Lilo & Stitch Guide - Fact Sheet
Lilo & Stitch Fact Sheet
Walt Disney Pictures’ delightful new animated comedy, “Lilo & Stitch,” combines unforgettable characters, an imaginative and offbeat story, and colorful artistry (including the Studio’s first major use of watercolor backgrounds in a feature in six decades!) to tell the captivating tale of a young girl’s close encounter with the galaxy’s most mischievous extraterrestrial. Lilo is a lonely Hawaiian girl who adopts a small ugly “dog,” whom she names Stitch. Stitch would be the perfect pet if he weren’t in reality a genetic experiment who has escaped from an alien planet and crash-landed on Earth. Through her love, faith and unwavering belief in “´ohana” (the Hawaiian word and concept for family), Lilo helps unlock Stitch’s heart and give him the one thing he was never designed to have – a family. With its lush tropical setting, unique sense of humor, and classic songs by Elvis Presley, “Lilo & Stitch” takes moviegoers on an entertaining excursion across an animated universe. This is the second feature film to be produced at Disney’s Florida Feature Animation facility, which had previously created the 1998 animated favorite, “Mulan.”
Adding a unique and entertaining element to “Lilo & Stitch” is a rocking soundtrack fit for a “King” – Elvis Presley, that is. Included in the film are six of Elvis’ biggest hits, sung by Elvis himself, as well as an exciting new recording of the Elvis hit “Burning Love,” newly recorded by Grammy Award-nominated country singer Wynonna. Another Elvis favorite, “Can’t Help Falling in Love with You” is heard over the end credits in a new rendition performed by popular Swedish vocal group The A-Teens. Acclaimed composer Alan Silvestri (an OscarŽ nominee for “Forrest Gump”) added to the fun and fantasy of the film’s wild and unpredictable proceedings with his original score, and collaborated with renowned hula master/performer Mark Keali’i Ho’omalu on two Hawaiian themed songs.
Guiding “Lilo & Stitch” from inception through production was the writing/directing team of Chris Sanders & Dean DeBlois. Sanders, a multi-talented contributor to Disney Feature Animation since 1987, who had previously storyboarded key sequences in “Beauty and the Beast,” served as production designer on “The Lion King” and was co-head of story on “Mulan,” came up with the original idea for the film. DeBlois, who had previously teamed with Sanders as co-head of story on “Mulan,” brought his story and layout expertise to this project. Sanders and DeBlois had the distinction of storyboarding their own screenplay, instead of the more common practice of turning that task over to a story team. In this way, the filmmakers’ vision for the project remained constant and provided the animators and creative team with clear direction every step of the way.
The film’s producer was Clark Spencer, a 12-year Disney veteran who joined the Studio in the planning and finance area and had most recently served as senior vice president and general manager of Walt Disney Feature Animation Florida. Lisa Poole served as associate producer. Artistic coordinator Jeff Dutton lent his creative and managerial skills to help the production maximize its resources and realize the greatest results on screen.
According to Thomas Schumacher, president of Walt Disney Feature Animation, “We are as proud of ‘Lilo & Stitch’ as any movie we have ever done. It is a completely original story that is enormous fun, emotionally involving and consistently gorgeous to watch. Chris and Dean have crafted a wonderfully entertaining movie and conveyed their enthusiasm and vision to the entire team at our Florida studio. The level of artistry and animation is nothing short of fantastic and the hand-drawn animation by Andreas Deja, Alex Kupershmidt and the others is a great accomplishment for the art form. The film’s lush watercolor backgrounds paint a stylized image of Hawaii that is beautiful to look at and underscores the uniqueness of this great medium.”
Key to the emotional appeal and charm of the film is a first-rate vocal cast. Daveigh Chase (now eleven years old) was cast in the pivotal role of Lilo. She auditioned for the role at an open casting call (which included 100 young girls) and gave a reading that captured the imaginations of the directors. Sanders recalls, “She had this unusual quality about her and she instinctively belted out certain lines to hit the high points. I think we knew immediately that we had found our Lilo.” Actress/model/singer Tia Carrere’s warm sweet reading for the part of Nani also impressed the directors and landed her the role of Lilo’s sister. Ving Rhames provided the right blend of menace and mystery that was required for the part of social worker Cobra Bubbles. David Ogden Stiers, one of Hollywood’s most versatile and talented performers and a favorite among Disney animators, expands his repertoire with his lively delivery as the evil genius, Jumba Jookiba. Kevin McDonald, of “Kids in the Hall” fame, speaks for the enthusiastic Earth expert, Pleakley. Hawaii native Jason Scott Lee (who played Mowgli in Disney’s live-action adaptation of “The Jungle Book”) provides the voice of Nani’s former boyfriend and surfing companion, David Kawena. Four-time Tony Award-winning actress Zoe Caldwell lends presence to the voice of the Grand Councilwoman.
“Lilo & Stitch” is the second feature film to be produced at Disney’s Florida animation facility. All aspects of the production, with the exception of digital painting using the Academy AwardŽ-winning CAPS system, were handled by a team of 300 artists, animators and technicians based at Walt Disney Feature Animation Florida.
Helping the directors to realize their artistic vision on screen were production designer Paul Felix, art director Ric Sluiter, and background supervisor Bob Stanton. Sanders’ original drawings suggested a watercolor approach and Sluiter was quick to realize that the loose style of this medium would best capture the lush organic, overgrown and luminous feeling of the island. Working together, the artistic team experimented with watercolors and discovered new ways to make it practical and possible for this film. The watercolor medium was commonly used in the early days at Disney on such films as “Snow White and the Seven Dwarfs,” “Pinocchio,” “Bambi” and “Dumbo,” but the painters eventually turned to the more forgiving oil-based gouache as the preferred choice. With “Lilo & Stitch,” the background team rediscovered this virtually lost art (as it related to animation) and applied it in new and exciting ways.
Among the film’s other key artistic supervisors were Arden Chan (Layout), Joe Gilland (Visual Effects), Eric Guaglione (Computer Animation), with Phillip Boyd and Christine Lawrence-Finney overseeing Clean-Up. Gilland and Guaglione found ways to seamlessly incorporate a wide range of exciting state-of-the-art CG (computer generated) elements and effects into the 2D watercolor world of “Lilo & Stitch.” Florida’s Digital Production and Effects team modeled and animated such diverse objects as space cruisers, ray guns, surfboards, sugar cane trucks and the imposing mothership seen in the film’s opening. The effects team also came up with some amazing underwater effects and even managed to show moviegoers something that no live-action film could approximate – the inside view from the tube of a wave. Other spectacular effects in the film include lava flows, explosions and the striking imagery of Stitch’s stolen space cruiser going into hyper-drive and punching through the time/space continuum.
Set against the magnificent colorful backdrop of Hawaii, the filmmakers and a group of artistic supervisors had a field day capturing the natural beauty and incredible tropical settings of this island paradise. Sanders, DeBlois, art director Sluiter, background supervisor Stanton, animator Andreas Deja and several others packed their cameras, paintbrushes and sketchbooks and headed to Hawaii for a two-week study session. Most of the trip was spent on the island of Kauai, where the team snorkeled, scuba-dived, surfed and visited such places as Hanalei, Hanapepe, the Napali Coast, Princeville and Ke’e Beach. Days were spent at the beach and at national parks observing foliage and vegetation, lava rocks, orange sand, turquoise seascapes, vermillion mountains and incredible sunsets. Deja visited a native Hawaiian school where the language and culture of the island was emphasized.
Perhaps the most important thing that the filmmakers took away with them from this field trip was the concept of ´ohana – the sense of family and unity that is shared by the native population. Sanders recalls, “Before we went to Hawaii, we knew about ’ohana, but we didn’t really experience the depth of it until we went there. Wherever we went, there was a sense of community and family that extends far beyond the immediate family. Everyone was super friendly and that seemed to be a part of the native mentality. We needed a reason in our story for Stitch’s transformation from bad to good and we began to think that he would be affected by ‘ohana. This was a major revelation for us. It soaked into every aspect of the film. We began to see Stitch as the ultimate orphan and when Lilo introduces him to this idea of an extended family, he latches onto it in an extreme way. The decision we made early on to set the story in Hawaii really laid out the destiny of the film and ’ohana was just waiting for us to discover and incorporate.”
In addition to its distinctive watercolor backgrounds, “Lilo & Stitch” also has an overall look and style all its own. From the actual character designs to the props and set elements used in each scene, the film’s design was inspired by director Chris Sanders’ unique artistic approach. DeBlois notes, “I don’t think I’ve ever seen Chris do a drawing that has a sharp angle. His characters tend to be very grounded, bottom-heavy, either in a poetic or chubby way.” Art director Sluiter adopted the Sanders style and came up with the phrase “chub it up” to convey to the layout and background team how to make things substantial, thick and well rounded.
Origins of the Project
Chris Sanders first began thinking about a Stitch-like character nearly 17 years ago when he was just out of school and working on his first animation assignment. He drew a monstrous looking creature and began toying with a wide range of storylines to go with the character. The character stayed with him over the years as he continued to search for the appropriate vehicle in which he could use him.
Sanders revisited the idea around 1997, when he proposed a simple-yet-strong character driven film involving his creation. He discussed the idea with Dean DeBlois, while still working as co-head of story on “Mulan.” DeBlois sparked to the idea and the project gained momentum.
In the early stages of the story development, Stitch evolved into an alien creature who landed in rural Kansas and interacted entirely with animals. It wasn’t until Disney Feature Animation president Thomas Schumacher suggested that the Stitch character be placed in the human world that things really began to take off. A well-timed vacation in Hawaii gave Sanders the idea of setting the film in that isolated and visually exciting part of the world. Sanders proceeded to put together a 15-page illustrated book to tell the story and suggest the look of the film.
Sanders observes, “With this film, we really wanted to go back to Disney’s roots. We looked at the simplicity and warmth of films like ‘Dumbo’ and ‘Bambi’ and the way the characters interacted with each other. There was a purity and nostalgia that appealed to us. Instead of placing our emphasis on technical marvels and pushing new boundaries, we wanted to slow the world down a bit and focus on character development and relationships. We were really attracted to showing the ‘gray zone’ in our characters. There’s no one character in our film that is pure evil or pure good. Everybody has moments of honorable intent. We were able to create characters that are believable because they are fallible yet they try very hard.”
DeBlois adds, “We embraced the idea that none of the characters are perfect, just as family relationships aren’t always perfect in real life. We liked the fact that Lilo is the constant in the film around which other things happen. She continues to believe in ‘ohana and holds onto that belief at all times. She is eternally forgiving and full of love. She just wants someone to give it to. When Stitch comes into her life, the two characters find themselves on a crash course with destiny. He brings chaos and destruction into her life, but is ultimately affected by her to the point where only he can pull things back together. These two unlikely characters end up affecting each other’s lives in ways that they wouldn’t have imagined.”
Producer Clark Spencer observes, “Chris and Dean did an amazing job on this film – they wrote it, they storyboarded it and they directed it. They shared this great circular vision and they were in synch with each other throughout the entire production. This was a fantastic way to make a movie because there were no outside influences to sidetrack them from the story they wanted to tell.”
The Music
The notion of using Elvis Presley songs to add comedy, commentary and entertainment to the plot was part of Chris Sanders’ original pitch for “Lilo & Stitch.” He felt that Lilo’s strong feelings for Elvis and his music would help to define her character and add a wonderful element to the film. And besides, Elvis and Hawaii are a musical match made in heaven. The soundtrack for the 1961 film “Blue Hawaii” was the most successful in his phenomenal career and landed in the #1 spot on the charts for 20 weeks.
During the course of the film, Elvis is heard singing six of his biggest hits: “Heartbreak Hotel,” “Stuck on You,” “Blue Hawaii,” “Suspicious Minds,” “Devil in Disguise” and “Hound Dog.” Another Elvis favorite, “Burning Love,” gets a fiery new rendition sung by award-winning Country superstar, Wynonna.
Two traditional Hawaiian-themed songs, utilizing authentic hula music and native instrumentation, were written by Alan Silvestri and hula expert/singer Mark Keali’i Ho’omalu (who also sings them in the film). Silvestri produced the songs with his colleague David Bifano. The first song, “He Mele No Lilo,” combines elements of two traditional Hawaiian hula chants and is heard in the opening sequence where Lilo swims with the dolphins and arrives late to her hula practice. “Hawaiian Rollercoaster Ride” was written exclusively for the film and sets the tone for an incredible surfing sequence involving Lilo, Nani, David and Stitch.
Cast of Characters / Vocal Talent
LILO – Exuberant, cheerful and quintessentially quirky, this lonely little girl is long on imagination but short on friends. Despite her best efforts, she just doesn’t seem to quite fit in with the other girls. When she encounters Stitch, Lilo believes that she has finally found someone who won’t run away and leave her. She has a profound effect on her strange new friend, and he, in turn, allows her to attain the thing she wants most in life. Eleven-year-old Daveigh Chase (who has appeared on the TV shows “The Practice” and “Touched by an Angel” as well as in the recent film “Donnie Darko”) brings a wide range of emotion and the right blend of idiosyncrasy and humor to the character. Animation superstar Andreas Deja, who has previously supervised such memorable characters as King Triton, Gaston, Jafar, Scar, and Hercules during his impressive 20 years at Disney, gives the performance of a lifetime with his animation of this unusual and caring little girl. The animator claims it was the “most fun assignment” he’s ever had.
STITCH – Officially known as “Experiment 626,” this manic mischief-making creature becomes the subject of an intense intergalactic search when he escapes from the planet Turo and finds shelter posing as a household hound in Hawaii. Programmed not to express emotions and to create chaos, he is abnormally strong, virtually indestructible and smarter than a supercomputer. He just may be the “devil in disguise,” but if anyone can change his wicked, wicked ways, Lilo’s the one. Director/writer Chris Sanders provides all of the “dialogue” and non-verbal sounds for Stitch. The character animation was masterfully supervised by Alex Kupershmidt (whose credits include the hyenas in “The Lion King” and the horse Khan in “Mulan”), one of the top stars of the Florida animation studio in a breakthrough performance.
NANI -- Lilo’s older sister has the weight of the world on her shoulders as she tries to strike a balance between being a responsible guardian/provider and a fun-loving teenage sister. With the addition of Stitch to the household, Nani has more than she can handle as trouble seems to come fast and furious. Tia Carrere, the multi-talented actress/singer/model (Cassandra Wong in “Wayne’s World” and star of the syndicated TV series, “Relic Hunter”) tapped into her Hawaiian heritage and many years of living on the island, for her vocal performance as Nani. Stephane Sainte Foi (a top talent imported from Disney Feature Animation Paris) supervised this character.
JUMBA JOOKIBA– This renegade scientist (who prefers to be called an “evil genius”) knows Stitch better than anyone, because he created him. A bit of loudmouth with some serious anger management issues, Jumba is brilliant but misguided and faces life imprisonment unless he can help capture the escaped Stitch. Keeping an eye on Stitch is a full time job (especially for the six-eyed Jumba), but somebody’s got to do it. Acclaimed actor and Disney Feature Animation favorite David Ogden Stiers – whose repertoire of Disney characters includes Cogsworth (“Beauty and the Beast”), Governor Ratcliffe/Wiggins (“Pocahontas”), the Archdeacon (“The Hunchback of Notre Dame”) and Mr. Harcourt (“Atlantis: The Lost Empire”) – adds another great vocal performance to his credits. Bolhem Bouchiba, also from Disney Paris animation facility, was the supervising animator.
PLEAKLEY – When it comes to experts on the planet Earth, no one is more earnest and enthusiastic than this determined cultural contamination specialist. Getting things right is another matter. Learning all he knows from ViewmasterŽ images, Pleakley believes that Earth is a protected wildlife reserve for the endangered mosquito population and primitive humanoids are their food of choice. With his three legs, single gigantic eye and gelatinous body, he has a hard time fitting in with the natives, but is anything but a drag when he disguises himself in a wig and dress. Kevin McDonald, the wild-haired, hyper-kinetic member of “The Kids in the Hall” Canadian comedy troupe, provides the high-pitched voice of this Earth expert. Supervising animator Ruben Aquino (whose 20-year association with Disney includes such major credits as the supervision of Ursula in “The Little Mermaid,” Adult Simba in “The Lion King,” and Shang in “Mulan”) was responsible for the animated actions of this plucky character.
COBRA BUBBLES – With his imposing size, dark glasses, and tattooed knuckles, this enigmatic “special classification” social worker is the one they call when things go wrong. And in the case of Lilo and Nani, things have indeed gone wrong. Underneath his tough exterior lies a compassionate and tender spot not to mention a secret past. Ving Rhames (“Dave,” “Pulp Fiction,” “Mission Impossible,” “M:I-2,” “Baby Boy” and HBO’s “Don King: Only in America”) lends his tough tone to this unsociable social worker. Byron Howard served as the character’s supervising animator.
GRAND COUNCILWOMAN – The Galactic Federation’s commander-in-chief has a tough job to do when an evil scientist’s theoretical experiment becomes a reality. Faced with a creature that appears to have nothing good inside of him, she orders Stitch to be sent to a desert asteroid. In the film’s fantastic finale, this commanding character once again plays a pivotal role in deciding Stitch’s fate. Acclaimed stage actress Zoe Caldwell, a Tony Awardwinner for her role in Terrence McNally’s “Masterclass,” lends her powerful vocal prowess to this alien leader. James Young Jackson supervised the animation.
DAVID KAWENA – Nani’s former boyfriend is an important member of the extended family and is always there to help ride the waves when problems and challenges arise. When things get too hot at his job as a firetorch dancer, he knows that the best way to cool off is to head to the beach with his board. Jason Scott Lee, a native of Hawaii whose film credits include the starring role as Mowgli in the 1994 live-action Disney adaptation of “The Jungle Book,” is the good-natured voice behind this friendly and dependable character. Ruben Aquino (who also supervised Pleakley) was in charge of overseeing David’s movement and personality.
CAPTAIN GANTU – This giant 20-foot tall alien is the Grand Councilwoman’s top officer charged with carrying out Stitch’s banishment into space. From the time that Stitch escapes to his capture on Earth, Gantu is hot on his trail and won’t rest until this genetic-experimentgone- wrong is brought to justice. Popular voiceover veteran Kevin Michael Richardson (“Family Guy,” “The PJs,” “The Proud Family”) lends his voice to this character and Theodore Anthony Lee Ty oversaw the animation.
THE FILMMAKERS: ˇ
CHRIS SANDERS (Director/Screenwriter/Voice of Stitch) came up with the original idea for “Lilo & Stitch” and guided it through all stages of its creative journey from story sketch to the screen in his role as writer and director. The multi-talented artist/storyman joined Disney in 1987 as the first member of Feature Animation’s newly formed visual development department. In that capacity, he contributed to “The Rescuers Down Under” before transitioning to the story department. He storyboarded several key sequences for “Beauty and the Beast” (including the Beast’s memorable death and resurrection). In his role as production designer on “The Lion King,” Sanders helped to establish the film’s design sensibilities for the colorful and inventive “I Just Can’t Wait to be King” musical sequence and such other scenes as Mufasa’s ghost. His work on “Mulan” as co-head of story and screenwriter, earned him two Annie Awards in 1998. A 1984 graduate of CalArts (where he majored in character animation), Sanders began his industry career at Marvel Productions, where he spent four years and worked in the model department on the TV series, “Muppet Babies.”
DEAN DEBLOIS (Director/Screenwriter) joined the Disney animation team in 1994 and quickly rose through the ranks from layout artist to story artist and head of story to his current role as writer/director on “Lilo & Stitch.” A graduate of Sheridan College in Canada, DeBlois first joined Disney Feature Animation as a layout artist on the 1998 animated feature, “Mulan.” Over the course of that production, he was promoted to story artist followed by a stint as co-head of story. Prior to his work at Disney, DeBlois worked for Don Bluth Studios in Ireland, where his credits included layout artist, key layout and story assistant on the films “A Troll in Central Park” and “Thumbalina.”
CLARK SPENCER (Producer) makes his producing debut on this film, following a nineyear stint association with Walt Disney Feature Animation. He first joined The Walt Disney Studios in 1990 as senior business planner, and was subsequently promoted to manager of studio planning, and director of studio planning and finance. In the latter role, he was involved in the launch of the Disney Channel in Asia, and the acquisition of Miramax Films. Joining Feature Animation in 1993, Spencer went on to serve as director of planning, vice president of planning and finance, and senior vice president of finance and operations for Walt Disney Feature Animation and Theatrical Productions. In September, 1998, he relocated to Florida to become senior vice president and general manager of the Florida Studio, where he oversaw all aspects of operations and production for Disney’s Florida-based animation facility. A native of Seattle, Washington, Spencer is a 1985 graduate of Harvard University, where he earned a bachelor’s degree in history. He spent three years on Wall Street as a financial associate with Banker’s Trust Company before returning to Harvard Business School, where he earned his M.B.A. in 1990.
ALAN SILVESTRI (Composer) received an OscarŽ nomination for his “Forrest Gump” score and has composed music for such diverse motion pictures as “Who Framed Roger Rabbit,” “The Abyss,” “Romancing the Stone,” “Father of the Bride,” “Grumpy Old Men,” “The Parent Trap,” “Star Trek: Insurrection,” “Contact,” “Cast Away,” “What Women Want,” “The Mummy Returns,” and “Serendipity.”
ELVIS PRESLEY – The undisputed King of Rock and Roll.
<<SPOILER ALERT>>
THE STORY: ˇ
Life has its challenges for Lilo, a lonely little Hawaiian girl who lives with her nineteen-yearold sister/guardian, Nani. The two girls have been struggling to make it on their own and things aren’t going particularly well. When Cobra Bubbles, a no-nonsense social worker, drops by for a home visit, he finds the sisters in the middle of an argument and the house in a shambles. He warns Nani that she has three days to prove that she’s an appropriate guardian for Lilo or the situation will have to change. That evening, Lilo sees a falling star soar past her bedroom window and wishes for “someone to be her friend, someone who won’t run away.” She adds, “Maybe send me an angel – the nicest angel you have.” ˇ
In reality, the falling star is a spaceship belonging to Stitch, a mischief-making creature (officially known as “Experiment 626”) who has escaped from the planet Turo. His creator, a mad scientist named Jumba, explains that Stitch is “bulletproof, fireproof, and can think faster than a supercomputer. He can see in the dark and move objects three thousand times his size. His only instinct… to destroy everything he touches.” The Grand Councilwoman of the Galactic Federation is not impressed and sentences Jumba to prison and decrees that Stitch be transported to a distant desert asteroid. Before Stitch’s sentence can be carried out by Captain Gantu, he steals a police cruiser and uses its hyper-drive to reach Earth. The Grand Coucilwoman offers Jumba his freedom if he will help capture Stitch. To keep him in check, she also sends Pleakley, an enthusiastic three-legged, one-eyed Earth hobbyist (whose entire knowledge of the planet comes from his study of View-masterŽ images). ˇ
Instead of being met by a welcome wagon, Stitch is immediately run down by a sugar cane truck. He awakes in an animal shelter, where he “charms” Lilo into adopting him (she names him Stitch). His advanced skills allow him to hide his extra limbs (going from six to four), antennae and back spikes to give the appearance of being an odd-looking dog. To the horror of her sister and the animal shelter employee, Lilo is enamored with Stitch and insists on adopting him. Realizing that Lilo and Nani provide a perfect safety shield against Jumba and Pleakley, Stitch welcomes the adoption and “sticks like glue” to his new family. ˇ
But all is not well on the homefront. Stitch proceeds to behave horridly and create chaos while proving to be perhaps the least affectionate pet on the planet. When Lilo brings him to visit Nani at the luau restaurant where she works, Stitch wreaks havoc and Nani ends up getting fired. Still, Lilo takes him under her wing and encourages him to be a model citizen like her hero Elvis Presley. To lift their spirits, Nani’s former boyfriend and co-worker, David Kawena, suggests that an afternoon of surfing might cheer them. Stitch overcomes his initial aversion to surfing and eventually gets the hang of it. When Jumba and Pleakley arrive on the scene, they pull Stitch underwater and he has to be rescued by David. ˇ
Cobra Bubbles witnesses this disastrous scene at the beach and informs Nani that she can no longer keep Lilo. Stitch realizes that he is breaking up the family and that Lilo’s desire for ‘ohana (the Hawaiian word and concept for family) is fading fast. When the Grand Councilwoman fires Jumba and Pleakley for their ineptitude, the duo make a last stand by going after Stitch at Lilo and Nani’s house. They end up destroying the house but fail to get Stitch. ˇ
Just when things seem like they can’t get any worse, Captain Gantu arrives in a giant spacecraft to capture Stitch. Stitch escapes but Lilo is taken on board. Stitch, realizing at last that he is part of Lilo and Nani’s family, convinces Jumba and Pleakley to help him rescue Lilo. A wild chase through the Hawaiian island chain ensues and Stitch helps to rescue Lilo. When the Grand Councilwoman herself shows up to take Stitch into custody, the game appears to be over. But the rules of this game are anything but predictable.
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