Long Distance
by
Andrew Morris
EXT. SCENE - NEW CITY (CHICAGO). STREET. (NIGHT)
It is a calm evening in the City, dry and dark. The street is settling in for the night, and there are not many people out and about at this hour. The shot settles in front of a strip of small stores, including a phone store. All is quiet.
For a moment. There is then a huge explosion as the front of the phone store blows off into the street. The alarm blares as a van pulls up to the front and two masked robbers pile out of it and into the front of the store. They return a moment later with armfuls of phones, piling them into the van. The shot follows them as they go back for seconds, scooping the phones into their arms, and then running back out to the van, piling them in and then piling in behind. One of the robbers slams the door shut.
ROBBER 1
Go, go, go, let's go!
The van pulls off the curb and tears out into the street. Down the street it goes, as the police begin to pull up on the scene. The van clears out of there without anyone following.
Inside, the mood is excited and jubilant. ROBBER 1 and ROBBER 2 pull their masks off. They are exhilarated at the score, and they watch out the front of the van. It suddenly turns right into a side street.
ROBBER 1
No, no, Vic! Next one! The next right!
The van piles onward, however.
ROBBER 1
Hey, Vic! You missed the turn, man, this just goes up the cul-de-sac! Stop!
There is a muffled cry from behind the back seat at this. Both robbers turn to look, and see ROBBER 3 (Vic) bound and gagged back there. They look forward. It is LEXINGTON looking back at them, grinning.
LEXINGTON
What, you think a cul-de-sac is going to get in our way? Hang on, boys.
He looks forward and floors it. The van plows into the cul-de-sac, flies into the air, and crashes down to the street beyond, barely losing speed. Both ROBBERS fly up out of their seats at this and crash back down as well. LEXINGTON expertly steers the van forward down the street. ROBBER 2 reaches to his belt to draw the revolver concealed there. He doesn't get far. A familiar red hand grabs his from behind and twists it up. BROOKLYN leans forward, eye alight.
BROOKLYN
Be nice, or your rideshare rating's going to go way down.
ROBBER 2 screams. ROBBER 1 looks back, and is grabbed by a blue hand as BROADWAY seizes him. He leans forward.
BROADWAY
Just sit tight. We're almost there.
EXT. SCENE - POLICE STATION. PARKING LOT. (NIGHT)
Two officers (NATE and ED) are making their way out of the station toward their patrol car.
NATE
I don't know, Ed. Some nights it feels like we'd need a miracle to catch some of these guys.
ED
Don't you know it. It's like--
Suddenly the van leaps over the curb from behind the station, tearing up the hedges. It rolls directly into the wall of the police station and thumps to a stop, without damaging the station. A beat. Then, ROBBER 1 and ROBBER 2 pile out and go running up to the officers in the lot, screaming.
ROBBER 1
Help us, help!
ROBBER 2
We're sorry, we're sorry, we'll give them all back!
ROBBER 3 writhes his way out of the van and begins trying to join his confederates, growling out imprecations from behind his gag. ED and NATE look at the van, with all the phones spilling out of it, then at each other, then at the van again.
From above, BROOKLYN waves to the three robbers, and glides away into the night.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
GOLIATH crouches on the parapet next to BRONX, looking out over the city to the east. The city is quiet from this vantage. From behind, MATT PEGRAM exits the substation and comes over to them. BRONX turns and greets him.
CAPTION: Humboldt Station, Chicago. 9:22 PM, January 24, 2013.
MATT
(to BRONX) Hey, bud. (to GOLIATH) Good evening. They’ve gone out already?
GOLIATH
Yes. They say there was a robbery planned for this evening.
MATT
And you stayed in?
GOLIATH
I am...expecting a telephone call.
MATT
Oh, I see.
He looks out to the east alongside Goliath briefly.
MATT
Something the matter?
GOLIATH
No.
MATT
Okay.
He looks out to the east again, then crouches behind the parapet slightly, coming down to GOLIATH's level. He looks over at GOLIATH curiously.
MATT
Is it something that--
GOLIATH
It is not something I wish to discuss.
MATT
Sure, sure. I’m sorry.
He looks out to the east again, and then looks over at GOLIATH again, who looks back at him, slightly irritated.
MATT
Is there anything that I could do for you?
GOLIATH growls lightly.
GOLIATH
Excuse me.
He steps up onto the parapet and takes off into the air. BRONX looks after him and whines.
MATT
So, no, huh? All right.
BRONX looks at MATT.
MATT
Does he seem a bit down to you?
BRONX
(nodding)
Ar-huh.
MATT
Me too.
On the south edge of the roof, there are three crunches as LEXINGTON, BROADWAY, and BROOKLYN land. They approach MATT and BRONX, in high spirits. BRONX goes to greet them.
BROOKLYN
Hey, how are you?
MATT
Doing fine, thanks. Good hunt?
BROADWAY
Wrapped and delivered to the district. All we missed was a bow to put on it.
MATT
Congrats. Did you get all of them?
BROOKLYN
I don’t think so, but it’ll give them something to think about, anyway. Is Goliath here?
MATT
You just missed him. He headed out.
BROOKLYN
By himself?
MATT
He said he was expecting a phone call.
The others “ahh” knowingly.
BROADWAY
Elisa.
MATT
Oh, yeah?
BROOKLYN
He just wants some alone time with her, I guess. He’ll be back soon.
MATT
This a usual thing?
LEXINGTON
It didn’t used to be. He’s been a bit more edgy recently.
BROOKLYN
Hasn’t spoken to her in three months. I get that.
BROADWAY
Yeah. Is Hudson around?
MATT
He’s inside, watching the hockey game.
LEXINGTON
Oh, yeah?
LEXINGTON heads for the roof door, followed by the others.
EXT. SCENE - LINCOLN PARK. ULYSSES GRANT STATUE. (NIGHT)
GOLIATH is perched atop the plinth of the statue, concealed slightly. He is on the phone with ELISA.
ELISA
You’ve been doing all right?
GOLIATH
We have been well. How have you been?
ELISA
I’ve been all right, considering. You’ve been missed here.
GOLIATH
That is a change.
ELISA
I know. How has it been there?
GOLIATH
It is a good city. We have kept busy.
ELISA
Was that really you on Halloween?
GOLIATH
It was, yes. You saw that, then?
ELISA
Michael did. He pointed it out to me. I couldn’t quite believe it was you. You all seemed so happy, and right after...
GOLIATH
We were trying to reach the others.
ELISA
Any word yet?
GOLIATH
No.
ELISA
Alexander says he thinks he hears them, some nights. He doesn’t know where they are, but he is sure they are alive.
GOLIATH
Hmm. Well, there is some hope there.
ELISA
Yeah.
They are silent a moment.
GOLIATH
Are you--is Manhattan safe?
ELISA
As much as ever. It’d be safer if you were here.
GOLIATH
Perhaps so.
ELISA
So come back.
GOLIATH
It...I...it is not time yet.
ELISA
What do you mean?
GOLIATH
This place is still at risk. It needs our protection.
ELISA
So does Manhattan.
GOLIATH
But our enemies have followed us here. The battle is here.
ELISA
Then why ask if Manhattan is safe?
GOLIATH
It is still our home.
ELISA
Then come home.
GOLIATH
Elisa...
ELISA
What?
GOLIATH
This is more than just protection. There is something here, something new. Something more than what Manhattan has. I cannot say what it is. But it is something we have needed.
ELISA
You’ve needed to spread your wings.
GOLIATH
Something like that, perhaps. Manhattan has become confining. We are less known here.
ELISA
So you can go party on Halloween.
GOLIATH
Well--
ELISA
And not draw a crowd.
GOLIATH
Yes. But there is still more than that. We are a part of all that we have met. To stay in Manhattan and never go further is dulling. We must explore, the better to protect our home.
ELISA
The better to see what could be coming.
GOLIATH
Yes. But we will come home. I just do not...
Below, a scuffle has been developing. GOLIATH finally looks out at it. SIGMUND (GRANGER) has approached ENKI (REMINGTON) and TERRENCE (GREER), the latter a well-heeled fellow, the former his date. SIGMUND is trying to provoke a fight. They are yelling indistinctly. GOLIATH growls in irritation.
ELISA
What?
GOLIATH
This place holds wonders, but it is also noisy. I will call you back.
ELISA
Hey! Be careful.
GOLIATH
Always. And you.
He hangs up, pockets the phone, goes up on the edge facing the scuffle, and spreads his wings, watching.
EXT. SCENE - LINCOLN PARK. PARKING LOT. (NIGHT)
ENKI
Siggy, I told you, it’s over.
SIGMUND
Nothing’s over, Enki. Get in the car, we’re leaving.
ENKI
Terry, do something.
TERRENCE
Beat it, Sigmund. Three’s a crowd.
SIGMUND
What did you say?
TERRENCE
(backpedaling)
What I mean is, I don’t think Enki’s that into you anymore, I mean, from what I’ve seen.
ENKI
Do something!
TERRENCE
Right. Uh...
TERRENCE drops into a loose kung-fu-like stance. He is acting the part, and not badly at that, but that’s about all.
SIGMUND
Oh, buster, you just made my night.
SIGMUND balls up his fists and approaches TERRENCE, but before he gets more than two steps closer, GOLIATH drops in directly between them. All three of the others are shocked by this, and step back.
GOLIATH
Enough of this. Leave these people alone, interloper.
GOLIATH advances on SIGMUND, who raises his fists higher, but uncertainly. TERRENCE, for his part, runs for it.
ENKI
Terry! Terry, get back here!
SIGMUND
Wha...wha...wha?
GOLIATH
Or if it is a fight you would like, I will be happy to oblige you.
ENKI
Dio! Now, Dio!
A man (DIO LOCKWOOD) leaps from the shadows and onto GOLIATH’s back. He does not quite get him around the shoulders; he does get himself wedged atop his wings, though, and grabs on around GOLIATH’s neck. GOLIATH roars: his eyes light, and he begins thrashing to shake this new combatant off. DIO, gamely, hangs on.
DIO
Yaaaaaahh!
SIGMUND
Neck! Get the neck!
DIO
I am trying!
DIO clambers up GOLIATH’s back, but ducks down as GOLIATH claws at him. GOLIATH gets hold of DIO’s jacket and yanks, pulling DIO up in the air. Neither lets go. DIO draws and unsheaths a syringe and frantically stabs it into GOLIATH’s collarbone. GOLIATH is incensed by this, and yanks harder. The jacket finally gives way, and DIO falls back onto GOLIATH’s back. GOLIATH, losing options, runs toward the Grant Memorial and, as he reaches it, backs into it hard. DIO barks, almost losing his grip, but is able to maintain it. GOLIATH’s attempt to regain his footing from this maneuver is faulty: he stumbles, turns, and finally drops to the ground, panting hard, and is out. DIO shoves off his back as he does, coughing. SIGMUND and ENKI approach him.
SIGMUND
Dio? You okay, man?
DIO coughs, and waves him off.
ENKI
What is that?
SIGMUND
I think...I think it’s a gargoyle.
DIO nods.
ENKI
Can’t be. Not in Chicago.
SIGMUND
Why not?
DIO
He’s right. I saw them back in New York. If that isn’t a gargoyle, I don’t know what is.
ENKI
No way. No way!
SIGMUND
You thinking what I’m thinking?
ENKI
Oh, yes! We eat tonight!
SIGMUND
Haha!
DIO
What, eat him?
ENKI
No, you knob! We caught ourselves a treasure here!
SIGMUND
You were right. I just expected we’d score a few credit cards or phones or something. I didn’t expect we’d hit the jackpot like this. Not up here.
DIO
I’m not getting it. What treasure?
ENKI
That thing there. Dio, we can sell him on. He’s gotta be worth a fortune.
DIO
Seriously? What do you mean, sell him on?
ENKI
Hold on. How much of that stuff did you give him?
DIO
Just what I had.
ENKI
You think that’ll keep him out?
DIO
Uh...maybe.
SIGMUND
Let’s get him out of here before he wakes up.
ENKI
Right.
They look at GOLIATH.
ENKI
Well?
SIGMUND picks up one of GOLIATH’s arms, and drops it.
DIO
Well, what?
ENKI
Well, get him out of here.
SIGMUND
Enki, the thing’s got to weigh a ton.
ENKI
Well, I don’t know. Lift with your legs or something.
DIO
“Lift with my legs or something”? Do I look like a bodybuilder?
SIGMUND
Well, don’t look at me.
DIO
Anyway, I did my work for tonight just hanging onto it.
ENKI
Well, we’re not leaving him here!
They look at GOLIATH again.
ENKI
Does your uncle still have his truck?
INT. SCENE - STORAGE UNIT.
The door of the storage unit rattles up, revealing it is still night out. Outside is a pickup truck. SIGMUND and DIO have grabbed GOLIATH under the shoulders and are heaving him inside the storage unit. They bring him to the center and drop him on the floor, face down. GOLIATH moans softly. ENKI switches on the light and rolls the door down most of the way.
In the light, it’s clear this is their base of operations. There are three chairs, and a couple of storage containers stacked around. Across the top of some of the containers are a few planks, by way of a table, at the end of which is a small box of syringes and a couple of vials of fluid. At the other end are some papers.
SIGMUND, DIO, and ENKI sit.
SIGMUND
Okay, boss, so now what?
ENKI
So now, we got to make sure he doesn’t get loose and make more trouble. That’s job one.
DIO
Right.
ENKI
And job two is, we gotta get back in touch with Plutus and see what he’ll give.
SIGMUND
Why Plutus?
ENKI
Because he’s already got us working this other job tomorrow night. I figure that’s the quickest way out of this.
DIO
Yeah, but Plutus is gonna shave off 20 percent for himself.
ENKI
So what? Quicker we unload this guy, quicker we can stop trying to keep him subdued. It’s about carrying charges, Dio. It ain’t about the top line number.
DIO
I know, but what makes you think he’d even be interested?
ENKI
I got my reasons.
SIGMUND
Which are?
ENKI
I got my reasons.
SIGMUND
This is gonna be a real hard job to pull off if you ain’t gonna come straight with us, Enki.
DIO
Right.
ENKI
Gonna be even harder if I got to explain to him how you know what I know about who Plutus really is.
DIO scowls and repeats this silently, counting on his fingers. GOLIATH shifts a little on the floor, and all three of them jump.
ENKI
Can you get--
DIO
I’m just going to get this taken care of.
DIO goes to the table. He unwraps a syringe and hurriedly draws off some fluid as the others talk.
SIGMUND
All right. Have it your way. You better not be setting us up, though.
ENKI
Oh, come on. You think I’d have gone this far with you two if I were gonna set you up?
DIO
Yeah.
ENKI looks at him, smirking.
ENKI
You’re a clever guy, Dio. Seriously, I ain’t setting you up and I ain’t holding out on you. But if Plutus knew that I recognized him, he’d come down on me hard. Best not to have him come down on you two.
DIO goes around to GOLIATH and injects him above the shoulder blade. GOLIATH sighs, and relaxes.
DIO
Done.
ENKI
Now. Let’s focus on one thing at a time. We can keep him out until tomorrow, right?
DIO
Yeah, should be able to.
ENKI
Then let’s do this. We gotta nab this guy out of the airport. We do that as planned. Once we get the jewel, we come back here and get Plutus on the line. We tell him we got your target, and we got a bonus for you. Send him a picture, let him make an offer. If he takes it up, we turn everything over to him at once. If not, we tell him it’s a package deal, he’s gotta take both.
SIGMUND
And if he says no way?
ENKI
Then his gizmo gets chucked in the lake and this thing gets chucked into the Lincoln Park Zoo.
DIO
I don’t think they’ll take him.
ENKI
Make that their problem. Either way, we cut clean by two nights from now.
SIGMUND
I don’t like this, Enki. Last minute changes give me the creeps.
ENKI
This isn’t a last minute change, Siggy. It’s an opportunity. Fate drops something like this in your lap, you got to pick it up. You feel me on this?
SIGMUND
Yeah, but, we know they’re here, why not just plan again and take them separately?
ENKI
Because Plutus may not stick around for that.
There is suddenly a chirping sound coming from GOLIATH’s pocket. All of them jump, including (subtly) GOLIATH. The others look at each other.
DIO
Is that a phone?
SIGMUND
Sounds like it.
ENKI
What, this thing’s got a phone?
DIO
Yeah.
SIGMUND
Answer it.
DIO
What?
SIGMUND
Answer it.
DIO
You answer it. I’m not reaching under him.
ENKI
I thought you knocked him out.
DIO
I did, but I’m still not risking my arm just to answer his phone. Let them leave a message.
The phone stops ringing.
DIO
There, see?
ENKI
Get the phone.
DIO
Why?
ENKI
If someone left a message for him, they may be looking for him.
SIGMUND
Yeah.
ENKI
(to SIGMUND)
Yeah.
SIGMUND
What, me? Why?
ENKI
Dio already took one ride tonight.
SIGMUND
I ain’t picking his pocket.
ENKI
Well, we’re not leaving it alone. Anyway, if he wakes up, I don’t want him calling for help, and I don’t want anyone else tracing that phone back to here. So get the phone.
SIGMUND
All right, all right.
He stands up, and begins edging over to GOLIATH. He kicks GOLIATH gently, and, getting no reaction, works his way over to his side. He looks down at him.
SIGMUND
Look, couldn’t it just be a junk call?
ENKI
Yeah, it could. Get the phone.
SIGMUND sighs, and rolls up his sleeves, and works himself up to get to GOLIATH’s pocket. GOLIATH groans, and rolls over onto his side, putting his pocket underneath himself. SIGMUND steps back sharply, and shrugs. DIO chuckles at him.
SIGMUND
Well, it was worth a try, anyway.
DIO
Big bad bruiser of the operation, huh?
SIGMUND
Shut up. You didn’t seem so eager to go for it a minute ago yourself.
ENKI
All right. All right. Dio, how sure are you that he’s knocked out?
DIO
I put in enough to take down three sumo wrestlers. It’s gotta be enough to keep him down for the night.
ENKI
Right. Okay. Well, let’s get out and get something to eat. Lock this thing in here for now. Grab one of the cards and grab your stuff. We may need it later.
DIO picks up his satchel from atop one of the containers, opens the container, and pulls out a credit card. He takes the vials and a couple of syringes from the table, and then exits with SIGMUND and ENKI, who turns off the lights. They roll down the door and it can be heard to be locked from outside. All is quiet a moment.
GOLIATH sits up. He gets to his feet, slightly unsteadily, but soundly. He shakes his head.
GOLIATH
“This thing.” Urgh.
He reaches into his pocket and pulls the phone out. He looks at it, pushes a couple of buttons, and puts it up to his ear.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
All five gargoyles, and MATT, are on the roof. HUDSON and BROOKLYN are squaring off against each other, each with a dowel, as the others are gathered around them to watch. They begin fighting. The others cheer them on. MATT’s phone rings. He picks it up, looks at it, and answers.
MATT
Goliath? Where are you?
GOLIATH
Captured.
MATT
What? Hang on.
(to the others)
Hey! Hold up! It’s Goliath!
The others stop the fight and come over to MATT, who switches the phone to the speaker.
MATT
What do you mean, “captured”?
GOLIATH
I was tricked by several thieves.
BROOKLYN
Are you all right?
GOLIATH
I am safe. I am in a shed of some sort. They had tried to drug me, but the drug did not work as well as they thought.
HUDSON
Humph. Serves them right.
GOLIATH
But they are planning something more tomorrow night. They serve someone called Plutus.
BROADWAY
Plutus? Who’s that?
GOLIATH
I do not know. But we will stop them.
MATT
Where are you at?
INT. SCENE - STORAGE UNIT.
GOLIATH
I am not sure.
BROOKLYN (ON PHONE)
Do you need help?
GOLIATH goes to the door, grabs it, and tears it upward like tissue paper. He is free.
GOLIATH
No.
MATT (ON PHONE)
Okay. You’re coming right back, then?
GOLIATH
Yes, I will.
BROOKLYN (ON PHONE)
See you then.
GOLIATH hangs up and puts the phone back in his pocket. He goes to the table and looks at the papers, then picks them up and takes them with him. He exits.
INT. SCENE - HUMBOLDT STATION.
GOLIATH puts the papers down on a desk in the loft of the station. The others gather around to look at them.
GOLIATH
Someone is bringing a jewel into the airport tomorrow night. They are planning to kidnap him, and to give it over to someone called “Plutus.”
BROADWAY
Not a very complex plan, is it?
MATT
No. What kind of a jewel?
GOLIATH
They did not say, but they also called it a “gizmo.”
LEXINGTON
So not really a jewel, but some sort of a device. Something someone could carry in.
BROOKLYN
That doesn’t narrow it down much.
MATT
Well, from the look of this, he’s coming into O’Hare tomorrow at 4:45. That’s a little before sunset.
HUDSON
And a problem.
MATT
Well, maybe. Maybe we can beat them to him. It’d be better than letting them take him somewhere; we don’t know how they plan to get this jewel away from him.
GOLIATH
Based on experience, it will not be gentle.
BROADWAY
New topic: who’s Plutus?
GOLIATH
They did not say. Someone who they seemed to think would be willing to purchase me.
BROADWAY
Doesn’t really narrow it down much, does it?
GOLIATH
No.
LEXINGTON pages through the papers.
LEXINGTON
Nothing here about him, not even a contact number. So, he must be coming to them, rather than them going to him.
HUDSON
Enough talk. Let us put a plan into motion.
GOLIATH
Is there somewhere safe for us near the airport?
MATT
There’s a couple of office towers nearby. They should work for you.
GOLIATH
Broadway and Brooklyn, you go to the towers and spend the night there. Matt, we will need your help on this one.
MATT
You got it.
INT. SCENE - STORAGE UNIT.
ENKI, DIO, and SIGMUND enter through the ruined door of the storage unit, carefully. ENKI turns on the lights and the others look around. There is no sign of Goliath. There is also no sign of the papers that had been on the desk.
SIGMUND
Okay. Okay. All right. Well, then.
DIO collapses into a chair and puts one hand to his head.
SIGMUND
I think your dosages were a little off.
DIO
You think so? How am I supposed to know the right dose of scopolamine to give a gargoyle?
SIGMUND
You said you met them before!
DIO
Saw them, Siggy. I never drugged one before. I wasn’t gonna get close to them.
ENKI
All right.
SIGMUND
You’re so clever right up until you’re not.
DIO
Oh, stick a sock in it.
ENKI
All right! Enough! The papers are gone?
SIGMUND
As far as I can see, yeah.
ENKI
So what’s that mean? Did someone snatch this thing from us or did it get out on its own?
DIO
It sure looks like it escaped. I don’t think anyone else would’ve ripped open that door like that.
ENKI
And gone where?
SIGMUND
Away, that’s where.
ENKI
Great, but away to where?
SIGMUND
How should I know?
DIO
Yeah, he could be anywhere.
ENKI
All right. All right. Just, gimme a sec.
She sits.
ENKI
Okay. Nothing changes for the original plan, right?
SIGMUND
No, everything else should be the same. This gargoyle fell into our laps, and it just fell back out, that’s all.
DIO
With our papers.
ENKI
Right, but what’s that mean? He isn’t going to get within half a mile of the airport. That’s their whole business is watching out for flying things, right? And we know he’s not going to walk in, or take the ‘L’ in, right?
DIO
I guess not.
ENKI
So at best, he knows that we’re gonna pick up someone tomorrow evening. He can’t do anything about it. Right?
SIGMUND
Not that I can see, no.
ENKI
Okay. So all systems go for picking this guy off, right?
SIGMUND
Right.
DIO
Wrong. Count me out.
ENKI
What?
SIGMUND
C’mon, Dio.
DIO
No, sorry, but I saw these things in action in New York. I got outta there to get away from them. I ain’t messing with them here.
ENKI
You can’t drop out now.
SIGMUND
Yeah. Not now.
DIO
Sorry, Enki, but I just can’t do it.
ENKI
Okay, all right then.
She stands, draws out a switchblade, and points it at DIO.
ENKI
We’ll just have to cut you out of the picture, then.
DIO
Aw, Enki, come on.
ENKI
Six months of planning. We spent a month just working out how to get you the scopolamine so you can finish the job. I had to grovel to Plutus just to get the job. Now you’re dropping out just like that? Nuh-uh.
DIO
Enki, fun’s fun. This ain’t fun.
ENKI
You’re right. This isn’t fun. You’re staying in.
She advances on DIO, pointing the knife at his throat.
ENKI
In all the way, or I’m gonna take you all the way out, and if that thing comes back, I’m gonna feed you to him. You get me?
DIO
You can’t be serious, Enki. Just stop and think for--
ENKI flicks the knife up sharply, and then puts it back at DIO’s neck. A piece of his shirt flutters down from above, where ENKI had neatly clipped it off.
ENKI
You get me, Dio?
DIO gulps hard.
DIO
I get you.
ENKI
In or out?
DIO
In.
ENKI
Good.
ENKI briskly backs off DIO, smiles at him, and flicks the switchblade closed.
ENKI
Glad we could settle this. I will see both of you tomorrow evening. Do not be late.
She exits. DIO exhales, a long deep breath.
SIGMUND
She’s a pro.
DIO
A pro what?
SIGMUND
Just...a pro.
DIO
Yeah. Right.
EXT. SCENE - O’HARE AIRPORT. ARRIVALS.
Caption: O’Hare International Airport. 4:55 PM, January 25, 2013.
The sun is hanging low over the skies, and traffic is heavy at O’Hare Airport as the passengers stream out of the terminal. One of them is VERNON HENDERSON, a trim man in a sharp suit, carrying a briefcase. He checks his watch, and then looks up. MATT approaches, dressed in a dark suit and a chauffeur’s cap. He holds up a sign saying, “HENDERSON.” VERNON spots this, points, and hurries over.
MATT
Are you Mr. Henderson?
VERNON
Yes, I am. Hello there.
MATT
Any baggage?
VERNON
No, just eager to get in. It’s been a hard flight.
MATT
I’m sure it has been. Your car is this way, sir.
VERNON
You’re not picking up from the curb any more?
MATT
No, sir. Security restrictions, sorry.
VERNON
Well, all right.
They begin to walk along the terminal sidewalk. The walk is interrupted by a black car pulling to the curb in front of them. It pulls in so abruptly that it actually hops the curb slightly. ENKI, dressed in a dark suit and chauffeur’s cap, hops out. SIGMUND hops out of the back seat and stands by the open door. ENKI rushes up to MATT and VERNON.
ENKI
Mr. Henderson? Mr. Henderson?
VERNON
Yes? What?
ENKI
Your ride is here.
MATT
Buzz off. Go find another fare.
ENKI
Who are you?
MATT
His driver.
ENKI
No, I’m his driver.
MATT
Not any more.
ENKI draws a pistol on them.
ENKI
Yes, I think I am.
VERNON
What is this?
ENKI
You, get into the car.
MATT
Now, hold on. I saw him first.
ENKI
Yeah, how about that? Get in the car.
VERNON
Good grief. All right.
VERNON goes to the car and gets in as ENKI holds MATT at gunpoint.
MATT
You wouldn’t consider splitting a fare, would you?
ENKI
Shut up.
MATT
Just, like, up to city limits and then you can take over?
ENKI
Shut your gob.
SIGMUND gets in behind VERNON and shuts the door.
ENKI
Now, you be smart, and keep your mouth shut, all right?
ENKI backs up toward the car. MATT suddenly bolts toward the parking ramp. ENKI fires twice toward him. He dodges as the passengers around them flee and duck for cover. ENKI rushes back to the car, gets in, and squeals out.
EXT. SCENE - OFFICE BUILDING. ROOF. (DUSK)
Atop a nondescript office high-rise nearby, BROADWAY and BROOKLYN stand, sleeping. The sun drops below the horizon, and shortly they both roar to life. They start looking around below themselves.
BROADWAY
So where do you think he is?
BROOKLYN
Not sure. There’s so much traffic down there.
There is a chirping from BROOKLYN’s pocket. He pulls out the phone and answers it.
BROOKLYN
Yeah, how’d it go?
MATT
Badly. They got the drop on me. They got him.
BROOKLYN
Where are you?
INT. SCENE - MATT’S RENTAL CAR.
MATT is driving a fancy black car that could pass for a limousine. He is tearing along the expressway. Several cars ahead of him, ENKI’s car weaves through traffic as MATT attempts to catch up.
MATT
On the spur, heading toward town.
BROOKLYN
Coming east?
MATT
Yeah.
BROOKLYN
Where along the spur are you?
MATT
Coming up on the river now. They’re in a black car.
BROOKLYN
Got it. We’ll be right there.
MATT hangs up and drops the phone onto the passenger seat.
EXT. SCENE - O’HARE SPUR. (DUSK)
MATT continues to chase ENKI along the expressway but it is hard going: traffic is heavy and MATT’s opportunities to get around it are limited. From above, BROOKLYN and BROADWAY come into view. MATT begins honking the horn wildly. They look down at him, and he points out toward the car ahead. They descend onto ENKI’s car.
INT. SCENE - ENKI’S CAR.
Inside, VERNON is being held in place between DIO and SIGMUND in the back seat. ENKI continues to drive, intensely. There is a loud thump on the roof of the car, followed by a louder one. SIGMUND, VERNON, and DIO look up, nervously. ENKI is too focused to care.
DIO
Oh, no. Oh, boy.
VERNON
What? What is it?
SIGMUND
It’s nothing. Never mind.
But SIGMUND draws his gun and holds it in front of himself. A moment later, the right rear door of the car is ripped away. BROADWAY leans over and looks in, eyes alight. All three of the rear seat occupants scream. SIGMUND aims at BROADWAY, but BROADWAY instantly grips the pistol and rips it away.
On the other side of the car, BROOKLYN punches the driver’s window, and after a couple of thumps, it shatters. ENKI, unfazed, begins swerving the car back and forth to shake them off.
EXT. SCENE - ENKI’S CAR.
The car swerves back and forth. BROOKLYN and BROADWAY cling to the roof, riding it out. They each dig one set of claws into the roof of the car and hang on, but their feet swing to and fro across the back of the car. BROADWAY struggles to get his footing, and eventually digs one foot into the trunk. BROOKLYN reaches over and through the window, gripping the wheel.
INT. SCENE - ENKI’S CAR.
BROOKLYN has a firm grip of the steering wheel and fights ENKI for control. He finally wrenches the wheel up from his side, and the car swerves into the barrier wall, sliding along it. The jolt sends SIGMUND tumbling toward the door. BROADWAY grabs his shoulder and holds him so he does not fall out. ENKI briefly gets control back and swerves off the wall. BROOKLYN doubles his effort with a grunt and swerves the car into the wall again. This time it grinds along and finally stops. ENKI pumps the gas and grinds the car forward. BROOKLYN reaches down and grabs onto ENKI.
BROOKLYN
That’s enough, lady. Pull it over.
ENKI reaches under her jacket and draws her gun, aiming it out of the window, but BROOKLYN grabs it. She fires, and he is able to keep her from aiming at him.
EXT. SCENE - ENKI’S CAR.
BROADWAY jumps down as MATT pulls in behind them. BROADWAY pulls SIGMUND out of the car and tosses him aside. BROOKLYN likewise jumps down, and pins ENKI’s arm against the side of the car.
BROOKLYN
Get him out of there.
BROADWAY
Right.
INT. SCENE - ENKI’S CAR.
BROADWAY reaches into the car and grabs on to VERNON, who digs in his heels.
BROADWAY
Sorry, but you need to come with us.
VERNON
No, leave me alone! Help!
BROADWAY
We are help! Come on!
With extra effort, BROADWAY drags VERNON out of the car. He looks back in.
BROADWAY
You, stay here.
DIO
Okay. Sure.
EXT. SCENE - ENKI’S CAR.
BROADWAY gets hold of VERNON, and drags him back toward MATT’s car. VERNON resists this, and BROADWAY finally picks him up and carries him over. MATT opens the back door, and BROADWAY puts VERNON in.
MATT
Oh, briefcase?
BROADWAY
Briefcase. Right.
He goes back to ENKI’s car.
INT. SCENE - ENKI’S CAR.
BROADWAY leans into the car.
BROADWAY
Briefcase?
ENKI
Don’t you dare!
BROOKLYN
Oh, be quiet.
DIO puts one foot against the briefcase and shoves it over. BROADWAY picks it up.
BROADWAY
Thank you very much.
DIO
No problem.
BROADWAY leaves.
EXT. SCENE - ENKI’S CAR.
BROADWAY goes back to MATT’s car with the briefcase. BROOKLYN releases ENKI’s arm. She pulls it back in, and rubs it.
BROOKLYN
Now, beat it. You’re holding up traffic here.
BROOKLYN and BROADWAY leap over the expressway wall and depart, as MATT pulls into traffic.
INT. SCENE - MATT’S HOUSE. LIVING ROOM.
The back door opens, and BROADWAY enters, leading VERNON, followed by BROOKLYN and MATT, who closes the door behind them. BROADWAY leads VERNON into the living room by the arm, and releases him.
MATT
Have a seat.
VERNON rubs his arm, glares at them, and then sits on the couch.
MATT
Coffee?
VERNON
No.
MATT
All right.
VERNON
What do you mean, “coffee”? No.
MATT
Okay.
BROADWAY
So, uh...
BROOKLYN
Right. We, um...
VERNON
You what? Kidnapped me?
BROOKLYN
No, it’s not like that.
VERNON
Oh? Well, that’s a relief, because it sure looks like it to me.
BROADWAY
No, but, you see, you were going to be kidnapped by those other people.
VERNON
Ah! You’re right! So now I get kidnapped by you monsters, and that’s better!
BROOKLYN
Yeah, actually.
VERNON
Look, fun’s fun, but I got things to do. Can I go?
MATT
I don’t think that would be a good idea, no.
VERNON
And why is that?
BROOKLYN
Mr. Henderson, listen. We really are--
VERNON
No, I’m out of here. This is insane. I really can’t--
BROOKLYN angrily thumps the coffee table, cutting VERNON off.
BROOKLYN
You will! I nearly broke a hand getting you out of that car. Now you will stop talking and you will listen!
VERNON stares at him. The facade slips: he is frightened for a moment.
BROOKLYN
All the times we jump in there, all we go through helping out, and we gotta take abuse from you as well?
MATT
Brooklyn? Cool it, my landlady’s home.
BROOKLYN looks at him, and then relaxes slightly. He turns away and puts a hand to his face.
BROADWAY
You owe him a thanks or two, mister. Those guys who picked you up were after something you got. There’s nothing to say they’d have needed you once they got that. That’s the only reason we were in there at all was to keep you out of trouble, and keep them from getting your...whatever it is.
VERNON
Wait. So you don’t know?
BROADWAY
No.
VERNON
Fix me a coffee. I got something to show you.
MATT
Coming right up.
MATT heads toward the kitchen. As he goes, he touches BROOKLYN on the shoulder. He looks up. MATT gestures to him to follow, and they go into the kitchen.
INT. SCENE - MATT’S HOUSE. KITCHEN.
MATT and BROOKLYN enter the kitchen. MATT begins preparing the coffee as they talk.
MATT
You all right?
BROOKLYN
Yeah. He just touched a nerve.
MATT
Okay.
BROOKLYN
Sorry. Is your landlady going to give you trouble?
MATT
Don’t worry about that. We’re friendly. We’ll work that out.
BROOKLYN
Okay.
MATT
He’s just mad about being snatched, I guess.
BROOKLYN
I get that. But, you know--
MATT
Yeah, I know. I was behind you. It looked awesome to me. He wasn’t there. He didn’t see anything.
MATT switches on the coffee maker.
BROOKLYN
Still...
MATT
Yeah, still. They don’t appreciate it. Something like that?
BROOKLYN
Something like that.
MATT
Welcome to the world.
BROOKLYN
I know.
MATT
You sure you’re okay?
BROOKLYN
I’m okay. I’ve been okay for years.
MATT
Can I do anything to help?
BROOKLYN
No. Just...no, I’m good.
MATT
All right.
INT. SCENE - MATT’S HOUSE. LIVING ROOM.
MATT brings in two cups of coffee and sets one on the coffee table, as VERNON sets his briefcase onto the table. MATT, BROOKLYN, and BROADWAY gather around. VERNON unsnaps the briefcase catches.
VERNON
Here is what all the fuss is about.
He opens the case. A bright glow from inside the briefcase lights his face; the others are astonished. After a moment, VERNON reaches inside and brings out a fancy smartphone, the screen of which is lit up.
VERNON
(reverently)
May I present the Skylark 14, the next leap in phone technology.
BROOKLYN and BROADWAY are now unimpressed.
BROADWAY
A phone? All this for a phone?
VERNON
Well, yes.
BROOKLYN
You got to be kidding me.
VERNON
What else would it be?
BROADWAY
A time portal? Or even just some rubies or something.
BROOKLYN
Anything but that.
VERNON
Oh, fine. Sure. Time portal is better than this?
BROOKLYN
From personal experience, yeah. Anyway, everyone’s got a phone now. What’s the big deal?
MATT
Wait, though. Hold on.
VERNON
What?
MATT
We got a guy at work who just got the Skylark 12. He was in line all night for it. They’re not up to 14 yet.
VERNON
No, we’re not.
MATT
Oh. Is this a prototype?
VERNON
Pre-release model. We’re slated to announce it next week.
MATT
So that’s why this is a big deal.
BROOKLYN
I guess.
VERNON
We have got hundreds of people lined up to get a sneak peek at this thing. Dozens of them bidding to be the first. There’s a reason we can’t just mail it.
MATT’s phone rings. He pulls it out and looks at it, and then answers.
MATT
Officer Sanchez? What’s up?
EXT. SCENE - DIGG’S DOGS. PARKING LOT. (NIGHT)
ERIC SANCHEZ is out by his patrol car in the parking lot. He turns away from the restaurant as MATT answers.
SANCHEZ
Matt? What is going on with the gargoyles?
MATT
What do you mean?
SANCHEZ
We got a report that some guy was attacked by gargoyles on the O’Hare feeder.
MATT
Oh. You want the truth?
SANCHEZ
Use your best judgment.
MATT
We were trying--
SANCHEZ
“We”?
MATT
Yeah. We were trying to stop a kidnapping. It went a bit wrong, but we managed it.
SANCHEZ
That’s not the story we have. We got a limo driver saying he got attacked. We got witnesses saying the same thing.
MATT
No, the limo driver was the kidnapper.
SANCHEZ
Matt, is Vern Henderson with you?
INT. SCENE - MATT’S HOUSE. LIVING ROOM.
MATT
Yeah, he’s right here.
SANCHEZ
Put him on.
MATT
Sure.
MATT hands VERNON the phone.
VERNON
Hello?
SANCHEZ
Mr. Henderson? Eric Sanchez, Chicago Police. Are you all right, sir?
VERNON
Yes, officer, I’m fine.
EXT. SCENE - DIGG’S DOGS. PARKING LOT. (NIGHT)
SANCHEZ lowers his voice.
SANCHEZ
Can the people around you hear me?
VERNON
No, I don’t think so.
SANCHEZ
I hate to do this. Sir, just say yes or no: do you need to be rescued right now?
VERNON
No.
SANCHEZ
You’re safe?
VERNON
No less safe than usual, anyway.
SANCHEZ
All right. Would you put Matt back on?
INT. SCENE - MATT’S HOUSE. LIVING ROOM.
VERNON
Sure.
He hands the phone back to MATT.
MATT
Well?
SANCHEZ
You guys are in a lot of trouble. I don’t know if I can get you out of this. We got enough guys around here gunning for the gargoyles.
MATT
Yeah, I know that.
SANCHEZ
So what do you want to do?
MATT
Give us a little while. Can I call you back?
SANCHEZ
Soon. Please.
MATT
As soon as I can. G’bye.
MATT hangs up and puts the phone away.
MATT
We got a problem. Cops are looking for you guys. Those other guys are saying you were the kidnappers.
BROADWAY
That figures.
VERNON
It’s no problem. I can go to them and clear things up.
BROOKLYN
I doubt it. We’re already in bad standing with half the police force around here. You go to them, chances are they’ll still be chasing us down for picking you up.
VERNON
What do we do?
BROADWAY
We give them what they’re looking for.
INT. SCENE - STORAGE UNIT
ENKI, DIO, and SIGMUND are sitting around, moping.
DIO
Well?
ENKI
Well, what?
DIO
Well, what next?
ENKI
Like I'm supposed to know.
SIGMUND
You're the boss, boss.
DIO
You think the cops bought it?
ENKI
I ain't no psychic, Dio. We got room to breathe anyway. More than that, I dunno.
SIGMUND
Maybe we oughta cut.
ENKI
Not a chance. That thing's worth too much to us to walk out. We got room to think. So think.
SIGMUND
I mean it, Enki. It got out of the door and then it got its friends after us. Do you really want to stick around and see what it's gonna do next?
ENKI
What is it with you? One little obstacle and you're out. Sheesh.
SIGMUND
It's a big friggin' obstacle, actually.
ENKI
No sense of adventure, I tell you.
SIGMUND
Oh, adventure, sure.
DIO
Hey, Enki?
ENKI
Hang on. Yeah, adventure. When else are you gonna find something like this?
SIGMUND
I'm trying to stay away from these sort of adventures. I kinda like living.
DIO
Enki?
ENKI
What?
DIO
What's a bunch of gargoyles gonna do with a phone?
ENKI
Gonna order a pizza. I don't know!
SIGMUND
Maybe go find an adventure?
ENKI
Don't you start with me, pal. I put up with a lot from you already in the time we've been together.
DIO
No, but, Enki, listen.
ENKI
Working my fingers to the bone to set these things up, putting my neck on the line--
SIGMUND
Oh, here we go.
DIO
Enki?
ENKI
--and for what? What?
DIO
I was thinking.
ENKI
Yeh, I smelled something.
SIGMUND
Aw, come on, Enki, cool it. Thinking what?
DIO
Gargoyles got no use for a phone, right?
SIGMUND
I don't know. You've seen as much of them as I have.
DIO
Well?
ENKI
I guess not. What about it?
DIO
So why keep it? Huh?
SIGMUND
What are you suggesting?
DIO
Well, they either got it for Plutus, or they got it against Plutus, or they got it to sell for themselves. No reason for them to be working for Plutus if he's got us, right?
ENKI
No.
DIO
If they got it against Plutus, good luck. Unstoppable force against an immovable object and all.
SIGMUND
Right.
DIO
So our best hope is, they want to sell it. Maybe they can't use the phone, but I sure bet they can use the money.
ENKI
Dio....
DIO
What?
ENKI
Coming from you, that's actually smart enough to put the fear of God into me.
DIO
Thanks, I think.
SIGMUND
So what you want to do?
DIO
Don't worry about it. I got a guy.
ENKI
Go get your guy, then. But get right back here.
DIO
I'm on it, boss.
DIO stands and struts proudly out of the storage unit. An instant later, he is flung right back inside, crashing into the storage containers. The containers smash as he hits them, and various papers fly out and settle to the floor. SIGMUND and ENKI look toward him as he groans on the floor. A low growl from the doorway draws their attention next, and they look up to see two glowing eyes in the darkness outside. The eyes come forward as GOLIATH approaches.
GOLIATH
You will remain here.
ENKI
Oh, will I? That's your idea of revenge?
GOLIATH
I have a deep desire to ruin you for what you have done. I am not your commodity, and this city is not your field to harvest. But that is a concern for their police. You will await them.
ENKI
Right, well, I mean, it must be nice to have scruples and all.
ENKI draws her switchblade.
ENKI
It'll make it that much easier to get to you.
She leaps toward GOLIATH, slashing. He dodges her blow, and on the return, he grasps her arm, holding her off easily.
GOLIATH
You are mistaken.
ENKI
Oh, really?
She begins to bring her other arm up to strike him, but is suddenly flooded by light from outside. Three police cruisers are lined up outside the door, shining their lights inside. Several police officers line up, taking cover behind the cars, and they draw on those inside the storage unit. Sergeant MIKULSKI takes up the public address unit.
MIKULSKI
This is the Chicago Police! You, let her go and keep your hands where I can see them!
GOLIATH releases ENKI, who reels backward quickly away from GOLIATH and toward SIGMUND. Both put their hands out.
ENKI
Officer, help us! He's trying to kill us!
MIKULSKI
Get back, now!
GOLIATH steps back, crouching slightly, ready to leap forward. His eyes flash and he growls menacingly, and in response the police take aim on him.
There is a whoosh outside, and BROADWAY lands, carrying SANCHEZ, followed by BROOKLYN. SANCHEZ leaps out in between the police and the storage unit, holding up his hands. Several of the officers skitter away from BROOKLYN and BROADWAY.
SANCHEZ
Sergeant! Stop, hold your fire!
GOLIATH
Sanchez, get out of there!
SANCHEZ
No, sarge, that's Goliath! He's on our side!
MIKULSKI
Sanchez, you are in the line of fire.
SANCHEZ
I'm sorry, sarge, but I need to be. Please, stand down.
ENKI
But he attacked us!
SANCHEZ
Is this the one?
GOLIATH
Yes.
SANCHEZ
She's the one you want. These three kidnapped Goliath and then they tried to kidnap Mr. Henderson out by the airport. The gargoyles saved him.
MIKULSKI
Oh, yeah?
SANCHEZ
Yes, sir. I've been following them. I know all about it.
MIKULSKI
Weapons down.
The police uncertainly lower their weapons, warily watching the three gargoyles. GOLIATH relaxes slightly. MIKULSKI approaches GOLIATH, staying well outside of arm's reach, and looks him over. Meanwhile, BROOKLYN and BROADWAY enter the storage unit. BROOKLYN keeps watch on ENKI, DIO, and SIGMUND as BROADWAY explores.
MIKULSKI
Goliath.
GOLIATH
I am.
MIKULSKI
N.Y.P.D. Goliath?
GOLIATH
So I was.
MIKULSKI
Uh-huh. I don't suppose there is any need to check your badge to prove that.
GOLIATH
I do not have it. We left Manhattan too quickly.
MIKULSKI
Yeah, sure. You can back Sanchez on this?
GOLIATH
Yes, Sergeant.
MIKULSKI
And that's it?
GOLIATH
I do not understand.
DIO
I do! It’s your word against ours, and who do you think a jury's gonna believe?
ENKI
Real sharp.
DIO
Thanks.
MIKULSKI
He's right. There's a good chance the charges won't stick and, with all the enormous, massive, tremendous respect that is due, Goliath, I really think we aren't going to be getting you into court to testify against them.
GOLIATH
You will not release them?
MIKULSKI
If I can’t hold them, I guess I gotta.
ENKI
Well said.
BROADWAY, meanwhile, has circulated around into the unit, and is examining the papers there.
BROADWAY
Hey, sarge? You may want to take a look at this first.
MIKULSKI
Oh? What's there?
SIGMUND
Private papers, just old files of, uh...
MIKULSKI examines the papers scattered from one of the bins. He holds up a driver's license and a couple of credit cards clipped together.
MIKULSKI
"Flora Dortmunder"?
ENKI
Yes?
MIKULSKI
Who's now 78 years old.
ENKI
I age well.
DIO struggles to his feet.
DIO
Naw, officer, that's my aunt. I'm just holding on to her papers since she went in the home.
MIKULSKI
All of her papers?
DIO
Well, her files are a mess.
MIKULSKI
And you are?
DIO
Diogenes. D--d--Dortmunder.
MIKULSKI
Uh-huh. Pinkman?
Officer PINKMAN enters.
MIKULSKI
Will you please confine Mr. and Ms. and Mr. Dortmunder, and get the ID theft guys out here?
PINKMAN
Right away.
PINKMAN motions for several other officers to come in, and they begin arresting ENKI, SIGMUND, and DIO.
ENKI
This won't stand, sergeant. This is entrapment. I want your badge number, mister. You’ll be hearing from my lawyers.
SIGMUND
Enki, cool it.
MIKULSKI
Send them up. Just, uh, friendly advice, don't pay for your attorneys on these credit cards.
ENKI, SIGMUND, and DIO are removed by the officers. MIKULSKI faces SANCHEZ and GOLIATH as BROADWAY and BROOKLYN approach. MIKULSKI crosses his arms.
MIKULSKI
You know, we do appreciate a heads-up when anyone comes in to work in our territory.
GOLIATH
It was not my intent to work your territory, Commander.
MIKULSKI
And we absolutely expect a word or two before one of our officers decides to go assist a foreign agency, Sanchez.
SANCHEZ
Wasn't my plan either, sarge. Things just...happened.
MIKULSKI
Uh-huh.
BROADWAY
Sergeant, you picked up a couple of scammers. Isn't that good?
MIKULSKI
And you are?
BROADWAY
My name is Broadway.
MIKULSKI
Hi, Broadway. Butt out.
BROADWAY
Hey.
SANCHEZ
I'll go in, then.
MIKULSKI
You were there? You went along with this?
SANCHEZ
No, sarge. I was talking to the gargoyles, and--
MIKULSKI
You pulled him in to this?
BROOKLYN
No, sergeant. He invited himself.
MIKULSKI
So what are you going to testify to, Sanchez? That you heard bad things about them? That'll stick like wax paper to an ice sculpture. You planning to stay in Chicago?
GOLIATH
For a time.
MIKULSKI
Then do me a favor. Keep to yourselves. We have enough trouble in this city and the last thing I need is to pile you onto it. Or if you want to play cop, call first. Sanchez, I need to talk to you tomorrow morning.
SANCHEZ
Yes, sir.
MIKULSKI turns and leaves.
SANCHEZ
Well. Thanks a lot. That'll be two or three days off, for sure.
BROADWAY
Hey, you insisted. You said you needed to go in and save us.
SANCHEZ
And I was right, wasn't I?
GOLIATH
Were you?
SANCHEZ
Well, yeah. They were getting ready to shoot you, if you didn't notice.
GOLIATH
Officer Sanchez, I have long experience handling those situations without your assistance.
SANCHEZ
But Sergeant Mikulski--
GOLIATH
In the future, please ask to help. Do not intrude.
SANCHEZ
Well. Fine. No good deed, I guess.
GOLIATH
No. Come.
GOLIATH, BROADWAY, and BROOKLYN exit, leaving SANCHEZ behind looking a bit dumbfounded.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
The gargoyles (minus LEXINGTON), MATT, and VERNON are on the roof. VERNON is showing MATT the features on the phone. BROADWAY is nearby, feigning interest badly. The others are scattered around the roof, watching the street.
MATT
So it's got news aggregation built in too, right?
VERNON
Right. We're going to roll that out with the next update. See?
He scrolls up and taps a bit on the screen, and then shows it to MATT and BROADWAY.
MATT
(reading)
"Massive ID Theft Ring Broken." Yeah, that checks.
BROADWAY
Huh.
VERNON
And here's another great thing. One touch and you can send photos around. Look.
He holds the phone up toward the side of the roof, taking in BROADWAY along with several of the others in the background.
BROADWAY
C'mon, no photographs.
VERNON
Oh, just one.
Click. VERNON taps away on the phone a bit.
VERNON
See? Nothing to it.
MATT
Sure, I can see that changing my life.
BROADWAY
Yeah, I guess.
VERNON
And talk about your social media.
BROADWAY
If we have to.
VERNON
The graphics chip in here gives you thirty percent better rendering at half the energy usage. You know what this means?
MATT
Twice as many photos of dinner?
VERNON
Exactly!
BROADWAY slouches down a little at this.
Across the roof, GOLIATH is looking out to the east. LEXINGTON lands nearby him.
GOLIATH
It is done?
LEXINGTON
For now. I couldn't quite get the power feeds buttoned up like I'd want, but it should hold.
GOLIATH
We take what we can, I suppose.
LEXINGTON
No kidding.
But his ears twitch, and he turns toward where VERNON is holding out with great vigor as MATT feigns interest (with increasingly less success) and BROADWAY has completely zoned out:
VERNON
...processor power to improve call handling and data handling both. So you're looking at the first phone to actually use double-stacking to make it possible to multitask successfully...
LEXINGTON goes over to VERNON during this monologue. He is not pleased. VERNON, seeing LEXINGTON, abruptly breaks off. MATT and BROADWAY both snap out of their respective trances and look at him.
LEXINGTON
Well.
VERNON
Oh. Hello.
LEXINGTON
Hello, Vernon.
BROADWAY
Wait. You know this guy?
LEXINGTON
Know him? I fired him.
VERNON
Yeah, um, about that.
LEXINGTON
What are you doing here?
VERNON
Ah. Well, you see--
LEXINGTON snatches the phone from his hand.
LEXINGTON
And what are you doing with that?
VERNON
Well, um, you see...
MATT
Wait, hold up. You fired him?
LEXINGTON
Yes, I did.
MATT
From what?
LEXINGTON shakes the phone at VERNON.
LEXINGTON
This is off limits. Take a look.
He hands the phone to MATT.
LEXINGTON
At the back.
MATT turns the phone over and reads the back.
MATT
"Skylark 14 wireless telecommunications device. Prototype, not for sale. Contains technology from L-X Corporation, used under license."
BROADWAY
This is your phone?
LEXINGTON
No, I killed the project.
MATT
Hang on a moment. "L-X Corporation" is...
LEXINGTON
Lexington-Xanatos Corporation.
MATT
What? No.
LEXINGTON
Yeah. You didn't know?
MATT
I don't keep up with that stuff.
LEXINGTON
Seriously?
BROADWAY
Yeah, that's him.
MATT
Wow.
He hands the phone back to LEXINGTON.
LEXINGTON
Except I didn't want our technology getting into something like this.
VERNON
Well, what can I say? You got overruled.
A helicopter begins to approach from the distance.
LEXINGTON
By who, as if I didn't know.
VERNON
Well, by him.
The helicopter hovers over the station, shining a spotlight down. The others gather near VERNON and LEXINGTON. A rope drops from the helicopter to the roof, and a moment later a man slides down the rope, wearing all black. He doffs his helmet. It is DAVID XANATOS.
DAVID
Hello, everyone. Nice to finally catch up to you.
GOLIATH
Xanatos. You are not entirely welcome here.
DAVID
Now, Goliath. That's an unkind thing to say to an old friend.
GOLIATH growls at this.
LEXINGTON
This is your doing?
DAVID
Yes.
GOLIATH
How did you find us here?
DAVID
Well, you weren’t exactly hiding, now, were you?
GOLIATH
No, it’s more than that.
DAVID
Of course it is.
LEXINGTON
The phone.
DAVID
Well, now, that was a bonus. Mr. Henderson was only going to get kidnapped as a promotional effort. But, you know, there always was the chance that you would intervene, and now, here we are. But, now that we are...
DAVID pulls out his own phone (a Skylark 14) and shows them a photo of themselves: the photo that VERNON had just taken a few minutes ago.
DAVID
...It didn’t take much to pin you down. One photo and a bit of geolocation.
MATT
Promotional effort?
DAVID
I’m sorry, you are?
MATT
I’m--
LEXINGTON puts his hand up, stopping MATT.
LEXINGTON
Nobody you need to concern yourself with.
MATT
Um.
LEXINGTON
You can’t put this on sale. This is military grade technology in here. You can’t just put it out to the public like that.
DAVID
The market is a battleground. Haven’t you heard?
LEXINGTON
Not like that!
DAVID
And anyway, it’s been suitably clipped back. For most customers, anyway.
LEXINGTON
Oh, I see. For the right money...
DAVID
Exactly.
LEXINGTON
Yeah, well, I have a better idea for how to clip it. Goliath?
GOLIATH puts one hand up. LEXINGTON tosses him the phone, and he crushes it at once, shaking out the fragments onto the roof. DAVID sucks his lip, and shakes his head.
DAVID
Oh, well, it was just one prototype anyway. We’ll still have one to show off at the unveiling.
He puts his own phone away.
DAVID
Now, then. Time to go. Come on.
LEXINGTON
Go?
DAVID
Yes. Come on. I can give you a lift home.
The others look to GOLIATH, who crosses his arms defiantly.
GOLIATH
No.
DAVID
No? Really?
GOLIATH
We are not leaving yet. And when we do leave, we will manage on our own.
DAVID
Are you sure about that?
GOLIATH
Very sure.
DAVID
All of you?
BROADWAY
Goliath said no. That’s final.
LEXINGTON
Right.
The others nod approval (except MATT, who just looks around at them). DAVID shrugs.
DAVID
Your life, I suppose. I don’t expect Elisa will be very happy about that.
GOLIATH
That is not your concern either.
DAVID
Goliath, everything to do with you is my concern. Well, if you insist. Vernon?
He dons his helmet and takes up the rope that is still hanging from the helicopter. VERNON comes over and takes a grip as well.
DAVID
But Manhattan won’t be the same until you get back.
GOLIATH
You say that as though it were a problem.
DAVID
Well said. Mr. Pegram!
MATT
What?
DAVID
Take care of my gargoyles until they go home.
MATT
Uh, okay.
DAVID points up and circles his finger. The helicopter draws the the rope up into itself, and departs.
MATT
How did he know--
LEXINGTON
He just does. That’s who he is.
MATT
And you partnered with him?
LEXINGTON
It wasn’t my idea. Long story.
MATT
Right.
GOLIATH sighs.
MATT
You okay?
GOLIATH
I would not have refused the ride if I were not.
BROADWAY
So we’re staying a while longer, then.
GOLIATH
Yes.
MATT
Suits me fine.
BROOKLYN
Us, too, right?
The others agree.
GOLIATH
Lexington, I need the phone.
LEXINGTON
Yeah, here you go.
LEXINGTON hands him his phone.
GOLIATH
I will be back shortly. I have a call to make.
He goes to the edge and flies off to the east.
HUDSON
All of that talk about processors and rendering that he had. Does any of it make a difference?
LEXINGTON
Sometimes. Sometimes all you need is a voice. Doesn’t help much with that.
HUDSON
Humph.
EXT. SCENE - LINCOLN PARK. ULYSSES GRANT STATUE. (NIGHT)
GOLIATH is perched on the top level of the Grant memorial, on the phone to ELISA.
ELISA
So he found you there.
GOLIATH
Yes. I should not be surprised. He always catches up to us, one way or another.
ELISA
First Demona, now Xanatos. You haven’t gotten away from much.
GOLIATH
No. Somehow Manhattan keeps coming to us. But somehow, I feel we need to remain here, and continue exploring.
ELISA
And you’re sure about staying?
GOLIATH
I am not sure of much. I am sure I would rather be with you. When the wind is right, we will return.
ELISA
Whatever happens, I trust you to make the right call.
GOLIATH smiles.
GOLIATH
I already have. Good night, Elisa.
ELISA
Good night. Talk to you soon.
GOLIATH hangs up, puts the phone in his pocket, and looks out toward the lake.
=END=