Episode Transcripts


Episode 12: The Blitz

Written by Morrie Ruvinsky
Directed by Paolo Barzman
Aired: February 11, 1996
Transcript revised: 12-9-20


/ Episode Screencaps / Location photos /


Zzickle's Notes:

I don't own Highlander - if I did, I would've given Methos his own show! The contents of this transcript are taken directly from the episode (with the help of closed captions and the DVD script), to the best of my ability. Huge thanks to Andy Sloane and his exhaustive lists of Highlander shooting locations for assistance with my Locations List. If you have any other location-related questions, you can email him at [karateusa at hotmail dot com].

If you want to post this transcript on your site, please let me know where it is going so I can visit it. Also, please post it with my name (Zzickle) and website (http://www.zzickle.com/) on it.

You are more than welcome to use these transcripts in your fanfiction stories, no notification required.


Duncan MacLeod - Adrian Paul
              the Highlander

Richie Ryan - Stan Kirsch
              MacLeod's student


Dr. Anne Lindsey - Lisa Howard
              ER doctor

Chief Hardy - Duncan Fraser
              Fire chief

Karen Taylor - Beverley Elliott
              explosion victim

Diane Terrin - Alison Moir
              reporter in FB


Mike Lundy - Robert Iseman

Emcee - David/Dave Adams
              radio emcee, in FB

Harry - Tim Dixon
              radio engineer, in FB

Lord Sewell - Tracy Olson
              at Savoy Hotel

French Officer - George Gordon
              at Savoy Hotel

Rescuer 1 - Brent J.D. Sheppard
              in FB

Rescuer 2 - Byron Lawson
              with Richie

Locations List:*
1. Aerial video - stock shot/unknown location
2. Outside subway - between 770 & 750 Pacific Blvd, Plaza of Nations [49.275254,-123.110390]
3. MacLeod's Victorian - on Deer Lake Drive, Burnaby [49.233334,-122.970142]
4. Subway interiors - inside Woodward's: Abbott, N of Hastings [49.282253,-123.107085] (no longer there)
5. Savoy Hotel - unknown location
6. London stock shots - stock shots/unknown locations
7. London alley - Cambie St alley, by Woodward's Development [49.282854,-123.109027]
8. Colorado mountains - unknown location(s)
9. MacLeod's island (campfire) - unknown location
* Locations are in Vancouver unless otherwise indicated.
= link to location photos
= link to episode screencaps

Eurominutes: The full version of this episode runs 48 minutes, but for the domestic (US) market, this was cut shorter for commercials. "Eurominutes" are those 4-5 minutes that European fans got to see but US fans missed out on when the episodes originally aired. (Subsequent reruns on USANetwork and SciFi/Syfy may or may not adhere to the original domestic cut.) Huge thanks to Gillian Horvath for providing the tape of the official domestic cut of this episode, as it was released by the studio for the US stations.

~Official Eurominutes are bolded.
~Rerun on USA Network* (1998) matches the official cut, with one exception.
~Rerun on Syfy (2010) matches the official cut, with one exception.
~Rerun on Syfy (2013) matches the Syfy 2010 cut, with three additional exceptions.

* Special thanks to Debra Lindsay for the USA Network tape.

NOTE: For 'Final Shooting Script' scenes that are not present in the actual episode, click on the 'CUT' links throughout the transcript. (Affected transcript lines are <bracketed>.)

Another note: This episode was written in quite a different order than what aired. Follow the numbers preceding the scenes for the script order.


1. <Skycam 1 Live Feed aerial video 1

[Camera footage from helicopter showing plume of black smoke rising from end of a building.]

Woman Reporter - [voice-over] At this stage, it's not known if the explosion was caused by gas, chemicals, or a terrorist bomb, but it's clear that the mid-city subway complex has been torn by a huge blast.


1. Outside subway entrance 2

[A firefighter drives fire truck toward the scene.]

Woman Reporter - [voice-over] Firefighters and rescue teams across the city are scrambling to reach the disaster site, hoping to contain the damage and to reach victims.

[The fire truck reaches the scene.]

Man on loudspeaker - {Keep this area clear.} {??}

Woman Reporter - [voice-over] Other than two pedestrians, no casualty figures have yet been released. But as the smoke billows up, one thing is certain -- the death toll will continue to rise.

[Firemen, police, and F.B.I. agents are everywhere.]

Man on loudspeaker - Come on. Keep it moving. We need water at the main entrance. Come on, let's go.

Officer - We need an emergency vehicle over here right away.>

4.     Mike - Where do you think you're going, Anne? Anne - I'm the doctor. Remember?

Mike - Ha. A pregnant one.

Anne - Look, I work in the E.R. She's going to have to get used to it someday. Let's go.

2.     <Man - [offscreen] When is backup going to get here? CUT Man - [offscreen] Stop, {wait}.

Officer - [offscreen] Stand aside, sir. We {have} to keep this area clear.

Chief Hardy - We need miners. We need mining equipment. We can't do this kind of thing on our own.

Anne - Excuse me, sir?

Chief Hardy - You can't go down there, you understand?

Anne - I'm Dr. Anne Lindsey.

Chief Hardy - Who let you through? Jack! Jack, I thought I told you to keep people out of here!

Anne - They said you needed, uh, extra -- extra help around here. Listen, uh, we need to get down there.

Chief Hardy - Yeah, well, you don't. Not for now. You go get yourself a cup of coffee or a glass of milk or something.

Anne - Coffee? What are you talking about?

Chief Hardy - This could take a while.

Anne - The first hour's very critical.

Chief Hardy - Yeah, I know, Doctor. I'm sorry. I can't let you through 'till I've got it secure. The whole place could come down around your ears yet.>


8. MacLeod's Victorian 3

<Woman Reporter - [on radio] A relatively few victims are thought to have been inside the structure. We will continue to bring you late-breaking developments from the scene.> CUT

RR - [helping DM move wicker furniture onto porch] Mac, I've been thinking.

DM - What, again?

RR - No, I'm serious.

DM - No, Richie. I like the colors.

RR - No, it's not about the colors. I like the colors, too. I've been thinking that -- what with this place being finished and all -- maybe you want to give me the loft.

DM - [chuckles] I'm not moving.

<Woman Reporter - [on radio] Reporting live once again from the disaster site. Here is an update. Rescue workers are having a difficult time-- A> CUT


3. Outside subway entrance 2

Man on loudspeaker - Attention, all crew. the structure is still unsafe. Use extreme caution when entering the building.

Anne - Oh, I hate this!

Mike - I'm not going to wait.

Anne - You know, just calm down. You know what he said. We don't want any heroes around here.

Mike - That's what they pay me the big bucks for.

[He heads toward the subway entrance. Anne follows him.]

5.     Man on loudspeaker - We need more stretchers at the front entrance. Chief Hardy - Don, have your crew string a line around the perimeter of the building.

[Anne & Mike sneak past rescue workers loading a victim on a gurney into the back of an ambulance.]

Man - [offscreen] {Hey, Brewsky and Fred, go} with me. Let's go!

Man on loudspeaker - Keep {?? this line} clear.

[Anne sneaks behind subway map.]

Man - [offscreen] Hey, could you give me a hand over here?

[Two firefighters squat nearby, waiting. B Anne & Mike enter the building.]

Man on loudspeaker - Keep civilians away. Emergency personnel only.


9. MacLeod's Victorian 3

(resume previous scene)

RR - What? You're going to sell this thing? I mean, this is all a business venture?

DM - Nope, it's not.

RR - Well, if you're not going to sell it, and YOU'RE not going to live here, can I live here?

[DM laughs.]


6. Inside wrecked station - subway landing 4

Mike - [as electricity sparks] Whoa!

Anne - [kneels beside man lying on stairs, shines flashlight on his face] Too late. [closes man's eyes] Let's go.

[Mike follows her down the stairs, deeper into the building.]

Karen - Help! Please, help!

Mike - Hey. Over there. Wait here. Let's clear the way. [They make their way carefully over to Karen.]

Karen - Thank God.

Mike - Okay, come on down, Anne. [to Karen] Hi. We're here. We're here to help you. [as Anne reaches them] I'm going to go check out the other side.

Anne - [trades places with him beside Karen] All right. All right. I'm a doctor. You're going to be fine. We're going to get you out of here. Now try not to move, okay? It's okay. It's all right. Where does it hurt? I don't want you to move. Just tell me.

[A distant explosion sets off a collapse in the ceiling near them.]

Mike - Look out, Anne!


[meanwhile] 2

[Outside, Chief Hardy and the other rescuers react to the explosion.]


10. MacLeod's Victorian 3

(resume previous scene)

Woman Reporter - [on radio] We interrupt our program with an update on the mid-city subway explosion. A second major blast has rocked the station, making access to lower levels almost impossible. Unconfirmed reports say a medical team from County General Hospital, led by Dr. Anne Lindsey, has been trapped inside. We have little information at this time, but we will continue to cover the situation as it develops.

DM - [exchanges a look with RR] Anne.

[Voice-over by Joe Dawson]
He is Duncan MacLeod... the Highlander. Born in 1592 in the Highlands of Scotland, and he is still alive. He is Immortal. For four hundred years, he's been a warrior... a lover... a wanderer. Constantly facing other Immortals in combat to the death. The winner takes his enemy's head, and with it, his power. I am a Watcher -- part of a secret society of men and women who observe and record... but never interfere. We know the truth about Immortals. In the end, there can be only one. May it be Duncan MacLeod... the Highlander.



11. Outside subway entrance 2


<Chief Hardy - [offscreen] {Let's say} five guys up over on the north side.

[A rescue worker shines a penlight in the eyes of a wounded man lying on a gurney. The man closes his eyes, opens them, blinks rapidly.]

Woman - [offscreen] Doctor, over here.

Officer - Take them through here. I'll be down there.

EMT - [helping lift gurney into back of ambulance] Okay.

Chief Hardy - [offscreen] Our E.T.A. is approximately {??}. 1

[DM & RR pull up in T-bird. They get out & walk through the police barricade.]

RR - What a circus. Who do you think's in charge here, Mac?

DM - Your guess is as good as mine.>

13.   CUT Chief Hardy - No, I want everybody out of there. You understand? Everybody. Your guys, my guys -- everybody. Water and Power's discovered another leak. It could blow at any time.

<DM - [jumping in when Hardy finishes] Her name's Anne Lindsey. She's with-- CUT

Chief Hardy - Just a minute, just a minute. {??} Here. Gimme this, Max. [takes roll of police line tape from city worker, starts unspooling it] Let me show you. [to DM] What?> Anne who?

DM - The doctor, Lindsey. She--

Chief Hardy - Oh, yeah. the pregnant one. I remember her.

DM - That's her, yeah.

Chief Hardy - She went in there without my permission. She never came out.

DM - Went in where?

<Chief Hardy - CUT Never mind where.> The last thing I need's another damn hero. [DM & RR exchange a look.] Come on. Come on. [waves them outside the police line]

RR - [to DM] We're not giving up, are we?

DM - No, we're not.

RR - Just 'cause he says we can't go down doesn't mean we're not going down.

DM - That's right.

RR - Well, then, um, where are we going to go?

[DM looks around, grabs RR's arm, drags him off.]


7. Inside wrecked station - subway landing 4

(resume previous scene)

[Mike tries to dive out of the way but a ceiling beam falls on top of him.]

Anne - [rushes to him] Oh, God! Mike! Okay, buddy. It's okay.

Mike - My back. I think it's my back.

Anne - It's okay. I'm going to get you out of here. [tries to lift beam] Okay. Oh, God. You're going to be all right. Try not to move.

Mike - [chokes on a laugh] Pretty easy.

Anne - All right. I'm going to give you something for the pain.

Mike - No, no. There isn't time. You've got to get out of here.

Anne - I'm not going to leave you!

[The building creaks ominously.]

Mike - You have to get--

Anne - Shh!

Mike - You've got to get out of here. This whole place could--

Anne - Don't speak. Be quiet.

Mike - Get out of here.

Anne - It's okay.

Mike - This whole place could come down.

[Anne shrieks as more sparks erupt nearby & some dirt falls down on her.]

Karen - [calling over to them] Are you okay?

Mike - Go.


15. <Inside wrecked station - stairwell 4 CUT

[DM climbs down access ladder, turns on flashlight. 2 RR joins DM in debris-strewn stairwell.]

RR - Man, this is unbelieavable. It looks like someone dropped a bomb in here.

DM - [making his way carefully around fallen beams and chunks of concrete] That's exactly what it looks like. But this was gas.

RR - And, uh, there's a difference?

DM - Yeah, there's a difference. Believe me. I've been there.

RR - Uh, yeah? Where was that?

DM - [calling out for survivors] Hello?

[There's a muffled yell in response.]

RR - Did you hear that?

DM - [continues moving forward] England, World War II. They called it "the blitz.">


12. Flashback - London, 1940 - Savoy Hotel, night 5


<Emcee - [on radio] In the midst of this blackout, as London waits out this terrible war, a little beacon of light in the darkness> -- [reporting from hotel lounge] we are broadcasting live, courtesy of the BBC, directly from the lounge of the Savoy Hotel in the heart of London to all of England and across the great ocean to all our friends in America. We have been informed that the great man himself, Winston Churchill, has left his bunker and is in a suite upstairs negotiating with our French and Dutch allies. And that he will be down momentarily to discuss the state of the war with you. Until then, we are returning to our studios and the Lester Lawrence Orchestra. So join us, all, from Devonshire to Davenport, from London to Los Angeles, in a respite from this war with good music and good company.

French Officer - Ah, we need the Américains in the war.

Diane - The problem is, is that Montgomery is so full of himself he can't stand the idea of sharing power with anyone.

Lord Sewell - I say she's right. Old Monty was a bit of a pip even when we were back at Oxford. Sulked ferociously for months when he didn't make crew.

French Officer - What I heard is he could not row.

Diane - And I'm sure that's not how he remembers it.

Lord Sewell - Still, I'd rather him on our side than Rommel.

Diane - That's because you're a Brit. [looks across room, turns back] If you'll excuse me? Madame, gentlemen. [walks away]


[elsewhere in the room]

DM - [to military men he has been talking with] Could you, uh, give me a moment? Thank you. [leaves them, meets up with Diane] You look beautiful.

Diane - I hate to be the one to say it first, but I missed you.

DM - Well, it's only fair. I said it first the last time.

Diane - It's not fair that British Intelligence should have a stronger hold over you than I.

DM - Who said anything about British Intelligence?

Diane - Please, you have MI5 written all over you.

DM - You're fishing in the wrong pond. I was just down in Somerset looking at some horses.

Diane - So why don't I believe you?

DM - Because you're a reporter, and that makes you terminally suspicious.

Diane - Just persistently curious.

Lord Sewell - [joins them] Welcome back, MacLeod. Profitable trip, I hope.

DM - Oh, very promising. Uh, we'll know soon. [Lord Sewell walks away.]

Diane - Somerset?

DM - The horses.

Diane - Right.

[Air raid sirens start wailing.]

<Emcee - CUT [into radio mic] Ladies and Gentlemen, it seems the Fuhrer is once again paying an uninvited call. Therefore, we will be suspending our broadcast until further notice. For those in the London area, please proceed to a shelter as quickly as possible. Remain there until the all clear is sounded. [Parishioners run out of a church into the night.] 6 This is not the first time Nazis have bombed civilian London, but let's hope it's the last. [People run down London street toward bomb shelter. A fire engine drives past them. A military plane is pushed out of a large hanger by several men.] 6 We interrupt our program until Mr. Hitler gets the message that he is decidedly not welcome and calls his hooligans home.>

Diane - [kisses DM on the cheek] I'll see you later. [walks toward radio equipment]

DM - Where're you going? [follows her]

Diane - [to radio engineer] Harry, I need a favor.

Harry - There's an air raid going on.

Diane - And the world needs to hear about it.

Harry - Not from me, they don't.

Diane - All I need you to do is set this up on the roof.

Harry - Look, they don't pay me enough for that.

Diane - Do I have to beg?

Harry - You can't go up there. You'll get yourself killed.

DM - He's right.


Harry - You know what, deary? I think you're out of your bleeding mind. [leaves]

DM - Oh, well. [starts unplugging the equipment]

Diane - What do you think you're doing?

DM - Well, you can't do this on your own.

Diane - So... you know how to work this stuff? Oh, of course you do. Isn't that one of the first things they learn in, uh, which part is this, "cloak" or "dagger"?

DM - It's a radio. How hard could it be?

Diane - All right, you can help, but it doesn't mean I believe all that stuff about Somerset and the horses.


12. Flashback - London, 1940 - Savoy Hotel roof, night 0

[Planes fly overhead, dropping bombs.] 6

Diane - Come on. Come on! What is taking you so long? [as bombs whistle around them] Oh, God, how can you be so calm?

DM - [hooking up radio equipment] Calm, huh?

Diane - Slow.

DM - Maybe you'd like to do it?

Diane - Yeah, I could.

DM - You're on the air.

Diane - [into radio mic] Good evening. This is Diane Terrin on the rooftop of the Savoy Hotel. [Both duck at nearby explosions.] Once again, Hitler is displaying his madness with indiscriminate bombings in the heart of London. [They duck at another explosion.] <At this very moment, I am here to report on the -- the fires, on the bombs, on the attacking planes. CUT [Planes fly through the sky and explosions light up the ground.] 6 As I'm standing here, the enemy continues to pound this city, as they have for months. [The buildings around Big Ben are on fire. Boats in the river shoot water at one of the burning buildings.] 6 Striking at the greatest landmarks without honor or remorse. [ducks at another explosion] C> What I really want to tell you is that through it all, this is still London! CUT I can see the towers, the moonlight on the surface of the Thames. [More shots of war-torn London.] 6 Parliament is still standing, the Palace is untouched, and Big Ben is still ticking. So, Mr. Hitler, the beer is warm, the food inedible. This is still England! There aren't enough bombs to undo that. So my message is to the Nazis. I was dancing when you got here, and I'll be dancing when you're gone.

[The all-clear siren wails. Diane holds the mic up over her head to pick up the sound.]

Diane - [into mic] The all clear has been sounded. It is over for tonight. [A building burns. People come out of the bomb shelters.] 6 Merry olde England, I urge you all -- check with your neighbors, see if anyone needs help. [Firefighters aim hoses at a burning building.] 6 Back home in America, write your congressmen. England needs our help. She needs our planes, she needs our weapons, and she needs our prayers. Good night, and God bless. [sets down mic] CUT

<DM - You were great.

[They kiss... heatedly. DM bends Diane back against a stack of sandbags as they D continue to kiss and then fade out of the scene, leaving the rooftop empty. E]>


16. Flashback - London, 1940 - Savoy Hotel lounge, night 5

Diane - Where did everybody go?

DM - I think all the sane people are still in the shelter. [pours champagne into a glass]

Diane - How wonderful! They left us some champagne.

DM - Well, maybe they know there's a war on. [hands glass to her]

Diane - You know, for the moment I don't care. [takes a sip, hands glass to DM]

DM - Thank you.

Diane - Dance with me.

DM - What, here?

Diane - [pulls him out onto the dance floor] Mm-hmm.

DM - But there's no music.

Diane - [starts slow-dancing with him] That's funny, I can hear it... Just listen. [They dance. He kisses her.] Have I known you all my life, or does it just seem that way? Do you believe in fate, Duncan?

DM - Sometimes.

Diane - I do. I think this whole war happened just so we could meet.

Harry - [enters room, clears his throat] I'm, uh, sorry to interrupt.

Diane - If it isn't Harry, my trusty engineer. What can we do for you, Harry?

Harry - I just came to see if you and the gentleman were okay. And to thank the gentleman for doing my job.

DM - It's no problem, Harry.

Harry - We had a radio in the shelter. We heard you -- every blessed word. You did us all proud. There wasn't a -- wasn't a dry eye in the place.

Diane - Thank you, Harry.

Harry - No. Thank you. And, uh, God bless the both of you. [carries the radio equipment away]

[DM & Diane resume kissing.]


16. Establishing shot: London, 1940 - street, night 6

16. Flashback - London, 1940 - hotel room, night 5

Diane - [looking out window] The city looks so peaceful. No Luftwaffe, no bombs, no sirens.

DM - [comes up behind her, hugs her] Diane, tonight was...

Diane - Wonderful.

DM - [with a smile] Incredibly stupid.

Diane - Uh-oh. I think I've heard that before.

DM - I know we have to take chances, but you risk your life every chance you get.

Diane - And you don't? I never tell you not to go somewhere, not to do something. We're all fighting this war in our own way. I am doing what I have to do, just the same way you are.

DM - It's different for me.

Diane - I hope you're not going to say it's different for you because you're a man.

DM - No, that's not what I was going to say.

Diane - That's good, because if I thought for a minute that you were anything like those idiots that won't let me into that damn Press Club, then this could turn into a very lonely war. [They kiss.]

DM - I should've met you before all of this.

Diane - Why? You think I'd be any less stubborn?

DM - No, I don't. But I would have liked to show you London then. There are some places here that are magical.

Diane - Take me.

DM - Someday.

Diane - How about now?

<DM - CUT You want to go sightseeing in the middle of the blitz, in the middle of the war?>

Diane - It's a beautiful night, not a bomber in the sky. It sounds good to me.


18. <Inside wrecked station - hallway 4 CUT

DM - Anne? Anne! [They walk along a debris-strewn hallway.]

RR - Over there.

[DM moves debris out of the way, revealing a young boy lying unconscious by the wall.]

DM - [pulls boy out] Easy with him. Easy. Come on. Got you. Come on. I've got you. [picks boy up] There. There you go. [looks him over] He's in shock. He's going to need a doctor. [RR takes off his jacket.] Yeah. [stands up with boy in his arms] Yeah, put that around him. [transfers boy to RR's arms] That's it. There. You got him?

RR - Yeah, I got him. I'll take care of him. You go find Anne.

DM - Okay. Wish me luck.

RR - Good luck. [starts carrying boy out]>


14. Inside wrecked station - subway landing 4

Anne - [trying to comfort Mike while Karen sits nearby] Here you go. It's okay.

Mike - Anne? Anne, where are you?

Anne - I'm right here. I'm right here. [unscrews lid from bottle] Drink some of this, okay? Just drink some of this. [lifts Mike's head, holds bottle to his lips] All right?

Mike - Anne. Anne, I feel dizzy. I can't see you.

[Anne climbs around end of beam pinning Mike, then gets hit by a labor contraction.]

Karen - Doctor? [Mike cries out.] Doctor. Doctor! CUT

<Anne - [recovers from contraction] Oh, my God! Damn it! Mike! [checks his pulse] Oh, God, no! Mike, don't do this.

Karen - Do something. He's going to die.

Anne - [digging in medical bag] He's not going to die! [Karen starts crying.] Come on, Mike, stay with us. Stay with us. [Mike gasps for breath.] Keep him still. Keep him still! [draws up dose from vial into a syringe] Come on. Come on. Come on. We need you down here, Mike. Stay with us. Come on.

Karen - Come on, Mike. Hold on. Hold on. [Anne injects syringe contents into Mike's chest.] Come on.

Anne - Mike, we're here. We're here with you. Come on. Come on. Come on, please!

Karen - Come on.

Anne - Don't go! Stay with us! Mike! Please!

Karen - Come on. Stay with us. Oh, God, he's dead. He's dead. We're all going to die. We're all going to die! Oh, God in Heaven, help us!

[Anne has another contraction.]



[DM continues making his way through the wreckage, looking for Anne.]>


<Flashback - London, 1940 - cinema theatre 6 CUT

[A black-and-white war film is playing on the screen.]

Film narrator - [voice-over] The war rages on. London reels as the Nazis do their worst to strike at the very heart of Britain.

Winston Churchill - [voice-over] We shall go on to the end. We shall fight in France. We shall fight on the seas and oceans. We shall fight with growing confidence and growing strength in the air. We shall defend our island, whatever the cost may be. We shall fight on the beaches. We shall fight on the landing grounds. We shall fight in the fields and in the streets. We shall fight in the hills. We shall never surrender.

Film narrator - [voice-over] But England rises from this latest outrage, led by Winston Churchill, our prime minister, himself.

[~The End~]>


17. Flashback - London, 1940 - alley, night 7

Diane - You think Churchill's right, that there'll always be an England?

DM - Count on it.

Diane - But the Nazis are destroying it one night at a time. I mean, how much more can they take? If America doesn't get into this war, there may not be an England.

DM - Well, some places don't know how to die. <When London was decimated by the bubonic plague, nobody thought the city would ever recover. CUT Smell of death was everywhere. Six years later, again the city was thriving.>

Diane - You have a gift... aside from the ones I already know about. [DM chuckles.] The way you make the past just come alive.

DM - Thank you.

Diane - No, no. I--I'm serious. You should use it to teach, to write, to recreate the worlds as you see them. That is, after you're retired from the spy business.

DM - I'm not a spy.

Diane - I just meant, is you have a gift, that's all.

DM - The point is, nobody thought the city would ever recover, but it did. It has. 3

Diane - Where does all this admiration for the English come from? I thought you Scots hated the English.

DM - Well, courage is a hard thing to deny. They rebuilt the city after the Great Fire; they'll do the same thing after Hitler.

Diane - And us? What happens to us after Hitler?

<DM - CUT Us? I guess I'll teach history and you can go back to your desk job and teach those young fellows about a journalist's life.>

Diane - Come on. I'm serious. Are we together because the world is full of adrenaline or is there something else, something more than that? [DM kisses her.] That's good, but it's not exactly an answer.

DM - Diane, I-- I--

[Air raid sirens start wailing.]

Man - [offscreen] To the shelters now! Come on!

DM - We'd better go. Come on.

Diane - I can't.

DM - Diane, you're not on the air out here. There's no microphone. There's no reason to stay here.

Diane - On the air or not, I have to be a witness. It's my job.

DM - Diane, let's go to the shelter. [tries to drag her away]

Diane - [resists] Are you planning on dragging me there?

DM - No. I'm planning on asking you. Please. Please, come on.

Men - [offscreen] Inside. This way! Hurry! Come on! Let's move along there.


17. <Flashback - London, 1940 - stairwell, night 4 CUT

DM - You're so stubborn. Come on.

Diane - No, don't you mean independent? [as DM hurries her down the stairs] I'm coming! [Her hat falls off.]

DM - Oop. [picks it up for her] There it goes. Here.

Diane - Be careful. That is an expensive hat. [DM plays keep-away with the hat.] Give it to me!

[They hurry down the next flight of stairs. Suddenly a bomb hits nearby, shaking the building and sending them falling.]>


17. Flashback - London, 1940 - damaged stairwell, night 4

[DM & Diane are trapped in a hallway at the bottom of the stairs. The stairs are blocked by debris, as is the other end of the hallway.]

DM - If it hadn't been for me, you'd probably be on the roof of the Savoy right now.

Diane - Don't worry about it. That's probably where the bombs hit. [reaches into her purse for a cigarette]

DM - [grabs her hand before she can flick her lighter on] No!

Diane - What?

DM - Gas.



20. Inside wrecked station - subway landing 4

[Anne is having another contraction.]

Karen - Now?

Anne - Yeah. [sinks down to sit against a wall] Oh, sweetheart, don't do this. Oh, sweetheart, don't do this now.

Karen - You'll be -- you'll be okay.

Anne - That's my line.

Karen - [laughs] How -- how early are you?

Anne - Eight weeks. This can't be happening.

Karen - Oh, trust me, hon. I've had four of my own, and you don't always get to count on the time and the place.

<Anne - What's your name?

Karen - Karen.

Anne - Karen? [Karen nods.]> CUT How do you feel about natural childbirth, Karen?

Karen - Well, I think the more important question is how does she feel about it. [Anne tries to laugh but is holding back tears.] Shh.

Anne - This isn't how I pictured it.

Karen - CUT Yeah. She'll be okay. Mm-hmm.

Anne - [has another contraction] Oh, God!

Karen - Oh. Oh. Okay.


25. Outside subway entrance 2

Chief Hardy - [offscreen, into radio] This is, uh, Charlie Delta. We need the keep this channel clear. Over.

[RR carries boy through crowd, over to an EMT.]

RR - Excuse me. Excuse me. Can I get a hand with him?

Chief Hardy - [approaches them] What is this? I thought I told you you couldn't go down there.

RR - I just saved that boy's life. [walks away]

Chief Hardy - Where are you going now?

RR - I'm going back down. CUT

<Chief Hardy - [grabs him] Like hell. [into radio] Jimmy, get over here.>


21. Inside wrecked station - subway landing 4

(resume previous scene)

Karen - Okay. Okay, they're starting to come closer, so you, uh -- You lie back. [puts her sweater behind Anne's head] Lie back. Lie back. Yeah.

[Another explosion sounds in the distance.]

Anne - [panicking] No! No!

Karen - No, no. Anne, Anne.

Anne - I'm not having the baby here!

Karen - No. No. You're not going anywhere, okay? Because the baby's coming. The baby's coming and you're going to stay here. We're going to start you breathing.

Anne - Okay.

Karen - Okay, start your breathing.

[They start breathing rhythmically together.]


27. Outside subway entrance 2


<Chief Hardy - [into radio] No. [RR walks over to him.] Well, I mean, no, not exactly. We've got a good idea, but it's a mess down there. Everything's {going to ??}>

RR - I, uh... I've been down there, man. 4 I know where they are. I can lead you right to them. You don't have to waste time searching. <Come on. These are my friends we're talking about.> CUT

Chief Hardy - [holds out a firefighter coat] Put it on. [helps RR into coat] Here. You're going to need this. [hands him a helmet]

RR - Thanks. CUT

<Chief Hardy - Good luck.

RR - I won't let you down. [goes to join rescue team]

Chief Hardy - [to himself] God, I hope not.>


<Inside wrecked station - stairway 4 CUT

[DM is slowly working his way down to the lower level of the building.]>


22. Inside wrecked station - subway landing 4

(resume previous scene)

DM - [offscreen, in the distance] Anne?

Karen - Did you hear that?

Anne - You heard something? [Karen nods.]

DM - [offscreen, but closer] Anne!

Anne - Oh, did you hear that? Is it real?


22. <Inside wrecked station - stairway 4 CUT

DM - [still picking his way through the debris] Anne?!>


19. Flashback - London, 1940 - damaged stairwell, night 4

Diane - God, there must be three stories of debris on us.

DM - Have -- have to keep digging.

Diane - Forget it. Someone will dig us out in the morning.

<DM - CUT No, the morning's going to be too late. If we keep digging, maybe we can get an air pocket.>

Diane - What's the use? Good, solid British construction. You know, the worst thing about this, is all those bozos who said I was going to get myself killed are going to be laughing at this.

DM - [stops shifting debris] I'm not laughing.

<Diane - Damn. CUT

DM - [comes down to her] It's going to be okay.> [hugs her]

Diane - Whatever evidence you may think that you have seen to the contrary, I really don't want to die. [DM continues to hug her silently. She steps out of his embrace.] You're supposed to say something like, "Buck up, we're not going to die."

DM - We're not.


24. Inside wrecked station - near subway landing 4

DM - [still picking his way through the debris] Anne!


24. Inside wrecked station - subway landing 4

(resume previous scene)

Anne - [quietly] Duncan.


<Inside wrecked station - near subway landing 4 CUT

(resume previous scene)

DM - [to himself] Come on, babe. Answer me.>


26. Inside wrecked station - subway landing 4

(resume previous scene)

DM - [offscreen] Anne?

Anne - Duncan!

DM - [knocks against debris] You in there?

Anne - Duncan, we're over here!

DM - [pushing against debris blocking his way] Hold on, I'm coming! Hold on! Hang on!

Anne - Hurry, Duncan! Hurry!

DM - [almost through to them] Hang on! [knocks debris away]

Anne - Duncan!

Karen - We're here!

DM - [rushes to them] Are you all right?

Karen - She's fine. She's fine.

Anne - Duncan, the baby. Duncan. Duncan, the baby -- the baby's coming.

DM - You sure?

Anne - Yes. [has another contraction]

Karen - Keep breathing. Keep breathing. Keep breathing. [breaths with Anne]

Anne - Ah! Oh, Duncan.


23. Flashback - London, 1940 - damaged stairwell, night 4

Diane - [sitting at bottom of stairs] You know, I fantasized about us dying together, growing old, raising some grandchildren, spending some time on the front porch in rocking chairs. This -- this isn't what I had in mind.

DM - How'd we skip to -- to grandchildren so fast?

Diane - No, you're right. First come the kids. I -- I figure maybe half a dozen of them.

DM - You can't even fantasize in moderation, can you?

Diane - Why, you don't like kids?

DM - No, I like kids.

Diane - Wouldn't you want to have some someday?

DM - Someday.

Diane - You know, this conversation isn't making me feel any better. [DM comes down the stairs, sits beside her.] I'm scared, Duncan.

DM - [takes her hand] Me, too.

Diane - You know, I've really done a lot of crazy things in my life, but I -- I always thought I'd be okay. I've never been this close to death. Have you?

DM - Yeah.

Diane - When I was little, I got this doll in the mail for my birthday. She instantly became my favorite doll.

DM - I thought I was your favorite.

Diane - That's now. We're discussing then. I guess I loved her so much because I got her from an aunt in Colorado that I never met, and I still haven't. I guess she was sort of the embodiment of all my dreams. Getting to Colorado, becoming a real woman with my own car. Finding Mr. Right, even though I always thought his name was going to be George.

DM - What did he look like?

Diane - I think he would've looked exactly like you. [DM looks at her sadly.] 5 I'm scared. [leans against him] I guess none of this would be important if it wasn't our last day on Earth.

DM - It's important to me.

Diane - I'm really afraid, but I don't... have any regrets for anything I've done, only about... what I haven't done... and what it would have been like for us to spend our lives together. At least we get to die together.


28. Inside wrecked station - subway landing 4

Anne - [leaning back against DM, an emergency blanket around her] How am I doing?

Karen - [kneeling between Anne's legs] Good. You're doing very good. It won't be long.

DM - You're doing great.

Anne - Are you always this cheerful?

Karen - Sure, when someone else is having the baby. [laughs]

DM - Let's breathe.

Anne - Okay. I'll breathe. [starts breathing rhythmically]

Karen - Yes. Yes.


28. Flashback - London, 1940 - damaged stairwell, night 4


Diane - I always thought there'd be more time. More dancing, beaches, exotic hotel rooms. Oh, Duncan.

DM - This is before the grandchildren?

Diane - There's this place... my aunt wrote me about. I always meant to go. Gothic... in Colorado.

DM - The wildflower capitol of America.

Diane - It's meant to be beautiful.

DM - Oh, it is. It is beautiful.

Diane - You've been there?

<DM - There are only two ways in. CUT You can take the pack... through the pass from Aspen, or take the river, the Meanders.>

[Overlays of Colorado mountains.] 8

Diane - Because it me-meanders?

[Overlay of Colorado meadow.] 8

DM - All over the place.


31. Inside wrecked station - subway landing 4

(resume previous scene)

DM - It's okay. Come on. [to Karen] You said you've done this before?

Karen - Well, I've had them. I've never caught one.

Anne - Oh, great.

DM - I'll do it.

Anne - No! Don't, please. Please stay here. Hold me. Hold me.

DM - Come on. Come on.

Anne - Okay.

DM - Push, please.

Anne - [exhausted] No.

Karen - Push. Now. Push.

Anne - [tries to push] No, I can't anymore.

DM - You can do it. You can.

Anne - Duncan, I can't do it.

Karen - Push. Push.

DM - Please.

Karen - She's coming.

Anne - [tries to push] I can't anymore.

DM - You can. You can do it. You can--

[A shower of sparks erupts nearby. They all jump.]

Anne - Okay.

Karen - Come on.


29. Flashback - London, 1940 - damaged stairwell, night 4

(resume previous scene)

<DM - CUT In the late spring, when the snow is all gone, the fields are bursting with color. [Overlays of Colorado meadow, various wildflowers.] 8 You walk along this pass... You're listening to the nuthatches and the magpies, when suddenly... you see this indelible... splash of color rising from the grass. It's the flowers. The flowers stay with you forever.>

Diane - You're not making this up, are you? [DM shakes his head.] Doesn't matter.


32. Inside wrecked station - subway landing 4

(resume previous scene)

Karen - Come on. She's coming! The baby's coming!

DM - Breathe.

Karen - Push! Push! She's coming. The baby's coming. Push.

DM - Come on.

Karen - Push. Push. Push. [laughs] Yes! Yes! Oh, yes!

DM - Come on, Anne. You can do it. Come on. Come on. Come on, Anne. You can do it.


30. <Flashback - London, 1940 - damaged stairwell, night 4 CUT

(resume previous scene)

DM - Oh. In the summer, when it's backlit by the falling sun, it looks like a giant cathedral... glowing in the sky. [gasps]

Diane - It's beautiful. [falls unconscious]

DM - At night, it's always... very quiet. [falls unconscious]

[Ross Parker & Hughie Charles (composers) - "We'll Meet Again"

We'll meet again...]>


33. Inside wrecked station - subway landing 4

(resume previous scene)

[Don't know where, don't know when.]

Karen - Oh, yes! Oh, oh, she's beautiful! [lifts baby up]

[But I know we'll meet again some sunny day.]

[Baby cries.]

Karen - She's beautiful.

[Keep smiling through...]

Anne - Let me see. Let me see. CUT

[Just like you...]


33. Flashback - London, 1940 - damaged stairwell, next morning 4

[...always do.]

[The rubble blocking the stairs shifts. A small hole appears, letting in the light of a headlamp.]

[Till the blue skies drive the dark clouds far away.]

Rescuer 1 - Hello? [moves more debris, enlarging the hole] Hello? Hello? Hello?

[DM & Diane are collapsed together at the bottom of the stairs, both dead. The rescuer shines his headlamp around the stairwell.]

Rescuer 1 - No, nothing. Right. Move on. [DM revives, inhales.] Wait a minute, what? {There's movement.} Oi! Oi! [looks down through hole] Right, are you okay? [DM rolls Diane's head up against his shoulder.] You're a lucky bugger. We didn't think we'd find anyone alive down here, what with all this gas. [DM strokes Diane's face.] Hang on, mate. We'll have you out in a minute.


33. Inside wrecked station - subway landing 4


<RR - [offscreen] Mac?

DM - Richie?

RR - [offscreen] Mac, is that you?

DM - Yeah. Over here, Richie. [shines flashlight in his direction]

RR - [appears with rescue team] Hey, Mac. You okay? You guys all right?

DM - Yeah, we're fine.

Rescuer 2 - Three of you down there?

DM - Yeah, three.

Anne - [holding baby wrapped in the emergency blanket] Four.

DM - Four!

RR - We'll get you guys out of there in a second.

Rescuer 2 - [into radio] We need a stretcher down here, now.

Man on radio - Roger. Stand by {??}.

RR - [reaches Karen] You okay?

Karen - Yeah.

RR - [to rescue team] Can we get a hand with this woman, please? [sends Karen toward them] Thanks. [kneels beside Anne & DM] You guys all right?

DM - Richie, we need a blanket -- fast. [pulls down edge of emergency blanket to reveal baby]

Anne - She needs help.

RR - Oh, man! Um, yeah. I, uh--

DM - Yeah. Quick.

RR - I'll get some blankets. I'll be right back.

Anne - Hurry? Please, hurry.

DM - Okay.

[RR hurries away.]>

Anne - I've, uh, I've already picked a name for her.

DM - Well, I hope it's a simple one. Kids like simple names.

Anne - Yeah. Mary. I'm going to call her Mary.

DM - Really?

Anne - Mm-hmm. You don't like it?

DM - No, I do. Uh... it was my mother's name.

Anne - Yeah, I know. I asked Joe.


33. MacLeod's Victorian 3

[Anne, RR, & DM are standing in the front yard, looking at the house.]

RR - Guess what, Anne. Mac picked all the colors himself.

DM - That's right. I did. I picked all the colors.

Anne - [holding Mary] Oh. Well, I think you did a terrific job. I really do.

DM - You do? [triumphant laugh]

<RR - You do? CUT

DM - [laughs] Told you.

RR - Well, that's what I meant, about, uh...

DM - Colors.

RR - The colors.

DM - Uh-huh.

RR - I'll see you guys in a second. [walks toward house]>

Anne - It's beautiful.

DM - Well, I thought it was a great place to raise a family.

Anne - Mm-hmm.

DM - It's yours.

Anne - Mine? Oh! Oh, Duncan, that's an incredible gesture--

<DM - Anne, it's okay. I'll put it in Mary's name. CUT

Anne - For Mary?

DM - And you.

Anne - Well... well, even so, I-I couldn't...

DM - Anne, look... Put it in both your names. I wanted you and Mary to have it because, well, you've got a lot to think about now, and I just didn't want you to worry about anything. Anne, I just wanted you to have a part of... me.>

Anne - I don't know what to say.

DM - [holds up keys] Say yes. "Yes."

Anne - Thank you. Thanks. Thank you.

[They walk toward the house. Camera pans down to teddy bear in baby swing on lawn, as Brahms' Lullaby plays.] 6

[They walk toward the house in slow motion as camera zooms in slightly on them.] 7 (this is NOT in the DVD version!)


33. <Duncan's island, night 9 CUT

[DM & RR are sitting beside a campfire outside.]>

RR - That was a hell of a gesture, Mac, giving her the house. I used to think a dozen roses was a nice gift. Or a sweater. Maybe even an ankle bracelet.

DM - You think she liked it?

RR - Oh, are you kidding? She's going to be pinching herself for three days just to make sure she's not dreaming. I mean, how often does somebody get handed a five-bedroom, four-thousand-square-foot, custom-designed home? 8

DM - For a minute there, I didn't think she was going to take it.

RR - Not a chance. As soon as you lifted those keys, I knew it was gone. [Both chuckle.] I want to ask you something.

DM - You want to know why?

RR - You're thinking of moving in someday.

DM - No. We were over a long time ago.


<Flashback: Inside barge CUT
(from "Mortal Sins")

Anne - I'm pregnant.

DM - Have you told the father?

Anne - Yes, I have. But, um, he-- [inhales sharply] He-he's an old friend, and it just... happened. It was after you were gone, and--

DM - Anne, you don't have to explain.


Flashback: Quay near barge
(from "Mortal Sins")

Anne - This is not your child. You have absolutely no obligation.

DM - I know that, but I have an opportunity.

Anne - Are -- Are you telling me this or are you trying to convince yourself?

DM - Hey, I'm still trying to get used to it. After four hundred years, it's the last thing I expected to happen.

Anne - Do you want a child?

DM - Yes.


Flashback: Outside church, night
(from "Mortal Sins")

Anne - [runs forward] Daimler, no! [Daimler hits her, sending her sprawling, then shoots Bernard at close range.] No!

DM - [runs to Anne] Anne? Are you all right?

Anne - [crying] Oh, Duncan... the baby!


Flashback: Hospital
(from "Mortal Sins")

DM - He killed Bernard. He would've killed you.

Anne - I understand. I can't live my life like this, Duncan. I thought I could, but I can't. [sniffles] Duncan, I'm a doctor. I save lives. I don't take them. I can't start wanting to take them. Duncan. [They hug.]>


33. Duncan's island 9

(resume previous scene)

[DM looks at campfire, remembering.] 9

RR - Yeah, but it doesn't make sense. I mean, you worked on that place for months. You've got to have a personal relationship with every single nail in there.

DM - Richie, did you see the look on her face after I gave her the keys?

RR - Sure. She was glowing.

DM - That's the reason. For that one moment. Just to see the look on her face. CUT


End of "The Blitz"

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