Highlander
Transcripts:
DVD Extras

Donna Lettow - [voice-over] MacLeod's new zen mindset at the beginning of season six gave Adrian Paul the opportunity to demonstrate some of the martial arts he practices which don't involve the use of a sword. Chief among them was chi gung, a three-thousand-year-old discipline that focuses the mind and the power of the body's energy through controlled movement and breathing.

Adrian Paul - [performing Chi Gung, finishes routine] Start again. Ready?

[Camera zooms out and back in.]

Director - [offscreen] {French} Action.

Adrian Paul - [starts routine, messes up but keeps going] Oh shit. [routine continues, finishes] Start again, Dennis.

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

Director - [offscreen] Ready? And action.

[Adrian Paul begins performing Chi Gung routine with long pole, twirling it around until finally fumbling and dropping it.]

Adrian Paul - Oops.

Director - [offscreen] Cut.

[Adrian Paul begins performing Chi Gung routine with long pole, twirling it around.]

Director - [offscreen] C'est bon. And action.

[Adrian Paul twirls the pole around as before but messes up sooner.]

Adrian Paul - [under his breath] Oh, fuck. [picks up routine where he fumbled; as he is twirling the pole:] I'm going to keep on doing it, Dennis, until I get it right. [keeps performing the twirling routine multiple times until finally moving on to the end of the routine & halting]

Director - [offscreen] Beautiful. Cut.

[Person with clapboard snaps clapboard.]

Director - [offscreen] And action!

Joe - [talking to gravestone] I guess it's just you and me, Richie. I can't believe it's been a year already. I wish I could tell you why this happened; it all makes sense now. But I can't. I'm sorry.

DM - [offscreen] He knows why.

Joe - Well, welcome back.

DM - [offscreen] I'm glad you stayed in Paris.

Joe - Somebody had to. Methos, he disappeared right after you did. [DM walks into frame.] I buried him with his sword. I didn't know what else to put on the headstone, but it seemed right.

DM - 'Friend' is good... because that's what he was.

Joe - You know, I have had fifty Watchers beating the bushes looking for you. Where the hell have you been?

DM - Does it matter?

Joe - Yeah, to me, it does! I thought we were friends.

DM - We are.

Joe - Well, then what happened to you?

DM - I had some things to work out.

Joe - Hey, look.

Director - [offscreen] Cut! That's it. Great, guys.

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

Adrian - [sitting at bar in background, running through the lines] How come you're going back so soon, Joe?

Jim - [in foreground] Well, I've got some stuff I have to do. It's, uh, important business. Watcher stuff. And, uh, waiting for a ride.

Director - [offscreen] Action.

Joe - I have to go away. I have to break the news to the Watchers' families. [walks toward DM] Some things you've got to do in person. So you never did tell me how you beat this bastard, huh? I mean, what'd you have to do?

DM - Nothing. There's a thought in the Kabbalah that Armageddon, the ultimate fight between good and evil, would be fought within one soul.

Joe - And yours was the soul. That's why you're the champion.

DM - Maybe. All I know is that good and evil exist in all of us, Joe. When we deny that, we give evil power. Ahriman said it himself. His greatest trick was to convince the world that he didn't exist. Well, he does. He exists in all of us. Once I accepted that, I was able to defeat him.

Joe - Armageddon in Darius's Church. Say, how's Father Beaufort doing?

DM - Oh, he's trying to find his faith again. [Joe pours drinks into two glasses. DM picks up a glass.] To faith.

Joe - To the champion. [clinks their glasses. They drink.]

[Person with clapboard snaps clapboard.]

Director - [offscreen] Frame. And action.

Joe - [offscreen] I've got to go away for awhile, Mac. I've got to break the news to the Watchers' families. Sometimes... [walks into frame] you've got to do these things in person. [walks out of frame again] You know, you never did tell me how you beat that bastard. What'd you have to do?

DM - Nothing. There's a thought in the Kabbalah that Armageddon, the ultimate fight between good and evil, will be fought within one soul.

Joe - And yours was the soul. That's why you're the champion.

DM - Yeah, maybe. All I know is... something. [laughs]

Director - [offscreen] Cut.

Robert - What am I looking at?

DM - [shuffling through photos out of frame] Yeah, have you seen any of these before. You ever seen any of these before?

Robert - No. Oh, wait a second. [reaches down out of frame toward the photos, recoils when a short burst of flame erupts, crossing himself, shaken] I'll go and get the symbol. [turns to doorway, where hanging curtains blow in a wind]

Director - [offscreen] Cut.

Robert - [turns back to DM] We'll use ano--

Adrian - I smelled the *beep* hairs on your head burn.

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

Director - [offscreen] Ready, and action.

DM - [shuffling through photos out of frame] Have you ever seen any of these before?

Robert - No. Wait a second. Maybe that one. [points toward the photos, recoils when a short burst of flame erupts, crossing himself, shaken] Let's go and find that symbol. [turns to doorway. Wind machine blows the door curtains.] I think we'll use another door.

[Adrian cracks up. Crew laughs.]

Adrian - Sorry.

[Person with clapboard snaps clapboard.]

Adrian - [snorts, laughs] Oh, dear, this is a long day.

Director - [offscreen] Action.

DM - [shuffling through photos out of frame] Have you ever seen any of these before?

Robert - No. Oh, wait a second. I think that one. [points toward the photos, recoils when a short burst of flame erupts, crossing himself] Let's go and get that symbol. [turns to doorway. Wind machine blows the door curtains.] We'll use another door. [walks offscreen]

[Adrian starts laughing again as he follows, but faces away from camera so it can't be seen.]

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

Donna Lettow - [voice-over] Adrian Paul's chi gong kata was interwoven with Valentine Pelka's swordwork to create this seamless ballet, where Duncan MacLeod's inner strength can non-violently resist the final attack of the ultimate evil.

Director - [offscreen] Action.

[DM & Ahriman-Kronos begin interwoven ballet of Ahriman-Kronos attacking DM with his sword & DM dodging and blocking as part of his kata, ending with Ahriman-Kronos 'stabbing' DM & DM not reacting as he finished his kata.]

Director - [offscreen] And cut.

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

Director - [offscreen] Ready. Frame. Aaaand {??} Action.

[Camera on Ahriman-Kronos as DM begins his kata offscreen. Valentine makes his first attack & camera follows him.]

Adrian - Sorry.

[Valentine returns to starting position.]

Voice - {??}

Adrian - Yes. You're right.

Director - [offscreen] And action.

[Camera on Ahriman-Kronos as DM begins his kata offscreen. Valentine makes his first attack & camera follows him as the attacks and kata continue. Eventually, Valentine is standing behind Adrian, his sword raised.]

Adrian - No, you missed one. [laughs]

Valentine - Ah! Yes, I did.

Director - [offscreen] Cut. Pick up from...

Adrian - Uh, pommel.

Valentine - Yeah. [gets into position]

Adrian - Ready? Pommel.

[Valentine attempts to hit Adrian with the pommel of his sword as they resume the 'ballet'.]

Man with clapboard - [offscreen] --{first}. [snaps clapboard]

Donna Lettow - [voice-over] Perhaps the most powerful scene in the six seasons of Highlander was the one where Joe Dawson is offered his legs in exchange for betraying MacLeod. Although emotionally difficult, thanks to clever planning on the part of the director, designers, and crew and the willing participation of actors Jim Byrnes and Peter Hudson, it wasn't technically difficult. Only one computer-generated shot is used in the entire sequence when the legs of a double are superimposed over Jim Byrnes seated at the edge of the bed.

[Aerial shot looking down on Jim sitting at the edge of his bed, his prosthetics nearby.]

Director - [offscreen] And cut. Good.

[Person with clapboard snaps clapboard.]

[Aerial shot looking down on Jim's double sitting in the same spot on the bed.]

Director - [offscreen] Okay. And just holding. [long moment of no movement] Let's cut.

[Person with clapboard snaps clapboard.]

Director - [offscreen] Ready, and action.

[Jim is framed in camera from the waist up, sitting on the edge of the bed.]

Ahriman-Horton - [offscreen] Look at them, Joseph. Go on, move them. They're yours, Joseph. You can take them for a spin. [Joe stands up, camera moving to chest height as it follows.] Go on, Joseph. You can even take them dancing. [Joe cry-laughs.] They're real. They're yours. All you have to do is keep your vow and give me MacLeod.

Joe - [shakes his head] I can't. I won't you son*beep*!

[Person with clapboard snaps clapboard.]

Director - [offscreen] Frame? Okay, Arthur, move. And action.

[Camera pans down bed to legs moving under the covers. Camera stays low to the bed as the covers are pulled back and the double's legs move into view as he shifts to sit on the edge of the bed.]

Director - [offscreen] Okay, test them out.

[Double slowly stands up, shifts his weight back and forth.]

Director - [offscreen] "You son of a bitch!" [Double steps forward almost out of frame.] Cut.

Director - [offscreen] Action.

[Close-up of prosthetic legs. Camera pans slightly as Joe falls to the ground in the background, Ahriman-Horton sitting behind him on desk chair.]

Ahriman-Horton - Oh well. I suppose you'll be needing those. For now.

Director - [offscreen] And action.

Donna Lettow - After Season Five, the USA Network expressed interest in producing a Highlander spin-off series, one that featured a woman in the lead role.

Cameron - [to Alex] If you marry me, I'll build you a palace.

Dara as Alex - I don't need a palace.

Donna Lettow - [voice-over] A large number of Canadian and European actresses auditioned for the role, learning scenes from "Sins of the Father" and a sequence of sword choreography. From them, four women were selected to be featured in episodes of Highlander: The Series and considered for the spin-off series.

Cameron - I know your eyes. I know your lips.

Donna Lettow - [voice-over] The episodes in which they appeared were "Sins of the Father", "Patient Number Seven", "Justice", and "Deadly Exposure".

Cameron - Sorry, I don't discuss religion or a woman's age.

Alex - My earliest memory is from my tribe, the Carvetii. We lived in Cumbria. My father was a warrior and my mother a priestess.

Cameron - [now offscreen] I'm surprised she wasn't a goddess, like her daughter.

Alex - They found me as an infant, and they took me in as their own. Such a good life. Until the Romans came. The rest of the world wasn't enough for them. They had to have Cumbria. For every one we killed, four more came. I was twenty-eight when I first died.

Cameron - [offscreen] It's a lovely story.

Alex - It's not a story.

Cameron - And I'm supposed to think you actually believe this?

Alex - I love you. You are my heart. You are my soul. What I'm telling you is true. I am immortal.

Director - [offscreen] And cut.

Director - [offscreen] And action.

Grant - [same actor as previous scene] That's a neat trick.

Alex - Here's another one. I've got a twenty-two caliber automatic with a silencer pointed right at your back. Average muzzle velocity, roughly eight hundred sixty feet per second. Now I can't really figure out where your spine is, so I might have to take a few shots before I paralyze you for life. After all, what's a little bit of a spleen and a couple of kidneys between friends, huh? Oh. [clicks her tongue] Never a cop around when you really need one, now is there?

Grant - [offscreen] What the hell do you want?

Alex - I want to finish what I started with your grandfather.

Grant - I don't have time for riddles.

Alex - I'm talking about the money.

Grant - Look, I've got a few hundred in my wallet.

Alex - Six million dollars. Let me get you up to speed here for a second. I've had a really bad day today. In fact, you could say I'm just a tad cranky. Moody, you know? Call it PMS. Or maybe you're just god-damned pissing me off. I might lose control of myself.

Grant - Okay, look, let's work something out. What do you want me to do?

Alex - That's better. Go over those bank records of yours. Look for a guy's name, David Leiner. Then we'll talk. Oh. [holds out her hand over his shoulder] My number. And don't worry. I've already got yours.

Director - [offscreen] And cut.

[SUPER (white text on black background): COLOR TIMING]

[SUPER (white text on black background): BLACK & WHITE VERSION]

[Soldiers patrol the narrow street.]

[Young Max looks at photo of deceased mother, then watches his father David writing at desk.]

[Alex looks around corner of building.]

[SUPER (white text on black background): COLOR VERSION]

[Same sequence of shots as above, but in color.]

[SUPER (white text on black background): EDITING]

[Willie walks out into the street right in front of Steve's car, turns toward car & holds his hands out. Car screeches to a halt in front of him.]

Donna Lettow - [voice-over] This sequence, put together by the series editors, demonstrates how to bounce an actor off the hood of a picture car and still have a functioning actor at the end of it.

[View out front windshield of car as car drives toward stunt double, hits stunt double.]

Donna Lettow - [voice-over] Sometimes the stunt men are another story.

[Side view of street as car drives past, hits stunt double.]

Donna Lettow - [voice-over] Then, in a sequence featuring actor Alexis Denisoff--

Donna Lettow - [voice-over] --of Buffy: the Vampire and Angel fame, they demonstrate how subtle changes in the order of the pieces of a scene can change the scene.

[SUPER (white text on black background): VERSION 1]

[Willie walks out into the street right in front of Steve's car, turns toward car & starts to hold his hands out. View out front windshield of car as car hits stunt double. Brief flash of Alexis in driver's seat of car. Side view of street as car hits stunt double.]

[SUPER (white text on black background): VERSION 2]

[Shot of Alexis in driver's seat of car. Willie turns toward car. View out front windshield of car as car hits stunt double. Side view of street as stunt double rolls off hood of car.]

[View out front windshield of car as car drives down tree-lined road. Willie's stunt double stands on some sort of platform attached to the front of the car. He readies his footing, then throws himself onto the hood of the car & falls out of sight (presumably onto the platform).]

[Person with clapboard snaps clapboard.]

Director - [offscreen] Frame. And action.

[Willie's stunt double throws himself to the pavement, rolling as if just hit by a car.]

[Final scene: Car drives toward camera. Willie steps out in front of the vehicle and is hit. Swinson slams on the brakes as Willie goes rolling across the pavement.]

Director - [offscreen] Action.

Cameron - [same actor as previous audition, to Alex] God, you're so beautiful. I've waited all day for this.

Justina as Alex - Then it's a good thing we found this barn.

Cameron - If you marry me, I'll build you a castle.

Alex - Oh, I don't need a castle.

Cameron - It's not for us. For a dozen children. Just say yes.

Alex - There's something you have to know... about me.

Cameron - I know all I need to know about you. I know your eyes. I know your lips.

Alex - Will you just listen for a moment? Hmm? How old do you think I am?

Cameron - Sorry, I don't discuss religion or a woman's age.

Alex - My earliest memory is of my tribe, the Carvetii. We lived in Cumbria. My father was a warrior, my mother a priestess.

Cameron - I'm surprised she wasn't a goddess, like her daughter.

Alex - They found me as an infant and raised me in as their own. It was a good life, until the Romans came. The rest of the world wasn't enough for them. They had to have Cumbria. For every one we killed, five more came. I was twenty-eight the first time I died.

Cameron - [offscreen] It's a lovely story.

Alex - It's not a story.

Cameron - You expect me to actually believe this?

Alex - I love you. You are my heart. You are my soul. What I've told you is true. I am immortal. [pretends to pick up a dagger and stab herself in the gut with it]

Director - [offscreen] Cut. Good.

Director - [offscreen] Okay, here we go. Okay... and when you're ready.

Justina - [scoots chair forward a bit] Umm, okay.

Director - [offscreen] {Why don't you hunch} down and then come up on 'Action'. [Justina leans over out of sight.] There you go. And action.

Grant - [same actor as previous, as Alex pops up into view] That's a neat trick.

Alex - Here's another one. I've got a twenty-two caliber automatic with a silencer right behind your seat. Average muzzle velocity, eight-sixty feet per second. [stops, sighs, leans back over out of sight]

Director - [offscreen] And slow it down. Action.

Justina - Exactly. [laughs]

Director - [offscreen] Action.

Grant - [as Alex pops up into view] That's a neat trick.

Alex - Here's another one. I've got a twenty-two caliber automatic with a silencer right behind your seat. Average muzzle velocity, roughly eight-sixty feet per second. Now I can only guess as to where your spinal cord really is, so it might take a few shots before you're paralyzed for life. But after all, what's a spleen and a couple of kidneys between friends, hm? [Grant looks around. Alex clicks her tongue.] Never a cop around when you need one, is there?

Grant - What the hell do you want?

Alex - I want to finish what I started with your grandfather.

Grant - I don't have time for riddles.

Alex - I'm talking about the money.

Grant - Look, I've got a few hundred in my wallet.

Alex - Sixty million dollars. Let me get you up to speed. I've had a really bad day today. In fact, you could say I'm a tad cranky. Moody, you know? Maybe it's just PMS. Or maybe you're pissing me off so god-damned much I don't think I'll be able to control myself.

Grant - [offscreen] Let's work something out. What do you want me to do?

Alex - That's better. Go over those bank records of yours. Look for the name 'David Leiner'. Then we'll talk. [holds up the script in her hand briefly] My number. And don't worry. I've already got yours.

Director - [offscreen] Cut.

Director - [offscreen] Okay, this looks good. rolling? And action.

Cameron - [same actor as previous auditions, to Alex] God, you're beautiful. I've waited all day for this.

Sandra Hess as Alex - Then it's a good thing we found this barn.

Cameron - If you marry me, I'll build you a palace.

Alex - I don't need a palace.

Cameron - Not for you. For our dozen children. Just say yes.

Alex - There's something that you have to know... about me.

Cameron - I know all I need to know about you. I know your eyes. I know your lips.

Alex - Will you just listen for a moment? How old do you think I am?

Cameron - Sorry, I don't discuss religion or a woman's age.

Alex - My earliest memory is of the Carvetii, my tribe. We lived in Cumbria. My father was a warrior, and my mother a priestess.

Cameron - I'm surprised she wasn't a goddess, like her daughter.

Alex - They found me as an infant, and then they raised me in as their child. It was a good life, until the Romans came along. And it wasn't enough to have the world, they needed to have Cumbria. And for each one that we killed, four more came along. I was twenty-eight the first time that I died.

Cameron - It's a lovely story.

Alex - It's not a story.

Cameron - And I'm supposed to think you actually believe this?

Alex - I love you. You are my heart. You are my soul. What I'm telling you is the truth. I am immortal. [picks up a dagger and pretends to stab herself in the gut with it]

Director - [offscreen] And cut. Good.

Director - [offscreen] And action.

Grant - [same actor as previous, as Alex pops up into view] That's a neat trick.

Alex - Here's another one. I've got a twenty-two caliber automatic with a silencer right behind your seat. Average muzzle velocity, about eight hundred and sixty seconds. Now I can only guess where your spinal cord really is, so it may take a few shots until you're paralyzed for life. But then again, what's a spleen and a couple of kidneys between friends? [looks around, clicks her tongue] Never a cop around when you need one, is there?

Grant - [offscreen] What the hell do you want?

Alex - I want to finish what I started with your grandfather.

Grant - [offscreen] I don't have time for riddles.

Alex - I'm talking about the money.

Grant - [offscreen] Look, I've got a few hundred in my wallet.

Alex - Sixty million dollars. Look, let me get you up to speed, all right? I've had a bad day today. In fact, you could say that I'm just a tad bit... cranky. Moody, you know? Well, maybe that's just PMS, or maybe that's just because you are pissing me off so god-damned much that I'm not sure I'm going to control myself.

Grant - [offscreen] Look, let's work something out. What do you want me to do?

Alex - That's better. Now you go over these bank records of yours. Look for the name 'David Leiner' and then we'll talk. [holds out the script to him] Here's my number. And don't worry. I've already got yours.

Woman's Voice - [offscreen, reading Berta's lines] --stronger. If we can't cool the brain fever, I'm afraid we'll lose her and the child.

Claudia as Katherine - See if you can get this down her.

Woman's Voice - [offscreen, reading Berta's lines] What is that?

Claudia as Katherine - It's yellow root and Saint John's wort from the forest.

Woman's Voice - [offscreen, reading Berta's lines]Yellow root? Are you trying to kill her?

Claudia as Katherine - Please, we don't have much time, Berta. You must trust me. All of it. She needs all of it.

Woman's Voice - [offscreen, reading Berta's lines] Oh, thank God. Yellow root is a poison. How did you know it would calm the fits?

Claudia as Katherine - It's nothing. Just something I remembered from when I was a child.

Woman's Voice - [offscreen, reading Berta's lines] You know, Katherine, five years ago, you came to me to learn the healing arts, but I think I've learned more from you than you have from me. You are a true healer. Me, I'm an old lady who knows a few remedies.

Claudia as Katherine - Nay. You have given me a home, Berta. You've made me part of your life and part of your village. You know, when I came here, I was alone, I was weary. You've healed me in more ways than you could ever imagine.

Woman's Voice - [offscreen, reading Berta's lines] Here.

Claudia as Katherine - No. no.

Woman's Voice - [offscreen, reading Berta's lines] Katherine, I want you to take this.

Claudia as Katherine - No. I could never.

Woman's Voice - [offscreen, reading Berta's lines] Please. It is time the village acknowledged its true healer.

Claudia as Katherine - No. The healer's not the one who has the most recipes for potions. The healer should be the one who has the most love to give. And Berta, that will always be you.

Man's Voice - [offscreen, reading Nick's lines] That cop's dead, because of us.

Claudia as Katherine - I'm sorry for him. He was doing this job. It happens.

Man's Voice - [offscreen, reading Nick's lines] It's not his job to babysit Immortals.

Claudia as Katherine - He wasn't even supposed to be involved. Neither were you. Look, I was supposed to get in, wack Bartholomew and get the hell out again. And then you show up and all hell breaks loose.

Man's Voice - [offscreen, reading Nick's lines] Yeah, and if you're straight with me, this doesn't happen.

Claudia as Katherine - It's my fight. You can't get involved.

Man's Voice - [offscreen, reading Nick's lines] Because you say so?

Claudia as Katherine - Because that's the way it is! You want to do this again? You want to do this now, here?

Man's Voice - [offscreen, reading Nick's lines] Forget it.

Claudia as Katherine - You brought it up. Look, I'm sorry that I'm immortal and you're not. There's nothing I can do about it.

Man's Voice - [offscreen, reading Nick's lines] Oh, now you're getting irrational.

Claudia as Katherine - Tell me it doesn't drive you crazy.

Man's Voice - [offscreen, reading Nick's lines] What?

Claudia as Katherine - That I can't die, and that you can.

Man's Voice - [offscreen, reading Nick's lines] I don't believe this. First you lie to me, then when things don't work out, you lay this on me?

Claudia as Katherine - You knew what I was when we met. You knew the game. You know the rules. I can't stop being immortal, Nick.

Man's Voice - [offscreen, reading Nick's lines] And you know me, Kate. Am I the type of guy who's going to sit on his ass and let you walk off alone and maybe get whacked? Tell me, Kate, is that who you ever thought I was?

Claudia as Katherine - No.

Man's Voice - [offscreen, reading Nick's lines] Then why the hell did you ever make me love you?

Claudia as Katherine - I didn't know it would happen. I didn't know I'd love you. Look, Nick, the most-- part of my life that's about being Immortal has nothing to do with you. It can't.

Man's Voice - [offscreen, reading Nick's lines] Katherine, I'm either in your life -- all of it -- or I'm gone.

Claudia as Katherine - How about if we just take care of one thing at a time? So what do we need?

Man's Voice - [offscreen, reading Nick's lines] A gun would be good.

Claudia as Katherine - Yeah, right. No I.D., no money.

Man's Voice - [offscreen, reading Nick's lines] Oh, got any cash?

Claudia as Katherine - A hundred and thirty francs.

Man's Voice - [offscreen, reading Nick's lines] Ah, just enough for a long distance phone call.

[Person with clapboard snaps clapboard.]

Director - [offscreen] Action.

Joe - [walks toward Methos] Hey, where're you going?

Methos - Next stage out of Dodge. [puts duffle in back of car] Look, I hate long good-byes.

Joe - Look, I'm really worried about someone.

Methos - Aren't we all, pal?

Joe - Her name is Amy Thomas. She's a new Watcher. She's supposed to check in with me every four hours, and she hasn't called.

Methos - Well, I'd like to help, but I've got a plane to catch.

Joe - All right, but she's watching your guy.

Methos - What guy?

Joe - Morgan Walker.

[Methos turns slightly to look over his shoulder, then cracks a grin, waiting, before...]

Director - [offscreen] Cut. Great.

[Person with clapboard snaps clapboard.]

Peter - [offscreen] Yes, I could.

Director - [offscreen] Okay.

Peter - [offscreen] Yes, I could.

Director - [offscreen] Action.

Methos - [offscreen] I hate long good-byes, okay.

Joe - I'm worried about someone.

Methos - [offscreen] Aren't we all, pal?

Joe - Her name is Amy Thomas. She's a new Watcher. She's supposed to phone me every four hours, and she hasn't checked in.

Methos - Well, I'd like to help, but I've got a plane to catch.

Joe - She's watching your guy.

[Faint noise of chainsaw revving in the distance.]

Methos - What guy?

Joe - Morgan Walker.

Director - [offscreen] Cut.

Joe - The guy with the chainsaw.

[Person with clapboard snaps clapboard.]

[Dog barks in distance.]

Director - [offscreen] Action.

Methos - Listen, I hate long good-byes.

Joe - I'm worried about somebody.

Methos - Aren't we all, pal?

Joe - Her name is Amy Thomas. She's a new Watcher. She's supposed to check in with me every four hours, and she hasn't called.

Methos - Well, I'd like to help, but I've got a plane to catch.

[Dog starts barking again.]

Joe - She's watching your guy.

Methos - What guy?

Joe - Morgan Walker. [Dog keeps barking.] He's over with that dog.

Donna Lettow - [voice-over] On a big budget production, driving scenes are filmed by attaching the picture card to a tow rig and driving it around the location while the actors in the car pretend to steer and concentrate on their performances.

Methos - [driving henchmen's van along busy road] So, does she know?

Donna Lettow - [voice-over] When the budget is lower, like on Highlander, you just strap the camera to the side of the car and have the actors drive themselves. And in a city like Paris, already known for its traffic problems, driving while acting is not as easy as you might think.

Methos - You didn't tell her, then? [Joe shakes his head.] If you don't want to confide in me, Joe, that's -- that's fine. Don't let the fact that I saved your life influence you in any way.

Joe - Ah, it's nothing new. My first year at the academy, I met her mother. [clicks his tongue] She was married.

Methos - And?

Joe - Well, one night we were working late. We had a little dinner, a nice bottle of wine, a couple of drinks. She got pregnant.

Director - [offscreen] Let's do it again. Ready? With a little bit more energy. Stand by, and action.

Methos - So, does Amy know?

Joe - Huh?

Methos - That you're her father?

Joe - Ah, seems like she figured it out.

Methos - You didn't tell her, then? [Joe shakes his head.] Listen, Joe, if you don't want to confide in me, that's fine. Don't let the fact that I saved your life influence your decision in any way.

Joe - Nothing new, Methos. My first year at the academy, I met her mother... who was married.

Methos - And?

Joe - Ah, we were sharing dinner one night, we were working late. We had a bottle of wine, a couple of drinks. She got pregnant.

Methos - Just when I think I know the real Joe Dawson.

Joe - Yep. There you have it.

Methos - You know, these last few hours, I feel like there's a bond between us.

Joe - Yeah, yeah, yeah.

Methos - Who'd have thought that I'd have a Watcher as my best friend?

Joe - Oh, yeah, it's a real puzzler, isn't it? Hey, how about a little le-- less chatter and a little more speed, huh?

Methos - You got it, buddy.

Jim - [after a beat] And maybe next time you can do all the lines, too.

Peter - [laughs] This is... f*beep*ing insane. I mean--

Director - [offscreen] Cut.

[Camera switched to Methos's side of the car.]

Methos - It's like there's a bond between us.

Joe - Yeah, yeah.

Methos - Who'd have thought it, eh? My best friend, a Watcher.

Joe - Oh, yeah, it's a real puzzler. Hey, how about a little more speed and a little less chatter, okay?

Methos - You got it, buddy. [after a beat] Voila!

Male voice - [offscreen, from back seat] Can we do that last line again?

Peter - Ah, I'll go from the, uh-- [beat, starts lines] Well, what about that. Who'd have though it? My best friend, a Watcher.

Joe - Yeah, that's a real puzzler. Hey, how about a little less chatter and a little more speed, okay?

Peter - You got it, buddy. [keeps driving, then:] Whilst trying not to kill these people that are trying to pull onto the road.

Director - [offscreen] Ha! Great, guys. Okay, we've got it.

[Methos laughs as Joe walks around side of car, carrying a gas can.]

Methos - You-- You're walking?!

Joe - Unless you've got a better idea, huh? [sighs, to himself] Stupid--

Methos - [under his breath] Jesus. [catches up to Joe, takes the gas can from him]

Joe - [starts singing] It's a long way to Tipperary, it's a-- [trails off, grumbling]

Methos - [under his breath, offscreen] Stupid.

[Person with clapboard snaps clapboard.]

Methos - We could be like, uh, Caligula and Incitatus. Well, maybe not Incitatus 'cause he was a horse.

Joe - Will you shut up?!

Methos - Joe?

Joe - Look, it's a trap, okay? Walker knows we're coming. I'm supposed to shoot you when we get inside. He said he was going to kill Amy.

Methos - [pats Joe on the shoulder] There. That wasn't so hard, was it?

Joe - But you knew?

Methos - Of course I knew.

Joe - Well, how did you know?

Methos - Joe, you never give a Watcher's first and last name. And you couldn't go to them to help, and suddenly they're ringing you with information.

Joe - All right. All right.

Methos - And anyway, when you lie, you do a weird thing with your face.

Joe - What?

Methos - Well, you-- [makes faces at him]

Joe - [huffs] That's the last time I play poker with you. Why'd you drag it out so long?

Methos - Easily amused. [grins]

Joe - Bonding, my ass.

Director - [offscreen] Cut!

Director - [offscreen] Ac-tion!

[Walker & Amy start walking toward camera, Walker holding Amy at gunpoint.]

Amy - I'm no good to you dead.

Walker - You're right. In fact, I'm so worried about your health, I'm taking you to see an old doctor friend of mine.

Amy - Doctor...?

Walker - Benjamin Adams. We have an appointment that's long overdue.

Director - [offscreen] Cut.

[Walker slowly puts down his gun, reaches over his shoulder.]

Male voice - [offscreen] Sword.

[Benedick stands with his hand over his shoulder, waiting, until someone offscren brings him the sword. He remains standing with the sword hidden behind his back, before bringing it forward as if drawing it from a hidden sheath.]

[Walker slowly puts down his gun and reaches behind his back (rather than over his shoulder as he did in the previous clip). Someone offscreen puts the sword into his waiting hand.]

Benedick - [responding to unheard query] Mm-hmm.

Director - [offscreen] Hold it, guys. [clattering bang] Hold it, hold it, hold it. And ready, action.

Walker - [very slowly raises sword straight up behind his back and then whips it forward, circles Methos] I've waited almost two hundred years for this.

Methos - Do the words "compulsive obsessive" mean anything to you?

[They fight, miss a cue and stop.]

Peter - Okay, back again, back again. Same phrase.

Director - [offscreen] Action.

[Fight resumes, proceeds further, stops.]

Peter - Okay, slow it down. Same phrase from here.

[Fight resumes, proceeds further. They close and grapple.]

Director - [offscreen] Cut.

Donna Lettow - [voice-over] Although it aired as episode eleven of season six, "Indiscretions" was the last episode of Highlander: The Series to be filmed. And the very last shot of the series, fittingly, was this massive Quickening. Guess they were using up everything they had left on the explosives truck. In the midst of the fire cannons and wind machines and sparklers, Peter Wingfield got hit with an ember that blew in his face. But you only get a chance to shoot this once, so he kept right on going.

[Voices yelling instructions through megaphones, echoing through the structure. Quickening begins - explosions overhead, smoke machine at Methos's feet, more explosions, big explosions all around, sparklers behind him. Eventually, the smoke & explosions subside. Director's voice can be heard offscreen, speaking in French. Methos stands shakily back up, walks out of frame.]

DM - Come again? [stands up]

Fitz - You know, handicapped.

DM - What?

Fitz - Like in golf. [holds up his empty hand; golf club is placed in it by someone offscreen]

DM - Golf?

Fitz - Yes! And you're the ball.

DM - I'm the ball?

Fitz - Yes, and you're rolling down the fairway.

DM - Down the fairway.

Fitz - Now you're getting it.

DM - I'm not even close to getting it, Fitz.

Fitz - That's because you're not being the ball.

DM - What are you talking about?

Fitz - You've definitely left the green-- You-- You've definitely left the tee, but you're not let-- Oh, sorry.

Adrian - Get the *bleep* line out!

Roger - {??} line again! Look, you've definitely left the green, but you're not yet-- [stomps his foot] Oh! [makes gibberish noises]

Adrian - I'm off the tee and I'm not even on the green yet. That's the line!

Roger - That's the line!

Adrian - That's the line! Let's do this again.

Fitz - Look, try and follow me on this. Well, at first I was flattered, you know. Thought it must be, uh, something important, you know. Big. Something requiring my special talents. Hmph! Right hand of God and all that.

Adrian - What are you talking about? That made no sense whatsoever.

Donna Lettow - [voice-over] An episode of Highlander had to be the exact same length week after week, no more, no less. Occasionally, episodes came up short and had to be padded to make the mark. And sometimes, episodes like "Not To Be" had more footage than could possibly fit and cuts had to be made. Here are some of them.

[MacLeod walks along sidewalk. Fitzcairn joins him.]

Fitz - She is a paragon of womanhood. Beautiful, sensuous, intelligent -- a goddess. Yes, you always were the lucky one as far as the fairer sex were concerned. Apart from that redhead in London, of course.

DM - Fitz, why did she do it? Why did she give up sculpting?

Fitz - Well, no buyers. And you can't live on cold soup and dreams forever. Speaking of which... [motions with his head at entrance to cafe] What do you say we stop in for a nip? [DM follows Fitz into cafe.] [to waiter] Two Macallan malt whiskies made from Scotland's finest waters, please. [They sit at a table.]

DM - Fitz, I should never have gone there. What-- Why'd you let me?

Fitz - Oh, laddie. You didn't create the emptiness in her life. You just made her look at it.

DM - Oh, thanks.

Fitz - Sooner or later she would have realized what she'd given up. It's her destiny here. And destiny is like a river, MacLeod.

DM - Oh, no. Come on, Fitz.

Fitz - Have a little respect for the dead, laddie.

DM - Fitz, come one!

Fitz - As I was saying... [beat] Destiny, is like a river that flows with the dreams and hopes of humanity. And when an outsider like you comes along and tries to dam that river, then the river'll do whatever it can to get around you and back on course.

DM - Yeah, yeah, yeah. Like I never existed. I know.

Fitz - Bingo. As the Spanish say, "Que será, será."

DM - Are you finished?

Fitz - What will be, will be. [looks behind him at female bartender] A case in point, dear boy.

DM - [looks at bartender] No.

Fitz - I'll be right back.

DM - Fitz.

Fitz - [goes over to bar] My dear, your beauty lights up this bar like a beacon in a storm.

Methos - [offscreen] Hey, give me a beer.

[DM reacts to the familiar voice.]

Fitz - Bugger off, old chap. Can't you see she's busy?

Methos - [stands from table, grabs bartender's arm] Hey! I said, get me a beer!

Fitz - Unhand her, you brute!

Methos - [pulls wicked-looking knife, holds it at Fit's neck] You think this is a good day to die, little man?

Fitz - Been there, done that. [wry shrug] Never fun.

DM - [to himself] Methos.

Fitz - [holds up glass of beer] On the house. [Methos lowers his knife.] No hard feelings?

[Methos takes the beer, upends the full glass on the floor, sets the empty glass on the bar.]

Fitz - [as Methos turns away from bar toward DM] Delightful chap.

Methos - What's your problem?

DM - Me? Nothing.

Methos - You're looking at me as if you know me. You don't know me.

DM - Maybe it's your sunny disposition. [Methos grabs his wrist, pulls sleeve back.] Looking for something? [pulls his arm away] You can do two out of three, if you like.

Methos - Let me give you some advice. You keep your eyes to yourself. [leaves]

DM - [goes over to bar] Say good night, Fitz.

Fitz - But, um, I was just telling her how she could repay me for saving her.

DM - Yeah. Did you forget the part about you being dead here? [walks away] Come on!

Fitz - [voice-over] Methos became Richie's teacher, but he taught him a lot more than how to use a sword.

RR - [enters warehouse] It's done. [drops briefcase on table where Methos and Kronos are assembling guns]

Methos - Any problems?

RR - Yeah. I didn't think a million bucks would be that heavy! Anyway, he's got his brat and we have got his cash. [opens briefcase, runs stack of bills under his nose] Oh, yeah!

Kronos - [to Methos] I think our friend is a quick learner.

Methos - Well, I can always spot potential.

[RR laughs.]

Kronos - Time, I think, for a little... test.

Methos - Dawson, you think?

RR - Whoa, whoa, whoa, whoa, whoa, whoa! Who's Dawson?

Kronos - He's one of the bastards who killed our brothers, Caspian and Silas.

RR - Hey, whatever you want. I'm your man.

Methos - We want him dead.

RR - Y-- You want me to kill him?

Kronos - [to Methos] You know, I'm not quite sure if he's really ready for this.

RR - [jumping in] Hey, hey, look, I've got it covered, all right? No problem. [justifying it to himself] Hey, he hunts us, we hunt him.

Kronos - No... I -- I don't think he can handle it.

Methos - We wouldn't want to force you into anything you didn't feel comfortable with.

RR - Hey, hey, hey, look, look, look. I said no problem. All right? Hey, you want him dead? He's dead. Oh, yeah. You just tell me where that *beep* is. I will kill the bastard.

[Person with clapboard snaps clapboard.]

Donna Lettow - [voice-over] Filming on the barge in Paris was plagued by the constant tour boats sailing up and down the Seine. Even in this extended version of that final sequence, you can almost hear the tour guide saying, "And now on your left, Highlander: The Series."

Methos - [looks up from reading CD-case insert] Let me do that. I know a little about opening champagne. [takes champagne bucket from DM]

DM - Methos...

Methos - [holds up his hand.] No, it's okay. No need to thank me.

DM - I was going to say that was the worst Irish accent I ever heard.

Methos - [beat] Great. Next time you want someone to save your butt, get Lawrence Olivier.

DM - Oh, you're a pain in the ass. You know, I don't know who or what you are, Methos, and I know you don't want to hear this, but you did teach me something. You taught me that life's about change. About learning to accept who you are, whether it's good or bad. And I thank you for that.

Methos - [quietly] That's okay.

[MacLeod moves to Dawson as Methos opens the champagne bottle. Amanda approaches with a glass. Methos pours.]

Joe - [offscreen] Hey, did he really try to kill me? [louder, as Methos keeps pouring the champagne] Hey, did he really try to kill me?

[Peter looks over his shoulder, realizes he missed his cue, laughs.]

Director - [offscreen] Cut.

Joe - [offscreen] Hey, did he really try to kill ME?

Joe - [as DM approaches him] Hey, was he really going to kill me?

Methos - [offscreen] Oh, come on, it was a dream.

Joe - You know, I can't really imagine life without you, Mac. The truth is, I don't want to.

DM - You're my friend, Joe. You always will be. Thanks for believing in me. Even when I didn't believe in myself.

Amanda - [hands him a glass of champagne] Champagne.

Joe - [takes a glass] Hey, soap suds.

DM - [lifts his glass] To you guys... [beat] And to Richie, and Tessa... and Fitzcairn, whatever world they're in...

Amanda - And to, uh, Duncan MacLeod.

Joe - Of the Clan MacLeod.

Methos - Long may he live.

[They clink glasses, drink... DM pulls Amanda aside. Camera holds on Methos & Joe standing by the open porthole.]

Director - [offscreen] Okay, Jim.

Joe - [quietly] Yeah. [walks forward a few steps, looking toward DM & Amanda. Amanda returns to stand next to Methos, sighing. All three continue to stare offscreen toward DM.]

Methos - It's good to have a moral center to the universe -- even if he can be a pain in the ass.

Amanda You know, Methos, you're not half the arrogant, self-absorbed jerk you were when I met you.

Methos - Thank you... I think.

Director - [offscreen] Cut.

Joe - Here comes the party.

Methos - [offscreen] Steady, boys.

Amanda - Yes. [hands them glasses of champagne] Here you go.

DM - So, uh, to you guys? And to, uh, Tessa, Richie... and Fitzcairn, whatever world they may be in...

Amanda - And to Duncan MacLeod.

Joe - Of the Clan MacLeod.

Methos - Long may he live.

[They clink glasses, drink... DM throws his champagne glass out the open porthole, into the Seine, then pulls Amanda aside. Camera holds on Methos & Joe standing by the open porthole. Faint opera singing can be heard in the background.]

Jim - {??} the opera.

Peter - [laughs] Hear that? That's the fat lady singing.

[Both turn back to look toward DM & Amanda. Joe walks forward a few steps. Amanda returns to stand next to Methos as the opera singer can be heard more clearly. A long boat passes by outside the porthole, tour guide speaking inaudibly.]

Methos - I guess it's good to have a moral center to the universe -- even if he can be a pain in the ass.

Amanda You know, Methos, you're not half the arrogant, self-absorbed jerk you were when I met you.

[Tour boat is finally finished passing by.]

Methos - Thank you very much, I think. [slaps Joe on the shoulder] Come on, Joe, let's go get pissed.

Director - [offscreen] [laughs] {This'll all be great in A.R.} Cut.