Episode Transcripts


Episode 2: The End of Innocence

Written by Morrie Ruvinsky
Directed by Gérard Hameline
Aired: October 12, 1996
Transcript revised: 1-3-21


/ 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

Joe Dawson - Jim Byrnes
              MacLeod's Watcher


Haresh Clay - Réal Andrews

Carter Wellan - Chris William Martin
              Clay's companion

Graham Ashe - Chris Humphreys
              MacLeod's teacher in FB


Raymond Fairchild - Gerry Rousseau
              owner of motorcycle emporium

Delila - Rachel Hayward
              owner of Delila's Bar

Guest - Gary Jones
              at hotel



Benny - ??
              off-duty UPS driver at Delila's Bar

Locations List:*
0. Scenes filmed at Highlander studio at 8651 Eastlake Dr, Burnaby [49.258054,-122.913533]: Dojo interior, Joe's Bar interior, Loft apartment interior, Police station exterior
1. Boarding house - 2528 Carolina St [49.261903,-123.090803] (2nd house S of motorcycle shop at SE corner of Broadway & Carolina)
2. Delila's bar (exterior & interior) - 1312 SW Marine Dr, Marpole [49.202892,-123.135495]
3. Carter Wellan's Q - under Arthur Laing Bridge, Marpole [49.200989,-123.134763]
4. Boarding house (establishing) - unknown location
5. Southern Europe - unknown location
6. Joe's Bar establishing shot - Virtue/Reckert Studios, 770 Pacific Blvd [49.274936,-123.111030] (no longer there)
7. Metropolitan Museum (interior & exterior), Haresh Clay's hotel interior - southwest corner of Vancouver Art Gallery [49.282699,-123.121379]
8. Boardwalk, Cemetery - Jericho Beach: boardwalk [49.274567,-123.198323] & cemetery [49.272397,-123.196714]
9. Haresh Clay's hotel (establishing) - The Fairmont Hotel Vancouver, 900 W Georgia St [49.283763,-123.120312]
* 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.
~Rerun on Syfy (2010) matches the official cut, with six 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. In the script, act breaks follow 2, 4, 9, 12, & 14.


5. Empty dojo, night 0

[RR is working out with a punching bag.]

DM - [enters dojo] What are you doing here?

RR - [turns] What?

DM - What are you doing here?

RR - I just needed a place to--

DM - No, no, no. What are you doing HERE?

RR - I just needed a place to work out.

DM - You wanted a place to work out?

RR - Yeah, I just needed a place to work out. What's the matter with you?

DM - Well, if you want to work something out, work this out. [pushes RR down]

RR - What the hell are you doing? CUT

<DM - You're a smart boy. Figure it out yourself. [RR rolls toward his sword, makes a grab for it. DM steps on his wrist.] Ooh, nearly. Oh, you were so close. [RR releases his grip on the sword.] Up. [guides RR up with katana blade at his neck] Richie, didn't I ever tell you not to let go of your sword? You know what can happen, don't you? This. [swings katana in beheading blow]>


5. Boarding house - Richie's room 1

[RR wakes from nightmare with a cry, sits up in bed, panting.]

[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.



3. Empty dojo 0

[Montage of DM performing kata. Joe enters dojo. DM stops briefly, gives him a look, then resumes kata.]

Joe - I, uh, just got back to town.

DM - [continues kata] I heard.

Joe - You know, Paris turned out okay. We're making some changes, MacLeod. I really think that the Watchers are going to make it into the twenty-first century. 1

DM - [continues kata] Dawson, you shouldn't be here.

Joe - Look, there's something we need to talk about.

DM - [continues kata] No, we don't have to talk about anything.

Joe - I think we do.

DM - [stops kata, turns to Joe] Dawson, would you please just turn around and go? I'm an Immortal. You're a Watcher. We can't cross that line. How many times do we have to be taught that? [resumes kata]

Joe - What the hell am I supposed to do? I hear stuff and I can't ignore it. [DM continues kata.] It's Richie. [DM stops kata again, turns back to Joe.] CUT <He came to see me after you left.>


3. Joe's Bar, Last Year 0

[Super: Joe's Bar, Last Year]

RR - He was gonna do it, Joe. He was gonna take my head.

Joe - You know he couldn't help it.

RR - If you weren't there, I'd be dead.

Joe - But that wasn't Duncan MacLeod.

RR - Then who the hell was it? Where is he now?

Joe - He's on a tramp steamer. He's halfway to Europe. Look, Richie, you oughta think about spending some time on holy ground. Sort all this out.

RR - Sort it out. [shakes his head] Oh, man. The guy I trusted more than anyone else in the world tried to kill me.

Joe - Richie--

RR - No, Joe. The reason doesn't matter. It was him. It was Duncan MacLeod. You know what's funny? All this time I'm thinking this, uh, this whole "there can be only one" thing, um -- I'm thinking that's just talk. You know? I'm thinking there's no way MacLeod would ever actually come for me. I didn't believe it. I couldn't believe it. Now -- Now I do.


3. Empty dojo 0

(resume previous scene)

Joe2 After you left, he wasn't the same.

DM - Nobody was.

Joe - He's been walking the edge, MacLeod. Traveling, picking fights, trying to make a name. One of my guys saw him yesterday, on the road, heading back to town.

DM - That's nice.

Joe - He's gonna get himself killed, MacLeod. You've got to talk to him.

DM - That's none of your business, Dawson.

Joe - No, it's yours. [off DM's look] Okay, fine. You don't owe anybody anything. Not me, not Richie. We can just go to hell. [stalks away] He's in that rooming house down at South and Pine. Do whatever you want about it. [leaves]


<Boarding house - Richie's room 1 CUT

[RR moves restlessly on the bed, having another nightmare. Scene from "Something Wicked" overlays RR rolling around on bed.]


Flashback: Empty dojo, night
(from "Something Wicked")

[DM attacks. RR defends himself. DM cuts his leg, toying with him.]

RR - Whatever happened, Mac, we can work it out.

DM - Sorry. Wrong number. [attacks again, cuts RR's shoulder, bows mockingly. RR attacks, 3 fight continues. DM cuts RR agains, smacks a kiss on top of his head, disarms him.]

RR - Just tell me why. The teacher kills the pupil? Is that what this is all about? Is it because there can be only one? Is that it?

DM - [laughs] That's as good a reason as any. [raises his sword to behead RR, is shot multiple times by Joe & falls to the floor, dead]>


6. Boarding house - Richie's room 1

(resume previous scene)

[RR wakes with a yell, sits up, senses 'buzz'. Breathing heavily, he peeks through the blinds of the window, then grabs his sword & goes outside.]

RR - [upon finding DM waiting outside for him] You looking for me? Okay. Here I am.


DM - Look, I came here to tell you I'm still your friend.

RR - I've heard that one before.

DM - Richie, put that away. I'm not going to fight you.

RR - Yeah, right.

DM - I tried looking for you. I tried calling you from Paris, but I couldn't find you anywhere.

RR - I wasn't around. I had some things to take care of.

DM - Yeah, I heard.

RR - You know, I used to stay up at night, wondering... thinking... that there must be some special thing I'm supposed to do with my life because I'm Immortal. And I had this illusion that because you were my teacher, that you would show me what it was. And you did. I got it now. There can be only one. Thanks, Teach.

DM - This is your answer?

RR - That's the way it is, isn't it? Get them before they get you. I've been practicing. Next time you pull a sword on me, it won't be so easy.

DM - Richie, I'd like to take back what happened, but I can't. But what you're doing is wrong. You know that, don't you?

RR - Thanks for the tip. [goes back to his room. DM walks away.]


11. Bike Emporium 1

RR - [walks up to mechanic, whistling] How's it going? I want to buy my bike back.

Raymond - Twenty-four hundred.

RR - I'll tell you what. [pulls money out of jacket pocket] There's the eighteen hundred you gave me. [tucks money into Raymond's jacket pocket] Just give me the keys.

Raymond - [takes money out of jacket pocket, shoves it back in RR's pocket] Listen, this is not a pawn shop, kid. The price is twenty-four. Eighteen hundred will get you that Yamaha with the busted transmission. [points toward a motorcycle] Three hundred more, I'll have her running for you.

RR - [sets money on table, pulls out Zippo lighter] Maybe -- maybe you didn't hear me. [picks up gas can] I said-- [starts pouring gas on row of motorcycles parked nearby]

Raymond - What the hell are you doing?

RR - I said I want to buy my bike back. [sets down gas can, flicks lighter open] And I am sick and tired of being called a kid. [flicks lighter on]

Raymond - You're not going to do that.

RR - You don't think so?

[Raymond throws RR a set of keys. Moments later, RR is roaring away on his motorcycle.]

Raymond - Get out of here, you crazy son of a bitch! 4


4. Establishing shot: Delila's Bar 2

4. Inside Delila's Bar 2

[Sign over bar reads: "BEAT Delila / Win a BEER!" with a picture of two hands arm-wrestling.]

Delila - [to patron waiting at bar] C'mon, Benny. Why do you even bother? [gets into position, grabs his hand]

RR - [from further down the bar] Couldn't possibly be for the beer. You might as well give it away.

Delila - [shoves Benny's hand down easily] Maybe the critic wants to try me?

RR - [points to his beer] For this? No, thanks.

Delila - You don't like it, go someplace else.

RR - All right, then. [takes off his jacket] Let's go, beautiful.

[Delila takes his hand, gets into position. They are evenly matched, until RR is distracted by a 'buzz'. As Wellan enters bar, RR turns to him & Delila slams his hand down.]

Wellan - Barkeep! Scotch rocks, double.

Delila - That's Delila to you, bud.

<Wellan - Delila? Well, in that case I'll have a beer... and a haircut. [smiles] CUT

RR - You're going to need more than a haircut.

Wellan - How about a sense of humor?>

RR - How about you shut your mouth before I do it for you?

Wellan - Well, I'm scared. [to Delila] Aren't you scared?

Delila - Petrified.

Wellan - [to RR] Do I know you? Or do you just go around looking for trouble?

RR - Uh, the name is Richie Ryan, and I'm looking for you, pal.

Wellan - The only head I came in here for was on a glass of beer, but if you want to take it outside--

RR - Oh, I want to take it outside. Let's go. [leaves bar. Wellan follows.]


4. Under highway overpass 3

[Wellan screeches his pickup to a stop, gets out, his sword in hand. 5 RR parks motorcycle nearby, takes off helmet, grabs his sword.]

RR - After you.

Wellan - Is it worth losing your head over a bad joke? We don't have to do this.

RR - Yes, we do. [attacks]

[The two Immortals begin to fight.]


4. Outside Delila's Bar 2

[Clay parks car, enters bar.]


4. Inside Delila's Bar 2

Clay - [to Delila] I'm looking for a friend. [Flash of RR & Wellan fighting.] 3 His name's Carter Wellan. Young kid, long blond hair, lots of attitude.

Delila - Big mouth?

Clay - Attitude. [Flash of RR & Wellan fighting.] 3

Delila - Yeah, he was here until some guy picked a fight with him.

Clay - What guy?

Delila - Someone with MORE attitude.


4. Under highway overpass 3

(resume previous scene)

[The fight continues. RR gains the advantage, mortally wounding Wellan, & takes his head.]


4. Inside Delila's Bar 2

(resume previous scene)

[Clay leaves bar.]


4. Under highway overpass 3

(resume previous scene)

[RR jumps on motorcycle. Clay drives up, jumps out of car.]

Clay - Carter! [RR rides away.] You're a dead man! You hear me?! Dead! [glares after RR] A


7. Establishing B shot: Boarding house 4

7. Boarding house - Richie's room 1

[RR senses 'buzz'. CUT Clay kicks in kitchen door, overturns card table, comes at RR with sword. CUT RR grabs his sword. Clay swipes at it with his sword, breaks the blade in half. RR throws the broken sword aside, picks up a coffee table to defend himself from Clay's sword, then jumps out the window, runs to his bike, & rides away.]


7. Loft above dojo 0

DM - [as Joe exits lift] What are you doing here?

Joe - It's important. Richie's in a lot more trouble than I thought.

DM - I've seen Richie. He can take care of himself.

Joe - Yeah? With what? With this? [holds up broken sword]

DM - [takes sword] Who is it?

Joe - Haresh Clay.


1. Flashback - Southern Europe, 1657 - field 5

[Super: Southern Europe, 1657]

Ashe - [sword-fighting with DM] A very nice effort, young Duncan MacLeod of the Clan MacLeod. [They exchange some more parries, then Ashe trips DM, sending him sprawling.] Personally, I would never use the Thracian lunge on terrain like this. It was only meant for an uphill strike.

DM - [gets to his feet, circles Ashe] It was meant for whenever it works.

Ashe - Well, it doesn't on level ground, now does it?

DM - I slipped. [exchanges a few parries with Ashe]

Ashe - Precisely my point.

DM - How do you know what it was meant for? [Ashe makes a small flourish with his off hand.] Ach. You invented it. [Ashe bows. DM attacks. Ashe counters and gets his sword at DM's neck.]

Ashe - [after a tense moment, laughs, lowers sword] It was really Juan Ramirez who perfected it.

DM - You knew Juan Sanchez Villa Lobos Ramirez?

Ashe - Mm-hmm.

DM - Connor's teacher? [Ashe nods.] Oh, they say there was nothing he could not do with a sword.

Ashe - Or with a lady. [laughs again] He was one of my better students.

DM - You were his teacher?

Ashe - Mm-hmm. [walks away]

DM - [to himself] No wonder I'm losing here. [follows Ashe]

Ashe - I'm good, my friend, but trust me, there are better than me out there. As the Kurgan was better than Ramirez.

DM - Great. Knowing my luck, I'll probably run into them.

Ashe - Cheer up. The sword's not what you live for, just what keeps you alive for the good stuff.

DM - Which is?

Ashe - There are worlds out there for you to discover, Duncan. Music. Art. Philosophy.

DM - What good is philosophy in a fight?

Ashe - We fight to stay alive. Don't forget to live. Imagine what you can see in a thousand years. Imagine what you can do. It's all there for us, Duncan, because we are blessed. Blessed beyond reason with the gift of eternal life. CUT And every year brings something new -- a new vintage, a new fighting move... or a new pattern of flowers on an Italian hillside. Open your eyes and see it. Cherish it. 6


[meanwhile, nearby]

Clay - [on horseback] When the duke challenges you to a game of darts, your job is to lose, young squire.

Wellan - [on horseback, following Clay & carrying Clay's standard] The duke was half blind.

Clay - Ah, yes. But he is still the duke.

[DM & Ashe sense 'buzz' as the mounted Immortals approach.]

<Clay - I know. CUT

Wellan - Is it Ashe?

Clay - Perhaps.>

Ashe - [ducks down, pulls DM down with him] Haresh Clay. We have to get out of here. Find some holy ground.

DM - Why?

Ashe - Now!

DM - [as they move toward church ruins] I do not see anyone.

Ashe - That's what bothers me.

<Clay - [stops horse between them & the ruins] Graham Ashe? CUT

Ashe - [steps forward reluctantly] I am Graham Ashe.

Clay - We were destined to meet one day.>

Ashe - The best day is always the one you're in. [Clay dismounts. Wellan hands him his sword. Ashe turns to DM.] Go. Get to the church yard and stay there and don't come out.

DM - But I ca--

Ashe - Go.

[DM goes to stand in the ruins, watches as Ashe & Clay face off & fight. After a short battle, Clay disarms Ashe. Clay puts down his scimitar, kneels, motions Ashe toward his broadsword. Ashe scoops it up, runs at Clay. Clay turns the broadsword against him, runs him through, then picks up the scimitar & raises it overhead.]

Ashe - [on his knees] Spare me.

Clay - What did you say?

Ashe - [resolutely] Please spare me. In the name of all that's holy, please, I beg you.

Clay - You would beg for your life?

Ashe - I don't want to die. Please spare me. Anything I have to give, I swear it. Just let me walk away. I beg you to let me live.

[Clay steps back, considering. Ashe has a brief moment of hope that Clay will spare him... then Clay whirls with a yell & beheads him.]


9. Loft above dojo 0

(resume previous scene)

Joe - So you still want me to stay out of this? Look, I'm just trying to help my friend.

DM - Richie's not your friend. [grabs Joe's hand, shows him the tattoo on his wrist] This is who YOU are, Joe.

Joe - [pulls his arm away] I know who I am. I've been a Watcher for more than twenty-five years. It's as much a part of me as-- as your Clan MacLeod is to you.

DM - Then for once, keep your vow. Don't interfere.

Joe - [sighs] What about Richie?

DM - Whatever I do for Richie is my business. We're through, Joe. CUT <Do me a favor, Joe. Leave. You know the way out. [They exchange a look. Joe gets into elevator & DM closes gate behind him.]>


9. Establishing shot: Joe's Bar, late night 6

9. Joe's Bar 0

Joe - [cleaning up for the night, looks up in surprise] Richie!

RR - Joe. [offers his hand to shake]

Joe - [shakes hand] Hey. How's it going?

RR - Good. You got a minute?

Joe - Well, sure, sure, sure. It's good to see you. You, uh -- you okay?

RR - Yeah, I'm fine. I, uh, I've been meaning to get in touch. I've been so busy.

Joe - Yeah, so I heard.

RR - I guess you would.

<Joe - [reaches behind bar] Let me buy you a drink, sir. CUT

RR - Sure. [takes shot glasses from him, sets them on table]

Joe - {Ichiban.} [sets tequila bottle on table, sits]

Translations: ichiban - number one / first

RR - Why don't you go ahead and make it a double?

Joe - Can do. [pours shots, toasts RR] Chin-chin.

Translations: Cin-Cin - To your health (Italian toast)

RR - [clinks glasses with him] Cheers. [downs shot, reaches for bottle, offers it to Joe]

Joe - No, thanks. [RR refills his glass.]> Hope you're not driving.

RR - No, I'm not. [downs second shot, sighs] CUT I lost my sword.

Joe - You broke it.

RR - [nods] You guys know too much.

Joe - So I've been told.

RR - Joe, that's actually why I came. I, uh-- I need a couple of grand for a new one. I need to borrow some money.

Joe - [makes a face] Sorry, Richie. I can't do it.

RR - Come on, Joe. I mean, how long've you known me? I'm good for it.

Joe - No, it's not the money.

RR - Then what are you saying? You don't trust me?

Joe - I'm saying I can't do it.

RR - But, Joe, this is me. It's Richie.

Joe - [quietly] Yup. And I'm a Watcher. And I swore an oath not to get involved.

RR - You saved my life. You shot MacLeod. That's not getting involved?

Joe - It was a mistake.

RR - Saving my life was a mistake!?

Joe - I didn't mean it that way. It's just... that's what happened. I pulled the trigger. It was a gut reaction. Richie... As a friend, I wish I could help you. As a Watcher, I can't.

RR - [stands] That's convenient, Joe. That's really convenient! The hell with you. [leaves]


9. Metropolitan Museum exterior, before dawn 7

[RR goes to deliveries entrance, opens gate, 7 picks lock on building door, enters building.]


9. Inside Metropolitan Museum, before dawn 7

[RR enters exhibit hall for 'The Swordsmith's Art: Masterworks of the Forge'. He goes to display case at other end of room, then senses 'buzz'. He breaks the case glass with his elbow, setting off alarm. He tries to remove a sword from the display, but can't move it.]

Clay - [enters hall behind him] I knew you'd show up sooner or later. A man needs a fine blade.

RR - I'm not armed.

Clay - [saunters down the hall toward RR] Ah. Well, there you have it. Like most of life's lessons, the tendency is to learn them too late.

RR - C'mon, man. I mean, where's the honor in this?

Clay - Oh, I didn't come for your honor, boy. I came for your head.

RR - Why me?

Clay - Revenge is the best reason.

RR - I don't even know you.

Clay - You didn't know Carter Wellan when you killed him, did you!?

RR - Oh, you must mean leather boy.

[Clay runs at RR, who dodges. Sirens can be heard approaching outside. Clay swings his sword, hitting a display case and electrocuting himself, giving RR a chance to escape.]


9. Metropolitan Museum exterior, dawn 7

RR - [runs out of the building & directly into the arms of the waiting police] You got me. [Clay watches from nearby as they cuff him & lead him away. Clay backs out of sight. C]


10. Outside Metropolitan police station 0

Male Cop - [in background] Hey.

Female Cop - [in background] Hey, Dave.

Male Cop - [in background] How you doing?

RR - [walks over to T-bird] Thanks for posting my bail.

DM - [standing by driver's door] You're welcome.

RR - I'll pay you back.

DM - Yeah, I'm sure you will.

RR - So, all right, uh-- I guess I'll see you. [starts to walk away]

DM - Richie, can we go for a drive?

RR - [turns back] I don't think so.

DM - Just ten minutes.

RR - No, Mac. I've got a lot of stuff to do, okay?

DM - There are some things you need to know.

RR - Look, Mac. If the bail comes with a lecture, I'd just as soon wait it out in a cell.

DM - The guy that's after you -- Haresh Clay...

RR - What about him?

DM - I met him once before. [gets in T-bird]

RR - [gets in on passenger side] Then how come you're both still alive?


10. Beach boardwalk 8

RR - So your friend was good.

DM - Graham Ashe was a master. I'd never seen anybody like him before. I thought he was the best. I thought he'd live forever, until Clay came and took his head.

RR - Must've been hard to watch.

DM - Hard? It was impossible.

RR - And you never went after him?

DM - No.

RR - Why not?

DM - Richie, that doesn't matter. What matters is he'll kill you.

RR - Maybe Graham Ashe wasn't as good as you thought he was.

DM - He was. Richie, you can't win.

RR - Everyone's entitled to his own opinion.

DM - Look, this fight is mine.

RR - Mac, forget it. The days of you protecting me are long gone.

DM - Hey, this isn't about me protecting you. I have to finish this.

RR - Well, then you'd better find him before I do.

DM - Look, if you face him first, you'll be needing one of these. [reaches into back seat of T-bird, removes a sword] It belonged to Graham Ashe.

RR - I-- I can take care of myself.

DM - Yeah, I know you can. Just take it. Please.

RR - Thanks. [takes sword. DM gets into T-bird.] So, um, I guess I owe you one.

DM - No. I owed you one.


12. Delila's Bar 2

RR - [enters, approaches Delila] Hey. Remember me?

Delila - My heart soars.

RR - I'm looking for someone.

Delila - Whoopee. Call the hotline.

RR - His name's Clay... Haresh Clay. Tall black guy, shaved head. You seen him?

Delila - Baby, you've come to the wrong place. I haven't seen anybody.

RR - [grabs her arm as she turns away] Listen, he'd be looking for me. My name's Richie Ryan.

<Delila - [unimpressed] Richie Ryan. CUT

RR - Mm-hmm.

Delila - Get your hands off me. [pulls away from him]> Like I said. I didn't see anybody, and I don't remember anybody. Excuse me.

[She goes around behind bar. RR leaves. As soon as the door closes behind him, man at corner of bar lowers newspaper he was hiding behind -- it's Joe. He makes sure RR is truly gone, then goes over to Delila.]

Delila - Get ya something?

Joe - Yeah. [puts his elbow on the bar, right hand in position to wrestle]

Delila - [with a smile] Any time. [gets beaten easily by Joe]

Joe - It's just kind of a talent I have.

Delila - You got any more?

Joe - [chuckles] You just never know. [as Delila reaches for a glass] You can pass on the beer, okay? I've got a question I want to ask you. CUT

<Delila - [sets glass aside, leans forward] Shoot.

Joe - You know that fellow that that young punk was just asking you about?>


12. Joe's Bar 0

Joe - [as DM enters] I was just opening up. Now, you look like a man could use a drink.

DM - We both know why I'm here.

Joe - Yeah. Richie's hunting Clay, and there's nothing you can do about it.

DM - He's gonna die.

Joe - Nah, he might live. [off DM's look] Hell of a thing, weighing ethics and honor against a friend's life.

DM - Where's Clay?

[Joe sighs. DM turns to leave.]

Joe - MacLeod. [holds up slip of paper] Clay's address. Bartender gave it to me. [hands paper to DM] Sort of a professional courtesy.

DM - Thanks.

Joe - Mac. [rolls up sleeve, unwraps gauze from wrist, revealing scar where tattoo was]

DM - You're out of the Watchers?

Joe - Maybe it's too late... or maybe it's about time. It's like Mrs. Wischnoff used to say in my old neighborhood. [in Yiddish] Meit ein tuchas can meir nisht danzen a tsvai hossannas.

DM - Yeah. [translating] "With one ass, a man can't dance at two weddings."

Joe - You know, you were right. I couldn't be both your Watcher and your friend.

DM - I'm sorry.

Joe - For what? Making me choose? Look, when I joined the Watchers, I thought it was the most important thing in my life. Learning about the Immortals, keeping the Chronicles -- I thought it was work that had to be done. Well, somebody else can do it now.

DM - [holds up paper] I have to go.

Joe - I know. [as DM turns to leave] See ya. D


13. Establishing shot: Hotel exterior E 9

13. Hotel stairwell/hallway 7

[DM walks up staircase, senses 'buzz'. Elevator dings. DM pulls out katana & goes to stand in niche next to elevator. Elevator opens & Immortal walks out, sword held upright in front of his face. DM steps out of niche, swings katana. Other Immortal reacts, blocking with his sword - it's RR.]

RR - What are you doing here?

DM - What are YOU doing here?

RR - How did you find this place?

DM - Does that matter?

RR - Well, it does if you're after Clay.

[They walk away from elevator, down hallway.]

DM - What do you expect me to do? Stand aside and say, "Go ahead, take him"?

RR - Well, that's what you're asking me to do, isn't it?

DM - You'll lose.

RR - Maybe. Maybe not. Look, if there's one thing you've taught me, it's that I could die, anytime. There's nothing I can do to change that. I got myself into this mess, and I'm not running from it. Whatever happens, happens. That's all I can do.

DM - That's all any of us can ever do.

Guest - [exits hotel room #307] More of you with, uh, swords. [DM & RR look at the swords they are carrying, caught out.] Uh, so what are you guys, anyway? Like, Shriners or something?

RR - Shriners... yeah, yeah, yeah.

DM - [same time] That's it. We're Shriners.

RR - Yeah, yeah.

DM - Shriners, yeah.

Guest - So how come you're not at the funeral with the other guy?

DM - [turns to RR] What cemetery was that again?

RR - I can't remember.

DM - You can't-- what-- [turns to guest] Can you help us out?

Guest - Uh, St. John's on the Sea, I think?

DM - [snaps his fingers] St. John's on the Sea! That's it.

RR - That's it!

DM - Yeah. Thank you very much.

RR - Thanks. [They move quickly back down the hallway.]


13. Cemetery 8

[Clay kneels at Wellan's grave.]



[RR on motorcycle & DM in T-bird drive toward the cemetery.]



[Clay is kneeling in front of gravestone: IN LOVING MEMORY / CARTER WELLAN, senses 'buzz'.]



[DM & RR park their vehicles.]

DM - Richie, wait.

RR - I thought this wasn't about you protecting me.

DM - Richie, do you want to know what this is about?

RR - What?

DM - This is about you seeing me for who I am. I'm not your father, and I'm not your guardian angel. Richie, listen. CUT It's not about you. You want to fight Clay? You get in line. [walks toward Clay]

RR - [to himself] I just might.

Clay - [as they approach Wellan's grave] Duncan MacLeod. I heard you were around here. [stands, faces them] You've come a ways since we last met.

DM - We have unfinished business.

Clay - My fight is with your friend. You had no quarrel with Carter Wellan.

DM - And you had no quarrel with Graham Ashe.

Clay - Are you condoning what he did?

DM - We fight to the death. That's what we do.

Clay - [turns toward grave] Do you know what it's like to have a friend for nine hundred years, MacLeod? I've known him longer than you've been alive. He was my squire and my companion on one hundred campaigns in five continents. Now he is gone, because of you. [looks at RR]

RR - All right. You want a fight? Let's go. Carter, no Carter. Let's go.

Clay - When you are ready. [walks away]

DM - Richie. There's something I haven't told you. [hesitates] He shamed me.


2 & 8. Flashback - Southern Europe, 1657 - church ruins 5

DM - [voice-over] After I watched Graham Ashe beg for his life... and die. [Ashe on his knees; Clay swinging his scimitar.] Clay taunted me, and I did nothing. Nothing.

<[Ashe is on his knees, Clay holding sword at his neck. Clay whirls around & beheads him.]

Clay - [comes toward DM, carrying Ashe's sword] Scared, are you? I have something for you. Ashe's sword. A remembrance. [comes at DM, whirling the sword]

DM - It's holy ground!

Clay - [rams sword into wooden beam next to DM] Don't worry, boy. I didn't come for you. Unless you'd like to step off holy ground. [off DM's reaction, walks away]>


Clay - [to Wellan, as they ride away] The coward who runs for sanctuary is not worth my time or effort. [yells over his shoulder] MacLeod! We'll be at the inn in Fallsbrook tonight, if your knees ever stop shaking.


14. Cemetery 8

(resume previous scene)

DM - I'm not telling you to do this for me. I'm asking you.

RR - Okay. Okay. [steps aside]

DM - Thank you. This is holy ground. You'll be safe here. If he takes me, he'll take you, too.

RR - Then don't let him.


14. Near cemetery 8

[DM & Clay face each other, CUT bow, begin fighting. DM cuts Clay on the shoulder. Fight continues. Clay cuts DM on the shoulder. Fight continues. DM finally gets the upper hand, brings Clay to his knees.]

<DM - You can walk away, if it ends here. CUT

Clay - [whispers] It's what we do.>

[DM beheads him, takes Quickening. Afterwards, he lifts Clay's sword over his head, then sticks it point-first into the ground and looks F down at Clay's body. 8]


15. Joe's Bar 0

RR - Mac said you left the Watchers. I didn't believe him.

Joe - Check it out. [unbuttons cuff, shows RR healing wrist]

RR - Ooh, boy. [reaches for wrist]

Joe - Ah, don't touch it. Don't touch it.

RR - Hurts?

Joe - The wrist is not so bad. But the rest... Well, I lost a lot of good friends.

RR - Well, Joe, I can't really say I'm sorry. I mean, I know the Watchers was your life, but dark glasses, guys in black coats, secret meetings. I don't know. It, uh-- It just didn't seem like your style.

Joe - Yeah, well, it was never meant to be like that.

DM - [speaks up from where he has been sitting quietly in a dark corner] Then make it right. [comes over to bar] Can you get back in?

Joe - [incredulous] What?

DM - Can you get back in the Watchers?

Joe - Maybe. Probably. Why?

DM - For thousands of years, Immortals have fought and Watchers have observed. One day, there will only be one of us left. And someday maybe none at all. Somebody has to record that we've lived. Somebody has to record the history we've seen, and the lessons we've learned. I know what I said, but our lives, our story has to be recorded, not by some petty clerk, but by someone who feels, someone who does. Someone who has honor. Like you.

Joe - What about our friendship?

DM - We'll work it out. [holds out his hand to RR, clasps his hand briefly] See you around.

RR - See you, Mac. [DM leaves. RR looks at Joe, then toward the door as it closes behind DM. 9] CUT


End of "The End of Innocence"

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