Episode 20: Avenging Angel
Scenes from the DVD set's "Final Shooting Script"
that do not appear in the episode.
[Cahill is dying. He stumbles to the far sidewalk and into the alcove, where he collapses near the bas relief and plaque. A moment later Duncan finds him and bends over him. Several passersby gather on the street behind. Duncan shelters the fallen Immortal's body from them. Cahill lies in the shadows, and they can't see what has happened to him.]
MacLEOD - [over his shoulder] He's all right. Just had a little too much to drink. I'll take care of him.
[The passersby murmur and disperse. When he is unobserved, Duncan reaches under the bloodstained jacket and jerks the stiletto from Cahill's breast. He finds Cahill's wallet and takes it out, reading the identification. Then he rises, stares down at the Immortal at his feet, puzzling something out.]
[short while later]
[The street is now nearly free of traffic. Bettini limps from the café on Claudine's arm. A limo waits for them at the curb. They get in and are whisked away. They pass right by MacLeod, who stands at the entrance to the alcove, watching them, wondering how they fit into this little drama. Behind MacLeod, in the darkened alcove, Cahill suddenly opens his eyes wide. He sees the bas relief and plaque, reads the name Jaques de Molay on the plaque, and blinks in amazement.]
CAHILL - It's a miracle.
CLAUDINE - [intense whisper] I know what I did to him. He couldn't be alive.
BATTINI - Chalk it up to your guardian angel, then. [caresses her cheek] Listen, Jean-Paul has the limo out front. He'll drive you to Monsieur Du Villiers. You wouldn't want to be late for your oldest client.
INT. ELAINE'S APARTMENT LATER
[Elaine stands in the doorway, speaking to a police detective, while MacLeod and Tessa sit on her couch.]
ELAINE - [to detective] No, I never saw him before. I'm sorry I can't be more help.
[With a feigned calm, she politely closes the door.]
EXT. STREETS OF PIGALLE DAY/NIGHT
[This is the "sin city" section of Paris, and in MONTAGE we see Duncan hunting for Cahill, stopping whores, sex shop keepers, etc. All the time keeping his antenna up for the buzz. All of this to a driving rock and roll song that has lyrics about mean streets and a world gone mad.]
EXT. MORE STREETS OF PARIS DAY/NIGHT
[A montage of Cahill, watching, stalking whores, fighting his own demons by kneeling in an alley and praying, another looking for someone. We get the sense of a man formulating his new mission in life over a period of days, and fighting against his old life. Finally, we see Cahill standing in . . .]
EXT. ALCOVE TEMPLARS' HOUSE NIGHT
[His eyes wild, his face unshaven, staring at the plaque on the outer wall, then letting himself into the building. Continue with the rock and roll music as it approaches crescendo.]
INT. TEMPLARS' HOUSE NIGHT
[Cahill once more stands before the distorted shadow of the cross on the floor, then he throws himself onto the floor, the cross shadow stretching over him, until he curls into the fetal position as the music climaxes, and fades away on the last chord. END MONTAGE.]
EXT. ALLEY DAY
[MacLeod tries getting through to Cahill, who has the semi-dazed look of the truly insane.]
CAHILL - It's his will.
[MacLeod grabs Cahill by the shoulders.]
MacLEOD - Listen to me. Forget about that crap your stepfather told you.
CAHILL - How did you know he was my step-dad?
[Duncan escorts Elaine down the corridor and into the elevator, which is open and waiting on the floor. Suddenly he feels the BUZZ.]
[Cahill makes his way up the many flights of stairs, two at a time.]
INT. ELAINE'S APARTMENT
[Battini rams another magazine into his machine pistol, a Mac 10, then pulls back the action, engaging the first round. He nurses his sore wrist as he eases the gun back into his pocket and leaves the apartment, locking it behind him.]
EXT. ELAINE'S APARTMENT
[Duncan hurriedly helps put her suitcases in the trunk of his car.]
MacLEOD - Drive straight back to the barge.
MacLEOD - Where are you going?
MacLEOD - He's here.
[She understands. He hurries back into the building.]
INT. ON ELEVATOR
[Battini waits alone for the elevator. It arrives. He gets on. The doors begin to close, then a hand snakes out, stopping them. They reopen. Cahill stands there in front of him.]
BATTINI - You! [He goes for the Mac 10.]
EXT. ELAINE'S APARTMENT
[Elaine is already in the car, when she hears a rapid burst of gunfire. She leaps from the car and runs back into the building.]
[MacLeod is already at the elevator, sees that it is descending, and feels the BUZZ. He can't locate it, looks around, then the elevator doors open, revealing Battini, eyes open in death, staring at him from an unnatural position on the floor of the elevator. MacLeod spins away and heads for the stairwell.]
[MacLeod throws open the door and enters, immediately spotting a trail of blood leading down into the parking garage. He follows the blood trail to a door, then cautiously goes through it into the parking garage. A motorcycle is heard, engine roaring, as it leaves the garage at the far end. MacLeod no longer feels the Buzz.]
[A small crowd has gathered. Elaine stands in front of the elevator, contemplating Battini's body. She trembles when she sees MacLeod.]
ELAINE - [realizing] He came here looking for me. If I had been here, instead of Dominique . . .
[MacLeod takes her in his arms.]
MacLEOD - [comforting] He's gone.
EXT. ELAINE'S APARTMENT BUILDING
[MacLeod leads Elaine past two police cars and assorted policemen toward his car.]
ELAINE - [re: police] They think Dominique was killed by another pimp.
MacLEOD - I would, in their place.
[They walk a few steps. Elaine lights a cigarette . . . turns to MacLeod.]
ELAINE - They've taken my passport. I can't leave the country until they've questioned me some more.
[They walk on for a moment in silence.]
ELAINE - [beat] You know what I regret most? [laughs with irony] That I'll never have a shot at a decent guy like you . . .
Elaine's lines here were not in the original shooting script.
BACK to transcript.
These lines were not in the original shooting script.
BACK to transcript.
BACK to Transcripts Page
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