Production #102: Death to the Queen

Having established the basic Zorro mythos for The Queen of Swords in the premiere episode, the second episode of the season continues to expand the cast, but more importantly, it begins to develop a distinct identity for this series. The storyline for "Death to the Queen" was nothing more than a set of skirmishes between the Queen and Colonel Montoya over his brutal impressment of the local peasantry into the forced labor camp at a goldmine. Nonetheless, this mundane plot served as a skeletal framework for highlighting Montoya's character and revealing more of the bond between Tessa Alvarado and her servant Marta. Both aspects hold promise for heightened drama in future episodes.

The role of the villainous military governor who ruthlessly oppresses the people of his territory could all too easily be played over the top as a strutting buffoon constantly "foiled again" by his arch nemesis the Queen of Swords. Fortunately, Valentine Pelka has chosen a more restrained portrayal that presents Luis Montoya as cool and calculating; he may be a greedy man in his desires but his manner is nothing but urbane. This surface civility is more chilling than bluster and pomposity, and Montoya's brief allusion to his hatred for his dead father hints at a backstory yet to be developed. In Pelka's capable hands, the conflict between the colonel and Tessa has become a chess game of move and counter-move, and as a result Montoya is emerging as a villain I could love to hate.

Even more impressive were the glimpses into the depth of the friendship between Tessa and Marta. Their public personas of a slightly imperious mistress and her submissive servant are just a façade that covers a much different private relationship. The tension inherent in the different roles they are forced to play comes to the fore when Marta hears of the Queen's supposed death. She barely manages to cover her shock, but as soon as she is alone she begins to grieve... only to pull herself back together when Tessa steps out of the shadows, wounded but alive. The young woman's apologies and reassurances show that she fully recognizes the turmoil that Marta has gone through. This character dynamic is repeated with even greater poignancy later in the episode when Marta scolds Tessa about bloodying her clothes. Again, Tessa responds to the underlying fear beneath the anger and tenderly comforts her companion; it's in the presence of Marta alone that Tessa is truly unmasked.

The depth of Marta's loyalty is explored in other scenes as well. Having been shot by one of Montoya's soldiers, Tessa struggles to hide her injuries from the colonel, knowing that they would reveal her identity as the Queen of Swords. All appears lost when she inadvertently leaves a blood stain upon the wall during an obligatory appearance at a party in Montoya's house. Tension mounts as the colonel conducts a tactful inspection of the women; Tessa's turn is certain to lead to her capture. However, just before Tessa's secret is revealed, an apprehensive Marta crushes a wineglass in her hand, lacerating her own palm. Then she holds out the bleeding hand to Montoya, demurely explaining that she hid the wound for fear she would be punished since servants aren't supposed to drink the wine.

Peter Wingfield makes his series debut as Dr. Robert Helm, a seemingly genial man, but one with a mysterious past. In short order, circumstances force him to choose sides between Montoya and the Queen of Swords. Although he frees the Queen from captivity, Helm's stealth leaves his ultimate loyalties undeclared so he remains safefly in the good graces of Montoya. The genre formula suggests that the good doctor will come to the aid of the Queen of Swords again and again in the future, and that he and Tessa will probably develop a prickly attraction for each other, but the most memorable of Wingfield's scenes was his encounter with Marta the Gypsy, who senses his turbulent past when he dresses her wounds.

Although the general strengths of the series are beginning to emerge, the weaknesses continue unabated. Tessie Santiago is still unconvincing as a flamboyant action/adventure figure and barely adequate for the more coventional role of Tessa Alvarado. One can only hope that a starring role for a relatively inexperienced actor implies that the producers have faith in her ability to grow into the part of the Queen of Swords. Meanwhile, Santiago is surrounded by a solid cast of actors who, at least in the short term, can carry the show as she works on her craft. I'm holding out the same hope for an improvement in the fight sequences. The setting is wrong for the chop-socky choreography of shows such as Xena or Buffy, but swordplay with the panache of Basil Rathbone and Douglas Fairbanks would be a welcome treat, as would a greater frequency of the witty one liners that make the Queen's fullsome lips curl ever so slightly in such a becoming way.

Next week, a fever cuts down the townfolk and Marta is one of the victims. Dare I expect a touching scene of hurt/comfort between Marta and Tessa? In the words of Colonel Montoya, "Never underestimate the power of prayer."

—Carmen Carter