in on where and when they are, fairly naturally in dialogue.) Archmage recognizes his former apprentice the Magus, who's obviously grown into a potent sorcerer. But the fool just hands over the Grimorum, his source of Power, to Finella. Archmage thinks he understands now. They'll take the Grimorum from Finella. But Archmage+ says no. That's not why they're here. They're here to recruit. [In the margin, I again wrote: "Allies"]

Once all the various skiffs have moved on, the Archmage+ finds the three owls and transforms them back into the Weird Sisters. The Sisters are furious that they were defeated. When Oberon forced all of his "Children" to mingle with the mortals of the real world he had left the guarding of Avalon in their supposedly capable hands. Oberon will be very pissed off that they failed. Archmage+ offers them a chance to get even. It will take time though. The Weird Sisters don't mind. Time is one thing they have plenty of. "Then," says the Archmage+, "I will see you again in twenty-five years." And with that, he uses the gate and vanishes with the Archmage.

8. The year is 1020 A.D. ("City of Stone, Part One") and the Archmages appear via the gate. They meet up with the Weird Sisters. The Archmage+ shows them a vision of the forty year old Demona, the fifteen year old Macbeth and their enemy the HUNTER. [In the margin, I wrote: "Soldiers"] The Archmage+ wants the Weird Sisters to help Demona and Macbeth defeat the Hunter. Weird Sisters remind him that Oberon's Law prevents them from directly intervening in the lives of mortals. Archmage+ knows they are magically prevented from breaking Oberon's Law. But he also knows that they can bend it quite a bit. O.K., fine. But how does helping Demona and Macbeth do anything to help the Sisters and the Archmages achieve their goals? Archmage+ tells them that in order to achieve these goals, they will need powerful warriors, fighters adept at sorcery and weaponry, fighters we can control. These two are the perfect candidates. Guide them, help them, protect them for the next twenty years. The Archmage+ will return then with further instructions. The Weird Sisters agree and depart.

Archmage isn't too happy about this. He recognizes Demona as another of his former apprentices. One who betrayed him by losing the Phoenix Gate "years, uh... decades ago." Why are we helping her? Archmage+ tells him not to worry. This is our revenge. Believe me, we're not doing the gargoyle any favors. And again, he uses the Phoenix Gate to make them both disappear.

9. They reappear in 1040. The Weird Sisters report that they have done their best to aide Demona and Macbeth. The first Hunter is dead. But there is a new one now who's even more dangerous. Archmage+ is very pleased. He knows that Demona and Macbeth will arrive soon. He instructs the Sisters to guide them into making a magical pact that will link their life energy together. We will need them alive and vital centuries from now. We must make them immortal. [In the margin, I again wrote: "Soldiers".]

Sisters and Archmage are confused. Immortal warriors are powerful. How will we control them? Trust me, says Archmage+.

Archmage+ renders him and the Archmage invisible, just in time to see the fifty year old Demona and the 35 year old Macbeth enter. ("City of Stone, Part 3") We see the Weird Sisters link them magically.

Afterwards, the Sisters explain that the job is done. Neither can die, unless one kills the other. Excellent, says the Archmage+. Keep an eye on the two of them. Also keep an eye out for the Grimorum, the Gate and the Eye of Odin. The Weird Sisters are confused. Archmage+ has the Eye and the Gate. Archmage+ laughs. But I didn't have them. Not until you brought them to me. We'll meet again on an island called "Manhattan"... in 955 years.

Archmage: "Nine-HUNDRED and fifty-five years?!!" But before he can protest, the Archmage+ uses the gate to transport them both away.

10. 1995. Manhattan. Weird Sisters as NYC Fashion Models rendezvous at Tavern on the Green, with the Archmages. Archmage+ says: "Disguise". And he and the Archmage, seem to be wearing modern clothes. Over a pleasant candlelit dinner, the Sisters fill us in. All three magical talismans have fallen into the hands of this gargoyle... and an image of Goliath appears in the candlelight. Archmage recognizes Goliath, and can't believe that he survived this far into the future. Archmage+ says, "This isn't the future yet."

Archmage+ asks about Demona and Macbeth. Sisters respond that both are phenomenal fighters, proficient with modern technology and weaponry and half-decent sorcerers to boot. Plus each warrior has his or her own agenda. Demona is determined to wipe out humanity. And Macbeth is equally determined to wipe out Demona, even though he knows it will cost him his own life. They will be very difficult to control. Archmage+: "Yes, yes, but what are they up to now?" [And yet again, I wrote "Soldiers" in the margin.] The Sisters believe that Demona is about to cast a powerful spell to turn everyone in Manhattan into stone. Macbeth will take this opportunity to hunt her down.

Archmage+ is very pleased. He advises the Sisters to help Goliath defeat both Demona and Macbeth. Make your final move after they've fought each other, but before Macbeth has a chance to end their lives. At that point they will be weakened enough for the Sisters to put a sleep spell on them. Then bring them to me. Where? Macbeth's home on this island.

[Optional, if you have space: The sisters exit. Archmage+ asks the Archmage if he'd like to watch the action. Archmage says yes. Archmage+ says: "Somehow I knew that."]

Archmage+ uses Gate and both disappear.

[Optional, if you have space:
11. Invisible Archmages watch a replay of the final scenes from the end of City of Stone, Part Four. The ones where the Weird Sisters help Goliath talk Macbeth out of killing Demona. Put them both to sleep. Tell Goliath that they will take responsibility for them and vanish with them. The Archmages depart as well.]

12. Macbeth's mansion. The Archmages appear as do the Sisters with Macbeth and Demona. The latter two are sound asleep. The Archmage+ whispers to the sleeping warriors. He "suggests" that they work together to steal the Grimorum, the Gate and the Eye from Goliath. The Sisters provide the clock tower location, and suggest that they steal Coldstone as well. That way the theft of the talismans won't be detected immediately. Demona and Macbeth leave together to carry out this plan, completely fogged about how it came to them or why they are working together. [By the margin of both paragraphs 12 & 13, I wrote: "Weapons".]

Archmage asks about Coldstone. Weird Sisters say he is another warrior that might be of use to them. Archmage+ shakes his head. Coldstone wasn't part of the plan, so he can't be now. If his presence aids in the theft of the talismans, fine. But he must be separated from Demona and Macbeth, before the next stage of the plan can be set in motion. They will meet again at the watery door to Avalon.

[Optional:
13. Invisible Archmages watch Demona and Macbeth steal the Eye, the Grimorum and the Gate from the secret hiding place in the clocktower from "High Noon".]

14. The Archmages reappear above misty water. Archmage+ says: "Boat". And a boat magically appears beneath them. They float down to it. While they wait for the sisters, Archmage demands to know the plan. Archmage+ finally fills him in: "Soon the sisters will bring you the talismans. The ultimate magical power that you've always dreamed of. [In the margin, I wrote: "Base".] But once you get that power, what will you do with it?" Archmage is baffled. He hadn't thought that far ahead. He mutters something about conquering Scotland. Archmage+ suggests conquering the world, but warns that it will not be easy. The modern world is a place of science not sorcery. Magic is potent, but so are modern weapons. The Archmage will need a safe place to launch his attacks from. That haven is Avalon. The only problem is Avalon is occupied. Fortunately, Oberon and his children have abandoned it. But there are a few humans and gargoyles living there. Our first job is to kill them. The Archmage is very pleased with his counterpart's plan.

The Sisters join them on the raft, along with entranced Demona, entranced Macbeth and the three talismans. The sisters warn the Archmages that the Gate and the Eye are not a problem, but the Grimorum is a book of human sorcery. It cannot enter Avalon. Archmage+ is unconcerned: "Give him the Eye." Seline gives the Archmage the Eye of Odin. The Archmage puts it on. The Archmage+ explains that the Eye grants power and insight. It makes the wearer a more powerful version of himself. It usually takes weeks to transform an individual, but the Archmage+ has the ability to speed things up. "Change," he says. And the Archmage begins to metamorphose -- painfully -- into another Archmage+.

When the metamorphosis is complete, the 1st Archmage+ tells the 2nd Archmage+ that he now has the power of the world's greatest and, frankly, most evil sorcerer. But he lacks the knowledge. The exhausted 2nd Archmage+ gets the message. He asks Phoebe to give him the Grimorum. He uses his new-found power to swallow it hole. The 1st Archmage+ is very pleased. Now he is one with the magic, and there's no need to worry about bringing the Grimorum to Avalon. Even Luna is impressed. She hands the 2nd Archmage+ the Phoenix Gate, completing his power. 1st Archmage+: Shall we proceed?

[Note: I circled paragraphs 15, 16 and the first paragraph of 17 and wrote: "One Beat" in the margin and "But show it to us." By 15, I also wrote "Base".]

15. The 1st Archmage+ materializes in the palace of Oberon, in front of Katharine, Tom, the Magus. He tells them to "Make your peace, for at sundown, you die." He uses the gate to disappear again.

16. He reappears in the Grotto, joining the 2nd Archmage+, the Sisters, Demona and Macbeth. One of them spots Angela and Gabriel watching them and sneaking away. Demona asks if she should stop them. No, says the 1st Archmage+, they'll be back.

17. Sure enough, Tom the Guardian leads the gargoyles against the villains. It's a disaster. Many gargoyles are wounded. None of them can fight on a level with either Macbeth or Demona. Let alone the futuristic weapons that they bring. The Weird Sisters avoid direct interference, but still manage to use their magic to ensnare their opponents in their environment. And the Archmage+ is everywhere, popping in and out, using the Gate, vanishing. Using magic. He's devastating. (During the fight, play the two Archmage+s so that Tom might say something like "It was like he could be in two places at once." As opposed to Tom realizing that there are two of them.)

Tom is forced to sound retreat.

[I marked the rest of seventeen and 18 and wrote "combine" in the margin.]

Demona and Macbeth want to pursue and finish them off. But the 1st Archmage+ is supremely confident. Why bother? If we wait until Dawn, the gargoyles will all be stone. Only the Guardian, the Princess and the Magus will be left to defend the palace. It's so much easier to sit back and enjoy the cool breeze for a few more hours. [In the margin, I wrote: "Waiting for Goliath. Important. Vengeance. He wants Goliath.]

Luna asks: "What about the sleeping King?" The 2nd Archmage+ is surprised. He had heard the legends of the sleeping king, but didn't know that they were true. Seline assures him the King is on the island, asleep. Phoebe warns that the King's power was once very great. 1st Archmage+: "Then when once we've taken the island, we'll just make sure he never wakes up."

18. Time cut to a few hours later.
1st Archmage+ says to 2nd Archmage+: "Shouldn't you be going?"
2nd Archmage+: "I suppose I should." 1st Archmage+: "You know what to do?" 2nd Archmage+: "Of course. I watched you do it." So the 2nd Archmage+ raises his Phoenix Gate and says the Phoenix Gate spell, disappearing into the past. Obviously, this is an exact repeat of Beat 4, and finally leaves us with only one Archmage+ for the rest of the story. Archmage+ makes some comment about how the other one was getting on his nerves.

19. AND Finally, we return to the present and resume from beat 3 with our heroes in the palace. Tom picks up his story where he left off. After, there disastrous mass attack on the Grotto, they all realized they were in deep shit. Sunrise was only six hours away. They thought about hiding the gargoyles, but realized there was no place on the island where the Weird Sisters couldn't find them. They had to get help. Tom ventured out by skiff to the real world. As he had done once every century. The skiff landed at Wyvern, and Tom was shocked to see that the castle was missing. He went to a local village, where he was told that the castle had been moved to the top of a skyscraper in a place called NEW York. Tom picks up on the word "skyscraper". Is it possible that the castle has risen above the clouds? One villager's seen it in New York. It's definitely above some of the clouds. (You can show this village scene in flashback if you have space or time.) Tom returns to his skiff, returns to Avalon, and launches off again, praying that Avalon will send him to this NEW York. (Hinting that he doesn't have a lot of control.)

Sure enough he found New York and Goliath and brought him and his friends back. But the mission took two days in the real world. That's two hours here on Avalon. There's only four hours left until sunrise.

Tom apologizes to Goliath. He's tried to train the gargoyles to be warriors, but he's self-taught himself. Plus Avalon always seemed so peaceful, etc. Protective instinct must never have developed. Maybe if Goliath led the next attack... But Goliath is sure Tom did his best. Sometimes a direct attack isn't the answer. Sometimes stealth is required. If we can steal the Gate and the Eye back from the Archmage, we may have a chance. Goliath will need someone who knows the island. Gabriel and Angela both volunteer. Fine. Goliath asks the Magus to come as well. His magic might prove useful. The Magus cannot meet Goliath's gaze. He hesitates. Finally, he says that without the Grimorum he has no magic and would be a liability to Goliath. Elisa wants to come, but Goliath asks her to stay behind. If this mission fails, Tom and the others will need her expertise on dealing with Demona and Macbeth. Goliath, Angela and Gabriel depart. After they go, Elisa turns to the Magus and asks: Tell me about the sleeping King.

20. They sneak into the grotto and for a beat it looks like they might succeed in their mission. But no. They are caught. Woops. [In the margin, I wrote: "Arch+ sees them coming."]

END PART TWO

START PART THREE
21. Looks like curtains for our three heroes. Goliath even resorts to making an appeal to Demona and Macbeth. Can't they see they're being used. Does it suit Macbeth's sense of honor to wait 'til dawn to slaughter innocent gargoyles. Demona hates humans, but why would she help the Archmage hurt her own children. It doesn't make sense to Demona and Macbeth. They start to come out of the spell. But the Archmage+ is just amused by Goliath's pleas. With one word: "Obey", Demona and Macbeth are again his to command. Fortunately, rescue comes from another quarter. Bronx and Tribeca. To some extent, the rescue only succeeds because the Archmage+ is complacently amused. He likes watching the little mice run the maze. In a few hours it'll be all over anyway.

22. Goliath and Co. return to the palace. The mission was a failure.

[Note: the following paragraph was crossed out.]
But not a complete failure, says Angela. In the confusion, she got away with the Phoenix Gate. Angela wants to use it to go back in time and stop the Archmage+ before he arrives. Can't be done, explains Goliath. History cannot be changed. He's learned that lesson, painfully. Can they escape to the future? They'd be abandoning Avalon. The situation they arrived in might be even worse. Better to make their stand now. Well could they use it flee the island? This time Gabriel says no. This is his home, the only one he's ever known. He will protect it, not abandon it! Goliath is impressed. The gargoyle way is strong in Gabriel. But Angela's disappointed. Stealing the gate didn't help very much. Goliath assures her, that it helped a lot. They've taken away the Archmage's mobility. And gained some for themselves. The Gate doesn't have to be used for time travel. It can be used just to move instantly from place to place. But how will that help? Goliath isn't sure yet.

Hey, where's Elisa and the Magus?

23. Elisa and the Magus journey to the "Hollow Hill" where sleeps the sleeping King. (It's Merlin who sleeps in the Crystal Cave. At least by my research.) Maybe they have some time to talk. Elisa has noticed that Tom and Katharine are close. The Magus tells her that as the boy Tom became a man, he and the Princess fell in love. (Again, if you have the room and/or the inclination, you can show this in flashback.) Now they are husband and wife. They raised the gargoyles as their own children. Elisa wonders where the Magus fits in. I don't, he says. But his feelings for Katharine are also obvious to Elisa. How could he stand to stay and watch them grow closer? He had to stay. He had done an unforgivable thing when he cast his spell upon the gargoyles. He owed it to Goliath to tend the eggs. His pain is not important.

24. They arrive at the Hollow Hill. They see the sleeping King. He lies on a bed, surrounded by arms and gold and jewels. They move to wake him, but are intercepted by two hollow suits of armor. Elisa empties her revolver into one, but it's pretty useless. Suddenly the Magus casts a rhyming spell. (Rhyming in English, not Latin.) The armor is defeated, though it leaves the Magus drained. Elisa is shocked. She thought the Magus had lost his magic. He had. Centuries ago when he lost the Grimorum. But the island is full of magic. It is everywhere: in the wind, in the water, in the trees and certainly in this hollow hill. His training makes him sensitive to it, but summoning it without study is very hard. It's an unpredictable and often unsuccessful endeavor. He cannot be counted on.

Elisa approaches the sleeping King. For the very first time in this three parter, we hear someone speak his name. Elisa: "Arthur Pendragon. King Arthur. You are needed." And King Arthur awakens. It's that easy.

Suddenly Goliath and Angela appear via the Phoenix Gate. [The phrase 'via the Phoenix Gate' was crossed out.] What did Elisa think she was doing? Elisa realized that Demona and Macbeth are two of the greatest warriors of all time. It's a hard truth, but even Goliath has never actually bested either of them. The best he ever did was foil their plans or fight them to a draw. They needed someone better. They needed the best warrior who ever lived. Arthur clears his throat. Would someone please tell him what's going on? Angela's excited. In a minute, she says, and using the Gate, teleports them all away. ["and using the Gate, teleports them all away." was crossed out.]

[From this point out, stuff in {} is crossed out material.]

25. Back at the Grotto, The Archmage+ {has only just discovered that the gate is missing. He} is furious, and his demeanor does not improve when the Sisters wryly blame his own hybris and complacency. Fine, he says. Then we will attack now.

26. Back at the palace, Arthur's just heard the gist of the situation. He's not thrilled. This isn't what he was supposed to be awakened for. He doesn't have Excalibur. He doesn't have his knights or Merlin... But he looks around the room and sees the faces of those who need him. He will do what he can. Gabriel enters. They're out of time. The villains approach. Arthur will lead Tom, Elisa and Gabriel against Macbeth and Demona. Goliath and Angela will {use the Gate to} face off against the Archmage. Katharine, Bronx and Tribeca (and whatever other healthy N.D. Gargoyles we've shown) will stay with the wounded gargoyles and do their best to protect them. But who will take on the Three Weird Sisters. I will, says the Magus.

27. The battle. O.K. This is going to be a big one. You want to have space for it, cause it's the fight we've been building towards for THIRTY-SIX EPISODES, so we've got to make it worthwhile. (Also we have tons and tons of epiloguing in this one, so we need the audience to feel like they want a good long rest after the mega-battle is done.) You'll do a lot of intercutting between the various fronts. But for clarity here, I'll take them one at a time. (Also feel free to adjust or expand on any of the details... I'm just trying to give a big picture overview.)

ARTHUR, ELISA, GABRIEL, GUARDIAN vs. MACBETH & DEMONA
The Archmage+ has sent his two warriors as an advance force to soften up the enemy. Macbeth is impressed by this new warrior. He asks his name, and when he hears that it's Arthur, we can see that he's momentarily shaken by it. He's an Arthur-buff. A great admirer. Well. He's always wanted to test himself against the best. For his part, Arthur's quick to figure out that when either Macbeth or Demona are hurt, both feel the pain. He instructs his troops to use that to their advantage. Demona realizes that she must put some distance between herself and Macbeth. She'll still feel his pain, but not as severely. She gets past Arthur's force and into the castle. Arthur sends Gabe, Elisa and Tom in after her. He'll handle Macbeth.

ARTHUR VS. MACBETH
Macbeth is quickly deprived of his lightning gun. Both wind up using medieval weapons. It may even come down to hand to hand combat. Finally Arthur wins.

DEMONA vs. KATHARINE, BRONX, TRIBECA
Demona gets into the palace. She is confronted by Bronx and Tribeca, but they don't stop her. She finds her way to Katharine and the wounded gargoyles. We need to see by this time that Demona's bloodlust is so high, that there's no chance of talking her down again. The spell on her has worked her into such a froth that she can't see that what she's doing is against her own interests. She's a brainwashed assassin. Katharine is ready to die for her charges, and it looks like she might have to.

DEMONA vs. GABRIEL, GUARDIAN, ELISA
They arrive just in time, Gabriel and Guardian save Katharine temporarily. But they're no real match for Demona either. She's about to kill them all, when Elisa says wouldn't you rather have me. And there it is. Someone Demona hates so much, that no spell is more powerful. She leaps at Elisa, giving the others time to regroup. Ultimately, Demona is taken down by sheer force of numbers. Maybe Elisa gives the takedown blow.

MAGUS vs. THE WEIRD SISTERS.
They can't believe this old, impotent man is challenging them again. Without his precious Grimorum, no less. But he rises to the occasion. It's a sorcerers battle, so have a lot of fun with it. And the Magus wins by trapping them. Probably in some kind of iron or some kind of chain. (But here's a thought, that only just occurred to me. Should the Magus give his life in this fight, i.e. be mortally wounded during it. Maybe drained beyond any hope of recovery? He would be the one real casualty of the battle. Goliath would of course forgive him on his death bed as the old man passed away, finally at peace, maybe with Katharine's kiss on his lips. I know we planned on sending him off with Arthur, but I can't help wondering if we didn't make this fight to easy on our heroes. Isn't it necessary for them to lose something truly precious, i.e. the life of a friend? I have very mixed feelings, cause I like the character a lot. I could probably be swayed either way. Before you go to script on part three, talk this over with both me and Adrienne [Bello, our S&P executive].)

GOLIATH, ANGELA vs. ARCHMAGE+
Goliath attacks directly. And is really being trounced. The Archmage+ has not forgotten how Goliath defeated him back in "Long Way to Morning". He's really punishing Goliath. But that was part of the plan. Angela uses the gate to {bop in, and} throw the overconfident Archmage+ off balance. {She and} Goliath {toss the gate back and forth between them. They vanish and reappear.} The Archmage+'s magic still is formidable, but the tactic is infuriating him, which makes him sloppy. Finally, Goliath manages to grab the Eye and wrench it off the Archmage+. (Note: As in Eye of the Beholder, this should be damn painful for Goliath.) The Archmage+ immediately metamorphoses back into the old Archmage. But he's not through yet. He's still got all the power of the Grimorum inside him. But without the Eye to contain that power, he has a problem. You see you're not supposed to bring human magic onto Avalon. The Grimorum is burning him up from the inside out. Nothing gory, but he is destroyed in magical flames. It is over.

28. Epilogue time. Goliath realizes that the Eye and the Gate were not meant for mortals to use. He swears never to use either of them again. (He'll break this promise later, but it at least explains why he doesn't immediately use the Gate to take him, Elisa and Bronx back to Manhattan). He and Angela gladly walk back to the palace.

29. It is now only ten minutes until sunrise. Decisions must be made. They ask Goliath if it is safe for the Gargoyles out in the real world. Unfortunately, no. Not really. They invite him to bring the other gargoyles back to Avalon. No. That won't work either. Some of them must continue to live in the real world. Learn to live with humans. It will take time, but if they don't try, the outside world will never be safe for gargoyles again. Given that Goliath is willing to take any gargoyle who wants to leave. From here, you can pretty much pick up back on your outline: BEAT XXXX. (Though obviously if we kill the Magus, Arthur's leaving alone.)

30. Pretty much your Beat XXXXI. Arthur (and the Magus?) leave first. Also we have to deal with Macbeth and Demona. They can still be unconscious. The trapped Weird Sisters are forced to free Demona and Macbeth from the spell. They tell our heroes that neither warrior will remember anything that happened to them since the spell was first cast in City of Stone, Part Four. Somehow, we have to rationalize sending them off unconscious on a skiff of their own. Good luck. Finally our 4 travelers leave for Manhattan, poling out into the misty water. But Tom knows from experience that "Avalon does not take you where you want to go. Avalon takes you where you need to be."

That's it. Call me with any problems or questions, and in any case let's talk about the Magus.


Bookmark Link

"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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"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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"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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"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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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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