Issue link: http://digital.copcomm.com/i/834282
32 P E R S P E C T I V E | J U LY / AU G U S T 2 0 1 7 location scouts were still looking for an exterior for the motel when the Art Department came up with the concept of adding concrete breeze block walls outside the doors and windows that would serve a double purpose. This would provide an interesting element to see outside when someone would come to the door, and then this detail could be added to the location, using the structure as a bridge. There was a scene with two inept angels in the motel room that I had read in an outline that I thought would be fun to pitch to take place in the bathroom, with one on the toilet while the other was in the tub. The writers loved it so much that, not only did it make it into the episode, but also became one of the key promotion images for the show. From the executive producer's second-floor office at Q Studios, you could see the church going up two miles away. It was like the barn-raising scene in Witness with dozens of carpenters raising trusses and nailing shingles. It was an impressive sight. I was extremely proud of what we had accomplished in such a short period of time. It was standing in that room, looking at the setting sun on the church exterior being built, that they first mentioned the name Ratwater. Having read the comics, I knew that the main villain of the show, the Saint of Killers, was a cowboy in the Old West. His family falls ill and he heads to the town of Ratwater to get medicine. He falls prey to some evil townsfolk and by the time he gets back to his family, they're all dead. He returns to Ratwater and goes on a killing spree of epic proportions that culminates with him being sent to hell, where he kills the devil as well. I had thought that the writers would wait for the second season before introducing the Saint of Killers character, as the scope was staggering. It was decided that this storyline would play interstitially throughout the first season, but the kicker was that we would have to film forty-five minutes of 1881 period Western sets in the middle of shooting the rest of the series. I had several aces in the hole, so I wasn't worried. Set decorator Edward McLoughlin had just wrapped the Western Jane Got a Gun and construction coordinator Bill Holmquist had done one of my favorite Westerns, Tombstone, so I very quickly went from nervous to excited. I set out scouting in the snow with location manager Dennis