A Sea Without Salt
by
Andrew Morris
EXT. SCENE - WESTERN/MILWAUKEE "L" STATION. (NIGHT)
Some traffic remains at the Western Avenue Blue Line station, but rush hour has ended and what traffic is left is mostly leisure passengers on their way to or from the busy Milwaukee Avenue corridor. An inbound train pulls up to the platform and stops, and the doors open. Among the passengers who exit is ELISA MAZA, carrying a small backpack. She looks up and down the platform briefly.
Caption: Western Avenue Blue Line Station. Friday, February 22, 2013. 7:43 PM.
At one end, there is a thump as GOLIATH lands. He looks toward her, and starts toward her. Several other passengers are startled by his sudden appearance, and make themselves scarce fast. He comes right up to her.
ELISA
Goliath.
GOLIATH
Captain.
They look at each other sternly a moment. ELISA then leaps into his arms, and he embraces her. She laughs.
GOLIATH
It is good to have you here.
ELISA
Well, if you're not going to visit me, what else am I going to do?
GOLIATH
You will not be missed?
ELISA
No chance. I have the vacation time coming.
GOLIATH
You have packed little.
ELISA
I travel light.
GOLIATH
How long will you stay?
ELISA
Forever, or as close to it as I can. About three weeks. You're still doing all right?
GOLIATH
We are well. Come and see.
ELISA
Lead on, big guy.
He picks her up and leaps off into the air, and glides away from the platform, as the few remaining passengers look on.
EXT. SCENE - LINCOLN PARK. ULYSSES GRANT MEMORIAL. (NIGHT)
GOLIATH lands on the memorial, and then sets down ELISA, who walks around the top of it.
ELISA
You're not living here, are you?
GOLIATH
No. This has been a refuge for me. Every night, when I have telephoned, I have stood here.
ELISA
It's a nice spot. Nice view.
GOLIATH
It is a beautiful city. This place represents it well.
ELISA
Manhattan can be beautiful too.
GOLIATH
Yes.
ELISA
Then why not come home now?
GOLIATH
David Xanatos wills it.
ELISA looks at him.
GOLIATH
That is reason enough. Though not without its costs.
He approaches her, and then embraces her. His hand goes to her hair.
GOLIATH
I had thought I might never see you again.
ELISA
Now, there is zero chance of that, big guy. Hey.
GOLIATH
I have dreamed of you.
She puts her fingers through his hair. He begins to weep.
GOLIATH
I have longed to show you this place. Its wonders and its promises.
ELISA
I can't think of a better guide.
He backs off a bit to face her, still holding her.
GOLIATH
What do I say? "Welcome home"?
ELISA
Just "welcome," will be fine.
GOLIATH
Welcome.
ELISA
I am so glad to be here with you.
They embrace closely again in the moonlight.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
The clan is passing the night on the roof, with BROOKLYN keeping watch with BRONX toward the north. BROADWAY and HUDSON are chatting to one side, and LEXINGTON using a handheld remote control nearby by himself. BRONX begins barking toward the sky, and BROOKLYN follows his gaze.
BROOKLYN
Here they are!
GOLIATH lands on the middle of the roof, carrying ELISA. He gently puts her down, and the others quickly gather around her, BRONX putting his muzzle in tight for a scratch, which she easily gives him.
HUDSON
Well, now, here is the sight for weary eyes.
LEXINGTON
How are you?
ELISA
Fine.
BROADWAY
And Manhattan?
ELISA
It's fine, we're all fine. How have you been?
BROOKLYN
We've been getting along all right. A bit isolated, but not bad.
BROADWAY
How about Talon? How have they been doing?
ELISA
They've had their problems, but they're good now, too. They have bigger quarters.
LEXINGTON
So I heard.
GOLIATH
Spread out a little. Give some space.
BROOKLYN
No chance of that, Goliath.
From behind everyone, the door creaks open, and MATT steps out onto the roof. He looks toward the group, working out what to tell them. BROOKLYN is the first to notice him.
ELISA
Have you heard from Pittsburgh recently?
BROOKLYN
I think we're about to. Matt! Come say hello.
MATT
Hi. Um, actually, there's something else I need to mention.
BROOKLYN
It can wait. Elisa's here! Elisa, meet one of the best people we know here.
ELISA
Hello.
MATT
Hi.
GOLIATH
Why? Is something wrong?
MATT
Not wrong, just...
From the door, ANGELA steps out onto the roof, and spreads her wings, looking at the group around ELISA. GOLIATH's jaw drops.
MATT
I had company for the trip back.
ANGELA
Hello, father. Elisa. Everyone.
GOLIATH
Angela.
BROADWAY is stunned. Slowly, he goes toward her. She stands there, waiting for him. He comes right up to her as MATT is speaking.
MATT
She insisted that, if I was going to come back to Chicago, she was coming with me. She said she wasn't really needed in Pittsburgh, and, um...
BROADWAY stands there, facing ANGELA, astonished. She smiles at him.
ANGELA
Are you surprised? I told Coldstone, you know, I have never been to Chicago, maybe I should.
BROADWAY
Angela.
ANGELA
Hello.
BROADWAY
Oh, Angela!
He takes her up in his arms, and she whoops in delight as they embrace. BROADWAY is in tears.
BROADWAY
Do you know how many nights I thought I was never going to see you again?
ANGELA
As many as I thought I might not see you again, my love.
BROADWAY
Oh, come here.
They kiss. MATT shuffles, uncomfortably. The others look on.
BROOKLYN
It's a night for reunions, I guess, eh, Goliath?
He looks at GOLIATH, who is looking toward ANGELA with shock and slight dismay. BROOKLYN picks up on his mood, and frowns.
BROOKLYN
Are you all right?
GOLIATH
I...I don't...
BROOKLYN
What's the matter?
GOLIATH continues to watch ANGELA. ELISA touches him on the shoulder.
ELISA
Hey?
GOLIATH
Yeh. Yes.
ELISA
Are you all right?
GOLIATH
I am...I have...
He begins to go inside, haltingly.
ELISA
Goliath?
ANGELA
Father?
GOLIATH looks back at her, and then folds his wings and goes inside.
BROADWAY
Let him go. It's been a big night.
ANGELA
No, I should check on him.
BROADWAY
He’ll be fine, leave him. C’mere.
He embraces her again.
EXT. SCENE - CHICAGO RIVER. NORTH AVENUE BRIDGE. (NIGHT)
It is a misty and quiet night on the north branch of the Chicago River. From the foot of the North Avenue bridge, a faint light is visible out on the turning basin, approaching through the mist. As it gets closer, the prow of a skiff breaks through the mist as it glides along the calm waters. Standing in the skiff and propelling it along with a staff is a tall, young gargoyle, GABRIEL. As he comes from the mist, he looks around, searching. He steers the skiff toward the river bank and lands it. He gets out and pulls the skiff up to the bank, ties off to a tree nearby, and begins working his way up toward the street.
INT. SCENE - POLICE CRUISER.
Officers MILLER and O’CONNOR are going up the street, MILLER driving. They are silent a moment.
O’CONNOR
Kyle?
MILLER
Yeah?
O’CONNOR
Why’d you rebid?
MILLER
Had to get away from Sanchez. Guy’s going soft.
O’CONNOR
Really?
MILLER
Really.
O’CONNOR
How you figure that?
MILLER
You know about these gargoyles, right?
O’CONNOR
Yeah.
MILLER
He’s the one getting all buddy-buddy with them. He got Sarge behind them too.
O’CONNOR
Mikulski?
MILLER
Yeah. They had some sort of thing downtown last week with that Pegram lady that shot up those guys up in Wisconsin, you remember? Years ago.
O’CONNOR
No, not really.
MILLER
Sheriff's office was gonna search her house, and they shot back. You gotta remember that?
O'CONNOR
Nah, before my time, I guess. What'd they do downtown?
MILLER
She was gonna shoot the Tac team that went up there to get her, and they stopped them from shooting back.
O’CONNOR
So, what, she didn’t get them, did she?
MILLER
She would’ve. Her and her son and Sanchez and Mikulski and the gargoyles are all working together on something. They all were a part of it.
O’CONNOR
But it can’t be something bad, right? I mean, none of them got shot and they got her, right? Don’t you think that--
As he is speaking, GABRIEL comes into view ahead of them, and MILLER locks the brakes and the cruiser stutters to a stop before him. GABRIEL looks at them, and they stare back. MILLER hits the blue lights.
O’CONNOR
Whoa! What...what is...is that one of them?
MILLER
Yeah.
They leap out of the cruiser, guns drawn on GABRIEL. In response, he spreads his hands and smiles at them.
GABRIEL
Hello! You are the police?
INT. SCENE - POLICE STATION. BOOKING.
Inside the Shakespeare District police station, MILLER and O’CONNOR lead a handcuffed GABRIEL through prisoner receiving. GABRIEL folds his wings in as tight as he can as they lead him along, and the normally busy booking area stops and watches warily as he passes. For his part, GABRIEL looks around, taking it all in but not especially worried. MILLER keeps shoving GABRIEL ahead, and GABRIEL soaks up his shoves without changing pace at all. Their procession stops abruptly at desk sergeant CAMPOS, who has stepped in front of them.
MILLER
Look out, Campos, we got a hot one.
CAMPOS
I know. Commander wants you and your prisoner, right now. Skip booking.
MILLER looks at him in disbelief. GABRIEL just smiles and nods to CAMPOS.
INT. SCENE - POLICE STATION. SCHUMACHER’S OFFICE.
Precinct Commander ROLF SCHUMACHER sits at his desk, fingers folded, as the door opens and GABRIEL enters, still bound, with MILLER pushing him in and O’CONNOR following. SCHUMACHER stands as they enter.
GABRIEL
Good evening. Are you the commander?
SCHUMACHER
Yes, I am. Miller, what’s going on here?
MILLER
We picked him up on the North Avenue bridge.
SCHUMACHER
Doing what, exactly?
MILLER
Nothing yet.
SCHUMACHER
Nothing yet, eh?
O’CONNOR
We came up on him before he could do anything, and Miller here--
SCHUMACHER
Yeah, I bet he did.
GABRIEL
I have only come to visit--
SCHUMACHER
Quiet. You’ll get your turn.
GABRIEL
Yes, sir.
SCHUMACHER
Did you see anything important?
O’CONNOR
No, sir.
SCHUMACHER
Then you can leave. Get back on patrol.
O’CONNOR
Yes, sir.
O’CONNOR leaves quickly. As he does, several other station personnel are approaching the doorway to stare inside.
SCHUMACHER
So what exactly did you stop him from doing?
MILLER
God knows.
SCHUMACHER
Ah. And, ah, you were sure to get a statement from God about that for the report, right?
MILLER
Commander, with all due respect--
SCHUMACHER
Yeah, I doubt that.
MILLER
We don’t know what these creatures are capable of doing. I’ve been in touch with--
SCHUMACHER
I’ve heard.
There is a shuffle outside, and SANCHEZ, in uniform, approaches. He knocks on the door and immediately comes in. GABRIEL turns to look at him, and SANCHEZ draws up short, looking back at GABRIEL.
SANCHEZ
Hello, Commander, Eric Sanchez, um...
SCHUMACHER
Sanchez, close the door, we gotta talk.
SANCHEZ closes the door behind himself. Through the glass, several shadows lean in as the rubberneckers try to eavesdrop.
SCHUMACHER
You know this guy?
SANCHEZ looks him over briefly, and then shakes his head.
SANCHEZ
No, sorry. What’s he in for?
GABRIEL
My name is Gabriel. I am looking for some friends of mine.
SANCHEZ
Which friends?
MILLER
Excuse me! Commander, what’s he here for?
SCHUMACHER
Because he seems to know more about New York gargoyles than anyone. You don’t recognize him?
SANCHEZ
No, Commander, I don’t.
MILLER
He doesn’t know as much about them as he should, Commander.
SANCHEZ
I don’t? What about you?
MILLER
What about me?
SANCHEZ
You were the one telling me they were robbing jewelry stores, right? Didn’t you try to tell me that the other night?
SCHUMACHER
Did you?
MILLER
Commander, I’m sure they’re involved.
SANCHEZ
I’m sure they weren’t.
MILLER
You would be.
SANCHEZ
Yeah?
MILLER
Yeah. You been getting soft, Sanchez.
SANCHEZ
Yeah? Really?
MILLER
Yeah. But I can’t blame you, what with your wife and all.
SCHUMACHER
All right, that’s enough.
SANCHEZ
Yeah, maybe. You know, she’s pretty good at sewing stuff, you need anything made up, like a hood, or a robe or something?
MILLER
Say that again.
SCHUMACHER
That’s enough, I said.
MILLER
You tell me about that when they’re carving your liver right out of your chest while you watch. If you knew--
GABRIEL
(bellowing)
Enough!
His voice rings around the room. MILLER and SANCHEZ both stop abruptly. All of the silhouettes against the Commander’s office door vanish suddenly as everyone outside ducks back.
GABRIEL
Commander?
SCHUMACHER
Thank you. Do you have anything on him?
MILLER
Not yet, but like I said, the only thing you can trust about these creatures is that they’re eventually--
SCHUMACHER
Miller, do you have anything on him or not?
MILLER
Well...
SCHUMACHER
Well?
MILLER
He tied off his boat to a tree.
SCHUMACHER
And?
MILLER
And that is an ordinance violation.
SCHUMACHER’s expression is enough to convince MILLER this is a wrong answer, and he looks down.
SCHUMACHER
You can go. I want to speak to your prisoner for a moment.
MILLER
Yes, sir.
MILLER, looking like a kicked dog, leaves the office, but not before shooting SANCHEZ a dark look.
GABRIEL
Prisoner?
SCHUMACHER
Yes, prisoner. How about it, Sanchez? Do I need to be worried about him?
SANCHEZ
I don’t think so. You said you were just looking for your friends?
GABRIEL
I am.
SCHUMACHER
Should I trust that?
SANCHEZ
Yes.
SCHUMACHER
Step outside. And don’t fight with Miller, for God’s sake. I got enough to deal with already.
SANCHEZ
Yes, sir.
He steps outside, shutting the door behind him.
GABRIEL
Why am I a prisoner?
SCHUMACHER
I don’t know. Miller thinks you are up to something.
GABRIEL
I promise you, I am not. I have only come to Manhattan to locate my friends.
SCHUMACHER
No, you haven’t.
GABRIEL
I swear it to you, upon my life.
SCHUMACHER
No, no, no. You haven’t come to Manhattan. This is Chicago.
GABRIEL
What is Chicago?
SCHUMACHER looks at him in disbelief.
GABRIEL
My transportation has been somewhat uncertain. Avalon has always sent me where it thought I was needed, and...
SCHUMACHER
Yeah, well, Avalon apparently decided that I needed a migraine tonight.
GABRIEL
I am sorry.
SCHUMACHER
Why are you asking about being a prisoner? You didn’t know that? You get picked up by the police and you don’t know that?
GABRIEL
I thought they were trying to help. My foster father, the Guardian, had help from the Manhattan police when he came there. I did not realize I was to be held prisoner.
SCHUMACHER
You won’t. I’ll see to that, but you have to behave yourself.
GABRIEL
I have no intention to do otherwise. You have my word on that.
There is a click, and he extends his right hand toward SCHUMACHER for a handshake. SCHUMACHER scoots backward, startled. GABRIEL looks down at his right hand, and then, chagrined, at his left wrist, from which the now-opened handcuffs dangle.
GABRIEL
Oh, I am sorry about that. I know good ironmongery is hard to find.
SCHUMACHER glares at him, and then shakes his head.
INT. SCENE - HUMBOLDT STATION.
GOLIATH is standing inside, contemplating. ANGELA enters behind him.
ANGELA
Father?
He tenses at her voice.
ANGELA
Father, are you all right?
GOLIATH
Yes.
ANGELA
I meant you no harm.
GOLIATH
Of course not.
ANGELA
You are disappointed?
GOLIATH
Yes.
He turns to face her.
GOLIATH
But not in you. I would rather have come to you than for you to have to come here.
ANGELA
But we are together again now. Isn't that the important part?
GOLIATH
Yes. Yes, it is.
He takes her shoulders and looks at her. She smiles up at him.
GOLIATH
And I am very glad that we are.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
BROOKLYN, BROADWAY, MATT, and ELISA are standing together in the middle of the roof. In the background, LEXINGTON is showing HUDSON his remote control and how to use it.
BROOKLYN
She insisted. Is that it?
MATT
Vehemently. I told her that I wasn't sent to take anyone back with me, and she kept saying that wasn't the same as being told not to take anyone back.
BROADWAY
She wasn't wrong.
MATT
No, I guess not. Still, I was getting more than a few funny looks going down the road with her in back.
ELISA
How are they doing there?
MATT
Good, fine. I think they all want to go home, but they're holding up.
BROOKLYN
I know the sentiment.
MATT
If you wanted to go see her, I could drive you. I'd need to manage the time off work, but, you know...
BROOKLYN
Some of us don't get time off.
ELISA
And some of us earned it.
BROOKLYN
Oh, no, Elisa. I didn’t mean that.
ELISA
So what did you mean?
BROOKLYN
I just meant, my place is here, with Goliath. Not that you, uh...
She smirks at him, and he puts one hand to his face.
BROOKLYN
Oh, I gotta watch my mouth.
ELISA
Earned it, and willing to use it.
She turns to MATT, who frowns.
MATT
Anyway. Katana said something before we left. I was supposed to tell you.
BROOKLYN
What was that?
MATT
"Keep out of trouble."
BROOKLYN
Yeah, that's about right.
MATT's phone rings, and he pulls it out and checks it.
MATT
Officer Sanchez.
He answers.
MATT
Hi, what's up? What? Who? What side?
He goes to the front of the building and looks down, then, seeing something, beckons the others over.
MATT
Yeah, I see him. Okay, hold on, I'll be right down.
He hangs up.
BROOKLYN
What is it?
MATT
Got another visitor. Be right back.
He exits into the building. The others look down the front of the building. As they do, GABRIEL comes up over the parapet.
GABRIEL
Oh, that policeman was right. Hello, everyone.
ELISA
Gabriel! What are you doing here?
GABRIEL
I've come on a visit.
GOLIATH steps outside onto the roof, followed by ANGELA. They stop and stare at him. He returns this with a smile and a wave. GOLIATH is stunned briefly, but ANGELA is delighted, and runs to embrace him. Meanwhile, LEXINGTON and HUDSON approach.
ANGELA
Brother!
GABRIEL
Sister! How long has it been for you?
ANGELA
Too long.
GOLIATH relaxes and approaches them. GABRIEL extends his hand to GOLIATH, who takes it in a tight handshake.
GABRIEL
Goliath. Then Avalon has been both wise and kind.
GOLIATH
Indeed. You are well?
GABRIEL
We are. And you? You are not in Manhattan, at least.
GOLIATH
No, but you are no less welcome here.
BROADWAY
This is turning into reunion night.
BROOKLYN
Yeah, almost.
LEXINGTON
Yeah.
MATT enters from the building with SANCHEZ following. They approach the group.
SANCHEZ
Goliath, do you know him?
GOLIATH
I do. He is a good friend of our clan.
GABRIEL
More than friend, am I not? Angela has called me your son.
GOLIATH is embarrassed. GABRIEL looks at ANGELA in slight confusion.
GABRIEL
Is that not true?
ANGELA
It is complex.
SANCHEZ
But he's all right, right?
ANGELA
He is very much all right, officer.
MATT
Oh, yeah, Officer Eric Sanchez, this is Angela. She's one of Goliath's clan who got stranded in Pittsburgh. Angela, this is Officer Sanchez, Chicago Police.
SANCHEZ
How do you do?
ANGELA
How do you do?
MATT
And, um, this is...
ELISA
Captain Elisa Maza, NYPD.
SANCHEZ
Oh, Captain Maza. I was wondering when you'd turn up. Eric Sanchez, 25th District.
ELISA
Did you bring Gabriel here?
GABRIEL
He did, although I was arrested briefly first.
BROOKLYN
What?
GABRIEL
For tying the skiff to a tree.
SANCHEZ
Kyle Miller got to him first.
GOLIATH
And he was allowed to do this?
SANCHEZ
Briefly. Precinct commander let him out, though, don't worry about it.
BROADWAY
Might be better not to arrest anyone on dumb charges, though.
ANGELA
Broadway.
ELISA
Tying a boat to a tree?
SANCHEZ
It was a dumb charge, and I hope Miller's getting an earful for it.
GOLIATH
An earful is small consolation, officer.
SANCHEZ
Miller didn’t do himself any favors down there, Goliath. He hasn’t got himself a lot of credibility right now.
GOLIATH
Very well. Do you need anything more?
SANCHEZ
I don’t need anything, no.
GABRIEL
Thank you for your assistance, officer. You have been very kind.
SANCHEZ
Don’t mention it. Have a good night.
ANGELA
And you.
MATT
You know the way out?
SANCHEZ
I’ll manage.
SANCHEZ looks at all of them, and then goes toward the door, exiting into the building. GOLIATH growls low as he exits.
ELISA
Something wrong?
GOLIATH
Officer Sanchez is not a danger to us himself, but I do not like him coming here.
MATT
Sorry. You need me to keep him away next time?
GOLIATH
No. If he wishes to visit us, allow him, but he should not expect a joyful reception.
MATT
Right.
HUDSON
So, lad, have you braved the whims of Avalon merely for a social call, or was there something else?
GABRIEL
There is. I have good news. The clan of Avalon is bearing eggs.
BROOKLYN
Really?
BROADWAY
Oh, great!
ANGELA
Congratulations!
HUDSON
Fine news, lad!
LEXINGTON
Wow!
GOLIATH
I am happy to hear that.
GABRIEL
And now we’re trying to set up our rookery. But none of the clan is sure of how to do that.
BROADWAY
It’s not that hard, is it?
GABRIEL
Perhaps not, but...
HUDSON
...but you would like to be very sure.
GABRIEL
Exactly.
HUDSON
Aye. Proper proud father, then.
GABRIEL gives a bashful smile at this.
GABRIEL
Well. It is our first brood.
GOLIATH
I would be honored to help you.
GABRIEL
It would be a great relief. Thank you.
They shake hands on this.
EXT. SCENE - HUMBOLDT STATION. STREET. (NIGHT)
MILLER stands outside the substation, looking up toward the roof and holding his phone to his ear. Above, several silhouettes depart eastbound.
MILLER
Yeah. They’re on the move. Get ready.
EXT. SCENE - AERIAL. (NIGHT)
GABRIEL, ANGELA, and GOLIATH, carrying ELISA, are gliding east over the city.
GABRIEL
I am pleased to have found you, but I am surprised to have found you outside of Manhattan. Has something happened?
GOLIATH
There was a storm that drove us from there.
GABRIEL
But when was this?
GOLIATH
Some time ago.
ELISA
About four months.
GABRIEL
What, has Manhattan fallen?
GOLIATH
It has not.
GABRIEL
And yet you remain?
ELISA
It’s been difficult.
ANGELA
We had been split up in the escape. We only located Goliath a few days ago.
GABRIEL
Ah, I see. Then I am glad to have found you before you left.
GOLIATH
Yes.
ELISA and ANGELA look at him. He is bothered, but quiet.
EXT. SCENE - CHICAGO RIVER. NORTH AVENUE BRIDGE. (NIGHT)
ANGELA, GABRIEL, and GOLIATH land, and GOLIATH puts ELISA down. GOLIATH walks quietly toward the skiff, looking it over. GABRIEL looks after him, concerned. He speaks to ANGELA and ELISA, quietly.
GABRIEL
Something has gone wrong?
ELISA
Goliath is stuck here.
GABRIEL
Why?
ELISA
We don’t know.
ANGELA
Now that he knows where we wound up, I would expect him to come to us, and still he does not.
GABRIEL looks over at GOLIATH, who is looking out over the water.
GABRIEL
I would speak to him.
GABRIEL goes to GOLIATH’s side.
GABRIEL
Are you truly well?
GOLIATH
Aye. It is a good place. We have thrived here.
GABRIEL
But it is not your home.
GOLIATH
No, it is not.
GABRIEL
We had been told a story once. About how there once was a princess whose lover went down to the sea, and about how she would go to the shore each day and weep for his return. One day a great storm swept up his ship, and he and his crew were lost. The princess never gave up her lover, and every day she would go to look for him, hoping his ship would return. Eventually her tears overwhelmed the sea, and it is for this reason that the sea is salty. Some say that the lover survived, swept so far out to sea that he was beyond the reach of her tears, and for this he was much deceived into thinking that he was forgotten for the water around him was fresh.
GOLIATH
Aye.
GABRIEL
I was reminded of this story. When Avalon deposited me on the sea outside this city, this Chicago, I found it was fresh.
GOLIATH
I know that too well.
GABRIEL
I had wondered if perhaps I were lost as well.
From the bushes along the shore, several Quarrymen (masked) suddenly appear. Most carry their hammers, but one (MILLER, also masked) carries a long stun prod. They advance on the group, which turns to face them. The Quarrymen charge their weapons.
MILLER
You are now.
GOLIATH
Quarrymen!
ANGELA
Gabriel, look out!
One of them swings at GABRIEL, who easily parries the blow around. He gets the hammer at mid-handle, then twirls it over to throw its bearer into the lake. He takes the hammer up himself and wields it.
GABRIEL
Enemies, then?
GOLIATH
Of long standing.
GABRIEL
Lay on.
The two of them attack, as ANGELA joins them, and the fight is on. ELISA, being unarmed, ducks back against the bridge footing. One of the Quarrymen comes around toward her. She dodges his blow, but he winds up for another. As he makes it, however, ANGELA steps in and intercepts it. With a snarl, she slugs the attacker in the chest, throwing him backward a long distance. She remains near ELISA for the remainder of the fight.
GABRIEL fights with the hammer against most of his attackers. He begins fighting two at once. He uses the hammer to block one's blow, then grabs for the shaft of a second hammer. Holding both at bay, he flings one into the other, knocking both of them clear. He twirls his hammer slightly and continues to attack.
GOLIATH is fighting unarmed, but this is not stopping him from making good progress against the Quarrymen and he is able to plow through them with little effort. He looks toward ANGELA and ELISA. ANGELA has put a hammer blow to the ground and is going for its bearer's neck. There is a crackle from the head of the hammer, though, and the Quarryman is able to flip the head up into ANGELA, shocking her. She yells and flails back.
GOLIATH
Angela!
The distraction is enough. MILLER comes from behind GOLIATH and drives his prod into his shoulder with a brilliant flash and crackle of electricity. GOLIATH howls and goes to his knees, and MILLER keeps it pressed firmly in. Within seconds, GOLIATH is downed.
ANGELA
No! Father!
GABRIEL
Goliath!
GABRIEL's eyes flash, and he charges in toward MILLER with a roar. MILLER spins to dodge his grasp and GABRIEL rolls to a halt facing him, hammer in both hands. GABRIEL swings down, then across at MILLER, missing him but catching the prod and whipping it from his grasp. He hears something and turns back to look, but too late: a second Quarryman leans in with the prod. There is another bright flash and crackle, GABRIEL howls, and is knocked out. ANGELA and ELISA rush toward them.
ANGELA leaps onto the second Quarryman with a roar, knocking him flat. She punches into his head, but he dodges the blow and brings the prod back around. She sees this coming and knocks it away, and then connects with the Quarryman’s face on her next blow. He reels.
MILLER reaches toward them to assist the second Quarryman. ELISA throws her full weight into his shoulder before he can do anything, and he stumbles back. She squares with him. He swings a punch at her, which she deflects. He scrambles to collect the prod from the ground and then tries to bring it up to strike her in the head. She is mostly able to dodge the blow, and answers with a kick directly into MILLER’s gut. This sends him back enough that he is able to swing the butt of the prod up and into her jaw, knocking her back, and then spins it around into the side of her head, knocking her out.
ANGELA continues to struggle with the second Quarryman. MILLER jumps in and stuns her with a touch on her shoulder. She cries out, and then slumps down. The second Quarryman pants heavily, and shoves her off of him; she rolls to the ground limply. MILLER helps him up. The second Quarryman speaks, revealing it is BRAD LEVIN.
LEVIN
Thanks for the assist.
MILLER
Don’t mention it. Whoof. Wow. Oh, all right. Any more of them out here? Anyone?
He looks around at the other Quarrymen, who shake their heads.
MILLER
Right, okay. Next?
LEVIN
You said you have a boat?
MILLER
I said my cousin does. He’s bringing it now.
LEVIN
And we can take all four of these?
MILLER
Four?
He looks at the three gargoyles, and then at ELISA.
MILLER
What, her too?
LEVIN
She was Elisa Maza. Now she’s Mrs. Goliath, and no better. Yes. Her too.
MILLER
It isn’t a big boat. We can probably get these two in there. I don’t think we can get four.
LEVIN
That’ll be enough. Get the two leaders and the others will fall in.
(indicating two of the other Quarrymen)
You two, break this crate up and sink it. If the others show up, make sure they can’t track us down. Not yet.
The two Quarrymen nod, heft their hammers, and head for the skiff. As they begin to beat the skiff to splinters, LEVIN and MILLER admire their catch.
LEVIN
You did well to warn us. I don’t recognize this one, but if he’s reaching out to Goliath it has to mean they’re planning something.
MILLER
I know. I tried to warn headquarters, but Schumacher wouldn’t listen.
LEVIN
We will work on him next. Tell him what happened. Tell him you were there to intervene, and prevent these three from killing anyone. I will do the rest.
MILLER
Yes, Mr. Levin. And Sanchez?
LEVIN
What about Sanchez? What would you do?
MILLER
He led them to my neighborhood. He’s been keeping too friendly with them.
LEVIN
Do you want him gone?
MILLER
Yes. He’s as much of a menace as they are.
LEVIN
We can work to get him discredited. Anything more is up to you.
MILLER
That’s fair. That’s fair.
The two Quarrymen untie the skiff and shove it into the river, where it sinks below the surface, the figurehead on the prow going last with a slight gulp.
INT. SCENE - ZAIL CELL.
A dark jail cell, concrete floor, decrepit prisoner’s bed, filthy washstand. GOLIATH is lying unconscious on the floor. Gradually, his eyes open and his sight focuses. He gasps sharply, and tries to sit up, with a grunt. Weakly, he looks around. GABRIEL approaches and extends a hand.
GABRIEL
Do not sit up too quickly. It will make things worse.
GOLIATH
Unnh. We have been captured?
GABRIEL
It seems so. I was not able to avoid being a prisoner as easily as I had thought.
GOLIATH takes his hand, and stands gradually.
GABRIEL
I am, however, sorry to have taken you with me.
GOLIATH
Where is Elisa? Angela?
GABRIEL
Not here, apparently. I had called out for them but got no answer.
GOLIATH begins to look around the cell, shaking the bars as he goes past.
GABRIEL
Rest. I have already surveyed it. There is no easy exit.
GOLIATH
Then we must remain here.
GABRIEL
It would seem so.
GOLIATH crouches down on the floor, steadying himself with one hand.
GOLIATH
How were we attacked?
GABRIEL
They were equipped with some sort of rods with fire at their tips. You were burned, as was I. It has left a scar.
GOLIATH
A stun weapon, then. More powerful than I have felt in my time here.
GABRIEL
It does not seem to have done any other serious harm.
GOLIATH
Slight consolation, if that.
The outer door unlatches and opens with a creak. LEVIN enters, unmasked, with a cold drink in one hand, buoyant.
LEVIN
Well. I am glad you are awake. Can’t have you sleeping in there all night.
GOLIATH
Why have you put us in here?
LEVIN
Same reason anyone goes into a jail cell. Because you’re too dangerous to be out on the street.
GABRIEL
And how would you know that?
LEVIN
Oh, we’ve met before.
GOLIATH
Yes. Briefly.
LEVIN
Yes, briefly. Do you know I still have dental work coming from when we last met?
GOLIATH
You had captured my clan. I do not owe you any favor for that.
LEVIN
No. I suppose you don’t. Anyway.
He pulls the camera phone out of his pocket and aims it at them.
LEVIN
I didn’t come here to chat. I just needed a picture of you two alive.
GOLIATH
For what purpose?
LEVIN
For my own. Smile, now.
GABRIEL
You propose to make a picture with that canvas?
LEVIN
With what?
GABRIEL
In your hand. And with one hand at that?
LEVIN
It’s a phone.
GABRIEL
What’s a phone?
LEVIN
Wow. Dangerous and stupid? Goliath, you really need to find better collaborators.
GOLIATH
Leave him alone. He is unfamiliar with this place.
LEVIN
Then I don’t plan to let him get any more familiar. C’mon, let’s have a nice smile, huh?
GABRIEL crouches down next to GOLIATH, shrouding him slightly with his wing, so their faces are next to each other.
GABRIEL
Well, why not? Come, Goliath, let’s give him a nice picture, however he plans to get it. Smile!
The two of them make sappy smiles toward LEVIN, who clicks off the shot, and then scowls at it.
LEVIN
Well, it’ll work anyway. So long.
GABRIEL
What, that’s it? You don’t think you ought to get closer in, maybe get a little more texture?
LEVIN
No. Goodbye.
GOLIATH
Where is Elisa?
LEVIN
Out of reach.
He exits, closing the door behind him.
GOLIATH
He does not have her.
GABRIEL
You are sure?
GOLIATH
I do not think he would miss the chance to taunt me with her if he did.
GABRIEL
No.
GABRIEL stands and goes to the bars, looking out.
GABRIEL
Is he representative of the humans here?
GOLIATH
No. I do not think so. We have found friends here.
GABRIEL
Is that what holds you here, then?
GOLIATH
No. It...it is difficult to explain.
GABRIEL
I would like to know.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
ANGELA and ELISA have returned to the station. The others are gathered around them, listening anxiously.
ANGELA
But the skiff was gone when we awakened.
BROADWAY
You think maybe they took off in it?
ANGELA
It doesn’t seem likely. At best, they escaped into Avalon, and then good luck to them. I don’t think Gabriel and Goliath would be the ones in trouble then.
MATT
How’d they get you?
ANGELA
Stun prods, like they had back in Pittsburgh.
ELISA
Does Goliath still have his phone?
LEXINGTON
No, I have it.
ELISA
No help there, then.
BROOKLYN
If it’s Quarrymen, it’s probably the same gang we were fighting back around Halloween.
HUDSON
And that Miller is one of ‘em.
BROOKLYN
Lex, anything you can do to start tracking them down?
LEXINGTON
I can try. I’ll get started.
He goes back into the station.
HUDSON
I could try to pick the trail up by the river.
MATT
Can I help?
BROOKLYN
Yes, but not yet. I want to see what we’re dealing with first.
MATT
Lead on.
BROOKLYN
Broadway, any ideas?
BROADWAY
A couple. Here.
BROOKLYN, BROADWAY, and HUDSON move off to discuss among themselves. MATT goes over to ELISA and ANGELA.
MATT
Got time for a question?
ELISA
Sure.
MATT
The big one. Gabriel?
ELISA
Yes.
MATT
Said something about eggs, something about a rookery.
ANGELA
His clan’s eggs. His clan is bearing children. The rookery is where they will lie until they hatch.
MATT
So like a nursery, then?
ELISA
Something like that. There is another in Manhattan.
MATT
Whose? Yours?
ANGELA
Yes. Three eggs for us.
MATT
Oh. Congratulations. I’d heard something about that. I guess...
He looks over toward BROOKLYN, BROADWAY, and HUDSON. BROADWAY has his arms spread, indicating a long distance. HUDSON shakes his head.
MATT
...I guess I’d figured that Goliath would be in a hurry to get back to that.
ANGELA
So did we.
MATT
So, if you don’t mind me asking, how long now?
ELISA
Five more years.
MATT
Five? Five more?
ANGELA
That’s right.
MATT
Well...I guess maybe he’s got time, then.
INT. SCENE - HUMBOLDT STATION.
LEXINGTON is at the computer console, typing. An icon begins flashing. He clicks on it to bring it up, and a chat window opens:
/// Amp invited you to chat
/// Amp invited you to chat
/// Amp invited you to chat
Amp > M8, you on?
LEXINGTON types his response.
tinman > Bit busy right now. Goliath’s been taken again.
Amp > Yeah, I know.
tinman > How?
Amp > Una just mentioned it.
Amp > She was online checking something before sunrise and spotted it. Check it out.
tinman > Yeah, send it over.
LEXINGTON clicks on an icon on the screen, and his eyes widen.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
LEXINGTON bounds out onto the roof, excited.
LEXINGTON
Got him!
BROOKLYN
What, already?
LEXINGTON
Amp and Una found him first. Have a look.
MATT pulls his phone out and looks at it.
LEXINGTON
Check your texts.
MATT
Got it.
He brings up a social media post:
BRAD LEVIN is with Quarrymen - Great Lakes at Old 19th Precinct, Chicago.
Celebrating tonight; when you capture gargoyles like this, you’ve earned it!
Below this is a photo of GOLIATH and GABRIEL making silly grins into the camera. MATT recoils slightly at the photo.
MATT
Whoa. What’re they doing to them?
BROOKLYN
Nothing, is my guess. They’re just sticking it back to him.
ELISA
Are you sure?
BROOKLYN
No.
BROADWAY
So he’s just given away time, place, and that he really has them. Which means--
BROOKLYN
Trap.
HUDSON
Trap.
LEXINGTON
Definitely a trap.
BROADWAY
A trap. Right.
BROOKLYN
So no rushing right in.
HUDSON
A wise decision, but we have limited time. I do not expect them to survive past morning.
BROOKLYN
I’m aware of that, thanks. Ideas?
MATT
One, to start. How to handle the stun prods.
ELISA
What, are you a munitions expert all of a sudden?
LEXINGTON
Electrical engineer. C’mon.
They hurry into the station as ELISA looks on. BROADWAY notices her worried expression.
BROADWAY
He’s all right, Elisa. He’s a bit eager sometimes, but good.
ELISA
You’re sure?
BROOKLYN
We are. Why?
She looks on after MATT, but says nothing.
INT. SCENE - JAIL CELL.
GABRIEL and GOLIATH are standing in the cell. GOLIATH is brooding, and GABRIEL is watching him.
GABRIEL
Is everything well here, Goliath?
GOLIATH
Yes. We are safe.
GABRIEL
Then what troubles you?
GOLIATH
I do not wish to discuss it.
GABRIEL
I know that much, but I do.
GOLIATH looks at him darkly.
GABRIEL
If my presence here angers you so, then it is a great--
GOLIATH
No. You are very welcome here.
GABRIEL
Then what?
GOLIATH
We fled Manhattan to avoid a storm.
GABRIEL
So I had heard, but the storm is now past.
GOLIATH
There is more than that. Manhattan had closed in on us. We came here by accident, and yet...
GABRIEL
You wish you had gotten free sooner.
GOLIATH
Yes. This place. It has taken a hold of us. And yet it has cost us so much.
GABRIEL
Much like Avalon. It is a wonderful place. There have been nights, father, when it has made me sick to death of it. Tonight is one. If I had my way, I would break its bonds.
GOLIATH
And leave your clan?
GABRIEL
No, of course not. Why?
GOLIATH
Your clan. They are united?
GABRIEL
They argue. Beside that, they are one clan.
GOLIATH
Then you have done better than me.
GABRIEL
Nonsense.
GOLIATH
I have broken my clan. Again and again I have broken my clan, first in Wyvern and now here.
GABRIEL
Then why do they keep coming back? Elisa has come back. Angela has come back. I came back. Goliath, you are the best I know at keeping a clan together.
GABRIEL puts a hand out to GOLIATH, who takes it.
GABRIEL
You would not even let time itself separate you from your children, and here you have only distance separating you. What chance does it stand?
GOLIATH
You are an optimist.
GABRIEL
Guardian raised us that way. It has served well.
They break their grasp, and GABRIEL goes to the window of the cell and looks out. He grasps one of the bars over the window.
GABRIEL
Of course, I hope that optimism is warranted. The sky lightens.
GOLIATH
It is warranted.
GOLIATH comes to the window and grasps the same bar. He and GABRIEL look at each other, and smile slightly at each other.
EXT. SCENE - PRECINCT HOUSE. (NIGHT)
BROOKLYN lands on the roof, gently, followed by BROADWAY, ANGELA, HUDSON (carrying BRONX), and LEXINGTON. They promptly spread out, looking for any obvious threat.
INT. SCENE - MATT’S TRUCK.
MATT parks his truck within sight of the precinct house. As he does, ELISA looks out of the passenger window at the activity on the roof. MATT shuts off the motor, and then looks over at her for a moment.
MATT
Captain?
ELISA
Hmm.
MATT
You doing all right?
ELISA
Goliath’s in danger, so no, I’m not.
MATT
All right.
ELISA
I ought to be up there helping them.
MATT
I don’t think Brooklyn would appreciate that--
ELISA
I was there for that part, thank you.
MATT looks away for a moment. He turns back, and ELISA is staring at him.
ELISA
What does he see in you?
MATT
If you’re going to snipe at me, forget it. Sorry I brought it up. We’ll play the quiet game a while, how’s that?
ELISA
Something’s keeping him here and I need to know what. So what is it that he sees in you?
MATT
You know, Detective, I think I got a right to remain silent. Maybe I better.
ELISA
Fine.
MATT
Fine.
She looks back toward the roof.
MATT
Why do you think he stays here?
ELISA
Because the water is fresh.
MATT
Hmm?
ELISA
Nothing.
MATT
Because it’s not me. I’m pretty sure they could take me or leave me. Coldstone said as much.
ELISA
Coldstone would.
MATT
Yeah?
ELISA
Yeah. You got Coldstoned.
MATT
Well, that’s some consolation, I guess. I mean, if you got a name for it and all.
ELISA
Yeah, you’re not that special.
MATT
Okay. Slightly less consolation.
She cracks a smile.
MATT
Goliath’s said he likes Chicago, that he wants to rebuild here. That’s all I have. I don’t know about you, but that’s enough for me.
ELISA
Looks like they’re ready up there.
EXT. SCENE - PRECINCT HOUSE. (NIGHT)
The clan gathers in.
BROOKLYN
Anything so far?
BROADWAY
Two doors, bunch of barred windows. Upstairs, downstairs.
HUDSON
Nobody is posted.
BROOKLYN
So they want us inside. Big shock there. Weapons?
BROADWAY and ANGELA draw out brightly colored weapons from behind their backs. They give them both a quick pump: they are water pistols.
BROADWAY
Primed and ready.
BROOKLYN
Go.
BROADWAY and ANGELA tuck their weapons into their belts. HUDSON and ANGELA go toward the back of the station house and go over the parapet down the wall, as BRONX and BROADWAY go to the front of the house and climb down. LEXINGTON and BROOKLYN remain on the roof and post themselves at the corners, watching out.
INT. SCENE - STATION HOUSE. LOBBY.
The lobby of the station house is dark, and while a bit dusty, it is still in reasonably good repair and free of major detritus. BROADWAY carefully comes up the front stairs to the lobby floor, followed by BRONX, who sniffles around. Nobody is in sight. After looking around, BROADWAY touches his ear.
BROADWAY
Nobody up front. Not even any sign they've been here.
BROOKLYN
(on radio)
Got it. Look sharp.
BROADWAY
I am.
He looks around, then up, and he smiles.
BROADWAY
Found the trap, anyway.
Pan up to show the net hanging from the ceiling with toggles at several points.
BROADWAY
Drop net.
BROOKLYN
Let me guess: electrified?
BROADWAY
Probably. I don't plan to find out.
BROOKLYN
Nothing ever changes with these guys. You can get by it?
BROADWAY
I think so, yeah.
BROOKLYN
Do it.
EXT. SCENE - PRECINCT HOUSE. ROOF. (NIGHT)
BROADWAY
(on radio)
You want me to trigger it once I'm past?
BROOKLYN
No way to know what they planned to do from there. I'd say leave it alone.
BROADWAY
Sam Spade would trigger it.
LEXINGTON
Yeah, well, when you grow up to be him, you can trigger all the traps you want.
BROADWAY
Copy that, boss. Got anything in back?
ANGELA
(on radio)
Not yet. Still looking.
BROOKLYN
No defenses?
ANGELA
Nothing.
BROOKLYN
I don't like this. They're either a lot dumber or a lot smarter than I thought.
LEXINGTON
They're Quarrymen. What do you think?
BROOKLYN
That I'd better not assume anything. All right, keep going.
EXT. SCENE - PRECINCT HOUSE. BACK. (NIGHT)
HUDSON and ANGELA are searching the back wall of the precinct house.
ANGELA
Still going.
They continue searching along the wall. Ahead, HUDSON spots fingers around the bars, and quietly sneaks forward, then looks into the window. He then gestures to ANGELA, who joins him. Inside are GOLIATH and GABRIEL.
ANGELA
Here you are.
GABRIEL
I am glad to see you outside, sister.
ANGELA
(into radio)
We have them. Back basement, second window from the west side. They're fine.
BROOKLYN
(on radio)
Great. Keep your guard up, though.
BROADWAY
(on radio)
We're on our way back.
GOLIATH
Where is Elisa?
ANGELA
With Matt in the truck, she's safe.
HUDSON
Is there anyone guarding you?
GABRIEL
No, not that we've seen.
HUDSON
That is very strange. There has been nobody else inside the building either.
ANGELA
(to radio)
Brooklyn, they're saying there's no guard on them. What's happening?
EXT. SCENE - PRECINCT HOUSE. ROOF. (NIGHT)
BROOKLYN puts one hand to his face in frustration.
BROOKLYN
I don't know, but it absolutely has to be a trap. They know we were looking.
LEXINGTON
They set a trap, but they pull everyone out?
BROOKLYN takes his hand from his face suddenly as he realizes.
BROOKLYN
How strong is that window frame?
INT. SCENE - PRECINCT HOUSE. JAIL CELL.
BROADWAY and BRONX arrive at the cell as ANGELA is speaking outside.
ANGELA
How strong is it?
GOLIATH
It will hold us. Perhaps not much more than that.
ANGELA
(to radio)
Strong enough to hold them, not much more.
BROOKLYN
(on radio)
Leave it where it is. The building is the trap.
ANGELA
What?
BROOKLYN
I don't know for sure, but they had to be counting on us breaking them out. If they cleared out of there, I think the whole building is the trap, and breaking them out could be the trigger.
ANGELA
He says that breaking you out could trigger a trap.
GABRIEL
Well, we won't do that, then.
LEXINGTON
(on radio)
I'm on my way. How do I get past that net in front?
BROADWAY
Just stay close to the left wall all the way around.
LEXINGTON
Got it.
BROOKLYN
How are they being held?
BROADWAY
It's a jail cell, one of three in a row.
LEXINGTON
Any wiring or anything by the doors?
BROADWAY looks closely, and sees a small burglary switch on the door, very close to the ceiling, with wire closely following the bars.
BROADWAY
There's a burglar alarm switch here, wired off to somewhere.
LEXINGTON
Can you see where it goes?
BROADWAY
No.
LEXINGTON
Hold tight, I'm almost there.
ANGELA
Can you see anything by the window?
GABRIEL
Nothing. I hope Avalon's grip on me is not loosening.
ANGELA
For once, so do I.
She puts one hand through the bars, and GABRIEL clutches it. LEXINGTON arrives outside of the cell and immediately begins examining the bars.
LEXINGTON
Help me up?
BROADWAY
Sure.
BROADWAY turns his back to LEXINGTON, who climbs up onto his shoulders and takes a close look at the sensor.
LEXINGTON
Regular burglary stuff, so closed loop. Easy.
He hops down off BROADWAY's shoulders.
LEXINGTON
Can you break that lock?
GOLIATH
With help, I think we can.
LEXINGTON
Just a second.
(to radio)
We should be able to get past the trap, but it'll be risky. What do you want to do?
BROOKLYN
(on radio)
How sure are you about this?
LEXINGTON
No more than usual.
BROOKLYN
Angela, get Hudson away from the building. Broadway, send Bronx back out too. Meet me in front.
ANGELA
Going now.
BROADWAY
Bronx, wait out front.
BRONX growls a little at this.
BROADWAY
I know. Do it anyway.
BRONX whines, but then exits. ANGELA and HUDSON move away from the window.
BROOKLYN
Aim true.
BROADWAY draws his water gun and aims at the sensor. As he does, GOLIATH, and GABRIEL grab the cell door near the lock and brace themselves.
BROADWAY
Never truer.
BROOKLYN
Go.
BROADWAY aims at the sensor, lining it up carefully, and fires. The stream hits the sensor, and drips off it. He lowers the gun. There is nothing more. He looks at the others.
LEXINGTON
Well?
BROADWAY
Is that it?
LEXINGTON
Pull!
BROADWAY takes a deep breath and pulls the door, as GABRIEL and GOLIATH push. There is a great straining and then a crack as the lock gives way. The door opens. GABRIEL and GOLIATH exit the cell.
BROADWAY
Oh. That was quick.
LEXINGTON
It's low voltage. It doesn't get all dramatic.
GABRIEL
You get no complaint from me.
LEXINGTON
Thank you. Now, let's get out of here.
GOLIATH
Indeed.
They begin to go to the exit. But behind them, from a side room, MILLER appears, wielding a stun prod. He leaps on LEXINGTON, getting him around the neck and putting the stun prod into the side of his head.
LEXINGTON
Hey!
MILLER
Stop right there, or the kid gets it!
GOLIATH
Miller!
LEXINGTON
Kid?
BROADWAY
Get off of him.
He draws his water gun and aims at MILLER.
MILLER
Or you'll what? Soak me? Go ahead. I mean to set an example of you, wet or dry.
GOLIATH
This is over. You will only make things worse on yourself.
MILLER
Yeah? Well, as long as I have this...
He pulls the prod away from LEXINGTON and activates it, so it arcs brilliantly across its contacts. But just as he does, BROADWAY fires, putting a stream onto the end of the prod. It flashes and hums, and LEXINGTON breaks loose and ducks down just as the prod explodes in MILLER's hand. MILLER screams and throws away the burning remnants of the prod. His Quarryman's clothes have caught fire, and he struggles to get them off. The gargoyles exit quickly, GOLIATH leaving last.
MILLER
No. No!
INT. SCENE - PRECINCT HOUSE. LOBBY.
The gargoyles have picked their way around the lobby floor, GOLIATH at the rear. From the back of the station house, MILLER runs headlong up the stairs and across the lobby. This is enough that the toggles release, dropping the net onto him and pinning him to the floor. He struggles to get loose but he can barely move under it. GOLIATH turns back to him and extends a hand.
MILLER
Don't you dare!
GOLIATH
We do not wish you any harm. We can do better than this.
MILLER
I will never, ever allow myself to be corrupted by you! Get away!
LEXINGTON returns.
LEXINGTON
Goliath! We need to get out. When those contacts dry out, whatever the trap was is going to fire.
GOLIATH
Officer Miller, this is suicide.
MILLER
This is sacrifice.
He looks resolutely at GOLIATH, who reluctantly draws his hand back and exits, following LEXINGTON.
EXT. SCENE - PRECINCT HOUSE. STREET. (NIGHT)
GOLIATH and LEXINGTON exit into the street, meeting the others near the truck.
GOLIATH
Get clear, quickly. All of you!
The gargoyles leap for the buildings and begin climbing up quickly. MATT starts the truck and pulls out rapidly, squeaking the tires as he does. A moment later, the precinct house explodes, throwing shrapnel all over the street.
EXT. SCENE - CHICAGO RIVER. NORTH AVENUE BRIDGE. (NIGHT)
GOLIATH (carrying ELISA), BROADWAY (carrying BRONX), ANGELA, and GABRIEL land on the river bank. GOLIATH sets ELISA down, and BROADWAY sets BRONX down. BRONX begins to snuffle around on the ground.
GABRIEL
This looks about right.
ANGELA
Yes, this is the place, I'm sure of it.
BRONX paws at the earth, looks toward the water, and then looks back at the others and barks.
GOLIATH
Bronx would seem to agree.
GABRIEL
Well, then.
He puts two fingers in his mouth and whistles sharply. A moment later, there is a bubbling and churning from beneath the water, and the skiff breaks the surface and floats into the river bank, grounding itself there. It is undamaged, and dry inside.
GABRIEL
Evidently Avalon is not through with me yet. Shall we go?
GOLIATH
Yes.
ELISA
I want to come along.
ANGELA
So do I.
BROADWAY
If you're coming, then so am I.
BRONX
Hurrgur.
BRONX puts two paws up on the side of the skiff and looks back.
GABRIEL
It is a hardy skiff, but it does have limits.
GOLIATH
That is true. Bronx, you will stay here with Broadway.
BRONX
(Whines)
GOLIATH
You are both needed here.
BRONX grumbles and goes to BROADWAY's side.
ANGELA
I am going. If you are setting up a rookery, you'll need my advice.
BROADWAY
Why is that?
ANGELA
None of them have ever laid eggs.
BROADWAY
No. They'll do without. Stay here.
GOLIATH
Angela will come. As will Elisa.
BROADWAY takes ANGELA's hands in his and looks at her.
BROADWAY
I waited so long to get back together with you. How much longer do I have to wait?
ANGELA
As long as Avalon requires.
BROADWAY
That's too long.
ANGELA
I will make it as fast as we can. And wherever Avalon sends us back to, I'll fly home from there straight to you.
BROADWAY
You promise?
ANGELA
I promise.
BROADWAY
I'm holding you to that.
They embrace, and they kiss.
BROADWAY
And I'm going to watch the sky every night until you do.
They part, reluctantly, and ANGELA boards the skiff, followed by GABRIEL. GOLIATH helps ELISA aboard, and then shoves the skiff off the bank and climbs in. They float off into the turning basin, leaving BROADWAY behind them, waving.
EXT. SCENE - ABOARD THE SKIFF. (NIGHT)
GABRIEL rows the skiff along through the rapidly deepening water, with ANGELA in the bow, and ELISA and GOLIATH astern.
GABRIEL
It was an interesting tactic, was it not?
GOLIATH
Which one?
GABRIEL
Your clan's choice of weapons. Salt water.
GOLIATH
Yes. It was effective on the Quarrymen's weapons but not itself dangerous to them.
GABRIEL
It was an admirable tactic. And I am intrigued by the coincidence.
ELISA
Which one?
GABRIEL
That I would be saved by salt water after crossing a sea without salt.
He rows the skiff into the mist that appears ahead of them, and they vanish from sight.
=END=