Highlander
Transcripts:
DVD Extras

Gillian Horvath - [voice-over] These scenes of Duncan and Hideo training are some of the gems of the episode. They're doubly astonishing once you know that guest star Robert Ito arrived on location and told the sword master he had two replacement hips and didn't move very well.

Hideo - Feel your weight where it meets the weight of the mountain. When you swing your sword, bring the mountain's power through you. [demonstrates with his katana]

DM - Bring the mountain's power through you... What is this? Sword play or poetry?

Hideo - Both. [DM tries the move.] Good. Pull the strength into your arms through the soles of your feet.

DM - [tries again] Oh, aye.

Hideo - Hm, you learn quickly. Maybe you have a Samurai spirit after all.

DM - Maybe I just like poetry. [continues to repeat the move]

Hideo - Ah, you might even best me, one day.

DM - Not you, Hideo. But maybe, once I leave this place...

Hideo - No. You must never venture beyond these walls.

DM - What are you saying?

Hideo - The laws. Gaijin -- Whites are not welcome here in Japan. They are thought of as, uh... contagion. A disease, to be destroyed before it spreads.

DM - But who thinks that?

Hideo - The Shogun, my king. Barbarians have been put to death for over a hundred years.

DM - Aye, but I was shipwrecked.

Hideo - No matter. You are a barbarian. If they see you, you will be crucified...

DM - [scoffs] Yeah.

Hideo - ...and then beheaded.

DM - That's a pleasant thought.

Director - [offscreen] Cut.

DM - But who thinks that?

Hideo - The Shogun, my king. Barbarians-- Barbarians have been-- Barbarians have been... beheaded...

Adrian - Barbarians have been... barbarians.

Director - [offscreen] Hold it. Hold it. Cut.

Director - [offscreen] Action!

[Maya starts walking.]

Man - [offscreen, loudly] Hello, Maya! [laughter]

[NO AUIDO]

[Explosions of water behind DM as various angles of pre-SFX Quickening footage are shot.]

[RR is holding Jeremy, who is crying.]

RR - [waits for Jeremy to stop crying] I am?

[Jeremy starts crying again. RR hands him off.]

RR - Poor kid hates me.

Director - [offscreen] Cut.

Kern - [picks Jeremy up] There's a boy. There's a boy. [Jeremy fusses.] Don't cry. Yeah. [says his line] You know, I like children most of the time. [talks to Jeremy again] There's a boy. Yes. Yes. Yes.

Director - [offscreen] Ready, and... Action.

[DM walks around end of table holding a sheet-covered body, puts his hands in his pockets as Harry enters through door behind him.]

Director - [offscreen] Hold it. We'll do it again, guys. [Harry exits. DM goes back to initial position.] Ready, and stand by.

[Adrian breaks out in a dance jig while waiting.]

Director - [offscreen] And ready... action.

Harry - --all along there? [leans closer to corpse, forgets his line]

[Adrian leans toward him with an eagerly expectant look, then laughs.]

Anne - [enters morgue] Mr. MacLeod. [catches door as it rebounds back at her]

Joe - No! Lauren! [starts banging on the glass with his cane]

Gillian Horvath - [voice-over] When "The Cross of St. Antoine" script was being prepped, Ken Gord warned the writers we could not afford a breakaway glass window for the scene at Lauren's, where Jim breaks in to try and save her. So David Brown was literally horse-traded to get himself the window.

[Jim continues banging on the glass with his cane.]

Gillian Horvath - [voice-over] So we won that fight and Ken went and bought a breakaway glass window, which unfortunately broke in the truck on the way to the set. And they had to substitute real glass, which doesn't break very well.

Gillian Horvath - [voice-over] --his cane has been replaced with a crowbar that's been painted brown.

[Jim closes his eyes & smashes the glass with his crowbar 'cane'.]

DM - [into phone] That's fine. [lowers phone] That was the curator from the museum. [lifts peeled banana, takes a bite]

[Liz peels her own banana in the background & takes a bite.]

DM - [mouth full of banana] Thorne wants to meet me.

Amanda - [mouth full of banana] Really?

DM - Mm.

Amanda - Well, you've got a lot to learn. The surveillance cameras and the alarms are activated by a laser beam.

DM - So, where do we start?

Amanda - [takes rappelling harness from him] Well, let's see. With this. [hands him length of rope] Time to tie me up.

DM - Don't tempt me.

[DM takes armload of rope back by punching bags while Amanda sorts gear below camera level in the foreground.]

Adrian - [trying to untangle the rope] {??}

[Liz holds up suction grip, makes squeaking noises.]

[Liz straightens rappelling harness in foreground. Adrian drops rope by punching bags, takes end and swings it really fast, making a whirling sound, then throws end up toward the rafters. Liz laughs.]

Director - [offscreen] Cut.

Adrian - [tugs at his coat collar] Hope you like the collar up, Ken.

Director - [offscreen] Ready? Action.

Blinder - I'm sorry, but Mr. Thorne doesn't see anyone -- with or without an appointment. As his curator, I know as much about the Cross of St. Antoine as anyone. For example, did you know that it was commissioned in--

Adrian - [getting their lines mixed up] Commemorated?

Blinder - Commissioned, actually, in Byzantium.

[Adrian purses his lips.]

[Camera behind DM, on Amanda.]

Amanda - Oh, my God. [lifts up gold necklace]

DM - Thorne has built a wall around himself. I can't get near him. But if we steal the cross, then he'll come to me.

Amanda - And maybe he'll take your head.

DM - I can't do it without you.

Amanda - Okay. On one condition.

DM - Name it.

Amanda - It's my show. I'm in control -- completely in charge.

DM - Uh--

Amanda - No negotiations. Take it or leave it.

DM - [kneels] I am your obedient servant, madam. [kisses the back of her hand]

Amanda - Damn, I like the sound of that. [She kisses him.]

DM - Uh-oh. [kiss] Mm-oh.

Amanda - Uh-oh.

Director - [offscreen] Cut.

[Camera on DM, over Amanda's right shoulder.]

Amanda - Okay. On one condition.

DM - Name it.

Amanda - It's my show. I'm in control -- completely in charge. No negotiations. Take it or leave it.

[DM kneels.]

Director - [offscreen] And cut.

DM - [mumbles] I am your obedient servant.

[Camera on DM, to left of Amanda.]

DM - [kneels] I am your obedient servant. [kisses the back of her hand, then kisses his way up her arm and wiggles his eyebrow at her]

Amanda - Oh, I like the sound of that. [leans forward to kiss him]

Director - [offscreen] Cut.

[Adrian acting out DM receiving Thorne's Quickening.]

Man - [offscreen, distant] Now!

Man - [offscreen, much closer] One!

[Stream of sparks bursts from train behind DM.]

Man - [offscreen, distant] Two! [as different set of sparks goes off]

Man - [offscreen, distant] Three! [several firecrackee-type pops along undercarriage of train]

[Adrian spins in a circle, throws himself against the side of the train car. Several more explosions & jets of smoke occur as Adrian continues to act out receiving the Quicking.]

Man - [offscreen, yelling over the sound of the smoke jets] Okay, guys! Whoah! Whoah!

[Smoke jets are shut off. Adrian acts out the end of the Quickening.]

Axel - [looks up toward dojo window, smiles] Good. She's home. [holds pose, smiling, then steps off camera]

Man - [offscreen] {??}

Rob - [offscreen, in response] What?

Man - [offscreen] Oh good, you're home.

Rob - [offscreen, repeats line] Oh good, you're home. What'd I say?

Axel - [turns, looks up toward dojo window, smiles] Oh, good. She's home. [holds pose, smiling]

Voice - [shouts from offscreen] {??}

Rob - [says a word that gets beeped, walks offscreen] Shoot the dumb actor. You're home.

Axel - [turns, looks up toward dojo window, smiles] Oh, good. You're home. [holds pose, smiling]

Director - [offscreen] Cut.

Anne - Not a lot of docs stay in trauma. It's true. You burn hot and then you burn out and, uh-- listen to me, I'm talking too much. I just-- I don't even know you.

DM - Yes, you do. You see more life and death in one night than most people see in a lifetime. I think {their memories} -- that it is LIFE and death, not just death.

Director - [offscreen] Cut it.

Adrian - {??}

[DM & Anne walk toward small table set for two. They are talking but their dialogue can't be understood. When they reach the table, DM pops the cork on a bottle of wine/champagne.]

Gillian Horvath - [voice-over] Duncan and Anne's dinner date originally took place on the roof of Joe's in what was envisioned as a romantic scene filled with candles and flowers. Production considerations meant it had to be shot in the daytime and the resulting scene was unusable. It was not romantic at all. It basically looked like they were sitting on an industrial rooftop, and it was so windy that the sound recording was unusable.

Anne - [coming down stairs from roof] I'm only on call for three more hours. Maybe you know, you can stop at the hospital. If you're still up.

DM - [walking with her] Yeah, maybe I will.

Anne - It's not always like this.

DM - It's alright. Go ahead.

Director - [offscreen] Action!

[DM & Cullen fight, both wounded & staggering. DM drops tire iron and climbs over chain-link fence. Cullen runs up & stabs DM through the fence.]

Gillian Horvath - [voice-over] Big brutal fight sequence at the end of "Courage" was even more brutal when it was originally film. And this sequence where Cullen stabs Duncan through the fence was cut because--

[Different camera angle, from above.]

[DM climbs over chain-link fence. Cullen runs up & stabs at DM through the fence. From this angle, the sword is visible going through the fence NEXT to Adrian's body. Cullen pulls the sword back & DM falls to the ground.]

Dennis Berry - [enters empty parking garage] Hm. [looks around] What is going on here, Brent? Where is my crane? MY crane? [leans in close to camera (which moves up and down, presumably on a crane)] I'll go over because of this.

[Thick billow of smoke rolls across screen, briefly obscuring the camera.]

Gillian Horvath - [voice-over] This is the "Now we can't see anything, Dennis" scene. This is where Duncan finds the body in the alleyway, except with Dennis Berry's signature smoke all over the set, there's nothing to find. If you listen, every time Adrian's turned away from the camera, he's making comments on the situation, but he's a pro. He doesn't make any comments when you can see his face.

[DM walks down alley toward camera, past camera.]

Adrian - [facing away from camera] Can't see him. Turn it off. [walks away from camera, toward smoke-obscured staircase] This is good. I really like this. Uh, where's the body? I've lost it. [turns back around to face camera, glances back at smoke-obscured staircase, walks offscreen]

Director - [offscreen] Cut.

Director - [offscreen] Ready, and... Action.

[DM enters alley, walks past camera. Over DM's shoulder, camera now shows Ross's body at the foot of the staircase. DM turns around to face camera, glances back at Ross's body, walks offscreen.]

Director - [offscreen] Cut.

DM - I can protect you.

Kenny - [offscreen] For how long? Such a small boy... such easy prey! [DM looks around but still can't see him.] All of you would have taken my head eventually. There can be no other way.

DM - [looks up] 'There can be no other way'? What, is that half of 'it can be only one' and half of [sings] 'it can be another way, but I'm not quite sure which one'?

Gillian Horvath - [voice-over] --and if you open the windows, you just see the back of another set. So production solved this problem by building a scaffolding with a window on top of it, dragging it out into the street, putting a camera and an actor up there so he could look out the window and you could see the street through the window.

[David looks down at street as Jill appears below & walks out of sight again.]

Gillian Horvath - [voice-over] --young musician was left on the cutting room floor. The scene in the dojo, especially, was filmed two different ways with two different conversations between Richie and Anne.

[Close on Anne in elevator, exiting elevator, walking across dojo.]

RR - [offscreen] Anne. Hey.

Anne - Hi.

RR - [offscreen] How are you doing?

Anne - Good.

RR - [walks to her] Hey, is Mac upstairs?

Anne - Oh... yeah.

RR - You know, I haven't seen him for a couple of days. What's he been doing? Hiding on me?

Anne - I don't know. He's been having trouble sleeping lately.

RR - Really?

Anne - [nods] Mm-hm. [looks over at guy standing nearby] Who's your friend?

RR - Oh, Anne, uh, this is Cory Littman, but I'm going to call him Cory Lightning.

Anne - [to Cory] Hi, I'm Anne Lindsay.

Cory - [quietly] Hi.

Anne - [to RR] Cory Lightning?

RR - Oh, you don't like it? It's too flashy? How about just, uh, Cory Light?

Anne - Well, that depends. Is he a professional wrestler?

RR - [walks over to Cory] Anne, this kid is THE musician.

Anne - [to Cory] Really? What do you play?

Cory - [quietly] Guitar.

Anne - Ah. What kind of stuff? Rock?

RR - Rock, blues, anything. Anne, you should hear him. This kid is awesome. A little help, a little, uh-- [clicks his tongue] --agenting, and this kid is going all the way.

Anne - With you as his agent.

RR - Sure. Why not? I get Joe to give him a show, pack the house... Get a couple of A&R guys down to listen, and ba-boom, his career is taking off.

Anne - That's great.

RR - Ah... [to Cory] Excuse me for a second. [takes Anne aside] Anne, Anne, I know he doesn't look so good. I mean, he's been playing guitar for quarters down at the Third Street bridge. But I'm going to get him breakfast, get him cleaned up. He's going to be good as new, trust me.

Anne - Really? Maybe he needs a little more than breakfast.

RR - Anne, I've been there. This kid just needs a break. And besides, he's going to make us both a million bucks.

Anne - [to Cory] You got yourself a hell of an agent. [to RR] Bye.

RR - I'll see you later. [Anne leaves. RR turns to Cory.] Let's go, bruthah! [slaps Cory's hand, they walk offscreen]

Director - [offscreen] Cut it.

Director - [offscreen] Action.

RR - Joe, I'm telling you, this kid is the real deal. And it's not about money with him. He just wants to play. One set. One set. That's all I'm asking you for.

Joe - All right. I'll see what we can do. Now, I want you to talk to me about MacLeod. Have you... noticed anything?

RR - Like what? I don't follow.

Joe - Well, just anything out of the ordinary. Strange behavior.

RR - What do you mean, strange?

Joe - Well, just anything you'd worry about. He just doesn't seem his usual self.

RR - I don't know. Maybe he's having a bad week.

Joe - No. It's more than that.

RR - Look, Dawson, he's an Immortal. He's not like you. Maybe you just don't understand him.

Joe - Yeah. Maybe I don't.

RR - Look, I'm sorry. I got to go. But trust me. Mac's fine. I'll see you later. [leaves]

[Joe stands there for a moment longer, looking concerned, then walks offscreen.]

Director - [offscreen] Cut it.

[Guards grab both men. Loud calls from the offscreen crowd.]

Official - [raises his hands to quieten the crowd] The fire will purify their souls.

[Crowd gets loud again in response.]

DM - [to Garick] Great, great. Nice place you've got me into now, aren'cha?

[Crowd laughs.]

Director - [offscreen] Action.

DM - [into camera] In your dreams.

[DM swings katana at/below camera. Camera view spins vertically and 'falls' to the rug.]

Director - [offscreen] Cut.

Director - [offscreen] Action.

[Lamp is tossed at small skiff, hits edge, falls into water. A beat, then muffled laughter can be heard in the background.]

Director - [offscreen] Action.

[Lamp is tossed into small skiff, setting it on fire.]

Gillian Horvath - [voice-over] How hard could it be to toss a lamp onto a boat and set it on fire--

[NO AUDIO]

[DM is standing on a barrel at the gallows, trussed up to hang, the noose around his neck, the hood over his head. The hangman picks up the small stool from next to the barrel, then gives the barrel a kick, rocking it slightly. He kicks it again, ineffectually. Then he stops even trying and just sort of rubs his foot against the side of the barrel a few times.]

Gillian Horvath - [voice-over] In this sequence, you can actually see the brick wall of the studio through the rear window.

[Adrian & Jim having great fun pretending to be in a swerving car.]

DM - Watch that old lady! [turns sharply to look out the back window as he smacks his hand down to make a 'thump']

Joe - [shares a look with Adrian] Shit.

DM - Oh well. Ten points.

[They resettle & Joe pretends to drive sedately.]

Joe - I don't know, maybe I can tell her you were rehearsing for a movie.

DM - I think basically we're stuck with telling the truth.

[DM walks down hallway, sword ready, then crosses through living room area.]

Gillian Horvath - [voice-over] Filming at this location presented a particular challenge of not damaging the million-dollar etched-glass panels, which were electronically controlled to open at a stately pace. This complicated sequence meant that Adrian had to carefully time his stalk through the house to pass through the doors when they were open, and then he only had to deliver one line... if he could remember it.

Adrian - [comes out other side of living room area] There's nowh-- [sighs, lowers sword, bends over]

[Laughter offscreen as Anthony De Longis (Kurlow) comes up behind him & raises his sword as if going to stab him in the back.]

Adrian - [stands back up] I don't believe it(!)

Director - [offscreen] And action!

[DM appears at end of hallway with sword ready, then cut to DM exiting the living room area -- this is a different camera angle of the same take as above.]

Adrian - There's nowh-- [sighs, lowers sword, bends over]

[Laughter offscreen as Anthony De Longis (Kurlow) comes up behind him & raises his sword as if going to stab him in the back.]

Adrian - [stands back up] I don't believe it(!)

Director - [offscreen] Great. Playback! ["Sing, Sing, Sing" starts playing.] Action.

[DM leads Peggy out onto the dance floor.]

Gillian Horvath - [voice-over] Before he became an actor, Adrian Paul was a dancer and a choreographer, and this uninterrupted take of the dancing sequence from "Vendetta" is a chance to see him in action.

[DM & Peggy dancing with other couples.]

Director - [offscreen] Okay, dancers, back off, start blocking the actors. Love it! Love it! Good.

[The other couples move to the edges of the dance floor, start clapping in time to the music as DM & Peggy continue dancing.]

[Mike is dealing cards, the Watcher tattoo on his wrist visible.]

Gillian Horvath - [voice-over] --was even longer in the rough cut and some of it had to be lost for the final version of the show.

Rita - [enters bar] Joe? I didn't know we were having a party.

Joe - Well, the more the merrier. Grab a chair. You can make a contribution to my retirement fund. Oh, uh, Justin Russell, Maureen Russell. [points to young couple sitting at table with himself, Mike, & Ian]

Rita - Rita Luce. [to Joe] Uh, no thanks. You know I don't like to gamble.

Joe - Well, Mike's off duty, so it's "serve yourself" at the bar.

Rita - Ian... I'm sorry about May-Ling.

Ian - Why?

Rita - I know how hard it is to lose one. When Gaspar got killed, it was like losing family.

Ian - Gaspar was your first assignment. You didn't know any better. But you should know better now. [to Justin] Your bet.

Justin - Check. So it looks like Trent is definitely moving to Boulder, Colorado.

Maureen - I'll open for five.

Joe - On this? [tosses some chips] Okay. So, are you going to go with him?

Maureen - We haven't decided yet.

Justin - Maureen's nervous about moving to a new city. New school for the kids. [off the pot] Five for me? Oh, what the hell. [He tosses in a chip.]

Mike - [to Justin; re cards] How many?

Justin - [offscreen] Three. [Mike deals out three cards.]

Maureen - [offscreen] I'll take two. [She exchanges two cards.]

Joe - [sets cards down] Three. And this time, do better. [Mike deals him new cards.]

Ian - [offscreen] One.

Justin - You got a helluva poker face, Ian.

Ian - Tool of the trade, my boy.

Mike - And dealer takes two. [deals himself two new cards]

Rita - What's Trent like?

Ian - Does it make a difference? [Rita shrugs.]

Justin - [offscreen] Fold.

Maureen - [tossing a chip] Five bucks. Keeps to himself. Spends a lot of time at the library.

Joe - [putting in chips] I'll call.

Justin - Maureen thinks he's been writing historical romances under a pseudonym.

Maureen - He is!

Ian - I'll raise you ten.

Mike - I'll see that. [tosses in chips] They any good?

Maureen - Lot of swordfighting.

Justin - He must be basing them on someone else's life. We've been watching the guy for three years and I don't think he used his sword once.

Maureen - Call. [tosses chips]

Mike - Must be rusty as hell.

Joe - Eh, I'll fold. [to Ian] You know, a guy can surprise you. What was that kid, uh, remember? What was his name? Uh, took out Richland.

Ian - Boyer. [shows his cards] Uh, flush. Nine high. [lays down 8, 3, 5, 6, & 9 of hearts]

Maureen - Pair of queens. What was I doing in this game?

Mike - [as Ian reaches for the pot] Uh-uh-uh. [lays his cards on top of Ian's] Full house, kings and threes. [King of hearts, diamonds, and spades; 3 of diamonds and spades]

Joe - Boyer, yeah. Five-feet-two and skinny as a rail. Didn't think he'd last a year.

Justin - He still around?

Joe - Yeah, last I heard.

Mike - Well, I guess it's like anything else... You never know until the last card. [collects his winnings]

Justin - [shuffling the deck] Well, the one that surprised me was Grayson.

Mike - I heard some guys were laying 8 to 5 that he'd be the last.

Ian - [indignant] What guys?

Mike - [sheepish] Did I say something?

Justin - Nobody thought that anybody would nail that son-of-a-bitch.

Grayson - There can be only one!

[DM, kneeling with his back to Grayson, suddenly brings his katana up & around, blocking Grayson's stroke, then turns & slashes him across the stomach. DM beheads Grayson.]

(resume previous scene)

Rita - I guess the lesson is 'never underestimate MacLeod'.

Joe - He's surprised a few people.

Rita - The man doesn't seem to have any weaknesses.

Joe - No. Not that I've noticed.

Justin - To tell you the truth, Rita, I'm surprised your guy Christian's still around. As young as he is, I'd have thought he was easy pickings.

Rita - Maybe he just works harder than anybody else.

Ian - You sound like his manager.

Rita - Why? Because I think he's as good as anybody out there?

Ian - Objectivity. Objectivity.

Rita - Oh, give me a break. You put two years of your life into May-Ling Shen and when she's killed, you just go off to a poker game as if nothing happened? Well, I'm sorry. I'm not like that.

Ian - Then it sounds to me like you'd better find a new assignment.

Rita - Don't even think about it.

Joe - She's been with Christian since the beginning.

Ian - Perhaps that's the problem. She's lost her perspective.

Rita - That's crap!

Joe - Come on, Ian. Everyone tends to root for their guy a little. It's an occupational hazard.

Mike - Not when I was following Martin Hyde around Spain and Brazil. I couldn't wait to see that guy get his.

Ian - That doesn't make it right. [to Rita] You're too close to him.

Rita - Who are you to judge me? [reaches for cards on table] Is this all they are to you? Cards in a game? Here's May-Ling. [rips card into pieces] The game is over, right? The game goes on without her. And here's Gaspar. [throws a card at Maureen] This one -- here's Legris. [throws card at Justin] And here is Stanton. [throws card at Mike] And here is Darius! [throws handful of cards at Ian's lap]>

Joe - Rita, Rita!

Rita - Go on, keep on playing. They're just cards! [storms out]

Ian - Well, I think perhaps we've played enough poker for tonight.

Joe - Yeah.

Timon - I sense that you are still battling. That will pass in time. After you've eaten, you can join Paul and the others.

DM - I think not.

Timon - You do not sing?

DM - Only over a keg of ale.

[David pours wine into cups behind Timon.]

Timon - I sense that you are still battling. That will pass in time. After you've eaten, you can join Paul and the others.

DM - I think not.

Gillian Horvath - [voice-over] Filming in Vancouver comes to a close with Bill Panzer's champagne ambush of Adrian Paul.

DM - [looking at book] ..."A Scottish Story." Might not be too bad at that.

[Adrian starts down corridor, stops, looks into monk's cell for a moment, then enters cell, disappearing off camera. Loud cheers and laughter is heard. The camera swings around, shows Bill Panzer shaking a bottle of champagne and intermittently spraying it at Adrian.]

Adrian - [as someone hands him an unopened bottle] Ooooh. {Absolutely.} [attempts to uncork the bottle} It's not opening for me. [gets bottle open and a champagne war ensues between him and Bill]

[Indistinguishable dialogue from various people. Adrian says something about being in costume. Eventually, Bill comes over and clinks bottles with him.]

Adrian - Cheers, bro.

[They both drink. Everyone cheers and applauds.]

Adrian - [holding clapboard up for camera, speaking with fake French accent] Scene one, Take three, Camera A and B. [snaps clapboard, puts it out of sight at his feet]

Adrian - [holding clapboard up for camera, speaking with fake India accent] --Camera A and B. Thank you. [snaps clapboard. Roger chuckles as Adrian puts clapboard of sight at his feet]

Gillian Horvath - [voice-over] When the budget is lower, another option is to attach a camera rig to the side of the car and have the actors drive themselves--

DM - Friend of yours?

Fitz - [driving car] Yeah, I think so.

DM - Oh, good.

Roger - I'm running out of road now.

Man in back seat - [offscreen] Yeah, okay, that's good. Okay, cut.

Director - [offscreen] Action.

DM - I wouldn't worry about... What's his name? Patrick.

Fitz - Oh, him.

DM - I wouldn't worry--

Director - [offscreen] Action.

DM - I wouldn't worry about Patrick. What's he going to find out?

Fitz - [says Adrian's actual line] What's he going to do to you?

DM - I knew that. [They laughs.]

Director - [offscreen] Okay, cut. Action.

DM - I wouldn't worry about Patrick. What--[fumbles line] Aah!

Director - [offscreen] Okay, cut. Action.

DM - [looks into camera] It's freezing!

[Fitz dips finger into large bowl of whipped cream, sucks cream from finger.]

Naomi - Is it sweet enough?

Fitz - [kisses Naomi] You tell me. [scoops another finger into the cream & offers it to her, then kisses her again]

Naomi - I think I have to taste again to be sure.

[She offers finger of cream to Fitz. They kiss again, slowly sinking out of sight below the table. In background, Patrick enters the room, reacts to seeing them.]

Gillian Horvath - [voice-over] This sequence was restructured in editing, and all new dialogue was added in the looping studio.

Director - [offscreen, through megaphone] Action.

[DM & Adam start walking along the canal.]

Adrian - Thanks, Dennis. [starts scene] Five thousand years.

Methos - Give or take. That was when I took my first head. Before that... it all starts to blur.

DM - I guess it would. You know, you could be the first.

Methos - Hm. Eh, who knows?

[They continue on for a moment.]

DM - So, have you, uh...?

Methos - What, made any sense of it all? Found any purpose?

DM - What, you read minds, too?

Methos - No. It's what I'd ask if I'd just met me. For me it's my journal.

DM - You keep a diary?

Methos - Yeah, sort of. I've been writing it almost since writing began. Someday, when we are all history, maybe it'll answer a few questions. I mean, isn't that what it's about? About passing on what we know?

DM - You tell me. You're the one that's been around for five thousand years.

Methos - Eh, work's for me.

DM - You know, I thought you'd be, uh... well...

Methos - Deeper? Wiser? Bearded?

DM - I just didn't think you existed.

Methos - Well, it's good to be a myth.

DM - Yeah, no one hunts for a myth... or a Watcher.

Methos - What better place to hide? I'm in charge of finding myself, and I make sure it never happens.

DM - You knew I was coming. [beat] What makes you so sure I'm not going to kill you?

Methos - Because I'm a good judge of character. [beat] And because you've become something of a legend yourself.

DM - Oh. [scoffs]

Methos - It's not you who's coming for me.

DM - So you know about Kalas.

Methos - He killed a good friend.

DM - And now he'll be coming for Adam Pierson.

Methos - You think I'd still be here if I was an easy mark?

DM - When was the last time you faced anyone?

Methos - What are we? [looks at his watch] March the sixth... two hundred years?

DM - Oh, good(!) That's good.

Methos - I may be a bit rusty, but I'm still here.

DM - Well, let's keep it that way. I'll stay close.

Methos - You cannot fight my battles for me, MacLeod. [walks away]

[Camera on Salzer, moaning on the floor.]

DM - [offscreen] It's all right. I'm not going to hurt you. [kneels next to him] I'm Duncan MacLeod. Who did this to you?

[Salzer can't talk. He reaches down to a puddle of blood on a piece of paper beside him & uses it to write with his finger.]

DM - [watching him write] "M." That's me, MacLeod.

Salzer - [moans] Uh.

DM - What? What is it? [watches as Salzer writes another letter] "E"? Is that an "E"? What else? [Salzer dies. DM closes his eyes.]

Man with clapboard - Twenty, part three, take one. [snaps clapboard]

[Camera on DM.]

Adrian - Close up?

Man - [offscreen] {Eh, eye up.}

Adrian - Here? [taps his chest at bottom of camera view]

Man - [offscreen] There. Nice. Ready.

Director - [offscreen] Action.

DM - [as Salzer moans offscreen] I'm Duncan MacLeod. Who did this to you?

[Salzer moans offscreen.]

DM - [watching him write] "M." MacLeod. That's me, yes.

Salzer - [moans] Uh-uh.

DM - What? What is it? [watches as Salzer writes another letter] "E"? Is that an "E"? Me? It was me? I'll get my hands on some tongue. [holds up severed tongue prop, flaps it around, grins at camera]

Gillian Horvath - [voice-over] --which also meant that last-minute changes in the scripts meant that dialogue from the scenes that had already been shot a month earlier no longer worked, and changes had to be made in looping, such as in this case, replacing the "Red Balloon" with "Nosferatu".

Joe - [into phone] Mac. Joe Dawson.

DM - [offscreen] Hey, Joe. What's up?

Joe - [into phone] You've got trouble.

DM - [offscreen] All right, tell me about it.

Joe - [into phone] One of our guys, he hasn't been seen or heard from in a couple of days.

DM - [offscreen] And?

Joe - [into phone] Well, he spotted Kalas... in Paris. I think the son-of-a-bitch is tracking you.

DM - [offscreen] I know he is. I've been out looking for him. He got Fitzcairn.

Joe - [into phone] Damn. What happened?

DM - [offscreen] Kalas was better.

Joe - [into phone, quietly] Yeah.

DM - [offscreen] So where was he?

Joe - [into phone] What do you mean?

DM - [offscreen] Well, Kalas. You said you guys spotted him. Where?

Joe - [into phone] Coming out of a little jazz club in Saint-Germaine. The Red Balloon.

DM - [offscreen] Thanks, Joe.

Joe - [into phone] MacLeod... Watch yourself, my friend.

DM - [offscreen] Always do, Joe. Always do.

Joe - [to himself] Yeah. [hangs up phone]

Adrian - [comes up behind him] Surprise!

Jim - Dickhead.

[Crew laughs.]

Director - [offscreen] Cut, guys. Okay.

[Bottle shatters on tile floor. Camera pans up to reveal DM sitting at small table, staring into a metal tankard. He stops Ceirdwyn as she walks past.]

DM - Get me another one, Ceirdwyn.

Ceirdwyn - Och, I think you've had enough. [walks away]

DM - [to himself] Enough for what? [drains tankard, stands, walks unsteadily to nearby table, steadies himself against the table. One of the two men sitting there reacts.] Don't push me. [shoves at the man. The man stands up & leaves.] Come on! [grabs man's abandoned tankard, walks over to big man standing by column, sniffs at him] You smell. [Man steps back. DM waves tankard at him.] Eh. [wanders past other bar patrons] Hey, you! You're a coward.

Cameron - And you are drunk.

DM - [leans in] One even a mother couldn't love.

Cameron - [shoves DM away] Hey, careful.

DM - And even then if she were a pig. [Cameron punches DM in the gut. DM staggers back, regroups.] An English pig. [Cameron punches DM.]

[Different camera angle - DM somersaults backward over trestle table, knocking several other patrons down.]

Director - [offscreen] Cut.

Director - [offscreen] Action.

DM - [touches his bloody lip, laughs as he gets up off the floor] Is that all ye have? Ye hit me like a woman! Come on, then! Hit me like a man!

[Ceirdwyn comes up behind him & hits him with a metal pitcher. DM collapses to the floor, unconscious.]

Ceirdwyn - [sighs] Ah, well. Help me take him upstairs.

Director - [offscreen] Cut.

Director - [offscreen] Action.

[DM, lying in bed, moans, wakes up, realizes he is naked under the covers.]

Ceirdwyn - They're getting cleaned... before they walk off on their own. [walks toward bed] A body like that, you should take better care of it.

DM - I cannae have drunk that much.

Ceirdwyn - [sits on edge of bed] You had enough, all right... but it was that, did you in. [nods to metal pitcher on bedside table]

DM - [picks up pitcher] What kind of cowardly bastard would hit me with that? [sets pitcher down with a clang]

Ceirdwyn - Me. [off his look] Well, you were wrecking the place, MacLeod. I'm no' about to let you do that so you can stop feeling guilty.

DM - Is that what you think I was doing?

Ceirdwyn - [crosses her arms] Weren'cha? [stands, leans over him]

Director - [offscreen] Cut.

DM - DM - [nervous & distracted] That's nice.

Man - Yeah, it would be nice, except she just spent the last seven hours sitting on a plane with my ex-wife. How'd you like to handle that?

DM - [wishful] It's a piece of cake.

Gillian Horvath - [voice-over] Writer Larry Shore plays the nervous guy who's waiting in the airport with Duncan. Prolific Highlander director Dennis Berry passes through the shot toward the end.

Dennis Berry - [walks behind Adrian & Larry] Cut. I was hoping we'd get it--

DM - [lying on top of Anne, lifts his head] Oh, no.

Anne - What's the matter?

[knock on door]

DM - Go away!

RR - [from outside] Mac, please. [knocks again] Mac, it's really important.

Anne - [laughs] It's okay.

RR - [from outside] Mac?

DM - Yeah. [RR opens back door.] It's all right. Come in.

RR - I'm sorry. [enters]

DM - What is it?

RR - Somebody recognized me.

DM - I knew this would happen.

RR - I was at a cafe. I mean, a little out of the way-- I was at a cafe, a little out of the way place in the middle of nowhere-- I was at a cafe, a little-- [Adrian & Stan both crack up laughing.]

[Camera angle: looking into bedroom from doorway]

Director - [offscreen] And two, one.

[Pop of gun firing, Amanda falls backwards onto bed. DM dives behind the bed, then gets up & chases after the killer.]

Director - [offscreen] Cut. Very good.

Adrian - [offscreen] Oh my God. Is--

[Camera angle: looking toward doorway from behind bed]

Director - [offscreen] Action.

[DM re-enters bedroom, pulls Amanda's arms to lift her.]

Adrian - [under his breath] Oh, god.

[DM lifts Amanda's dead body over his shoulder {with some accompanying groans, carries her out of the bedroom.]

Director - [offscreen] Cut. Very good.

Adrian - [offscreen] Actually, I said "Oh, God." I don't think I'm going to like--

[Camera angle: looking toward doorway from behind bed]

Director - [offscreen] Action.

[DM re-enters bedroom, pulls Amanda's arms to lift her.]

Adrian - [under his breath] Oh, god.

[DM lifts Amanda's dead body over his shoulder (with some accompanying groans), carries her out of the bedroom.]

Director - [offscreen] Cut. Very good.

Adrian - [offscreen] Actually, I said "Oh, God." I don't think I'm going to like--

[Camera angle: looking toward doorway from behind bed]

Director - [offscreen] And.. action.

[DM re-enters bedroom, pulls Amanda's arms to lift her dead body over his shoulder (with some accompanying groans), carries her out of the bedroom.]

Director - [offscreen] Cut. Very good.

[Camera angle: looking toward doorway from behind bed]

[DM carries Amanda toward stairs. Amanda moans, raises her head.]

DM - You healed yet? [sets her down]

Amanda - Oh. I hate it when this happens.

DM - You all right?

Amanda - They ruined a perfectly good shirt. Now I have to change it.

DM - Come on.

Amanda - [re dead body on stairs] You killed him?

DM - Come on. Get going.

[Camera pans down to dead killer.]

Director - [offscreen] And cut.

Director - [offscreen] Ready. Action.

[Close on Methos looking at chess piece, but he's holding it below camera level.]

DM - [offscreen] I'm sorry for the reception. I wasn't expecting you.

Joe - [offscreen] Yeah, well, I really wasn't expecting to come, not until this morning.

Man - [offscreen] {??}

Adam - Okay.

Director - [offscreen] And again, from the top. Action.

[Methos picks up chess piece, holds it high enough to be seen on camera.]

DM - [offscreen] I'm sorry for the reception. I wasn't expecting you.

Joe - [offscreen] I really wasn't expecting to come, not until this morning.

DM - [offscreen] What brings you to Paris?

Methos - [looks up from chess piece] I called him. [goes back to examining chess piece]

DM - [offscreen] I know you wanted to see Methos, but six thousand miles is a long way to come for a social visit. [hands Methos a glass of white wine]

Joe - [offscreen] Well, it's Watcher business. It really doesn't concern you, Mac.

DM - [offscreen] Whatever.

Joe - [offscreen] I mean, if it did, I would tell you.

DM - [offscreen] It's all right, Joe. I've got problems of my own right now. We all do.

Methos - I don't suppose this problem has a name, does it?

DM - [offscreen] Kalas.

Joe - [offscreen] He's in prison.

DM - [offscreen] Not since last night.

Methos - I leave you for five minutes...

Director - [offscreen] Cut.

[Laughter.]

Man with clapboard - Thirty-nine, part 3, take three. [snaps clapboard]

Director - [offscreen] And... Action.

Methos - You think she's still alive?

DM - He could use her against me. But he likes to keep his victims dangling. One way or another, he'll contact me. [sits up, picks up phone receiver] Yeah? [listens, frowns] Yeah. [holds phone out for Joe] It's for you. [hands phone to Joe]

Joe - Yeah, Dawson. [beat] Where? [listens] All right. [lowers phone]

Methos - They spotted Christine.

Joe - Yeah. In the park. Across from the Tribune building.

Methos - So. She's doing it. Let's go.

Joe - No, no, no. Look. This happened on my watch and it's my responsibility. I'm going to do this.

DM - Do what, Joe?

Joe - I'm going to stop her. [leaves]

Director - [offscreen] Cut. Perfect.

Amanda - MacLeod, haven't you ever wanted to do something really, really crazy? I mean, what's the worst thing that can happen?

DM - You hit the ground at a hundred-- You hit the ground at a hundred and twenty-five miles an hour. You want to know what that feels like?

Amanda - I'll survive.

DM - Yeah, in front of everyone.

Amanda - Look, after tomorrow, everyone's going to know anyway. For once in your life, just let go and do something crazy.

DM - The whole world--

Amanda - Break the rules.

DM - --is about to break down in front of us, and I don't know the fucking lines!

Amanda - [laughs] Do it again.

Director - [offscreen] {Don't break.} Don't cut. Ready, and action.

Amanda - Oh, MacLeod, haven't you ever wanted to do something really, really crazy? I mean, what's the worst thing that can happen?

DM - You hit the ground at a hundred and twenty-five miles an hour. You want to know what that feels like?

Amanda - I'll survive.

DM - In front of everyone.

Amanda - So what? After tomorrow, everyone's going to know anyway. Come on. For once in your life, just lighten up and let go and break the damn rules.

DM - The whole world is about to crash down around our ears and you want to play games.

Amanda - Yes. Why not? What better time? Come on.

DM - Ah, what the hell. [climbs onto railing platform with her]

Amanda - Yes! Yes! [laughs] Come on, MacLeod. Let's do it. Let's jump.

DM - No. Let's dance. [bows to her, takes his sunglasses off, glances down over edge, mimics tango music] Dah duh da-duh duh. Aiya-uh. [hold his hand out]

Director - [offscreen] Cut. {??} hold it.

Gillian Horvath - [voice-over] --a wire at about waist height. And Adrian Paul and Elizabeth Gracen stepped up at the plate and delivered this dance sequence.

Director - [offscreen] Action.

DM - No. Uh... Let's dance.

[Tango music begins playing ("Tango Elite" by Alec Gould). DM pulls off his sunglasses, puts them in his jacket pocket, giving the ground far below them another quick glance.]

Amanda - {You sure?}

[DM steps up to Amanda, holds his arm out in a 'shall we dance' gesture. Amanda grabs his hand and pulls them together in classic tango fashion. Music stops. DM dips Amanda. Amanda laughs.]

DM - How'd you do it? How'd you get me up here?

Amanda - Ah, because you love it. [laughs as he dips her again]

Man with clapboard - Eleven, part one, take one. Two camera. [snaps clapboard]

Director - [offscreen] Ready. Music.

[Music starts playing. Different camera as DM & Amanda dance. Amanda jumps into DM's arms & music stops.]

Man - [offscreen] Bravo. [applause]

[Amanda bows to crowd, turns back to DM.]

DM - I want you to know... if this all ends... I mean, uh...

Amanda - You love me. I know. You always have. [kisses him]

[DM ends long kiss, looks back over railing again, makes a face. Amanda laughs.]

Director - [offscreen] Cut.

Man with clapboard - Take one. [snaps clapboard]

Director - [offscreen] Now, music.

[Music starts playing. Headshot on DM, showing Amanda's PoV. Adrian makes a face at the camera while waiting for his music cue. Then Adrian starts dancing with the camera as his 'partner'. Adrian makes another face at the end & steps to the side off camera. Music keeps playing as camera picks up DM again.]

Director - [offscreen] Let it run, let it run, let it run, let it run. Let it run.

[Adrian does some reaction takes of rolling his eyes, widening his eyes, for the close-ups of DM reacting to what they are doing.]

Man with clapboard - Seven, take one. [snaps clapboard]

Director - [offscreen] Stand by. Action. Music.

[Music starts playing. Headshot on Amanda, showing DM's PoV. Elizabeth makes sultry faces at the camera, then pulls in close and starts dancing with the camera as her 'partner', then shakes her head and stops the take.]

[Methos, Joe & Amanda stand watching the flashing lights of the Eiffel Tower Quickening. Generator powering the strobes turns off.]

Methos - I never saw one quite like that.

Amanda - I don't see him. Where is he?

[They all stand waiting anxiously, then are interrupted by a loud buzzing (megaphone feedback) and burst out laughing.]

Director - [on megaphone] Hold it. Stay {??} there. Wait. Hold it. Come on. Ready. Ready {??}, come on. Action.

[The three go back to waiting anxiously.]

Methos - I never saw one quite like that.

Amanda - I don't see him. Where is he?

Man - [offscreen] {French} Look up there one second, yeah? [Megaphone feedback blares again.] Hah, tres bon.

[The three burst out laughing again.]

Man - [offscreen] Great. {Right?}

Director - [offscreen] Action.

Adrian - [wearing monk's robes, walks toward camera] Hi there. I'm Adrian Paul. [beat] ugh! I think. [turns on his heel, walks back to starting point]

Director - [offscreen] Keep rolling.

Man - [offscreen] {??} a little bit more, please, David. That's great.

Director - [offscreen] Action.

Adrian - [walks toward camera] Hi there. I'm Adrian Paul. Welcome to the world of Highlander. I play Duncan MacLeod at the Clan MacLeod, born four hundred years ago in the Highlands of Scotland. I'm immortal, and I'm not alone. Now, if you like a little action adventure mixed with some humor, some history, and a little romance, I think you'll like us.

Director - [offscreen] And cut. Good.

Adrian - [wearing black trench coat over red shirt, leaning against lectern] I hope you enjoyed what you saw. If not, blame the writers. Look for Highlander in your area, and watch your head! Because as [flubs line] as zhemortals zay, I can't help it anymore.

[laughter]

Director - [offscreen] Okay. Print it. Okay, guys {??}

[more laughter]

Man with clapboard - Okay, on the mark. [snaps clapboard]

Director - [offscreen] Action.

Adrian - I hope you enjoyed what you saw. If not, blame the writers. Look for Highlander in your area. And as us Immortals say-- Oh no, I g-- Keep rolling. I hope you enjoyed what you saw. If not, blame the writers. Look for Highlander in your area. And watch your head. Because as us Immortals say, in the end, there can be only one.

Director - [offscreen] And cut.

Adrian - [as man with clapboard snaps clapboard] Take four? I haven't done four takes.

Man - [offscreen] {??}

Director - [offscreen] Action.

Adrian - I hope you enjoyed what you saw. If not, blame the writers. Look for Highlander in your area, and watch your head. Because as we say, "In the end, there can be only one."

Director - [offscreen] Cut. Okay, let's try one more.

Man - [offscreen] That's great.

Director - [offscreen] And action.

Adrian - I hope you enjoyed what you saw. If not, blame the writers. Look for Highlander in your area. And watch your head. Because as us Immortals say, "In the end, there can be only one."

Director - [offscreen] Cut. Good.