[Super: Previously on Highlander]

Joe - [voice-over] An old enemy of MacLeod's, Liam O'Rourke--

Joe - [voice-over] --kidnapped Amanda and me--

[Brian grabs Amanda from behind]

Joe - [voice-over] --as bait for revenge.

[O'Rourke injects Joe with a syringe.]

Methos - First Amanda, now Joe. I see a very worrying pattern developing here.

O'Rourke - I wonder how MacLeod's face will look as he watches you die.

O'Rourke - Shoot the woman and take her head.

DM - Wait!

Joe - For God's sake, MacLeod, you can't do this.

DM - No one else dies because of me, Joe.

Joe - [voice-over] MacLeod is left with a choice.

[O'Rourke raises his sword. Methos shoots at O'Rourke, knocking the sword from his hand. DM runs over to Joe.]

Joe - [voice-over] His life or ours.

[O'Rourke shoots at DM, hits him. DM falls on walkway of parked train engine. The train engine begins moving off down the track, carrying DM's body away.]

Fitz - MacLeod. [voice-over] Did you really think you'd change the world all by yourself?

DM - [voice-over] Why am I here?

Fitz - [voice-over] You've been given a gift, dear boy. Time to see what the world's like without you.

DM - [watching Amanda with Georges] That's not Amanda.

Fitz - This Amanda never met you. Here there never has been a Duncan MacLeod.

DM - Tessa. It's really her? She's alive? Tessa's alive?

Fitz - She never died. Not here.

[Below them, Tessa runs down steps to meet man with two children.]

Girl - [waving at her] Mommy! Mommy!

DM - Are those her children?

Fitz - Yes.

DM - At least she's happy.

Tessa - [greets boy and girl, hugs them] Oh, I missed you! Oh, boy, I missed you. [kisses them]

DM - Ah, look at her, Fitz. [starts to walk along railing]

Fitz - Whoa, laddie. Where do you think you're going?

DM - I have to talk to her, Fitz.

Fitz - Remember, MacLeod, this Tessa never met you.
 

[Sign on gate reads: GALERIE NOEL. DM enters through gate.]

Tessa - [into phone] I would like to talk to Mr. Berry, please. [pause] Yes. [pause] Yes, okay. [pause] Hi! Hi, Dennis. How are you? [pause] Great. What about the catalog?

[Flash of barge interior: Tessa sculpting with clay (from "For Tomorrow We Die")]

[Flash of antique store workshop: Tessa working on a still life (from "The Sea Witch" cut scene #2)]

[DM wanders through galerie, looking at displayed sculptures.]

Tessa - [into phone] And the printing? [pause] Yeah...

[Flash of antique store workshop: Tessa looks at wire sculpture (from "The Sea Witch" -- possibly cut from beginning of scene?)]

[Flash of antique store workshop: Tessa puts welding goggles on (from "Family Tree")]

Tessa - [into phone] Oh, no. I'm going to be in Rome next week. Mm-hmm. For an exhibition, yeah. [pause, chuckles]

[Flash of street outside Pallin's Tudor: Mark shooting Tessa, DM kneeling over Tessa's body (from "The Darkness")]

Tessa - May I help you?

DM - [turns, sees her walking toward him] Um, I was just wondering, um, is this yours?

Tessa - [re: displayed sculpture] Mine? [laughs] No. This is a Coutelle. Oh, I did sculpt once, but I haven't in years. I wasn't very good.

DM - You were wonderful.

Tessa - You knew my work? [DM shrugs uncomfortably.] Weren't we in an art class together at the Sorbonne? It was so long ago. I'm afraid I'm not very good with names.

DM - Duncan. Duncan MacLeod.

Tessa - [shakes his hand] Nice seeing you again, Duncan. I'm--

DM - Tessa Noel. I know. You know, your hands were like magic. Everything you touched seemed to come alive. You know, you once said breathing life into metal was the nearest thing we could get to feeling like God.

Tessa - I said that? [DM nods sadly.]

Customer - Madame, excuse me. [Tessa continues to look at DM.] Could you help me?

Tessa - [to DM] Oh. Excuse me. I have to go.

DM - Yeah, I--

Tessa - [walks over to Customer] Hi. How are you?

Customer - [in background] Great. Nice to meet you. The wings look beautiful.

CUT

DM - How could she do it? How could she give up sculpting?

Fitz - No buyers, MacLeod. CUT [to waiter] Two Macallan malt whiskies made from Scotland's finest waters, please.

DM - Somehow I never expected the dead to need anything to eat or drink, Fitz. Even you.

Fitz - What? No more Guinness? My God. That WOULD be hell. [sends a quick glance skyward] No more champagne? No more strawberries and cream? CUT

DM - Fitz, you're such a-- [Fitz has vanished.]

Tessa - [enters cafe] Duncan?

DM - Tessa.

Tessa - May I join you?

DM - Please. Sit down. [They sit.]

Tessa - It's so strange, but the moment I saw you in the gallery, I felt-- I'm not sure what I felt.

Waiter - [sets Fitz's whisky on table, asks Tessa in French:] {??}, madame?
(According to shooting script: Something to drink for you, Madame? But that is NOT what he says. It sounds like 'Un boire deshem, madame')

DM - Cassis and soda, please.

Tessa - [to Waiter] Yes, that will be fine. [to DM] How did you know?

Andres - [enters cafe] Tessa. There you are. Hello, my darling. [kisses her cheek, speaks into cellphone] Albert, I'll call you right back. [ends call] The gallery told me that you'd just stepped out.

Tessa - Andres, this is Duncan MacLeod, an old friend from the Sorbonne. Duncan, this is Andres Seguy, my husband.

DM - Oh. [stands, shakes Andres' hand]

Andres - Pleasure's mine.

DM - Thank you. [sits back down]

Andres - College. Great times, eh? Too bad it has nothing to do with the real world. What's your field of work, Duncan?

DM - I'm in antiques.

Andres - Antiques. I always wondered who decides when something old and used becomes priceless.

DM - Time... and passion. [close on Tessa looking at him]  ¹

Andres - Look, I'd love to stay and chat, but we really have to--

Tessa - Oh, yeah. [stands up]

Andres - Why don't you join us later for dinner?

Tessa - Oh, no. I'm sure Duncan is much too busy.

DM - I don't want to, um, intrude.

Andres - Nonsense. The children are staying with their grandparents for the evening, and it would be great to have an adult conversation for a change.

DM - All right. I'll be there.

Andres - Good. Hope it works out. Eight o'clock? [hands business card to DM]

DM - Sure. Fine.

Andres - Wonderful. Tessa? [escorts Tessa out of cafe]

Fitz - [reappears at table] You're playing with fire, laddie.

CUT

Tessa - Let's pick up the children at your mother's, then drive down to Cap-Ferrat Friday night.

Andres - I've got a million things to do.

Tessa - Please, Andres.

Andres - Sweetheart, do you think I like working seventy hours a week? Do you like our life? The private schools, the house in the country, the gallery... which loses money every year.

Tessa - Never mind. I'm sorry I brought it up.

Andres - Call Frances at the office and have her set it up. You know I can't refuse you anything. CUT

[DM takes a moment to compose himself, then rings doorbell. Tessa looks out window, opens door.]

DM - Oh. Hi.

Tessa - Won't you come in?

DM - I guess I will. Thanks.

DM - It's a lovely home.

Tessa - Well, you should have seen it when we bought it. It was such a mess. I spent a year putting it back together.

[Vincenzo Bellini's opera 'Norma' plays on stereo in background (Act 1, Scene 4: Casta diva).]

DM - Well, it's beautiful. Just beautiful. [Tessa motions to sofa behind him.] Thank you. [sits]

Andres - [enters room] There's nothing wrong with this place that two million francs couldn't fix. How are you, Duncan?

DM - I'm well, thank you.

Andres - Wine?

DM - Yes. [takes glass from Andres]

Andres - Darling?

Tessa - Oh. Thanks. [takes glass from Andres]

Andres - Cheers. [They clink glasses in a toast. The phone rings.] I'll get it. [into phone] Damn it, Al. The plans have been approved. I'm on my way.

Tessa - [stands, muttering to herself] What the hell?

Andres - [ends call] The whole thing's falling apart.

Tessa - Can someone else go... just this once?

Andres - There's no one else.

Tessa - What about dinner?

Andres - My apologies, Duncan. [to Tessa] Duncan's an old friend. I'm sure you'll have plenty to talk about... without me. I'll call you. [kisses her cheek, leaves]

Tessa - Duncan--

DM - I should go. It's been nice seeing you. [leaves] ²

Tessa - Duncan. It's a pity to waste all that food. I wish you could stay.

DM - I can't. [starts to walk away, turns back] Tessa... After you left the Sorbonne, what happened?

Tessa - What do you mean?

DM - You loved your work so much. You had such passion for it.

Tessa - Passion doesn't put food on the table or a roof over your head. I was naive. I was a schoolgirl when you knew me. CUT Nobody cares about my work anymore.

DM - I do.

Tessa - I've kept a few pieces from the old days. Would you like to see them?

[Tessa flips lightswitch but overhead light stays off.]

Tessa - Oh, the bulb must be out. I don't think I've been in here since Suzanne was born. We talked about turning it into a playroom for the children, but... somehow I couldn't.

DM - [pulls dropcloth off sculpture, looks at it] Inamorata.

Tessa - What did you say?

DM - Inamorata. Two lovers destined to be together forever, but forever kept apart by the gods.

Tessa - No one knows that. I never told anyone. Not even my husband. How could you possibly know?

DM - Tessa, do you-- do you believe in... in fate?

Tessa - I want to.

DM - [leans in as if to kiss her, but stops himself] I'm sorry. I'm sorry.

Tessa - Duncan. Duncan. [kisses him]

[short time later]

[They make love in the moonlight, on a lounge in the workshop.]

[later]

[DM wakes up alone on the lounge, gets up, wraps sheet around his waist, goes over to Tessa.]

DM - Tessa?

Tessa - [upset] It was wrong. My husband, my children.

DM - I'm sorry. I just want you to be happy.

Tessa - Happy? [sniffles] I thought I was happy.

DM - [quietly] Tessa--

Tessa - Go. Please, Duncan, just go. [leaves]
 

DM - Oh, Fitz, I should never have gone there. What-- Why'd you let me?

Fitz - Oh, laddie. You didn't create the emptiness in her life. You just made her look at it. ³ Sooner or later she was bound to realize what she'd given up. It's her destiny here. Destiny is like a river, MacLeod.

DM - Oh, no. Come on, Fitz.

Fitz - Have a little respect for the dead, laddie. CUT As the Spanish say, "Que será, será." What will be, will be. [looks behind him at female bartender] A case in point, dear boy.

DM - [looks at bartender] No.

Fitz - I'll be right back.

DM - Fitz.

Fitz - [goes over to bar] My dear, your beauty lights up this bar like a beacon in a storm.

<Methos - CUT [offscreen] Hey, give me a beer. I said, give me a beer! [DM reacts to the familiar voice.] Oi, ya tart. What's it take to get served in this hole?

Fitz - Easy, my friend. Can't you see the lady's engaged?

DM - Methos.>

Fitz - [as Methos turns away from bar toward DM] Delightful chap.

Methos - What's your problem?

DM - Me? Nothing.

Methos - You're looking at me as if you know me. You don't know me.

DM - Maybe it's your sunny disposition. [Methos grabs his wrist, pulls sleeve back.] Looking for something? Hmm? [pulls his arm away] How about two out of three?

[The Easter Island Philharmonic - "Where We Are Happy"

Methos - Let me give you some advice. You keep your eyes to yourself. [leaves]

<Fitz - [quietly in background, to bartender] We could find a cozy spot, build a fire, gaze out at the sea. Two days. That's all I ask.> CUT

DM - [goes over to bar] Say good night, Fitz.

Fitz - But, um, I was just telling her how she could repay me for saving her.

DM - Yeah. Did you forget the part about you being dead here? [walks away] Come on!

Fitz - Ohh! [kisses bartender's hand, joins DM]

DM - Wait a minute. ARE you dead here? I mean, Kalas killed you because of me.

Fitz - No, no. Here I've been pushing up daisies for two hundred and eighty years.

DM - Hmm?

Fitz - Some business about blowing up King George went horribly wrong, and there was, uh--

Fitz - Run!

Fitz - [voice-over] --no lummoxing Scotsman there to save my arse.

[Cart full of dynamite explodes.]

(resume previous scene)

Fitz - So I had to keep an appointment with a headman's ax. I don't know about you, MacLeod, but that two hundred and eighty years was rather important to me.

Fitz - [sighs] So, don't worry about me. You worry about your friend Methos.

DM - What happened to him, Fitz?

Fitz - Well, he did what I do all the time... and what all of us do eventually. He-- He... fell in love.

DM - Where are we?

Fitz - More appropriately, WHEN are we? Made a little jump in time, dear boy. It's 1995 here, 'round about the first time you met him.

CUT

Jillian - Please-- Please, just let me tell them.

Methos - What are you going to tell them, Jillian? That I am an Immortal and I've been masquerading as a Watcher all these years? They're not going to like that. They are not going to throw me a party.

Jillian - Look, they know you. They like you. You'll make all Immortals human to them.

Methos - Do you think that the Turks didn't know the Armenians were human? Do you think that Hitler didn't know the Jews were? I have listened to the screams of midwives being burned by women that they had nursed through labor because suddenly they thought they were witches. To admit they were wrong, they would have to admit that they were murderers. It's easier for them to make believe that we're all an abomination and just let the killing go on.

Jillian - There's going to be a war, and you have to do something.

Methos - I am doing something! I'm staying alive. It's all that matters in the end. [DM watches through window. Jillian takes Methos's hand. They hug.] I love you, Jillian. More than I've loved anyone in so long. I can't remember. That's why I told you. But you have to trust me on this one. You trust me?

Jillian - [nods] I love you. [Methos kisses her.] ⁴

Fitz - [voice-over] And he trusted her enough to buy her a ring and ask her to marry him.
 

Fitz - [voice-over] She was one brave girl, that Jillian.

Methos - [holding open ring-box] Jillie?

Fitz - [voice-over] She was determined to make Horton see that Immortals weren't all abominations.

Methos - [as Jillian enters apartment] Surprise.> [smile drops from his face]

Jillian - [leading Horton into apartment] Oh, darling, please, don't be angry with me.

Methos - What have you done?

Jillian - This is our chance to finally stop the killing.

Horton - I'm afraid I can't agree. [shoots Jillian]

Methos - No! CUT

<[Horton shoots him as more Hunters enter apartment. Methos ducks behind sofa as they all begin shooting at him. Suddenly another man crashes through a window with a yell and mows the Hunters down with a machine gun. Horton runs away. DM & Fitz continue to watch through window. Methos's rescuer is Kronos. He walks over to Methos, waits for him to revive.]

Kronos - Greetings, brother.

Jillian - [as Methos looks over at her] Forgive me. [dies]>

Fitz - Methos became bitter, filled with hate. And Kronos gave him a vent for that hatred. The Horsemen rode again, and they made the Russian mafia look like the Vienna Boys' Choir.

DM - But how could that happen?

Fitz - Oh, Kronos wanted to put the Four Horsemen together again, and, uh, you weren't there to stop them.

DM - But Methos had changed.

Fitz - Well, without you, he hadn't changed enough. Pity for him. And a pity for Richie.

DM - What happened to Richie?

Fitz - Ohh, now that's another sad story.

[Super: Vera Cruz, Mexico 1995]

Fitz - [voice-over] Well, when you met him, he was a tough kid from the streets who stole because it was easier than working for a living. And he liked the rush. He got busted and decided it was better to skip bail and vacation in Mexico... than face three-to-five years in jail for breaking and entering.

[RR cases the house, pushes open a window, climbs inside. A gunshot is heard offscreen. RR jumps back out of the window.]

Fitz - [voice-over] Nothing much else changed, except the way he died the first time.

[Man shoots at RR again.]

[RR collapses at base of tree, dies.]

Fitz - [steps out from behind tree with DM] And when he came back to life, he didn't know what had happened to him. [RR revives, examines his healed abdomen, gets to his feet.] So he kept on running. [RR looks around, not seeing Fitz & DM standing there, then runs off.]

[Motorcycle fishtails as it speeds away. Police car pulls up outside warehouse (from "Manhunt").]

Fitz - [voice-over] First it was from the police in the States.

[Officer runs toward camera, police car following behind him (from "Manhunt").]

Fitz - [voice-over] So he left the country, thinking he would be safe.

[RR runs around side of building (from "Leader of the Pack").]

Fitz - [voice-over] Then the Immortals came hunting.

[Immortal in curved train tunnel (from "Blackmail"). Luther standing on pile of rubble (from "Legacy"). RR runs down alley. ]

Fitz - [voice-over] He ran from city to city...

[RR stops motorcycle at gas station outside Paris (from "Prodigal Son"), rides motorcycle along mountain road (from "Courage").]

Fitz - [voice-over] ...always wondering how they were able to find him.

[Dallman Ross walks out of fog (from "The Lamb"). Haresh Clay kicks in door; RR jumps out window to escape him (from "The End of Innocence").]

Fitz - [voice-over] Richie still had no teacher.

[RR runs down alley, senses 'buzz'.]

Fitz - [voice-over] He had no idea of what he was... or why people he had never known were trying to kill him.

[Methos steps into view.]

[Super: Paris, 1995]

Fitz - [voice-over] Methos became Richie's teacher, but he taught him a lot more than how to use a sword.

RR - [enters warehouse] It's done. [drops briefcase on table where Methos and Kronos are assembling guns]

Methos - Any problems?

RR - I didn't think a million bucks would be that heavy! [opens briefcase, <runs stack of bills under his nose] Oh, yeah! CUT

Kronos - I think our friend is a quick learner.>

Methos - Well, I can always spot potential.

[RR laughs.]

Kronos - Time, I think, for a little... test.

Methos - Dawson, you think?

RR - Whoa, whoa, whoa, whoa, whoa, whoa! Who's Dawson?

Kronos - He's one of the bastards who killed our brothers, Caspian and Silas.

RR - Hey, whatever you want. I'm your man.

Methos - We want him dead. CUT
 

[Joe enters apartment, looks up to find RR pointing a gun at him.]

RR - Don't even think about running.

Joe - [scoffs] Very funny.

RR - Get in here!

Joe - [walks toward RR] You know, you must be, uh, pretty good to break in here.

RR - Yeah, I'm good enough.

Joe - You sure that safety's off?

RR - Shut up. [motions with gun] Sit down!

Joe - What do you want, kid?

RR - I said, sit down!

Joe - [sits] Okay. Now what?

RR - Now you die, that's what.

Joe - It's just that easy, is it, kid?

RR - Yeah.

Joe - Then how come your hand's shaking like an eighty-year-old with the DTs?

RR - Because-- Because I hate you.

Joe - You don't even know me.

RR - You're a Watcher, man. You're one of them bastards that's trying to kill us. ⁵

Joe - No. Not me. It's Horton.

RR - Yeah. Right.

Joe - You're not going to shoot me, Richie. [off RR's reaction] Yeah. I know your name. You've been running my guys ragged -- across the States, Barcelona, Rome, Marseilles. It's just too bad it had to be Methos to be the one to find you.

RR - Methos is a great man!

Joe - Yeah, he could've been, but now he's scum, kid. CUT You are an Immortal, Richie. Do you have any idea the gift you have been given? Don't let him turn you into something you're not. You're not a killer, Richie.

RR - Shut up, man.

Joe - You can live forever... or you can kill forever. It's up to you.

RR - Yeah, I could. Thanks. [follows them to car] ⁶

[Camera pans down from tree branches to car driving up.]

RR - [voice-over] I'm sorry. I tried. I couldn't do it. ⁷ (This line is NOT here in the DVD version!)

Methos - [gets out of car] Let's do it.

RR - [as they pull him from back seat of car] What's going on?

[Methos and Kronos pull out their swords.]

Kronos - It's a reckoning.

RR - Oh, come on, man. Just give me another chance.

CUT

Methos - You're just not the man for the job, Richie.

RR - I'll -- I'll blow town, man. I swear! You won't even know I exist.

Kronos - [laughs] How true.

Methos - [pushes RR to his knees] No weak links.

RR - Oh, Methos. Please! I thought we were friends.

[Nearby, DM looks at Fitz. Fitz shrugs.]

Methos - We are friends. [pats RR's cheek] Good-bye, my friend.

RR - No!

[Methos beheads him. ⁸]

[Camera pulls back from extreme close-up on DM's shocked expression.]

DM - That son of a bitch. That son of a bitch. ⁹ Where is he, Fitz?

Fitz - When will you get it through your thick head that you can't make a difference here?

DM - Fitz, where is he?

Fitz - Don't blame me. I'm only the messenger. You can't change anyone's fate. MacLeod, if you've got a problem, take it up with the front office. [looks skyward]

DM - Fitz, you take me to him, and you take me to him now.

<Fitz - CUT Oh, well. You asked for it, laddie. Now, where were we? Ah, yes. Two years later, Joe's gone to hell because he's lost the Watchers. And the Horsemen are about to persuade him to lead them to Horton.>

Methos - [drives van up in front of Joe's wheelchair] Hey, Joe. [gets out of van. Joe points gun at him. Kronos appears behind Joe and takes gun from him, hands it to Methos.] Long time no see.

Kronos - Trouble? Ahh. Look, all he needs is a little bit of encouragement. ¹⁰

Methos - [voice-over] The Watchers were yours, Joe. And Horton, he took them away from you. He made you what you are today. (The domestic version has a longer panning shot here, instead of a static shot, and this line replaces the shorter voice-over line below.)

CUT

Methos - [voice-over] But WHEN was he here, Joe? Six months ago? A year? ¹¹
 

Methos - CUT We're going to give you one more chance to tell us where he is.

Joe - Just try the Yellow Pages.

Methos - Do you really need to be a hero that badly? [draws his sword]

[A clanging noise sounds offscreen.]

Kronos - Maybe there's something here after all. [goes to investigate]

Methos - What's it going to be, Joe? The heart? Or maybe the belly. Perhaps a little off the top here.

[DM attacks Kronos with a metal pipe, knocks him out, turns to confront Methos.]

DM - I am Duncan MacLeod of the Clan MacLeod.

Methos - Never heard of you.

[They begin to swordfight, DM using Kronos's sword.]

Joe - Kill him!

[Fight continues. Methos pulls out a knife. DM blocks it, punches Methos.]

DM - I've seen that one before.

[Fight continues. DM slices Methos's arm, causing him to drop the knife.]

Joe - Kill him! Kill that bastard! ¹²

[DM guts Methos. Methos collapses to his knees.]

Methos - What are you?

DM - Ghost of Christmas Past. [beheads Methos. Methos's body disappears. Joe is gone, too.]

Fitz - So this is the world without Duncan MacLeod of the Clan MacLeod. Amanda's dead. Joe's about to die. Tessa will drift into bitterness, facing a life without passion. Richie Ryan lived and died a thief. And me? [chuckles] Well, I missed out on almost three centuries of living. [DM sighs.] Now, that's an awful lot of unhappy women.

DM - [chuckles] Oh, Fitz. I missed you.

Fitz - Not half as much as I missed you, laddie. [looks up] But it's time for you to go home now. There's places to go.

DM - Places to go.

Fitz - Mm-hmm. And friends that need you.

DM - Yeah. I guess. [hugs Fitz] Good-bye, Fitz.

Fitz - And you make sure it's a long time before you darken my doorstep again. Do you hear me?

DM - Mm-hmm. I hear you.

Fitz - MacLeod. Look up.

DM - What?

Fitz - Look up, you silly bugger.

Methos - [leaning over DM on train car] Come on, come on! [pats DM's cheek]

DM - Where am I?

Methos - What?

DM - Where am I?

Methos - You're in Paris. I just saved your life. I had to get you shot to do it, but you've got to take the rough with the smooth.

DM - We were fighting, you and I. You killed Richie, then Joe.

Methos - What ARE you raving at? Joe is a bit tied up at the moment, and you've been off down the bloody rails. Now come on.

DM - How long have I been gone?

Methos - Only a couple of minutes. What's it matter? We've got to get out of here. O'Rourke's merry men are probably right behind me.

Tom - [steps out from behind train car] Aren't you the smart one? [shoots Methos, points gun at DM] Come on, boy. O'Rourke wants ya alive.
 

CUT

<DM - You ever hear of people coming back from the dead?>

Tom - You're daft! I should just shoot you now and be done with you.

DM - Then I guess you don't even believe in ghosts, then, do you?

Tom - Don't try it!

[Methos taps him on the shoulder, then knocks him out when he turns.]

DM - Not bad for a ghost.

Methos - You should see me at Halloween.

DM - [looks down at Tom] I think I have a costume for you.

[short time later]

Methos - [wearing Tom's coat and hat] You know, this "bad guy just your size" routine never works, MacLeod.

DM - All O'Rourke has to do is buy it for thirty seconds. ¹³ CUT

Amanda - He's been gone a long time.

Joe - Yeah, well, maybe that means he got away.

Amanda - Maybe it doesn't.

[Joe sighs. Two figures appear walking toward them from the train tunnel. Amanda senses 'buzz'. Methos walks backward in front of DM, pointing gun at DM while hiding his face from O'Rourke.]

O'Rourke - It's about time.

DM - What, did you miss me?

Methos - [with Irish accent] You cheeky sod! You show a little respect. [whirls around, shoots Brian, points gun at O'Rourke]

Joe - [hushed] It's Mac.

O'Rourke - You gave your word, MacLeod.

DM - Let's just say I had a change of heart. [O'Rourke chuckles.] Now I hope you can be flexible about this because we can do this the old-fashioned way without any outside interference.

[O'Rourke tosses katana to him. Methos jogs over to join Amanda and Joe as swordfight begins. O'Rourke rolls under flatbed train car. DM climbs on top of car. O'Rourke continues crawling under car.]

Methos - [unlocks Amanda's handcuffs] I should have shot that bastard when I had the chance.

Amanda - [eyes glued to the fight] Thanks. [as O'Rourke comes out from under car, calls out a warning] MacLeod!

[O'Rourke joins DM on top of flatbed car, fight continues. DM kicks O'Rourke backwards over some boxes, glances around, ¹⁴ runs after him.]

Methos - Come on.

[They follow the two Immortals farther into the depot. DM moves cautiously into open area surrounded by old cars. O'Rourke knocks stacked barrels into him and fight resumes. They lock blades & DM tosses O'Rourke against one of the cars. ¹⁵ He brings his katana down, hitting the car as O'Rourke ducks. They continue to fight on and around the vehicles. Eventually, DM beheads O'Rourke. Quickening begins.]

[Unknown singer - "Amazing Grace"

Amanda - [runs to DM as Quickening ends] Oh, baby. Oh, I thought I'd lost you.

DM - Never. CUT <[looks at them] Never again. [walks away]>
 

[DM stands on roof of barge.]

[Montage of flashbacks as song plays:

- Glenfinnan, Scotland - castle ruins (footage cut from "Homeland")
- Scottish Highlands, 1624 - DM gallops across the moors on horseback (footage cut from "Homeland")
- Glenfinnan village, 1622 - DM's First Death; DM revives from First Death (from "Family Tree")
- Glenfinnan, Scotland - DM rides across mud flats around castle ruins (footage cut from "Homeland")
- Highlands near Glenfinnan, 1618 - Debra, kneeling by stream, smiles at DM (from "Homeland")
- Glenfinnan village, 1624 - cottage interior - DM kneels by father's deathbed; Mary MacLeod lifts family Claymore (from "Homeland")
- Scottish Highlands, 1624 - close on DM as he rides across moors (cut from "Homeland")
- Forest near Glenfinnan, 1624 - DM senses Kanwulf's 'buzz' (from "Homeland")
- Eriskay Island, Scotland, 1745 - DM battles Redcoats (from "Through a Glass, Darkly")
- Japan, 1778 - Hideo gives DM his katana (from "The Samurai")
- Japan, 1778 - DM raises katana to behead Hideo (from "The Samurai")
- Russian Steppes, 1750 - Cossacks charge toward invaders' village (from "Testimony")
- Russian Steppes, 1750 - DM dances around campfire with Cossacks (from "Testimony")
- Scotland, 1746 - DM & Ceirdwyn embrace outside her tavern (from "Take Back the Night")
- Chateau de Valicourt, 1796 - Fitz ducks under DM's arm in doorway (from "Till Death")
- Turkey, 1753 - Amanda in dance troupe at Sultan's palace (from "Finale, Part 2")
- Waterloo, 1815 - DM encounters Darius (from "Band of Brothers")
- Outer Mongolia, 1780 - DM & May-Ling kiss beside a fire (from "They Also Serve")
- Madrid, 1851 - DM dances with gypsy partner in Spanish nightclub (from "Duende")
- Near Consone's house, night - DM & Consone fight in the pouring rain (from "Duende")
- Querétaro, Mexico, 1867 - Karros & DM take shelter behind pillars on battlefield (from "The Revolutionary")
- France, 1917 - Burns' Chateau - Sean Burns complains about Freud's cigars (from "Deliverance")
- France, 1918 - Killian leads a charge after the cease-fire (from "The Colonel")
- Lakota Sioux Camp, 1872 - DM follows Kahani into lake-side camp (from "Line of Fire")
- Lakota Sioux Camp, 1872 - DM kisses Little Deer (from "Line of Fire")
- Lakota Sioux Camp, 1872 - DM cradles Little Deer's body, watches her funeral pyre burn (from "Line of Fire")
- Loft apartment - DM & Tessa lie on bedroom rug together, talking (from "The Darkness")
- Antique store - DM & Tessa tease each other about making coffee (from "Eyewitness")
- Antique store workshop - Tessa with welding goggles, looks at DM (from "Family Tree")
- Pallin's Tudor - hostage room, night - DM sends Tessa off with RR (from "The Darkness")
- St. Joseph's Chapel - rectory - Darius shrugs when DM asks him how he is doing (from "For Tomorrow We Die")
- Deck of barge - DM & Fitz share a drink (from "The Hunters")
- Sulfur piles by the docks, evening - DM & Grayson circle each other (from "Band of Brothers")
- Eiffel Tower - DM & Amanda dance on ledge of observation deck (from "Finale, Part 2")
- Missouri, 1926 - DM, Amanda & Cory find themselves surrounded by police (from "Money No Object")
- Lake shore, evening - DM hugs Amanda (from "Dramatic License")
- Warehouse - RR rides motorcycle through window to escape Annie (from "An Eye for an Eye")
- Loft - DM gives RR the clamshell rapier (from "An Eye for an Eye")
- Hillside - training montage (from "An Eye for an Eye")
- Steps near bridge, dawn - DM & RR laugh together (from "Prodigal Son")
- Quay near barge - Methos attacks DM under bridge (from "Methos")
- Gardens - Methos meets DM about Amanda's crystal (from "Methuselah's Gift")
- Cemetery - Methos senses Cochrane's 'buzz' (from "Through a Glass, Darkly")
- Joe's Bar - RR learns that Adam Pierson is Methos (from "The Messenger")
- Joe's Bar, night - Joe sits in the closed bar, playing blues on his guitar (from "They Also Serve")
- Kronos' hideout - DM fights Kronos in submarine bay (from "Revelation 6:8")
- Outside near club, night - Joe watches DM fighting Coltec (from "Something Wicked")
- Warehouse docks - Quickening (from "The Revolutionary")
- Construction yard - Quickening in Quonset hut - (from "Turnabout")
- Warehouse docks - Quickening (from "The Revolutionary")
- Near Consone's house, night - Quickening (from "Duende")

[Shot of DM's feet as he walks away down quay.]

DM - [voice-over] You know, I don't know who or what you are, Methos, and I know you don't want to hear this--

DM - --but you did teach me something. You taught me that life's about change, about learning to accept who you are, good or bad. And I thank you for that.

[Shot of DM walking away down quay into fog.]

Joe - I can't imagine my life without you, Mac. The fact is I don't want to. [hugs him]

[Shot of DM walking away down quay into fog.]

DM - I love you. I do.

Amanda - Really?

DM - Yeah. You make my heart glad. You always have.

[Shot of DM walking away down quay into fog.]

[Super: DM riding horse toward camera (from "Prodigal Son")]

[Shot of DM walking away down quay into fog.]>