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ABBIE: Previously on Sleepy Hollow...
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Hello, this is Tom Mison
and I'm playing Ichabod Crane.
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Hi, I'm Mark Goffman, exec producer
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and writer of this lovely finale
for season two.
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MISON: And a very good finale it is as well.
GOFFMAN: It was so much fun.
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MISON: Yeah.
GOFFMAN: A really, really fun episode.
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So, Tom, where are...
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Tom and I are not
in the same place right now.
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We're both watching live together...
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MISON: We're not even
in the same continent.
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(GOFFMAN LAUGHS)
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This is the wonders of modern technology.
I'm in London.
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GOFFMAN: That's fantastic.
Well, thank you for doing this.
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- This is really cool.
- MISON: No, it's a pleasure.
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GOFFMAN: Here we are...
This is still all the set up.
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We had a slightly longer "Previously on."
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Because really, episodes 17 and 18
were continuous.
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I love all the...
Paul Edwards directed this episode.
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Really just knocked it out of the park.
So many just great little details.
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MISON: Yeah, he's grand.
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GOFFMAN: But then this scene, actually,
was shot by Len Weisman.
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And we shot it
earlier in the season actually.
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But it's such a terrific battle sequence.
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Really, just incredible.
We've been looking for a place...
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- (LAUGHS) I love the little hat.
- MISON: The hat.
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It's also nice...
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It's always nice seeing
Ichabod in the thick of it and winning.
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Because so often you see Ichabod
and he goes up against demons
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and then is more often than not
punched to the ground.
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Leaving it open for Abbie
to come in and finish the deed.
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But here you see Crane the war hero.
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GOFFMAN: What was
incredibly important to me...
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You and I discussed this at the beginning,
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it's a very different Crane
we wanted to establish.
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This is him in his world, his element.
He's very much in command.
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There's no questioning
of the reality around him.
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And he is a man of action
and he is a war hero.
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And I really think
that the way you play is brilliant.
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It's so nice to see him get established
firmly in the opening of this film.
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This is the character
we're going to get to know.
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- The Ichabod Crane we didn't see before.
- MISON: Yeah.
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MISON: And to see him
in his natural environment.
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And by seeing him here,
I think you get an even greater
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understanding of him in the modern day.
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Because obviously back then
he was a man with responsibilities.
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An awful lot of responsibilities.
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He's a man with a happy home,
with friends, with bosses,
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with people who work for him,
people work with him.
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An entire life was there which you then see
by the end of this episode
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with the death of Katrina, spoiler alert.
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Everything is gone. Everything.
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As I said, as our viewers will remember,
from the mid-season finale commentary,
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his story is definitely one of loss,
and this is a nice moment
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to see everything that he loses
by the end of the season.
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But then, of course, gains a new family
through Abbie, Irving and Jenny.
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GOFFMAN: Yeah.
And that's really what we were
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trying to leave with the end of the season
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is that this is kind of the closure
to that loop.
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And to see it all come full circle
and yet a new beginning with a new family
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and the family in his modern world.
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And that's why there are a number
of parallels between this and the pilot.
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This scene is another example of them.
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But now we have Ichabod
on the other side of the cell.
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MISON: This is also... This scene is
a great example of Nicole being so brilliant
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that you can see there's everything
that Abbie just wants to scream out at him.
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- GOFFMAN: Yeah.
- But knows that won't get anything.
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- That won't get her anywhere.
- GOFFMAN: Yeah.
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MISON: She knows how, although
this Ichabod has never met her before,
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she's known him
for well over a year now, I suppose.
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GOFFMAN: Yeah.
MISON: And so knows how to play him,
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knows what his rules are.
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But you can see that she really wants
to just shout things out.
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And that's the great thing about Nicole,
is that you can read her thoughts.
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And what's underneath
just pours out of her.
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GOFFMAN: I just... I loved her in this.
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One of the early conversations
I had with Nicole,
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actually about this scene
and some of the others,
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was just talking about her savvy
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and her ability to, as you said, read Crane.
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And even though she's exploding
with information
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about what's going to happen
in the supernatural world that,
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at this point,
she knows he doesn't know that.
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And to just say it,
she's already in enough trouble.
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She's going to have to play him
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and just say enough to keep...
To pique his interest.
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- But not too much.
- MISON: Yeah, quite, quite.
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The one thing that Paul Edwards and I
discussed a lot was
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he kept saying, "We need to find something
that will draw these two together."
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Draw Abbie and Crane together.
And it's something that you said to...
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We discussed as well, that we want
to try and establish in this episode
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that no matter where
in their lives they meet,
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or no matter where in history they meet,
they will always have this connection
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'cause they're the two witnesses.
And where can we find that?
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GOFFMAN: Yeah, yeah.
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And here's, uh, to do a little
reverse man-out-of-time moment here.
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Abbie showing the 18th century man
a little modern medicine
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that alcohol's better as a disinfectant
than it is to give him
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to get him drunk and numb the pain.
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MISON: Yeah.
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Their weapons must have been heated.
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Weapon.
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MISON: I also like Crane's disgust
at the decapitations
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- that there were rules in this war.
- Yeah.
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MISON: And you don't disrespect
the dead like that.
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And this...
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This is where you see
he's not going to trust her easily.
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How many prisoners have offered him up
information to try and get themselves out.
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- Or false information to get out of the cell.
- GOFFMAN: Yeah, I like that...
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That you actually walk her away
from the other men...
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There's enough superstition.
There's enough loss on this battlefield,
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the last thing these people need to hear
is some crazy story.
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MISON: Yeah, quite.
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...200 years.
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I'm sorry, is this what
you've been intimating?
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You're from the future?
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I know...
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GOFFMAN: I love that look
that you give her there. It's so fun.
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And again, this is a parallel to the speech
that Crane gives Abbie
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when they're outside the police station
and he's talking about
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how impossible all of this seems for him.
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MISON: Oh, yeah.
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This makes no sense.
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You say you're here to save me.
Yet I'm supposed to die.
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You were.
You were saved, suspended in time,
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until we met, but now...
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GOFFMAN: We wanted to play into
just how odd the whole thing is
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that he died on the battlefield
but he didn't really die
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'cause he was saved and then suspended.
It's a lot to explain.
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(BOTH LAUGHING)
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MISON: Also, with that moment
and there's a moment later
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when they're in the carriage together
where he actually quite enjoys
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debating this weird idea of hers.
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And finding what he thinks are flaws in it.
The impossibility of certain things.
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Even though he's discussing it
with a lunatic
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in the middle of a terrible battlefield.
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GOFFMAN: Well, we wanted to show
that Crane has that discerning mind
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and he had it back then, too.
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And so, he's going to pick apart arguments.
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He's going to notice facts like
the decapitation and the cauterized wound,
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just as Abbie does.
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And the two of them are in sync
and, yet, trying to make sense of it.
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And he's going to call her out.
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But now this scene showing, of course,
he's got people to answer to
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- just like she did in the day.
- Exactly.
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GOFFMAN: She had Irving to answer to.
He's got his own superior officer.
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- Who's a bit more of a dick. (LAUGHS)
- MISON: Yeah, exactly.
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It's always nice watching Crane
get a bollocking from a superior officer
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to remind you that it makes him a fuller
character if you see that he has his place,
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which is above some people, below others.
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GOFFMAN: And he's now got to sell this,
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Sutton on taking Abbie.
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It's not part of Sutton's plan.
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He's like, "Look, we've got another battle
just north of here.
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"I need every man on the field.
Look what's happened here.
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"We don't know
whether this woman is reliable.
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"It doesn't sound like it."
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So, just as Abbie had to convince Irving,
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now it's Crane's turn to convince him.
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"Let me just transport her. Spend a few...
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"Take this three mile ride
and then I'll return."
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MISON: Another echo to the pilot.
GOFFMAN: Right.
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MISON: When Abbie asked
to transport Crane.
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GOFFMAN: Just to up the ante a little bit,
unlike modern times,
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you screw up here, you face a firing squad.
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MISON: Yeah.
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(GOFFMAN LAUGHS)
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GOFFMAN: This is another
little mirror to the pilot
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with Abbie trying to adjust the shades
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as Crane tried to adjust, or got to play with,
the automatic window in Abbie's car.
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MISON: I loved this scene. I really enjoyed...
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This was actually the very last scene
we shot of the season.
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We don't often get the chance
to just sit and talk.
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Often there's stuff that we got to do.
We've got to go and get this book,
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and we got to find this.
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But to just sit opposite Nicole
and play a scene together,
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that's a treat.
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GOFFMAN: Yeah, it was really fun.
It was a nice way to end the season.
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We were on a sound stage.
They had that carriage inside.
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It's funny seeing...
There was actually a guy out
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at the other end pushing it up
and down a bit.
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And it's all green screen behind them.
Behind you guys.
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But the scene just... It was so fun.
And you're right.
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Nice to watch the two of you play this,
just sitting across from each other.
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As you said, enjoying this crazy...
Let's hear where she takes this scene.
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Let's see what story...
What is she possibly going to make up.
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(BOTH CHUCKLE)
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MISON: And it's nice 'cause each of them
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has an answer to anything
that can come up.
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GOFFMAN: Yeah.
MISON: They both know that they're right.
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In fact, there's a moment coming up where
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even when she clearly gets into checkmate
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with Washington's here, Jefferson's here,
Franklin's here.
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I remember you coming up
because it wasn't in the script
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and it was in one of the later takes.
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You just came up and said,
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about my countering the checkmate
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with "General Washington"
and "Thomas Jefferson."
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Even when she does a winning move,
I have to correct her.
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GOFFMAN: Yeah.
MISON: "Treat those men with respect."
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GOFFMAN: Yeah. Well, she's talking
about them as historical figures.
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And that's what we do today.
But these are people to you.
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And I like that idea of keeping that alive
at every moment in the episode.
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And the way both of you just get in
each other's face here is really, really great.
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MISON: Damn. Damn, yes, Franklin is here.
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GOFFMAN: And Tim Busfield is waiting.
(LAUGHS)
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MISON: And then I couldn't resist at the end
getting her to brace herself.
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'Cause he knows exactly
who she's going to see.
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GOFFMAN: Yeah, I like...
You added that line.
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I forget what the other line was,
but I really liked that.
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And then we want to establish here,
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the horseman having not encountered
Crane on that battlefield still has his head.
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(BOTH CHUCKLING)
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Oh, that could be Crane. No.
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MISON: In fact, that is...
GOFFMAN: Still looking.
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MISON: Steven who was my stand-in
for the last two seasons.
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That was him lying on the ground
mistaken for Crane.
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Who actually... It was uncanny
whenever he's in my costume.
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GOFFMAN: Yeah.
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MISON: You can't tell
whether it's him or me.
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...and together they're
a formidable foe to us both.
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So they both must die.
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MISON: This is a nice moment.
You see a real turn in Katrina.
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There's an innocent man
who's about to try and run away
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and she kills him from behind.
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That really shows
that she's beyond help now.
226
00:13:30,519 --> 00:13:33,981
GOFFMAN: Yeah, and she also has to say
to the horseman,
227
00:13:34,064 --> 00:13:36,192
"I'm not bluffing here. I'm not playing you.
228
00:13:36,275 --> 00:13:37,902
"I'm serious.
229
00:13:38,569 --> 00:13:42,573
"Let me just take that guy out
as a little token
230
00:13:42,656 --> 00:13:45,034
"of what my powers are worth to you."
231
00:13:45,117 --> 00:13:48,037
MISON: She's a great baddie, is our Katia.
GOFFMAN: Yes.
232
00:13:50,956 --> 00:13:54,168
I couldn't believe when I first arrived here.
This is not Wilmington.
233
00:13:54,251 --> 00:13:58,506
This is a city called New Bern
that's about two hours away.
234
00:13:58,923 --> 00:14:02,384
But they have a lot of colonial architecture.
235
00:14:03,636 --> 00:14:07,973
It was amazing
that you get to see the scope here
236
00:14:08,057 --> 00:14:10,226
that we couldn't always do in Wilmington.
237
00:14:10,309 --> 00:14:15,439
But they cover the street with this mulch,
two city blocks worth,
238
00:14:15,981 --> 00:14:22,404
so that we were able to shoot
the whole thing as 1781, Sleepy Hollow.
239
00:14:23,030 --> 00:14:25,449
They've never seen a woman in trousers.
240
00:14:25,533 --> 00:14:26,534
(CHUCKLES)
241
00:14:26,617 --> 00:14:28,536
MISON: I love Crane.
242
00:14:29,203 --> 00:14:35,501
It's so interesting to have, obviously,
a woman of color back in the 18th century,
243
00:14:35,584 --> 00:14:37,545
and how Crane deals with that.
244
00:14:37,628 --> 00:14:41,715
Because as we know from the pilot,
he was a very forward thinking man.
245
00:14:41,799 --> 00:14:43,175
GOFFMAN: Yeah.
246
00:14:43,259 --> 00:14:46,011
MISON: And he's trying
to make her feel better
247
00:14:46,095 --> 00:14:48,347
by saying they've never seen
a woman in trousers.
248
00:14:48,430 --> 00:14:51,725
GOFFMAN: Right.
And the look on Nicole's face.
249
00:14:51,809 --> 00:14:56,188
- She knows that and appreciates it.
- MISON: She knows it. Yeah. It's excellent.
250
00:14:57,898 --> 00:15:00,651
You can now brace yourself. There he is.
251
00:15:02,111 --> 00:15:05,823
GOFFMAN: Tim.
We knew when we cast him... Yeah.
252
00:15:06,407 --> 00:15:08,367
It was just... It's so funny.
253
00:15:08,450 --> 00:15:11,745
I got to work with him on The West Wing
and on Studio 60.
254
00:15:11,829 --> 00:15:14,623
And when his name came up
for this role of Benjamin Franklin
255
00:15:14,707 --> 00:15:17,251
at our season premiere,
256
00:15:17,334 --> 00:15:19,253
- it instantly clicked.
- Perfect.
257
00:15:19,336 --> 00:15:22,715
GOFFMAN: 'Cause he's smart
and he's cunning and he just,
258
00:15:22,798 --> 00:15:25,801
he embraced this role with so much vigor.
259
00:15:26,885 --> 00:15:29,305
MISON: Like that "bonjour"
when he opens the door
260
00:15:29,388 --> 00:15:31,098
was just him throwing something.
261
00:15:31,515 --> 00:15:34,268
Every time he opened the door
he said something different to us.
262
00:15:34,435 --> 00:15:35,644
(GOFFMAN LAUGHING)
263
00:15:35,728 --> 00:15:39,440
I do hate him with every fiber of my body,
264
00:15:39,523 --> 00:15:43,902
because he's... I've never corpsed so much.
265
00:15:44,778 --> 00:15:48,741
And that seemed to be his mission
to try and screw me over at every step.
266
00:15:48,824 --> 00:15:50,242
And it worked.
267
00:15:52,453 --> 00:15:55,539
GOFFMAN: But this scene really turned out
just fantastic.
268
00:15:56,040 --> 00:15:58,959
I love the way he's completely bought in,
269
00:15:59,043 --> 00:16:02,546
and so Crane is suddenly like,
"Wait a minute." (LAUGHS)
270
00:16:04,006 --> 00:16:06,216
"I had a suspicion but, really."
271
00:16:07,009 --> 00:16:12,931
And he's so enthralled with hearing about
everything that's gone right with America.
272
00:16:13,015 --> 00:16:17,311
And the fact that Abbie represents
what could be right
273
00:16:17,394 --> 00:16:21,857
and what has to be preserved
if America has become this true nation.
274
00:16:22,107 --> 00:16:25,694
The land of opportunity
and the home of the free.
275
00:16:26,904 --> 00:16:29,073
MISON: I think the best line is...
276
00:16:30,199 --> 00:16:33,160
I mean, he just discovers
that a woman is here from the future.
277
00:16:33,243 --> 00:16:35,329
It's incredible. It's mind blowing.
278
00:16:35,412 --> 00:16:37,373
And the first thing he wants to find out
is whether
279
00:16:37,456 --> 00:16:41,043
he's on a better dollar bill than Jefferson.
280
00:16:41,126 --> 00:16:42,461
GOFFMAN: (LAUGHS) Yeah.
281
00:16:43,504 --> 00:16:45,881
The two. Quite a cumbersome bill.
282
00:16:46,048 --> 00:16:48,717
MISON: He's the kindred, you know,
could be anywhere.
283
00:16:48,801 --> 00:16:50,344
(BOTH LAUGH)
284
00:16:52,012 --> 00:16:55,599
GOFFMAN: A disappointment of the season
was we weren't able to work him back in
285
00:16:55,683 --> 00:16:57,685
'cause he's such an incredible character.
286
00:16:57,768 --> 00:17:01,355
And so I thought, at least, I'll give him
a cameo in this episode.
287
00:17:01,438 --> 00:17:03,107
...so crazed with grief
after her son died...
288
00:17:03,190 --> 00:17:05,693
The Grand Grimoire cannot heal her guilt.
289
00:17:05,776 --> 00:17:08,195
It can only cause more destruction.
290
00:17:08,278 --> 00:17:10,406
This complicates things.
291
00:17:10,489 --> 00:17:12,032
So do we get the Grimoire from her?
292
00:17:12,116 --> 00:17:15,411
MISON: Tim Busfield really
strikes a good balance between
293
00:17:16,745 --> 00:17:20,457
the faintly ridiculous Franklin
and the perverse Franklin.
294
00:17:20,749 --> 00:17:23,127
But also just the brilliant man.
295
00:17:23,711 --> 00:17:25,045
GOFFMAN: Mmm-hmm.
296
00:17:25,129 --> 00:17:30,217
MISON: He and Jefferson are leagues ahead
of anyone else in the country.
297
00:17:30,300 --> 00:17:35,013
Even in the world, Franklin was revered
when he went to France and to England.
298
00:17:35,097 --> 00:17:37,933
And here he is taking control,
299
00:17:38,684 --> 00:17:41,311
teaching the witnesses a thing or two.
300
00:17:41,645 --> 00:17:43,939
- It's a lovely balance.
- GOFFMAN: Yeah.
301
00:17:45,149 --> 00:17:48,193
Yeah. And this is...
I like this little moment here
302
00:17:48,277 --> 00:17:52,656
where Abbie's not going to let
this moment pass without asking
303
00:17:53,824 --> 00:17:56,702
a little bit more
about the secret organization,
304
00:17:56,785 --> 00:18:01,248
who knows about the witnesses,
and then he says there are levels.
305
00:18:02,166 --> 00:18:05,919
Crane has been groomed for some time
so this gives her hope.
306
00:18:06,003 --> 00:18:09,423
Yeah, this line, here."How many people
know about the secret war?"
307
00:18:09,506 --> 00:18:11,842
I'm surprised you haven't
encountered others in your era.
308
00:18:12,384 --> 00:18:14,970
GOFFMAN: So a tease
that maybe we'll find out more
309
00:18:15,053 --> 00:18:18,140
at some point about people in our era.
310
00:18:21,727 --> 00:18:26,523
And then, of course, he also sets up
what we need to know about time travel.
311
00:18:27,232 --> 00:18:31,820
Because anybody who's ever worked
on a time travel film or even watched one,
312
00:18:31,904 --> 00:18:34,698
probably realizes there is a paradox.
313
00:18:34,782 --> 00:18:40,078
And you get the ice-cream headache
very quickly
314
00:18:40,162 --> 00:18:44,458
when you start to try
to work out time travel,
315
00:18:44,541 --> 00:18:45,959
and what happens in the future,
316
00:18:46,043 --> 00:18:48,420
and how many Katrinas
there would be in the past.
317
00:18:48,504 --> 00:18:50,714
And when you come back, what's different.
318
00:18:51,715 --> 00:18:54,718
But when I thought of the idea of...
319
00:18:54,802 --> 00:18:58,722
We'll just undo it and put it back
exactly how it was before.
320
00:18:59,056 --> 00:19:01,350
Then we can have the entire episode
of time travel.
321
00:19:01,433 --> 00:19:06,563
And I can screw up everything in history
and then get back to a place...
322
00:19:06,688 --> 00:19:10,526
MISON: Speaking of screwing everything up
in history, here it comes.
323
00:19:15,447 --> 00:19:17,658
GOFFMAN: Yeah,
that would have changed things.
324
00:19:18,242 --> 00:19:19,451
MISON: Just a perfect moment.
325
00:19:19,535 --> 00:19:23,330
What a wonderful prop, as well.
That bomb, the Franklin.
326
00:19:28,418 --> 00:19:29,545
GOFFMAN: Yeah.
327
00:19:31,088 --> 00:19:33,465
These are the kind of things
that we get to do on this show
328
00:19:33,549 --> 00:19:36,510
that's rare in network TV.
329
00:19:36,593 --> 00:19:40,222
And we do it on a weekly basis.
Let's just blow up a set.
330
00:19:41,431 --> 00:19:44,101
MISON: Let's cut Benjamin Franklin's head
off and then blow up the set.
331
00:19:44,184 --> 00:19:46,228
GOFFMAN: (LAUGHS) Yeah, that's right.
332
00:19:48,564 --> 00:19:53,861
This is the kind of thing that you normally
get to do once a season.
333
00:19:54,611 --> 00:19:56,905
Not even once an episode, and here it is.
334
00:19:56,989 --> 00:20:01,618
Just another explosion in their second act,
335
00:20:01,702 --> 00:20:03,161
not even the climax.
336
00:20:03,328 --> 00:20:07,624
MISON: And that there was another
moment that Paul Edwards and I discussed.
337
00:20:08,876 --> 00:20:11,962
Crane fights against this amazing Hessian
338
00:20:13,171 --> 00:20:15,924
who goes straight in with the swords
and the Hessian wins.
339
00:20:16,300 --> 00:20:19,011
Franklin's head's cut off,
the whole thing explodes.
340
00:20:19,094 --> 00:20:22,097
And the first thing Crane does is
he grabs a candlestick holder
341
00:20:22,180 --> 00:20:23,765
and he wants to go back into the fight.
342
00:20:23,849 --> 00:20:27,060
- GOFFMAN: Yeah.
- I think that says an awful lot about Crane.
343
00:20:27,144 --> 00:20:29,479
- Like we said the "War hero."
- GOFFMAN: Yeah.
344
00:20:29,980 --> 00:20:33,275
This Crane is going to
refuse to accept any kind of defeat.
345
00:20:33,358 --> 00:20:36,320
And he's going to fight in battle.
346
00:20:36,695 --> 00:20:41,909
It took Abbie to hold him back here.
Which is also why Abbie lands back in jail.
347
00:20:41,992 --> 00:20:44,912
Anyone who's going to hold Crane back
has got to be a spy,
348
00:20:44,995 --> 00:20:46,663
has got to be somebody working
on the other side.
349
00:20:46,747 --> 00:20:48,373
...predilection for the supernatural,
350
00:20:48,457 --> 00:20:51,919
and you led a Hessian assassin
to his very doorstep.
351
00:20:52,002 --> 00:20:54,254
He wasn't after Franklin.
352
00:20:54,338 --> 00:20:55,923
MISON: And the anger here with Crane,
of course
353
00:20:56,006 --> 00:20:59,384
is as much with himself, as with Abbie.
354
00:20:59,509 --> 00:21:01,845
What an idiot to trust this woman.
355
00:21:02,971 --> 00:21:04,264
GOFFMAN: Yeah, he...
356
00:21:04,348 --> 00:21:07,267
I like that, that he holds
himself responsible for this.
357
00:21:07,351 --> 00:21:08,518
We are partners.
358
00:21:08,977 --> 00:21:10,437
- We're partners?
- Mmm-hmm.
359
00:21:10,520 --> 00:21:13,231
You talk about this partnership
and about this bond
360
00:21:13,315 --> 00:21:17,027
and yet you keep from me vital information
of the very thing you claim.
361
00:21:17,152 --> 00:21:20,238
GOFFMAN: And here he's also noticed
that Crane,
362
00:21:20,447 --> 00:21:23,450
constantly aware of
everything that's going on,
363
00:21:23,533 --> 00:21:27,371
has noticed Abbie had this private
conversation with Franklin.
364
00:21:27,704 --> 00:21:31,458
Clearly, that meant something.
What was this about the witch?
365
00:21:32,042 --> 00:21:35,128
But since the fate of the world
depends on you believing me...
366
00:21:35,212 --> 00:21:37,631
GOFFMAN: And this is the one thing
that Abbie's been so hesitant
367
00:21:37,714 --> 00:21:39,383
to tell him from the beginning.
368
00:21:39,466 --> 00:21:41,885
The Horseman's ally, the witch...
369
00:21:42,803 --> 00:21:44,096
Is your wife Katrina.
370
00:21:46,932 --> 00:21:49,142
GOFFMAN: As if he hasn't heard
enough today.
371
00:21:49,267 --> 00:21:50,769
(BOTH LAUGH)
372
00:21:51,561 --> 00:21:53,480
May God have mercy on your soul.
373
00:21:53,563 --> 00:21:56,692
Crane, wait. She's pregnant with your son.
374
00:21:58,193 --> 00:22:00,153
You'll see for yourself.
375
00:22:01,613 --> 00:22:05,784
MISON: Nicole walks a very, very fine line
quite brilliantly in this scene.
376
00:22:07,452 --> 00:22:09,955
All of the information
that she's telling Crane...
377
00:22:10,080 --> 00:22:12,541
- GOFFMAN: Yeah.
- She knows it's going to destroy him.
378
00:22:12,624 --> 00:22:17,462
She knows it's going to leave her in jail.
379
00:22:18,088 --> 00:22:21,591
There's no way
that he's gonna believe her after all this.
380
00:22:21,675 --> 00:22:24,553
And it's so beautifully done.
How difficult it is for her to say it,
381
00:22:24,636 --> 00:22:26,430
to upset her friend.
382
00:22:28,265 --> 00:22:30,559
GOFFMAN: Yeah, on top of everything else,
you're right,
383
00:22:30,767 --> 00:22:31,810
to have to tell him,
384
00:22:31,893 --> 00:22:34,354
to break this news to him
under any circumstances.
385
00:22:34,438 --> 00:22:38,734
But to break this news to him
knowing the impact it's gonna have on her.
386
00:22:41,862 --> 00:22:44,156
And then even to try to describe
387
00:22:44,239 --> 00:22:47,034
the one bit of proof she can come up with,
that cell phone,
388
00:22:47,117 --> 00:22:50,287
how do you describe to someone from 1781
389
00:22:50,370 --> 00:22:54,124
that, in lock up, there is a device
390
00:22:54,207 --> 00:22:55,542
that will prove my innocence.
391
00:22:55,625 --> 00:22:57,544
But you're gonna have to figure out
how to use it
392
00:22:57,627 --> 00:22:59,296
and it has a passcode.
393
00:22:59,504 --> 00:23:02,215
MISON: Oh, yes!
We skipped over that bit, didn't we?
394
00:23:02,299 --> 00:23:03,341
GOFFMAN: That'll come up.
395
00:23:03,425 --> 00:23:07,054
MISON: Abbie's password,
her passcode being Crane's birthday.
396
00:23:07,763 --> 00:23:11,933
Your stirring up the ship
has no end, Mark, with that.
397
00:23:12,809 --> 00:23:14,561
GOFFMAN: Yeah, she...
398
00:23:17,314 --> 00:23:19,316
She wanted it that way.
399
00:23:22,110 --> 00:23:24,821
Just in case he ever
needed to use her phone.
400
00:23:24,905 --> 00:23:26,490
(MISON CHUCKLING)
401
00:23:27,991 --> 00:23:29,576
This again, another scene.
402
00:23:29,659 --> 00:23:33,789
This was actually shot in New Bern
and that's not a set.
403
00:23:33,872 --> 00:23:36,583
- That's the actual interior of this house.
- MISON: Oh, yeah, yeah.
404
00:23:36,666 --> 00:23:38,126
GOFFMAN: Just amazing.
405
00:23:40,045 --> 00:23:43,215
Crane returning home.
What was this like for you?
406
00:23:44,466 --> 00:23:47,385
We'd never seen where
you lived in 1781 before.
407
00:23:47,594 --> 00:23:52,474
MISON: No.
I remembered sitting in here with Katia
408
00:23:52,599 --> 00:23:56,228
and with Julia Rusthoven,
our brilliant costumier.
409
00:23:58,271 --> 00:24:01,274
Being very excited by being
in the Crane family home.
410
00:24:01,358 --> 00:24:05,529
And it shows again, it's a perfect example
of how much he's lost.
411
00:24:06,947 --> 00:24:10,367
It's surprisingly opulent, his home.
412
00:24:13,995 --> 00:24:16,081
GOFFMAN: Well, he's doing okay, you know.
413
00:24:16,164 --> 00:24:17,833
He is a man on the rise,
414
00:24:17,916 --> 00:24:19,960
and that was part
of what we wanted to show
415
00:24:20,043 --> 00:24:23,547
is that he has such a future here,
so he thought,
416
00:24:24,297 --> 00:24:27,342
that there's a lot at risk, to throw it all out
417
00:24:27,425 --> 00:24:31,054
for what a mad woman
is saying in a jail cell.
418
00:24:34,808 --> 00:24:39,938
Of course, there's this knife behind his back
during the course of this scene.
419
00:24:42,691 --> 00:24:45,610
And all she needs to know
is where Abbie is
420
00:24:45,694 --> 00:24:48,905
and then she can take care of her husband.
421
00:24:55,912 --> 00:24:58,790
MISON: And then he clocks it,
at that moment, Abbie's right.
422
00:24:58,874 --> 00:25:00,584
Abbie's telling the truth.
423
00:25:01,251 --> 00:25:02,377
GOFFMAN: Yeah,
and there's just too many things
424
00:25:02,460 --> 00:25:03,503
that don't make sense now
425
00:25:03,587 --> 00:25:07,549
and seeing this book,
that was the final straw.
426
00:25:07,716 --> 00:25:12,220
MISON: Luckily, called away by Washington
who conveniently is back from Virginia.
427
00:25:13,346 --> 00:25:16,099
GOFFMAN: Well,
he heard about the meshugas.
428
00:25:16,183 --> 00:25:17,601
MISON: The failure, yeah.
429
00:25:17,684 --> 00:25:21,062
GOFFMAN: And when that battle
didn't go the way he...
430
00:25:21,146 --> 00:25:23,481
He knew he had sent Crane
to that battle scene.
431
00:25:23,565 --> 00:25:24,941
- Or to that battle sequence.
- MISON: Quite.
432
00:25:25,025 --> 00:25:26,026
GOFFMAN: So he was on his way back.
433
00:25:29,905 --> 00:25:34,284
Ho, there. The woman's personal effects.
Where are they?
434
00:25:37,495 --> 00:25:38,496
Keep what you fancy.
435
00:25:38,705 --> 00:25:40,540
Has Sutton transferred her?
436
00:25:40,624 --> 00:25:42,709
Not yet.
He was planning to pay her a visit though.
437
00:25:42,792 --> 00:25:46,296
GOFFMAN: Also, I just loved the way
you took your time
438
00:25:46,379 --> 00:25:47,797
with her effects here.
439
00:25:48,381 --> 00:25:49,716
(MISON CHUCKLES)
440
00:25:49,966 --> 00:25:52,928
I'm just... Anything to ramp up the tension.
441
00:25:53,803 --> 00:25:58,141
We know what may happen to Abbie
and there's the cell phone.
442
00:26:03,813 --> 00:26:06,024
MISON: It's such a treat trying to work out
443
00:26:06,107 --> 00:26:09,319
how Ichabod would react to certain things.
444
00:26:10,737 --> 00:26:13,073
GOFFMAN: What was your process for this?
445
00:26:16,326 --> 00:26:19,162
- MISON: Well, actually...
- (GOFFMAN LAUGHS)
446
00:26:19,246 --> 00:26:23,166
The moment coming up,
that "slide to unlock" moment,
447
00:26:23,833 --> 00:26:26,253
came up at the very end
of shooting that scene.
448
00:26:26,336 --> 00:26:30,340
So it was only when we had finished
the wide shots, the medium shots
449
00:26:30,423 --> 00:26:33,051
and gone in for the close ups
that I realized,
450
00:26:33,134 --> 00:26:35,720
"My God, of course! Slide to unlock it."
451
00:26:36,096 --> 00:26:38,765
And really, I only threw that in
at the last minute
452
00:26:38,848 --> 00:26:42,269
because I thought it would make
Paul Edwards, our director, laugh.
453
00:26:42,352 --> 00:26:45,230
And making this big burly Texan
454
00:26:45,355 --> 00:26:48,525
go weak at the knees laughing is,
it's a drug.
455
00:26:48,608 --> 00:26:50,694
- It's a drug to me.
- GOFFMAN: Oh, yeah.
456
00:26:51,695 --> 00:26:54,864
But as soon as you did it,
we all watched it on the monitors
457
00:26:55,031 --> 00:26:57,033
and thought this is... That is hysterical.
458
00:26:57,158 --> 00:26:58,159
(LAUGHS)
459
00:26:58,243 --> 00:27:01,162
And we knew everyone
would get it instantly.
460
00:27:01,871 --> 00:27:04,291
But yeah, Paul Edward is so much fun.
461
00:27:05,208 --> 00:27:09,170
He came on, he did actually
our second episode of season one.
462
00:27:09,546 --> 00:27:13,925
And we had so much fun with him,
with the Boston Tea Party.
463
00:27:15,635 --> 00:27:18,847
That, you know, we brought
him back several times.
464
00:27:18,930 --> 00:27:24,561
He then did the "Necromancer" episode
with John Cho and then, of course...
465
00:27:24,644 --> 00:27:25,645
MISON: "The Kindred."
466
00:27:25,729 --> 00:27:28,565
GOFFMAN: And Abraham
and then "The Kindred" this season.
467
00:27:29,274 --> 00:27:32,694
And so when we had the opportunity
for him to come on as a producing director,
468
00:27:32,777 --> 00:27:33,987
it was just fantastic.
469
00:27:34,070 --> 00:27:36,239
And he got to do the finale.
470
00:27:38,783 --> 00:27:40,660
MISON: And he gets the show brilliantly.
471
00:27:40,744 --> 00:27:42,912
He is a great mixture of...
472
00:27:42,996 --> 00:27:45,206
He's a bit of an action star.
473
00:27:46,207 --> 00:27:50,587
But also he's such
a huge Monty Python fan.
474
00:27:50,670 --> 00:27:52,672
GOFFMAN: Yeah.
MISON: So, he understands
475
00:27:53,381 --> 00:27:56,301
British humor rather brilliantly.
476
00:27:56,468 --> 00:28:00,013
And this selfie was actually
477
00:28:00,096 --> 00:28:03,600
the very, very first thing
we shot in this season.
478
00:28:03,808 --> 00:28:05,643
- GOFFMAN: Yeah.
- And had just been kept over
479
00:28:05,727 --> 00:28:07,854
until we could put it in there.
480
00:28:08,188 --> 00:28:12,776
GOFFMAN: Yeah, interestingly, you know,
that was shot as a scene
481
00:28:12,859 --> 00:28:17,405
we were gonna potentially use in the coffin,
when Crane was stuck in the coffin,
482
00:28:17,489 --> 00:28:21,659
and there just wasn't time for it
in the episode or the story need.
483
00:28:21,743 --> 00:28:24,871
And so as I was conceiving this scene
it seemed like,
484
00:28:24,954 --> 00:28:29,459
"Well, here's the proof we need
and we've already got it." (LAUGHS)
485
00:28:30,168 --> 00:28:35,048
And it actually even has this reference
to Crane as a man from the past
486
00:28:35,131 --> 00:28:36,758
and in the modern era.
487
00:28:36,841 --> 00:28:38,927
So it is just one of those
488
00:28:39,010 --> 00:28:41,971
happy accidents that work
perfectly with the sequence.
489
00:28:42,055 --> 00:28:43,181
I've got information for you.
490
00:28:43,264 --> 00:28:45,183
Of the same sort you had
for Captain Crane?
491
00:28:45,558 --> 00:28:46,684
There have been a lot of developments
492
00:28:46,768 --> 00:28:49,229
- in close quarter combat.
- Are you threatening me?
493
00:28:49,312 --> 00:28:52,232
GOFFMAN: We wanted to show Abbie
knows a few things from the future
494
00:28:52,315 --> 00:28:53,858
that are very handy in the past
495
00:28:53,983 --> 00:28:58,571
and she, you know, she can kick some ass.
496
00:28:58,863 --> 00:29:00,156
(BOTH LAUGHING)
497
00:29:00,490 --> 00:29:02,117
(GROANING)
498
00:29:09,165 --> 00:29:10,750
Now, that's true American strength.
499
00:29:12,961 --> 00:29:13,962
MISON: Yeah.
500
00:29:14,254 --> 00:29:15,380
Ha!
501
00:29:16,923 --> 00:29:18,091
I'm here to save you.
502
00:29:19,217 --> 00:29:21,511
Though it appears Sutton
is in greater need.
503
00:29:21,594 --> 00:29:23,972
Better late than never.
What made you come back?
504
00:29:24,055 --> 00:29:25,682
I viewed a moving...
505
00:29:25,765 --> 00:29:31,187
MISON: It's interesting that
the moment Ichabod realizes,
506
00:29:31,354 --> 00:29:35,650
"My God, she is from the future,
she is my partner, she is my friend,"
507
00:29:36,526 --> 00:29:38,903
the first thing he does with her is a joke.
508
00:29:38,987 --> 00:29:42,198
Much like the modern Ichabod.
509
00:29:42,282 --> 00:29:43,950
It says an awful lot about him.
510
00:29:45,785 --> 00:29:47,537
GOFFMAN: Yeah, I think you're right.
511
00:29:48,121 --> 00:29:49,164
It's nice that it's...
512
00:29:49,247 --> 00:29:52,792
Then it's a recognition too of their bond
and their friendship.
513
00:29:52,876 --> 00:29:55,462
That he suddenly eases up
514
00:29:55,545 --> 00:29:58,840
because he has been, you know,
it's interesting
515
00:29:58,923 --> 00:30:02,594
and I thought you made such
a great choice with the way
516
00:30:02,677 --> 00:30:07,765
Crane has been withholding,
but then just giving a little bit to her
517
00:30:07,849 --> 00:30:09,142
'cause he knows there's something there.
518
00:30:09,225 --> 00:30:11,394
But he's still trying to maintain
519
00:30:11,478 --> 00:30:16,483
the character and also the culture of 1781.
520
00:30:16,566 --> 00:30:17,901
MISON: Mmm.
521
00:30:20,028 --> 00:30:22,780
Can we just have a moment
to appreciate the hat?
522
00:30:22,906 --> 00:30:25,366
Of all the things you told me,
and there are so many...
523
00:30:25,742 --> 00:30:27,619
GOFFMAN: Which one? (LAUGHS)
524
00:30:32,999 --> 00:30:34,542
Yeah, I do like this moment too,
525
00:30:34,626 --> 00:30:37,629
where Abbie, again, understands
526
00:30:37,712 --> 00:30:40,340
how strange all of this must be for him.
527
00:30:40,632 --> 00:30:44,719
And that of all the people, that Katrina
528
00:30:45,762 --> 00:30:48,681
was a good person at one time
and really did love him,
529
00:30:48,765 --> 00:30:50,934
but that's all changed.
530
00:30:51,267 --> 00:30:53,436
MISON: And of course,
the Crane that she knows,
531
00:30:53,520 --> 00:30:56,606
has had a long time of seeing
532
00:30:58,608 --> 00:31:00,985
his family turn to the dark side.
533
00:31:01,069 --> 00:31:03,029
Whereas, for this Crane,
534
00:31:03,112 --> 00:31:05,323
in the space of one day,
535
00:31:05,406 --> 00:31:09,494
he discovers that his wife is a witch
and, right now, she's trying to kill him.
536
00:31:09,577 --> 00:31:15,208
GOFFMAN: The ripping of the Band Aid in
this, for two seasons versus one episode.
537
00:31:15,291 --> 00:31:19,337
I didn't have time to think about
whether it was a one-way ticket.
538
00:31:21,172 --> 00:31:23,007
GOFFMAN: And then back
to Fredericks Manor.
539
00:31:23,091 --> 00:31:24,759
CRANE: Fredericks Manor.
540
00:31:26,511 --> 00:31:28,763
GOFFMAN: That shot
was actually a CG shot.
541
00:31:29,138 --> 00:31:33,142
We were not able for production reasons
to shoot around the front of the house,
542
00:31:33,476 --> 00:31:34,852
during this episode.
543
00:31:34,936 --> 00:31:38,815
And so the next angle we see
is the way we were able to do it.
544
00:31:39,315 --> 00:31:40,817
MISON: Really?
GOFFMAN: Yeah.
545
00:31:42,193 --> 00:31:43,236
And so...
546
00:31:43,319 --> 00:31:45,405
And the house, also,
was boarded in the windows
547
00:31:45,488 --> 00:31:50,577
and they had to CG all of the windows
and then color time it to have it match.
548
00:31:50,660 --> 00:31:52,745
She ambushed me.
549
00:31:52,829 --> 00:31:54,455
Then escaped.
550
00:31:55,540 --> 00:31:56,916
Do not worry.
551
00:31:57,000 --> 00:31:59,711
When she scratched you,
she left a little bit of her blood behind.
552
00:31:59,794 --> 00:32:01,421
Is this necessary?
553
00:32:01,504 --> 00:32:04,007
It is, in order for me to find her.
554
00:32:04,090 --> 00:32:09,262
GOFFMAN: This scene has one of my
favorite Katrina lines of the season.
555
00:32:10,346 --> 00:32:13,391
And she's really embraced
her inner witch here.
556
00:32:14,017 --> 00:32:15,893
Why, it's simple, really.
557
00:32:15,977 --> 00:32:16,936
I'm a witch.
558
00:32:17,020 --> 00:32:18,062
(GROANS)
559
00:32:21,149 --> 00:32:24,652
MISON: Man, she's great. I like bad Katrina.
560
00:32:27,905 --> 00:32:31,576
- Ah! Captain Crane.
- Mrs. Dixon. Forgive the intrusion.
561
00:32:31,659 --> 00:32:37,040
GOFFMAN: And Grace Dixon, really a great
character introduced in season one.
562
00:32:37,874 --> 00:32:39,751
We got so lucky with the casting.
563
00:32:40,835 --> 00:32:41,961
She's really terrific.
564
00:32:42,378 --> 00:32:48,051
MISON: And Onira's excellent, she's got just
the right warmth to bring to Grace.
565
00:32:48,551 --> 00:32:50,803
That as soon as you come in,
you know it's...
566
00:32:50,887 --> 00:32:54,307
Instantly you get,
this is a happy, safe house.
567
00:32:55,975 --> 00:33:00,980
GOFFMAN: Yeah, warmth and a gravitas
and a rapport with Abbie.
568
00:33:01,105 --> 00:33:02,857
- Even as they are...
- MISON: Instantly.
569
00:33:03,066 --> 00:33:04,525
(GOFFMAN LAUGHS)
570
00:33:05,818 --> 00:33:09,072
GOFFMAN: Crane's still,
"Do I have to explain this again?"
571
00:33:10,448 --> 00:33:14,369
MISON: Yeah, it's one thing to believe it,
but it's another to say it out loud.
572
00:33:14,577 --> 00:33:17,372
Grace Abigail Mills.
573
00:33:18,539 --> 00:33:20,416
We're related.
574
00:33:22,043 --> 00:33:23,878
MISON: Is this new music as well?
575
00:33:23,961 --> 00:33:28,633
We had some music that was completely
unique to this episode.
576
00:33:28,925 --> 00:33:32,512
GOFFMAN: We did, you know...
MISON: Earlier when Crane was with
577
00:33:32,595 --> 00:33:35,056
the phone, that was newer music
578
00:33:35,139 --> 00:33:36,933
and here, I think, there's newer music.
579
00:33:37,058 --> 00:33:41,729
GOFFMAN: Yeah, Robert Lydecker
and Brian Tyler, our composers.
580
00:33:41,813 --> 00:33:45,233
Just, for in episode 17 and 18, really...
581
00:33:47,110 --> 00:33:49,696
They had a lot of freedom
and we just told them to go for it
582
00:33:49,779 --> 00:33:53,491
and came up with
the Sympathy For The Devil
583
00:33:53,658 --> 00:33:58,037
and violin which I thought
was just a great way to introduce
584
00:33:58,162 --> 00:34:00,707
the concept of Abbie back in 1781.
585
00:34:00,832 --> 00:34:02,625
And then here,
586
00:34:03,626 --> 00:34:08,464
the scoring of the intercut sequence
in the jail cell
587
00:34:08,548 --> 00:34:12,260
and Crane with the phone
was all original new music for the show.
588
00:34:12,343 --> 00:34:15,638
And just really, I thought it
amped up the stakes
589
00:34:15,722 --> 00:34:19,517
and elevated the scene so much.
590
00:34:19,726 --> 00:34:20,852
MISON: Yeah, quite.
591
00:34:20,935 --> 00:34:22,228
But it will require a great deal of power.
592
00:34:22,311 --> 00:34:25,231
I will have to draw on the energies
that normally shield this house.
593
00:34:25,481 --> 00:34:28,317
- So, we'll be vulnerable to attack?
- Yeah.
594
00:34:28,401 --> 00:34:30,069
Then we should commence.
595
00:34:31,863 --> 00:34:33,322
We found your journal.
596
00:34:34,407 --> 00:34:37,577
MISON: And now we see Crane
as completely
597
00:34:37,660 --> 00:34:39,245
the gooseberry in this scene.
598
00:34:39,370 --> 00:34:41,956
All he's left doing
is holding a bunch of flowers
599
00:34:42,039 --> 00:34:44,792
that he can pass to Abbie.
600
00:34:46,252 --> 00:34:48,588
- There you go. Well done, Ichabod.
- (GOFFMAN LAUGHS)
601
00:34:48,671 --> 00:34:50,298
Thank God you're here.
602
00:34:51,674 --> 00:34:54,761
Whilst they continue their bond,
603
00:34:54,844 --> 00:34:58,931
their ancestry and a completely new Grace
604
00:34:59,599 --> 00:35:03,019
that Ichabod, who's known her
for years has never seen.
605
00:35:05,605 --> 00:35:08,566
GOFFMAN: And this is the woman
who helped deliver his son.
606
00:35:08,900 --> 00:35:10,026
MISON: His son, quite.
607
00:35:10,777 --> 00:35:16,157
And the woman whose journal
has helped Abbie particularly
608
00:35:16,240 --> 00:35:18,284
and on countless occasions.
609
00:35:18,993 --> 00:35:22,371
It was such a nice idea
to have Abbie and Grace meet.
610
00:35:23,539 --> 00:35:27,627
And here again we see Ichabod
if there's a danger to Abbie,
611
00:35:27,710 --> 00:35:31,380
already, then he's gonna go
and stand in between it.
612
00:35:31,839 --> 00:35:34,759
Even though he knows
that he's probably gonna die.
613
00:35:34,842 --> 00:35:36,886
...and no matter how I get there,
614
00:35:36,969 --> 00:35:39,222
I look forward to
experiencing your America.
615
00:35:40,056 --> 00:35:43,309
It will be a pleasure to make your
acquaintance all over again, Ms. Mills.
616
00:35:43,476 --> 00:35:45,645
GOFFMAN: He's bought into the idea of it.
617
00:35:46,020 --> 00:35:50,024
He's got faith that Abbie's gonna set
things right, that this will all work out.
618
00:35:50,107 --> 00:35:53,569
And he'll get to meet her again
in 200 and some years.
619
00:35:54,070 --> 00:35:55,071
Lieutenant.
620
00:35:55,988 --> 00:35:57,240
Well, Lieutenant...
621
00:35:58,574 --> 00:36:00,326
Let us change the course of history...
622
00:36:00,409 --> 00:36:03,287
GOFFMAN: And, and none of this
will have actually happened.
623
00:36:04,956 --> 00:36:08,125
I really enjoyed this hug, Tom. (LAUGHS)
624
00:36:10,878 --> 00:36:13,965
Is this level of intimacy
commonplace in 2015?
625
00:36:14,215 --> 00:36:15,466
(GOFFMAN CHUCKLES)
626
00:36:15,550 --> 00:36:18,261
MISON: She surprised me with that
little squeeze during the line.
627
00:36:18,344 --> 00:36:19,345
GOFFMAN: Oh, good.
628
00:36:19,470 --> 00:36:20,638
(BOTH LAUGH)
629
00:36:23,516 --> 00:36:24,517
GOFFMAN: Off to battle.
630
00:36:24,600 --> 00:36:26,519
GRACE: Before we part, please!
631
00:36:27,311 --> 00:36:30,231
Look at the end of my journal.
632
00:36:30,857 --> 00:36:33,192
Yeah, I've seen these pages.
633
00:36:33,276 --> 00:36:35,027
- They're empty.
- Abigail, these are the most...
634
00:36:35,111 --> 00:36:37,613
GOFFMAN: Again a little,
a little tease that there's more to come.
635
00:36:37,697 --> 00:36:40,074
These are the pages you will write.
636
00:36:40,157 --> 00:36:42,660
The most crucial battles still lie ahead.
637
00:36:43,327 --> 00:36:44,787
MISON: She'll probably just fill those pages
638
00:36:44,871 --> 00:36:47,874
with Crane's birthday
and pictures of Crane.
639
00:36:47,957 --> 00:36:49,375
GOFFMAN: Doodles, yeah.
MISON: Yeah.
640
00:36:51,294 --> 00:36:53,337
GOFFMAN: Yeah, she is a powerful witch.
641
00:36:54,213 --> 00:36:55,673
The wards are down.
642
00:36:56,215 --> 00:36:57,466
Go!
643
00:37:01,971 --> 00:37:07,643
GOFFMAN: Again, with this battle
sequence, Paul really studied the pilot
644
00:37:07,727 --> 00:37:10,730
and we wanted each of these moves
645
00:37:10,813 --> 00:37:13,149
to mirror the way the horseman acts,
646
00:37:13,232 --> 00:37:17,403
and the first part of this battle
to mirror the pilot battle.
647
00:37:18,362 --> 00:37:21,198
With the exception of, now Crane,
648
00:37:21,282 --> 00:37:24,035
since they're in a different place,
he's got home field advantage,
649
00:37:24,827 --> 00:37:31,083
he's able to extend the battle more
so that they don't behead each other,
650
00:37:31,167 --> 00:37:32,752
but they want to keep it going.
651
00:37:42,011 --> 00:37:44,138
He's also taking his sweet time.
652
00:37:44,472 --> 00:37:45,806
(BOTH CHUCKLE)
653
00:37:48,434 --> 00:37:50,353
MISON: And then, God, I love this sequence.
654
00:37:52,313 --> 00:37:53,272
Just in time.
655
00:37:53,356 --> 00:37:55,775
GOFFMAN: This was really fun to create.
656
00:37:55,858 --> 00:37:58,527
And there, again,
our VFX department, just brilliant.
657
00:38:02,031 --> 00:38:04,450
When I first scripted it,
I didn't know if we could pull it off.
658
00:38:04,533 --> 00:38:06,953
Because this effect, right here,
659
00:38:07,036 --> 00:38:10,206
where time is frozen
and then you see different angles,
660
00:38:10,957 --> 00:38:16,754
is something that typically takes
probably about 10 days to shoot
661
00:38:16,837 --> 00:38:18,589
and 100 cameras.
662
00:38:19,382 --> 00:38:22,134
MISON: And Paul Edwards did it in what,
three hours?
663
00:38:22,218 --> 00:38:23,344
GOFFMAN: Yup.
664
00:38:24,345 --> 00:38:29,558
Yeah, and then we put each of these
moments in to show time being reversed
665
00:38:29,684 --> 00:38:33,354
and then go to full screen,
to see us come back
666
00:38:33,688 --> 00:38:37,108
and replay all these moments
from season one and two.
667
00:38:37,400 --> 00:38:41,278
MISON: Show the pilot so you get to see
how much the show has aged all of us.
668
00:38:41,570 --> 00:38:42,738
In just two years.
669
00:38:44,991 --> 00:38:48,995
And now here it is, and of course,
Crane has no idea of what's just happened.
670
00:38:49,328 --> 00:38:52,206
GOFFMAN: No, to him,
a second and a half has passed.
671
00:38:52,373 --> 00:38:54,750
- MISON: Yeah.
- And Abbie's just lived three days.
672
00:38:57,753 --> 00:39:00,131
MISON: Henry has just died,
673
00:39:00,214 --> 00:39:03,300
Katrina has just
thrown him up against the bell.
674
00:39:04,969 --> 00:39:06,929
GOFFMAN: He sees the knife and yet...
675
00:39:07,430 --> 00:39:09,515
MISON: And we had lots of discussions
about this,
676
00:39:09,598 --> 00:39:12,018
about how Katrina should die,
677
00:39:12,101 --> 00:39:17,356
and I think it was
the right choice to make it...
678
00:39:17,440 --> 00:39:19,442
This is probably an accident.
679
00:39:22,403 --> 00:39:24,655
- We'll never quite know.
- GOFFMAN: No.
680
00:39:25,448 --> 00:39:27,908
MISON: But, my God, it hurts Ichabod.
681
00:39:28,743 --> 00:39:31,787
GOFFMAN: And the way the two of you
are in each other's arms
682
00:39:31,871 --> 00:39:35,124
for that last moment, was really powerful.
683
00:39:45,676 --> 00:39:46,969
Jeremy.
684
00:39:51,599 --> 00:39:56,937
MISON: And then we really do see
after a full episode of Crane
685
00:39:57,021 --> 00:40:00,941
with authority, with family,
with friends, with superiors,
686
00:40:02,485 --> 00:40:03,986
with a purpose.
687
00:40:05,696 --> 00:40:07,239
From this moment,
688
00:40:08,157 --> 00:40:12,495
she is the last thing he has,
apart from those boots,
689
00:40:12,828 --> 00:40:16,373
the last thing he has and it's gone.
690
00:40:16,707 --> 00:40:19,376
GOFFMAN: Yeah,
literally dissipates in his arms.
691
00:40:34,433 --> 00:40:38,312
And again, he didn't witness
any of the action in this episode.
692
00:40:38,395 --> 00:40:40,189
- This Crane didn't.
- MISON: No.
693
00:40:42,191 --> 00:40:46,529
Thank God, as if it wasn't bad enough,
now his wife's gonna turn to ash
694
00:40:46,862 --> 00:40:48,489
in front of him.
695
00:40:48,864 --> 00:40:52,118
GOFFMAN: Only a minute after his son...
696
00:40:52,201 --> 00:40:54,453
- MISON: Yeah.
- ...had the same experience.
697
00:40:57,206 --> 00:40:58,916
GOFFMAN: You know,
we had versions of this
698
00:40:58,999 --> 00:41:01,961
where I had a whole scene
written at one point
699
00:41:02,294 --> 00:41:06,465
and I was reminded
of this scene in The Fugitive
700
00:41:06,549 --> 00:41:07,675
where there was a...
701
00:41:07,758 --> 00:41:12,012
Tommy Lee Jones and Harrison Ford
had a five-page sequence
702
00:41:12,096 --> 00:41:17,393
when he's standing in the tunnel
about to jump off into Niagara Falls.
703
00:41:17,476 --> 00:41:20,729
And what ended up on screen was,
704
00:41:21,063 --> 00:41:24,692
Harrison Ford saying, "I didn't do it,"
and Tommy Lee Jones says, "I don't care."
705
00:41:25,401 --> 00:41:26,777
And that was all the dialog you needed.
706
00:41:26,861 --> 00:41:30,990
And, I think about that a lot
in doing this scene,
707
00:41:31,073 --> 00:41:33,868
again, knowing I have two brilliant actors.
708
00:41:35,035 --> 00:41:39,373
There doesn't need to be a lot of dialog,
you guys can just sit in the moment.
709
00:41:39,456 --> 00:41:44,170
MISON: On the page, reading it on the page,
I struggled with the idea
710
00:41:44,253 --> 00:41:47,506
of Ichabod and Abbie
having a two-page scene.
711
00:41:47,590 --> 00:41:50,926
I think we're at a point after two seasons
712
00:41:51,010 --> 00:41:52,845
where they don't need that.
713
00:41:52,928 --> 00:41:57,725
She gets how hard it is,
he instantly tries to...
714
00:41:57,808 --> 00:41:59,727
We've still got to carry on.
715
00:41:59,935 --> 00:42:02,813
We still got to carry on. That's his default.
716
00:42:02,897 --> 00:42:04,732
And always has been.
717
00:42:04,815 --> 00:42:07,693
And she tries to support him.
718
00:42:07,902 --> 00:42:10,487
GOFFMAN: Yeah.
MISON: He didn't have a choice.
719
00:42:10,571 --> 00:42:14,575
And he said, "Let's not,
let's not wrap it up in cotton wool."
720
00:42:14,825 --> 00:42:19,330
"Every single one of us had a choice,
including Katrina, including Henry."
721
00:42:20,289 --> 00:42:22,625
And, now, here's his new family.
722
00:42:24,460 --> 00:42:29,048
GOFFMAN: Yeah. It was very important
to get to bring back Jenny and Irving
723
00:42:29,131 --> 00:42:30,591
into this moment.
724
00:42:31,217 --> 00:42:34,470
So that the team is back together after,
you know,
725
00:42:35,012 --> 00:42:36,388
a harrowing couple of episodes.
726
00:42:36,472 --> 00:42:39,516
And Irving really, his soul being owned
727
00:42:39,600 --> 00:42:41,477
by Henry through the entire season,
728
00:42:41,560 --> 00:42:44,480
but now it's finally released and he's back,
729
00:42:44,563 --> 00:42:46,857
and I think the really intriguing part there
730
00:42:46,941 --> 00:42:48,567
is he's already died once.
731
00:42:48,859 --> 00:42:52,404
He's really died so,
what mysteries lie there?
732
00:42:52,488 --> 00:42:53,447
MISON: Yeah, quite.
733
00:42:53,530 --> 00:42:57,743
I think we cut a few lines
of Ichabod's as well in that moment.
734
00:42:57,826 --> 00:43:00,913
Just to have him still, just exhausted.
735
00:43:02,122 --> 00:43:05,876
And here's the last look
at where it all fell apart for him.
736
00:43:06,627 --> 00:43:09,588
GOFFMAN: Yeah, there was a bird,
do you remember the bird?
737
00:43:09,672 --> 00:43:11,757
MISON: There was a bird...
GOFFMAN: There is no bird now.
738
00:43:11,840 --> 00:43:13,217
We didn't need it.
739
00:43:13,300 --> 00:43:17,096
And I do think that,
"Ready captain," "Ready lieutenant,"
740
00:43:17,179 --> 00:43:18,472
is the perfect way to end.
741
00:43:20,349 --> 00:43:24,186
It's mutual respect and friendship
742
00:43:24,270 --> 00:43:27,940
and who knows where
they're gonna go from here.
743
00:43:28,274 --> 00:43:30,776
GOFFMAN: And going back to, again,
Abbie's experience,
744
00:43:30,859 --> 00:43:33,237
she now has gotten to know the captain.
745
00:43:33,320 --> 00:43:36,073
- The captain Crane of 1781.
- Absolutely.
746
00:43:36,156 --> 00:43:40,911
GOFFMAN: And that's her nod to him
and respect for who he was then.
747
00:43:40,995 --> 00:43:45,040
She can say that with a kind of knowledge
748
00:43:45,165 --> 00:43:47,710
that she didn't have up until that moment.
749
00:43:47,793 --> 00:43:49,712
MISON: No, quite, quite.
750
00:43:51,964 --> 00:43:54,341
GOFFMAN: Well, Tom, thank you.
This was really fun.
751
00:43:54,425 --> 00:43:56,552
MISON: Oh, it was a pleasure.
It was a pleasure.