ABBIE: Previously on Sleepy Hollow...
Hello, this is Tom Mison and I'm playing Ichabod Crane.
Hi, I'm Mark Goffman, exec producer
and writer of this lovely finale for season two.
MISON: And a very good finale it is as well. GOFFMAN: It was so much fun.
MISON: Yeah. GOFFMAN: A really, really fun episode.
So, Tom, where are...
Tom and I are not in the same place right now.
We're both watching live together...
MISON: We're not even in the same continent.
(GOFFMAN LAUGHS)
This is the wonders of modern technology. I'm in London.
GOFFMAN: That's fantastic. Well, thank you for doing this.
- This is really cool. - MISON: No, it's a pleasure.
GOFFMAN: Here we are... This is still all the set up.
We had a slightly longer "Previously on."
Because really, episodes 17 and 18 were continuous.
I love all the... Paul Edwards directed this episode.
Really just knocked it out of the park. So many just great little details.
MISON: Yeah, he's grand.
GOFFMAN: But then this scene, actually, was shot by Len Weisman.
And we shot it earlier in the season actually.
But it's such a terrific battle sequence.
Really, just incredible. We've been looking for a place...
- (LAUGHS) I love the little hat. - MISON: The hat.
It's also nice...
It's always nice seeing Ichabod in the thick of it and winning.
Because so often you see Ichabod and he goes up against demons
and then is more often than not punched to the ground.
Leaving it open for Abbie to come in and finish the deed.
But here you see Crane the war hero.
GOFFMAN: What was incredibly important to me...
You and I discussed this at the beginning,
it's a very different Crane we wanted to establish.
This is him in his world, his element. He's very much in command.
There's no questioning of the reality around him.
And he is a man of action and he is a war hero.
And I really think that the way you play is brilliant.
It's so nice to see him get established firmly in the opening of this film.
This is the character we're going to get to know.
- The Ichabod Crane we didn't see before. - MISON: Yeah.
MISON: And to see him in his natural environment.
And by seeing him here, I think you get an even greater
understanding of him in the modern day.
Because obviously back then he was a man with responsibilities.
An awful lot of responsibilities.
He's a man with a happy home, with friends, with bosses,
with people who work for him, people work with him.
An entire life was there which you then see by the end of this episode
with the death of Katrina, spoiler alert.
Everything is gone. Everything.
As I said, as our viewers will remember, from the mid-season finale commentary,
his story is definitely one of loss, and this is a nice moment
to see everything that he loses by the end of the season.
But then, of course, gains a new family through Abbie, Irving and Jenny.
GOFFMAN: Yeah. And that's really what we were
trying to leave with the end of the season
is that this is kind of the closure to that loop.
And to see it all come full circle and yet a new beginning with a new family
and the family in his modern world.
And that's why there are a number of parallels between this and the pilot.
This scene is another example of them.
But now we have Ichabod on the other side of the cell.
MISON: This is also... This scene is a great example of Nicole being so brilliant
that you can see there's everything that Abbie just wants to scream out at him.
- GOFFMAN: Yeah. - But knows that won't get anything.
- That won't get her anywhere. - GOFFMAN: Yeah.
MISON: She knows how, although this Ichabod has never met her before,
she's known him for well over a year now, I suppose.
GOFFMAN: Yeah. MISON: And so knows how to play him,
knows what his rules are.
But you can see that she really wants to just shout things out.
And that's the great thing about Nicole, is that you can read her thoughts.
And what's underneath just pours out of her.
GOFFMAN: I just... I loved her in this.
One of the early conversations I had with Nicole,
actually about this scene and some of the others,
was just talking about her savvy
and her ability to, as you said, read Crane.
And even though she's exploding with information
about what's going to happen in the supernatural world that,
at this point, she knows he doesn't know that.
And to just say it, she's already in enough trouble.
She's going to have to play him
and just say enough to keep... To pique his interest.
- But not too much. - MISON: Yeah, quite, quite.
The one thing that Paul Edwards and I discussed a lot was
he kept saying, "We need to find something that will draw these two together."
Draw Abbie and Crane together. And it's something that you said to...
We discussed as well, that we want to try and establish in this episode
that no matter where in their lives they meet,
or no matter where in history they meet, they will always have this connection
'cause they're the two witnesses. And where can we find that?
GOFFMAN: Yeah, yeah.
And here's, uh, to do a little reverse man-out-of-time moment here.
Abbie showing the 18th century man a little modern medicine
that alcohol's better as a disinfectant than it is to give him
to get him drunk and numb the pain.
MISON: Yeah.
Their weapons must have been heated.
Weapon.
MISON: I also like Crane's disgust at the decapitations
- that there were rules in this war. - Yeah.
MISON: And you don't disrespect the dead like that.
And this...
This is where you see he's not going to trust her easily.
How many prisoners have offered him up information to try and get themselves out.
- Or false information to get out of the cell. - GOFFMAN: Yeah, I like that...
That you actually walk her away from the other men...
There's enough superstition. There's enough loss on this battlefield,
the last thing these people need to hear is some crazy story.
MISON: Yeah, quite.
...200 years.
I'm sorry, is this what you've been intimating?
You're from the future?
I know...
GOFFMAN: I love that look that you give her there. It's so fun.
And again, this is a parallel to the speech that Crane gives Abbie
when they're outside the police station and he's talking about
how impossible all of this seems for him.
MISON: Oh, yeah.
This makes no sense.
You say you're here to save me. Yet I'm supposed to die.
You were. You were saved, suspended in time,
until we met, but now...
GOFFMAN: We wanted to play into just how odd the whole thing is
that he died on the battlefield but he didn't really die
'cause he was saved and then suspended. It's a lot to explain.
(BOTH LAUGHING)
MISON: Also, with that moment and there's a moment later
when they're in the carriage together where he actually quite enjoys
debating this weird idea of hers.
And finding what he thinks are flaws in it. The impossibility of certain things.
Even though he's discussing it with a lunatic
in the middle of a terrible battlefield.
GOFFMAN: Well, we wanted to show that Crane has that discerning mind
and he had it back then, too.
And so, he's going to pick apart arguments.
He's going to notice facts like the decapitation and the cauterized wound,
just as Abbie does.
And the two of them are in sync and, yet, trying to make sense of it.
And he's going to call her out.
But now this scene showing, of course, he's got people to answer to
- just like she did in the day. - Exactly.
GOFFMAN: She had Irving to answer to. He's got his own superior officer.
- Who's a bit more of a dick. (LAUGHS) - MISON: Yeah, exactly.
It's always nice watching Crane get a bollocking from a superior officer
to remind you that it makes him a fuller character if you see that he has his place,
which is above some people, below others.
GOFFMAN: And he's now got to sell this,
Sutton on taking Abbie.
It's not part of Sutton's plan.
He's like, "Look, we've got another battle just north of here.
"I need every man on the field. Look what's happened here.
"We don't know whether this woman is reliable.
"It doesn't sound like it."
So, just as Abbie had to convince Irving,
now it's Crane's turn to convince him.
"Let me just transport her. Spend a few...
"Take this three mile ride and then I'll return."
MISON: Another echo to the pilot. GOFFMAN: Right.
MISON: When Abbie asked to transport Crane.
GOFFMAN: Just to up the ante a little bit, unlike modern times,
you screw up here, you face a firing squad.
MISON: Yeah.
(GOFFMAN LAUGHS)
GOFFMAN: This is another little mirror to the pilot
with Abbie trying to adjust the shades
as Crane tried to adjust, or got to play with, the automatic window in Abbie's car.
MISON: I loved this scene. I really enjoyed...
This was actually the very last scene we shot of the season.
We don't often get the chance to just sit and talk.
Often there's stuff that we got to do. We've got to go and get this book,
and we got to find this.
But to just sit opposite Nicole and play a scene together,
that's a treat.
GOFFMAN: Yeah, it was really fun. It was a nice way to end the season.
We were on a sound stage. They had that carriage inside.
It's funny seeing... There was actually a guy out
at the other end pushing it up and down a bit.
And it's all green screen behind them. Behind you guys.
But the scene just... It was so fun. And you're right.
Nice to watch the two of you play this, just sitting across from each other.
As you said, enjoying this crazy... Let's hear where she takes this scene.
Let's see what story... What is she possibly going to make up.
(BOTH CHUCKLE)
MISON: And it's nice 'cause each of them
has an answer to anything that can come up.
GOFFMAN: Yeah. MISON: They both know that they're right.
In fact, there's a moment coming up where
even when she clearly gets into checkmate
with Washington's here, Jefferson's here, Franklin's here.
I remember you coming up because it wasn't in the script
and it was in one of the later takes.
You just came up and said,
about my countering the checkmate
with "General Washington" and "Thomas Jefferson."
Even when she does a winning move, I have to correct her.
GOFFMAN: Yeah. MISON: "Treat those men with respect."
GOFFMAN: Yeah. Well, she's talking about them as historical figures.
And that's what we do today. But these are people to you.
And I like that idea of keeping that alive at every moment in the episode.
And the way both of you just get in each other's face here is really, really great.
MISON: Damn. Damn, yes, Franklin is here.
GOFFMAN: And Tim Busfield is waiting. (LAUGHS)
MISON: And then I couldn't resist at the end getting her to brace herself.
'Cause he knows exactly who she's going to see.
GOFFMAN: Yeah, I like... You added that line.
I forget what the other line was, but I really liked that.
And then we want to establish here,
the horseman having not encountered Crane on that battlefield still has his head.
(BOTH CHUCKLING)
Oh, that could be Crane. No.
MISON: In fact, that is... GOFFMAN: Still looking.
MISON: Steven who was my stand-in for the last two seasons.
That was him lying on the ground mistaken for Crane.
Who actually... It was uncanny whenever he's in my costume.
GOFFMAN: Yeah.
MISON: You can't tell whether it's him or me.
...and together they're a formidable foe to us both.
So they both must die.
MISON: This is a nice moment. You see a real turn in Katrina.
There's an innocent man who's about to try and run away
and she kills him from behind.
That really shows that she's beyond help now.
GOFFMAN: Yeah, and she also has to say to the horseman,
"I'm not bluffing here. I'm not playing you.
"I'm serious.
"Let me just take that guy out as a little token
"of what my powers are worth to you."
MISON: She's a great baddie, is our Katia. GOFFMAN: Yes.
I couldn't believe when I first arrived here. This is not Wilmington.
This is a city called New Bern that's about two hours away.
But they have a lot of colonial architecture.
It was amazing that you get to see the scope here
that we couldn't always do in Wilmington.
But they cover the street with this mulch, two city blocks worth,
so that we were able to shoot the whole thing as 1781, Sleepy Hollow.
They've never seen a woman in trousers.
(CHUCKLES)
MISON: I love Crane.
It's so interesting to have, obviously, a woman of color back in the 18th century,
and how Crane deals with that.
Because as we know from the pilot, he was a very forward thinking man.
GOFFMAN: Yeah.
MISON: And he's trying to make her feel better
by saying they've never seen a woman in trousers.
GOFFMAN: Right. And the look on Nicole's face.
- She knows that and appreciates it. - MISON: She knows it. Yeah. It's excellent.
You can now brace yourself. There he is.
GOFFMAN: Tim. We knew when we cast him... Yeah.
It was just... It's so funny.
I got to work with him on The West Wing and on Studio 60.
And when his name came up for this role of Benjamin Franklin
at our season premiere,
- it instantly clicked. - Perfect.
GOFFMAN: 'Cause he's smart and he's cunning and he just,
he embraced this role with so much vigor.
MISON: Like that "bonjour" when he opens the door
was just him throwing something.
Every time he opened the door he said something different to us.
(GOFFMAN LAUGHING)
I do hate him with every fiber of my body,
because he's... I've never corpsed so much.
And that seemed to be his mission to try and screw me over at every step.
And it worked.
GOFFMAN: But this scene really turned out just fantastic.
I love the way he's completely bought in,
and so Crane is suddenly like, "Wait a minute." (LAUGHS)
"I had a suspicion but, really."
And he's so enthralled with hearing about everything that's gone right with America.
And the fact that Abbie represents what could be right
and what has to be preserved if America has become this true nation.
The land of opportunity and the home of the free.
MISON: I think the best line is...
I mean, he just discovers that a woman is here from the future.
It's incredible. It's mind blowing.
And the first thing he wants to find out is whether
he's on a better dollar bill than Jefferson.
GOFFMAN: (LAUGHS) Yeah.
The two. Quite a cumbersome bill.
MISON: He's the kindred, you know, could be anywhere.
(BOTH LAUGH)
GOFFMAN: A disappointment of the season was we weren't able to work him back in
'cause he's such an incredible character.
And so I thought, at least, I'll give him a cameo in this episode.
...so crazed with grief after her son died...
The Grand Grimoire cannot heal her guilt.
It can only cause more destruction.
This complicates things.
So do we get the Grimoire from her?
MISON: Tim Busfield really strikes a good balance between
the faintly ridiculous Franklin and the perverse Franklin.
But also just the brilliant man.
GOFFMAN: Mmm-hmm.
MISON: He and Jefferson are leagues ahead of anyone else in the country.
Even in the world, Franklin was revered when he went to France and to England.
And here he is taking control,
teaching the witnesses a thing or two.
- It's a lovely balance. - GOFFMAN: Yeah.
Yeah. And this is... I like this little moment here
where Abbie's not going to let this moment pass without asking
a little bit more about the secret organization,
who knows about the witnesses, and then he says there are levels.
Crane has been groomed for some time so this gives her hope.
Yeah, this line, here."How many people know about the secret war?"
I'm surprised you haven't encountered others in your era.
GOFFMAN: So a tease that maybe we'll find out more
at some point about people in our era.
And then, of course, he also sets up what we need to know about time travel.
Because anybody who's ever worked on a time travel film or even watched one,
probably realizes there is a paradox.
And you get the ice-cream headache very quickly
when you start to try to work out time travel,
and what happens in the future,
and how many Katrinas there would be in the past.
And when you come back, what's different.
But when I thought of the idea of...
We'll just undo it and put it back exactly how it was before.
Then we can have the entire episode of time travel.
And I can screw up everything in history and then get back to a place...
MISON: Speaking of screwing everything up in history, here it comes.
GOFFMAN: Yeah, that would have changed things.
MISON: Just a perfect moment.
What a wonderful prop, as well. That bomb, the Franklin.
GOFFMAN: Yeah.
These are the kind of things that we get to do on this show
that's rare in network TV.
And we do it on a weekly basis. Let's just blow up a set.
MISON: Let's cut Benjamin Franklin's head off and then blow up the set.
GOFFMAN: (LAUGHS) Yeah, that's right.
This is the kind of thing that you normally get to do once a season.
Not even once an episode, and here it is.
Just another explosion in their second act,
not even the climax.
MISON: And that there was another moment that Paul Edwards and I discussed.
Crane fights against this amazing Hessian
who goes straight in with the swords and the Hessian wins.
Franklin's head's cut off, the whole thing explodes.
And the first thing Crane does is he grabs a candlestick holder
and he wants to go back into the fight.
- GOFFMAN: Yeah. - I think that says an awful lot about Crane.
- Like we said the "War hero." - GOFFMAN: Yeah.
This Crane is going to refuse to accept any kind of defeat.
And he's going to fight in battle.
It took Abbie to hold him back here. Which is also why Abbie lands back in jail.
Anyone who's going to hold Crane back has got to be a spy,
has got to be somebody working on the other side.
...predilection for the supernatural,
and you led a Hessian assassin to his very doorstep.
He wasn't after Franklin.
MISON: And the anger here with Crane, of course
is as much with himself, as with Abbie.
What an idiot to trust this woman.
GOFFMAN: Yeah, he...
I like that, that he holds himself responsible for this.
We are partners.
- We're partners? - Mmm-hmm.
You talk about this partnership and about this bond
and yet you keep from me vital information of the very thing you claim.
GOFFMAN: And here he's also noticed that Crane,
constantly aware of everything that's going on,
has noticed Abbie had this private conversation with Franklin.
Clearly, that meant something. What was this about the witch?
But since the fate of the world depends on you believing me...
GOFFMAN: And this is the one thing that Abbie's been so hesitant
to tell him from the beginning.
The Horseman's ally, the witch...
Is your wife Katrina.
GOFFMAN: As if he hasn't heard enough today.
(BOTH LAUGH)
May God have mercy on your soul.
Crane, wait. She's pregnant with your son.
You'll see for yourself.
MISON: Nicole walks a very, very fine line quite brilliantly in this scene.
All of the information that she's telling Crane...
- GOFFMAN: Yeah. - She knows it's going to destroy him.
She knows it's going to leave her in jail.
There's no way that he's gonna believe her after all this.
And it's so beautifully done. How difficult it is for her to say it,
to upset her friend.
GOFFMAN: Yeah, on top of everything else, you're right,
to have to tell him,
to break this news to him under any circumstances.
But to break this news to him knowing the impact it's gonna have on her.
And then even to try to describe
the one bit of proof she can come up with, that cell phone,
how do you describe to someone from 1781
that, in lock up, there is a device
that will prove my innocence.
But you're gonna have to figure out how to use it
and it has a passcode.
MISON: Oh, yes! We skipped over that bit, didn't we?
GOFFMAN: That'll come up.
MISON: Abbie's password, her passcode being Crane's birthday.
Your stirring up the ship has no end, Mark, with that.
GOFFMAN: Yeah, she...
She wanted it that way.
Just in case he ever needed to use her phone.
(MISON CHUCKLING)
This again, another scene.
This was actually shot in New Bern and that's not a set.
- That's the actual interior of this house. - MISON: Oh, yeah, yeah.
GOFFMAN: Just amazing.
Crane returning home. What was this like for you?
We'd never seen where you lived in 1781 before.
MISON: No. I remembered sitting in here with Katia
and with Julia Rusthoven, our brilliant costumier.
Being very excited by being in the Crane family home.
And it shows again, it's a perfect example of how much he's lost.
It's surprisingly opulent, his home.
GOFFMAN: Well, he's doing okay, you know.
He is a man on the rise,
and that was part of what we wanted to show
is that he has such a future here, so he thought,
that there's a lot at risk, to throw it all out
for what a mad woman is saying in a jail cell.
Of course, there's this knife behind his back during the course of this scene.
And all she needs to know is where Abbie is
and then she can take care of her husband.
MISON: And then he clocks it, at that moment, Abbie's right.
Abbie's telling the truth.
GOFFMAN: Yeah, and there's just too many things
that don't make sense now
and seeing this book, that was the final straw.
MISON: Luckily, called away by Washington who conveniently is back from Virginia.
GOFFMAN: Well, he heard about the meshugas.
MISON: The failure, yeah.
GOFFMAN: And when that battle didn't go the way he...
He knew he had sent Crane to that battle scene.
- Or to that battle sequence. - MISON: Quite.
GOFFMAN: So he was on his way back.
Ho, there. The woman's personal effects. Where are they?
Keep what you fancy.
Has Sutton transferred her?
Not yet. He was planning to pay her a visit though.
GOFFMAN: Also, I just loved the way you took your time
with her effects here.
(MISON CHUCKLES)
I'm just... Anything to ramp up the tension.
We know what may happen to Abbie and there's the cell phone.
MISON: It's such a treat trying to work out
how Ichabod would react to certain things.
GOFFMAN: What was your process for this?
- MISON: Well, actually... - (GOFFMAN LAUGHS)
The moment coming up, that "slide to unlock" moment,
came up at the very end of shooting that scene.
So it was only when we had finished the wide shots, the medium shots
and gone in for the close ups that I realized,
"My God, of course! Slide to unlock it."
And really, I only threw that in at the last minute
because I thought it would make Paul Edwards, our director, laugh.
And making this big burly Texan
go weak at the knees laughing is, it's a drug.
- It's a drug to me. - GOFFMAN: Oh, yeah.
But as soon as you did it, we all watched it on the monitors
and thought this is... That is hysterical.
(LAUGHS)
And we knew everyone would get it instantly.
But yeah, Paul Edward is so much fun.
He came on, he did actually our second episode of season one.
And we had so much fun with him, with the Boston Tea Party.
That, you know, we brought him back several times.
He then did the "Necromancer" episode with John Cho and then, of course...
MISON: "The Kindred."
GOFFMAN: And Abraham and then "The Kindred" this season.
And so when we had the opportunity for him to come on as a producing director,
it was just fantastic.
And he got to do the finale.
MISON: And he gets the show brilliantly.
He is a great mixture of...
He's a bit of an action star.
But also he's such a huge Monty Python fan.
GOFFMAN: Yeah. MISON: So, he understands
British humor rather brilliantly.
And this selfie was actually
the very, very first thing we shot in this season.
- GOFFMAN: Yeah. - And had just been kept over
until we could put it in there.
GOFFMAN: Yeah, interestingly, you know, that was shot as a scene
we were gonna potentially use in the coffin, when Crane was stuck in the coffin,
and there just wasn't time for it in the episode or the story need.
And so as I was conceiving this scene it seemed like,
"Well, here's the proof we need and we've already got it." (LAUGHS)
And it actually even has this reference to Crane as a man from the past
and in the modern era.
So it is just one of those
happy accidents that work perfectly with the sequence.
I've got information for you.
Of the same sort you had for Captain Crane?
There have been a lot of developments
- in close quarter combat. - Are you threatening me?
GOFFMAN: We wanted to show Abbie knows a few things from the future
that are very handy in the past
and she, you know, she can kick some ass.
(BOTH LAUGHING)
(GROANING)
Now, that's true American strength.
MISON: Yeah.
Ha!
I'm here to save you.
Though it appears Sutton is in greater need.
Better late than never. What made you come back?
I viewed a moving...
MISON: It's interesting that the moment Ichabod realizes,
"My God, she is from the future, she is my partner, she is my friend,"
the first thing he does with her is a joke.
Much like the modern Ichabod.
It says an awful lot about him.
GOFFMAN: Yeah, I think you're right.
It's nice that it's...
Then it's a recognition too of their bond and their friendship.
That he suddenly eases up
because he has been, you know, it's interesting
and I thought you made such a great choice with the way
Crane has been withholding, but then just giving a little bit to her
'cause he knows there's something there.
But he's still trying to maintain
the character and also the culture of 1781.
MISON: Mmm.
Can we just have a moment to appreciate the hat?
Of all the things you told me, and there are so many...
GOFFMAN: Which one? (LAUGHS)
Yeah, I do like this moment too,
where Abbie, again, understands
how strange all of this must be for him.
And that of all the people, that Katrina
was a good person at one time and really did love him,
but that's all changed.
MISON: And of course, the Crane that she knows,
has had a long time of seeing
his family turn to the dark side.
Whereas, for this Crane,
in the space of one day,
he discovers that his wife is a witch and, right now, she's trying to kill him.
GOFFMAN: The ripping of the Band Aid in this, for two seasons versus one episode.
I didn't have time to think about whether it was a one-way ticket.
GOFFMAN: And then back to Fredericks Manor.
CRANE: Fredericks Manor.
GOFFMAN: That shot was actually a CG shot.
We were not able for production reasons to shoot around the front of the house,
during this episode.
And so the next angle we see is the way we were able to do it.
MISON: Really? GOFFMAN: Yeah.
And so...
And the house, also, was boarded in the windows
and they had to CG all of the windows and then color time it to have it match.
She ambushed me.
Then escaped.
Do not worry.
When she scratched you, she left a little bit of her blood behind.
Is this necessary?
It is, in order for me to find her.
GOFFMAN: This scene has one of my favorite Katrina lines of the season.
And she's really embraced her inner witch here.
Why, it's simple, really.
I'm a witch.
(GROANS)
MISON: Man, she's great. I like bad Katrina.
- Ah! Captain Crane. - Mrs. Dixon. Forgive the intrusion.
GOFFMAN: And Grace Dixon, really a great character introduced in season one.
We got so lucky with the casting.
She's really terrific.
MISON: And Onira's excellent, she's got just the right warmth to bring to Grace.
That as soon as you come in, you know it's...
Instantly you get, this is a happy, safe house.
GOFFMAN: Yeah, warmth and a gravitas and a rapport with Abbie.
- Even as they are... - MISON: Instantly.
(GOFFMAN LAUGHS)
GOFFMAN: Crane's still, "Do I have to explain this again?"
MISON: Yeah, it's one thing to believe it, but it's another to say it out loud.
Grace Abigail Mills.
We're related.
MISON: Is this new music as well?
We had some music that was completely unique to this episode.
GOFFMAN: We did, you know... MISON: Earlier when Crane was with
the phone, that was newer music
and here, I think, there's newer music.
GOFFMAN: Yeah, Robert Lydecker and Brian Tyler, our composers.
Just, for in episode 17 and 18, really...
They had a lot of freedom and we just told them to go for it
and came up with the Sympathy For The Devil
and violin which I thought was just a great way to introduce
the concept of Abbie back in 1781.
And then here,
the scoring of the intercut sequence in the jail cell
and Crane with the phone was all original new music for the show.
And just really, I thought it amped up the stakes
and elevated the scene so much.
MISON: Yeah, quite.
But it will require a great deal of power.
I will have to draw on the energies that normally shield this house.
- So, we'll be vulnerable to attack? - Yeah.
Then we should commence.
We found your journal.
MISON: And now we see Crane as completely
the gooseberry in this scene.
All he's left doing is holding a bunch of flowers
that he can pass to Abbie.
- There you go. Well done, Ichabod. - (GOFFMAN LAUGHS)
Thank God you're here.
Whilst they continue their bond,
their ancestry and a completely new Grace
that Ichabod, who's known her for years has never seen.
GOFFMAN: And this is the woman who helped deliver his son.
MISON: His son, quite.
And the woman whose journal has helped Abbie particularly
and on countless occasions.
It was such a nice idea to have Abbie and Grace meet.
And here again we see Ichabod if there's a danger to Abbie,
already, then he's gonna go and stand in between it.
Even though he knows that he's probably gonna die.
...and no matter how I get there,
I look forward to experiencing your America.
It will be a pleasure to make your acquaintance all over again, Ms. Mills.
GOFFMAN: He's bought into the idea of it.
He's got faith that Abbie's gonna set things right, that this will all work out.
And he'll get to meet her again in 200 and some years.
Lieutenant.
Well, Lieutenant...
Let us change the course of history...
GOFFMAN: And, and none of this will have actually happened.
I really enjoyed this hug, Tom. (LAUGHS)
Is this level of intimacy commonplace in 2015?
(GOFFMAN CHUCKLES)
MISON: She surprised me with that little squeeze during the line.
GOFFMAN: Oh, good.
(BOTH LAUGH)
GOFFMAN: Off to battle.
GRACE: Before we part, please!
Look at the end of my journal.
Yeah, I've seen these pages.
- They're empty. - Abigail, these are the most...
GOFFMAN: Again a little, a little tease that there's more to come.
These are the pages you will write.
The most crucial battles still lie ahead.
MISON: She'll probably just fill those pages
with Crane's birthday and pictures of Crane.
GOFFMAN: Doodles, yeah. MISON: Yeah.
GOFFMAN: Yeah, she is a powerful witch.
The wards are down.
Go!
GOFFMAN: Again, with this battle sequence, Paul really studied the pilot
and we wanted each of these moves
to mirror the way the horseman acts,
and the first part of this battle to mirror the pilot battle.
With the exception of, now Crane,
since they're in a different place, he's got home field advantage,
he's able to extend the battle more so that they don't behead each other,
but they want to keep it going.
He's also taking his sweet time.
(BOTH CHUCKLE)
MISON: And then, God, I love this sequence.
Just in time.
GOFFMAN: This was really fun to create.
And there, again, our VFX department, just brilliant.
When I first scripted it, I didn't know if we could pull it off.
Because this effect, right here,
where time is frozen and then you see different angles,
is something that typically takes probably about 10 days to shoot
and 100 cameras.
MISON: And Paul Edwards did it in what, three hours?
GOFFMAN: Yup.
Yeah, and then we put each of these moments in to show time being reversed
and then go to full screen, to see us come back
and replay all these moments from season one and two.
MISON: Show the pilot so you get to see how much the show has aged all of us.
In just two years.
And now here it is, and of course, Crane has no idea of what's just happened.
GOFFMAN: No, to him, a second and a half has passed.
- MISON: Yeah. - And Abbie's just lived three days.
MISON: Henry has just died,
Katrina has just thrown him up against the bell.
GOFFMAN: He sees the knife and yet...
MISON: And we had lots of discussions about this,
about how Katrina should die,
and I think it was the right choice to make it...
This is probably an accident.
- We'll never quite know. - GOFFMAN: No.
MISON: But, my God, it hurts Ichabod.
GOFFMAN: And the way the two of you are in each other's arms
for that last moment, was really powerful.
Jeremy.
MISON: And then we really do see after a full episode of Crane
with authority, with family, with friends, with superiors,
with a purpose.
From this moment,
she is the last thing he has, apart from those boots,
the last thing he has and it's gone.
GOFFMAN: Yeah, literally dissipates in his arms.
And again, he didn't witness any of the action in this episode.
- This Crane didn't. - MISON: No.
Thank God, as if it wasn't bad enough, now his wife's gonna turn to ash
in front of him.
GOFFMAN: Only a minute after his son...
- MISON: Yeah. - ...had the same experience.
GOFFMAN: You know, we had versions of this
where I had a whole scene written at one point
and I was reminded of this scene in The Fugitive
where there was a...
Tommy Lee Jones and Harrison Ford had a five-page sequence
when he's standing in the tunnel about to jump off into Niagara Falls.
And what ended up on screen was,
Harrison Ford saying, "I didn't do it," and Tommy Lee Jones says, "I don't care."
And that was all the dialog you needed.
And, I think about that a lot in doing this scene,
again, knowing I have two brilliant actors.
There doesn't need to be a lot of dialog, you guys can just sit in the moment.
MISON: On the page, reading it on the page, I struggled with the idea
of Ichabod and Abbie having a two-page scene.
I think we're at a point after two seasons
where they don't need that.
She gets how hard it is, he instantly tries to...
We've still got to carry on.
We still got to carry on. That's his default.
And always has been.
And she tries to support him.
GOFFMAN: Yeah. MISON: He didn't have a choice.
And he said, "Let's not, let's not wrap it up in cotton wool."
"Every single one of us had a choice, including Katrina, including Henry."
And, now, here's his new family.
GOFFMAN: Yeah. It was very important to get to bring back Jenny and Irving
into this moment.
So that the team is back together after, you know,
a harrowing couple of episodes.
And Irving really, his soul being owned
by Henry through the entire season,
but now it's finally released and he's back,
and I think the really intriguing part there
is he's already died once.
He's really died so, what mysteries lie there?
MISON: Yeah, quite.
I think we cut a few lines of Ichabod's as well in that moment.
Just to have him still, just exhausted.
And here's the last look at where it all fell apart for him.
GOFFMAN: Yeah, there was a bird, do you remember the bird?
MISON: There was a bird... GOFFMAN: There is no bird now.
We didn't need it.
And I do think that, "Ready captain," "Ready lieutenant,"
is the perfect way to end.
It's mutual respect and friendship
and who knows where they're gonna go from here.
GOFFMAN: And going back to, again, Abbie's experience,
she now has gotten to know the captain.
- The captain Crane of 1781. - Absolutely.
GOFFMAN: And that's her nod to him and respect for who he was then.
She can say that with a kind of knowledge
that she didn't have up until that moment.
MISON: No, quite, quite.
GOFFMAN: Well, Tom, thank you. This was really fun.
MISON: Oh, it was a pleasure. It was a pleasure.