SEASON SIX
Episode 9: Deadly Exposure

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

 

SCENE ONE

None of these lines were in the original shooting script.

BACK to transcript.

 

SCENE TWO

INT. CASINO - NIGHT

[On stage, the comic winds up his act.]

COMIC - I'd like to say you've been a great audience, but...

[The bad guys good-naturedly BOO him off. The comic moves off to one side and lifts the mike.]
 

BACK to transcript.

 

SCENE THREE

 
[Amidst CHEERS and CATCALLS, she jumps down off the crap table, slinking her way through the hired help toward the boss. A HAND reaches out -- she dodges, brushing him off.]

REAGAN - Isn't it past your bedtime?
 

BACK to transcript.

 

SCENE FOUR

 
REAGAN - Tell Marie she owes me a pot roast.
 

BACK to transcript.

 

SCENE FIVE

 
REAGAN - Did you I.D. the shooter? Guy in a baseball cap.

BAXTER - I didn't see anybody. [beat]
 

BACK to transcript.

 

SCENE SIX

ACT ONE

FADE IN:

POST MONTAGE

[A series of STILL SHOTS show a well-built young man (BRIAN MURPHY, 22, called Murph) posing in a variety of bathing suits and tops at various Paris landmarks.]

(Note: one of the shots will show Murph posed on a quai. In the not-too-obvious background we will see a man (JACK KENDAL) stepping onto a motor boat, his face turned toward the camera as if caught unawares. Please make sure his face is in focus -- ie: no depth of field -- the rest of the story hinges on the fact he can be clearly identified from the photo.)

[In the last still, Murph poses by a fountain. PULL BACK to reveal we're now in REAL TIME as we go in a fashion photo shoot in progress in--]

 

EXT. PARK - DAY

[A city park. Murph cuts a handsome figure, rugged with just a hint of naiveté around the edges. He's an earnest, sweet, but not very bright, working-class Brit.]
 

BACK to transcript.

 

SCENE SEVEN

This line was not in the original shooting script.

BACK to transcript.

 

SCENE EIGHT

This was not in the original shooting script. (see SCENE SIX)

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SCENE NINE

 
MURPH - (O.S.) Oh, my God!

[Reagan looks up to see MURPH dressed in a blue bathing suit, his face white with shock.]
 

BACK to transcript.

 

SCENE TEN

INT. DARKROOM - DAY

[Bathed in a red light, a scattering of PHOTOS litter the floor: several shots of MODELS, male and female, including Murph. We're looking at Celine's stolen film, developed.]

KENDAL - (O.S.) Wrong. This is wrong!

[A well-polished shoe angrily kicks the pictures, sending them skittering across the floor.]

KENDAL - (O.S.) (CONT'D) Where is the picture?

[PAN UP from the shoe to the owner: JACK KENDAL, infamous and deadly international terrorist -- a tight package of sinew and tendons wrapped in deceptively casual Ralph Lauren. His sharp, angular features blaze spectral red in the darkroom light. Kendal turns his body as one muscle toward Sears and Roebuck.]

KENDAL - (CONT'D) I'm waiting.

[The boys exchange glances. Sears steps up to bat.]

SEARS - That's all the film she had.

KENDAL - Answer the question.

SEARS - But we got it all.

KENDAL - [levelly] Answer -- the -- question.

[Sears swallows, a little too hard.]

SEARS - The camera, the bag... that's everything.

KENDAL - You know what happened to Vega?
 

BACK to transcript.

 

SCENE ELEVEN

These lines were not in the original shooting script.

BACK to transcript.

 

SCENE TWELVE

 
MURPH - It's not so bad if you don't breath while you're doing it. [beat] Maybe this isn't the right one.
 

BACK to transcript.

 

SCENE THIRTEEN

 
MURPH - I miss it sometimes.

REAGAN - The mine?

MURPH - Mates. Home. [beat] And the mines weren't so bad. [smiling] 'Cept when you couldn't breath. [re: the photos] Think we'll find anything in those?

REAGAN - It's all we got.
 

BACK to transcript.

 

SCENE FOURTEEN

 
REAGAN - And you, my fine fit friend, have lost.
 

BACK to transcript.

 

SCENE FIFTEEN
In the shooting script, DM doesn't have the magnifying glass at first.

 
REAGAN - [looking around] Magnifying glass?

[MacLeod reaches into a drawer, pulls out a magnifying glass. Reagan grabs the glass, zeros in on the photo.]

[REAGAN'S POV: The magnified image of Kendal swims into focus.]

REAGAN - (O.S.) (CONT'D) [softly] Jack Kendal. Sweet Jesus.
 

BACK to transcript.

 

SCENE SIXTEEN

 
SEARS - [enters] There's a reason she handles herself like a pro. [He places a file folder in front of Kendal.] She is.
 

BACK to transcript.

 

SCENE SEVENTEEN

 
KENDAL - [beat] This Reagan Cole... she's a cockroach. [smiles fondly] I remember a job in Beirut. Holed up in a bunker. No food for days. I ate cockroaches to survive.

[He picks up the fax photo of Reagan, and then the one of Murph.]

KENDAL - (CONT'D) Some things never change.
 

BACK to transcript.

 

SCENE EIGHTEEN

 
MURPH - Dollars?

[Reagan throws him a look.]
 

BACK to transcript.

 

SCENE NINETEEN

These lines were not in the original shooting script.

BACK to transcript.

 

SCENE TWENTY

 
[MacLeod thinks quickly on his feet.]

MACLEOD - Perfect plan. Buy you lunch on the way.

[MacLeod puts his arm through Mitchell's and leads him off]
 

BACK to transcript.

 

SCENE TWENTY-ONE

Scene ends with Reagan saying "He's mine."

BACK to transcript.

 

SCENE TWENTY-TWO

EXT. CHATEAU - DAY

[A large chateau just outside the peripherique. Reagan's car pulls up and stops a discreet distance from the front. The DRIVER’S WINDOW powers down, Reagan stakes the place out. A TECH CREW, wearing SECURITY TAGS around their necks, lays cable from a satellite TV news van. WORKERS, also TAGGED, flow in and out of the chateau carrying laundry, catering trays, equipment. Reagan furrows her brow, thinking.]

[CUT TO: THE NEWS VAN - REAR DOOR: A HAND reaches in, quickly snatches a CLIPBOARD. CAMERA FOLLOWS the CLIPBOARD as it's carried up the drive, up to the front steps of the chateau. TILT UP to reveal Reagan, poised now as front door security check. She stops a CATERER--]

REAGAN - Just a second. Let me see your tag.

[The Caterer shows her his tag. She checks it against her clipboard -- waves him in.]
 

BACK to transcript.

 

SCENE TWENTY-THREE

 
REAGAN - Sure, be an idiot. I'm the only one who's seen Kendal in the last fifteen years... what he looks like now. You put me on a plane, you're blind.
 

BACK to transcript.

 

SCENE TWENTY-FOUR

In the original shooting script, this scene takes place AFTER Reagan checks the auditorium but BEFORE she discovers that the oxygen tank is a fake. (see SCENE TWENTY-NINE)

BACK to transcript.

 

SCENE TWENTY-FIVE

 
[She flashes back to KENDAL'S PICTURE as her brain does a LAP-DISSOLVE, Kendal's picture on top of this face -- bingo! REAGAN stiffens, begins to move toward him when -- A WAITER laden with trays of hors d'oeuvres bumps into her. She pushes the waiter aside and turns back around. Kendal's gone now.]

[REAGAN spins on her heels, tearing out of the room, a confused Mitchell bringing up the rear.]
 

BACK to transcript.

 

SCENE TWENTY-SIX

These scenes are not in the original shooting script.

BACK to transcript.

 

SCENE TWENTY-SEVEN

INT. CHATEAU - HALLWAY - DAY

[Kendal exits a doorway (to the press conference room), turns down the hallway and disappears around a corner as Reagan and Mitchell approach the same doorway.]

REAGAN - What's in there?

MITCHELL - Conference room.

[Reagan opens the door.]
 

BACK to transcript.

 

SCENE TWENTY-EIGHT

 
REAGAN - [sees nothing amiss] Okay, I'm convinced.
 

BACK to transcript.

 

SCENE TWENTY-NINE

The scene where Reagan spots Kendal and tries to catch him takes place here in the original shooting script (see SCENE TWENTY-FOUR)

BACK to transcript.

 

SCENE THIRTY

This line was not in the original shooting script.

BACK to transcript.

 

SCENE THIRTY-ONE

 
[Kendal pulls his automatic. Mild, dignified panic ensues as the crowd begins to pick up on the vibe, some backing away as they notice Kendal's gun. Mitchell enters the salon, takes in the situation. He speaks softly into his lapel mic--]

MITCHELL - [into mic] Situation in room three. Converge.
 

BACK to transcript.

 

SCENE THIRTY-TWO

 
KENDAL - You see these wires? A sophisticated deadman trigger.

REAGAN - Not exactly original.

KENDAL - But effective.
 

BACK to transcript.

 

SCENE THIRTY-THREE

 
MACLEOD - Too bad you're dead and can't collect.
 

BACK to transcript.

 

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