SEASON FOUR
Episode 13: Something Wicked
Scenes from the DVD set's "Final Shooting Script"
that do not appear in the episode.
SCENE ONE
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COLTEC - What'd you expect? Smoke signals? MacLEOD - Where the hell are you? COLTEC - Some little country road... [lurch; a BIG pothole] Lousy one, too. You white guys stole our land, you could at least pay your taxes. |
SCENE TWO
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MacLEOD - You'll be here in three hours. COLTEC - Mac, I've been on the road all day. How about meeting at Arlen Ridge? Been ages since we were out there. MacLEOD - One condition. You bring dinner. COLTEC - Deal, I'll pick up Chinese... but only if you leave your damn harmonica behind. [beat] White man make heap terrible music. Completely tone deaf. MacLEOD - Look who's talking. If I sang as bad as you -- no, half as bad... COLTEC - [fakes STATIC sound] WHAT? Sorry, Mac, didn't catch that. Must be losing you in the Canyon... [He toggles OFF, chuckling, drops the phone on the seat.] Gotcha. [He clears his throat, then starts singing--] When Aztec eyes are smiling, you can hear the ANGELS sing... |
SCENE THREE
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INT. CHINESE RESTAURANT - DAY - SAME TIME [A ROBBERY is being pulled by Immortal HARRY KANT, a brutal young Immortal in a black leather jacket, combat boots. He's gripping a spectacled, terrified STORE CLERK by the collar, next to an OPEN TILL. Kant holds a GUN to the Clerk's face as he paws through the till.] KANT - Gotta be more than that, even in this crappy joint. [He jams his GUN in the Clerk's neck.] So I suggest you start looking.
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SCENE FOUR
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[He has the calm spiritual strength of a Priest -- which he is. Kant gives a nasty smile, shakes his head.] KANT - What I am is a one way ticket to nowhere. [He RACKS the gun, turns to blow away the Clerk--]
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SCENE FIVE
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KANT - That a fact? [But he hesitates -- whatever Coltec is doing, it's affecting him.]
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SCENE SIX
The exploding jars are actually a re-use from Garrick's Quickening in the loft in "Shadows".
BACK to transcript.
SCENE SEVEN
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COLTEC - Something I've never done before. [And OFF the Clerk's stare, he lifts the gun -- and blows the Clerk away. He looks at the gun curiously -- this is a new feeling for him. He takes his other hand from the jacket pocket -- a key-ring with a SILVER SKULL.] [Coltec looks up, smiles -- but this is the ugly smile of Kant. He turns and heads for the door. A moment later we hear Kant's HARLEY kick over, and as it roars away into the distance.]
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SCENE EIGHT
This line was not in the original shooting script.
BACK to transcript.
SCENE NINE
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EXT. WILDERNESS - RIVERSIDE - LATER - DAY [MacLeod and Richie are at the riverbank, searching the spot where Coltec fell -- there's no sign of him.] RICHIE - I wouldn't hang around either. Not after what that bastard did.
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SCENE TEN
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[MONTAGE - MACLEOD'S INDIAN VILLAGE ("LINE OF FIRE")
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SCENE ELEVEN
This line was not in the original shooting script.
BACK to transcript.
SCENE TWELVE
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SCENE THIRTEEN
Only the English translations are in the shooting script. I've tried to provide a phonetic representation of what the Native American words they're saying sound like.
BACK to transcript.
SCENE FOURTEEN
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INT. TRADING POST - THE BRIG - 1872 - DAWN [MacLeod slumped on a seat, Coltec against a wall, much in the same positions they held in the "holy place." MacLeod slowly straightens, feels his face, looks at his own hands: an enormous weight has been lifted. He feels his old self returning. He looks at Coltec, wondering.] MacLEOD - How did you do that? COLTEC - A European question. Hold still. [He peers into his eyes like a doctor examining a patient -- seems satisfied with what he sees.] The anger will not completely disappear... but it will no longer destroy you. [The GUARDHOUSE DOOR slams open as three Soldiers enter, approach the Brig. Two stand with their RIFLES at the ready as the third opens the locked door. The Sergeant enters and starts toward Coltec.] SERGEANT - Sun's up. You got a god, you best start praying. [MacLeod steps to block them -- Coltec stops him.] COLTEC - No. I will be fine. [beat] But you must heal your grief. Go where the wars cannot touch you. The Holy Place. [They clasp hands.] SERGEANT - Only place waiting for you is the happy hunting ground. [The Sergeant pulls Coltec away.] MacLEOD - How will I find it? COLTEC - Ride west and it will find you. MacLEOD - I'll see you again. [Coltec nods. Then the Sergeant walks him out, and as MacLeod's GAZE falls on Coltec's shackled FEET as he is marched from the Guardhouse--]
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SCENE FIFTEEN
This line was not in the original shooting script.
BACK to transcript.
SCENE SIXTEEN
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EXT. JOE'S - DAY - ESTABLISHING MacLEOD - (O.S.) If I could make any sense of it myself, I wouldn't be here.
INT. JOE'S - DAY [Dawson is working the bar, facing MacLeod.] DAWSON - You're sure it was Coltec? MacLEOD - You don't mistake a man who tries to take your head.
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SCENE SEVENTEEN
The blue pumps, boots, & Bowie knife are unused shots from "See No Evil" (Natalie's shoes, Michael's boots & knife).
Scared man & woman, knife stabbed into someone's back - likely also taken from other, unknown episode(s).
The exploding house is an unused shot of the safehouse exploding in "Eyewitness". The man on fire is a re-use of Gabriel Piton from "Eye of the Beholder".
BACK to transcript.
SCENE EIGHTEEN
This line was not in the original shooting script.
BACK to transcript.
SCENE NINETEEN
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[He puts out a hand. MacLeod helps him to his feet.]
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SCENE TWENTY
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[As Dawson speaks, we--]
EXT. STAVROS' BAR - NIGHT [A dive. As Dawson's narration continues OVER, we see a STREETWALKER enter the bar just as COLTEC is stepping out. He's wearing Kant's leather jacket, smoking, looking surly and belligerent. As the Streetwalker moves past, he grabs her arm. She tries to twist away -- Coltec holds on, enjoying her fear -- then he releases her, and she stumbles inside.] DAWSON - (O.S.) Dope, booze... you name it, Kant did it. If the guy wasn't Immortal he'd have killed himself a long time ago. [beat] Had a serious allergy to work. When he wanted something, he took it. [A SUIT passes on the sidewalk, heading for a parked car. Coltec's eyes lock onto him. He flicks his smoke to the street, grinds it out with his heel and follows the Suit.] DAWSON - (V.O.) Real sociopath. Doesn't mind stealing, doesn't mind killing... only minds if something gets in his way. [Coltec's hand slides a SPRINGBLADE from his pocket, flicks it open with a loud SNICK. He closes in on the SUIT, and as he moves OUT OF FRAME--]
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SCENE TWENTY-ONE
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SCENE TWENTY-TWO
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MacLEOD - Can't.
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SCENE TWENTY-THREE
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SCENE TWENTY-FOUR
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DAWSON - Look, I just meant... RICHIE - I know what you meant.
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SCENE TWENTY-FIVE
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EXT. PAWN SHOP - DAY [BELKER'S PAWN SHOP. Rough end of town. Coltec is exiting the shop, Kant's leather jacket replaced by a loose black coat, bebop dark glasses -- the look of Korland. In one hand, Coltec carries a battered black SAX CASE. In the other, a small can of GASOLINE. As he walks, he pours a trail from the open spout.] [A few yards from the store, Coltec tosses the gas can aside, flicks a MATCH alight, and drops it into the trail of gas.] COLTEC - Burn, baby, burn. [CLOSE -- THE TRAIL OF GAS as the FLAMES erupt, and run back along the trail, towards the pawnshop. And OFF the flames--]
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SCENE TWENTY-SIX
This is actually a re-use from "Eyewitness" of the bomb Ballin uses to blow up the safehouse.
BACK to transcript.
SCENE TWENTY-SEVEN
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SCENE TWENTY-EIGHT
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SCENE TWENTY-NINE
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COLTEC - Then this is gonna be easier than I thought.
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SCENE THIRTY
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[Denise grabs her bag and starts to leave.]
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SCENE THIRTY-ONE
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INT. DOJO - OFFICE - NIGHT (E) [Richie at the desk, feet up, on the phone -- he's been doing the books.] RICHIE - [beat, listening] Joe, we all take it hard. He'll get over it, but this was a friend of his... he just needs time.
INTERCUT: INT. JOE'S (E) [Dawson at the bar phone.] DAWSON - Richie, this wasn't some post-Quickening blues. He hammered a girl, then he knocked me on my ass. Something is seriously wrong.
RESUME RICHIE: RICHIE - I'll talk to him. DAWSON - Just get the hell out of there. RICHIE - Joe, if he needs my help, I'm not going anywhere.
[ON DAWSON -- Hanging up at his end. Not liking any of this.]
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SCENE THIRTY-TWO
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[Richie backs away, hurt, torn -- he knows it's true. He picks up his sword.] RICHIE - What about you? DAWSON - There's nothing in it for him. [beat] I'm not Immortal. No Quickening. [It's not much to hope on, and Dawson himself isn't really convinced. Before Richie can object--]
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SCENE THIRTY-THREE
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EXT. DOCKS - NIGHT (TO BE SHOT IN LE HAVRE) [A TRAMP STEAMER, the sort that carries Liberian registry, preparing to sail. Sound of groaning WINCHES, heavy CARGO booming somewhere deep inside its murky belly, forlorn SHIPS hooting in the foggy night like lost giants. Jutting from its deck, a GANGPLANK angles down past the rusting plates of the bilge-stained hull, to--] [THE DOCK -- At a crate serving as a makeshift desk, the ship's quartermaster, ARNAUD, stands, his open CREW REGISTER before him. He's big and rough -- but not as hard as some of the gorillas now signing on; Greeks, Asians, flotsam and jetsam from a half-dozen nations. As one man signs and moves onto the gangplank--] ARNAUD - One more able-bodied seaman. Who's next? [A large swarthy SAILOR steps up to sign. As he does, he's elbowed roughly aside. He turns, ready to scrap. MACLEOD stands there, unshaven, a duffel-bag over his shoulder -- nobody you want to mess with. He glowers at the Sailor.] MacLEOD - Me. [No argument there. The Sailor picks up his gear and slinks away. The Quartermaster eyes MacLeod as he steps up to the book.]
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