Highlander
Transcripts:
DVD Extras

[Mary walks to a clothesline, picks up wicker basket. She walks past sheets already hanging, sets basket down and pulls out a blanket.]

Gillian Horvath - [voice-over] The way the scene was originally written, Roland is supposed to question Duncan's mother in her hut and she looks to a cross on the wall, drawing strength from her faith to resist his power. But they didn't build the hut and they filmed the scene outside, which is fine until the moment Mary needs to turn to her cross.

Kantos - [confronts her] About the foundling, Mary.

Mary - I know nothing.

Kantos - Tell me.

Mary - You've had your answer. There's nothing more to tell.

Kantos - A boy... found on the winter solstice -- a foundling child.

Mary - No. No, there was none.

Kantos - [takes her hand] I don't believe you. Open your heart to me, Mary. Tell me what I need to know.

Mary - [resisting] I know nothing.

Kantos - Tell me. [He squeezes her hand. She collapses to the ground.] You know you must. Where is he?

Mary - [reaches into laundry basket beside her & pulls out a rather large celtic cross, holds it up] The one you seek... is not here. [camera stays on Mary as she holds the pose, then relaxes.]

Director - [offscreen] Cut. Pretty good {??}

Gillian Horvath - [voice-over] This Quickening footage is taken from a final assembly of "Prophecy", before music and special effects were added. Notice how much of the Quickening is achieved on set, with actual explosions going off all around Adrian Paul.

[Adrian reacts to "Quickening" as multiple explosions go off around him.]

Gillian Horvath - [voice-over] The second half of the scene was filmed against blue screen, with Adrian looking appropriately nostalgic and moved by the images of Duncan's past, which would be added much later.

[Adrian rotating around in front of blue screen, moving in slow motion.]

Gillian Horvath - [voice-over] There actually was a Quickening sequence filmed when Haresh Clay killed Graham Ashe in the flashback.

[(no sound) DM ducks for cover as explosion behind stone wall rains down dirt and rocks. DM looks around warily, then runs offscreen.]

Director - [offscreen] Great. Frame and... Action.

DM - Richie, wait.

RR - I thought this wasn't about you protecting me, Mac.

DM - Do you want to know what this is about?

RR - What?

DM - This is about you seeing me for who I am. I'm not your father. I'm not your guardian angel. Richie, listen to me. You want to know how I really felt when Ashe went down, just like that? I thought, "How could he do that to me?" He was supposed to be stronger than that. He was supposed to be a man of honor. If he could be broken, just like that... Do you know how that made me feel?

RR - No, I don't. But does if feel like not being able to trust anyone in the world anymore? Like your best friend trying to kill you. [beat] Get out of my way.

DM - [grabs his arm to stop him from leaving] You think this is about me protecting you? It's not about you. You want to fight Clay? You get in line. [walks toward Clay]

RR - [to himself] I just might.

Director - [offscreen] Cut it. Cut.

RR - --or no Carter. Let's go.

Clay - When you are ready. [walks away]

DM - Richie.

RR - What?

DM - He shamed me. I watched Graham Ashe beg for his life and die. And afterwards Clay taunted me and I did nothing. Nothing. I'm not telling you to do this. I'm asking you.

RR - [steps aside] Okay.

DM - Thank you. This is holy ground. You'll be safe here. If he takes me, he'll take you, too.

RR - Then don't let him.

[camera on Joe]

Jim - Yeah, exactly. Remember {when}.

Director - [offscreen] And...

Stan - [offscreen] Hey, why don't we do a show like that? Do the whole episode right here, just like this.

Director - [offscreen] Ready, and...

DM - [offscreen] I'll see you around.

RR - [offscreen] See you, Mac. [DM leaves.] So, what in the hell's a guy gotta do-- [flubs line] So, what the hell-- what the hell-- [laughs] Sorry. So.

Director - [offscreen] Okay, one second. {??}

[Jumble of voices talking as Adrian comes back into position.]

Voice - [offscreen] Still rolling.

Adrian - [his back to camera] Yeah. Starting with {??}.

Director - [offscreen] Ready?

Voice - [offscreen] Nope, we're not ready. Okay, come up. Up on the dolly.

Adrian - [his back to camera] That's-- That's the {young puppy}.

Voice - [offscreen] And Adrian, to your right again, please.

[Adrian moves so he's not blocking the camera's view of Joe.]

Voice - [offscreen] Okay. And frame.

Director - [offscreen] And action.

DM - [offscreen] We'll work it out. I'll see you around.

RR - [offscreen] See you, Mac.

DM - We'll work it out. [holds out his hand to RR, clasps his hand briefly] See you around.

RR - See you, Mac. [DM leaves.] So, what in the hell's a guy got to do to get a drink in a place like this?

Joe - Cash. Credit card. Your personal check. [grabs glass to fill at beer tap]

RR - Thanks, Joe.

Jim - [jiggles tap handle] What, the thing doesn't work.

[Crew laughs.]

Jim - We're gonna have to fix it!

[Crewmember drops headless dummy off the stadium roof. Dummy bounces off fence, lands on ground. (no sound)]

[Crewmembers drops headless dummy off the stadium roof. Dummy lands on fence, then eventually falls onto ground. (no sound)]

[Bruce chuckles offscreen.]

Director - [offscreen] And frame. And action.

DM - Why? Because you suffered? How much you got in the bank, Carl?

Carl - What difference does that make?

DM - Huh? Five, six million dollars? How about that little apartment and nice Lamborghini?

Carl - Is there some point you're trying to make here, MacLeod?

DM - Yeah. Why don't you give the tortured crap a rest? Your slave days are long gone.

Carl - All right. Why don't we look at it this way. This is probably the best thing that ever happened to old Trey, and I'll tell you something. If that man wants his time in the sun, I'm going to give it to him.

DM - Not good enough.

Carl - But it'll just have to do.

DM - Why don't you come down to the station and you tell old Carl that, hmm?

Carl - Who?

DM - Old Carl. [Both laugh] Old fucking Carl. Well, you know...

[Person with clapboard snaps clapboard.]

Director - [offscreen] Great. Action.

DM - So why? Because you suffered? How much you got in the bank, Carl?

Carl - What difference does that make?

DM - Five, six million dollars? [beat] Five, six million? Three or four million? [shrugs at camera] I don't know. He's got a lot.

Director - [offscreen] Cut.

Man with clapboard - {??} Take three. A-Mark. [snaps clapboard]

Director - [offscreen] Frame.

DM - Why not? Because you suffered? How much you got... [swings around into camera view] How much you got in the bank Carl? Oh, Christ. [goes offscreen again] I'm not there.

Director - [offscreen] Action.

DM - Why? Because you suffered? [ducks into view] How much you got in the bank, Carl?

Carl - What difference does that make?

DM - Five, six million dollars? And how about that apartment of yours or the nice, new Lamborghini?

Carl - Is there some point you're trying to make here, MacLeod?

DM - Yeah. Why don't you give the tortured crap a rest? Your slave days are long gone.

Carl - All right. Why don't we look at it this way. This is probably the best thing that ever happened to old Trey, and I'll tell you something. If that man wants his moment in the sun, I'm going to give it to him.

DM - Not good enough.

Carl - It'll have to do.

DM - [stops Carl with a hand on his chest] Why don't we go down to the station and you tell old Trey that? [Carl starts to walk past him again. DM stops him again.] I said, let's go down to the station.

Carl - You take your hand off me.

DM - I'm not done.

Carl - I'm done. [knocks DM's hand away]

DM - [dodges to the side] You missed me totally, baby.

[Person with clapboard snaps clapboard.]

Director - [offscreen] And... Frame. Action.

DM - I'm not done.

Carl - We're done.

[Carl knocks DM's hand away, swings a punch at DM's head. Adrian dodges. Carl chuckles. They reset.]

Director - [offscreen] Still rolling.

Voice - [offscreen] {??} one step further away from {the dolly}. [Bruce moves a step to the side.] Thank you.

Director - [offscreen] Frame. And action.

DM - We're not done.

Carl - We're done.

[Carl knocks DM's hand away, swings a punch at DM's head. DM dodges, punches Carl in the gut.]

Adrian - See, you should put it on the elbow, man.

Bruce - [laughing] I did. You okay?

Voice - [offscreen] {still} rolling. {??} Still rolling.

Director - [offscreen] And... action.

DM - Well, I'm not done.

Carl - We're done. [explodes into action, knocking DM's hand away. Fist-fight ensues.]

DM - [after knocking Carl down] Come on! Come on!

Carl - [offscreen, on the floor] All right! All right. Give me a hand? [DM offers his hand, pulls Carl to his feet. Then Carl head-butts him and hits him a few more times.]

Man with clapboard - --camera, take two. Mark. [snaps clapboard] {B}-mark.

Director - [offscreen] Frame. Ready? Set, and... action!

DM - I'm not done.

Carl - Yeah, we done.

[Carl knocks DM's hand away, swings a punch at DM's head. Adrian dodges. They reset.]

Adrian - Don't {??} your thumb there.

Bruce - {??}

Director - [offscreen] Action!

DM - I'm not done.

Carl - Yeah, we done. [knocks DM's hand away. Fist-fight ensues.]

Adrian - [as Bruce staggers/falls backward toward stair railing] Stop stop, stop, stop!

Bruce - [resets] Let's go.

Director - [offscreen] Still rolling.

Adrian - I saved your {time}. [Bruce laughs.]

Director - [offscreen] Okay, should we cut and you take seven?

Adrian - No.

Director - [offscreen] You okay? All right, here we go. And action!

DM - I'm not done.

Carl - We're done. [explodes into action, knocking DM's hand away. Fist-fight ensues. This time Carl falls into the stair rail, taking it out. They continue to fight.]

DM - [after knocking Carl down] Come on, get up! Get up!

Carl - [lying against the wall] All right! Goddamn you. [takes DM's arm as he climbs to his feet, then starts punching him again.]

Director - [offscreen] Cut!

Director - [offscreen] Quiet! Absolutely quiet. Frame. And action.

[Carl punches DM, throws him through wooden frame, storms after him.]

Director - [offscreen] And cut.

[Person with clapboard snaps clapboard.]

Voice - [offscreen] B-mark.

Director - [offscreen] And... frame. [Adrian is on his hands & knees, holds pose.] Action!

[Adrian throws himself fully onto the floor. Camera pans up to Carl storming through the broken wooden frame.]

Carl - You want some more?! Huh? Come on! [They fence with short lengths of broken wooden dowel.] I'll give you some more!

DM - [knocks dowel out of Carl's hand, pins him with his own dowel] Come on, Carl. You want some more? You got some more.

[Carl breaks free, fight continues.]

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

[Fight continues. Carl is starting to lose steam. They grapple.]

Carl - Come on!

[Person with clapboard snaps clapboard.]

Voice - [offscreen] B-mark.

Adrian - I'll give you the two beats. Bang. {??} [Bruce nods.]

Director - [offscreen] And...frame. Action.

[Fight continues. DM swings Carl around past camera & off camera.]

Adrian - Whoa, baby.

[Person with clapboard snaps clapboard.]

Voice - [offscreen] Mark. Mark.

[Various voices speaking offscreen.]

Director - [offscreen] Ready, and action.

[DM tosses Carl through dojo office windows into office.]

DM - I'm not done yet. [climbs through shattered windows into office]

Director - [offscreen] Cut!

Gillian Horvath - [voice-over] The McCormick character was conceived as a possible hero for a spin-off series, an Immortal federal investigator. The role was tailored for Eric McCormick, who at that time was best known for playing the mysterious southerner Clay Moseby on the Lonesome Dove series. Eric McCormack is now best known for playing Will on Will and Grace. For his role in "Manhunt", he brought along Moseby's southern accent, although not his long hair and beard.

DM - --find out about him? About us?

Matthew - I wouldn't worry about that. I don't think Carl's going to make it to trial. [leaves]

Director - [offscreen] And frame.

Voice - [offscreen] Background {??}.

[Background actors start walking.]

Gillian Horvath - [voice-over] Listen for the accent to drop at the end of the clip in the police station.

Frayne - The test was positive. Bloodstains match the murder victim's. Robinson's prints are all over it.

Matthew - Well, if I had a crystal ball, you know what I'd see? I'd see you doing ten to twenty for aiding and abetting, accessory to murder.

DM - Hey, all I did was bring it in.

Matthew - Well, then you must know where he is.

DM - No, I don't.

Matthew - Spill it, Macleod! [beat] Oh, fuck. [puts his head in his hands]

Adrian - [flutters fan, with girlish Southern drawl] Or you'll book me right now.

Matthew - [no accent] I'm so sorry. Or I'll book you. I'm sorry.

Adrian - Book me!

[Man with clapboard snaps clapboard, then runs down hallway & around corner out of sight.]

Voice - [offscreen, very faint] {??}

Adrian - [offscreen] What?!

Director - [offscreen] Action. Action.

Adrian - [offscreen, starts to chuckle] Hold on. Hold on. [appears around corner, talking, as voice offscreen says something] The police don't know-- Oh, sorry. The police? Fuck the police. Oh, sorry. [They go back out of sight around the corner again.]

Director - [offscreen] Still rolling. Action.

DM - --the police are not looking for you and Trey's free.

Carl - That's great. [to Matthew] Did you have to let them shoot me so many times? Felt like the damn O.K. Corral.

Matthew - Awful sorry.

DM - Will you stop complaining? You still have your head.

Carl - Yeah. It's freezing in there.

DM - Well, it WAS a morgue. And you're still fresh!

Carl - You know, you're real funny, MacLeod. [looks down at scrub top he's wearing] Say, here, who picked out these clothes, anyway? Your mother?

DM - [to Matthew] You should have killed him.

Matthew - Mm-hmm.

Director - [offscreen] Cut it.

Joe - Betsy, I need to know. Is that why you're leaving?

Betsy - [offscreen] Oh, God, Joe, no. No, that's the last thing. I should have told you from the start. I just couldn't.

Joe - Told me what?

Betsy - [offscreen, sighs] I'm not Betsy Fields anymore. I'm Betsy Mitchell.

Joe - You're married.

Betsy - [offscreen] After all these years, all the time, I kept thinking about you. And when I found out where you were, I just had to come. Even though it took me two months to get up the nerve. I have a good life... I'm gonna be a grandma soon. Can you believe that? {But...} I needed you. Just for a little while.

Joe - If I had known you were married...

Betsy - You never would have made love to me.

Joe - I don't know about that.

Betsy - Joe, I'm so sorry.

Joe - No. Don't be sorry.

[knock at door]

Betsy - I have to go.

Joe - [calls out] Look, we don't need a taxi, okay? [to Betsy] I'll drive you to the airport. Pick you up, too, if you ever come back this way. Come on, let's go. [leaves frame]

Joe - [picks up old football] What, uh, what'd you need this for?

DM - [offscreen] Uh, nothing really.

Joe - Go long, MacLeod.

DM - [offscreen] Yeah?

Joe - Yeah.

DM - [offscreen, as Joe throws football] Okey-dokey {smokey}.

Joe - Oh!

DM - [offscreen] Oh. Whoa. [a thump and a grunt]

[Joe claps his hands.]

Director - [offscreen] Cut.

[Jim catches the football as it is thrown back to him.]

Joe - [offscreen] Go long, MacLeod.

DM - Yeah?

Joe - [offscreen] Oh, yeah.

DM - Got it! [jumps to catch football as Joe throws it, rolls across bed, raises his arms] Touchdown!

Joe - [offscreen] Touchdown!

[Adrian hops off bed, throws football back to Jim.]

Director - [offscreen] Cut.

[close on Joe]

Joe - Go long, MacLeod.

DM - [offscreen] Yeah?

Joe - Oh, yeah.

DM - [offscreen] Oh, yeah. Baby, I'm going.

Joe - [throws football] Oooh. [claps his hands together] Touchdown!

DM - [offscreen] Yes!

[Jim catches the football as it is thrown back to him.]

Director - [offscreen] Cut.

Joe - [offscreen] Go long, MacLeod.

DM - Yeah?

Joe - [offscreen] Oh, yeah.

DM - Okay. Fire it up! [jumps to catch football as Joe throws it, rolls across bed]

Joe - [offscreen] Oh!

DM - [sits up] So what do we say? [raises his arms over his head, still holding the football]

Joe - [offscreen] Touchdown!

[Adrian throws football back to Jim, walks toward camera, slashes his hand across his neck.]

Director - [offscreen] Cut.

Gillian Horvath - [voice-over] This is one of very few audition tapes for Highlander that survive. Notice the spare surroundings, that's the conference room in the writer's office with rows of Highlander dailies on the bookshelf.

Alistair - Alistair Duncan. Six-foot, two and a half.

Male Voice - [offscreen] Alright.

Alistair - [as Terence, reading from script] What are you doing here?

Male Voice - [offscreen, as DM] Where's Carolyn?

Alistair - [as Terence] On her way. And we'd like to be alone, if you don't mind.

Male Voice - [offscreen, as DM] I think I'm just going to leave her here?

Alistair - [as Terence, scoffs] Always the hero. Sounds like you're starting to believe your own publicity. What are you planning to do? Be the lady's champion on a white charger?

Male Voice - [offscreen, as DM] If I have to.

Alistair - [as Terence] En garde! [assumes swordfighting position]

Male Voice - [offscreen, as DM] What? [Alistair turns page of script.] Carolyn! We were just--

Female Voice - [offscreen, as Carolyn] Fighting over me? How romantic.

Male Voice - [offscreen, as DM] No!

Alistair - [as Terence] Yes!

Male Voice - [offscreen, as DM] Yes.

Alistair - [as Terence] You won't have her!

Male Voice - [offscreen, as DM] I don't want her!

Alistair - [as Terence] Then what are you here for?

Male Voice - [offscreen, as DM] I'm just trying to keep you away from her.

Alistair - [as Terence] What a man are you, coming between a man and his wife?

Male Voice - [offscreen, as DM] Wife? She's your wife?

Alistair - [as Terence] Like you didn't know.

Female Voice - [offscreen, as Amanda] He didn't.

Male Voice - [offscreen, as DM] I didn't.

Alistair - [as Terence] You didn't?

Female Voice - [offscreen, as Carolyn] No, he didn't.

Male Voice - [offscreen, as DM] I wouldn't. Terrence, there's nothing between Carolyn and me!

Female Voice - [offscreen, as Carolyn] It's true.

Alistair - [as Terence] Then why did you leave me?

Female Voice - [offscreen, as Amanda] Because she loves you, idiot!

Alistair & "DM" - What?!

Man with clapboard - [offscreen] B-mark. [snaps clapboard]

Alistair - [offscreen] Ah, so, we going to go from there?

Director - [offscreen] And action.

DM - --trying to keep her away from you!

[DM ducks behind chair. Terence pushes chair over sideways. Adrian stands up and gives a little bow.]

Terence - [offscreen] What kind of hero are you, coming between a man and his wife?

DM - She's your wife? [climbs onto coffee table]

Terence - [offscreen] Like you didn't know.

DM - I didn't.

Amanda - [offscreen] He didn't.

Terence - [offscreen] You didn't?

Carolyn - He didn't.

DM - [jumps over sword swung by Terence] I wouldn't. [falls backward into opposite chair] There's nothing between me and Carolyn!

Terence - Then why did you leave me?

Amanda - [offscreen] Because she loves you, you big dope!

[Terence ends up with his back to the camera between DM's legs, pinning him to the chair.]

Adrian - Oh, this is good.

Alistair - Oh, isn't it? Isn't it? It's wonderful. Quiet wonderful. [looks to the side, continuing the scene] What?!

Director - [offscreen] And cut.

Director - [offscreen] Action.

DM - Harsh words, sir. [Terence points with his sword. DM turns, looks offscreen.] Hey! That's my horse! [runs toward camera and offscreen] Come back with my horse!

Terence - See? You see how-- how-- how-- You see--? You see--?

Voice - [offscreen] You see how chivalry is rewarded? There is no justice.

Director - [offscreen] Okay, keep rolling. Here we go. [Adrian gets back in position.] One more. One more time. Here we go. And set. And action.

DM - Harsh words, sir. Where's your proof? [Terence points with his sword. DM turns, looks offscreen.] Hey! That's my horse! [runs toward camera and offscreen] Come back with my horse!

Terence - See? You see how chivalry is rewarded? There's no justice! [sheathes his sword, leads his horse over to DM] I'd buy you an ale to drown your sorrows, but she stole every penny I had.

DM - [offscreen] At least you have a horse. If you would not mind, sir, to give me a ride to the next town, I'll buy the ale. [Terence mounts his horse.] We can discuss the death of chivalry.

Terence - Oh. Done. Gentlemen of our caliber stick together. [leans forward as DM attempts to mount behind him] Especially--

Adrian - [tries again, unsuccessfully] Yeah, {sorry}, you've got to stand on that. The saddle's way over.

Man with clapboard - [snaps clapboard] B mark.

Director - [offscreen] And frame. Action.

DM - Harsh words, sir. Where's your proof? [Terence points with his sword. DM turns, looks offscreen.] Hey! That's my horse! [runs toward camera and offscreen] Come back with my horse!

Terence - See? You see how chivalry is rewarded? There is no justice! [sheathes his sword, leads his horse over to DM] I'd buy you an ale to drown your sorrows, but she stole every penny I had.

DM - [offscreen] At least you have a horse. If you would not mind, sir, to give me a ride to the next town, I'll buy the ale. We can discuss the death of chivalry.

Terence - [mounts his horse] Done. Gentlemen like us, we should stick together. [takes katana from DM, leans forward as DM mounts behind him] Especially when--

Adrian - Stand in that saddle.

Alistair - Oh, fuck.

Adrian - [slides back down] No, I'm coming off. [several crewmembers move into view to steady him] Let go, let go of my leg. You have to let go of my leg. Don't grab my leg.

Alistair - I wasn't grabbing your leg. Your leg was grabbing-- was stuck on my fuckin' arm.

DM - [offscreen] Well, at least you have a horse. If you would not mind to give me a ride to the next town, sir-- [Terence mounts his horse, who starts walking.] If you'd like to come back here. Um...

[Man with clapboard snaps clapboard.]

Director - [offscreen] And action.

Terence - I'd buy you an ale to drown your sorrows, but she stole every penny I-- [tries to step wrong foot onto mounting block] No, sorry. I've got to get up on here first. Let's do it again. Just keep going.

Director - [offscreen] Still rolling. And action.

Director - [offscreen] Action. Frame.

Terence - I'd buy you an ale to drown your sorrows, but she stole every penny I had. [steps onto mounting block with correct foot, mounts horse]

DM - Well, at least you have a horse. Ah, if you would not mind, sir, to give me a ride to the next town, we-- [possibly realizes he is standing too far behind the horse to be visible on camera, under his breath] Oh, fuck.

Alistair - {Cameron}, I got my foot in it! [Chuckle from offscreen.]

Adrian - Sorry. I'm sorry.

Man with clapboard - B-mark. [snaps clapboard]

Director - [offscreen] Action.

Terence - I'd buy you an ale to drown your sorrows, but she stole every penny I had. [mounts horse]

DM - At least you have a horse. If you would not mind, sir, to give me a ride to the next town, and I'll buy the ale.

Terence - Oh.

DM - We can discuss the death of chivalry.

Terence - Done. [takes DM's katana] Gentlemen of our caliber must stick together. [gives DM an arm up onto the horse behind him] Especially when we're taken advantage of by-- by--

DM - A hussy of that sort?

Terence - Actually, I had a better word in mind. [rides horse offscreen]

Director - [offscreen] And cut. Great. Excellent.

Terence? - [offscreen] Yes!

Director - [offscreen] We got it.

Gillian Horvath - [voice-over] The walk-and-talk by the lake in "Dramatic License" was written and filmed at the last minute when the episode was running short. The first half of the scene was replaced with alternate dialogue and editing, and has never been seen before.

[Person with clapboard snaps clapboard.]

Director - [offscreen] Action.

Amanda - I'm such a sucker for romantic stories.

DM - I couldn't tell.

Amanda - Do you think they'll live happily ever after?

DM - I don't know.

Amanda - I know you don't know. What I'm asking you to do is guess.

DM - Why?

Amanda - Because it's part of a conversation. You know, I ask a question, you answer a question.

DM - Okay, my answer's "maybe".

Amanda - [sing-song] You are no fun.

DM - That's not what you said last night.

Amanda - Oh, so we're bragging now, are we?

DM - As a matter of fact... Yeah.

Amanda - All right. Okay, okay, I'll give you that. I have no problems with you in that department, BUT you are... proud, you are a willful, you are vain, and you are and will always be a big boy scout.

DM - That's why you love me. [They kiss.]

Amanda - Do we love each other?

DM - In our own way.

Amanda - What way is that?

DM - Amanda, you know this conversation never turns out well.

Amanda - No, wait, what never turns out well?

DM - When we try to dissect what we are.

Amanda - You sound just like a man.

DM - I am a man.

Amanda - Oh, that's beside the point.

DM - Amanda, what we have is incredibly special. It's just not mortal love.

Amanda - So?

DM - So I want you to be honest with me. Can you do that? Hmm?

Amanda - Tell me. Talk!

DM - How many years do you think we could spend togeth-- well, no, decades, or centuries -- could you see us spending together? I'm not talking about every now and then. I'm talking about every day, every hour.

Amanda - You mean until one of us kills each other?

DM - Exactly.

Amanda - [sighs] It's just not fair. I mean, all a girl wants is a little romance. To be swept off her feet every now and then. [DM comes up behind her, sweeps her off her feet into his arms, spins her around.] Oh, now that's more like it. [laughs as he keeps spinning] Stop. [He sets her back on her feet.]

DM - I do love you, you know.

Amanda - I know. [They kiss.] I'm dizzy.

Adrian - I'm not.

[Cory is driving car with Amanda in passenger seat, waves over his shoulder (at Richie?), then starts whistling.]

Director - [over walkie-talkie] Cut. That's good.

Liz - Naughty. You're naughty.

Voice - [over walkie-talkie] {Go on B.}

Man with clapboard - [leans into view from back seat] {?? slate.} Mark. [snaps clapboard] Six-oh-six baker, take one.

---

Cory - [laughs] Whoo! [holds his hand out for Amanda to slap, then leans over to kiss her hand]

Liz - We're not rolling yet.

Nick - Yes, we are.

Liz - No, we're not.

Nick - Yes, we are.

Liz - Oh, did they say 'action'?

Nick - Yup.

Liz - Oh! Start again.

Nick - One, two, three... Whoohoo!

Amanda - {??} [Cory kisses her hand.]

[Camera shows view of empty country road.]

Voice - [offscreen] Nicky, Nicky. Nicky, Nicky. Come on. Come on, Nick. [clattering sound offscreen] Here, Nick.

[Crew member runs across front of camera view. More clattering. Herd of cows trot out onto road and start eating something that's been put on the road for them. Amanda's roadster rolls into view & stops in front of the cows as armored truck appears in the distance driving toward them. The cows continue to enjoy their snack.]

Gillian Horvath - [voice-over] The original idea was that a train would go through, keeping Duncan from interfering in Cory's robbery, but it proved impossible to get an antique train, so instead a herd of cows blocks the road, and Duncan simply can't get through to stop Cory. At least that was the theory.

[Armored car & Cory's roadster stop on opposite side of the cows.]

Cory - [gets out of roadster, jogs toward armored car] Whoa. Excuse me.

Armored car driver - What the--!

Cory - [points gun at guards in armored car] Get out of the car! Get out! On your knees! [DM & Amanda get out of roadster, walk toward cow herd.] {??} Thank you. I'm sorry, fellas.

[Cows move out of the way as DM nears.]

Gillian Horvath - [voice-over, with sarcasm] Oh yes, there's so many cows, there's no way through.

[DM now facing the armored car with cows on either side of him but NONE between him and the vehicles.]

DM - Uh... Hey! [turns back toward camera, shrugs, turns back toward Cory, who has grabbed the money bag from the armored car. Cory bows & doffs his cap, then goes back to his roadster.] Hey, you! [walks to armored car that has smoke billowing from it, obscuring Cory now.] {??} [waves his arms at the smoke, reaches the coughing guards] All right, guys, get up.

Voice - [offscreen] Okay, no one move, {please}.

Adrian & Liz - [singing together in stationary roadster] - Bang, bang, chitty-chitty, bang, bang. Our fine four-fendered friend. Bang, bang, chitty-chitty, bang, bang. [Car starts moving forward.] Our fine, four-fendered--

Adrian - Bang, bang, witcha, bang, bang, bang, diddadidda bang, bang

Liz - Chitty bang, bang.

Adrian & Liz - [singing together] Chitty-chitty, bang, bang.

Adrian - Fine four-fendered Chitty Chitty friend.

[They share a laugh.]

Liz - All right. Ready?

[Close on RR.]

Cory - [offscreen] --Immortal, right? It's all in fun.

RR - All in fun? Huh? Are you nuts?

Cory - [offscreen] Let's just everyone relax. As you can see, the young lady is in no... physical jeopardy.

DM - [offscreen] Apparently not. In fact, she's positively... glowing.

Cory - [offscreen] You know, I was going to suggest we all, uh, that we take a dump-- a dump? [Stan laughs.] Sorry. That we take a-- [Everyone laughs.]

[Stan waves his hand at the camer, makes a 'Time-Out' T.]

Adrian - [offscreen] Okay, let's do it. Come on, come on, come on.

Director - [offscreen] Okay, and--

Cory - [offscreen] I was gonna see--

Director - [offscreen] Action.

[Stan cracks up again, composes himself.]

Director - [offscreen] Thank you. Action.

DM - [offscreen] Well, obviously not. In fact, she's positively... glowing.

Cory - [offscreen] Then I was going to suggest that we take a jump in the Jacuzzi. Uh, I think we've got room for two more.

RR - [laughs incredulously] Yeah, right. [cracks up again, steps away as others laugh offscreen]

Adrian - [offscreen] Come back. Come back.

Voices - [offscreen] Still rolling. Still rolling. Quiet. We're rolling. Shh-shh-shh.

Director - [offscreen] And...

Voice - [offscreen] I think maybe we should cut because he's-- [more laughter]

---

DM - [offscreen] Me, I'll take a rain check on that. You know what they say, don't you? Two's company, and four is definitely... definitely not sanitary. [Stan laughs, starts to walk off.] What? Stay there. We've got to finish the scene! Four's definitely unsanitary.

Voice - [offscreen] Still rolling.

Director - [offscreen] Let's continue. And...

[Close on DM.]

Cory - [offscreen] Um, I was going to suggest we take a dip in the old Jacuzzi. I think we've got room for two more.

Adrian - Well, you can count me out. You know what they say, don't you? Two's company, and four's... definitely insanitary. INsanitary. It's one of those nights. [clears his throat.]

[Voice says something indistinct offscreen.]

Adrian - Yeah, would you get out of my godawful light? Thank you very much.

[Brief chatter of various indistinct voices.]

DM - Easy, Richie.

---

DM - Well, you can count me out on that. I'll take a little rain check. You know what they say, don't you? Two's company, and four's... [stutters] in-- in-- insani-- insane. [turns away] Fuck it. [turns back] Four's not sanitary. God. Awful.

Director - [offscreen] Rolling. Action.

DM - [clears his throat] Well, obviously she-- she's... positively gl-g-glowing.

(no sound)

[Adrian twirls his katana a few times, gets into position. Light begins flashing from offscreen. The box he is standing on lights up, has some small explosions and smoke. Set behind him has explosions, sparks shooting out and landing around him and on the box he's standing on. More explosions. Something falls from the ceiling onto craft table. Set falls down behind him. DM looks behind him at the destroyed set, walks offscreen.]

[Camera at ground level, two huts visible on the other side of the clearing. Villagers lead their prisoners past the camera.]

DM - Fala português? Quechua?

[Wide shot of clearing with the two huts.]

Gillian Horvath - [voice-over] This demo tape from our post-production people shows what was built and what was added to create the Moche village.

[Close on the two huts as villagers lead their prisoners past.]

DM - Fala português?

---

[Super (white text on black background):
MATTE STAGES]

[Super (black text on white-yellow-red 'fireball' background):
RAINMAKER / Cut and Paste Demo / 9th March 1998]

Gillian Horvath - [voice-over] For instance, there were only two two-sided huts, which were moved around the location to create the illusion of more.

[Wide shot of clearing with the two huts. Six more huts pop into existence.]

Gillian Horvath - [voice-over] And the temple was Hitler's bunker from "The Valkyrie", dressed up differently and with a new top glued on in post.

[Photo of temple rising above the tree-tops is added.]

[Camera at ground level, two huts visible on the other side of the clearing as villagers lead their prisoners past the camera. Another hut and the top of the temple are added to the scene.]

---

[Super (white text on black background):
FINAL SCENE]

Clip from "Little Tin God":
[In jungle, Paco & DM look at the warriors surrounding them. Cut to:]
[Camera at ground level as villagers lead their prisoners past the camera. Cut to wide shot of clearing.]
DM - I thought these mountains were uninhabited.
Paco - They're supposed to be.
[Close on two huts as villagers lead their prisoners past.]
DM - ¿Habla español? Fala português?

Man with clapboard - [snaps clapboard] B marker.

Director - [offscreen] Action!

[Adrian, jogging down road away from camera, circles around, starts jogging back toward camera.]

Gillian Horvath - [voice-over] There are special effects, and then there are practical effects, accomplished in real time on the set. In this sequence, Duncan is out running when he's confronted by three young Immortals. He doesn't have his katana with him in those shorts -- he's left it in the car. So he hits the remote to open the T-bird's convertible top and dives for his sword. Except for one thing, there isn't really a remote for that car. Just a guy on the crew who hits the button on cue.

DM - [stops jogging as Luke steps into view holding a sword] I'm Duncan MacLeod of the Clan MacLeod.

Luke - I know who you are. [attacks]

[DM dodges Luke's clumsy attack, knocks him down, runs for the T-bird, using a remote to start the canvas top retracting. The camera follows DM as he runs toward the T-Bird, his back now to the camera.]

Adrian - Go down. {??} Go down. [Hood retracts enough for him to jump onto back of car & into back seat to grab the katana.]

Director - [offscreen] Cut!

Man with clapboard - [offscreen] A mark. [snaps clapboard]

Voices - [offscreen] Who's got the keys? Who's got the keys? Right here.

[Adrian starts running away from camera/T-bird.]

Director - [offscreen] Ready, and... action!

[Crew member pushes the button in the T-bird to start the top retracting, runs out of view. DM runs up behind the car, jumps up on the almost-closed hood, grabs katana out of back seat, blocks Derek's attack from the side.]

[Person with clapboard snaps clapboard.]

Gillian Horvath - [voice-over] You have to pity poor guest star Andrew Divoff, who's living up to Ginger Rogers's accomplishments. Like her, he's doing everything Fred Astaire does but backwards and in a dress.

[Fight continues, out of woods, toward chapel/cemetery. Andrew loses his footing.]

Adrian - And again, just a turn through-- Whoa! [ducks under Andrew's blade] Just a turn through. Just a turn though, from the turn through, okay, from the left {??}. This one here. [shows sword position to Andrew] Go.

Director - [offscreen] Action.

[Andrew hits Adrian's katana once.]

Adrian - Sorry, my fault. I'm ready. And action.

[They repeat the previous sequence & continue the fight until they both move off camera.]

Director - [offscreen] Cut.

DM - I see she called you God, but it doesn't mean that you are one, does it?

Gillian Horvath - [voice-over] The Moche flashback looked amazing. The crew worked long hours of unpaid overtime creating the elaborate sets and costumes. So they can perhaps be forgiven for doing some of their shopping at Pier One.

[DM drinks from a golden goblet. A small oval sticker can be seen on the bottom of the goblet.]

DM - [following Paco, to himself] We're lost. [walks past camera, camera turns to follow them walking away] Keep going, baby. Keep going, keep going, keep going, keep going. [grabs Paco's shoulder] Wait.

Paco - What is it? [Two painted warriors rise from the bush ahead of them.]

DM - What tribe?

Paco - They should not be here.

DM - No, WE should not be here.

Paco - If we fight, we have a chance.

DM - No, I don't think so.

Paco - There's only two of them.

DM - That you can see.

Voice - [offscreen[ {??}

[The warriors move forward as more appear behind Paco. They all point their spears at DM.]

Adrian - What, you've all got me, not him? [motions to Paco. Laughter offscreen.]

Director - [offscreen] Cut.

Methos - Right. There's this Spanish guy. Allejandro Diego Spinoza. Gets called in by the Inquisition for questioning. Red-hot pincers, tongs... usual drill.

DM - [offscreen, muffled] You got all of that off the locker room walls?

Methos - All he has to do is say "no." Okay? One very simple word. They take his home, his money, his lands, but he won't give in.

Joe - And so what happened?

Methos - He died screaming in agony. But... he kept his integrity.

DM - [offscreen, muffled] Don't save my seat. Let yourselves out.

Joe - You are one calculating son of a bitch.

Methos - Thank you very much. It's all a matter of anticipation.

Joe - Oh really. Well, have one on me. [dumps glass on Methos]

Methos - [stands up, spluttering] What the hell was that for?!

Joe - [mimicking Methos's accent] An unforeseen dilemma. [beat] Surprised you didn't anticipate it. [chuckles]

Methos - [under his breath] Fuck you.

Director - [offscreen] Cut! Cut!

[Close on Methos]

Joe - [offscreen] Well, have one on me. [dumps glass on Methos]

Methos - [yells, shakes his head, stands up] What the hell was that for?!

Joe - [mimicking Methos's accent] Just one of those unforeseen dilemmas. [beat] Thought you might anticipate it.

Director - [offscreen] Cut.

Gillian Horvath - [voice-over] The longer version of this scene, where Richie reacts to learning the truth about Adam Pierson, has definitive answers to some questions that we later chose to leave ambiguous. And it never ended the same way twice.

RR - You guys are putting me on, right? I mean, this has got to be some kind of joke.

DM - I'm afraid not.

RR - This is not Methos. He's Adam Pierson.

Methos - No, I WAS Adam Pierson, but I gave it up.

RR - I mean, look at him. He's way too...

DM - Ordinary.

RR - Yes.

Methos - Maybe I should grow a beard, huh?

RR - Joe, help me out here. I mean, five thousand years of wisdom? Him?

Joe - Well, I don't know about the wisdom... but, uh, yeah, five thousand, that's about right.

DM - Richie, I know it's hard to believe, but what you see is what you get. This is the real Methos.

RR - Are you sure? I mean, I know that's what HE said, but how do we know it's true?

Joe - He's got a point there, Mac.

Methos - Don't look at me. I did my part. [to MacLeod] You did your part. [re Richie] He'll believe what he wants.

RR - You guys don't understand. It's not the name that I care about. I mean, this Methos, that Methos. It's the message that I believe in.

DM - Yeah? Well, the message is wrong. It's going to get you killed. You just met this guy, Richie. What he's saying goes against everything that we know. Why would you believe him?

RR - Because he offered me his life. Now, why would he do that?

DM - Because he's afraid to fight you.

Methos - Or maybe because he knew you wouldn't take it.

RR - Yeah, right.

Methos - It worked.

RR - He didn't know that it would.

Methos - [to DM] There's one born every minute.

RR - Okay, fine, whatever. I mean, fellas, I am talking about peace. I'm talking about a chance to end the killing forever. And I'll tell you, of all people, I wished you would understand. [leaves]

[Methos looks over at DM.]

Joe - He's young, all right? Young people, they make mistakes.

Methos - Yeah. Look at disco.

DM - I've got to get going. I've got someone to find. [leaves]

Joe - I'm going to go, uh, and check on this, uh, this other Methos. I don't know, maybe I'll turn something up.

Methos - [left sitting at the bar alone] Maybe I'll go and buy some socks.

Methos - [left sitting at the bar alone] Can I get credit in this bar still?

Methos - [left sitting at the bar alone] Just leaves me and the crew... [Crew laughs offscreen.]

[Someone who appears to be Culbraith is seen briefly on camera, appears to possibly kick something offscreen, disappears from camera view. There's some thumping sounds offscreen, as of a body falling on the ground.]

Voice - [offscreen amidst muted laughter and chatter] {Tail on eight.}

Stan? - [offscreen] Yeah.

Voices - [offscreen amidst muted chatter] Yeehaw. {??} the way you do the tumbling. [More laughter.]

Stan - [offscreen] Never take a job away from a stuntman.

[Man with clapboard snaps clapboard.]

Man with clapboard - [offscreen] Take two.

[RR's stunt double goes slow-motion through planned moves. Then "Culbraith's" hand (from offscreen), moves as if to backhand him. Stunt double reacts, falls to his hands and knees on the ground. "Culbraith's" foot comes from offscreen to "kick" stunt double, who throws himself backwards & somersaults down the ivy-covered slope. "Culbraith" stalks after him (only visible from shoulders down on camera).]

Stan - [offscreen] Right in the head, right in the face. Thanks. I needed a good kick in the head today. I haven't had one of those yet. Just about everything else.

Director - [offscreen] Action!

[DM enters garden.]

Culbraith - [offscreen] You can't interfere. The battle's been joined.

DM - I wouldn't think of it. [tosses RR's sword (not really identifiable as such) offscreen, which makes a 'clank' as it lands]

Director - [offscreen] Cut.

Adrian - [points] Look at that sword!

[Camera does NOT show us the sword...]

[Close-up on RR against blue-screen background, making faces & being rotated around in front of the camera.]

Gillian Horvath - [voice-over] This demo clip from our editors shows the stages of putting together a Quickening. Although in many cases, Adrian Paul was filmed surrounded by actual explosions, with only the lightning added later, in other cases, the Quickening is created by filming the actor against a blue screen and later adding in images to imply the content of the event.

---

[Super (white text on black background):
FINAL SCENE]

Gillian Horvath - [voice-over] In this case, processed shots from the Andersonville flashback.

[RR beheads Culbraith. DM turns, leaves, as Quickening begins.]

[Garden background around RR starts to rotate. Marching drumbeat begins. The first lightning bolt hits RR. More follow. Garden background continues to rotate behind him, turning blue, then back to normal colors, then gold in brief flashes. RR starts to rotate as the rotating background continues. Close on RR's face as the background rotation speeds up. Lightning zaps him again and he rotates to face the camera. Camera cuts to crowd of 'ghosts'. Quickening ends & RR falls to his knees.]

Gillian Horvath - [voice-over] Compare the final version to an alternate version of the scene from an earlier cut.

---

[Super (white text on black background):
ALTERNATE VERSION]

[Close-up on RR against blue-screen background.]

[Beach boys - "Wipeout"
Hee-hee-hee-hee, wipeout!]

[Blue background is replaced by video of ocean waves as RR's Quickening footage is turned into a music video.]

[Person with clapboard snaps clapboard.]

Director - [offscreen] Ready, and action.

DM - What did I tell you! The kid works the body just like-- [fumbles the line] Nyaa do that.

Methos - You never told me that.

Adrian - No, I didn't. I'm trying not to. [starts line over] What did I tell you! The kid works the body just like Basilio.

Joe - Ah, you mean like Dick Tiger.

DM - No. I mean like Carmen Basilio.

Joe - [offscreen] Mm-mm. Dick Tiger.

Methos - [sitting between them] What the hell are you two talking about?

DM - Carmen Basilio.

Methos - Who he?

DM - He was a middleweight contender in the fifties. The guy hit like a mule.

Joe - [offscreen] Dick Tiger.

Methos - Who he?

Joe - [offscreen] Dick Tiger was the middleweight CHAMPION in the fifties. He knocked Basilio on his ass.

DM - Aw, he was lucky.

Methos - The Marquis of Queensbury would have been so proud.

Joe - [offscreen] And who he?

[Methos gives him a look & a fake laugh.]

DM - Hey, keep up your left. Watch the overhand right!

Joe - [offscreen] Oh!

Methos - So, what?

Joe - [offscreen] Not like you didn't warn him.

Methos - You and Joe, you want to sponsor this...

Joe - [offscreen] Hey, come on.

Methos - --event?

Joe - [offscreen] Charlie would have loved this.

DM - Yeah, he grew up here. He figured a place like this would keep the kids off the streets.

Methos - Yeah, which is really important, 'cause they could get real bad hurt out on the street.

Adrian - Real bad hurt?

Peter - [laughs] I don't know.

Adrian - Real bad hurt. Oooh. Somebody teach him English, would you? [Everyone laughs.]

Man with clapboard - [offscreen] B mark [snaps clapboard]

Adrian - Talk about hair in the lens.

[Hand does something to camera lens.]

Jim - [offscreen] Yeah. Check the gate.

[laughter]

Director - [offscreen[ Action!

Peter - [starts laughing again] No, I can't. I know. That's it. Okay.

Adrian - Yeah, could you control yourself please? [munches on popcorn]

Peter - Okay.

Adrian - [spits popcorn out] Oh. Ack. What is in this popcorn? Seems like it's been standing around for about a year. Bleagh.

Director - [offscreen[ Action!

Adrian - [to Peter] It had mold on it. Oh, god, no. Screw this. [grabs bottled water from under his seat] Yeach. Nuh-uh. Cut it. [takes a drink]

Peter - [to Jim] So, you like boxing or what?

Jim - [offscreen] Yeah.

DM - [offscreen] Hey, keep up your left. Watch the overhand right!

Joe - Oh! Not like you didn't warn him.

Methos - What? You and Joe, you want to sponsor this...

[Phone rings offscreen.]

Adrian - [offscreen] Phone? For you?

Jim - Hello?

Director - [offscreen[ Cut.

Adrian - Hello?

Man with clapboard - [offscreen] Mark. [snaps clapboard]

Director - [offscreen] Frame. Action.

[Camera at ground level by back wheel of car. Ingrid's feet appear as she walks around rear of car. A squeak is heard offcamera.]

Director - [offscreen] Going again please.

[Ingrid backsteps around car and out of sight. Another squeak. Someone runs past in the background.]

Director - [offscreen] Frame.

[Ingrid's feet appear as she walks around rear of car. A crow starts cawing in the background. Ingrid's feet stop in front of the camera, hold.]

Director - [offscreen] And away.

[Ingrid's feet turn, walk back around rear of car & out of sight. The cawing continues.]

[Person with clapboard snaps clapboard.]

Adrian - [offscreen] Bond. James-- [coughs]

Director - [offscreen] And action.

[Cawing breaks out offscreen as actors walk into view.]

Adrian - Shut up!

Peter - We're trying to do a shot--

Adrian - Will you shut up! [walks back to reset] Damn birds!

Peter - Okay.

Director - [offscreen] And action.

DM - [offscreen] She said she was just trying to... clear up some loose ends.

Methos - [offscreen] Oh, right. So, uh, five patrol cars and what, ten uniforms? That's a hell of a lot of manpower to tie up a few loose ends.

DM - You're an old cynic. [They both examine newspapers from coin-operated kiosks.]

Methos - [offscreen] I try. Oh, look. It's an exhibition of Greek antiquities.

DM - Oh, I can't wait. A two-thousand-five-hundred-year-old garage sale. My heart soars.

Methos - [offscreen] Listen, some of this stuff could be mine.

[DM grabs paper from Methos.]

Methos - I think the phrase is, "Do you mind if I borrow your newspaper?”

DM - Damn it. [shoves paper back at Methos, starts walking quickly away]

Methos - Mac?

DM - [offscreen] Uh, I'll see you later.

[Peter starts laughing.]

Gillian Horvath - [voice-over] Referred to in-house as the Jimmy scene, because it takes place next to Methos's GMC Jimmy, the confrontation between MacLeod and Methos in "Comes a Horseman" is one of the most memorable of the series. It was also a bitch to edit, because the actors, fully caught up in the emotions of the scene, delivered it differently every time. To make things harder, the sun was setting during filming, meaning that the lighting in the subsequent takes is very different, which had to be fixed in post, so that the scene could in fact be used.

[Methos exits building carrying a box, carries it to his vehicle, then senses 'buzz' (no audio).]

DM - [offscreen] {??} [too faint to hear]

Methos - You shouldn't be here. [throws more luggage into back of Jimmy]

DM - [offscreen] {??} [too faint to hear]

Methos - There is no answer, MacLeod. Let it be.

DM - [offscreen] Is what she said true?

Methos - I'm out of here.

DM - [offscreen] No, you're not out of here. [steps in front of Methos] I want an answer. Is what she said true?

Methos - Damn it, they were different times. *I* was different. The whole bloody world was different.

DM - Did you kill those people?

Methos - Yes. Killing was all I knew. Is that what you want to hear?

DM - It's enough.

Methos - [grabs DM's lapels] No. [slams him against side of Jimmy] No, it's not enough. I killed, MacLeod, but not fifty, not a hundred, but a thousand. Ten thousand! And I was good at it. And it wasn't for vengeance. It wasn't for greed. It was because I liked it. [DM grabs Methos, turns them around, slams Methos against the Jimmy. Methos laughs.] Cassandra was nothing. Her village was nothing. When mothers warned their children about the monster that was going to get them in the night, that monster was me. Do you know who I was? I was Death on a horse. I was the nightmare that kept them awake at night. Is that what you want to hear? The answer... is yes. Oh, yes.

DM - We're done. [walks off]

[Methos watches him go, then takes his jacket off. Methos throws his jacket into the Jimmy, gets in.]

---

Director - [offscreen] And... Action.

[Methos exits building carrying a box, carries it to his vehicle, then senses 'buzz' (no audio).]

DM - [offscreen] {??} [too faint to hear]

Methos - You shouldn't be here, MacLeod. [throws more luggage into back of Jimmy]

DM - [offscreen, very muffled] {??} question or the answer?

Methos - There is no answer. Let it be.

DM - [offscreen] Is what she said true?

Methos - I'm out of here.

DM - [steps in front of Methos] Not yet, you're not. Is what she said true?

Methos - Things were different, okay? *I* was different. The whole bloody world was different.

DM - Did you kill all those people?

Methos - Yes. Killing was all I knew. Is that what you want to hear?

DM - It's enough. [starts to walk away]

Methos - No, it is not enough! [beat] I killed, Macleod, but it wasn't fifty. It wasn't a hundred. It was a thousand. It was ten thousand! And I was good at it. And it wasn't for vengeance. It wasn't for greed. It was because I liked it. [beat] Cassandra was nothing. Her village was nothing. Do you know who I was? I was Death, on a horse. When mothers warned their children that the monster would get them, *I* was that monster. [DM grabs Methos, slams him against the Jimmy.] I was the nightmare that kept them awake at night. Is that what you want to hear? Yes. The answer is yes. Oh, yes.

DM - We're done. [walks off]

[Methos laughs quietly, brokenly, then sucks in a breath & takes his jacket off. He throws the jacket into the Jimmy, gets in, bows his head against the steering wheel.]

---

Director - [offscreen] Frame. And action.

[Methos exits building carrying a box, carries it to his vehicle, then senses 'buzz' (no audio).]

DM - [offscreen] {??} [too faint to hear]

Methos - You shouldn't be here. [throws more luggage into back of Jimmy]

DM - [offscreen] {??} [too faint to hear]

Methos - There is no answer, MacLeod. Let it be.

DM - [offscreen] Is what she said true?

Methos - I'm out of here.

DM - [offscreen] No, you're not. [steps in front of Methos] You're not out of here. Is what she said true?

Methos - The times were different, okay?. The world was different. *I* was different.

DM - Did you kill all those people?

Methos - Yes. Killing was all I knew. Is that what you want to hear?

DM - It's enough.

Methos - [grabs DM and slams him against the side of the Jimmy] No, it is not enough. I killed, but I didn't just kill fifty. I didn't just kill a hundred. I killed thousands. I killed tens of thousands! And I was good at it. And it wasn't for vengeance. It wasn't for greed. It was because I liked it. Cassandra was nothing. Her village was nothing. Do you know who I was? I was death. [DM grabs Methos, turns them around, slams Methos against the Jimmy. Methos laughs.] Death. Death on a horse. When mothers warned their children that the monster would get them, that monster was me. I was the nightmare that kept them awake at night. Is that what you wanted to hear? The answer is yes, MacLeod. Oh, yes.

DM - We're done. [walks off]

[Methos sucks in a breath, looks down. He takes his jacket off. Methos throws his jacket into the Jimmy, gets in, slams the door shut... and the glass in the door window comes loose with a clatter.]

---

Man with clapboard - [offscreen] B mark. [snaps clapboard]

[Close on Methos]

Peter - [to himself] {??} talking about this. I ain't talking about this. Right. [takes a deep breath, exhales]

DM - [offscreen, very faint] Is what she said true?

Methos - I'm out of here.

DM - [offscreen] No, you're not. Is what she said true?

Methos - The times were different, MacLeod. *I* was different. The whole bloody world was different. Okay?

DM - Did you kill all those people?

Methos - Yes. Killing was all I knew. Is that what you want to hear?

DM - It's enough.

Methos - No! [grabs DM and slams him against the side of the Jimmy] No, it is not enough. I killed, MacLeod, but I didn't just kill fifty. I didn't just kill a hundred. I killed a thousand. I killed ten thousand! And I was good at it. [beat] And it wasn't for vengeance. It wasn't for greed. It was because I liked it. [DM grabs Methos, turns them around, slams Methos against the Jimmy. Methos laughs.] Do you know who I was? I was death. Death on a horse. Cassandra was nothing. Her village was nothing. [beat] When mothers warned their children that the monster would get them, I was the monster. I was the nightmare that kept them awake at night. Is that what you want to hear? The answer is yes. Oh, yes.

DM - We're done. [Methos nods. DM leaves.]

[Methos watches him go, then takes his jacket off. Methos throws his jacket into the Jimmy, gets in, slams door closed & bows his head.]

---

[Super (white text on black background):
GASTOWN POST & TRANSFER
FILM LINE INT'L-HIGHLANDER INC
HIGHLANDER

EPS. #: 96511
REEL: 9905
TITLE: HORSEMAN
DAY: 5 T/C 5HR NDF
CAM. ROLLS: A426-A430. B316-B320. C25-C29.
SND. ROLLS: 012-013

OCT 8/96
COLOURIST: M.V.   ASSISTANT: {R.R.} (or B.B. - timestamp obscures the bottom of the letters)]

Man with clapboard - [offscreen] B mark. [snaps clapboard]

DM - [offscreen] Going somewhere?

Methos - You shouldn't be here, man.

DM - [offscreen] What are you running from -- the question or the answer?

Methos - There is no answer, MacLeod. Let it be.

DM - [offscreen] Is what she said true?

Methos - I'm out of here.

DM - [offscreen] No, you're not. Is what she said true?

Methos - Times were different, okay? *I* was different. The whole bloody world was different.

DM - Did you... kill those people?

Methos - Yes. Is that what you want to hear? Killing was all I knew. Is that what you want to hear?

DM - It's enough. [Methos grabs DM & slams him against the side of the Jimmy several times.] Come on! Come on!

Methos - No, it's not enough. Yes, I killed, MacLeod, I killed fifty, a hundred, a thousand, ten thousand! And I was good at it. And it wasn't for vengeance. It wasn't for greed. It was because I liked it. Cassandra was nothing. Her village was nothing. I was death. [DM grabs Methos, turns them around, slams Methos against the Jimmy. Methos laughs.] Yeeeesss. I was death on a horse. When mothers warned their children that the monster would get them, *I* was the monster. I was the nightmare that kept them awake at night. Is that what you want to hear? The answer... is yes. Oh, yes.

DM - We're through. [walks off]

[Methos sucks in a breath, wipes his brow, takes his jacket off. Methos throws his jacket into the Jimmy, gets in, bows his head against the steering wheel.]

---

[Camera facing DM's T-bird]

[Person with clapboard snaps clapboard.]

Director - [offscreen] Frame. Action!

DM - [gets out of T-bird, walks toward camera] Going somewhere?

Methos - [offscreen] {??} [too faint to hear]

DM - What are you running from -- the question or the answer?

Methos - [offscreen] There is no answer, MacLeod. Let it be.

DM - Is what she said true?

Methos - [offscreen] {??} [too faint to hear]

DM - No, no. You're not out of here. Is what she said true?

Methos - [offscreen] Times were different, okay? *I* was different. The whole bloody world was different.

DM - Did you kill all those people?

Methos - [offscreen] Yes. Killing was all I knew. Is that what you want to hear?

DM - It's enough. [Methos grabs DM and slams him against the side of the Jimmy.] Come on!

Methos - No, it isn't enough. I killed, but I didn't just kill fifty. I didn't kill a hundred. I killed a thousand. I killed ten thousand! And I was good at it. And it wasn't for vengeance. It wasn't for greed. It was because I liked it. [DM grabs Methos, turns them around, slams Methos against the Jimmy.] Cassandra was nothing. Her village was nothing. Do you know who I was? I was death on a horse. When mothers warned their children that the monster would get them, *I* was the monster. I was the nightmare that kept them awake at night. Is that what you want to hear? The answer is yes. Oh, yes.

DM - We're through. [backs away, walks off, stops to look back, then continues toward t-bird, taking his jacket off, throws it in the T-bird and gets in. T-bird engine chuga-chuga-chugas, finally turns over, & DM drives away.]

[Person with clapboard snaps clapboard.]

Gillian Horvath - [voice-over] It may look in the episode as though Silas throws the axe into the tree. But in reality, actor Richard Ridings just lobs it into the brush. Then our swordmaster, F. Braun McAsh, steps into accomplish the throw for the camera.

[Richard throws axe into the brush.]

Gillian Horvath - [voice-over] It does take him a few tries.

[F. Braun throws axe.]

[F. Braun throws axe.]

[F. Braun throws axe.]

---

[Close on Methos & Kronos, then on raised, stationary axe.]

Peter - [offscreen] It's been a thousand years.

Val - [offscreen] He'll remember. What we were, you don't forget.

Director - [offscreen] And... action.

[Kronos & Methos dodge to the sides as axe head is rammed into the tree trunk behind them.]

Director - [offscreen] Once more, please. [Axe is removed from tree trunk, moved back to starting position.] Very good. That was very good. Ready, ready. Rolling.

F. Braun? - [offscreen, holding axe] Don't worry, I've done it much drunker than this.

Director - [offscreen] And action.

[Kronos & Methos dodge to the sides as axe head is rammed into the tree trunk behind them.]

Voice - [offscreen] I see the head.

F. Braun? - [offscreen, removes axe from tree trunk] Shit. Shit.

Voice - [offscreen] Ready?

Director - [offscreen] And...

[Kronos & Methos dodge to the sides as axe head is rammed into the tree trunk behind them.]

---

[Wideshot of Silas standing with axe raised as Methos & Kronos approach, leading their horses. F. Braun runs in from offscreen, takes axe from Silas, runs towards Methos & Kronos.]

F. Braun - Step apart. [They move to each side.] I'm gonna raise it... [lifts axe, chops it into trunk of tree, runs offscreen]

Voice - [offscreen] Turn to the axe.

[Man with clapboard snaps clapboard.]

Director - [offscreen] Ready.

Peter - [to Doctor] Okay, we'd like him. We'd like the fucking crazy guy, okay?

Director - [offscreen] And...

Peter - [to Doctor] I know he's fucking crazy, but we want to take him away.

Director - [offscreen] Action.

Doctor - This is a highly irregular request. It will take weeks, perhaps months.

Methos - Well, we'd like him now.

Doctor - We have procedures, gentlemen. Patience is a virtue. I'm afraid my hands are tied.

Kronos - Perhaps this could help you to untie them. Twenty-five thousand dollars, U.S. [Methos and Silas watch quietly from nearby.] [offscreen] Now it seems to me that you have a procedural choice to make, doctor--

Gillian Horvath - [voice-over] The background business of Silas quietly whittling away is a touch that was added by the director and actor. Although barely noticeable in the final edit of the episode, this image stuck in my mind and became an integral part of the 'Train from Bordeaux' story about Methos and Silas in the Evening at Joe's anthology.

Doctor - This way, gentlemen. [leads them out of office]

Director - [offscreen] And... cut. Pretty good.

---

Man with clapboard - [offscreen] --four, take two. [snaps clapboard]

Peter - [to Doctor] So, what do you think? {Insurance?}

Director - [offscreen] Action.

Doctor - This is a highly irregular request. It will take weeks, perhaps months.

Methos - Well, we'd like him now.

Doctor - We have procedures, gentlemen. Patience is a virtue. I'm afraid my hands are tied.

Kronos - Perhaps this might help you to untie them. [reaches into his inner jacket pocket] Shit. [grabs envelope off table where he left it in the previous take]

Director - [offscreen] {??} Go back to one. Back to ones. Back to ones. Go back to ones. All back to one.

[Everyone resets. Val puts the envelope in his coat pocket.]

Director - [offscreen] Ready... Ready? And action.

Director - [offscreen, echoing] And action.

[Methos scrambles into view, picks up his fallen sword, meets Silas's attack. He ducks Silas's axe, coming up behind him to behead him. Peter reacts as if taking Silas's Quickening.]

---

Gillian Horvath - [voice-over] Because the second of these clips is filmed in slow motion, the sound of the explosions is out of sync with the picture.

[Peter stands in front of camera, facing away but looking over his shoulder at times to communicate with someone offscreen (no audio). Meanwhile, the out-of-sync audio plays:]

Director - [offscreen] Action. Ready?

[Sound of Methos groaning.]

French voice (male) - [offscreen] Action. Action.

French voice (female) - [offscreen] Action. Action.

[Sound of explosions.]

[Light starts flashing on & off across the bay from Peter.]

[More explosions heard on the audio track while Peter starts reacting as if taking Silas's Quickening.]

[Cries and groans on audio track.]

[Peter throws his arms wide & lights start to flash more. Camera turns to look away from Peter, down the end of the bay. More lights, then small fireballs & sparks falling into the water, followed by giant explosions of flame at the end of the bay (no audio).]

[Person with clapboard snaps clapboard. Clapboard has written on it "R. R. REDSTONE"]

Adrian - [sitting in car] R. Redstone. R. R. Redstone? {??} [starts singing] R. R. Redstone!

Stan - [joins, sings with Adrian:] Rah, rah, Redstone. [Both laugh.]

Director - [offscreen] And... ac--

Man with clapboard - [offscreen] Take two. [snaps clapboard]

Adrian - [to Stan] I can't wait to cut your head off.

Director - [offscreen] Okay, ready.

Stan - [to Adrian] {You would never do it.}

Director - [offscreen] And action.

Gillian Horvath - [voice-over] One of the inspirations for this episode was the fact that Adrian Paul was studying the Flamenco, and he did all his own dancing.

[DM dances the Flamenco with gypsy partner. Songs ends. Clapping from offscreen and sound of coins being tossed on the floor. DM & gypsy partner bow, walk offscreen.]

Director - [offscreen] Very nice, actor.

[Adrian laughs.]

[Camera on Louise in back seat of moving vehicle.]

Man with clapboard - [offscreen] --four, take one. High-Vancouver. [snaps clapboard]

Director - [offscreen] Ready? Ready and settle, please. And action.

Luisa - I love her, but... [takes champagne flute from Consone] she makes me crazy. She treats me like I'm still a kid. Like I need a chaperone or something.

Consone - [leans over, clinks his champagne flute against hers] I'll be your chaperone. [laughs as Luisa sips her champagne] That man with your mother... do you know him?

Luisa - Just one of her old friends. Duncan MacLeod.

Consone - I don't suppose you happen to know where he lives?

Luisa - What do you care about him?

Consone - Suddenly, cariño... he is the last thing on my mind. [kisses her] Hmm. So lovely.

Crewmember in front seat - Hey! [leans into back seat between them] What are you doing to that girl? [They laugh.]

---

Deborah - Okay.

[Person with clapboard snaps clapboard.]

Director - [offscreen] Okay, ready, and everyone.

Everyone - [start singing] Swing low, sweet chariot, comin' for to carry me home. Swing low, sweet chariot, comin' for to carry me home. [Deborah harmonizes the last words, then laughs.]

Director - [offscreen] Lovely.

Deborah - All right!

Anthony - [offscreen] Go to church! Write your mother!

Director - [offscreen] Background action.

[Background fencers begin moving.]

Director - [offscreen] Positions {??}. Ready, and... action.

[DM performs elaborate salute with his two blades, then begins fencing with Consone.]

Consone - [calling out moves] Head. Shoulder. Estomago. [They stop.] Is stupido.

[They reset. DM performs elaborate salute with his two blades, then begins fencing with Consone.]

Consone - [calling out moves] Head. Shoulder. Estomago. Hip. Heart.

[They stop with DM's blade pointed at Consone's heart.]

Consone - [looks down at DM's sword] Yes. The line is direct. The master of the destreza is like a surgeon. [moves DM's blade aside with his dagger] Now, extranjero! Control. This is gentleman's work, not like your gypsy dance.

[They resume their practice, until DM lands a cut.]

DM - Whatever works.

[DM comes at Consone again. This time Consone knocks DM's blades aside, steps in close, and "buries" his dagger in DM's gut.]

Director - [offscreen] Cut.

Adrian - That was good.

Anthony - Yes.

---

Man with clapboard - [offscreen] Take two. [snaps clapboard]

Director - [offscreen] Monsieur. {??} Ready, and action!

[Anthony is posed with Adrian's blade against his shoulder. At 'action', Adrian pulls his blade away & Anthony turns toward camera, revealing a 'bloody' cut on the shoulder of his white shirt.]

DM - [offscreen] Whatever works.

[Consone blocks his next attack and "stabs" him in the gut.]

Consone - You're a good student, but you have much to learn.

DM - That wasn't necessary.

Consone - Are you the master, now?

DM - No.

Consone - [withdraws his dagger] You must be relentless. If this were a fight to the death, would you let a dagger in the ribs stop you?

DM - It would not.

Anthony - Muy bien. The lesson is over. The art of the swordfight [accent drops] lies not only in wi-- sorry. We've got to cut. I'm in the British Isles.

Gillian Horvath - [voice-over] It was one of the few times the storyline of an episode revolved specifically around a style of sword fighting -- the rapier and dagger of the Spanish mysterious circles. One of the few times we'd brought in an actor who was also a sword master. And on the day of the final fight, an icy rain turned the painted fighting surface into a virtual ice ring.

[Adrian & Anthony begin fight, pause.]

Adrian - Just drop it. Just drop it in there.

[Fight continues, stops when Anthony fails to block a swing at his back.]

Adrian - Do it from the same place.

[Fight resumes.]

Adrian - [at Anthony's attempt at a move] It's interesting.

Anthony - Yeah? We are tense. Way too tense.

[Fight resumes, stops at another error.]

Adrian - [re his sword thrust] It's high, isn't it?

Anthony - Yeah, a little higher than it should have been. Still should have picked it up. Ready?

[Fight resumes, stops at same thrust.]

Anthony - Throw it. You've got to throw it.

Adrian - I'm scared of throwing it.

Anthony - Ah, don't worry about it, you're not going to hurt me. Here we go. Ready, and--

Adrian - Wipe your lip.

[Anthony wipes his lip with his sleeve. Fight resumes.]

---

Director - [offscreen] Action.

[DM & Consone salute each other. Fight begins. Anthony loses his footing on the slick circle, falls.]

Adrian - [turns to camera] That's called slippery surface, right?

Voice - [offscreen] Tony, you alright?

Anthony - Yeah, I'm fine.

---

[Night has fallen.]

Man with clapboard - [offscreen] Take one. [snaps clapboard]

Voice - [offscreen] It's not raining.

Adrian - It's okay, we can do this now because it's not raining. [Crew laughs.] Hey, Don, Bill Panzer, it's not raining.

Gillian Horvath - [voice-over] The crew waited, hoping the weather would clear but finally had no choice.

Director - [offscreen] Action.

Gillian Horvath - [voice-over] Neither rain nor sleep nor dark of night stays these couriers from their appointed rounds.

[Fight begins, stops.]

Adrian - Shoot me on a stick on a fucking Sunday-- go back, go back, go back. I parried the wrong damn thing.

Director - [offscreen] Ready? {Ready the} camera. And action.

[Fight begins again.]

DM - [as fight pauses, holding his pose] Still think you could make a swordsman out of me, Consone?

Consone - You were born a pig farmer. You'll always be a pig farmer. [They continue. Consone stabs DM with his sword.] And now you die a pig farmer.

[Consone moves to pull his sword back. DM grabs the basket and pulls the sword forward, impaling himself fully. His sword thus trapped, Consone tries to hit DM with his dagger. DM grabs the dagger from him and crosses both daggers at his neck. Dm steps swiftly back, pulling the daggers up and out to the sides.]

Director - [offscreen] Cut.

Anthony - Well, that's {sloppy}, we won't be using that part.

Adrian - [at same time] Well, hold, no, something broke-- my sword.

---

[Night]

Man with clapboard - [offscreen] --two. [snaps clapboard]

Anthony - [to Adrian] Well, you know, and I'll react to that, in and out.

Director - [offscreen] And action.

[Fight begins. Anthony falls.]

Anthony - [offscreen] God damn this--

Adrian - Whoa. That was close.

---

[Night]

Various French voices - [ofscreen] {??}

Director - [offscreen] Action.

[Fight begins.]

DM - [as fight pauses, holding his pose] Still think you could make a swordsman out of me, Consone?

Consone - You were born a pig farmer. You'll always be a pig farmer. [They continue. Consone stabs DM with his sword.] And now you die a pig farmer.

Adrian - [breaks into song] I'm siiiinging in the rain--

Anthony - [joins in as they sing & dance together] Just singing in the rain.

Gillian Horvath - [voice-over] The tag was meant to start with Richie on the barge, anxiously waiting for MacLeod's return.

Director - [offscreen] Frame. And action.

[Stan is throwing playing cards at a hat sitting upside down on the floor. There are many cards scattered on the floor around the hat. Stan throws several cards, missing the hat each time.]

Director - [offscreen] {??} Let's take it again on the start. Ready, and action.

Stan - No buzz, right? No buzz?

Director - [offscreen] No, not yet.

Stan - Okay. [keeps throwing cards (and missing), pauses, looks around, sighs, throws more cards, keeps missing the hat]

Director - [offscreen] Great, and cut. Very nice. Thank you.

Voice - [offscreen] {Cole?}

[Young boy (maybe 4 years old?) snaps clapboard.]

Director - [offscreen] Ready? Frame. And... action!

[Amanda wanders down corridor, holding a flask, twirling drunkenly & humming "Jingle Bells".]

Director - [offscreen] And cut. Very good.

---

[Camera close on unconscious bobby.]

Director - [offscreen] Frame. And action.

[Amanda continues humming "Jingle Bells" as she drags the bobby by his feet through a doorway & out of sight.]

Director - [offscreen] Cut.

Man with clapboard - [offscreen] --three, take two [snaps clapboard]

Director - [offscreen] And frame. Ready, and action.

Fitz - [offscreen, outside closed door] Mac? Oh, come on, Mac. Open up, Mac.

[Amanda runs to door, opens it.]

Roger - [outside door] Sorry, I don-- Am I doing the lines out here or not?

Liz - Yeah, yeah, yeah.

Roger - [outside door] Now I am?

Liz - Yes.

Roger - [outside door] Oh, sorry. Because I'm confused.

[Liz closes door, returns to bed.]

Adrian - [offscreen] Hey, Roger, you didn't {like that side}.

Director - [offscreen] Still rolling. It's still rolling.

Director - [offscreen] Frame. Ready? Camera ready? And action. Action.

Fitz - [throws back covers] Tell me, my dear, what are the three words you never want to hear when you're making love?

Barmaid - Hmm. I give up.

Fitz - Exactly. [Barmaid laughs. Knock sounds at door.] Go away.

Harry - [offscreen] Hugh Fitzcairn? Miss. You're under arrest.

Fitz - I beg your pardon? Whatever it is, you've got the wrong man! I'm not even a Scot! I know nothing about the Stone.

Harry - [offscreen] Save it for the magistrate. Your partner turned you in.

Fitz - Bastard. You couldn't give me ten minutes to get ready, could you?

Harry - [offscreen] Sir.

---

Fitz - Whoever you are, I know nothing about the Stone. I'm not even a Scot!

Harry - [offscreen] Save it for the magistrate. Your partner turned you in.

Fitz - The bastard. Could you give me a half an hour to get ready, could you? Hm?

Director - [offscreen] Cut.

---

Fitz - You couldn't give me an hour to get ready, could you?

Harry - [offscreen] Sir.

Voice - [offscreen] It keeps getting longer.

[Everyone laughs.]

Man with clapboard - [offscreen] Take nine. [snaps clapboard]

Adrian - [offscreen] What's my first line, Sylvie-- Sophie?

Sophie - [offscreen] {??}

Adrian - [offscreen] "Must have", Thank you.

Director - [offscreen] Frame. Background. [Background guards jog past in front of camera.] Action.

DM - [opens door, enters] Crimmins must have sold us out.

Fitz - We're going back, to get your-- our-- my money.

DM - What do you mean, 'my money'? [turns, puts his sword against Fitz's neck] You thieving English--

Fitz - You're going to let him keep it?!

DM - I have no choice, now, do I? If it hadn't escaped your notice, we've just committed an act of treason against the English crown.

Fitz - Behind you! [They scurry against a wall to hide.]

DM - And if we get caught, we're going to be put in the Tower of London and beheaded by your friend, Crimmins.

Fitz - We should leave the country. [starts limping away] This way. What are you looking at?

DM - You're walking funny.

Fitz - You're imagining it.

DM - [as they walk away] Ah, told you it was your fault, though.

Fitz - Oh, I must get {??} in the {battle}.

Director - [offscreen] Cut, wrap, print. Thank you.

Gillian Horvath - [voice-over] We've said it before, and we'll say it again. Never work with children or animals.

[Michael runs around them in wide circles with his kite.]

Dunbar - --they'd march into the woods and we'd never find so much as their bones.

Keane - I heard it went hard.

Dunbar - They were everywhere. Any man or boy that could raise a sword or a scythe was against us. Scottish devils left me no choice.

Keane - I should have been there with you, Richard.

Dunbar - I thank God you were not, Steven. I entrusted you to look after my wife and my sons.

Keane - You're my family... Well, as much as I ever had.

Dunbar - There were days I thought I'd never see them again. That damned war seemed to go on for a thousand years.

Keane - But in the end you got the better of them, hmm?

Dunbar - Cumberland was ready to march home after the rout, but I convinced him we had to finish it. We had to make a mark -- we had to wipe out those Jacobites. [foot gets tangled in trailing kite tail] Oh, sorry. No, cut.

---

Director - [offscreen] Action.

[Michael begins running around them in circles with his kite.]

Dunbar - I lost scouting party after scouting party -- they'd march into the woods and we'd never find so much as their bones.

Keane - I heard it went hard.

Dunbar - They were everywhere. [gets tangled in trailing kite tail again, steps over it, continues] Any man or boy that could raise a sword or a scythe was against us. Scottish devils left me no choice.

Keane - I should have been there with you, Richard.

Dunbar - I thank God you were not, Steven. I entrusted you to look after my wife and my sons.

[They step over kite tail again as Michael runs past.]

Keane - You're my family... Well, as much as I ever had.

Dunbar - There were some days I thought I'd never see them again. It seemed that damned war would go on for a thousand years.

[They step over kite tail again as Michael runs past.]

Keane - Yes, but in the end you got the better of them, hmm?

Dunbar - Cumberland was ready to march home after the rout, but I convinced him that we had to finish it. We had to leave a mark -- make sure those Jacobites were wiped out. [They step over kite tail again as Michael runs past.] We cut down every man in tartan we could find.

Keane - If there had been another way, you would have found it. [foot gets tangled in kite tail]

Dunbar - Would I? [Keane reaches down to pull kite tail off his shoe.] Or was I too full of hatred to look?

Keane - Let's have no more talk of the war, hmm? It's over, and you're home. [Michael runs past right in front of them.]

Dunbar - Over there, Micheal.

Keane - With your family.

[They step over kite tail again.]

Dunbar - Now Josephine must have a new prayer. She must pray that this victory holds. Pray those Highland bastards have finally understood. I'll not have my sons go to fight this war again.

[Michael runs past right in front of them.]

Geoffrey - I think we'd better do that one again.

Adrian - We've got a movie. You know, we've got everything today. We've got, you know, sunglasses. It's a beautiful day. We've got weapons, training, everything.

Director - [offscreen] Okay. Ready when you are, Mr. DeMille.

Adrian - Mr. DeMille. I'm ready for my closeup, Mr. DeMille.

Director - Okay, Orson. Action.

Adrian - [solemn] No. Hold on, wait, wait, wait.

Director - Hold on. One more. Sorry. Okay, Mr. Laurence Olivier, are you ready? Action.

Adrian - [laughs] Oh, that's good. That's good. I want to be dramatic here and you're calling me Laurence. [clears his throat] I'll get a fucking Oscar for this. Excuse me.

Director - Okay, {Orson}.

DM - No. Stay. [draws pistol, shoots it]

Director - Cut scene.

[Person with clapboard snaps clapboard.]

Director - [offscreen] Action.

Amanda - All right, so tell me what you know about this Keane guy.

Methos - Nothing. Never met him. [hands her a cup of coffee]

Amanda - Wait a minute. I thought the Watchers knew everything.

Methos - [walks back to his bed and up onto the mattress] Well, I've done with the Watchers.

Amanda - Really? I thought you'd found the perfect hiding place.

Methos - [shakes out his covers] Well, I changed my mind. Sorry. Can't help. [lies down on the bed]

Amanda - No, no, listen, Methos. Why don't you just-- you just talk to MacLeod? You know, try to convince him that Keane is wrong about him. [sits on edge of bed]

Methos - You want me to talk to MacLeod... and tell him... uh, you know, stop worrying, you're not a bad guy?

Amanda - [nods] Yeah.

Methos - Trust me, Amanda, that's not going to work. [turns onto his side]

Amanda - Look-- No, Methos. You have to do something! I've never seen him like this before. He's really upset. And you know how guilt-ridden he can be. [Methos groans, sits up.] Look, if he goes up against Keane, and he thinks he deserves to lose, he'll lose. He'll die, Methos.

Peter - [beat] We get our own show then. [snickers]

Director - [offscreen] Cut. {Jesus.}

---

[Person with clapboard snaps clapboard.]

Director - [offscreen] Action.

Amanda - So, so tell me what you know about this Keane guy.

Methos - Nothing. I've never met him. [hands her a cup of coffee]

Amanda - Wait a minute. I thought the Watchers were supposed to know everything.

Methos - [walks back to his bed and up onto the mattress] Well, I'm not with the Watchers anymore.

Amanda - Really? I thought you'd found the perfect hiding place.

Methos - [shakes out his covers] Changed my mind. Sorry. Can't help. [lies down on the bed]

Amanda - No, Methos. Then you have to talk to MacLeod and convince him that Keane is wrong about him. [sits on edge of bed]

Methos - You want me to tell MacLeod to stop worrying, he's not a bad guy?

Amanda - Exactly.

Methos - Trust me, that's not going to work. [turns onto his side]

Amanda - No, Methos, listen. We have to do something! I've never seen him like this before. He's really upset. And you know how guilt-ridden he can be. [Methos groans, sits up.] Look, if he goes up against Keane, and he thinks he deserves to lose, he'll lose. He might die, Methos.

[Beat, then both crack up laughing.]

Liz - [laughing] Sorry.

Peter - [laughing] Thanks.

Director - [offscreen] Cut.

---

[Person with clapboard snaps clapboard.]

Liz - Uh, you're up--

Peter - [running through lines] I'm sitting up and I'm-- [sighs]

Liz - Okay, 'if he goes up against Keane'... Right.

Director - [offscreen] Action.

Amanda - Look, Methos, if he goes up against Keane, thinking he deserves to lose, he'll lose. He'll die, Methos.

Peter - [ducks his head, starting to laugh again, mutters:] Oh, no. [raises his head] Okay, I'm calm, I'm cool, I'm cool.

Liz - Okay.

Director - [offscreen] Okay, don't cut. And action.

Liz - If he goes up aga-- If he goes up against Keane, thinking he deserves to lose, he'll lose. He'll die, Methos.

Peter - [long beat] Then we get our own show. [laughs]

Director - [offscreen] Cut.

---

Man with clapboard - [offscreen] --two. [snaps clapboard]

Director - [offscreen] Action.

Amanda - Methos, you have to talk to MacLeod and-- and try to convince him that Keane is wrong about him. [sits on edge of bed]

Methos - [offscreen] So you want me to tell MacLeod that he should stop worrying, he's not a bad guy?

Amanda - Yeah.

Methos - [offscreen] Trust me, Amanda, that's not going to work.

Liz - Methos, you have to do something! I've never seen him this upset before. And you know how guilt-ridden he can be. [Methos groans, sits up.] Look, if he goes up against Keane, thinking he deserves to lose, he'll lose. [starts laughing] He'll die, Methos.

Director - [offscreen] Cut. Okay.

Liz - Sorry.

---

[Person with clapboard snaps clapboard.]

Director - [offscreen] Action.

Liz - Methos, you have to talk to MacLeod and try to convince him that Keane is wrong about him. [sits on edge of bed] Why are you laughing? [stands up] Okay, I'm going to go.

Peter - [offscreen] Okay, I'm okay.

Director - [offscreen] Okay, guys. Okay?

Liz - [offscreen] Okay, ready.

Peter - [offscreen] Yes. Yeah.

Director - [offscreen] Action.

Amanda - Methos, you have to talk to MacLeod and try to convince him that Keane is wrong about him. [sits on edge of bed]

Methos - [offscreen] Okay, you want me to tell MacLeod he should stop worrying, he's-- he's not a bad guy?

Amanda - Yeah.

Methos - [offscreen] Trust me, Amanda, that's not going to work.

Liz - Methos, we have to do something! I've never seen him this upset before. You know how guilt-ridden he can be. [holds up her hand] Sorry, let me go back. [re-starts line] Methos, we have to do something! I've never seen him this upset before. You know how guilt-- I can't say that word! You know how guilt-ridden he can be. [Methos groans, sits up.] Look, if he goes up against Keane, thinking he deserves to lose, he'll lose. He'll die, Methos. [very brief beat, cracks a grin, holds up her hand, tries to compose herself, starts laughing anyway] I'm {??} murder.

Director - [offscreen] Cut.

---

[Person with clapboard snaps clapboard.]

Liz - No, you've got to turn your head completely that way. Thank you. [turns Peter's head away from looking at her]

Director - [offscreen] No, {??} see it.

Liz - Oh, shit. Okay.

Peter - [turns his head back] Okay. I got it, I got it, I got it.

Director - [offscreen] Okay, come on. Action!

Liz - He'll die, Methos. [immediately cracks a grin, clears her throat, tries again] If he go-- If he goes up against Keane, thinking he deserves to lose, he'll lose. He'll die, Methos. [holds her composure for a longer beat before breaking]

Peter - That was very good. [Both laugh.]

Director - [offscreen] Cut.

Liz - [turns toward Director] That was long enough, wasn't it?

Director - [offscreen] It's okay. It's okay.

Gillian Horvath - [voice-over] Eagle-eyed viewers may have spotted Michelle Motto, Maurice, in the background of the club scene and wondered why he had no lines. As originally filmed, he did.

DM - This kid's great.

Joe - Yeah, we picked him up in London. He came to every show, every night.

Methos - Well, there's no accounting for taste.

Joe - You know, this is actually the first time he's been onstage. He hung out with us for a couple of weeks before we even knew he played.

DM - [chuckles] Well... he plays. I mean, look at him.

Joe - Yeah. I mean, never tight, never nervous. He just lays it out.

DM - Nervous? He doesn't even know anybody else is there. Oh, to be so lost in what you're doing that there's no time or space.

Methos - There's a greeting card in there somewhere.

DM - [sarcastic] Funny. [to Maurice] So, come on, Maurice. What do you think?

Maurice - [sitting next to him] Your friend plays well.

DM - Yeah, he plays well, yeah. Well, why don't you book him for a night or two as an opening act?

Joe - Come on, he's got chops, Maurice.

Maurice - He has more. He has passion. It's a gift. And a curse, n’est-ce pas?

Voice - [offscreen] Byron?

Maurice - Excusez-moi. [stands up]

Gillian Horvath - [voice-over] These few lines, cut from the top of the walk-and-talk, explain Methos's later comment after Byron's death.

Methos - I knew you two wouldn't hit it off. Matter and anti-matter. Put 'em in the same place... kaboom.

DM - Your friend's a mess.

Methos - He's a genius.

[Person with clapboard snaps clapboard.]

Director - [offscreen, talking to someone?] It would be great if you would exit on the {??}

Stan - [laughing with Peter] {??} {fuck you}, too. That's my mentor!

Director - [offscreen] And ready?

Peter - [laughs] That's why you're off the show. You just believe everything.

Director - [offscreen] Action.

Methos - [starts scene in next breath] Most religions have some version of the savior myth. Demons sent to destroy the Earth, and a champion comes to protect it.

RR - That is exactly what it says in the journal.

Methos - But, Richie, millennium theory is not new. Every thousand years, I hear these same stories. I don't know. I have never seen a demon.

Joe - A Zoroastrian demon.

RR - All right, well then, maybe you guys have another explanation for everything that's been going on.

Joe - What's going on is that Duncan MacLeod's losing it.

Methos - Okay. We'll talk to the granddaughter. What else can we do?

[The three amigos walk past camera & offscreen.]

Director - [offscreen] Cut. Great. Print. Okay.

---

[Person with clapboard snaps clapboard.]

Peter - [to Stan] Be part of the scene, you know?

Director - [offscreen] Ready, guys?

Peter - [to Stan] Just keep-- Give me the vibes--

Director - [offscreen] And...

Peter - [to Stan] Anything you like. I don't care. [chuckles] Stop pinching my bum, Jim. [starts scene] Most religions have some version of the savior myth. The-- the world is atta-- I'm going to start that again because I can't remember the line.

Jim - [offscreen, under his breath] Fucking hell.

Director - [offscreen] Okay, ready. Don't cut.

Peter - Okay. Okay.

Director - [offscreen] And... action.

Methos - Most religions have some version of the savior myth. Demons sent to destroy the Earth, and a champion is-- is called to protect it.

---

Director - [offscreen] Okay, guys?

Stan - --gee, what happened to Rich?

Director - [offscreen] Action.

---

RR - All right, well then, maybe you guys have another explanation for what's been going on here?

Joe - [offscreen] What's going on is that Duncan MacLeod is losing it.

[RR looks at Joe, shrugs, walks out of frame.]

Stan - [offscreen] {Not Mac}, Dunkie's my hero.

Gillian Horvath - [voice-over] If you've seen Endgame, you've seen a flashback to the first meeting of Duncan MacLeod and Connor MacLeod on a battlefield in Scotland. That wasn't the first time we tried to film that scene. When the old hermit told Duncan he would find his destiny and find Connor, the plan was to show that meeting. There was even a brief possibility of getting Christoph Lambert for the scene. Here's Duncan's side of that meeting.

[Person with clapboard snaps clapboard.]

Director - [offscreen] Action.

DM - [walks toward camera through fog] I'm Duncan MacLeod of the Clan MacLeod. [gets closer to camera, stops walking] Connor? [Camera moves in closer. DM walks out of frame.]

Director - [offscreen] Cut.

---

Gillian Horvath - [voice-over] And here's what Duncan saw.

[Backlit silhouette of a person on a horse, slowly waving a hand in a beckoning gesture.]

Gillian Horvath - [voice-over] Connor beckoning out of the mist. Mercifully this sequence was cut from the final episode. It's like it never happened.

[Person with clapboard snaps clapboard.]

Gillian Horvath - [voice-over] When "Archangel" was filmed, the plan at the time was to spin the show in a new daring direction for the upcoming Season Six. The plan was to set Season Six in a dark future, after Duncan MacLeod had retreated to a monastery and Ahriman's influence had run rampant in the world.

[Camera moves in on DM kneeling on a mat in a darkened, wide, industrial-looking hall. Echoing knocks roll through the chamber.]

Methos - [offscreen] MacLeod? I know you're in there, Macleod, and I'm not going away!

Gillian Horvath - [voice-over] This is a world in which Alan Wilkinson from "The Valkyrie" might well have been president.

[DM snaps his fingers & the overhead lights dim.]

Gillian Horvath - [voice-over] The tag was filmed two ways.

[Light source behind camera turns on, illuminating DM.]

Gillian Horvath - [voice-over] In one, MacLeod reluctantly leaves Holy Ground at the urging of Methos and Joe.

[DM claps his hands together twice. Methos enters from a doorway further down the darkened hall.]

Gillian Horvath - [voice-over] In the other, he has sent for them, ready to take up the fight.

DM - What do you want?

Methos - Me? Nothing. But I brought someone to see you.

[Joe enters hall in a wheelchair.]

Gillian Horvath - [voice-over] Also in both versions, MacLeod's retreat was variously described as either twenty years or simply a long time. When the budget and production schedule for Season Six were slashed, it became impossible to film the dystopian future, and this scene was shelved.

[Methos pushes Joe's wheelchair down the hall to DM.]

Joe - Hello, MacLeod. It's been a long time.

DM - Why'd you come?

[Joe holds out DM's katana as Methos pushes his wheelchair closer. DM looks at it for a beat, then takes it from him. He sets it on the mat in front of him.]

Director - [offscreen] Cut. Print. Okay.

---

[Person with clapboard snaps clapboard.]

Director - [offscreen] {Camera.}

[Camera moves in on DM kneeling on a mat in a darkened, wide, industrial-looking hall. Echoing knocks roll through the chamber.]

Methos - [offscreen] MacLeod?

[DM snaps his fingers & the overhead lights dim. Light source behind camera turns on, illuminating DM. DM claps his hands together twice. Methos enters from a doorway further down the darkened hall.]

DM - Did you bring it?

Methos - I brought a friend.

[Joe enters hall in a wheelchair. Methos pushes Joe's wheelchair down the hall to DM.]

Joe - Hello, MacLeod. It's been twenty years.

DM - Yeah. And now I'm ready. [holds out his hands, palms up]

[Methos pushes Joe's wheelchair closer. Joe hands DM the katana. He sets it on the mat in front of him.]

Director - [offscreen] Cut. Très bon.