0 11/1/2024
Above, Below
by
Andrew Morris
EXT. SCENE - MANHATTAN. STREET.
The place: New York City. The time: October 29, 2012.
The skies above New York are troubled. Hurricane Sandy is in full force, and the winds lash the city wildly. Manhattan is in darkness (or at least, the southern end of it), and rain and debris of all sorts lashes the buildings and the few residents still making their way to whatever shelter they can find. In the streets, the storm surge flows wildly, carrying cars, newspaper boxes, and anything else that’s not nailed down with it.
Over the scene, the voice of a public television news reporter, calm and measured.
BRANNIGAN
It’s been three months since Superstorm Sandy slammed into the Northeast, bringing storm surges that flooded the subway and knocked out electric and telephone service across New York City.
SHOT: SUBWAY TRAIN ENTERING PLATFORM (STOCK)
BRANNIGAN
The damage has mostly been cleaned up through truly legendary efforts. Subway service resumed within weeks.
SHOT: CON EDISON WORKERS (STOCK)
BRANNIGAN
Power has been restored for most of Lower Manhattan too, with the last few customers now being restored in Staten Island.
SHOT: VERIZON WORKERS IN STREET (STOCK)
BRANNIGAN
And while it’s taken longer than anyone would want, telephone service is slowly returning across the area in one form or another. But while many things are returning to normal, one question remains on the minds of many New Yorkers:
SHOT: MAN IN STREET (VOX POP INTERVIEW)
MAN 1
Where are the gargoyles? I dunno, I haven’t seen them in months.
SHOT: MANHATTAN. STREET. (NIGHT, STOCK)
GOLIATH, BROOKLYN, and others are standing in the middle of the Greenwich Village Halloween Parade, talking among themselves. BROOKLYN waves to someone off-camera.
BRANNIGAN (VO)
Some of New York’s most well-known residents vanished in the aftermath of the storm, and now, many are asking where they went. Inspector Matt Bluestone heads the NYPD’s Gargoyle Relations Unit and says they have no word.
SHOT: CU - BLUESTONE
BLUESTONE is in a suit at his desk, being interviewed.
BLUESTONE
One of our tasks from the start has been to keep tabs on them, but since the storm we’ve seen no sign.
SHOT: POLICE ON STREET AT NIGHT (STOCK)
BRANNIGAN (VO)
And that’s been a concern for the police.
Shot : CU - Bluestone
BLUESTONE
Half our mission has been to keep them safe, and obviously without knowing where they are, that’s been hard enough. But the other half has been to work with them to make a better city.
SHOT: STREET AT NIGHT (STOCK)
GOLIATH and KATANA have their claws into two miscreants and are passing them off to a group of police officers, who take them into custody.
BRANNIGAN (VO)
Just through community relations?
BLUESTONE (VO)
No, not just that. They've been an invaluable addition to the force in their own right. We clear nearly twenty percent more property crimes and almost forty percent more person crimes than any other borough, and that's been almost entirely through their help.
SHOT: WS - CULPEPPER AND BRANNIGAN
CULPEPPER is in an easy chair, talking (silently) to BRANNIGAN.
BRANNIGAN (VO)
But not everyone is concerned.
CULPEPPER
No, I think it just proves what we’ve been saying, that they’re opportunists.
BRANNIGAN (VO)
Arlo Culpepper is a borough captain for the Quarrymen, one of the more well-known organizations that opposes gargoyle settlement.
CULPEPPER
We’ve heard them promising to protect the city for fifteen years. Well, they’ve sure sold that picture of themselves as protectors, and it’s sure been useful to keep them in the public’s good grace. But the minute the city needs them most, they’re nowhere to be found. Look at it with a clear eye, and what’s that tell you?
SHOT: WS - PARKER WORKING AT BAR
ELI PARKER walks up to a table with a couple of drinks, and serves a couple there, with a smile and a laugh.
BRANNIGAN (VO)
Others in the city have more direct concerns. Eli Parker has run a gargoyle viewing site in the Dumbo. For $50, visitors can go onto the roof at sunset, enjoy a cash bar, and possibly catch a glance at the winged creatures as they go out for the evening.
SHOT: CU - PARKER
PARKER
Yeah, I mean, we were shut down by the storm, and that was bad enough, but now word’s gotten around that they’re gone, and business has just gone off the cliff.
SHOT: MS - LUCINDA AT RAILING
LUCINDA looks out over the skyline at dusk.
BRANNIGAN (VO)
Parker’s operation still draws a few die-hards, though. Lucinda has been coming every Thursday or two for five years.
SHOT: CU - LUCINDA
LUCINDA
Oh, yes. As long as the weather’s not too bad.
BRANNIGAN
How many times have you seen them?
LUCINDA
Before the storm, probably every other time, maybe every third time.
BRANNIGAN
Ever met them?
LUCINDA
(laughing)
No, no, no. I think I’d be too nervous for that.
SHOT: WS - GOLIATH AND TOBE CREST (FILE)
GOLIATH and TOBE CREST (his attorney) exit the courthouse to a flurry of photo flashes.
BRANNIGAN (VO)
The gargoyles have had a fraught relationship with New York since their arrival in 1997. Early wins in court established them as proper residents of the city, and their reputation was strengthened in the weeks after September 11th when the leader, Goliath, made an appearance at the public memorial to the victims.
SHOT: WS - GOLIATH
GOLIATH stands stiffly at a lectern, speaking to a press conference.
GOLIATH
We mourn with our city tonight. I regret deeply that we could not protect it against this attack, but we pledge to protect it and stand ready to aid in its recovery in any way we can.
SHOT: WS - CONVENTION CENTER (FILE)
The convention center burns; fire and police personnel work it over as several of the survivors get medical help.
BRANNIGAN (VO)
But much of their reputation had faded when an attack four years ago cost six of their most dedicated human supporters their lives.
SHOT: CU - CULPEPPER
CULPEPPER
And that’s the kind of thing I mean. If they won’t even protect their own supporters, can we really trust them with this city? How do we really know this wasn’t their plan all along?
SHOT: CU - BLUESTONE
BRANNIGAN (VO)
Inspector Bluestone sees things very differently.
BLUESTONE
No. The intelligence we have on the 2009 attack shows it was planned as an attack against the gargoyles, definitely not on their behalf. Pretty much what you would expect if you were paying attention to the facts instead of fear. Year after year, the gargoyles have been very effectively reducing the crime rate in Manhattan, and that’s hardly what we’d expect if they had some nefarious purpose.
INT. SCENE - SUBWAY STATION
A crowded subway platform. Three youths work their way down the platform through the crowd as BRANNIGAN’s report concludes:
BRANNIGAN (VO)
And indeed, the rate of property crime has gone up in lower Manhattan since Sandy left its trail of destruction. No doubt some of this is just the aftermath of a devastating storm, but it remains open to interpretation how much less the rise in crime would have been if the city’s most stalwart and well-known guardians had been around to protect the night.
For the News Hour, I’m Idris Brannigan, Manhattan.
CAPTION: 50 St Station, Manhattan. 5:41 PM, January 21, 2013.
The youths quietly surround a rather preoccupied man down at the end of the platform. Looking around quickly, they close into him. He looks up, but it’s too late. One of them draws a knife.
ROBBER 1
OK, man. You know what this is. Let’s have it.
The victim looks around, but he’s not going anywhere. Defeated, he reaches into his pocket for his wallet. ROBBER 2 snatches it quickly from his hand.
ROBBER 3
And the phone.
VICTIM
Oh, come on.
ROBBER 1 pushes the knife into him threateningly, and the VICTIM relinquishes it to ROBBER 1.
ROBBER 1
Thank you very much. Enjoy New York.
The robbers chuckle, and begin to move off, but behind them, someone else has approached, and she draws a gun from under her coat: it is ELISA MAZA. She is wearing a small knapsack.
ELISA
He’ll enjoy it better with his phone. Police. Stop right there.
The robbers freeze for a moment, looking at her. So does the VICTIM. The robbers laugh.
ROBBER 1
Yeah, right, officer. C’mon.
The robbers begin striding down the platform, shoving through the bystanders. ELISA follows them and gives chase as they begin hurrying.
ELISA
You’re gonna make this harder on yourself if you don’t stop!
ROBBER 2
Hasn’t been a problem before!
The robbers run into the tunnel with ELISA hot behind them.
INT. SCENE - SUBWAY TUNNEL.
The robbers run down the tracks with ELISA behind, falling slowly back. As they go, the robbers meet MAISHA and push past her, to her consternation. ELISA comes up behind.
MAISHA
Elisa! Need a hand?
ELISA
Yeah, are they down there?
MAISHA
Just left them.
ELISA
Come on.
MAISHA joins the pursuit. ELISA calls out loudly:
ELISA
Hey, stop those guys!
The robbers look back and laugh; they are clearly getting away. Suddenly ROBBER 3 is knocked down as the other two run on. They glance back; he’s nowhere to be seen. They run onward, but are suddenly blocked as MALIBU, a lean beaked gargoyle, and TALON, a winged cat-faced creature, jump out in front of them from a side tunnel. They stumble to a halt.
TALON
What, these guys?
ELISA
Yes, them.
TALON
Sure thing.
TALON and MALIBU catch hold of ROBBERS 1 and 2, respectively, and hold them as ELISA and MAISHA arrive. ELISA holsters her gun.
MALIBU
Bad man?
ELISA
Thief.
MALIBU
Thief, huh?
MALIBU gives a nasty grin to ROBBER 2, who wilts.
MALIBU
Have fun.
TALON
Not yet. What’d they do?
ELISA
Robbed a guy of his wallet and phone up at the station.
HOLLYWOOD, a heavyset gargoyle, appears out of the tunnel, dragging ROBBER 3 with him, and joins the group. TALON turns ROBBER 1 to face him.
TALON
All right, let’s have it.
ROBBER 1 reaches into his pocket, draws out the phone, and hands it to TALON, who tosses it to ELISA.
ELISA
And the wallet.
ROBBER 1
Wallet?
TALON grips him and pulls him in, practically nose-to-nose. ROBBER 1 gulps.
ROBBER 1
Give 'em the wallet.
ROBBER 2
What wallet?
TALON
Malibu, get the wallet.
ROBBER 2
(producing it)
Oh, this wallet.
He hands it to TALON, who tosses it to ELISA.
TALON
Thank you. You need them for anything else?
ELISA
I don’t think so. You?
HOLLYWOOD
Dinner.
TALON
No, it’s not dinner time yet.
HOLLYWOOD
Oh.
HOLLYWOOD looks disappointed, looks at ROBBER 3, and thinks, with difficulty for a moment, then brightens.
HOLLYWOOD
Snack!
ROBBER 3 whimpers with fear at this. MALIBU licks his lips.
MALIBU
Snack time!
TALON
You see what I have to put up with? Okay, go get the utensils.
HOLLYWOOD and MALIBU need no further coaxing: they throw down ROBBER 2 and 3 and hurry off into the side tunnel. TALON shrugs.
MAISHA
You’re not actually going to eat them, are you?
TALON
Me? No. I’m out of hot sauce.
He releases ROBBER 1.
TALON
Anyway, I think it’ll take those two about, oh, five or ten minutes to find everything, and these guys will have taken off by then.
He looks hard at ROBBER 1, who gulps visibly.
TALON
Right?
ROBBER 1
Yes, sir.
TALON
And won’t be coming back here, because I’m sure they won’t want to face those two again, having run out on their snack time. Because they may not bother with the utensils next time.
All three ROBBERS, not wanting to discuss the matter further, take off back up the tunnel toward the station. MAISHA, ELISA, and TALON watch them go. Once they’re out of earshot, they all start to laugh.
ELISA
You’re getting too good at that, Derek.
TALON
I know. Not helping our image much, I guess. But it is fun. Come on out, guys.
HOLLYWOOD and MALIBU come back out from the side tunnel.
HOLLYWOOD
We won game?
TALON
You did fine. You won.
HOLLYWOOD
Yay!
MALIBU
Now snack?
TALON
Maybe. You got something?
ELISA takes off her knapsack and opens it.
ELISA
A few things. I don’t suppose you want a pound cake, do you?
MALIBU
Oh! Yes!
HOLLYWOOD
Pound cake!
TALON
I think that will work.
ELISA hands the pound cake to TALON, who turns to MALIBU.
TALON
You share this, all right? That’s for the whole Labyrinth.
MALIBU
Yes, Talon.
TALON hands the cake to MALIBU.
TALON
Okay, go on.
HOLLYWOOD
Let me carry.
MALIBU
No. I share.
HOLLYWOOD and MALIBU exit into the side tunnel.
ELISA
Sorry I’m late. That was meant for you.
MAISHA
Oh, it’s fine. Thanks for the thought, but I’m eager to get home. It’s been so long.
TALON
You’re going to be all right?
MAISHA
Yeah, now. Thanks again for everything.
TALON
It’s been our pleasure.
ELISA
Good luck. Oh, and, here.
ELISA hands MAISHA the recovered phone and wallet.
ELISA
That belongs to a guy on the uptown platform. Red jacket.
MAISHA
Sure thing. Take care of yourselves.
She waves, and exits back up the tunnel toward the station. ELISA slumps a little.
TALON
You’re all right?
ELISA
As much as ever. You?
TALON
Same. Anything new about...?
ELISA
No. Nothing.
TALON places a hand on her back.
TALON
I’m sure he is fine.
ELISA
I hope so.
There is a distant rumbling as the train approaches the station.
TALON
Come on. I don’t want those two eating a whole pound cake between them.
ELISA
Right.
They exit into the side tunnel.
INT. SCENE - MAISHA’S APARTMENT. LOBBY.
Lobby of a well-worn apartment building, once glamorous, now run-down but with a fresh coat of plaster and paint covering the recent flood damage. TYKO DENMAN, a general contractor, in his work clothes, stands there with MANNY THORBURN, the building inspector.
DENMAN
See, but this is the thing, Mr. Thorburn. We got tenants moving back in today. We told them today was the day.
THORBURN
That's your problem, not mine. You don't pass inspection, you don't get occupancy. You don't get occupancy, you don't get tenants. Them's the rules.
DENMAN
C'mon, have a heart, will you? These people have been out of doors for three months already.
THORBURN
Then you ought to fix things up better. Maybe you can pass an inspection then.
DENMAN
That work is tight, and you know it. That's as tight as these people can afford, anyway.
THORBURN
Yeah?
DENMAN
Yeah.
THORBURN
Look, my job is to make sure you're not chiseling them out of the work they deserve. Whatever it is they can afford, you got a duty to live up to the building codes.
DENMAN
Don't you get all sanctimonious on me--
THORBURN
You going to start fighting with me? 'Cause, you know, I can end this inspection right now if you want to play the tough guy.
DENMAN
I'm not going to--
MAISHA enters through the front door, and the two stop arguing.
MAISHA
Oh, Mr. Denman.
DENMAN
Evening, ma'am. We're just about done, just working out a couple of details.
MAISHA
Oh, yeah?
DENMAN
Yeah. Uh, this is Mr. Thorburn. He's the building inspector.
THORBURN
How do you do, ma'am?
MAISHA
I'll do a lot better when I got my apartment back.
THORBURN
Well, we're working that out right now. Don't worry about a thing. Should be all right soon enough.
MAISHA
I hope so. Can't I even go up and take a look?
THORBURN
No, but won't be long now, will it?
DENMAN gives THORBURN a hard look, which THORBURN receives with equanimity.
DENMAN
I tell you what, let me get back to you.
MAISHA
Oh, come on.
DENMAN
It's just a few details, honestly. Just give me a little while to work things out. Gimme an hour, tops.
MAISHA
Well, all right. Give me a call when you're ready.
DENMAN
Sure will, I promise.
MAISHA leaves.
THORBURN
Such a nice lady. And been through so much. You don't want to disappoint someone like that, now, do you?
DENMAN
Mr. Thorburn, please. You got to understand. I put every penny I got into fixing up people from the storm. It's all they can do in some of these places to pay for the work I do at all. I don't got an extra ten grand for you.
THORBURN
All these jobs you're doing out of the kindness of your heart, huh?
DENMAN
Yeah, actually. Anyway, they ain't going to pay me until they pass inspection. They don't pay me, I can't pay you.
THORBURN
Yeah, you're breaking my heart over here.
THORBURN begins filling out the inspection report.
DENMAN
All I'm asking you for is time. You sign off the work and I'll get right back to you once the insurance check clears.
THORBURN
No credit. You know better.
THORBURN tears a sheet off his pad and hands it to DENMAN, who accepts it like it were a dead rat.
THORBURN
Get it fixed up and give me a call.
DENMAN
And what am I supposed to tell the people who live here?
THORBURN
I dunno. Get a better contractor next time, I guess.
THORBURN exits, leaving DENMAN alone in the lobby. He fumes a minute, and then crumples up the inspection report and flings it into the wall.
INT. SCENE - LABYRINTH. ROOKERY.
In a side room of the Labyrinth sit a trio of large spotted eggs, carefully positioned and secure. ELISA is turning them gently, reverently, as TALON watches from the doorway, silent. After a moment, she speaks.
ELISA
There hasn't been any trouble up here, has there?
TALON
None at all. I've got someone on watch all the time. Not even the rats get in here.
ELISA
Good. Good.
TALON
You're worrying.
ELISA
And you're not?
TALON
I know Goliath almost as well as you do. No, I'm not worried about that. He'll land on his feet.
ELISA
And the others?
TALON
Not worried.
ELISA
Really?
TALON
(sighing)
All the time. I want them back here soon.
ELISA
Yeah.
TALON
We can't fill in for them, not forever.
ELISA
I know.
TALON
I'm proud of what we've built here. But we're not them.
ELISA
Yeah, I know that.
She has stopped, and is gently stroking the third egg.
TALON
How do they look?
ELISA
Fine, fine.
TALON
Hey?
ELISA
Yeah, what?
TALON
They really are all right. You know that, right?
ELISA
I guess so.
TALON
Come on.
ELISA gets up and goes to him.
ELISA
Yeah, you're right. But, still.
TALON
You miss him.
ELISA
I miss all of them.
TALON
Well, so do I. So does half this city, I think. But I bet he misses you twice as much.
HOLLYWOOD approaches, followed by DELILAH, a female gargoyle who looks uncannily like ELISA.
TALON
What's up?
HOLLYWOOD
Malibu was mean. He took two of cake.
TALON
Oh, did he?
HOLLYWOOD
Yeah. Said he do twice the work.
TALON
Tell him I'm coming down there and he'd better not have ate the other piece.
HOLLYWOOD
Okay.
He exits.
TALON
I'd just be happy to have more adults around here, some nights. What else?
DELILAH
Maisha's back.
TALON
Already?
DELILAH
Yeah. You'd better come down and talk to her.
TALON
Why's that?
DELILAH
Her contractor just got arrested.
ELISA
What?
TALON
What happened?
DELILAH
They say he was going to bribe the building inspector.
INT. SCENE - LABYRINTH. COMMON AREA.
MAISHA is talking to some of the other occupants of the Labyrinth, of which there are dozens: mostly humans, a few mutates. It is clear that living space has been in short supply recently, as beds have been cast around the common area with a few personal items surrounding them to make what passes for a private few square feet of the floor. The TV is set up at one end of the room, with "Nightwatch" playing out on it and MAGGIE and a few of the occupants (including MALIBU) seated on the floor, watching. The cake is set up on a rickety table near the center, and is mostly gone by this point. DELILAH, TALON, and ELISA enter from above, and descend into the pit of the common area. As TALON approaches MAISHA, the others part to let him in.
TALON
I know I said you would be welcome back any time, but I didn’t expect you quite this soon.
MAISHA
Neither did I.
TALON
You’re okay?
MAISHA
Yeah, I guess so. I was just looking forward to getting back into my place, and now...
She shrugs.
DELILAH
I’m sorry.
MAISHA
It’s all right.
TALON
Is it?
MAISHA looks at him.
MAISHA
Not really.
MAGGIE
Hey, is this him?
They go over to the television set, which is showing DENMAN leaving the courthouse, trying to cover his face.
REPORTER
...including 46-year-old Tyko Denman of Long Island City, charged with improper influence of a city official--
MAISHA
Yeah. That's him.
REPORTER
--securing inspection approval of his work. Building Department officials say they continue to investigate, but that they are committed to safe buildings for New Yorkers and that bribery will not be tolerated. Denman is released on $15,000 bond. He's due back in court March 18. His license has been suspended.
MAGGIE
Ouch. So much for swift justice.
MAISHA
Now what am I supposed to do? He's gonna cool it on bail and all that time my apartment's sitting unfixed.
ELISA
Maybe. Maybe not.
TALON
What do you think?
ELISA
I think that if the Building Department's serious, they're going to be really interested in finding the other side of that bribe.
TALON
And I think that maybe they could use a hand with that.
ELISA
Yes, I think they could.
MAGGIE
Could you use some help?
ELISA
Sure could.
MALIBU
Want to help too.
DELILAH
Yeah, count me in.
TALON
All right. Any idea where he’s at now?
MAISHA
Home, I guess. I got a card from him here. Hang on.
She reaches into her back pocket, digging around. After a moment, she extracts a business card and hands it to TALON, who reads it.
TALON
All right. Let’s go talk to him.
DELILAH
I’ll go get ready.
ELISA
I'll meet you up top.
DELILAH and ELISA exit.
MAISHA
I didn’t mean to pull you in on this. Thank you.
TALON
The Labyrinth takes care of its own. Anyway, can’t have you stuck here, now, can we?
MAISHA
Well, it wouldn’t be so bad, in a way. You guys have been great.
MALIBU picks up a slice of cake and offers it to MAISHA.
MALIBU
Maisha want cake?
MAISHA
Yes. Thanks, Malibu.
She takes it, with a smile that is returned by MALIBU.
INT. SCENE - DENMAN’S APARTMENT.
A low-end apartment, shrouded in darkness. The door unlocks and opens, and DENMAN enters, switching on the light. He is obviously having a bad evening. He closes and locks the door behind himself, hangs up his coat, and goes in to collapse on the couch. After a moment, there is a knock on the door. DENMAN looks up, but doesn’t move. There is a second knock.
DENMAN
Go away. It’s late.
ELISA (OUTSIDE)
Mr. Denman? I’d like to speak to you.
DENMAN
I’m not here. Come back tomorrow.
ELISA (OUTSIDE)
I think you may want to talk to me now.
DENMAN, irritated, gets up and opens the door.
DENMAN
Why?
ELISA
You let down a friend of my friend, and I’m hoping you can make it right.
DENMAN
I let down a lot of people. Not going to deal with it tonight.
ELISA
Actually, I think you will.
DENMAN
Actually, no. Goodbye.
He shuts the door. He leans his head on his arm behind the door for a moment, and then turns to go back to the couch, but runs straight into TALON, who is standing right there.
TALON
Actually, yes. Go sit down.
DENMAN is paralyzed briefly, but having no other plan, complies. TALON opens the door to let ELISA in. MALIBU and DELILAH enter from the back of the apartment. DENMAN looks around.
DENMAN
How’d you get in here?
MALIBU
Window open.
DENMAN
No, no. I keep that locked.
MALIBU
Window open now.
DENMAN looks at him, and then, realizing, drops his head into his hands.
DENMAN
Good Lord above. Haven’t I got enough to contend with already?
DELILAH
You’re not going to get any sympathy from us. One of our friends is homeless because of you.
DENMAN
Which friend?
TALON
Maisha Taylor.
DENMAN
Oh. Yeah, I bet she’s homeless. Lot of people are.
TALON
I know. I’ve been taking a bunch of them in.
DENMAN
Well, aren’t you nice.
TALON puts his hand onto DENMAN’s stereo, and, using his innate electrical abilities, zaps it. DENMAN is startled by this, and gives him a sour look.
TALON
Not always.
DENMAN
What do you want?
DELILAH
The news says you were busted for paying bribes to the city.
DENMAN
They were right.
ELISA
So you did it?
DENMAN
Yeah. Yeah, I did.
TALON
To whom, exactly?
DENMAN
Why do you care?
ELISA
Because the City’s gonna want to know who’s been taking bribes. If we can get that back to them--
DENMAN
--then they can lock us both up. No sale. I’ll take my chances on trial.
TALON
You’re going to take a fall for that guy?
DENMAN
I ain’t taking a fall for nobody. I just got enough sense left to keep my mouth shut, is all.
DELILAH
Law of the streets, is that it?
DENMAN
Kept me alive so far, so yeah.
TALON
Well, we tried. Least it’ll keep one shoddy builder off the market. Come on.
They start to leave him, but the fire comes into DENMAN’s eyes at this.
DENMAN
Hey!
He gets up and chases TALON.
DENMAN
Hey! Get back here!
He grabs TALON by the shoulder and spins him.
DENMAN
Who are you calling “shoddy,” huh?
MALIBU
Not hit.
TALON
Well, what else would you be bribing building inspectors for?
DENMAN
Look, Catman, I put my heart into fixing up those buildings since the storm. I am one of the best builders this side of the river and I ain’t never been told different!
TALON
Yeah. Lotta folks will keep their mouths shut for fifty bucks.
DENMAN punches TALON in the head. TALON takes this with equanimity. MALIBU does not.
MALIBU
Not hit!
MALIBU’s eyes light up, and with a snarl he grabs DENMAN and flings him back over the couch, where he crashes into the wall and falls to the floor, leaving a dent in the wallboard. He sits up, and MALIBU goes toward him threateningly.
MALIBU
Do not hit Talon!
DELILAH
Malibu, hold up.
MALIBU
Eh?
DELILAH
What do you mean, you put your heart into it?
DENMAN
Forget it!
DELILAH
You want him to get it out of you instead?
MALIBU growls at him. DENMAN reels back.
DENMAN
C'mon, then. Do your worst. Least it'll mean not living with this any more.
MALIBU
I fix living fast.
TALON
Living with what?
DENMAN
What? You think these people can pay to get fixed up all nice and all?
TALON
I know a lot of them can’t, but what’s your angle?
DENMAN
Call him off and I’ll talk.
DELILAH
Malibu, settle down.
And he does. DENMAN climbs out from behind the couch.
DENMAN
What are you, anyway? You’re not the gargoyles, are you?
TALON
We’re friends of theirs.
DENMAN
I bet.
ELISA
So what is going on, then?
DENMAN
I’ve been fixing up apartments since the storm went through. People can’t get the insurance to pay out, so they call me. I go in and I do what I can with what I can get.
DELILAH
And they’re in no position to fight, right?
DENMAN
Oh, come on! Of course they are. They’re the first ones to fight it. They can’t afford not to, and anyway, I wouldn’t con them. Maybe I might con someone up in the Hamptons. They can afford it. They got six other houses to go to. I ain’t gonna con nobody in the City, they know better. All my work for them is tight as a drum.
TALON
So why are you paying off the building inspectors, then?
DENMAN
Because they got me in a corner. If I don’t pass inspection, I don’t get paid. If I don’t get paid, I got the lumber yard and all the rest riding me. I blow my credit, and I’m done. They know I can’t say no to that.
MALIBU
They beat up for money?
DENMAN
Yeah, more or less.
MALIBU
They robbers.
DENMAN
Yeah, they are.
ELISA
So why haven’t you told anyone at the City?
DENMAN
Why do you think? I talk, and he’ll know right away who talked. I got two friends sitting in Riker’s right now because of him. I don’t know how, but he’s got ears.
DELILAH
So do we. So tell us.
DENMAN looks at her.
DENMAN
Seriously?
DELILAH
Seriously.
DENMAN
You think he’s not gonna know I talked?
TALON
Do we look like the kind of people who’d let him know that?
DENMAN looks at each of them, and then resolves himself.
DENMAN
No, I guess not. Manny Thorburn’s the guy. Buildings, Manhattan office.
ELISA
Manny Thorburn. Got it.
DENMAN
And you’re gonna get Maisha back home this way?
TALON
That’s the idea.
DENMAN
Hey, tell her I’m sorry, all right? She's too good to get hit by this.
DELILAH
We will. Thanks for your help.
DENMAN
Well, thanks for not killing me or anything. I mean, you know.
TALON
Yeah, we know. Come on.
They exit, leaving DENMAN watching after them.
INT. SCENE - TUNNELS
ELISA, TALON, MALIBU, and DELILAH are returning to the Labyrinth through the tunnels.
DELILAH
So, do we pick off Thorburn?
ELISA
Eventually, but not now. Otherwise there’s a good chance he’ll know Denman talked.
TALON
True enough, but I don’t like the idea of him being at large.
ELISA
You think he’s working more contractors over?
TALON
I’d count on it. All the building work going on around here?
DELILAH
Well, maybe we can put that to work.
TALON
How?
They make a turn in the tunnel, and enter the core of the Labyrinth.
DELILAH
Figure it this way. If he’s got a bunch of people under his thumb, how likely is he to be keeping good track of them?
TALON
He’s probably keeping good books on all his victims, anyway.
ELISA
Probably, but I’ll bet he wouldn’t be shocked to find one more.
DELILAH
Maybe one that could bait him into a trap?
TALON
Gonna need to get on his list for that.
MALIBU
Al can help get on list.
TALON
I bet he can. Al? Al!
AL, an older and rather shaggy man, appears from above.
AL
Yeah, whatcha need?
TALON
Computer working tonight?
AL
Yeah, working fine.
TALON
Need a couple permits looked up.
AL
What?
TALON
Inspector named Thorburn. Elisa and Delilah will explain.
AL
You got it, boss-cat.
DELILAH goes up to AL. ELISA holds back.
TALON
Everything all right?
ELISA
I’m just thinking. If this guy is putting the squeeze on, why’d he put two of his victims away?
TALON
Keeps them from talking.
ELISA
Does it? Jailhouse informants have got big mouths.
TALON
Maybe. Might depend on who they were.
ELISA
I should probably find out. There may be something there.
TALON
(grinning)
Still a detective even after promoting.
ELISA
Now and always.
TALON
Go get ‘em, then.
She follows after DELILAH.
INT. SCENE - EYRIE BUILDING. XANATOS APARTMENT. LIVING ROOM.
The next evening. ALEXANDER XANATOS, a teenaged human with red hair, sits in a chair, feet up on the coffee table. Across from him sits PUCK, fingers tented in front of him, staring him down. ALEXANDER gestures in the air, and a glowing orb appears in his hand. After a moment, he clenches his hand, extinguishing it. He gestures again, and the glowing orb reappears. PUCK sighs.
PUCK
If that is all you plan to do with your time, I fail to see how you are going to advance your studies.
ALEXANDER
Well, that makes two of us.
PUCK
A child of Lord Oberon is capable of so much more than a parlor trick like that.
ALEXANDER
It’s a good trick.
PUCK
That’s as may be. You had that one down when you were three years old.
ALEXANDER
Yeah.
DAVID XANATOS enters. He watches ALEXANDER for one cycle of lighting and extinguishing the orb before speaking.
DAVID
Break time?
ALEXANDER
Something like that.
PUCK
For two hours.
DAVID
Is that right.
ALEXANDER
Something like that.
DAVID
Alexander?
ALEXANDER continues lighting and extinguishing the orb, not looking at DAVID.
DAVID
Do I need to tell you about opportunities again?
ALEXANDER
No, you don’t. I know about that already.
DAVID
And you think this is making the most of what you have available to you?
ALEXANDER
Nope.
DAVID
And you’re fine with that?
ALEXANDER
Yep.
PUCK exhales sharply, and stands up. He makes a couple of gestures and transforms into OWEN BURNETT. He picks up an earpiece from the side table and puts it on.
OWEN
It’s no use, Mr. Xanatos. I think training time is over for tonight.
DAVID
Maybe so.
ALEXANDER
Great, it’s unanimous.
ALEXANDER stands up. There is a chirp from OWEN’s earpiece, and he touches it and turns away.
DAVID
Hold on.
ALEXANDER
Dad, I have other things I need to do tonight.
DAVID
More important than your future?
ALEXANDER
They are my future.
OWEN
Just a moment. Sir? Captain Maza is here to speak with you.
DAVID
Oh, is she? Send her in.
OWEN
Yes, sir.
(into the earpiece)
Send her up. Right.
OWEN touches the earpiece and then goes to DAVID’s side.
DAVID
You have a great future ahead of you. You know that.
ALEXANDER
Yes, of course I do. I just want it to be my future. Not yours.
DAVID
Now, that hurts, Alex.
ELISA enters.
ALEXANDER
I doubt that. It’s not like real estate investing is such a great contribution to humanity, anyway. Good evening.
DAVID
Good evening, Captain. Any word from our gargoyles?
ELISA
No, Mr. Xanatos. There is not.
DAVID
Hm. Pity. I was hoping they’d come home. Will you excuse us, Alexander?
ALEXANDER
You wanted me to learn a few things toward my future, right?
DAVID
Alex.
ALEXANDER
Father.
DAVID
All right. Suit yourself. How can I help you, Captain?
ELISA
I wanted to ask you about Manny Thorburn.
DAVID
Well, you can ask. I don’t think I can tell you much because I’ve never heard of him.
ELISA
How about Avalon Realty Company?
DAVID
One of my subsidiaries.
ELISA
They’ve been pretty busy fixing up apartment buildings?
DAVID
Everyone has. There was a storm, you know that, Captain?
ELISA
You get very involved in their affairs at all?
DAVID
No. Strictly arms-length, strictly an investment for me. Is there something wrong with that?
ALEXANDER
Plenty.
ELISA
Manny Thorburn’s an inspector with the city. He seems to have been looking at a lot of work done on behalf of Avalon Realty.
DAVID
Well, that should be no surprise. It’s not exactly a ma-and-pa operation. It has--what is it now, about sixty?
OWEN
Sixty-three.
DAVID
Sixty-three residential buildings all around Manhattan. All of them need work.
ELISA
They seem to have been picking up a lot of new buildings recently, too.
DAVID
Of course. Plenty of buildings out there needing work. Plenty of good bargains to be had. That’s how real estate works. Seek, and you will find, after all.
ALEXANDER
Not always.
ELISA
Well, I’d imagine you were getting good bargains. The records I’m seeing say about twenty of them were failing inspection until you turned up.
DAVID
Well, I’m proud to be able to help improve the quality of housing in New York City. Is that such a crime?
ALEXANDER
When you’re doing it, I’m not so sure.
OWEN puts a finger to his lips, shushing ALEXANDER.
ELISA
Not a crime, exactly. But I wonder, how many carryover tenants are you taking with these buildings?
DAVID
Carryover tenants? What do you mean?
ELISA
Are those buildings coming to you with tenants, or empty?
DAVID
Well, now, you know, when they have code violations, it’s not like anyone should be living in them, after all.
ELISA
No, I suppose not.
DAVID
Was there something else?
ELISA
Do you know a Tyko Denman by any chance?
DAVID
Yes, I do. He was arrested for bribery the other night, wasn’t he?
ELISA
Yes, he was.
DAVID
Is that what this is about, Captain? I didn’t know you’d switched to investigating public corruption.
ELISA
Well, it’s just funny that a bunch of this Denman’s last few jobs were at buildings that Avalon just bought.
DAVID
He must do good work. Shame he thought he had to bribe his way up.
ELISA
Yeah, it is. Thanks for your time.
She turns to leave.
ELISA
By the way, place looks nice. You had work done here recently?
OWEN
Mr. Xanatos has work being done here all the time.
ELISA
Oh? Like what?
OWEN
I’d be glad to get you a listing, Captain. I’m sure all of the permits were in order.
ELISA
I’m sure they were. I just notice that Thorburn’s been inspecting a lot of work here, too. Good night.
OWEN
I will show you out.
ALEXANDER
No, I’m going out anyway. I’ll show you out, Captain.
ELISA
Thank you.
DAVID
Now, just a minute. Don’t you have some studying to do?
ALEXANDER looks at him firmly, gestures in the air, produces a glowing orb, and flips it at DAVID’s feet, where it pops into a burst of flame. DAVID jumps back.
ALEXANDER
Nope. All done.
ELISA and ALEXANDER exit.
OWEN
The boy is sharp, sir.
DAVID
They make a good pair, then. Keep an eye on them.
OWEN
Yes, sir.
INT. SCENE - EYRIE BUILDING. XANATOS APARTMENT. FOYER.
ALEXANDER and ELISA enter. ALEXANDER gets his coat as they speak.
ALEXANDER
Dad’s a little too shrewd for bribery, if that’s where you’re going.
ELISA
No, I know that. I don’t put it past him, but this feels too raw on its own to be that simple.
ALEXANDER
Anything I can do to help?
ELISA
Not at the moment, no. Has there really been a lot of work going on around here?
ALEXANDER
Other than up in the castle, no. All of that’s just been masonry stuff, setting some of the blocks back where they’d blown out.
ELISA
How is it up there?
ALEXANDER
Not that bad, actually. It must’ve seen a lot worse in a thousand years. You headed to the Labyrinth?
ELISA
Yeah, you?
ALEXANDER
That was my plan. Come on, I’ll walk you over.
They exit.
INT. SCENE - MAISHA’S APARTMENT. LIVING ROOM. (NIGHT)
The apartment is dark and empty, lit only from the street lights coming through the window. The apartment is freshly painted and lightly decorated, but most of the furniture is missing except for a chair or two. There is a click at the door, and then it opens. MAISHA enters, with a flashlight. She pushes the door closed behind her.
She begins to explore the apartment. It is quite familiar to her, and at the same time very strange in its fresh decoration. She makes her way around the living room, stepping carefully around a sofa and a coffee table that are no longer there but loom large in her muscle memory. She approaches a bookshelf and scans it with the light. Not seeing what she wants, she reaches up to the shelf above and begins feeling along it.
From behind her, the door squeaks open. MAISHA suddenly pulls down her hand and turns the light on the door. THORBURN enters.
MAISHA
Oh!
THORBURN
Hello again, ma’am. Come for a preview?
MAISHA
Something like that.
THORBURN
You know, the City code says this is all off limits until the inspection is passed. You shouldn’t be here.
MAISHA
It’s my apartment.
THORBURN
That may be. Nevertheless, the law’s the law.
MAISHA
Come on. I can’t help it if I got a contractor who’s a crook.
THORBURN
No, I suppose you can’t. You can help it that it’s so dark in here.
THORBURN switches the lights on.
THORBURN
There. Isn’t that better?
MAISHA
I suppose.
THORBURN
Why were you creeping around in here with the lights off, anyway? It looks kind of suspicious.
MAISHA
Why are you? Never heard of nobody getting a building inspection in the middle of the night.
THORBURN
Oh, you know. Just trying to keep an eye on things. Watching out for trouble.
MAISHA
What is it that you want?
THORBURN
I just want to be sure this building is fit for human occupancy. You know, just doing my job. At night. On overtime hours. You know?
MAISHA
No.
THORBURN
Let me put it to you straight. You want to move in. You need the building approved before you can move in. Now, I just happen to be here now. I could sign it off right now and you could spend the rest of the night here, all legal.
MAISHA
Yeah?
THORBURN
I’d have to collect the overtime charges, you understand. But, you know, I’m also not all that thrilled to spend the whole night here, you know, looking in every nook and cranny.
MAISHA
And what are the overtime charges?
THORBURN
Oh, you know, let’s see: twenty by seventy, two bedrooms...say about twenty-five hundred?
MAISHA
Huh! Think I got that around here?
THORBURN
Well, I mean, I’d expect you got your valuables out of the apartment after the storm. But I do think you got it somewhere. Them, somewhere. Maybe you offer me something of comparable value?
MAISHA
And if I don’t?
THORBURN
Well, you know. I could also just point out to the cops that you were in an off-limits building. That I just happened to go past the building and saw a light upstairs. Might give you some extra time to think your priorities over.
MAISHA
You’re nuts. They’d never bust me for being in my own apartment.
THORBURN
Maybe. Maybe they’d make the most natural connection between you and your contractor friend. A word or two in the right places...
MAISHA
I’ll need a little time.
THORBURN
No problem. Tell you what. Come back here tomorrow evening. Pay the charges and I’ll sign you right off. Cash.
MAISHA
I’ll be here.
THORBURN
Great. I look forward to getting you home. Have a good night.
He retreats through the door and is gone. MAISHA clicks off her flashlight, turns, and begins to search the bookshelves more vigorously.
INT. SCENE - LABYRINTH. COMMON AREA.
ELISA and ALEXANDER enter the common area. It is teeming, as ever, with people, mutates, and fellow travelers. They work their way through the crowd.
ALEXANDER
But nothing more since then?
ELISA
No, just that they were okay and had found footing somewhere.
ALEXANDER
Half of them, anyway.
ELISA
I know. Any insight?
ALEXANDER
When they’re nearby I can usually pick them up pretty well. I’m just not strong enough yet to be able to find them out without knowing where they are. I’ve been working on it.
ELISA
Puck won’t help?
ALEXANDER
No, he has his own lesson plan, or so he says.
INT. SCENE - LABYRINTH. GALLERY.
Up on a gallery that circles the common area of the Labyrinth stands a young man of 15, crouched down and watching alertly from the shadows. This is MICHAEL MAZA. He focuses on ALEXANDER as he and ELISA work their way through the crowd.
ALEXANDER
It could be I don’t have that power at all. I just don’t know.
ELISA
Maybe.
ALEXANDER
For what it’s worth, I don’t sense they’re gone. It’s hard to describe. It’s like hearing a background hum. You’d notice it if it were gone.
ALEXANDER and ELISA have moved into a clear area from MICHAEL’s vantage, and he stands up.
ALEXANDER
I can focus, and once in a while I think I’m able to pick up Katana or Angela, or both of them, just for a moment. But it’s never enough--
MICHAEL
Hey, mystic! Catch!
MICHAEL doubles his hands, aims them at ALEXANDER, and lets fly a brilliant electric arc, which shoots out toward him. ELISA dives for cover. ALEXANDER winds up and pitches a glowing orb toward the arc. The arc and the orb meet and destroy each other with a loud boom and a brilliant flash. The bystanders are startled, but also delighted. ALEXANDER looks up at MICHAEL, grinning widely.
ALEXANDER
(cheesily dramatic)
Your powers are no match for mine, dynamo!
MICHAEL
(same)
Curse you, wizard! You win this round!
(normal)
Hang on, I’ll come down.
He turns and begins toward the ladder down. From the crowd, however, TALON comes forward, eyes lit. He points at MICHAEL, who winces and stops.
TALON
Michael! We have talked about this!
MICHAEL
Aw, Dad, it was just a little light show, that’s all.
TALON
You know better than that! Not in the commons!
MICHAEL
Sorry.
TALON looks toward ALEXANDER and points at him.
ALEXANDER
Sorry, Mr. Maza.
TALON
All right, then.
TALON’s eyes go dark again, and he begins working his way down toward ALEXANDER and ELISA as MICHAEL continues climbing down.
INT. SCENE - LABYRINTH. COMMON AREA.
ALEXANDER, meanwhile, helps ELISA back to her feet.
ELISA
Your aim is improving.
ALEXANDER
It better be. So’s his.
TALON approaches.
TALON
Everyone all right?
There is a general mumble in the affirmative.
TALON
You may become only the third or fourth person to be ejected from the Labyrinth if you keep encouraging that kind of nonsense. You get that, right?
ALEXANDER
Well, father says I’m destined for greatness.
TALON
It’s not good company you’d be keeping.
ALEXANDER
No, you’re right. Everything else all right?
TALON
As much as ever. Still crowded, still hopeful.
ALEXANDER
Good to hear. The blankets got to you?
TALON
They did, thanks, all spoken for as soon as they arrived.
MICHAEL approaches ALEXANDER. They clasp arms.
MICHAEL
Good to have you here.
ALEXANDER
Good to be here. I was just telling Elisa your aim’s improving.
MICHAEL
Thanks. Been working on it a lot recently.
ALEXANDER
Oh, yeah? That makes one of us.
MICHAEL
Puck’s been stalling on you again.
ALEXANDER
Oh, it’s awful. It’s all “focus, focus, focus,” and it’s just sitting there doing nothing for four hours.
MICHAEL
Come on, we’ll go up the tunnels.
ALEXANDER
Now you’re talking.
TALON
Be back before eleven.
ALEXANDER puts his arm around MICHAEL, and the two of them begin leaving toward the tunnels, when MAISHA comes into the Labyrinth, looking very distraught. ALEXANDER stops and looks at her.
TALON
Maisha? What’s wrong?
MAISHA
That inspector came back.
ELISA
What, this late at night?
MAISHA
Yeah. Said I need twenty-five hundred in “overtime fees” or he’s gonna get me locked up.
TALON
Overtime for what, exactly?
ELISA
Shakedown. That’s bold.
TALON
That kind of boldness we can do without. What terms?
MAISHA
Cash on the table, tomorrow night. Or "something of equivalent value," like I got that.
TALON
And you’re meeting him there?
MAISHA
Yeah, that’s the idea.
MICHAEL
Not alone, you’re not.
ALEXANDER
Right.
TALON looks at MICHAEL firmly. MICHAEL looks back at him.
MICHAEL
Dad, don’t start.
TALON
Who’s starting? I think it’s a good idea.
ELISA
Really?
TALON
Yeah. I mean, Maisha’s got to get the money from someone. Maybe a cousin who just happens to come along for the ride?
MICHAEL
With two or three others for backup.
TALON
Now you’re thinking.
ALEXANDER
I should be able to get you some funds to bait the trap. Hold on.
ALEXANDER focuses on one hand. After a moment, a small dove appears. He tosses it into the air, and it flies around the room rapidly, then alights on a cloaked figure toward the back. He shoos it off, but it immediately returns.
ALEXANDER
There you are.
The cloaked figure uncovers his head; it is OWEN. The dove fizzles and disappears.
OWEN
Yes, Master Xanatos.
ALEXANDER
You know what we need?
OWEN
Quite well. It will be ready as soon as the banks open.
ALEXANDER
Thanks, Owen. What else?
MICHAEL
Should be plenty to catch one guy, right?
TALON
I agree. Good plan.
MICHAEL
Let’s go.
ALEXANDER and MAISHA remain, as the others disperse. He looks at her.
ALEXANDER
You didn’t find it?
MAISHA shakes her head. ALEXANDER sighs, disappointed.
INT. SCENE - MAISHA’S APARTMENT. LIVING ROOM.
MAISHA and MICHAEL stand in the center of the darkened living room, waiting. MICHAEL has a thick envelope in one hand.
MAISHA
This is going to work, right?
MICHAEL
Of course. I’m sure of it. No way it can--
TALON (OFF)
Don’t say that.
MICHAEL
I won’t jinx it, Dad.
TALON (OFF)
Make sure of it. He’s coming.
MICHAEL
Everyone ready?
There is no answer. A moment later, the door opens. THORBURN comes in, carrying an aluminum contractor’s clipboard, with a satchel over his shoulder.
THORBURN
Good evening. You have company; I don’t think we’ve met.
MAISHA
No. Mr. Thorburn, this is my cousin, Adam. He’s helping get the funds together to pay for your time.
MICHAEL
How do you do?
THORBURN
Fine, fine. Everything’s ready?
MAISHA
Everything’s fine.
MICHAEL hands the thick envelope to THORBURN, who briefly inspects it.
THORBURN
Good. Fine. Well, let’s have a look here.
He switches the lights on. There is nobody else in the room.
MAISHA
Is that really necessary?
THORBURN
It is sort of the point of an inspection, isn’t it? Now, let’s see, here.
THORBURN begins to go around the room. He opens the door to the hall closet cautiously and looks in, finding nobody. Closing the door, he continues to circle around.
THORBURN
Nothing behind door number one.
MICHAEL
What’s this about?
THORBURN
I think you know. Just stay put there.
His eyes wander across the doorway back to the back hall, and fix on the doorway. He reaches into his satchel and draws out a fat orange pistol.
THORBURN
What a shame, that paint job’s already been scratched. Whoever’s back there, you can come out.
There is no response.
THORBURN
Well, if that’s your attitude, I can just blast these two and draw you out.
MICHAEL
That’s a flare gun.
THORBURN
Yes. You’re very smart. Also very effective for torching wise guys. Come on!
A door squeaks in the back of the apartment, and ELISA steps out, gun drawn.
THORBURN
Aha, knew it. Come in here.
ELISA
I don’t think so. Police. Put that down.
THORBURN
Oh, police, huh? I’m’a quaking. Get in here, deputy.
ELISA
You think you’re going to win a shootout with a flare gun?
THORBURN
Yeah. You’ll find out why in a minute. Okay, that’s you. Now, who else is back there?
Again, no response.
THORBURN
Now, you’re not going to have come out of there on your own unless someone was covering you. I am not that stupid, so please don’t treat me as though I were. Who else?
ELISA moves over to be with MAISHA and MICHAEL. THORBURN covers all three of them with his gun. There isn’t any other reply to his question.
THORBURN
Setting up for a bust, is that it? This have anything to do with that Drummond or Dynaman or whoever he was? You guys friends of his, or what?
MICHAEL
No.
MAISHA
Friends of mine.
THORBURN
Touching.
ELISA
So now what? You’re going to just take off? Or are you waiting for your accomplice to show up?
THORBURN
I’m taking off. That’s all you need to know.
There is a faint crackle from behind the group: MICHAEL’s hands are lighting up.
MICHAEL
That’s what you think.
TALON (OFF)
Michael, stop!
THORBURN turns the gun on the doorway as TALON approaches. He is somewhat startled by TALON’s appearance, but doesn’t drop his gun at all.
TALON
I smell gas.
THORBURN
Oh, do you? You know, I guess I didn’t expect to find a mutant in here, but it doesn’t matter much, and anyway you’ve saved me a few minutes of explanation. Get over there.
TALON’s eyes light and he growls at THORBURN.
THORBURN
I mean it. Gas plus flare gun. Even you got to know what that equals.
TALON, reluctantly, joins the others.
THORBURN
I guess I hoped too much to pull off one more gig. Should have cut it after Denman got busted. Oh well, the choices we make and all.
MAISHA
You can’t be serious about this.
THORBURN
Very.
MICHAEL
What, you’re gonna blow yourself up for $2,500?
THORBURN
No! $2,500? That’s just bait. For you. I don’t need that. I got seventy-five grand locked up and waiting for me out there. I walk out of here and that’s just gravy.
TALON
But the building's full of gas! You can’t shoot us or you lose it all.
THORBURN
Maybe I do. Then my kid gets it. It’ll put her through school. Get her someplace good. ‘Course, I got no plan to not be there for her to walk across the stage, you get me?
He starts to move toward the back of the apartment. MICHAEL begins to tense up.
THORBURN
Now, you all are going to wait right here, or maybe you are gonna go look for where all that gas is coming from. I don’t really care. Long as you don’t follow me out, I got no reason to shoot. If I don’t shoot, nothing goes up. You get me?
MICHAEL suddenly bounds across the floor and dives for THORBURN. He whips his clipboard around and catches him square on the side of his head, knocking MICHAEL out. He tumbles to the floor. TALON’s temper flares.
TALON
Michael!
THORBURN
That’s one warning. Don’t try anything else.
He backs out of the room. TALON rushes to MICHAEL’s side to check on him. Then, enraged, he starts to pursue THORBURN. ELISA stops him.
ELISA
Derek!
TALON
Let go, I can still get him!
ELISA
One jolt and we go up.
TALON
I’m not going to jolt anyone! Let go of me, Elisa!
He breaks free, and makes for the back of the apartment.
MAISHA
How can I help?
ELISA
Help me get him out.
They pick MICHAEL up by the shoulders and begin to drag him out of the apartment.
EXT. SCENE - MAISHA’S APARTMENT. FIRE ESCAPE. (NIGHT)
THORBURN bounds out of the window and onto the fire escape, and begins to descend rapidly. TALON is right behind him, and sticks his head out, watching him descend. Above him, a shadow extends from the parapet: it is MAGGIE.
MAGGIE
What’s happened? I smell gas.
TALON
Maggie! That guy clobbered Michael!
MAGGIE
What? Where?
TALON points. MAGGIE’s eyes light up, and she roars as she leaps off into the air, spreading her wings and descending after him. TALON takes to the fire escape and leaps off into the air behind her.
EXT. SCENE - STREET. (NIGHT)
THORBURN runs along down the street. In the air above him, MAGGIE and TALON are roaring down in hot pursuit. THORBURN turns and aims, but MAGGIE is right there on top of him, knocking him back. They wrestle briefly on the ground. TALON drops beside them and gets hold of THORBURN’s gun arm, struggling for control.
MAGGIE
Get off!
TALON releases THORBURN, and MAGGIE fires a jolt of electricity into him. He yelps. His gun arm droops, but comes back up. TALON grasps it and pushes it up, but THORBURN is able to fire. There is a pop as the flare arcs up from the gun. TALON turns to watch it.
TALON
No!
The flare arcs up through the air and toward the apartments, its fuse leaving a sparking trail behind it. As it reaches its apex, a bright ball flies up into it from the ground. There is a brilliant explosion, well clear of the building. THORBURN, who had been watching the flare go up toward the building, flops back, defeated. MAGGIE and TALON hold him down, relieved. ALEXANDER runs over to the group.
ALEXANDER
This the guy?
TALON
This is him. Good shooting.
ALEXANDER
Told you my aim was improving. How’s Michael?
TALON
Down.
MAGGIE
Have you got him?
TALON looks down at THORBURN. He is totally exhausted and defeated, lying in the street, eyes shut and panting.
TALON
Yeah, I think so.
MAGGIE
Good. I’m going to check on my son, who’d better be fine or we’re going to have a more serious discussion.
THORBURN lies there, listless. He weeps slightly. TALON reaches into his pocket and pulls out the envelope.
TALON
Hold on. Here.
ALEXANDER takes the envelope.
ALEXANDER
Thanks.
In the distance, ELISA and MAISHA are dragging MICHAEL out of the building. MAGGIE rushes over to them, followed by ALEXANDER.
At a different part of the street, within sight, OWEN stands in his cloak, watching. DAVID walks up to his side.
DAVID
Well?
OWEN
A clean takedown. No need to get involved.
DAVID
Good. And it will stick?
OWEN
You would need to speak to the lawyers about that, sir. I believe it will.
DAVID
And no property damage.
OWEN
Well, then, Avalon Realty's sixty-fourth building should be ready for tenants very soon.
DAVID
Any sign of the other thing?
OWEN
None, sir. We checked thoroughly. It’s not there.
DAVID
Hm. Shame. Oh well, can’t win them all. At least most of us are going home tonight. Call the police, would you please? And make sure he ends up in the same cell as those other builders. They should have plenty to discuss.
OWEN
At once.
OWEN pulls out a phone from under the cloak and dials as DAVID leaves.
INT. SCENE - ELISA’S APARTMENT. LIVING ROOM.
ELISA unlocks the door, comes in, and hangs up her coat. She begins to unstrap the holster from her chest, but something catches her eye: it is the light on her answering machine, blinking at her. She stops removing the holster, and regards this briefly as an alien thing: it has been three months since her phone was working. The mood passes, and she nearly leaps for the machine, jamming her thumb down on the playback button. The machine beeps, and messages begin to play. The first voice is an excited female one:
VOICE 1
We’ve been trying to reach you about your car’s extended warranty--
ELISA
Figures.
She stabs her thumb on the “Delete” button, cutting the message short with a beep. The next message begins, a very professional male voice, cutting in mid-sentence:
VOICE 2
--vice has now been restored. You should now be able to make and receive calls as normal. We would like to apologize again for the extended duration that your telephone service was interrupted. We know you rely upon--
ELISA
Old news already, guys.
She stabs her thumb down on the “Delete” button, cutting the message short with a beep again. The next message begins, but the speaker takes a deep breath before speaking:
GOLIATH
Hello, Elisa. This is Goliath.
ELISA sits up sharply, astonished. This is exactly the voice she has waited six months to hear.
=END=