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Written By Rick
Ellis
I'm not going to try and give a long scene-by-scene breakdown of each
episode. Instead, what I've tried to do is assemble as much information
about each episode as I could find: Trivia, stuff for "clueheads", behind
the scenes stories from Larry, etc. Because of the volume of material
available, I'm sure I've missed some things. So if you notice any omissions,
pass them along and I'll include them in the next version of this.
I assembled the information the only way I knew how: I looked closely
at every episode. Several times. And then I looked at them again at
the end of the season with the knowledge of hindsight. So there's a
lot here. I organized the information by episode, in these categories:
1) EPISODE INFORMATION: The title, credits, air dates, etc.
2) UPN PRESS RELEASE: The official press release sent out by UPN.
3) NOTES FROM LARRY: Comments about the episodes by the big guy himself-Larry
Hertzog. These have been collected from several different sources: the
Compuserve Conferences, Compuserve's NwM Forum and some things he posted
to the newsgroup as well as a few private messages that we swapped and
I quote with his permission.
4) LINES TO REMEMBER: Interesting lines of dialogue from the episodes.
5) FOR CLUEHEADS ONLY: Clues, hints and other goodies. Guaranteed to
provide endless hours of bickering.
6) PICKY, PICKY: The things that you notice when you watch the episodes
entirely too closely. Continuity problems, leaps of logic, etc.
7) I LOVE THE SOUND OF BREAKING GLASS: The significance of the "breaking
glass" sound effect has been debated endlessly. There's also been a
lot of disagreement about exactly what qualifies as a "breaking glass"
sound. So I've included the ones I thought were interesting. If there's
any that you think I've missed...let me know.
8)SOME GEMINI MOMENTS: Examples of Tom's behaviour that seem to reinforce
the idea he was at one time a FBI agent.
Click on the episode title to see the full info.
1-1 Absolute
Zero--08/28/1995
1-2 Turnabout--09/04/1995
1-3 The
Incredible Derek--09/11/1995
1-4 Something
About Her--09/18/1995
1-5 Paradise
On Your Doorstep--09/25/1995
1-6 The
Spider Webb--10/09/1995
1-7 A
Rough Whimper Of Insanity--10/23/1995
1-8 The
Alpha Spike--10/30/1995
1-9 You
Really Got A Hold On Me--11/06/1995
1-10 Validation--11/13/1995
1-11 An
Enemy Within--11/20/1995
1-12 It's
Not Such A Wonderful Life--11/27/1995
1-13 Contact--01/15/1996
1-14 Heart
Of Darkness--01/22/1996
1-15 Forever
Jung--02/05/1996
1-16 Shine
A Light On You--02/12/1996
1-17 Stay
Tuned--02/19/1996
1-18 Hidden
Agenda--02/26/1996
1-19 Doppleganger
1-20 Through A Lens Darkly
1-21 Dark Side Of The Moon
1-22 Calloway
1-23 Zero Minus Ten
1-24 Marathon
1-25 Gemini
*DOPPLEGANGER* Written by Schuyler Kent Directed by Ian Toynton Aired
3/18/96 Episode Number Production Number GUEST STARS: Jamie Ross
as Claire Hillard Mia Korf as Jane Butler Richard Penn as Detective
Tanner Laura Leigh Hughes as Lucy Don Stewart Burns as Elmer Barbara
Kite as Mrs. Hilliard Doug Baldwin as Detective McClusky Raissa Fleming
as Rachel Tracey LeRich as Jeanette Brendan Quinlan as the Bartender
David Cesana as the Sniper UPN PRESS RELEASE: After Veil's only
ally within The Organization is taken away from him, he suspects the
information in the palmtop computer could have been deliberately compromised
all along. He debates the options and weighs the fates before using
one more tip from the compact computer - the name and address of Clare
Hillard, a reporter who covered the same sector where he took the now
sought after "Hidden Agenda" photo. Arriving in Hillard's small Ohio
town, Veil's met with a cold reception from her and soon discovers that
there's a nearly identical man living there who has adopted his name,
his profession and his photographs, including "Hidden Agenda." When
Claire Hillard disappears, Veil is suspected of foul play and arrested.
As charges of murder loom, Veil's case is assigned to deputy public
defender Jane Butler. When he relates his complex story to her, Butler
is intrigued and offers to help him corroborate that there is indeed
another man posing as him. Veil knows he's in the wrong place and the
wrong time when she returns from encounter with the other Tom Veil and
has the negatives to "Hidden Agenda." NOTES FROM LARRY: Jane produced
about 6 strips of negatives at the "police station" when she showed
them to Tom.(There was no indication that the "Hidden Agenda" neg was
among them -- not that that matters.) That probably represents about
thirty negatives,hardly the sum total of the "collection." So, in short,
when he gets the message -- (I'm not quoting) "pack up the operation,
bring the negatives, it's over, meet me at the pier" -- it doesn't seem
like such a contradiction on this end. LINES TO REMEMBER: (Tom Veil
voice-over): "There's an old song that talks about taking one step
forward and two steps back. I never imagines that one day it would sound
so prophetic. But it seems to be the story of my life right now. Just
when I seemed to have gained an ally on my journey-that ally was taken
away from me. I still have the palmtop computer he gave me. Obviously
there's a chance that the information in it has already been compromised.
But there's also a chance that his death might have protected the information.
That's the chance I'll have to take. Claire Hilliard was a reporter
for the Lexington Tribune. It seems she received her press clearance
and was assigned to the sector where I was stationed 4 days before Hidden
Agenda was taken. I never met her when I was down there. But we traveled
in the same circles. maybe it was time for those circles to intersect.
my mission was complicated by the fact that I no longer even knew for
sure just where that photograph was taken or what it was of. Perhaps
Claire could help confirm or deny the authenticity of the events I once
believed took place." (Tom): "Claire didn't know Tom Veil from Adam.
I chose a name I thought she *would* remember. Robert McMillan was a
Reconnaissance Officer in charge of the Press Corps. Every reporter
had to go through him." (Claire to Tom): "Robert McMillan is dead.
13 months ago he stuck a shotgun in his mouth and blew his brains out."
(Tom and Claire): (Tom)"Where do you know me from, Claire? I mean, do
you remember how we first met?" (Claire)"What are you talking about?"
(Tom)"Humor me...How'd we first met?" (Claire)"We met at Jane Bryson's
house. It was their housewarming in July." (Tom)"And you'd never seen
or heard of me before that?" (Claire)"What are you doing, Tom?" (Tom)"You
never heard my name when you were covering the 45th Army Corps in '93?"
(Claire)"I don't know what you're talking about." (Tom)"You were working
for the Lexington Herald. I was also covering the 45th." (Claire)"I
think you'd better go." (Claire to 2nd Tom): "I didn't know that anybody
photographed it. I didn't know for sure if it even existed. Tom, if
they find out you have this...you know how they can be." (Tom Veil voice-over):
"Despite the photograph of Hidden Agenda, it was all starting to feel
like a trap to me. Another warped journey through the looking glass.
That trap was growing closer every moment and unless I made a sudden
move...I'd have no moves left to make." (Jane Butler and Tom): (Jane)"These
are the negatives of the photographs, Tom." (Tom)"They can't be." (Jane)"You
said that he wouldn't be able to prove he took those photographs, but
he's the one who gave me those negatives." (Tom)"This...these don't
prove anything." (Jane)"I thought they were supposed to prove everything."
(Tom)"What I mean is that it doesn't prove he took those shots. You
see these numbers here? They're different for every roll of film-it's
a batch and stock number-they're date specific. he has my photograph.
It's no big trick for him to re-photograph the thing and make a new
set of negatives." (Jane)"Give that to me in English." (Tom)"He took
a photograph of my photograph and came up with a new set of negatives.
So my point is, if you call the film manufacturer, you'll find my negatives
are dated earlier than his." (Jane)"There's only one problem with that."
(Tom)"What's that?" (Jane)"I don't have your negatives." (Tom)"Well...I'll
have to get them for you." (Jane and the sniper): (Jane)"You weren't
supposed to kill him." (Sniper)"I was aiming for his shoulder. He turned
his head at the last moment." (Jane)"That's not an excuse....wait a
minute...These are ours. What the hell was he doing here?" FOR CLUEHEADS
ONLY: *Tom entered Claire Hillard's name in the palmtop computer to
get her address. *Tom's room number was #337...on the *second* floor.
*Claire's house number was 2338. *Ok...Tom's floor and room numbers
are 2337...Claire's numbers are 2338... *Claire said she and Tom met
last July. Our Tom wasn't erased until August. *The address of the house
where the "other" Tom lives is 2417 North Hamilton. *The adress of Claire
Hillard's house is 2338 N.E. 18th Street, Norman, OK. *As Tom is leaving
town on a bus, he tosses the palmtop out the window. *Here's the message
Tom played for his doppleganger in order to trick him into showing up
at the meeting: "Jane Butler...Meet me at the Front Street Pier.. 8:45..
.....Just bring the negatives... Once we wrap this up, it's over.. ..Don't
be late." *FYI-the definition of "doppleganger" is "A ghostly double
or counterpart of a living person." PICKY, PICKY: *In the voice-over
you hear as Tom approaches Claire's house for the first time, he says
that he traveled *5,000* miles to see her. That's one long bus ride.
I LOVE THE SOUND OF BREAKING GLASS: *When Tom notices a guy looking
through the hotel window as he's checking in(chimes). *When Claire says
to Tom, "So I suppose you came about the photographs." *When Claire
pulls a gun on Tom(chimes). *When Claire's mother opens the blinds to
watch Tom leaving Claire's house. *When Tom notices a guy getting out
of a car across the street from his doppleganger's house(chimes). *When
Tom turns on the light at his doppleganger's house, just before he sees
the print of Hidden Agenda(chimes). *When Tom sees the print of Hidden
Agenda hanging on the wall at his doppleganger's house. *When the detective
opens the closet door in Tom's room, and Claire's body is gone. SOME
GEMINI MOMENTS: *The way Tom gets away from the police surveillence
when he is in the car with Jane. *The way he uses the tape recorder
to tape Jane and trick the other Tom into showing up at the meeting.
*THROUGH A LENS DARKLY(aka "Shutterbug")* Written by Art Monterastelli
Directed by Ian Toynton Aired 4/8/96 Episode Number Production Number
GUEST STARS: Sam Anderson as The Man Sydney Walsh as Laura at age
30 Jason Waters as teenager Tom Veil Trevor O'Brien as a 10-year-old
Tom Veil Monica Creel as teenager Laura Julia Whelan as a young Laura
UPN PRESS RELEASE: Veil is snatched away by the enemy's operatives
and taken on a manufactured "trip" down memory lane. Then, at the hand
of one of The Organization's most twisted experts, he is subjected to
an elaborate combination of chemicals and refracted light which triggers
his advanced hypnosis. During the dreamlike state, he is haunted with
altered memories, particularly a troublesome time when, accompanied
his childhood sweetheart Laura, he was a photojournalist covering Nothern
Ireland. Veil is taken to the deserted Fieldstone Mansion and endures
a seemingly endless loop of flashbacks; he relives happy times spent
with Laura when he was a 10-year-old boy and a teenager, then tormented
by the painful circumstances in Belfast. During the ordeal, he is repeatedly
confronted by the enemy's sinister agent until the distraught and broken
down Veil agrees to relinquish the coveted "Hidden Agenda" negatives.
Bruce Greenwood stars as Thomas Veil. Guest starring are Sam Anderson
as The Man, Sydney Walsh as Laura at age 30, Jason Waters as teenager
Tom Veil, Trevor O'Brien as 10-year-old Tom, Monica Creel as teenager
Laura and Julia Whelan as young Laura. NOTES FROM LARRY: They
just wouldn't sign off on the story which they have to do before we
go to script. It took some finagling and I think it was more than worth
it. It's one of my favorite episodes and I've rewatched it and it works
every time. I hate the "Hidden Agenda" cut at the end, and I think it
sullies the episode.....The episode was completely personal and when
Tom "flashes" back on Laura at the every end(when they're in the car)and
he finally remembers the scene where she tells him that it's his "search
for the truth" that makes her love him--it renews him. When the "Man"
asks Tom what he saw, Tom says "the truth" and grabs the wheel. Dinsey
made us put the cuts of "Hidden Agenda" in there. In their world, the
truth is merely facts and clues. In mine(and Art's)the episode was a
much broader pallette and I resent their interference. From very
early on, the concept of a "house of mirrors," or a "house of intrigues"
was on the drawing board. It had been discussed in many forms, including
the fabulous episode of The Avengers, "The House that Jack Built."
When I finally sat down with Art Monterastelli to hammer out the details,
"Through A Lens Darkly" really came to life. I had been very pleased
with "The Enemy Within" (also directed by Ian Toynton) which took a
closer look at what might be part of Tom's weakness. In TALD, we've
looked even deeper into Tom and what drives him and what, in fact, may
be part of the reason he's been "chosen." Any hero worth identifying
with should fall some notches below the "perfect" mark. Tom's vulnerability,
his anger and frustration makes him, to me at least, a really solid
fellow. In TALD we get a look at Tom's "obsession," something that apparently
began when he was very young. I'm not completely sure just what it
says about Tom but threaded throughout the ep we get to watch Tom's
inclination to "observe from a distance." There's something to be said
for the "observers" of life -- someone needs to stand back far enough
when the madness of being "too close" gets out of hand. But there's
a price to pay for that distance, for holding back to observe. To some
degree, TALD explores this in some very intimate and personal detail.
I can also tell you that this is one of my very favorite episodes.
In many ways, I'm as fond of it as I am of the pilot. I find it interesting
that three of my favorite eps have been the most stormy with the network.
(The other two being "Something About Her" "Doppleganger.") I'm not
sure what that means, but this is, IMHO, one formidable, wowser of an
episode. Beyond some of Art's wonderful scenes, a lot of credit has
to go to Ian Toynton, Jim Chressanthis (our DP, who has been spectacular
from the point he joined us at show 5) and our actors, particularly
Sydney Walsh and Sam Anderson. As I've said more than too many times,
I find the clues and the "what's it about" very insignificant. The show
has a much broader meaning (to me) and that's what I've been concerned
with. To me and Art Monterastelli, the ep was about Tom's truth. Tom
learning something, about his longcomings and shortcomings. When Tom
finally looks in the camera mirror and "remembers" a missing scene,
the scene where Laura lauds his "search for the truth," it gets Tom's
spirit up and going again. Remembering that is the original reference
when "The Man" looks at Tom and says, "what did you see." Tom responds,
"the truth." Art, Bruce, Ian Tonyton (the director) and our entire
office staff felt that bringing all this down to the level of clues
and "Hidden Agenda" somehow "cheapened" the overall intent and impact.Clearly,
for the "clue-oriented" they found it very significant.
*DARK SIDE OF THE MOON(aka "The Mugging")* Written by David Ehrman
Directed by James Whitmore, Jr. Aired by 4/15/96 Episode Number Production
Number GUEST STARS: Trevor Goodard as Mackie Juliet Tablak as Margo
Dan Martin as Father Ray Maurice Chasse as Bradley Andrea Thompson
as the voice of Corrina.
UPN PRESS RELEASE: Tom Veil is mugged by a street gang and is stripped
of his belongings and, for the first time, the "Hidden Agenda" negatives
are out of his possession. WHile Veil and the Organization both attempt
to track down the gang member who stole the pack containing the coveted
negatives, the thief winds up dead and Veil is a suspect in his murder.
The stakes get higher when Veil is pursued not only by a dangerous and
unknown enemy but a vengeful group of street hoodlums seeking his demise
NOTES FROM LARRY: I guess the network didn't like this one too
much. It's the only reason I can figure that it's been pushed back so
far in the schedule. It was actually made among the first twelve or
thirteen. This episode should come with a warning, however. It is
a bit "off-the-beaten-Nowhere-Man-track." Where most of the eps have
been somewhat "internal" in nature, "Dark Side" is very external. It's
also quite violent. If you tend toward the squeamish when it comes to
violence (not graphical blood and guts) you should be forewarned. We
cut down a lot of it during the editorial process but what's left is
still pretty rough. I believe, though, that "Dark Side" has a rightful
spot in the Nowhere Man archives. There's a theme (or a tone) throughout
the series that this world is not the easiest to survive in; particularly
if you desire to maintain your identity and the elements of integrity
that are supposed to go with that. But there are external difficulties
in this world as well as internal and in "Darkside" Tom finds himself
between colliding forces of violence and evil. When David Ehrman
first asked the question: "What would happen if Tom got mugged and a
petty thief inadvertently got his hands on the negatives," it provoked
a lot of discussion. We started to noodle around the possibilities and
decided to set the episode in "Hell;" a particular Nowhere Man kind
of hell. James Whitmore, Jr. ("Something About Her") did a wonderful
job, as did our DP, Jim Chressanthus, creating this world from out
of the tangled urban night. It is a world with its own logic and its
own set of rules. Tom, as many people note, "isn't from around here"
and either has to learn the "lay of the land" or die trying. It's interesting
to wonder -- after Tiny steals Tom's carryall --whether or not Tom's
pursual of the man is more to get his belongings back or to warn him
of what awaits. It would be somewhat unrealistic to portray one man's
battle against "Them" without showing the violence in the world that
"Them" is capable of. After all, when the allegories have subsided,
we still live in a world where people kill each other to get what they
want (or suppress what they don't). On the other hand, I've never been
sure that emotional violence isn't equally, if not more, damaging than
physical violence. (In this respect the physical violence can be yet
another allegory.) This ep didn't garner much enthusiasm from the
Nowhere Man Powers That Be. I like it. If for no other reason than
the fact that it's somewhat different, I think it creates a mood so
intensely and holds it so effectively that I can appreciate the departure.
It's also always interesting to come across the occasional, voluntary
"Nowhere Man." In this case, the "Man" is Margo, a sixteen year old
girl. While Tom desperately fights to find a way back home, Margo feels
that "any place is better than home." Perhaps she has to encounter a
man in Tom's condition to better assess her own situation. All in
all, a dark, tough, intense ep. Not a lot of hidden agendas here --it's
pretty much what-you-see-is-what-you-get. As always, I look forward
to reactions.
*CALLAWAY* Written By Joel Surnow Directed By Reza Badiyi(the press
release lists Ian Toynton) Episode Number Production Number GUEST
STARS: Jay Arlen Jones as Joe "J.C." Carter/Dr. Novik Robert Cicchini
as Michael Kramer Bruce Gray as Dr. Gilmore UPN PRESS RELEASE:
Veil's twisted odyssey leads him back to Calaway, the Illinois psychiatric
hospital where his ordeal began, and more revelations of what really
happened to him while he was held there. Most astonishly, he discovers
that former patient Joe "J.C." Carter has joined the medical staff and
become one of "them." Veil attempts to convince J.C. - who is conditioned
to believe he's Dr. Novik - that he's completely victimized by "them."
Veil also witnesses another man, Michael Kramer, undergoing the first
phase of conditioning, an ordeal identical to what Veil underwent months
ago at the hands of "them." LINES TO REMEMBER: PICKY, PICKY: *One
continuity error..Tom gets out of bed all ruffled and rumpled-looking.
A definite bad hair day. He was a cowlick of massive proportions. He
rounds a corner, and whammo, he's looking perfect again.
*ZERO MINUS TEN(aka "Coma")* Written by Jane Espenson Directed by
James Whitmore, Jr. Episode Number Prodcution Number GUEST STARS:
Megan Gallagher as Alyson Veil Murray Rubenstein as Larry Levy Choppy
Guillotte as Ben Dobbs David Bodin as the Doctor North Mark Vincent
as Policeman #1 Stephen Rouffy as Policeman #2 Lenanne Sylvester as
the Vendor Suzannah Mars as Nurse #1 Coletta Herbold as Nurse #2
UPN PRESS RELEASE: Tom Veil wakes from a coma to hear the unsettling
news that he was in a bad car accident months earlier and his ordeal
of identity erasure was just a terrible nightmare. At his bedside is
his ever-loving wife Alyson and his best friend Larry Levy, a man Veil
swears he once saw dead and stuffed in a closet. Larry, who insists
that he's been alive and well living in South America for the past nine
months, tries to assure Veil that everything the doctors and Alyson
told him about his hospitalization is true. Eventually trusting his
old buddy, Veil pleads with Larry to believe his story and help protect
him from the enemy. Meanwhile, his lab assistant plans for another showing
of Veil's photographic art - with the centerpiece photo entitled "Displaced."
NOTES FROM LARRY: (On the reading of Tom's line to Alyson..."You
never do") I discussed that line very specifically with Bruce.My take
is that "you never do," is the "omniscient" you, not "you" specifically;
more like "they" or "them." But hey, who am I to say? LINES TO REMEMBER:
(The scene at the hospital): (Tom)"What's going on?" (Doctor)"You were
in a car accident, Tom. Things were pretty close there for awhile. You've
been in a coma for three months." (Tom)"A coma?.....Three months?" (Doctor)"You
have no idea yet...But you're a very lucky man to have come through
it this well, Tom. Now...Don't move too fast-but there's someone here
who might do a better job of bringing a smile to your face." (Alyson)"Hi,
baby...Welcome back..." (Alyson and Tom): (Alyson)"So is this the way
it's going to be?" (Tom)"What'd you expect?" (Alyson)"I don't know....maybe
that you'd be as happy to see me as I am to see you." (Tom)"Well, the
last two times I saw you, Alyson...You weren't exactly on my side."
(Alyson)"On your side?" (Tom)"Fratenizing with Dr. Bellamy. Cooking
a Christmas turkey. Or maybe that was part of the nightmare I had while
I supposedly in a coma." (Alyson)"You keep talking about this....The
doctor explained it, Tom. The things that people see when.....when they're
in your condition. No of it is real. There *is* no them. There *is*
no enemy. It's just you and me. Like always." (Tom)"I guess we have
different views of always." (Alyson)"Tom...Think about it....If what
you described in your nightmares was real...The....how do you explain
this? You're here. I'm here. Being dischargd from the hospital. Being
in the hospital in the first place?" (Tom)"I don't know. But just because
you can't explain something doesn't make the opposite of the truth."
(Alyson)"You're telling me your opening's not real either?" (Tom)"What
opening?" (Alyson)"The opening that we both worked so hard to get. Your
show. The photos. I didn't want to cancel it. I thought it would be
bad luck.Tom? Are you alright?" (Tom)"Stop the car." (Alyson)"I can't,,,I'm
in the the middle of traffic." (Tom)"I said stop the car." (Tom to Alyson):
"C'mon...what's the game? Why are you doing this? What's going on? I'm
just tired of the game, Alyson. I just don't want to play anymore."
(Tom and Larry): (Tom)"I took a photograph. It's gone. I mean...I'm
not really even sure what the hell it's of anymore. All I know is that
they want it." (Larry)"Who's they, Tom?" (Tom)"Them...her...And the
rest of them." (Larry)"And you're sure about this?" (Tom)"Man..what
happened to me was real." (Larry)"Now look....I don't know what the
hell is going on here. mayeb the picture was displaced. But don't do
this. It isn't right. This isn't who you are, Tom." (Tom)"Well, maybe
it's who I'm becoming." (Larry)"I hope not. You've always been one of
the few friends I've never had to doubt. If you said something-I knew
I could take it to the bank. This isn't you, Tom. No matter what." (Tom
and Larry): (Tom)"This is what they came for." (Larry)"Yea, but they
didn't get it." (Tom)"I guess not...Aw...wait a second. they got 'em,
but..they just left something else in their place." (Larry)"What the
hell did they leave?" (Tom)"Scenes from my nightmare. Pictures from
a coma. So I guess this means....it's my turn." (Tom and Larry): (Tom)"Listen,
Larry...I've got it. I've got the proof. I was admitted to the hospital
only three days before I came to." (Larry)"Are you serious?" (Tom)"Yeah...I
found the original admitting form. There's something else. I...I'm beginning
to remember where I was when this whole thing started." (Larry)"Where?"
(Tom)"Well, that doesn't matter. But if I'm right-I should be able to
find the negatives." (Larry)"Tom...remember what you told me. This may
be exactly what they want you to do." (Alyson and Tom): (Alyson)"I guess
the honeymoon is over." (Tom)"Well, if it was ever real to begin with.
Was it? Or are you just a memory that's...stuck...in my head. Like a
photograph in the jungle?" (Alyson)"I take it you found the negatives?"
(Tom)"Why are they so important to you?" (Alyson)"That would be telling...Give
them to me." (Tom)"Sure.....You are so cold..." (Alyson)"Thank you...What
are these?" (Tom)"Well, they're pictures of me in a straight jacket.You
should remember that." (Alyson)"Where's Hidden Agenda?" (Tom)"Well...that
would be telling. I mean, the last time I showed that photograph at
an opening--It was nothing but trouble." (Alyson)"I have to have that
negative, Tom. They.....I want the negatives, Tom". (Tom)"You'll have
to kill me." (Alyson)"I will if I have to." (Tom)"That's just a chance
I'm gonna have to take. I'm walking out of here." (Alyson)"Shooting
you in the back is no problem for me." (Tom)"Well, that's true. You've
already done that." (Alyson)"I *will* kill you, Tom." (Tom)"No you won't...Alyson...you
never do." (Tom Veil voice-over): "As more of my memories come back...It
becomes increasingly harder to distinguish fact from fiction...reality
from utter fabrication. But I must press on. Finding the truth is my
only road home." FOR CLUEHEADS ONLY: *Dr. North is the Head Neurologist
of St. Michael's. *They told Tom he had been in a coma for three months.
*Larry told Tom he had been in Venezuela. *Ben Dobbs was Tom's assistant
at the gallery. *Tom's home address is 7735 S.E. Dunne Avenue, Evanston,
IL 61762. *When we see Tom's original file, this is what we see: Day
of admittance: 2/10/96 2:00 PM emergency Age 41 Date of Birth 4-1-55
SS#542-68-4360 Alyson Veil/Spouse Today's Date: 5-6-96 4-26-96 2:00
PM *Tom remembered that he worked at The Evanston Tribune. *He was able
to remember the combination to his locker at the Tribune. His negatives
were inside. *In the gallery, the centerpiece photo isn't "Hidden Agenda",
it's "Displaced." *The most interesting sentence is the one towards
the end, when Alyson says, "I take it you found the negatives?"...after
Tom compares his implanted memories of Alyson to Hidden Agenda. One
read of that is that Alyson knows Hidden Agenda is fake, and was under
the impression that Tom must have found the original, untouched negatives.
Of course, Tom doesn't know about those yet.
MARATHON
Written by Art Montersatelli
Directed by Stephen Stafford
Episode Number
Production Number
GUEST STARS: Nicholas Surovy as Stanley Robman; Elsie Sniffen as Jenny
Tsu and Oz Tortora as Sparky.
UPN PRESS RELEASE: Just when he's at the end of his rope, Veil finds
new meaning in the "Hidden Agenda" negative when he enlarges a print
of it and discovers a previously obscured section. The new clues lead
him to Heritage House, a research facility in Washington D.C. and its
foreboding Project Marathon. There, he stumbles upon an FBI investigation
and is targeted for assassination by more than one enemy. As the stakes
get higher, Veil makes two new contacts including a highly placed source
at the FBI. He's provided with valuable information on his enemy and
the men pictured in "Hidden Agenda" - one a missing United States Senator
- plus a key to a safety deposit box which contains a dossier on his
case.
FOR CLUEHEADS ONLY:
*The Organization frequency that Tom overhears at 79.885 points to the
European FM band. In the US, if you tune your FM scanner to that frequency
you will hear the audio from television Channel 4.
* Robman asks a very interesting question, not "Who are you?" but "Who
am I speaking to?" We are given hints that Robman knew exactly who Tom/Gemini
was. He goes to the meeting without a tail -- something that the two
"talking heads" comment on.
GEMINI(aka "Finale")
Written By Larry Hertzog and Art Montersatelli
Directed By Stephen Stafford
Episode Number
Production Number
GUEST STARS: Hal Lindon as Senator Wallace; Francis X. McCarthy as Robert
Bartonand Edward Edwards as Iverson.
UPN PRESS RELEASE: Veil is two moves away from checkmate when he retrieves
the contents of the secret safe-deposit box kept by his FBI contact.
Among the files is a report written by an undercover agent (code named
Gemini) and amazingly, the original, un-retouched "Hidden Agenda" photograph
which shows the identity of the four hanging victims - all members of
a Senate Intelligence Committee investigating domestic terrorism. Veil
tracks down Senator William Wallace, the senior member of the committee,
to confront himwith the truth behind the photograph, on the climactic
season finale. Upon further investigation, Veil learns that the committee's
most significant contribution was the opposition of a bill that would
expand the Federal Government's ability to monitor the activities of
individual citizens. He also discovers that his FBI contact, Assistant
Director Robman, has been mysteriously transferred to an undisclosed
bureau and is replaced by Robert Barton.
NOTES FROM LARRY: For the record -- when I wrote NwM I had *no* ending
in mind. When Tobe and I were shooting the pilot we discussed a "Manchurian
Candidate" type of scenario. It certainly fit and explained (as someone
else mentioned) how it was so easy to erase him. Not hard to remove
an identity that only existed for a few months. So the idea that Tom
was someone else started early. The specifics of the "Gemini" idea began
to take root about halfway through the season -- though in an altered
form. As things banged and burned and crashed toward the season's end
-- it came out the way it did.
FOR CLUEHEADS ONLY:
*The boss "them" had a bronze sculpture of Zeus on his desk. Zeus had
twin sons- Castor and Pollux-one morning and one night.
PICKY, PICKY: By the looks of those ancient diskettes, "they" must have
been around a long time.
Copyright 1996. Rick Ellis. All other rights reserved.
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