The Next Best Thing
by
Andrew Morris
EXT. SCENE - HUMBOLDT STATION. ROOF. (DAWN)
BROOKLYN looks around at nine hoverbikes that have him pinned on the roof. Below him, the city is dark, as is the substation behind him. He looks up at the sky, then back at the others.
BROADWAY
Five minutes?
BROOKLYN
Three. Go.
Four gargoyles (except BRONX) rush for the parapets and leap off into the sky. The hoverbikes give chase. The gargoyles swoop up, roar, and (except LEXINGTON) with eyes lit, dive against them. The fight is on.
BROADWAY dives against the driver of bike #1. [The numbering is arbitrary.] The driver is just able to dodge, and turns to aim at him, when he is tackled by HUDSON from behind, who picks him up and tosses him off. BROADWAY collects him and drops him onto the roof, where he thumps down, unhurt.
As he dives, BROOKLYN shifts the rifle from his back around to his front, and aims, and fires at the tail of bike #2. It sparks, sputters, and dies, and the driver aims it toward the roof of the station, where it crunches down, throwing him off. His compatriot runs over to help him up. As he does, BRONX rushes up to them, snarling in fury, and chases them around the roof, keeping them away from the exit. BROOKLYN moves on to chase the next.
HUDSON shifts into the driver's seat of bike #1 and begins working the controls. The bike lurches forward, climbs, and dives. HUDSON gives a gleeful cackle, howls, and dives against bike #3, firing the cannons toward it. The other bike darts off, and HUDSON gives chase (loosely, imprecisely). As he does, bike #4 lines up behind him, chasing him. BROADWAY tackles its driver, the whole rig overturns, and dumps the driver over the side. BROADWAY deposits him on the roof and swoops back out and around.
Meanwhile, BROOKLYN is being pursued by bike #5. He looks back and tries to dive around to get behind, but can't. It is staying on him too tightly. They fly directly over the top of the station, where LEXINGTON is standing, working a remote control. He pilots a drone, which charges after bike #5. As they loop around and cross the station again, it fires, striking the bike's engine and forcing it down onto the roof, narrowly missing the pilots already there. LEXINGTON swoops the drone around again.
Bike #4 is finally able to get a lock on the bike HUDSON is flying, and shoots it down over the street. HUDSON leaps, takes to his wings, and loops back behind his pursuer. The bike crashes into the street below and explodes. Right behind it, there is a series of pings: BROOKLYN is firing at bike #4, which breaks down and begins falling. HUDSON loops back, picks its pilot off, and takes him to the roof with the others, then back into the fight.
Bike #6 dives into chasing BROADWAY, who is diving away from it. He looks up, and abruptly climbs out. The bike's pilot looks up to follow him, but he collides with bike #7 and both bikes are wrecked out.
Bike #8 is piloted by O'CONNOR, who is being chased by the drone. He yanks the wrist grip around, and the bike leaps away. O'CONNOR looks back and sees the drone falling back, but then looks forward to see BROOKLYN diving toward him, rifle out. O'CONNOR yelps, turns hard left, and BROOKLYN passes him, but gets a couple of shots off into the bike, which pops and sputters. O'CONNOR dives his bike to the roof of the station. He, too, is thrown clear as it explodes on the roof.
Bike #9 is LEVIN. He looks at the carnage, and, seeing O'CONNOR downed, turns and flies away. There is a pop from the roof of the station: ELLEN SANCHEZ has her rifle shouldered, and she fires. She hits the control column in front of LEVIN, which bursts. The bike rolls, descends, and crashes into the high school across the street.
The gargoyles rapidly regroup on the top of the station.
BROOKLYN
That's everyone?
BROADWAY
Everyone accounted for.
BROOKLYN
Great.
But before he can say anything more, the sun breaks the horizon, and they freeze into stone.
Below, BRONX, too, has turned to stone, much to the pilots' relief. They begin to filter over to the door, but ELLEN is there, and points her rifle at them.
ELLEN
Everyone stay right where you are.
O'CONNOR
Ellen, c'mon. You know those things are--
ELLEN
Those "things" saved six of you. That's only because they got to you before I could. Think about that one, Kyle.
O'CONNOR
No, but, see, they're endangering the city, and--
ELLEN
Yeah? Seems to me you were the ones shooting up the substation. You were the ones shooting up the street. You want me to keep going?
O'CONNOR
You can't keep us here. It's just you versus all of us.
ELLEN
Keep wishing.
In the distance, a helicopter approaches. It is a police helicopter, and it arrives and hovers over the scene as several cruisers are heard to arrive below.
ELLEN
Down the stairs or over the side. Which one you got?
O'CONNOR relents; the jig is up.
EXT. SCENE - MANHATTAN. BEACH.
Caption: Manhattan, New York. Day 1, 6:22 AM (New Avalon Calendar)
At the foot of 63rd St, the Hudson sloshes up onto the shore of Manhattan Island. The sky is gray in the pre-dawn light. Along the shore lie GOLIATH, GABRIEL, ELISA, and ANGELA, unconscious. GABRIEL stirs first, rolls over, opens his eyes, and then sits up sharply. He looks around, then struggles to his feet. He goes to ELISA first and checks on her. As he does, GOLIATH groans, and begins to sit up. He looks, and sees ELISA out, and tries to stand.
GOLIATH
Elisa.
GABRIEL
She is all right. She is asleep.
He shakes her gently. She opens her eyes, and gasps, then sits up with GABRIEL's assistance. GOLIATH stands, and, shakily at first, goes to ANGELA. He wakes her, and she sits up, putting a hand to her head.
ANGELA
Where are we?
GABRIEL
I do not know.
GOLIATH looks up the shore.
GOLIATH
I do. This is Manhattan.
And so it is. A wider view shows that they are in the middle of the city. But nothing is visible beyond the river; all the buildings on the other side are shrouded in fog.
ELISA
Yeah. About...63rd Street?
GOLIATH
Yes. It must be.
ANGELA
We're home?
OBERON comes over the rise above them.
OBERON
You are. Albeit somewhat more violently than I had expected.
GOLIATH
What has happened?
OBERON
A storm rose up and threw us down.
GABRIEL
I should think a storm would be no match for your abilities, Lord Oberon.
OBERON
It was no ordinary storm. I fear the earth itself is rebelling.
ANGELA
It must be nearly sunrise.
OBERON
That it is. Will you sleep here?
GOLIATH
It would be best, I think.
OBERON
Very well, then. We will go up and see what has happened.
GOLIATH
Come, this way.
GOLIATH, GABRIEL, and ANGELA go along the beach a little way to find suitable positions, and then take up their postures. A moment later, they freeze.
OBERON
Your city, my lady. Where shall we go first?
ELISA
Nowhere like that. With respect, Oberon, you look like you belong in a fantasy convention somewhere.
OBERON
Meaning what, exactly?
ELISA
Meaning it may be better for you to take human form if you don't want to be stared at.
OBERON
Is that necessary?
ELISA
It may be...advantageous.
OBERON
Oh, very well. Your people are so closed-minded.
ELISA
You don't need to tell me.
OBERON considers, and then makes several passes over himself, changing his appearance to that of a middle-class professional. Unfortunately, his fashion sense is not up to date: the professional looks far more of a yuppie than he should.
OBERON
There. Is that less scandalous?
ELISA
That will do nicely.
OBERON
Come then. Which way?
ELISA
To the police station first. I need to check in.
She takes one last look toward the gargoyles, and then she and OBERON go up the rise and into the city.
EXT. SCENE - GAS 'N STOP. PARKING LOT.
Caption: Altoona, Pa. Sunday, March 3, 2013. 11:21 AM.
A truck stop outside Altoona. MATT's truck is parked a good distance from the building, out of obvious sight. In the bed is NASHVILLE (asleep and in stone) and COLDSTONE (sitting on the bed rail, looking sullen). ENKI and SIGMUND are walking around, stretching. MATT returns with a tray of coffees. He searches and then gives one to ENKI.
MATT
Right. Extra black for you.
ENKI
Thank you.
MATT
Three sugars and three creamers for you.
SIGMUND
Thanks.
MATT takes his out of the tray.
MATT
No word from Chicago, I take it?
COLDSTONE
They have gone to sleep.
ENKI
I hope that's all.
MATT
What do you mean?
ENKI
That light show we got?
MATT
Yeah.
ENKI
That was the stake going in. I'd bet my life on it.
SIGMUND
You think so?
ENKI
As good as done. We're too late.
MATT
So what's that mean?
ENKI
I'm not completely sure about that. I've only seen a ward like that done once before. The amount of power it unleashes...all sorts of things can happen. Fires. Floods. Hurricanes. Basically, you throw the balance of powers out, the others will make up for it. How do you think Chicago burned all those years ago?
MATT
That was just a big fire.
ENKI
Like I said: balance of powers.
She sips.
ENKI
Makes Chicago not such a bad place to hang out if you're hiding from magical effects.
MATT
Wait. Is that why you were in Chicago?
ENKI
Nosy. Mind your own business.
MATT
All right. Just asking.
ENKI
But I'll tell you this much. You never have magical stuff going on there now. There's a reason for that. You all are the city of big shoulders. You gotta be. You ain't getting any help from nature any more, not until the balance restores, maybe not for another century or two.
MATT
Nothing new. We manage.
ENKI
Yeah, you do. Good old humans, you.
SIGMUND
So what did happen?
ENKI
Well, I just don't know yet. But if they activated that ward and got that kind of effect. It was big. Real big.
COLDSTONE
Big enough to harm Manhattan?
ENKI
Yes. Easily.
COLDSTONE
Then go.
ENKI
Right.
MATT
All aboard.
They get into his truck, he starts up, and drives out.
EXT. SCENE - MANHATTAN. STREET.
ELISA and OBERON walk up the street. It is relatively calm, nobody is panicked, although there is a weird shell-shocked veneer over the people: they are unusually quiet and reserved for Manhattan. Traffic is also unusually light.
ELISA
This doesn’t feel like Manhattan. It’s too quiet. The last time it felt like this was the day after the towers fell.
OBERON
Very perceptive.
He suddenly crouches down and touches the sidewalk, scowling. A woman walking towards him simply steps around, without a word, and hurries onward. After a moment, OBERON stands.
OBERON
Very perceptive, indeed.
ELISA
Do you have something?
OBERON
Only the ends of something. There has been a great revolt here. But surely you can see that. These are the faces of those left behind by some great tumult, as you said.
They continue onward toward Columbus Circle.
ELISA
“The earth itself is rebelling.”
OBERON
Quite so.
ELISA
Fine, but what does that mean for us?
OBERON
That is what we are trying to find out, is it not?
Behind them, a cloaked figure (MAGGIE) approaches.
ELISA
No, Oberon, no word games. I need to know.
OBERON
I am sorry, Elisa. If I knew how to answer you, I gladly would. Some cataclysm has happened here, something severe enough to resonate with Avalon, something with a strength beyond even my experience.
ELISA
That’s reassuring.
MAGGIE
Elisa!
ELISA
Maggie!
MAGGIE
Oh, am I glad to see you. Matt said you’d gone to see Goliath.
ELISA
More than that. He’s here now.
MAGGIE
What, he’s come back?
ELISA
Yes, he’s down on the riverbank. We just arrived.
OBERON
I brought them.
MAGGIE
Oh, and you are?
OBERON
I am Oberon, lord of the Third Race.
MAGGIE
Oh, it’s you. I should have known you might have something to do with this.
OBERON
I don’t know what you mean by that.
ELISA
No, Maggie, I don’t think Oberon’s to blame for this one. Why, what’s happened?
MAGGIE
You don’t know?
ELISA
No.
INT. SCENE - TERMINAL. MEZZANINE LEVEL.
ELISA, OBERON, and MAGGIE descend from the street into the mezzanine. TALON, AL, RUTH, and a human wrapped in a towel (HAL in human form) are there; the human is sitting on the floor, cradling his head in his hands, as RUTH sits next to him.
MAGGIE
We have company.
TALON
Elisa! What are you doing here? I thought you were in Chicago.
ELISA
I was, but I got diverted. What’s going on?
TALON
Manhattan got turned inside out. That’s what. We’re still not completely sure of what’s happened, but already the news is saying that trains aren’t getting in or out.
AL
Neither are phone or internet. It’s like the rest of the world just vanished.
Meanwhile, OBERON has gone around and is approaching HAL and RUTH. RUTH’s hackles go up.
OBERON
What happened to you?
RUTH
I don’t know that I would like to tell you, actually.
OBERON
I need to know.
HAL
It’s all right. I just, had an encounter.
OBERON
Encounter? With what? Who?
RUTH
That is enough.
She goes toward him, head up, eyes glinting. OBERON steps back.
RUTH
Now, you keep your distance.
TALON
Ruth, what is it?
RUTH
I don’t want him near us, that’s all.
TALON
All right. Sir, if you’d just...
OBERON looks back at them, and then at a visibly disturbed RUTH, and then steps away.
TALON
Thank you, Mister...?
OBERON
Lord Oberon.
TALON
Oh, really? Just what we need.
OBERON
Yes, actually, I am. Unless you think you can hear the earth crying out in pain, feel its spasms--
TALON
Yeah, yeah, yeah.
OBERON
Do not interrupt me.
TALON
No. I have had enough going on today already, and the sun’s only just come up. The last thing I need is the lord of the fairies come down to make more trouble--
OBERON
Trouble? What do you know about trouble?
TALON
I know that--
MAGGIE
All right, enough. Lord Oberon, would you please go down to the platform for a few minutes? I want to speak to my husband.
OBERON
As you wish. But I will have you know that I am not making this trouble.
TALON
Fat chance of that.
OBERON
Now, I have said--
MAGGIE
Dear, please. Oberon?
OBERON, frustrated, goes down to the platform. RUTH’s hackles go down and she rubs her face against HAL’s.
MAGGIE
Maybe you should avoid picking fights with almighty supernatural beings, honey.
TALON
Oh, I know. But I remember the last time, and now is no time to have more of his...capers.
HAL
Thanks for that, hon.
RUTH
Now, hush. You just get your strength back, you hear me?
ELISA
Hal?
HAL
Yes, ma’am. How are you?
ELISA
Fine, thanks, but, uh...
HAL
I know. Don’t mind the change of looks. I just--
ELISA
--had an encounter. I heard.
HAL
Yeah. It was that guy from before. With the spiders. Walloped me good, too. He threw a bolt of lightning or something.
TALON
He was out with Bennie. Bennie came running back to let us know. By the time we got to him, they’d all gone.
RUTH
Who’s that other one with you, Captain, if you don’t mind me asking? I take it the people around here know him as a troublemaker.
TALON
Lord Oberon is very well known around these parts. He caused us a lot of trouble a few years ago. What are you doing with him anyway?
ELISA
He brought us back from Avalon. He said something about the earth rebelling.
TALON
Well, what’s that supposed to mean?
ELISA
He won’t say.
TALON
Typical.
ELISA
But he seemed to hit a nerve with you earlier.
RUTH
He smells wrong. Like danger in an overpriced suit. Wouldn’t you say, Hal?
HAL
No, sorry, Ruth, I can’t smell anything in this body.
RUTH
Oh, hon, I’m sorry. I forgot.
HAL
No, it’s all right. I know.
TALON
Something else, though. Alexander was with this other guy.
ELISA
Helping him?
TALON
I don’t think so. Sounds like the other guy had captured him.
HAL
Yeah, that’s what it looked like, all right.
ELISA
Then he’s made two enemies right there: David Xanatos, and Lord Oberon.
RUTH
How so?
ELISA
David is Alexander’s father, and Oberon is his grandfather.
RUTH
Oh, jeez.
ELISA
Yeah.
HAL
Well, that’s not a bad spot to be in, if this Oberon fella is as powerful as David Xanatos.
ELISA
Maybe.
TALON
You going to tell him?
ELISA
I don’t know. If Oberon finds this out, he’s not going to do anything else until Alexander is safe.
MAGGIE
You can’t just hide it from him.
ELISA
No. But I don’t think I want to spring it on him just yet. We may need him.
MAGGIE
I was on my way to go see Inspector Bluestone. Maybe we should bring Oberon with?
ELISA
That might be a good idea. Come on.
ELISA and MAGGIE go down the stairs to the platform.
INT. SCENE - SUBWAY. MERLE'S LAIR.
MERLE and ALFHARD (holding ALEXANDER) enter. MERLE lights a cigarette lighter, and with that, a torch on the wall, which lights the room. Within the room, a pair of pentagrams are carved on the floor.
MERLE
Place him here.
ALFHARD
Yes, sir.
ALFHARD places ALEXANDER in the center of one of the pentagrams. ALFHARD steps away. MERLE stomps on one point of the pentagram, and a gold pulse fires its way around all the lines, surrounding ALEXANDER.
MERLE
There. That will do nicely. Do you know what this is?
ALEXANDER
A jail cell. Whoopie. I was making those when I was five years old.
MERLE
And breaking them?
ALEXANDER reaches out. A mystic force repels his fingers from the lines, with a glow.
MERLE
Yes, I hadn’t thought so.
ALEXANDER
Get to the point. You’re Merle?
MERLE
So I am called.
ALEXANDER
Not Merlin.
MERLE
No.
ALEXANDER
Loser.
MERLE
Oh, ha, ha. The young wizard has quite a tongue on him, doesn’t he? Perhaps I should take that and bind it to a staff. I could get hours of laughs at parties.
ALEXANDER
Well, come and take it, then.
MERLE scowls, but does not move.
ALEXANDER
Since I was five, I said. I know how these work.
MERLE
So you do. It does not mean your debts won’t be paid eventually.
ALEXANDER
No, I have other things for that. So! New Avalon. Tell me more.
MERLE
A working name, nothing else.
ALEXANDER
But you’re saying the ward made this possible.
MERLE
Oh, completely. I mean, tracking down all the ward points and then laying them out. I have my methods, but I do not have your resources.
ALEXANDER
That’s great. And my reward is to be pinned in here?
MERLE
It is. As you point out, nothing gets in, and nothing gets out. So you can sit there and enjoy the view as long as you can take it.
ALEXANDER
A view of what, exactly?
MERLE
This world is vile. Corrupt. Decadent, and so forth. I made a piece of it, and I am ashamed of what it has become. So I am going to repair this corner of it, at least, and leave the rest to spoil.
ALEXANDER
Gosh, what an original idea.
MERLE
I do not care for originality. You speak to me of originality when you are 4,000 years old.
ALEXANDER
Four thousand? Wow, and you don’t look a day over two.
MERLE grins at him, nastily, and shakes his head.
MERLE
I’m not opening the pentagram. I am not that much of a fool.
ALEXANDER
No, because here’s how much of a fool you are. These tunnels are my friend’s father’s domain. My father has infinite resources at his disposal: wealth for his allies, armies for his enemies. And my grandfather, sir, my grandfather, he is the lord of Avalon. The original. And he won’t be pleased to find out his grandson is being held by a pretender.
MERLE
These tunnels are now my domain. I have the forces of the earth itself at my disposal. And if Oberon’s strength were sufficient to break the ward, then I might be worried about him as well. I tire of this conversation. I have an address to give to my new subjects and this is a waste of my time.
MERLE goes to the doorway, accompanied by ALFHARD.
MERLE
If you get hungry or thirsty, your magic should work in there all right.
MERLE and ALFHARD exit. ALEXANDER stretches his legs out, sits back, and blows a long deep breath.
INT. SCENE - POLICE STATION. BLUESTONE’S OFFICE.
ELISA, MAGGIE, and OBERON are in BLUESTONE’s office, with the door closed. BLUESTONE is seated with a coffee and a sheaf of reports spread out in front of him.
BLUESTONE
Nothing. Sorry, but we’ve got nothing going in or out.
MAGGIE
Not even TV or radio?
BLUESTONE
Not a thing.
ELISA
So we are stuck here.
BLUESTONE
Most of us are. How did you get in here, anyway?
OBERON
My timing was just right, Inspector. That is all.
BLUESTONE
Yeah, I bet.
OBERON
So suspicious. Now, truly, Inspector, do you truly think I would be responsible for this mayhem and then appear before you? You, who are otherwise so fully...illuminated?
BLUESTONE gives him a sharp look, but says nothing.
BLUESTONE
So now what?
ELISA
Is David Xanatos in town?
BLUESTONE
And Fox. Yeah, as far as I know. Why? You think they’re involved with this?
ELISA
They might not know it, but they are.
BLUESTONE
Come on.
He stands, and they leave his office.
INT. SCENE - POLICE STATION. BULLPEN.
BLUESTONE, followed by ELISA, MAGGIE, and OBERON, exit BLUESTONE’s office. As they cross the bullpen, the TV on one end (which had been playing news reports quietly) squeals. The group stops to look, as do MORGAN and several of the other officers in the bullpen. The reports are replaced by MERLE.
MERLE
New York. How are you? Good morning, and welcome to a new era.
ELISA
What is this, filler program?
BLUESTONE
I don’t know.
MERLE
I have brought you here, apart from the rest of the world, to clear you of the corruption that afflicts you. No more will you fear, or want. From this day forward, I will lead you into a new world, a New Avalon.
OBERON
New Avalon?
MERLE
A land of peace and plenty for those who accept it. The price for this is simple: your obedience, and your love.
MORGAN
Guess he doesn’t know where he is.
MAGGIE
Wait.
MERLE
I have loved you enough to do all this for you. All I ask is that you return that love to me. Together, we will prevail, we will prosper, and we will have a great time.
MAGGIE
I know who that is.
ELISA
Who is it?
MERLE
But let me warn you now: I come to purge corruption, not to coddle it. Those who would obey will gain. I will now show you what will happen to those who will not. Alfhard?
MERLE steps aside, as ALFHARD leads three people to line up against a tunnel wall. One is MANNY THORBURN (see episode 1). MAGGIE takes down her hood and looks intently. ALFHARD steps away.
MAGGIE
It’s that wizard. From the tunnels.
MERLE
This one (indicating THORBURN) sold his office for petty funds. This one tried to take my wallet. And this one cursed my name for crossing his path. All are corrupt. All shall be punished.
MERLE puts up his hands.
MERLE
Ad k’purt al sinetur regresa pregurtho!
A bolt of energy flies from his hands into the three people, who react in pain, and then suddenly melt into piles of insects, which scurry away across the floor. In the bullpen, the officers react in disgust, as does MAGGIE, who puts one hand to her mouth. MERLE turns back to address the camera.
MERLE
I hope no further displays of strength will be necessary. Prosper, New Avalon.
He nods off-screen, and the signal breaks, resuming the news broadcast. MAGGIE puts one arm over BLUESTONE and then sinks to the floor, retching.
BLUESTONE
Maggie, it’s all right. Breathe.
OBERON
What wizard is that?
MAGGIE
He was in the tunnels. He fought with Alexander, and--
OBERON
He did what?
MAGGIE
They fought. Alexander did well, but that wizard fought hard.
OBERON
I need to see Alexander.
MAGGIE
He’s gone. Captured.
OBERON
By this wizard?
MAGGIE
Yes, it sounds like it.
OBERON
I will speak to his guardians.
BLUESTONE
That might not be--
OBERON
(angrily)
I will speak to them.
ELISA
I’ll take you there.
OBERON
I do not need your escort.
ELISA
You’re getting it anyway. My city is under attack. I need answers myself.
OBERON looks at her, scoffs, waves one hand dismissively, and walks away.
BLUESTONE
Maggie, are you going to be all right?
MAGGIE
Yes. I need to get back to the Terminal.
BLUESTONE
So do I. Come on.
MAGGIE stands, and she and BLUESTONE go together.
ELISA
Morgan, get up a few more squads and have them keep a look out. If this wizard turns up on the street, keep an eye on him, but don’t engage him, got it?
MORGAN
Sure thing. We’ll get on it.
ELISA
And watch out.
MORGAN
Don't need to tell me that. I got enough roaches in my apartment already.
ELISA follows OBERON out.
EXT. SCENE - HUMBOLDT STATION. ROOF. (DUSK)
Caption: TSS Humboldt, Chicago. Sunday, March 3, 2013. 5:44 PM.
BROOKLYN, BROADWAY, LEXINGTON, HUDSON, and BRONX are all where they were previously, asleep. Down on the roof below them, by the door, are ELLEN (armed), ROLF SCHUMACHER, and BELLO LOWELL. As the sun goes below the horizon, the gargoyles awake, startling SCHUMACHER and LOWELL. The fragments of their skin clatter to the roof below. BROOKLYN leaps and glides down to the roof, below, followed by the others (BRONX carried by HUDSON). LOWELL takes several frightened steps back, and ELLEN reaches out to stop him.
BROOKLYN
Thanks for the assist this morning.
ELLEN
Glad to help, but I’m afraid there may be more trouble coming. Brooklyn, this is Commander Schumacher, Chicago Police. This is Bello Lowell, manager of Edison security. They have questions.
LOWELL
You could say that.
BROADWAY
I’m sure we can explain everything.
SCHUMACHER
You can explain blowing up the street? You think you can explain that?
BROADWAY
We did not blow up the street. That was the Quarrymen doing that.
SCHUMACHER
You mean it was human stupidity.
BROOKLYN
He didn’t say that.
SCHUMACHER
No, but I did. I am stunned that nobody got hurt. Mr. Lowell here is just as stunned that they were able to get the power back on so quickly. What actually happened here?
BROOKLYN
We were attacked, and we defended ourselves and our home.
LOWELL
What home, this?
HUDSON
This is our castle, for the duration. We will defend it.
LOWELL
How did you even get here?
BROOKLYN
One of our friends let us stay here. Matt Pegram.
LOWELL
Don’t know him.
BROADWAY
You ought to.
LOWELL looks at them, in turn.
SCHUMACHER
Well?
LOWELL
I don’t know. I need to take this back to the office.
SCHUMACHER
But for right now?
LOWELL
For right now, I guess it’s okay.
BROOKLYN
It’s not like we’re going to be able to go anywhere.
SCHUMACHER
No, you’re not.
ELLEN
It’s on the news. Manhattan is gone.
The gargoyles react with shock to this.
BROADWAY
What? Gone?
HUDSON
What do you mean?
ELLEN
Come inside. You need to see this.
They go inside.
INT. SCENE - HUMBOLDT STATION.
The TV is on and showing news footage from a helicopter, showing the traffic backup on the west approach to the Holland Tunnel. Traffic is absolutely stopped, headlights stretching off through the city. The chyron says, “MANHATTAN VANISHED.” There is nothing visible past about the center of the Hudson River. The gargoyles watch, stunned, alongside ELLEN, SCHUMACHER, and LOWELL.
SCHUMACHER
Ellen got me to try to check up on you earlier. I was going to call the NYPD. Nothing.
HUDSON
How is this possible?
SCHUMACHER
We don’t know. Nobody knows. They’re working on it.
There is a chirp from the console. LEXINGTON leaps over to it and switches on.
LEXINGTON
Yeah, are you there?
MATT
(on phone)
Yeah, we’re here. I guess you can see what’s going on.
LEXINGTON
We’re watching it now. What can you see?
EXT. SCENE - FORT LEE, N.J. STREET.
Caption: Fort Lee, N.J. 6:48 PM.
MATT’s truck is parked on a side street. He and NASHVILLE are in the bed, MATT seated on the rail, NASHVILLE looking out toward the east sky. ENKI is standing at the front.
MATT
Nothing at all. We took a walk up onto the Washington Bridge a while ago. It just ends. There’s a wall of some sort there at the end, but it’s invisible.
LEXINGTON
So there is something there?
MATT
Yeah, I suppose so. But whatever it is, nothing is getting through it. Coldstone’s up checking it out now.
LEXINGTON
Keep us posted.
MATT
Sure thing.
BROOKLYN
We’re also having a problem with your security people. They’re here now.
MATT
No. Really?
LOWELL
Really. Mr. Pegram, this is Bello Lowell, Edison security. We’re going to need to have a chat when you get back, us and your boss, who is...?
MATT
Mike Benson, Standards.
LOWELL
Thank you. We’ll be in touch.
MATT
I’m sure.
LOWELL
And as for you, watch yourselves. If you’re gonna protect this substation, you’d better protect it well, because anything that happens in here, so much as a window breaks, I’m gonna hold you responsible.
HUDSON
You need not lecture us on the meaning of protection, Mr. Lowell.
LOWELL
Mr. Schumacher, I want to talk to you too. Come on.
LOWELL and SCHUMACHER exit to the stairs. ELLEN goes to BROOKLYN.
ELLEN
Anything I can do?
BROOKLYN
No. Not now.
ELLEN
All right. Have a good night.
BROOKLYN
Yeah.
ELLEN leaves. After she is gone, BROOKLYN kicks at the floor, turns, and puts his hand to his face.
MATT
You guys there? Hello?
LEXINGTON
We’re here.
MATT
Don't worry about the security guy, I will take care of him.
BROOKLYN
It doesn't matter.
The others look at him. After a moment, he turns to face them.
BROOKLYN
We're getting into Manhattan. We are not losing our home, not again. If there is a wall, there has to be something on the other side. Find out what.
LEXINGTON
I'll look. All the channels are dead, the Labyrinth too.
BROOKLYN
Whatever you can get. Phone, text, pagers, Morse code, anything that can get through, get it.
LEXINGTON
I'm looking.
BROOKLYN
I need the phone.
LEXINGTON
Sure.
He unplugs the phone from the console and hands it to BROOKLYN.
BROOKLYN
The rest of you, stay here. I need a word in private.
BROADWAY
Why in private?
BROOKLYN
Because this isn't for you. Trust me on this, for once.
HUDSON
Aye.
BROOKLYN goes out to the roof. LEXINGTON looks at BROADWAY, who shrugs, and then LEXINGTON sets to his work.
EXT. SCENE - HUMBOLDT STATION. ROOF.
BROOKLYN steps out, closing the door behind him, and goes toward the edge of the roof before putting the phone to his ear.
BROOKLYN
Are you there?
MATT
Yeah.
BROOKLYN
How much did you hear?
MATT
Enough to get me worried. What's going on?
BROOKLYN
I sent you away from here to keep you out of danger, and I messed it up. I put you right on the front line.
MATT
You didn't send me alone. I have Coldstone and Gnash here too.
BROOKLYN
And a mad Sumerian god.
MATT
Oh, details.
BROOKLYN
No, listen. This is really dangerous. If we get through, it'll only be by you getting inside and you may not be able to get back.
MATT
Then I’ll get inside for you.
BROOKLYN
You don’t have to do this. I keep telling you “no heroics.” I’m not changing my mind on that.
MATT
If I don't get inside, you may never get back here yourself.
BROOKLYN
You will stick to this?
MATT
If my blood is going to be shed, better for my friends than anything else. I will stick to this. You have my word on it.
BROOKLYN
Knock it off. We got enough drama as it is.
MATT
Yeah, I guess. What do you need?
BROOKLYN
I need you to use your talents. You deal with things that go sideways better than anyone I know, and they don't get more sideways than this.
MATT
You really know how to boost a guy’s confidence, you know that?
BROOKLYN
And something else. Turn on your speaker.
MATT
All right.
BROOKLYN goes back inside.
INT. SCENE - HUMBOLDT STATION.
BROOKLYN enters, phone in hand.
BROOKLYN
Get a channel open to Coldstone.
LEXINGTON
Got it already.
BROOKLYN
Coldstone, you're listening?
COLDSTONE
I am.
BROOKLYN
Matt is in charge of your group. You report to him for the duration.
COLDSTONE
That is unwise.
MATT
Yeah, uh, can we--
BROOKLYN
I have decided. You will give him all possible protection. That goes for you too, Nashville.
NASHVILLE
If you say so, father.
BROOKLYN
Matt, your mission is to get through that barrier. Find a way. We're working here too and if we find anything we will be in touch. Meanwhile, protect your company.
MATT
Yes, sir.
BROOKLYN
And let them do the work. I don't want my lieutenant getting killed. If you find anything, call. Get to it.
MATT
Right.
EXT. SCENE - FORT LEE, N.J. STREET.
MATT hangs up, and looks up at NASHVILLE.
NASHVILLE
Okay, boss, what first?
MATT
I don't know.
NASHVILLE
Great.
They look over at ENKI, who has begun crawling along the ground, feeling the earth around her.
MATT
Everything all right?
ENKI
No.
MATT
Okay. Um. Anything we can help with?
ENKI
No. Give me a minute.
NASHVILLE
Not like the world is breaking down or anything.
ENKI
You feel it too?
NASHVILLE
There is a wall around my home city, for one thing.
ENKI
Ahhh. Just be quiet.
She continues to pad around the ground. COLDSTONE lands.
MATT
Any luck?
COLDSTONE
No, captain, all clear, captain.
MATT
Bit of hostility?
COLDSTONE
Humans cannot lead gargoyles.
MATT
Good thing this came from Brooklyn, then, isn't it?
COLDSTONE looks away and growls to himself.
MATT
I'm as puzzled by it as you are, believe me. I did not ask for this.
COLDSTONE
Then step aside and let me run this.
MATT
No. Brooklyn said I should be in charge. I am not going to ignore that. Did you find anything up there?
COLDSTONE
Nothing. It is a sphere, right down to the water on all sides I could see.
MATT
No way over?
NASHVILLE
No way under, either, judging from the traffic into the tunnel.
MATT
Leaves us without a lot of options for getting in.
ENKI
Don't be sure about that.
She is now running a finger along a line on the ground. She looks up at them.
ENKI
There's a lash line here.
MATT
Lash line?
ENKI
Yep. And if that's what I think it is, then I have a pretty good idea of what's happening.
INT. SCENE - EYRIE TOWER. XANATOS RESIDENCE. FOYER.
There is a knock on the front door. DAVID XANATOS enters and opens the door, admitting ELISA and OBERON.
DAVID
Captain. I had expected you would be too busy to visit, what with the end of civilization going on.
ELISA
If civilization is ending, then you know you're the first one I will check in on.
DAVID
Come in.
Enter ELISA and OBERON. They go into the living room.
INT. SCENE - EYRIE BUILDING. XANATOS RESIDENCE. LIVING ROOM.
DAVID, ELISA, and OBERON enter.
DAVID
I know it will be hard to believe, but I really don't have anything to do with this one.
OBERON
That may be, but you have something to do with one of its consequences. Where is my grandchild, Xanatos?
DAVID
What?
FOX XANATOS enters.
FOX
Who is it, David? Oh, Oberon.
DAVID
Oberon.
OBERON
Yes.
FOX
Why are you here?
OBERON
I want to know where my grandchild is.
DAVID
I don't know.
OBERON
You do not know where your child is?
FOX
Believe it or not, we do allow him to be at large in the city.
OBERON
Where is his guardian then? Where is Puck?
DAVID
He went to bed with a headache.
OBERON
I will see him.
DAVID
Of course. This way.
DAVID points the way, and OBERON, ELISA, and FOX follow him.
INT. SCENE - EYRIE BUILDING. XANATOS RESIDENCE. OWEN'S APARTMENT.
OWEN lies on the bed, in shirt, trousers, and tie, his stone arm across his chest, his other arm clutching an ice bag to his head. There is a knock at the door.
DAVID
(outside)
Owen? You have a visitor.
OWEN
I am not well enough for visitors, Mr. Xanatos. Would you give them my regrets?
DAVID
I don't think he will take them.
OWEN
Oh, all right.
He sits up, straightens his tie, and goes to the door, opening it. OBERON is right there, and right wrathful. OWEN immediately kneels.
OWEN
My lord!
OBERON
Stand up and let me in there. The rest of you, wait outside.
OWEN steps back from the door, allowing OBERON to enter, and then closes the door.
OBERON
Don't you face me in that ridiculous aspect.
OWEN
My apologies, lord.
He gestures, and changes into PUCK.
PUCK
Lord Oberon, what a pleasure.
OBERON
Is it, really?
PUCK
Always!
OBERON
Let me relieve you of the pleasure, then. Where is Alexander?
PUCK
Well, really, my lord, I do not know.
OBERON
You are his guardian, are you not?
PUCK
Ever and always.
OBERON
And you propose to guard him from your bed?
PUCK
No, my good lord!
OBERON
So then, where is he?
PUCK
I do not know. My sight is clouded, my lord. I had not expected that.
OBERON
I wonder!
PUCK
Why, what do you mean?
OBERON
Only that a ward that closes off earth magic would be remarkably useful for one of my children who wished to escape his bonds. Is that not true?
PUCK
Is it? Now that you mention it, I suppose it might.
OBERON
You naughty imp. You have incurred my displeasure once. Had I my full powers, you would feel my displeasure a second time.
PUCK
No, my good sir, do not be angry. Please remember your servant Puck, who has protected your grandchild this long without fail.
OBERON
I do remember. I remember a rebellious scamp whom I had to banish from Avalon. Do you know that some pretender is calling this New Avalon? By rights, I ought to exile you from this place as well.
PUCK
No, good lord, sweet lord, do not do that.
OBERON
Then you will tell me what you have done, and you will speak plainly.
PUCK
Well. I had encountered a wizard of impressive talents, and of such powers that I knew not what he was. He sought a ward for the purpose of correcting humanity, and said it would be to the benefit of my ward Alexander, and as I had not yet taught him of warding, I felt it was time.
OBERON
What kind of ward?
PUCK
Only an earth ward, nothing of note. Only...
OBERON
Only what?
PUCK
He sought to tie it to specific points under the earth. I used my influence on Mr. Xanatos to see it done. Alexander used his connections to gain all the ward stakes needed, and between us we build a ward of such strength as you have seen.
OBERON
Thou foolish creature. What have you done, then? Do you not know?
PUCK
It is only a ward, is it not?
OBERON
Change your appearance. For the sake of your own life, you will come with us and you will undo the mischief you have done, or I will banish you into an even baser state than you are.
PUCK
I would not have that. All right.
He gestures over himself, resuming his form as OWEN. OBERON opens the door.
OBERON
I am pleased to report that Owen has agreed to help us.
OWEN
That is correct.
OBERON
Come, down to the street.
OBERON and OWEN exit his room.
INT. SCENE - EYRIE BUILDING. XANATOS RESIDENCE. LIVING ROOM.
GOLIATH, GABRIEL, and ANGELA are in the living room, with FOX. OBERON, OWEN, and ELISA enter.
ELISA
Goliath? What brought you here?
GOLIATH
I suspected that Xanatos would have something to do with this. Have you found anything out?
OBERON
Yes. I know now what to look for. Have you any chewing gum?
FOX
I have some, why?
OBERON
Give it to me.
She does. OBERON offers it to GOLIATH.
OBERON
Here, chew this.
GOLIATH
What for?
OBERON
Science.
GOLIATH
I will not.
OBERON
Oh, for...the world is ending and you stand on dignity? Very well. Captain?
ELISA
Uh, all right.
She puts a piece of gum in her mouth and begins chewing, and the six of them (except DAVID and FOX) exit.
INT. SCENE - TERMINAL. MEZZANINE LEVEL. COMMS ROOM.
AL is at the console of the comms room, tweaking and adjusting knobs. He finally comes back to the microphone and keys it.
AL
This is the Labyrinth, calling Chicago or anyone who hears us, over.
He unkeys. There is no response, just a faint hiss of static. He begins adjusting again. TALON enters.
TALON
Any luck?
AL
Nothing so far. It really is like everything else is gone. Like we're the last ones on earth.
TALON
I doubt that.
AL
Really?
TALON
I hope it's not the case.
AL
That's two different things, boss-cat.
(keying the mike)
This is the Labyrinth, calling anyone in range, please respond. Over.
He unkeys. The static remains unchanged. TALON exits.
INT. SCENE - TERMINAL. MEZZANINE LEVEL.
TALON enters. MAGGIE and MICHAEL are there.
TALON
Well, nothing so far.
MICHAEL
Nothing at all?
TALON
Not a peep.
MAGGIE
Then we really are alone.
TALON
We always have been, in a way, haven't we? We'll manage.
They clasp hands. MAGGIE looks at him: he is confident, she is worried.
TALON
Trust me.
MAGGIE
I do.
Enter MERLE, followed by MAISHA and ALFHARD, from the street.
MERLE
We can't have that.
TALON
You! I thought Alexander took care of you.
MERLE
The tables have turned. I have him, and I am expecting to have you.
MAGGIE
Maisha?
MAISHA
I'm sorry, Maggie.
TALON
You won't get me easy.
MERLE
I don't plan to. I plan to get your people first, as many as I need.
TALON
Get them how?
MERLE
Maisha?
MAISHA
No. Please.
MERLE
Did you think you would avoid this forever? Your time is up.
MAISHA
No!
MERLE
Oh dear. Alfhard?
ALFHARD
Sir.
MAISHA
Maggie! Run!
TALON
Don't you dare. Don't you touch her!
MAISHA tries to run toward the platform as ALFHARD points to her. There is a bolt from his hand into MAISHA, and MAISHA screams. She dissolves into an indistinct gray ghost, a WRAITH, her scream dissolving into a wail that trails off. The ghost stops short and turns to face the group.
MERLE
I don't have to.
TALON, enraged, winds up and throws a bolt of energy at MERLE, who circles one hand and reflects it directly back to him. TALON is stunned and falls to the ground.
MICHAEL
Dad!
MERLE
Now, I will offer you a choice. You can keep up the fight with me, in which case my captain here will have no choice but to turn his troops loose downstairs. Or, you can go with me, and maybe we can make some sort of arrangement.
TALON
What did you do to her?
ALFHARD
Put her back to her normal form.
MAGGIE
But she was one of our residents.
MERLE
Charming how the notion of a "spy" hasn't penetrated down here yet. Well?
MICHAEL
Dad?
TALON
All right.
MICHAEL
No!
MAGGIE
Derek!
TALON
But only if you leave these people alone.
MERLE
Eagerly accepted. Why would I destroy my people wantonly?
MICHAEL
You seemed happy enough to do it last time we met.
MERLE
You were in the way then. Learn from it. Come.
TALON gets to his feet, with effort, and starts down the stairs behind MERLE, followed by ALFHARD and the WRAITH. MICHAEL leaps toward them, and the WRAITH turns and fires a stone, missing MICHAEL but hitting the wall behind him, which shatters.
MAGGIE
Michael!
ALFHARD
Want a second try? I'll warn you: her aim is off because she was human so long. It improves with practice.
MAGGIE
Come back here.
MERLE
Very good. Listen to your mother.
They exit.
MICHAEL
Mom.
MAGGIE
Give them five minutes. Then, get the Clones.
EXT. SCENE - MANHATTAN. STREET. (NIGHT)
GOLIATH, GABRIEL, ANGELA, OBERON, OWEN, and ELISA walk down the sidewalk, getting a few funny looks from around them.
ELISA
Why am I chewing this gum?
OBERON
I need something to show you what's going on here. I saw them here, I am sure...
They approach a street vendor, who has a box labeled, "REAL GARGOYLE STONE $15". GOLIATH looks at this and shakes his head. The vendor, for his part, is excited to see a group of gargoyles coming toward him.
OBERON
Fifteen dollars for how much?
VENDOR
About this much.
He holds up about a palm-sized piece of gargoyle stone skin, wrapped in plastic.
OBERON
Pay the man, Captain.
VENDOR
Of course, I'd be happy to take trade--
GOLIATH growls, cutting him off. ELISA digs money out of her pocket and gives it to the VENDOR, who hands over the skin to OBERON. He unwraps it.
GABRIEL
What is this?
ANGELA
Tourist memento.
GABRIEL
(disgusted)
Our shed skin? Whatever for?
GOLIATH
I do not know. Is there a reason we encourage this?
OBERON
Yes. Captain, your gum?
ELISA takes the gum out of her mouth.
OBERON
Stretch it across this.
ELISA does, sticking it in place. OBERON holds the skin up to the others.
OBERON
Very well. Here is what has happened, in physical terms you can understand. Manhattan has a ward across it. The ward is connecting place to place, such as this gum is. Now, this Merle person has done something to break the sphere of the earth, thus.
He breaks the skin in two, with the gum bridging it.
OBERON
The ward holds the two parts together, but it allows them to drift a little, like this.
He gently draws them apart, with the gum stretching between them.
OBERON
Thus Merle can separate his New Avalon from the rest of the world without completely breaking connections.
GABRIEL
You speak with a voice of experience, my lord.
OBERON
I do. This is how Avalon is arranged. It is no surprise that this imagined New Avalon would be much the same. But it is so much worse.
GOLIATH
In what way?
OBERON
It is weakly done, and quickly. Avalon had, oh, I think it was several hundred bonds to the rest of the world. Why do you suppose you can reach Avalon from any body of water, after all? But this one has maybe a dozen, not many more.
ELISA
Which means what?
OBERON
Put too much stress on the bonds, and...
He pulls the halves apart sharply, and the gum breaks. He throws one half of the skin into the gutter.
OBERON
We are lost for ever.
GOLIATH
No. I will not have Manhattan lost.
ELISA
Neither will I.
ANGELA
Nor any of us. So what do we do?
OBERON
We need to find this Merle and stop him, and happily I have his primary collaborator here with us, is that not true?
OWEN
I would not claim primacy, sir.
OBERON
Oh, sweet, silly Puck, you are always first among my rogues. Come, come, where would Merle be?
OWEN
My lord, I do not know. I promise you this is true.
OBERON
Well, then. A general idea?
OWEN
Puck knows, not Owen. Surely my lord knows that he has forbade--
OBERON
You are not dodging that easily. Puck shall speak through Owen until the sun rises.
OWEN
He was very eager to set the stakes underground.
ANGELA
The Labyrinth?
OWEN
It was nearby many of the sites, yes.
OBERON
You know where this is?
ANGELA
Yes.
OBERON
You see? You are a useful knave. Come, then.
ANGELA starts toward the Labyrinth, but does not get far. A thrown bottle strikes her across the back of her head and falls to the ground. The others turn to look. HARRY, patently intoxicated, is angrily shouting at the group, as his friends (MAN 2 and MAN 3) hold him.
HARRY
That’s what you get! You leave us behind and now I ain’t never see my girl again!
GABRIEL
What do you mean by this?
MAN 2
Harry, stop it! Knock it off!
MAN 3
You gonna get in trouble, man!
HARRY
I don’t care. I want my girl back. Lemme go.
ELISA
All right, that’s enough of that. Go home.
HARRY
Don’t you tell me to go home. Don’t you tell me that. Those monsters left and now it’s no home no more.
OBERON
Monsters, you say?
He raises a hand toward HARRY.
GOLIATH
That will not be...
The spell is leaving OBERON’s fingers as the words leave GOLIATH’s mouth, however, and slams into HARRY’s face, leaving him with a pig nose and donkey’s ears. HARRY feels his head, finds the ears, and whimpers as MAN 2 and 3 look at him, astonished.
GOLIATH
...necessary.
MAN 2
What did you do?
OBERON
A gift. An evening’s lesson in humility. Take him home. Sobriety will restore him.
MAN 3
C’mon, man, get out of here.
HARRY
What you do? What did you do?
MAN 2
Come on, you’re just going to get in worse trouble.
HARRY, MAN 2, and MAN 3 leave.
GOLIATH
(to ANGELA)
Are you hurt?
ANGELA
No, father.
OBERON
The unmitigated nerve of these people! I am surprised you tolerate it at all.
GOLIATH
It is our home, for better or worse.
ELISA
Emphasis on the “worse,” if we don’t get this under control. Come on, Talon’s people moved, it’s this way now.
They start off toward the Terminal entrance.
GOLIATH
Has it been like this since we left?
ELISA
Not much. Plenty of people hoping you would come back. The usual few saying “good riddance.”
OWEN
Now, Captain, I think you may be putting a shine on the facts, don’t you?
GOLIATH
In what way?
ELISA
Yes, what do you mean by that?
OWEN
Don’t you think the “plenty of people” you talk about have their own reasons for wanting the gargoyles back?
ELISA
Yes. That’s true.
OBERON
What is true?
GOLIATH
Exploiters.
OWEN
That would be a better term. I know that Mr. and Mrs. Xanatos were very eager to have your help promoting some of their ventures.
ANGELA
And they expected that to happen?
OWEN
They had hoped, and you know that Mr. Xanatos always sees his hopes fulfilled.
ANGELA
To our detriment.
OWEN
When necessary.
GABRIEL
And yet you tolerate this? I am sorry, father.
ANGELA
It has been worth the trouble, some nights.
GOLIATH
Perhaps.
They continue onward.
INT. SCENE - HUMBOLDT STATION.
Caption: TSS Humboldt, Chicago. Sunday, March 3, 2013. 10:03 PM.
LEXINGTON is on the console, busily working to try to tune in Manhattan. The others are watching the television, rapt, horrified, as IDRIS BRANNIGAN reports. A shot of people midspan of the George Washington Bridge, going up to the edge and looking down where it is cleaved clean in two. Several are leaned up against the invisible barrier, posing for a photo.
BRANNIGAN
A full day has passed, and still no sign of what has happened. Officials say they are puzzled. They have found no way into Manhattan, no sign of where it has gone, and no way through the barrier that popped up early this morning, apparently cutting off not just all routes into the city, but all communication as well.
Shot of an Army officer in uniform, addressing a press conference.
MAZOR
Our attempts to contact the city have so far not been successful, no, but we are trying new methods.
LEXINGTON
Yeah, phase shifting, I can see that, guys. Beat you to that one.
BRANNIGAN
What had been curiosity has now given way to fear for what has happened.
Interview with a man in casual clothing.
MAN 4
Well, I haven’t heard from my friends since last night. I’ve been calling and calling and it just goes to voice mail, and, uh...
(his voice catching)
I just want them to be okay.
It goes on like this in the background. LEXINGTON keeps adjusting. He tunes down and down. There is a warbling sound from the console, and he turns down the volume, but his ears go up and he listens. BROADWAY looks back at him.
BROADWAY
You mind? We're trying to find out what happened. What is that?
LEXINGTON
I don’t know. But that is in the wrong place. Hold on.
BROADWAY
That better be a clue I hear.
LEXINGTON
It's just a noise right now.
The others look anxiously back at him as he begins working on the signal. The silence drags on a bit too long.
BROADWAY
Any time now.
LEXINGTON
Give me a minute! And quit staring over here.
BROOKLYN
Enough.
LEXINGTON
Try this.
He clicks on the console. A distorted, slow voice comes from it.
VOICE
Ooooooooommmmm ehnnnnnnnnnn...
LEXINGTON
No, hang on.
He grabs up a voice recorder and starts recording.
HUDSON
Is there a voice there?
LEXINGTON
Shh!
VOICE
...ssssss ehhhssssss daaaaaaaahhh llllllahhhhhhbrrrrrnnnnnnnnffffffff....
LEXINGTON
Hang on.
He stops, rewinds, and speeds up the tape.
HUDSON
(on tape, fast)
Isthatavoice?
LEXINGTON
(on tape, fast)
Ssh!
AL
(on tape, slowly)
...is the Labyrinth, do you copy--
The others jump up at this.
LEXINGTON
That's them.
BROOKLYN
Finally. Why's it coming through so slowly?
LEXINGTON
I don't know. How about if I ask them?
BROOKLYN
Do it.
LEXINGTON fiddles with the console, and then keys the mike.
LEXINGTON
Labyrinth, this is Chicago, do you hear me?
There is a long pause.
AL
(very slowly)
Essssss esssssssh vvvvvvv lahhhhbrnnnnnfffff...
LEXINGTON
No, let's try this. (On radio) Labyrinth, this is Chicago, say that again.
He turns on the recorder.
AL
Ssssssss esssssshh vvvvv lahhhhhbrnnnnfff, plllllssssss ssaaaaaaagnnnn...
LEXINGTON stops, rewinds, and plays back.
AL
(on tape)
This is the Labyrinth, please say again?
LEXINGTON clicks the recorder and speaks into it.
LEXINGTON
This is Chicago, Labyrinth. We copy. There's a time delay, you are coming through very slowly. Over.
He rewinds, and then plays this back very slowly into the microphone.
INT. SCENE - TERMINAL. RADIO ROOM.
AL is on the console with MALIBU and HOLLYWOOD standing by. He listens intently. As the voice comes over, AL nearly leaps out of his chair.
AL
We got them! Boss-Cat, need you!
MALIBU
I get.
AL
Yes, go!
(into radio)
Chicago, got you loud and clear, good to hear your voice, Lexington. Over.
LEXINGTON
Likewise, Labyrinth. How are you doing there?
AL
(into microphone)
Safe, but nobody knows what's going on. What does it look like from out there?
LEXINGTON
Manhattan just vanished. We have someone trying to get in who might be able to help.
AL
Sooner the better. Over.
MALIBU enters, followed by GOLIATH and OBERON.
AL
Where is he?
MALIBU
Talon captured.
AL
Captured?
GOLIATH
Maggie says someone called Merle caught him.
LEXINGTON
We're working on it. Over.
GOLIATH
Lexington?
AL
Yeah, you want to talk to him?
GOLIATH
Yes.
AL
Go.
GOLIATH
(to microphone)
Lexington, what has happened?
LEXINGTON
Goliath, is that you?
GOLIATH
Yes, it is.
LEXINGTON
Good to hear from you. Manhattan disappeared for us.
GOLIATH
Manhattan is here.
LEXINGTON
And there is something else. Your voice is coming through very slowly.
GOLIATH
What do you mean, slowly?
LEXINGTON
We have been talking to you for fifteen minutes on this end.
OBERON
Oh, of course.
GOLIATH
What is it?
OBERON
This New Avalon is slipping out of time just as Avalon is.
BROOKLYN
(on radio)
Goliath, we have Matt and Coldstone outside, trying to get in. Is there anything you can do to help them?
OBERON
Not unless they can shake the moorings loose, and that's dangerous. Get too aggressive about it and we could be broken free of reality completely.
MALIBU
That a bad thing.
OBERON
Very.
MALIBU
Not do?
BROOKLYN
Are you there?
GOLIATH
(into microphone)
We are. If you can shake the strings that moor this world to the rest, perhaps you can enter.
BROOKLYN
We will do what we can.
OBERON
Our better chance would be to suppress this Merle, whoever that is. But we need to go quickly. What time is it there?
GOLIATH
(to microphone)
What time is it there?
BROOKLYN
About four hours past sunset now.
OBERON
If it gets to tomorrow there, we may be too far out of step to ever come back.
GOLIATH
(to microphone)
We must fix this by sunrise there, or it may be too late.
BROOKLYN
Right. Goliath, how do you know all of this?
GOLIATH
Oberon is with us.
INT. SCENE - HUMBOLDT STATION.
LEXINGTON looks at BROOKLYN, who is startled. He regains his composure quickly.
BROOKLYN
(into recorder)
Understood. We are on it.
He clicks off the recorder and hands it to LEXINGTON.
BROOKLYN
Get Matt on the line. Tell him what's going on.
LEXINGTON
Right.
HUDSON
And for us?
BROOKLYN
Nothing we can do but make the connection.
HUDSON
Aaah.
He stands, with effort, and goes to take up one of the dowels from the corner. He swings it to and fro, working off his frustration.
EXT. SCENE - FORT LEE, N.J. STREET.
ENKI is still on the street, with SIGMUND by her side, tracing along the street idly. MATT is in the truck, on the phone. COLDSTONE and NASHVILLE stand idle, restless. MATT disconnects, and walks over to ENKI, followed by COLDSTONE and NASHVILLE.
MATT
Well, they've managed to talk to Manhattan. Things are safe, they're saying, for now.
NASHVILLE
"For now"?
MATT
Well, it sounds like we need to get a solution today, or it may never get fixed.
NASHVILLE
Wonderful.
ENKI
What solution?
MATT
Shake the strings that moor--
MATT AND ENKI
--this world to that one.
ENKI
It is about time. Let's go.
SIGMUND
You can do that?
ENKI
I can do a lot. You. Rockhead. Got any kind of a long distance weapon in that tank of a body you're dragging around?
COLDSTONE
Yes.
ENKI
If we go up on that bridge there, you think you can hit a point right about here?
COLDSTONE
No. I can hit a point with much better precision than that.
ENKI
Prove it to me.
MATT
Hey. Don't be starting fights. Coldstone, you can do that?
COLDSTONE
Easily.
ENKI
Then that's our plan. Who's going to Manhattan?
NASHVILLE
Better question: who's not?
MATT
We are all in on this. What do we do?
ENKI
Come on, up to the bridge.
EXT. SCENE - GEORGE WASHINGTON BRIDGE.
MATT, COLDSTONE, NASHVILLE, ENKI, and SIGMUND make their way through the stopped traffic to the midspan of the bridge. ENKI thumps her hand against the barrier.
ENKI
Okay, count of three, everyone lean on here and push, and you shoot. Ready? One, two, three!
As they lean on the barrier, COLDSTONE raises his gun arm and fires at a distant point on the street, blasting a small crater, and sending a yellow spark along the street both ways, up on the bridge, and into the barrier, which briefly phases, revealing the bridge beyond. They all fall through.
On the other side, the earth rumbles and shakes, and the bridge clatters frighteningly. ENKI gets to her feet first, followed by SIGMUND, then the others, who look around.
NASHVILLE
We did it. We're home.
ENKI
Mostly, but not quite. I don't think...
MATT
What?
ENKI
Do you taste copper, by any chance?
MATT
No.
ENKI
Good. Then we haven't lost Manhattan. Come on, let's go save the city.
MATT
Right.
ENKI strides off down the bridge, devoid of traffic on this side, with SIGMUND. MATT, COLDSTONE, and NASHVILLE lag behind.
COLDSTONE
Are you leading this, or is she?
MATT
She seems to know what she is doing.
NASHVILLE
You're sure?
MATT
Not really, but we are here, right?
COLDSTONE
Here, and there is more. Their signal has resumed. I can find Plutus.
MATT
For once, you’re a ray of hope. Come on, then.
He heads down the bridge alone.
NASHVILLE
Matt!
MATT
What?
NASHVILLE points off the side of the bridge. MATT looks, and then puts one hand to his head, and nods.
MATT
Yeah, of course.
NASHVILLE
Thank you. My feet are killing me.
NASHVILLE runs to the edge and leaps off into the air, followed by COLDSTONE, as MATT hurries to catch up to ENKI.
EXT. SCENE - MANHATTAN. AERIAL. (NIGHT)
NASHVILLE and COLDSTONE are gliding along, looking down at the city. It is starting to get rowdy. Several people are driving wildly through the streets; one car is doing donuts in a city park as a crowd gathers and cheers, and down another block someone has thrown a brick through a store window, and two people pile out of it carrying a big-screen TV.
EXT. SCENE - MANHATTAN. STREET. (NIGHT)
The burglars hustle along the street, when there is a blast in the street in front of them. They draw up short. COLDSTONE lands, with NASHVILLE, who draws his sword.
COLDSTONE
That is far enough. Put that back.
BURGLAR
No. Who cares about a TV, anyway? World’s ending, gargoyle, may as well watch it in style.
NASHVILLE
The world’s not ending. We’re going to make sure of that. So put it back.
BURGLAR
You going to make me?
NASHVILLE
Yeah, if I got to.
BURGLAR
Set it down, Ralph.
They set it down. The BURGLAR draws out a pistol from his belt and aims it at NASHVILLE. As he does, a TV news van pulls up short. A cameraman leaps out of the back and begins filming the encounter.
COLDSTONE
Reconsider. This is really not a good idea.
BURGLAR
Maybe not. Not a lot left to worry about now, and I’ve wanted to plug one of you guys for ten years.
NASHVILLE
What for?
BURGLAR
Because I’m tired of you going around, and trying to get everyone to toe--
He does not get further than that. Suddenly there is a hail of stones from the sky. All of them look up; the BURGLAR’s assistant (Charlie) runs for cover. Above, a trio of WRAITHS hurtle groundward, flinging stones. NASHVILLE, COLDSTONE, and the BURGLAR dive for cover, NASHVILLE giving cover to the BURGLAR with one wing. The stones smash into the news van, punching holes in the sides of the van and smashing out the windshield. The creatures land, and turn in unison to face COLDSTONE, NASHVILLE, and the BURGLAR. They speak in unison.
WRAITHS
Disorder will not be tolerated. This is the order of your lord.
BURGLAR
We ain’t taking his orders!
He runs from cover, turns his gun sideways to shoot the cool way, and fires, striking one of the WRAITHS, who deflates and collapses. The other two raise their hands toward him as he flees, and fire stones. The stones strike him, and the BURGLAR vaporizes. The WRAITHS then turn back toward COLDSTONE and NASHVILLE.
WRAITHS
Corruption will be expunged.
NASHVILLE
Good idea.
He draws his sword, and leaps forward toward the WRAITHS. They turn their hands upon him, and fire. NASHVILLE leaps, dives, and rolls past their volley, brings his sword around, and with a roar, slashes through the nearest WRAITH, who breaks and flutters to the ground. The other raises its hands toward him, but never makes it before COLDSTONE’s plasma blasts vaporizes its head, and it collapses. NASHVILLE looks around at the three limp piles of rags that had been the WRAITHS, eyes alight, and his eyes darken. COLDSTONE comes up to him.
COLDSTONE
This is a new complication.
NASHVILLE
No kidding. Come on, we need to get back to Matt before those things do.
COLDSTONE takes off as NASHVILLE leaps up onto a building and begins climbing, in full view of the now-abandoned camera.
INT. SCENE - MERLE’S LAIR.
MERLE is seated in a shagged-out easy chair, watching a TV set. To one side, ALEXANDER sits in his pentagram, watching intently; to the other, TALON is seated inside another, wrapped in his wings, also watching. The TV is showing the departure of COLDSTONE and NASHVILLE from the previous scene. MERLE thumps the arm of his chair. ALEXANDER looks over to TALON and smirks.
ALEXANDER (VO)
You were right. They did come.
TALON (VO)
I've asked you not to do this.
ALEXANDER (VO)
You'd rather he eavesdrop?
TALON (VO)
No. I guess not.
ALEXANDER (VO)
You hungry?
TALON (VO)
Yes.
ALEXANDER makes a couple of short passes, and popcorn boxes appear in both his and TALON's hands. MERLE glances back, sees this, and rolls his eyes before turning back to the TV.
TALON (VO)
Thanks.
ALEXANDER (VO)
Don't mention it. Good to have friends in high places, isn’t it?
MERLE
(aloud)
We’ll see about that.
ALFHARD enters.
ALFHARD
Sire? They are approaching.
MERLE
All of them?
ALFHARD
Many of them.
MERLE
Well, let them come. I do not fear them.
TALON
You should. They are so much stronger than you think.
MERLE
That is just it. They aren’t. Let’s go out to meet them.
He stands and goes out to the tunnel.
INT. SCENE - TUNNEL.
MERLE and ALFHARD step out into the tunnel. Coming around a bend in the tunnel are GOLIATH, OBERON, MAGGIE, DELILAH, CLAW, and several others in the lead, with a number of other Labyrinth residents behind them, armed with clubs, hammers, and other tools. MERLE spreads his hands.
MERLE
Welcome, all. I am so pleased to receive your tribute. Anything else is going to be less welcome.
GOLIATH
No tribute, here. You have prisoners. Release them.
MERLE
Aha, just like that?
OBERON
Just like that. Or, of course, we could make this more difficult for you.
MERLE
Show me.
OBERON winds his hands up, casting a magical orb, and then flings it at MERLE, who merely swats the back of his hand toward them, swatting the orb back to OBERON. OBERON tries to catch it, but it flings him back over the crowd and he rolls to a stop. He struggles to his feet. At the same time, there is a distinct quaking of the earth.
GOLIATH
Oberon!
MERLE
Lord of the Fair Folk, indeed. And who created your race, then? Have you any idea who it is you face?
GOLIATH, furious, charges at MERLE, who looks at him disdainfully. GOLIATH swipes at him, claws out. MERLE merely puts out his hand, catching GOLIATH by the throat and lifting him, completely unaffected. GOLIATH grabs at MERLE’s arm, struggling to breathe.
MERLE
Have any of you any idea? Truly?
DELILAH
Goliath!
She rushes toward MERLE, who gives her the same treatment. She struggles to get free. CLAW and MAGGIE start, fitfully, toward this, but are hard-pressed to overcome their fears.
MERLE
I had heard this city was tough. Some champions. This will be easy to dominate.
But from behind him:
COLDSTONE
Not so.
COLDSTONE, NASHVILLE, MATT, ENKI, and SIGMUND approach in the tunnel. COLDSTONE raises his gun as NASHVILLE draws his sword. MERLE turns, still holding GOLIATH and DELILAH.
MERLE
More abominations. How is it that this city is defended only by outcasts? (to GOLIATH) Hm? Do you know?
COLDSTONE
Release them now or you will find out.
MERLE
Oh, and you think you can just shoot me down? Go ahead with it.
MAGGIE
Coldstone!
COLDSTONE
Keep everyone back. Release them, I said!
MERLE
No, I won’t.
COLDSTONE fires. The bolt bursts around MERLE and his captives, harmlessly. GOLIATH and DELILAH are beginning to lose consciousness.
MERLE
Seriously, you expected that to work? Really?
There is a hand on his shoulder from behind him. MERLE turns his head; it is MICHAEL.
MICHAEL
Hi there.
There is a flash as MICHAEL discharges into MERLE. MERLE spasms, and falls, releasing GOLIATH and DELILAH. They work to catch their breath.
MICHAEL
Welcome to New York.
ALFHARD draws a pistol from his belt and aims at MICHAEL, but it is promptly blown out of his hands by a blast from COLDSTONE. There is another rumble from the earth around them. MATT’s party approaches; NASHVILLE goes to GOLIATH to check on him. GOLIATH looks up at him.
NASHVILLE
Hi, Goliath. Long time no see.
They clasp arms as GOLIATH smiles weakly. DELILAH stands weakly, and then goes over to ALFHARD.
DELILAH
Now, how about those prisoners of yours?
MERLE
Alfhard! Dispatch the Wraiths!
MERLE aims one hand toward ALFHARD, who screams, and transforms into a WRAITH, and then vanishes up through the tunnel wall.
DELILAH
What was that?
MERLE
It seems I have to purge more corruption than I thought.
ENKI
Oh, you always have, haven’t you?
MERLE looks at ENKI, who approaches him close and kneels down to look at him.
MATT
Enki, watch it.
ENKI
You watch it. We know each other very well, don’t we?
MERLE
What are you doing here?
ENKI
You know what. Tell you what, release these prisoners and we can talk.
MERLE looks at her, and then raises his fingers and snaps. A ball of energy surrounds him. ENKI leaps forward and grabs him, and both of them disappear. The earth quakes again, harder this time. The others look around. OBERON stands and comes forward.
OBERON
Every time he uses earth magic, he weakens the bonds. They’re beginning to snap.
GOLIATH
Alexander must be nearby.
OBERON
Perhaps, but I don’t dare seek him. Any magic could break more bonds and we could be lost.
MICHAEL
Alexander, you here?
ALEXANDER
(off)
Yeah, I’m here!
MICHAEL
There, taken care of.
TALON
(off)
We both are!
MICHAEL
Dad! We’re coming!
OBERON
Who are you, then?
MICHAEL
Michael Maza.
OBERON
I am Oberon, Lord of the Third Race.
They shake hands.
MICHAEL
Let’s go get them out. This way.
He heads off toward Merle’s Lair, followed by OBERON. GOLIATH stands, assisted by NASHVILLE, as MATT approaches.
MATT
How was your trip?
GOLIATH
Quite strange. It is good to be home.
NASHVILLE
Hey, if those Wraiths are attacking...
GOLIATH
Then we will defend against them.
TALON enters.
TALON
We all will. Mutates! Clones! To battle.
There is an affirmative cry from the crowd.
EXT. SCENE - ROOFTOP. (NIGHT)
MERLE and ENKI are on a rooftop, looking out over Manhattan. Below, the WRAITHS swirl and dive, strafing the people below.
ENKI
Happy?
MERLE
No. You should know better than to ask me that.
ENKI
I don’t know you at all anymore. “New Avalon”? This was never you.
MERLE
Oh, there you go again, always rooting for the human race.
ENKI
Why’s that so surprising? I made them.
MERLE
To serve us. Now look at them.
ENKI
They have grown. Maybe they’ve even outgrown us.
MERLE
Impossible.
There is a howl from the sky behind them. They look back and duck: TALON is leading a group through the sky.
EXT. SCENE - MANHATTAN. AERIAL. (NIGHT)
TALON dives through the night, roaring. Behind him are DELILAH, MALIBU, CLAW, MAGGIE, HOLLYWOOD, and BURBANK. All roar through the night, diving toward the WRAITHS. In answer, the WRAITHS howl hollowly and fire stones back toward the group. The group rolls and splits, dodging the stones. They join combat, the Labyrinthers firing and slashing at the WRAITHS, the WRAITHS firing toward the group but not making any progress. CLAW and MAGGIE stay outside the main melee, but the others dive right in.
From the other side, GOLIATH roars, diving in from the sky toward the WRAITHS, flanked by COLDSTONE and NASHVILLE with their weapons drawn. They join the battle, bottling up the WRAITHS and driving them toward the Labyrinth crew.
Two of the WRAITHS dive toward a small group of people hiding behind a parked car, firing. NASHVILLE slashes, cutting both WRAITHS in one blow; they flutter to the ground, harmlessly. NASHVILLE swoops back up, saluting the group as he passes; they cheer.
TALON’s group does similarly: a couple is pinned in front of a store, embracing in fear as the WRAITH approaches, hands up. TALON fires a bolt into it, and it bursts in a flash. The couple looks up:
TALON
Get to cover!
Which they do, waving to him. He leaps up, and as he does, COLDSTONE scoops him up and takes him higher. One of the WRAITHS chases him, firing. COLDSTONE puts the throttle on hard, drawing away, and then tosses TALON away (who takes to his wings and dives around) then turns and fires, blowing up the WRAITH.
The WRAITHS are, eventually, eliminated. Both groups land in an open area, coming together, having confirmed they won. As they do, a small crowd below gathers, and begins applauding them. They acknowledge the cheers, each in their way.
EXT. SCENE - ROOFTOP. (NIGHT)
MERLE looks down, frustrated.
ENKI
Like I said: they do outgrow us, eventually.
He raises his hands toward them:
MERLE
If they think this is over--
ENKI leaps on his back, holding her switchblade to his throat.
ENKI
--then they are right. You’re my brother, but I don’t plan to let you do this.
MERLE
You wouldn’t dare. You know what that would mean.
ENKI
Yeah. It’d mean I’d have to jump off and follow you onto the other plane. Oh well, I was getting tired of this body anyway. How about you?
MERLE
You can’t do this.
ENKI
Maybe not, but they can. Look at them.
He does. The crowd has now moved in to shake hands with the gargoyles and mutates. The tone is generally celebratory.
ENKI
And you think they’re just going to submit?
MERLE
This is not fair, Enki. They are our servants!
ENKI
Yes, they are! What do you think they’re doing down there, huh? Dancing? Those people are taking care of the world that you and I and An made. What else do you want them to do?
MERLE looks back down at them, and relents. ENKI comes off his back, folding her switchblade.
MERLE
I want them to worship us again.
ENKI
Maybe it’s too late for that. But, I tell you something, they get together like that down there, maybe they are.
MERLE
Maybe so.
ENKI
Right?
MERLE
Right.
ENKI
Who am I?
MERLE
You are Enki, my brother.
ENKI
Sister.
MERLE
Brother. I don’t care how you dress.
ENKI
Oh, all right, we can talk about that later.
MERLE
And who am I?
ENKI
Merle.
MERLE
No.
ENKI
Enlil, my brother. Undo all this.
MERLE
I will.
There is a sudden, violent tremor from below them. The stars in the sky suddenly slip forward, then back, as ENKI and MERLE look up at it.
ENKI
Enlil, you need--
MERLE
Come on.
ENKI nods, and takes MERLE’s hand. MERLE gestures, and the two of them disappear in a flash.
INT. SCENE - TUNNELS.
ENKI and MERLE appear in a flash. There is another tremor as the two of them run through the tunnel.
MERLE
The ward’s pretty well balanced, but there’s one stake I had to put in out of position.
ENKI
Why’s that?
MERLE
City Hall was in the way. But if we can pull it, the ward should pull everything back together.
ENKI
Sounds like a plan to me.
They run up on a tunnel and into the subway under construction. MERLE begins searching the floor. There is another violent rumble that becomes continuous. He finds the spot, kicks the dirt aside, and reveals the top of a gold spike. He looks up at ENKI.
ENKI
This one?
MERLE
This one. Help me.
ENKI
Always.
They both put their hands on the spike and pull. There is a resistance from it: energy drawing it back to the earth. They overcome this, however, and there is a loud boom as the energy snaps into the earth, bounces, and pulls back in with a slurp.
EXT. SCENE - MANHATTAN. STREET. (NIGHT)
The celebratory group lurches and everyone falls to one side as the earth gives one more violent yank. There is a flash of light across the sky, and as it goes, the stars move back to their accustomed positions. Everyone gets back up.
NASHVILLE
What was that?
TALON
I don’t know.
COLDSTONE
Neither do I.
GOLIATH
Coldstone, go and look.
COLDSTONE
Aye.
He runs some distance off, and then launches into the sky.
EXT. SCENE - MANHATTAN. AERIAL. (NIGHT)
COLDSTONE flies up to look around. He gets above the buildings and looks out over the Hudson River. New Jersey is there, and the George Washington Bridge is whole. Traffic is stopped, but below, the people look up in wonder, and then cheer.
EXT. SCENE - MANHATTAN. STREET. (NIGHT)
COLDSTONE lands and comes up to the group.
COLDSTONE
We are safe. The world has returned.
NASHVILLE
We’re home. Hey, everyone! We’re back!
There is a great cheer from the crowd, except GOLIATH, who nods, and looks on. COLDSTONE sees this, and looks at him.
EXT. SCENE - SOLDIERS’ AND SAILORS’ MONUMENT. (NIGHT)
BLUESTONE, GOLIATH, ELISA, MATT, GABRIEL, OBERON, and ALEXANDER are at the railing, looking out over the river.
BLUESTONE
Well, someone has to say it.
GOLIATH
What?
ELISA
Never thought I’d be so glad to see Jersey.
BLUESTONE
That.
MATT
Aw.
BLUESTONE
Hey, live here a while and you’ll be ragging on them too.
MATT
That a suggestion?
BLUESTONE
Fact of life.
GABRIEL
This Jersey, it is a foul place?
BLUESTONE and ELISA chuckle.
MATT
I think it’s just envy. I think secretly they’d move to Newark if they thought they could.
GABRIEL
Oh. How about Avalon? All this was responsible for what was happening there?
OBERON
Yes. It was a sloppy job, as you would say. The rift between Manhattan and the rest is not yet healed, but it will heal.
GABRIEL
And Avalon?
OBERON
It should be calm now.
ELISA
That’s a relief.
ALEXANDER
And you’re going back there?
OBERON
Of course. The Gathering is still happening, and I must be there for it. Why? Would you like to come?
ALEXANDER
No. This place is worth protecting.
OBERON
So it is.
OWEN approaches from behind them. OBERON looks at him, and then strides toward him. ALEXANDER chases OBERON.
OBERON
And as for you, you naughty imp. You were to protect Alexander, not let the whole island be shifted into a new frame.
OWEN
Wait.
He gestures, and becomes PUCK.
PUCK
You were saying?
OBERON
I was saying that you are an insolent and irresponsible knave, and why I would be so foolish as to leave my flesh in your care I have no idea.
PUCK
That’s what I thought you said.
OBERON
Puck! For shame! I was merciful before, and now--
ALEXANDER
Be merciful again.
OBERON
And why is that?
ALEXANDER
You set him to protect me? He has done that. I am here, and safe. You set him to educate me? He has done that. Now I see the power of a ward. Where has he failed?
PUCK
Yes, lord, what are the particulars of your complaint?
OBERON
Only helping to destroy the bounds of reality itself.
PUCK
And?
OBERON
(angrily)
You...
OBERON raises his hand, and a ball of energy appears. He makes to throw it at PUCK, but ALEXANDER is there first, and throws an orb at OBERON’s upstretched hand. The ball of energy flashes, and transforms into a rat. OBERON, startled, drops the rat and wipes his hand across his coat.
ALEXANDER
Grandfather, please. Do not destroy him. If I am to stay here, I will still need a teacher. Who will you send for the job?
OBERON
I would rather spend my time on that than waste another minute of my life coddling this rogue.
ALEXANDER
Then let me. He has taught me my powers, and can continue to do so. Let me teach him humility. Let me work on him.
PUCK
I could live with that.
OBERON looks at them in turn.
OBERON
Well. Perhaps there is an education in this for you as well. All right. The student becomes the teacher at last.
ALEXANDER
I will do my best to be worthy of this.
OBERON
And you. I had put binders on you to keep you out of trouble, and now I see they have not worked.
PUCK
Oh, no, good Lord Oberon, please do not fetter me further.
OBERON
Far from it. I hereby loosen your fetters. You had been constrained to present in your other form to all others but Alexander. I now release you from that constraint.
PUCK
Oh, my good lord! I thank you--
OBERON
And I place it in the hands of your pupil.
PUCK
You what?
OBERON
He cannot teach you obedience without a leash, now, can he? If he wills you to take your form as Puck, you may. If he wills it otherwise, you may not.
PUCK
Oh, but, my good lord, this is...
He leans in close to OBERON, who recoils in disgust.
PUCK
He is only a child, my lord!
OBERON
Then you will teach him to be mature beyond his years. For your own good.
PUCK
I...eggh. Very well.
OBERON
Good. I believe my work here, as they say, is done.
He turns on his heel and walks back to the others. As he does, ALEXANDER makes a small gesture, and a “KICK ME” sign appears on OBERON’s back. ALEXANDER and PUCK fist bump lightly.
OBERON
Now, then, shall we return, knight?
GABRIEL
Aye, my lord.
(to GOLIATH)
And you are sure you won’t come and stay in Avalon? It should be much more peaceful.
GOLIATH looks away. At some distance is a street vendor selling “REAL GARGOYLE SKIN,” who looks back at him and licks his chops. GOLIATH growls.
GOLIATH
I will come.
ELISA
What?
MATT
Goliath?
GOLIATH
I will not stay. But I need one more thing from Avalon.
OBERON
Ask. You have done me good service, Goliath. What do you need?
GOLIATH
To go where I am needed.
BLUESTONE
I can tell you that now and save you the trip. That’s right here.
ELISA
Yes. This is home.
GOLIATH
This is the home of the New York Gargoyles. If we are to find peace with the humans, that is not who we can be. We must go further than that.
MATT
Further where?
GOLIATH
I do not know. Avalon might.
MATT
I don’t get it.
ELISA
I do. But wherever you are going, I’m going with you.
GOLIATH
I would have it no other way.
BLUESTONE
And what am I supposed to tell command? Oh, right--
BLUESTONE AND ELISA
--I have the vacation time coming.
BLUESTONE
I guess.
MATT
How much vacation time? What is going on?
GOLIATH
You will learn someday. Until then, however, there is one more mission for you.
MATT
Anything.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
BROOKLYN, HUDSON, BROADWAY, LEXINGTON, and BRONX are on the roof, looking out anxiously. From a distance, several shapes appear, and COLDSTONE, COLDFIRE (carrying FU-DOG), KATANA, NASHVILLE, TACHI, and ANGELA land on the roof. ANGELA and BROADWAY embrace, tearfully.
ANGELA
I told you I was coming back.
BROADWAY
I never doubted it.
BRONX and FU-DOG sniff each other, happily, and then BRONX begins to play-fight with FU-DOG.
TACHI
Fathers!
TACHI rushes into LEXINGTON’s arms.
LEXINGTON
Hey, squirt! Long time no see!
NASHVILLE
Kon’nichiwa, otosan.
BROOKLYN
Welcome home, my son.
He places a hand on NASHVILLE’s shoulder, warmly, and then looks up at KATANA, who is scowling at him. He gulps.
BROOKLYN
Hi, honey.
KATANA
Oh, shut your beak. Come here, orokana.
She leaps at him and they embrace, rubbing each other’s heads fiercely and wrapping their wings around each other.
KATANA
I had lost you.
BROOKLYN
Nothing is lost until it is gone. Oh.
He buries his face in her shoulder.
The door opens, and MATT enters the roof, quietly, carrying a folded newspaper. He watches the greetings, and smiles to himself. BROOKLYN looks up, and sees him there. MATT looks down, and then turns to go back into the station.
BROOKLYN
Hey! Where are you going?
MATT
Long drive, going to get some sleep.
BROOKLYN
No chance of that. Come here.
MATT
Oh, no, I don’t think...
BROOKLYN
Fu-Dog, fetch.
BROOKLYN points at MATT, and FU-DOG leaps into action. In three bounds, FU-DOG is upon MATT, knocking him down, seizing him in his jaws, and begins dragging him across the roof back to BROOKLYN. MATT yells about this. FU-DOG sets MATT down at BROOKLYN’s feet (he has parted from KATANA at this point). BROOKLYN kneels and looks down at him.
BROOKLYN
You bring the clan back together, and you think you’re going off to bed just like that?
MATT
It was a really long drive.
BROOKLYN
Come on.
He reaches down and picks MATT up.
BROOKLYN
This is our clan, right here. This is our life. Thank you is not enough. You were a good lieutenant.
MATT
Oh, come on. That was you keeping me out of trouble. All I did was drive.
KATANA
And which of us could have done that?
She bows deeply to him.
KATANA
Domo arigatogozaimas.
Broadway
Yes.
ANGELA
Thank you.
MATT
Well. Gosh.
BROOKLYN
Now, where is Goliath?
MATT
Well...um...
BROOKLYN
“Um”?
GOLIATH lands on the roof, with ELISA, sets her down, and comes toward the group.
BROOKLYN
Oh, there he is.
ANGELA
Goliath? I thought you were going to Avalon.
GOLIATH
So I did.
EXT. SCENE - AVALON. BEACH. (NIGHT)
GOLIATH, ELISA, and GABRIEL get into the skiff and push off. OBERON, now in his usual form, waves at them, and GABRIEL waves back.
GOLIATH (VO)
I had hoped that Avalon might show me the way. Whether to return to Manhattan, or go to some other place.
BROADWAY (VO)
What other place? Of course we belong in Manhattan.
GOLIATH (VO)
Manhattan thinks we belong to Manhattan. I am not sure of that.
EXT. SCENE - ON THE WATER. (NIGHT)
GABRIEL rows through the water and the mist. As the mist clears, the lights of a city are visible.
GOLIATH (VO)
But, I am sure that Avalon knows where we belong. And so we set off from its shore once more.
GOLIATH sticks one finger in the water, pulls it up, and tastes the water.
GOLIATH
Fresh.
ELISA looks at him, and then out the front of the skiff, as the lights of Chicago come into view.
EXT. SCENE - HUMBOLDT STATION. ROOF. (NIGHT)
GOLIATH
And it seems that we belong here, for now.
ELISA
For now.
BROOKLYN
But why?
GOLIATH
To widen our horizons. And to keep Manhattan our home, not our prison.
MATT
Exhibit “A”, right here.
He hands the newspaper to GOLIATH, who unfolds it. It is a tabloid, and the front page is a color photo of the gargoyles, Mutates, and humans celebrating. The headline is, “NEW YORK IS BACK / City’s gargoyles, friends, bring island back from the brink / Details page 3.”
GOLIATH
“The City’s gargoyles.” We must be more.
COLDSTONE
Aye, that much is true.
BROADWAY
And we will be.
ELISA
I have no doubt of it, if you stay here.
BROADWAY
You could stay here too, you know.
ELISA
No. My clan is larger than Manhattan, and anyway, you’re just a phone call away, or a flight. You can grow here. I’ll make sure you have something to come home to.
MATT
And in the meantime we’ll welcome you, warmly.
GOLIATH
As you have. Thank you.
He extends his hand to MATT, who shakes it.
MATT
It has, as ever, been my privilege.
DAVID (VO)
I’m pleased to say that we have finally received word from the gargoyles.
EXT. SCENE - EYRIE BUILDING. CASTLE WYVERN. (NIGHT)
DAVID XANATOS stands at a podium on the castle walls, giving a press conference.
DAVID
I have here a letter from Goliath himself that, I think you will agree, reinforces the need for the City Defense Fund’s work.
He unfolds a letter and reads it out.
DAVID
He says, “Manhattan is protected.”
EXT. SCENE - FERRY DECK.
Human HAL is boarding the ferry with RUTH, who is muzzled (and looks terribly cross about it). He reaches down to give her a deep scratch, and she rolls her eyes and leans into it. He looks back at the dock, and waves. MAGGIE (hooded), MICHAEL, ALEXANDER, and OWEN are there; the first three wave back.
DAVID (VO)
“We have ensured that, and we will continue to ensure that. Our allies have secured the city. In them, we place our trust, and we ask that you do so as well. For our part, there is more to learn and more to protect.”
INT. SCENE - EL TORITO BAR. BACK BAR.
A number of men in Quarrymen’s uniforms (masked) are sitting in the back bar as LEVIN presents on a screen.
LEVIN
...is to ensure that they cannot continue to threaten this city. We are all of one mind on this, correct?
MEN
Right.
LEVIN
O’Connor, I want you to take the demolition group up the alley. I need you to get the charges set around the base of the building (indicating) here, here, and about every twenty feet here.
But up above, several sets of eyes light up.
LEVIN
Brees, you’re going to take team “B” to the southeast side and provide cover for...
INT. SCENE - EL TORITO BAR. FRONT BAR.
The bar is vacant at the late hour except for one large figure hunched over the bar at the end, in a trench coat and fedora, watching an empty glass. PHIL approaches him.
PHIL
Okay, mister, closing time. One more for the road? What’ll you have?
A blue clawed hand reaches out and pins PHIL’s to the bar. He looks up in alarm, into BROADWAY’s face; his eyes are lit, and he grins nastily.
BROADWAY
Revenge.
PHIL turns his head to shout an alarm, but never gets it out as another hand covers his mouth from behind. KATANA puts her sword across his throat and shows her face over his shoulder.
KATANA
Shhh.
INT. SCENE - EL TORITO BAR. BACK BAR.
LEVIN
...need to watch out for them when they do come down, so you’ll be pushing them over the north parapet only. Everyone stays off the north side of the station. I don’t think I need to tell you what a falling gargoyle could do.
At which point NASHVILLE drops onto LEVIN, pinning him down to the floor.
NASHVILLE
Thanks for the cue.
At this, HUDSON, GOLIATH, BROOKLYN, COLDSTONE, and ANGELA drop in around the room from the rafters, surrounding the Quarrymen, who look around in great alarm. They can go nowhere. Moments later, SCHUMACHER and a group of police officers in uniform enter from the front bar.
SCHUMACHER
Okay, everyone, hands in view.
COLDSTONE
You need not fear, Commander. All are unarmed.
LEVIN
Commander! Help us!
SCHUMACHER
You Brad Levin?
LEVIN
Yes!
SCHUMACHER
That’s terrific, you know what? I got an arrest warrant here with your name on it.
NASHVILLE picks him up roughly from the floor and walks him over to SCHUMACHER.
LEVIN
Arrest warrant? For what?
SCHUMACHER
Attempted murder and destruction of a public building.
GOLIATH
And you will be able to add conspiracy to destroy our substation.
LEVIN
On what grounds? This is insane! We were ambushed! You let me go this instant!
SCHUMACHER
Yeah, yeah, yeah.
LEVIN
You can’t do this! You really think you’re going to get testimony? In court?
SCHUMACHER
Yeah.
LEVIN
From a gargoyle?
SCHUMACHER
No need. Lowell?
One of the Quarrymen unmasks; it is BELLO LOWELL.
LOWELL
Yes, sir. I saw everything.
LEVIN
Who are you?
LOWELL
I’m with the electric company.
SCHUMACHER
Will you take him outside?
NASHVILLE
Gladly. C’mon, sunshine.
NASHVILLE walks LEVIN outside as LEVIN struggles fruitlessly. As he exits, LEXINGTON enters and begins securing the computer that LEVIN had been presenting from.
SCHUMACHER
All right, the rest of you, masks off and badges out!
The others begin to comply as the gargoyles move to keep them corralled. KATANA and BROADWAY enter with PHIL in custody as SCHUMACHER begins to collect badges, scowling at the officers in front of him.
DAVID (VO)
“To those who would wound a city that still bleeds, we say simply: come away from there. Come to Chicago, if you dare. Come and face us in this place. We will stand against you.”
EXT. SCENE - MANHATTAN. ROOFTOP. (NIGHT)
ENKI and MERLE stand on the roof, looking out over the city.
DAVID (VO)
“We will stand all challenges, and may whatever gods exist show you their mercy.”
ENKI
You ever heard of the pigeon drop?
MERLE cocks an eyebrow as they look at each other.
INT. SCENE - HUMBOLDT STATION
MATT has fallen asleep on the couch watching the television. His head is slumped to one side as DAVID XANATOS continues on the TV.
DAVID
“But know also that, as millions sleep soundly under our protection, we demand respect, a level of respect that Manhattan has not been able to provide.”
EXT. SCENE - HUMBOLDT STATION. ROOF. (DAWN)
The gargoyles take their places around the roof. BROOKLYN shows KATANA to a place by his side and ANGELA takes one next to BROADWAY. FU-DOG and BRONX flank TACHI. COLDSTONE and COLDFIRE look out stoically to the east. Below, GOLIATH stands with ELISA’s hands in his; she is wearing her backpack. He touches her hair, and she nods and smiles at him, a tear in her eye. GOLIATH then leaps off into the air and circles around to the top of the station as she watches him go.
DAVID (VO)
“We will not be mocked. We will not be exploited. We will not back down from a challenge. We are defenders of the night. We are gargoyles, and we will defend our home wherever we choose to make it.”
GOLIATH lands, takes his position, and faces east as the sun rises and all (but COLDSTONE, COLDFIRE, and ELISA) turn to stone.
=END=