Time travel is not our favorite sci-fi trope, but it really, really works in this particular instance.
Plot Synopsis:
The morning after a severe rainstorm, Gary is horrified to read in the paper that a local office building will suffer a catastrophic collapse early that afternoon, leaving 500 confirmed dead and thousands missing. The construction company responsible for the collapse is headed up by Trotter, a man who doesn't take to kindly to Gary's desperate attempts to stop their work. As a matter of fact, the second time Gary appears at his site, Trotter orders his men to physically escort Gary off the premises. Gary breaks free, tries to jump onto Trotter's crane, and is knocked unconscious.
When Gary comes to, he is lying in a gutter on a dirt road. A passing salesman, Morris Best - who's the spitting image of Chuck - can't make heads or tails of Gary's confused and panicked ravings, but he takes pity on Gary and gives him a ride to a local saloon. Before Morris leaves, Gary buys a newspaper and reads the date on the front page: October 7, 1871. Gary is in Chicago -- but he's been transported 127 years into the past.
As you might expect, it is not long before Gary gets himself into trouble. The owner of the saloon - who 's the spitting image of Trotter - is a powerful man named Daniel Sullivan. Sullivan wants the local commissioner to build a proposed trolley line on his piece of land, and to sweeten the deal, he has offered that commissioner the loving attention of his black singer, Eleanor Mayfield - who, by the way, is the spitting image of Marissa. When Gary sees Sullivan manhandling Eleanor after Eleanor bites the commissioner on the ear, he gets into a brawl defending Eleanor's honor. Eleanor and her younger brother Jesse escape during the melee, and Eleanor decides to take Jesse back to Charleston. Gary, meanwhile, once again ends up lying in a gutter, where Morris once again finds him. (LOL!)
Morris decides then to take Gary home, as it is evident to him that this stranger can't take care of himself (LOL!). This is when Gary and we discover that Morris' landlady is none other than Mrs. O'Leary. Over Gary's repeated insistence that he needs to go home, O'Leary babies him and puts him to bed. The following morning, a dream about the 1998 building collapse jolts Gary awake, and he finds Cat and a paper sitting at the foot of his bed. After reorienting himself, Gary takes the paper and finds a story about the Great Chicago Fire - yes, that fire - on the front page. "That's a little over my head, don't you think?" he grouses to Cat.
Still, Gary spends much of the day trying to convince Morris - who chases him out of O'Leary's barn - and the local firemen that a terrible conflagration is imminent. Later, Gary is out walking the streets, frustrated, when he runs into Cat, who meows and leads him into an alley. Gary finds Jesse hiding there and learns that Sullivan has captured Eleanor. At first, Gary tells Jesse that he's busy, but eventually, his own conscience forces him to agree to help. Gary attempts to enlist the services of the local police. Alas, the police are in Sullivan's pocket, so Gary gets clubbed upside the head and thrown into jail for his trouble.
Fortunately, Jesse is clever with his hands. He fashions a key to break Gary out of the pokey, and Gary is then able to save Eleanor from the filthy paws of the commissioner. Gary, Eleanor, and Jesse then rush to the O'Leary barn, where Gary and Morris successfully put out the fire started by O'Leary's cow. Yay! Chicago is saved!
Or is it? Unfortunately, this is the point at which Sullivan shows up to teach Gary a lesson. Gary and Sullivan tangle with each other -- and in the process, they knock over Sullivan's latern, starting a second fire. Eventually, the fight ends when Jesse rescues Gary from Sullivan's stranglehold by hitting Sullivan over the back with a large wooden board. Enraged, Sullivan decides to go after Jesse instead. Sullivan nearly stabs Jesse, but Gary, returning Jesse's favor, hits Sullivan in the head with a rock and knocks him out.
Gary then stops a wagon, loads Jesse and Eleanor onto it, and gives Jesse his pocket watch. "Don't give up," Gary tells Jesse before he and his sister flee the city. After seeing Jesse and Eleanor to safety, Gary returns to the O'Leary barn. He runs into the flames in a last ditch effort to stop the great fire and is buried by a ceiling collapse.
Back in 1998, Gary wakes up just seconds before Trotter gives the order to drop the beam that will start the building collapse. Gary shouts for Trotter to stop, but just then, a well dressed African American gentleman arrives with Chuck, halts the work, and takes Trotter to task for messing up his geological surveys. Gary is relieved -- but also a little confused. We then hear a familiar chime, and the gentleman pulls out Gary's pocket watch and tells Chuck he has a meeting. Gary asks about the watch, and the man says it's been in his family for generations -- ever since the night his great-grandfather escaped the Chicago Fire. Gary then asks for the man's name, and the man introduces himself as Jesse Mayfield IV. With that, Gary is left to ponder the strange intricacies of time and space.
The Skinny:
Stephanie S.: In a way, this episode is very much like The Choice: Gary's success in his mission depends not on his ability to save the faceless thousands - a task far beyond the talents of one ordinary man - but on his ability to save the person right in front of him. In this episode, however, the presence of God is much more overt. In The Choice, we can see God in the happy dovetailing of two stories - the little girl Gary saves turns out to be the daughter of the pilot of the doomed plane. In this episode, on the other hand, God directly intervenes. He doesn't simply guide the coincidences; he temporarily violates the laws of nature to get Gary where and when he needs to be. And as SABR Matt remarks below, despite the realistic, present-day setting of this series, we can accept the possibility of time travel here because the series has already established - in a subtle way, generally - that God is in charge.
This episode has several darker undertones that are appropriate to the period - you can't shift to 19th century Chicago without dealing with race, for example - but to be honest, what primarily appeals to me about Hot Time in the Old Town - aside from the Godly interventions described above - is the opportunity it provides to see the regulars in new roles. Kyle Chandler is still playing Gary, of course, but even he is forced to adapt to a wholly different setting - and personally, I find it extremely enjoyable to watch Gary react to his miraculous and confusing circumstances. Meanwhile, Fisher Stevens and Shanesia Davis are presented with the challenge of portraying two characters each, and they rise to this challenge quite admirably.
Bottom line, when I watch this episode, what I appreciate most is its clever use of the actors and the setting to tell a story that departs from the usual for the series, yet is still in keeping with the show's larger themes.
SABR Matt: My sister has already talked about the role of the "benevolent hand" (as she so aptly puts it in each EE review) in greater detail, so I won't duplicate her thoughts here. I will, however, say that I think this episode wouldn't have been nearly so enticing if it had occurred in almost any other canon. Generally, temporal causality episodes don't work as well for me as they do for other sci-fi/fantasy buffs because the benevolent hand is missing. I believe that God is the only likely explanation for any sort of predestination paradox since He's the only thing who has that kind of power. Here, the mystery of time and space actually works because the show's creators openly accept the idea that there is a force greater than us that has the ability to make miracles happen just when you need them most.
Writing: 9.5/9.0
Predestination loops make my brain hurt - but this one is very well-written.
SABR Matt Interjects: Indeed, mobius strip episodes fly in the face of my belief that destiny is a human invention that does not exist in nature. And I think this one has a tendency to be a bit on the nose when it comes to the problems of racism and sexism in the 19th century as well...but...it is in fact still very well written just the same.
Acting: 9.5/9.5
Kudos to Fisher Stevens and Shanesia Davis for their largely successful portrayal of two completely different characters. And kudos to Kyle Chandler for making my heart melt with his overwhelming pitiful cuteness. Seriously - I think Gary is more adorable here than he is in any other episode.
SABR Matt Interjects: Sullivan isn't all that convincing, but the rest of the cast is pretty impressive. I concur with my co-author's props for the regulars' ability to play different parts so smoothly.
Message: 10.0/10.0
The big message of this episode is hidden in the structure of the plot. Gary is faced with the task of preventing a major disaster, and he fears he is not up to the job - that he will ultimately fail. But Gary and we learn by the end of the episode that the Hand of Providence will never call you to accomplish something without giving you the means to do it. Heck, Providence may even send a miracle your way.
The Benevolent Hand:
This episode has miraculous time travel. I think that about covers this section. :)
Highlights:
Gary: I'm going to go to the construction site and figure out a way to stop this.
Chuck: What are you gonna do?
Gary: I don't know.
Marissa: What are you gonna say?
(Cut to: the construction site.)
Gary: That's right, a spelunker. (LOL!)
Trotter: There's 50 miles of tunnels in this city. How do you know you were underneath my site?
Gary: God! (LOL!) I mean, I was underneath your site, and I heard the bells of St. Martin's. The bells of St. Martin’s - that's only a few blocks away, so obviously I was under your site, wasn't I?
Gary: Chuck?
Morris: Who?
Gary: What happened? Did the building fall?
Morris: Who is Chuck?
Gary: What are you doing? What are you wearing those –
Morris: I am Morris. Morris Best.
Gary: What are these clothes?
Morris: You've got quite a knock there, mister. I have got just the thing for you: Dr. Morgan's cure-all elixir. Twenty cents, you're good as new.
Gary: Where am I?
Morris: Where are you? Where else? Chicago, city of wonders.
Gary: The pylon. We -- I'm supposed to be at Dearborn and Randolph.
Morris: Dear-- Dearborn and Ra - You're sitting on it.
Gary: No, no, the – the Sears Tower and the - the Tribune building. Listen, that building's gonna fall. Stop kidding around!
Morris: Sure, it is. Come on. Hyah!
(Morris gets his wagon moving again. Gary runs alongside.)
Gary: Hey! Listen, there's something wrong.
Morris: Shoelaces! (He continues driving down the street hawking his wares.)
Gary: The clothes and the horses -- you say this is Chicago, but if this is Chicago, there's something very wrong, I’m tellin’ ya! (Poor Gary. Time travel can really mess a guy up.)
Eleanor: You all right? You seem troubled.
Gary: Have you ever... had a dream where you really needed to wake up, but you can't?
Eleanor: Every day, Mr. Hobson. Um... You know, my grandmother's name was Marissa. How'd you know my grandmother's name?
Gary: You look very much like somebody that I know.
Eleanor: Hmm. You're not from these parts, are you?
Gary: Yes, I am. I am... It's very hard to explain.
Eleanor: Well, are you lost?
Gary: Well, if you mean, what am I doing here? Yes.
Eleanor: That's kind of funny. Sometimes I don't know why I'm here, either.
Gary: You understand what I was saying about the dream, about not being able to wake up? You see, something 's very wrong here. It's -- it's -- but then maybe you're why I'm here.
Eleanor: I'm why I'm here, Mr. Hobson. I left Charleston to try and make a better life for me and my brother Jesse over there. He's a smart kid, you know? He can read, and he can write. Not me. All I can do is sing. But Jesse -- I think he's got a chance to be somebody. I came to Chicago and thought about all the opportunities. Back home, everybody cried when the Yankees cried "free" -- but I don't feel so free, Mr. Hobson. Sometimes I don't even know if it's worth it, not even for Jesse. (A beat.) Why am I telling you all this anyway? (Because Gary looks so innocent.)
Sullivan: Commissioner Hayes has expressed a sincere interest in your...talents. I want you to sit with him, put him in a good mood.
Eleanor: I'll sing for him. Any song he wants.
Sullivan: You live in my house, you obey my rules.
Eleanor: I'm a decent woman, Mr. Sullivan.
Sullivan: Your brother's a smart one, Eleanor, but I don't think he wants to be making his way on the streets. Do you? (Ouch.)
Gary: Listen, that fellow over there -- Trotter -- uh, Sullivan -- why does she let him push her around like that?
Jesse: You blind, mister? We're colored. Now, see, she's doing it for me, to get money to put me in school -- and she's not looking for no boyfriend.
Gary: No, I -- I don't want to be her boyfriend.
Jesse: Why are you so interested?
Gary: Aren't you a little suspicious for a kid?
Jesse: Eleanor, are you scared?
Eleanor: Maybe just a little.
Jesse: Where we going?
Eleanor: I think it's time we thought about going back home, Jesse.
Jesse: Yeah, but I like Chicago.
Eleanor: Charleston ain't so bad. It's just not working out here.
Jesse: Yeah, I guess.
Eleanor: Listen, the only thing that's important, Jesse, is that we never, ever do anything we're ashamed of. And if that means going back to Charleston, at least we go with our heads up.
Morris: You again? Didn't exactly whip your weight in wildcats, huh, mister?
Gary: No.
Morris: You crossed Sullivan?
Gary: He was going to hurt Marissa -- (Gary winces.) Eleanor.
Morris: Defending colored woman -- not exactly the best way to stay healthy around here. (Indeed.)
O'Leary: It's new in town, you are.
Gary: Sort of.
O'Leary: If you lived here, it's a wider berth you'd know to give himself Daniel Sullivan.
Gary: Yes, ma'am.
O'Leary: Never mind. You'll be right as rain by tomorrow.
Gary: But that's –- I don't -- I don't have until tomorrow! (Gary looks so pitiful here. It's cute.)
(Gary jolts upright in bed and finds Cat.)
Gary: What are you doing here? (Then he remembers where he is.) What am I doing here? (He takes the paper from Cat, sees the headline "FIRE!" emblazoned on the front page in huge black letters, and starts to read.) 'The city of Chicago has been visited in the providence of almighty God with a calamity almost unequaled in the annals of history. At 9:20 PM., a small cow barn on the corner of DeKoven and Jefferson Streets emitted a bright light followed by a blaze, and in a moment, the building was hopelessly on fire. Lashed by 60-mile-an-hour winds, the fire embraced the area between Jefferson and Clinton and pushed eastward to Canal Street. By the time the engines were at work, a perfect sea of flames covered the ground. By dawn, the inferno raged seven miles long. The rich have been reduced to penury. The poor have lost the little they possess. May God save us, for surely the devil has taken his due.' (Gary swallows and looks over at Cat.) That's a little over my head, don't you think? (LOL!)
Gary: Morris? Boy, this place is a, uh, it's a real fire hazard here. (LOL!) Did you ever consider that? It's an accident waiting for something to happen, huh? (Gary pats the cow.) Hello, Daisy.
Morris: How do you know her name?
Gary: That's what I wanted to talk to you about, Morris. You see, Morris... I'm from the future.
Morris: The future? You mean –
Gary: I mean I'm from the future, 1998, 127 years from now, and I'm in a bit of a jam.
Morris: Mm-hmm.
Gary: You see, I get tomorrow's newspaper today. Usually I get 1998's paper, but this is tomorrow's. It's October 9, 1871. Let me read it to you. Right here. It says, 'at 9:20 PM. -- ' That's tonight, Morris -- 'a small cow barn on the corner of DeKoven and Jefferson Streets emitted a bright light followed by a blaze, and in moments, the building was hopelessly on fire.' That's this barn, Morris. This barn is going to burn!
Morris: You get away.
Gary: I'm not going to hurt you. The city is going to burn, though.
Morris: Nyet!
Gary: Da! It's going to be the worst fire the country's ever seen! Where I come from, every school kid knows that Mrs. O'Leary's cow, Daisy, started the Chicago fire. You don't want that to happen, do you?
Morris: Get out.
Gary: Hundreds of people are going to die. I've got to get back to the future. The only way I can is knowing that someone's going to put this fire out, and that is you.
Morris: Would you leave me alone?
Gary: Huh?
Morris: You leave Mrs. O'Leary alone! Get out of this barn! Get out of this home! (Again, poor Gary. Everyone thinks he's crazy.)
Gary: I don't know what to do. No one listens to me. I've been to every fire station from here to the north side! (Cat meows and runs into an alley. Gary follows, finding Jesse sitting on a box holding Cat in his arms.) You -- hey! Jesse. What happened? Where's your sister?
Jesse: Sullivan's men grabbed her at the station, so I ran. They've got her prisoner.
Gary: Jesse, I-I wish I could do something. I've got things I've got to do.
Jesse: Yeah, Ellie said no one would help her. I guess she was right.
Gary: No, Jesse, it's not that.
Jesse: Don't trouble yourself, mister. You've got no reason to help us.
Morris: Throw the alarm! Throw the alarm! Fire! (He finds a group of men standing by a lamppost.)
Man: What happened?
Morris: This colored woman and her brother were running away from saloonkeeper when this man from the future, he tried to -- no, this man from future, he -- (He trails off as he realizes no one believes him.) Oh, hell. It was Mrs. O'Leary's cow. Mrs. O'Leary's cow started the fire! (ROTFL! As SABR Matt would say, thus closes the perfect mobius strip.)
Jesse: We can find you if we get in trouble again?
Gary: Jesse, I'm just passing through. I –-
Jesse: Sure.
Gary: Listen, I wish I could make everything right, but I can't do that. (There is a long pause.) Listen, here. Jesse, look, you take this. Go ahead. I want you to have that. (Gary hands him his own pocket watch.)
Jesse: You sure, mister?
Gary: Yeah, I'm sure. And don't give up. Do you understand what I'm saying? 'Cause if you do, I'm going to know. Don't give up. (Nice.)
Gary: Where did you get that watch?
Mayfield: You like it, huh? The story goes back to the great Chicago fire.
Gary: Chicago fire?
Chuck: Yeah, you know, the cow... Mrs. O'Leary... flames?
Mayfield: My great-grandfather almost died in that fire. The stranger that saved his life gave him this watch. Since then, it's been passed down from generation to generation.
Gary: Stranger?
Man: That's the story. Excuse me, I have to get out of here.
Gary: Can I ask you -- (He laughs nervously.) I-I didn't get your name.
Man: I'm sorry. I'm Mayfield. Jesse Mayfield IV. (He shakes Gary’s hand.) Well, again, thanks to you both, okay?
(Gary watches him leave, then looks back at Chuck with a dazed expression on his face.)
Chuck: Thank you, Mr. Mayfield. Okay. (He notices Gary staring at him.) What are you looking at me like that for? What? I got something in my teeth?
Gary: That was Jess-- I think I need to sit down. (LOL! God works in mysterious ways.)
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