SEASON THREE
Episode 16: Methos

Scenes from the DVD set's "Final Shooting Script"
that do not appear in the episode.

 

SCENE ONE

EXT. PARIS SKYLINE ESTABLISHING NIGHT

[As we hear the distant voice of a female singer oozing through an old fashioned, sultry blues number.]

 

EXT. JAZZ CLUB NIGHT

[The source of the song, an older building in the Marais district. As the song ends to a smattering of applause, the door opens -- a man steps into the dark street.]

[NEW ANGLE as he passes under a street light. CLOSE on the man's face illuminated in a ghost-like glare as he turns into camera and we see that it is Kalas. As he continues down the cobblestone street...]

[ANGLE - THE JAZZ CLUB - the door opens again -- another figure quietly leaves the club. He pauses a beat -- then casually moves in the same direction as Kalas. It might be a coincidence. CLOSER as the second man passes the same street light, we see an intelligent face, thirty, neatly dressed: Roger. He pauses a beat, lets Kalas get further ahead -- then moves after him, keeping to the shadows. He's good at this.]

[FOLLOWING Kalas as he moves down the deserted street. Then he slows for a moment: he does not turn, gives no sign of recognition that he is being followed -- just a sense of animal awareness. As he continues walking -- Roger emerges cautiously from the shadows and moves after him. RESUME Kalas - Nearing the mouth of an alley, he stops, pulls his coat tighter around him, as if to keep out the chill.]

[Roger slips into a doorway. He glances briefly at his watch--]

[INSERT - THE WATCH - just past midnight. As Roger's sleeve pulls back, we see a Watcher tattoo clearly visible on his wrist.]

[BACK TO SCENE as Roger looks back up -- ROGER'S POV - The street is empty. Kalas is gone. Roger curses under his breath and hurries towards the alley entrance. FOLLOWING Roger as he turns into the mouth of the darkened alleyway -- but it's empty, no one is there. Where the hell did his quarry go? As he turns in consternation -- a pair of hands snake from the darkness and push him headlong into a wall. Kalas is on him instantly.]

[NEW ANGLE as Kalas holds the dazed Roger immobile, grates in a voice like a conveyor belt carrying gravel into a dusty pit.]

KALAS - Looking for me?

[And off the look of panic on Roger's face--]
 

BACK to transcript.

 

SCENE TWO

 
KALAS - ...if that's really your name.
 

BACK to transcript.

 

SCENE THREE

 
KALAS - Wearing Cerruti?
 

BACK to transcript.

 

SCENE FOUR

 
KALAS - The human body can stand incredible amounts of pain before it dies.
 

BACK to transcript.

 

SCENE FIVE

 
KALAS - And that's all you do?

ROGER - I swear... we keep records, nothing else.
 

BACK to transcript.

 

SCENE SIX

 
ROGER - We wouldn't hurt you, I swear!
 

BACK to transcript.

 

SCENE SEVEN

EXT. MOTORCYCLE RACETRACK DAY

[CLOSE - A RACING BIKE - a sculpted, gleaming racing shell, cylinders pounding into the RPM hell-zone as a rider, surrounded by his pit crew, cranks the throttle. The men move back -- he fishtails onto the track, his motor exploding in a deafening howl.]

[WIDER - THE TRACK - (STOCK) - Various shots as riders gun around it at breathtaking speed, hugging the ground, motors howling like insane wasps. (NOTE: throughout scene various riders run time trials in the B.G.) On a large electronic tote board we see the last name STETKEE and the time of 1136.35.]

P.A. ANNOUNCER - [voiceover] Lionel Stetkee completes his trial lap in 1136.35. That ends the time trials for the German team.
 

BACK to transcript.

 

SCENE EIGHT

 
SARACEN - We'll do it right... Call a press conference... Have a party.
 

BACK to transcript.

 

SCENE NINE

 
SARACEN - [looking around] Where the hell's security?
 

BACK to transcript.

 

SCENE TEN

 
[Wearing the bright poured-on racing leathers of the Saracen team, Basil Dornin straddles his bike as mechanics finetune the idling motor. Basil is late twenties, arrogant, the best and he knows it. A beautiful blonde kisses him on the mouth. She's a racing groupie. Her name is Terri.]

BASIL - Why don't you be a good girl and get me a beer.

[The girl moves off, passing Philippe.]
 

BACK to transcript.

 

SCENE ELEVEN

 
PHILLIPE - Tell him he's crazy.
 

BACK to transcript.

 

SCENE TWELVE

 
MacLEOD - [dry] He'll be the one surrounded with women. Just follow the sound of rattling jewelry.
 

BACK to transcript.

 

SCENE THIRTEEN

The shooting script does not contain any of the lyrics, only indicates that the song is 'o Soave Fancoulla', and that "Maria sings the part of Mimi, matching Kalas' Rudolfo."

BACK to transcript.

 

SCENE FOURTEEN

 
MacLEOD - Sounds like a new keg.
 

BACK to transcript.

 

SCENE FIFTEEN

 
KALAS - Speak... [beat] or I'll forever hold your tongue.
 

BACK to transcript.

 

SCENE SIXTEEN

 
DAWSON - Adam Pierson. [ON MacLeod] Salzer's student. A real prodigy. He knows as much about Methos as anybody. [ON Dawson] If anybody can tell you where to look, he can.
 

BACK to transcript.

 

SCENE SEVENTEEN

 
RICHIE - [urgently] The guy's loaded. He shouldn't be out there.
 

BACK to transcript.

 

SCENE EIGHTEEN

 
KALAS - I'd love to oblige, but the truth is I hate MacLeod much more. [squeezing] Your lover took away everything from me. [beat] I'm just returning the favor.

MARIA - [protesting] No, I'm not his...
 

BACK to transcript.

 

SCENE NINETEEN
This isn't really a change from the script, I just felt the need to include the entire script version of this scene. :-)

EXT. PIERSON'S HOUSE - DAY

[A quiet, isolated house on the outskirts of Paris. MacLeod stands at the door, reaches for the door bell -- he gets the BUZZ. As he reacts, a voice comes over the intercom:]

PIERSON'S VOICE - (O.S.) Come in. It's open.

[A beat -- MacLeod draws his sword and enters the house.]

 

INT. PIERSON'S HOUSE - FOYER - CONTINUOUS - DAY

[The house is stark, ultra-modern. MacLeod moves towards the BUZZ -- it's strong, coming from a well-lit room beyond. He hefts his sword, moves quickly into the room to face--]

 

INT. PIERSON'S HOUSE - STUDY - DAY

[The room is a stark ultra-modern mix of computers and leather-bound books of different sizes. Adam Pierson, a handsome young man of thirty, sits at a desk in an oversized logo t-shirt, Doc Martens propped on the desk, an ancient, leather-bound journal in his lap, headphones on his head. There's a pizza half-eaten in a box, a couple of beers on a shelf behind him. He looks up, gazes at MacLeod with an intelligent, penetrating look. MacLeod looks back. They hold this stance a beat -- then Pierson closes his book and takes off his headphones. His voice is calm and friendly.]

PIERSON - Duncan MacLeod of the Clan MacLeod. [beat] Have a seat. Mi casa es su casa.

[He tosses MacLeod a beer. MacLeod lowers his sword to catch it, a bit shell-shocked. Then MacLeod starts to laugh.]

MacLEOD - Outrageous. [beat] Methos.

[Methos/Pierson inclines his head with the slightest of smiles, acknowledging the fact. And OFF his inscrutable look--]

[FADE OUT.]
 

BACK to transcript.

 

SCENE TWENTY

These lines were not in the original shooting script.

BACK to transcript.

 

SCENE TWENTY-ONE

 
METHOS - Before that... [shrugs] To tell you the truth, I don't remember before that.

MacLEOD - Then you really could be the first.

METHOS - Who knows?

[They continue on for a moment.]

MacLEOD - So, after all this time, have you...?
 

BACK to transcript.

 

SCENE TWENTY-TWO

 
METHOS - For me it's my journal.

MacLEOD - You keep a diary?

METHOS - Sort of. I've been writing it almost since writing began. [beat] Someday, when we're all history, maybe it'll answer a few questions. [beat] There aren't many people who've stood on the same stage with Julius Caesar and the Rolling Stones.
 

BACK to transcript.

 

SCENE TWENTY-THREE

 
MacLEOD - Somehow I thought you'd be...

METHOS - Deeper? Wiser? Bearded?
 

BACK to transcript.

 

SCENE TWENTY-FOUR

 
MacLEOD - You knew I was coming. [beat] What makes you think I won't try and kill you?

METHOS - [stops, looks at him] Because I'm a good judge of character. [beat] And you've become something of a legend yourself. [beat] It's not you who's coming for me.

MacLEOD - Kalas knows you exist.
 

BACK to transcript.

 

SCENE TWENTY-FIVE

This line does not take place here in the original shooting script. (See Scene Seven.)

BACK to transcript.

 

SCENE TWENTY-SIX

 
BASIL - The gravel gets loose.
 

BACK to transcript.

 

SCENE TWENTY-SEVEN

 
KALAS - I thought if I found Pierson, he would lead me to Methos. [with a smile] You're Methos... and you're mine.

[He raises his sword. Methos takes a step back, drawing his own sword, as Kalas advances. Kalas strikes powerfully and Methos parries expertly. This won't be easy.]
 

BACK to transcript.

 

SCENE TWENTY-EIGHT

 
METHOS - I thought about it.
 

BACK to transcript.

 

SCENE TWENTY-NINE

 
[CLOSER - Two bikes - Richie and Basil, leading the rest of the pack as they near a sharp corner in the track.]

[Saracen, standing in the pits, binocs up, watching tensely with the rest of the pit crew.]

[FOLLOWING Richie as he goes into the last corner. Basil on his inside. Richie takes it high -- and Basil slides past, low on the inside. There's no room to maneuver -- Richie's bike slides, goes out of control -- he goes down.]
 

BACK to transcript.

 

SCENE THIRTY
(They cast a male for the role in the episode, but here it indicates a female inspector.)

 
INSPECTOR - Mr. Pierson? We'll need your statement at the station.

[The Inspector moves to her car. Methos turns to MacLeod.]
 

BACK to transcript.

 

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