A Highlander Episode
by Kevin Robnett
Cast:
Adrian Paul as Duncan MacLeod
Stan Kirsch as Richie Ryan
Jim Byrnes as Joe Dawson
Guest Stars:
Duncan Regehr as Mark Levison
Elizabeth Gracen as Amanda
Gabrielle Miller as Michelle Wheeler
Jerry O'Connell as Nathan
Colin Firth as Trevor Matthews
Cameron Bancroft as David Keogh
OPENING CREDITS
TEASER:
INT PARIS APARTMENT (PARTY) - EVENING
Black screen, no sound. Title "Lessons" appears in white in bottom third. Party sounds fade in as the black moves away from camera, revealing the back of a man's tuxedo. Credits appear throughout scene. Party chatter continues with soft music in the background as the camera weaves its way through the crowd. The location is a Paris apartment, with a night skyline and storm seen outside the large bay windows. Camera makes its way to a secluded corner where Amanda and Michelle are revealed in conversation, a drink in the hand of each. Both are dressed to the hilt, with no evidence of swords. The camera closes, speeding up as 'the buzz' is noticed. Both react.
MICHELLE:
(excited)
Someone's here!
AMANDA:
It might not be a friend. No
one will try anything, not at
the moment. Maybe outside,
when we leave. Paris draws
a lot of our kind.
Camera pans crowd, circling back to the pair. A man's coat blocks a third of the screen.
VOICE:
Good evening, mademoiselles.
AMANDA:
(extending her hand)
Mr. Rusk, what a nice surprise....
VOICE:
(Kissing her hand)
Lovely as always, my dear. It
is an honor to be graced by your
beauty twice in one week.
AMANDA:
Here's the young lady we were
talking about; my student, Miss
Wheeler. Michelle, may I present
Simon Rusk?
VOICE:
(Kissing Michelle's hand)
Delighted. Would you care to
dance?
AMANDA:
I don't think...
Before Michelle can reply, she is escorted out of camera, leaving Amanda worried as she takes a drink. The camera pans left, spinning, then slows, the camera over Voice's left shoulder on Michelle as the pair dance.
MICHELLE:
(Giggling)
So, I take it you and Amanda
know each other?
(Silence)
All right then, how long have
you been in Paris?
(Voice dips Michelle)
Ohhh, the strong, silent type.
Just the way I like a man.
Michelle twirls, the camera continues to spin and fading out of focus, growing dim, until it stops, revealing a darkened study. The only light is from the large windows, open to the Paris skyline and storm. Michelle and Voice enter, the soft strains of far away music heard as the door opens and closes. Michelle suddenly kisses Voice, then turns shyly away. Cut to exterior shot, outside in rain looking in window. Michelle moves silently to window, illuminated by lightning, as she plays with necklace and smiles. Behind her, in the darkness, a flash of steel. She turns back as the camera sinks down, into the party below. Amanda is looking out a window also, suddenly illuminated by lightning. Music almost sounds like a scream. She glances upwards and around outside, before turning back to the party. Cut to far shot. Tall building in Paris, lightning flashing from top floor window, followed by thunder. Fade to black.
Commercial.
ACT ONE:
INT DOJO - AFTERNOON
Montage of Duncan and Richie sparring. Music is blasting from jambox on floor. They move about the dojo, occasionally using workout equipment against each other. The mood is light and jovial. During a breather, both men panting, the music is drowned out by the "buzz" noise. Duncan and Richie look around as the camera circles around them, settling on the front doorway. A dark shape, sword in hand, steps forward, revealing Mark Levison.
MARK:
Highlander. Still desperate
to win a fight?
DUNCAN:
(unemotional)
Levison.
RICHIE:
Mac?
DUNCAN:
(back to Richie)
He's mine.
Mark and Duncan fight, seriously. Duncan takes first blood, but Mark is fresher, slowly wearing down the Highlander. A sudden combination strike with a hidden dagger, and Duncan is face down on the ground, unconscious, a pool of red blood slowly expanding beneath him. Mark turns to Richie, who backs away, moving toward the side door.
MARK:
Next?
RICHIE:
Chill, man. Everything's cool.
MARK:
(Raising sword & dagger)
That's not a choice.
The two fight. Richie is disarmed, and reduced to throwing things. He trips over a weight bench, falling to the floor. Mark raises his sword for the beheading stroke.
MARK:
Game, set, and match.
As he finishes speaking, a katana blade sprouts from his chest, a blood stain slowly expanding on his shirt from the wound.
DUNCAN:
(Leaning around from behind)
You always were too cocky, Mark.
MARK:
(Gasping)
Duncan. Always spoiling my fun.
Mark falls to the floor, dead. Duncan helps Richie to his feet.
DUNCAN:
(Once Richie is standing)
Try to keep hold of your sword.
It really helps.
Richie goes after his sword as Duncan stands over Mark, waiting. The camera rises to the ceiling, looking down, as the scene shifts to Richie, in different clothes, busy scrubbing blood stains out of floor with scrub brush and bucket. A change in outside lighting reflects passage of time. Richie is muttering comments as the camera pans up into blackness...
INT LOFT - SAME TIME (Gratuitous Shirtless Scene)
...and rises from the loft floor. Mark is standing by the coffee table, towel drying his hair. Duncan, still unemotional, approaches from behind camera, spare shirt in hand. Another shirt is tucked into his belt.
DUNCAN:
(Shouting)
Mark!
Mark stops, tosses towel at Duncan and catches the shirt.
MARK:
You wouldn't happen to have
a comb...
Duncan holds up other hand, holding a brush, previously hidden by his side. Mark smiles as he catches it and starts combing his hair, moving toward a free-standing mirror. Duncan opens the liquor cabinet.
DUNCAN:
Want a drink?
MARK:
Tea, if you have it. Or coffee.
Duncan gives Mark a look of surprise before shutting the cabinet doors and moving to kitchen. Camera follows as he fills a kettle and places it on stove.
DUNCAN:
When did you give up scotch?
Camera pulls back as Mark sits in chair, discarding the brush and examining the shirt. Duncan is in the background, putting on the second shirt.
MARK:
It's been a while. Was the flea
market having a two-for-one?
DUNCAN:
If you're going to insult my wardrobe,
you can tell me what you're doing here.
MARK:
(putting on shirt)
Matthews' in town.
DUNCAN:
Why come to me?
MARK:
Your young friend is in danger.
DUNCAN:
What makes you think he's
after Richie?
MARK:
(Standing, moving to counter)
There aren't that many Immortals
around here. And stories of your
student have really been flying
around. Now's the perfect time.
DUNCAN:
Not if I can help it. How did you
you know he was here?
MARK:
Immigration called. One 'Simon Rusk'
arrived in New York from France early
this morning. That's the name he's
using this century. He took American
Flight 227 to San Francisco, and a ten
a.m. charter to here. I got here by noon.
DUNCAN:
You're sure it's him, this time?
MARK:
Yes.
DUNCAN:
(close-up of face)
You're getting better.
Just then, Duncan blocks a sword with his katana, both blades crossed in front of his face. The camera pans around to David Keogh, holding the other sword. He's grinning.
INT SALON - NOON
They are sparring in a dance salon, mirrors on side wall, draped windows at the end.
DAVID:
(breathless)
I've learned more from you in
six months, Duncan, than in the
last ten years...
David suddenly breaks into an attack, pressing Duncan back. The words "Philadelphia, 1824" appear on the bottom of the screen. Duncan finally disarms David, sending his sword across the room.
DUNCAN:
(looking at watch)
The last train for New York
leaves at midnight.
DAVID:
Fine. I'll meet you here at
eleven.
(Off Duncan's look)
I need to tell someone I'll be
leaving town for a bit. It's
important.
David picks up sword and walks off camera, leaving Duncan standing in the middle of the salon. The scene fades into night, Duncan still standing, only a pile of luggage is now nearby. He looks at his pocket watch again. The buzz occurs a second before the door bursts open, David rushing in, harried.
DAVID:
(breathless)
There's an Immortal...after
me. He won't quit.
Duncan looks around room, spotting outside fire escape, moves David toward it.
DUNCAN:
Go. Up to the roof. I'll try
see if I can talk to him.
(Stopping)
But if he wants you, you'll
have to fight him.
DAVID:
I know. Thank you, Duncan.
I'll meet you at the train
station.
Another buzz. They clasp forearms, David ducking out the window, Duncan moving to the center of the saloon, katana ready. A dark shapes moves into the light. It is Trevor Matthews.
TREVOR:
(Chuckling)
Seems the young one has
friends.
DUNCAN:
Good friends. Duncan
MacLeod, of the Clan
MacLeod.
The pair circles, neither making an aggressive move.
TREVOR:
Trevor Matthews. This could
be construed as interference.
DUNCAN:
Looks to me like one of you
didn't want to fight.
TREVOR:
True. But he can't run
forever.
DUNCAN:
He can run today.
TREVOR:
(Hiding sword in coat)
I didn't live this long making
foolish challenges. Your
friend will live another
night, MacLeod.
Trevor Matthews leaves. Off camera, a train whistle sounds, but it is only the water boiling in the kettle. The camera pans to a close-up of Duncan's face, with Mark appearing over his shoulder.
MARK:
Your student is an excellent
choice. Young, new. Trust me,
Matthews can't resist.
Especially knowing you are his
Teacher.
DUNCAN:
He'll have to get through me,
first.
MARK:
I think he's planning on it.
The phone rings. Duncan moves to the wall and answers it.
DUNCAN:
MacLeod.
INT PARIS HOTEL SUITE - EVENING
Amanda is sitting curled up on a sofa, phone to her ear. She has
obviously been crying.
AMANDA:
Duncan? Michelle's...dead.
Last night. There was an
Immortal, Rusk. I need you.
INT LOFT
Duncan stands with phone in hand, not answering. Fade to black.
Commercial.
ACT TWO:
INT DOJO OFFICE - DUSK
Duncan and Richie are standing near the door, facing each other.
Duncan has a travel bag over one shoulder.
DUNCAN:
I'll only be gone a day, two
at the most.
RICHIE:
(Exasperated)
I'll be fine. Amanda needs you
now. I can take care of
myself, Mac.
DUNCAN:
I know.
Off camera, the sound of a door slamming is heard. Duncan looks
behind at the dojo proper.
DUNCAN:
(Looking back)
I'd feel much better if you'd
go to the island for a bit.
RICHIE:
(Shaking head)
I've got a job here. The one
you gave me, remember?
DUNCAN:
Maybe I should fire you...
(Off Richie's look)
Forget it.
Mark enters through the dojo front doors in background.
MARK:
(Yells)
Someone call a taxi?
DUNCAN:
Watch your head.
RICHIE:
(As they hug)
Call me. And give Amanda
my condolences.
DUNCAN:
I will.
Duncan turns and leaves. Richie walks him to the office door,
where he stops, hanging on the frame. Duncan and Mark are walking
toward door when...
RICHIE:
You could bring her back,
you know.
DUNCAN:
(Yelling back)
I know.
MARK:
I'll keep an eye on the lad,
Duncan.
DUNCAN:
You better.
They walk to the exit. As they pass a vertical bar, the scene
changes to outside on some docks. They are still walking side
by side, but they now wear clothing of the period. As the camera
stops and continues to watch the pair walk off, the words "San
Francisco 1853" appear at the bottom.
INT VICTORIAN HOUSE - AFTERNOON
Mark and Duncan enter the front door. Duncan sets the luggage
down.
MARK:
I want to thank you for coming.
You're the only person I could
think of.
DUNCAN:
So this student of yours
is good.
MARK:
Better than me. That's why I
needed you.
DUNCAN:
(Looking around)
Where is he?
MARK:
Upstairs, in the practice
room.
INT PRACTICE ROOM - LATER
Nathan is alone in the room, practicing a move, his back to the
door and camera. He is dressed for fencing, attacking an imaginary
target with a foil. The buzz sounds, and the camera closes as
he turns around.
MARK:
(off camera)
Here he is.
Duncan and Mark walk up, Duncan and Nathan facing each other.
MARK:
Nathan, this is Duncan MacLeod,
a good friend. He's come to see
if he can help.
NATHAN:
(cocky)
Let's see.
He grabs another foil and tosses it to Duncan. The two square
off and spar, dressed as is. Nathan is graceful and smooth, but
shows a severely limited repertoire. Duncan scores several hits,
making Nathan furious, until Nathan scores, cutting a thin line
across Duncan's cheek. They stop, Duncan brushing the wound with
the back of his hand. He eyes Nathan warily.
DUNCAN:
I think that will do for now.
INT SAN FRANCISCO BAR - LATE AFTERNOON
Duncan and Mark are at the bar, drinking.
MARK:
So you'll stay.
DUNCAN:
For a bit. I can at least get
him started.
MARK:
That's what I was hoping you'd
say. It's been too long.
DUNCAN:
Yes, it has. But you owe me
for this.
MARK:
(Raising glass in toast)
I owe you.
DUNCAN:
He's a handful, I'll wager.
MARK:
It hasn't been easy. On
either of us. When he's comfortable
with the arrangements, he'll drop
the smugness. He really is good.
DUNCAN:
Enough talk about students. It's
my first night in San Francisco.
What kind of trouble are we going
to get into?
MARK:
I'm glad you asked. Bartender,
another round.
A close-up shot of the bartender setting a drink on the bar, but
when the camera pulls back, it is Richie sitting at the bar.
INT JOE'S BAR - EVENING
Richie leans over to pick up the drink, looking at Joe.
JOE:
You seem awfully quiet this
evening.
RICHIE:
Yeah.
Silence as Joe cleans the bar with a rag, waiting.
JOE:
OK, spill it.
RICHIE:
There's an...'old friend' in town.
Trevor Matthews.
JOE:
Never heard of him.
RICHIE:
He's going by Simon Rusk, at
the moment.
JOE:
Still doesn't ring a bell.
(Silence)
Is he a friend of Duncan's?
RICHIE:
Hardly.
JOE:
So Duncan flies off to Paris,
leaving you behind. Rich, he's
a big boy...
RICHIE:
Matthews is after me.
JOE:
Ahhh...
Joe goes back to cleaning the bar. Richie waits until he can't
bear it.
RICHIE:
What do you mean, 'Ahhh...."?
JOE:
Someone's finally come for you.
You didn't get in the way, it's not
about MacLeod, your head is being
hunted. Welcome to the big leagues.
RICHIE:
It had to happen sometime. So
what do I do?
JOE:
You askin' me?
(Richie nods.)
Hey, I just give advice about your
love life. And occasionally watch.
This is out of my department. Ask
MacLeod.
RICHIE:
I already know what he thinks.
JOE:
Which isn't the answer you
want to hear. Look, Duncan
has more....
(off Richie's look)
It's about Duncan. You're not
scared about this Immortal,
you're angry at MacLeod.
RICHIE:
He's driving me crazy. He's
so... so....
JOE:
Overprotective?
RICHIE:
It's getting old. I mean, how
many Immortals do I have to
fight before he'll admit I can
take care of myself?
JOE:
You never had any parents, did
you?
RICHIE:
No. What's that got to....
JOE:
Nothing, really. So, back to the
original question. What are you
going to do?
Richie looks at his watch, setting his empty glass on the counter.
He pulls a couple of bills from his wallet and throws them next
to the glass.
RICHIE:
I'm gonna go open up the dojo.
JOE:
This late?
RICHIE:
Last minute workout. Hey, you've
got to be flexible if you want the
business. Am I right?
JOE:
On the nose. Take care of yourself,
Richie.
RICHIE:
One of the few things I am good
at. Night, Joe.
JOE:
Night.
Richie heads to the door, stopping and turning around, his earlier
smile from the banter gone.
RICHIE:
Thanks, Joe.
JOE:
Any time.
Richie walks out. Joe looks at the patrons, jerks his head in
Richie's direction, and a nondescript person leaves a table and
walks out, following Richie.
EXT STREET - LATER
Whistling approaches off camera. Richie's head appears just as
the buzz sounds. He momentarily stops, checks for his sword, then
begins walking and whistling again. He slowly gets faster and
faster until he is running dead out. Up the sidewalk, across the
street, taking several corners. He stumbles once, rolling on the
sidewalk, then regaining his feet. Finally, Richie makes it to
a church, where he stops, breathing heavily. The buzz, still pounding
in his head, is joined by a low, raspy laughter, until both fades,
leaving Richie alone, still gasping for breath.
INT PARIS HOTEL - SUNRISE (Gratuitous Amanda in a robe
scene)
Amanda is sitting in the middle of the sofa, leaning against the
back, now in a silk bathrobe. Duncan walks up, a cup of coffee
in each hand. He is also wearing a silk bathrobe. He sets the
cups on the table, sits behind her, and starts massaging her shoulders.
AMANDA:
(Dreamily)
You have about a century
to stop that.
DUNCAN:
It might take me that long.
He kisses her on the shoulder, but she pulls away.
AMANDA:
I'm sorry, Duncan. I'm not
really in the mood.
DUNCAN:
(Guiltily)
Neither am I. You didn't sleep
at all last night, did you?
AMANDA:
(turning around)
Neither did you. You're worried
about Matthews going after
Richard.
DUNCAN:
Yes.
AMANDA:
Then you should have stayed.
I'll manage.
DUNCAN:
You needed me. And, it would
have looked like I don't trust
Richie to handle it himself.
AMANDA:
Well, you don't.
DUNCAN:
(Caught)
Am I that transparent?
AMANDA:
(Rubbing Duncan's arm)
Only to me. Poor Duncan. At
least Richard has a fighting
chance...
DUNCAN:
Stop that! You can't....
AMANDA:
(Setting cup down)
If I didn't agree to the party,
if we had stayed at the convent...
DUNCAN:
(Pulling her close)
You did everything you could.
AMANDA:
Not everything.
DUNCAN:
She had a bad habit of walking
off with strange men.
AMANDA:
I taught her better than that.
DUNCAN:
But you aren't responsible when
they don't listen. Trust me, I know.
It hurts. But you can't blame
yourself.
AMANDA:
I just feel so helpless. And
guilty.
DUNCAN:
We'll catch Matthews.
AMANDA:
(Turning to face Duncan)
Are you including me?
DUNCAN:
Richie did say to bring you
back.
AMANDA:
And what do you say?
Duncan kisses her gently on the cheek. She lowers her head to
his chest as the camera pans back.
DUNCAN:
I say we need to get ready
for the funeral.
INT DOJO OFFICE - NIGHT
Two men, Mike and Pal are sparring hand to hand in the dojo proper.
Richie is at the desk, messing with paperwork. A "buzz"
sounds. He stands, looking out at the dojo. He walks out, starting
for the elevator.
RICHIE:
Hey, Mike. I'll be upstairs
if you need me.
MIKE:
Naw, we're finished. See ya'
Monday.
The pair move to bags by the dojo wall, preparing to leave as
Richie enters the elevator. Cut to...
INT LOFT - SAME TIME
Richie opens the elevator gate. A table lamp is on, giving only
faint light for the room. He looks around, checking to see if
everything is O.K. Suddenly, the lights go out, the room only
bathed in moonlight from the skylights. He pulls his sword. He
goes to the desk, digging through drawers, finding a flashlight.
As he turns on the light and holds it to his face, it fades away.
RICHIE:
Oh, man...
VOICE:
I don't think you'll be making
it to church again tonight.
A dark shapes comes after Richie, who blocks the attack. The pair
fight, but Richie is seriously outmatched in the dark. He turns
and runs, managing to reach the loft door, but gets stabbed in
the side. With a yelp, he opens the door and runs out.
INT DOJO - IN DARKNESS
Richie enters the darkened dojo from the side door. He is limping,
obviously hurt. As he blindly makes his way to the front door,
the office phone rings. He turns to the office, but is interrupted
by the buzz. Frightened, he turns and leaves, the phone still
ringing.
EXT OUTSIDE THE DOJO - SAME TIME
Richie stumbles down the stairs, sword in one hand, clutching
his stomach with the other. Down the way, Mike and Pal are standing
by their car, talking. They see him.
MIKE:
(Yelling)
Hey, Rich! Thanks for
staying open.
RICHIE:
(Turning his head)
Don't make it a habit.
MIKE:
(waving)
I won't.
The buzz sounds again. Richie hurries around the building corner,
running into a dark shape. He yells. It is Mark Levison.
MARK:
(grabbing Richie's shoulders)
Richie. It's me, Mark. What's
the problem?
RICHIE:
(gesturing with sword)
He's inside. Upstairs.
They walk around the corner together, stopping when they see Mike
and Pal still talking. Mark turns around, walking Richie to his
car parked up the street. He's clutching Richie almost possessively.
MARK:
Come on. We'll go to my hotel.
INT PARIS HOTEL - LATE MORNING
Duncan is standing by a side table, hanging up phone. He is dressed
for the funeral. Amanda walks up, putting on earrings.
AMANDA:
Did you talk to him?
DUNCAN:
(worried)
No. He wasn't home, or
at the dojo.
AMANDA:
How about Joe's? Does he
hang out there a lot?
DUNCAN:
That would make me seem
pretty desperate.
Amanda gives him a 'well, you are' look, then grabs his arm, walking
toward the door. They exit. Fade to black. Commercial.
ACT THREE:
Darkness, and the sound of heavy breathing. Mark Levison steps
into spotlight pointing straight down, with sword in hand, looking
right and left. He runs left into darkness, time somewhat slower
than normal speed, everything blurry, with an afterimage taking
two seconds to follow. Mark is dressed in contemporary clothes.
NATHAN:
(off camera)
Mark!
Mark enters spot again, from right. He looks back and then front
before shouting.
MARK:
Nathan!
NATHAN:
(off camera)
Someone's here.
MARK:
Hold on. I'm coming.
Mark moves off. Trevor Matthews moves into spot. He is dressed
in 1850's clothes.
TREVOR:
I'll make it quick, boy.
Camera quickly pans to Mark, still looking in all directions.
NATHAN:
(Off camera)
Nooo...
TREVOR:
(Off camera)
It's better this way...
MARK:
(Panicked)
Nathan!
Mark runs out of spot. Black screen.
TREVOR:
(Off camera)
You won't have to live forever....
A sword slashes across the screen, light reflecting off the blade.
Then it is gone.
NATHAN:
(Off camera)
Ahhhhhh
(Cuts off)
MARK:
(Off camera)
Don't...
Mark walks slowly into spot from beside camera. Trevor Matthews
is in the center, standing over a body, the shoulders at the line
of darkness. No head can be seen.
TREVOR:
Won't know the curse...
The ghost of a Quickening appears on the body on the floor. It
quickly expands, filling the whole screen. A buzz sound also starts,
gradually increasing. Over the noise, the screen still white...
RICHIE:
(Off camera)
Mark!
MARK:
(Off camera)
Richie! I'm coming.
The noise and the light explodes, fading quickly to...
EXT STREET - LATE NIGHT/EARLY MORNING
Mark sits up in the drivers seat of a car, face dripping sweat.
Terror grips his features as Richie is seen moving to the car
through the passenger window. He sticks his head in.
RICHIE:
All packed.
MARK:
(Still shaky)
Is he here?
RICHIE:
(unsure)
No... Everything's quiet.
Do you feel something?
MARK:
No. I... I guess I fell asleep.
A bad dream or something.
RICHIE:
You gonna be all right?
MARK:
I'm not the one he's after. You
sure this cabin is secluded
enough?
RICHIE:
Yeah. It's out in the middle of
nowhere. Besides, it's...
(Biting tongue)
well hidden.
MARK:
Good. Are you sure you
don't want me to drive you?
RICHIE:
No. I'll ride my bike as far as
I can. Then it takes a canoe.
MARK:
(impressed)
Sounds pretty safe.
(Moves to start car)
Well, call me tomorrow night,
and we'll see how things are
going.
RICHIE:
Uh, Mark. You got a minute?
MARK:
(Stops)
Sure. Get in.
Richie gets in the car and takes a second to get situated.
RICHIE:
Does running away from a fight
make me a...coward?
MARK:
(Settling back)
Depends on what you mean.
RICHIE:
Shouldn't I stay and fight this
guy?
MARK:
Even knowing you'd most likely
die? That's the outcome. Someone
dies.
RICHIE:
I know. But isn't that what
Immortals do? Fight each other?
MARK:
Usually. I guess the real question
is, 'do you want to die'?
RICHIE:
No. But does anyone?
MARK:
Do you want the Prize?
RICHIE:
I... I don't think so.
MARK:
Do you enjoy killing people?
RICHIE:
No!
MARK:
Are you ready to face Duncan?
Fight him?
RICHIE:
Never!
MARK:
Then why do you want to
fight?
RICHIE:
Because I have to.
MARK:
I don't see a sword at your
throat.
RICHIE:
(angry)
You don't understand.
He opens the car door and gets out, slamming the door shut.
MARK:
(Shouting)
Richie!
Richie reluctantly sticks his head in the passenger window.
MARK:
You're going through what
every Immortal has to deal
with, lad. Deciding what you
want. A lot of the hotheads run
around attacking anything that
moves. A few cower in fear,
afraid everyone is after their
head. Duncan wants to be left
alone, but is smart enough to
realize it's a part of his life,
and prepares for it. You've got
to decide for yourself, and live
accordingly. Don't worry about
anything... or anyone else. Kapeesh?
RICHIE:
Yeah. Thanks.
MARK:
Keep in mind, though. There can be
only one. Don't forget.
RICHIE:
I understand.
(Holds out hand)
It's been a pleasure.
MARK:
(Shaking hands)
Don't worry, you'll see more
of me.
RICHIE:
(Laughing)
That's what I'm afraid of.
He straightens and walks to his bike, getting on and driving off
around a corner. Seconds later, Mark's car starts and follows
him around the corner.
EXT CEMETERY - NOON
Duncan and Amanda are walking arm and arm. It is cloudy, threatening
to rain. Occasional thunder can be heard in the background.
DUNCAN:
(Shrugs)
I can't help it. I worry about him.
AMANDA:
Of course you do. What Teacher
wouldn't?
DUNCAN:
(Stops)
I'm sorry. Here I am spouting off
about Richie again, and you just
buried...
She places a finger on his lips, silencing him.
AMANDA:
There's nothing anyone can do for
Michelle. There is something you
could do for Richard. The question
is 'will you'?
Duncan looks at her, thinking. They begin walking again.
DUNCAN:
I don't know. I want to, so badly.
But he'll hate me.
AMANDA:
And if you don't?
DUNCAN:
He'll die. And I don't know if I
could handle that.
AMANDA:
His training is over. He's not
under your protection anymore.
DUNCAN:
I know that!
AMANDA:
It's difficult, because he's still
around. He should go away for
a century or...
DUNCAN:
(stopping)
I need him. And I know he needs
me. To be there.
AMANDA:
(starting to cry)
My poor, sweet Duncan. That's
the last lesson to learn when
training an Immortal. And it's
yours, my love. Letting go. You
have to let them go.
Amanda breaks down, nestling against Duncan as he wraps his arms
around her. He is crying as well. A light rain begins to fall.
DUNCAN:
I don't think I can.
EXT ISLAND CABIN - BEFORE DAWN
Time lapse montage showing Richie paddling up to shore in the
dark, then lights on in the cabin and the canoe beached, to dawn
and the sun rising. He walks out door and stretches. He then appears
in front of the cabin, in his black workout outfit. He performs
an exercise as the camera slowly pans into the bushes. One camera
shot over Voice's shoulder, looking at Richie through the bushes.
Richie turns to go back in, and the buzz sounds.
VOICE:
(Off camera)
Nice setup. Private and
safe.
RICHIE:
Come and try your luck,
Matthews.
VOICE:
Brave words, pup. Practice all
you want. You'll have to leave
Holy Ground someday. And I'll be
waiting.
More time lapse, ending with sun overhead and smoke coming out
of chimney.
INT CABIN - SAME TIME
Richie kneels next to the fire, setting a duffel bag on the wood
floor near a rug. He throws more logs on the fire before turning
to the bag. He throws the carpet off the floor, revealing a trap
door. He opens it, throwing the duffel bag down the hole, and
follows, pulling the trapdoor closed.
EXT HIGHWAY - LATER
Richie stumbles from the brush next to a major highway. He is
soaked to the skin, muddy, and disheveled. The duffel bag is missing.
He also keeps looking behind as he makes his way to the road,
limping, his sword barely hid under his leather jacket. He tries
hitchhiking, but no one stops. He interjects several words, getting
angrier at each passing car. He tries one last time, slowly realizing
when the buzz starts and the black car swerves toward him that
he is in danger. Trying to dodge, he is hit, sending him flying
into the grass. The car slows, then stops, when a highway patrol
speeds up from the other direction, lights ablaze. The black car
speeds off with the cop in pursuit. Richie lies unmoving on the
side of the road.
INT PARIS HOTEL - AFTERNOON
Duncan and Amanda enter room as the phone rings. She picks up
the phone and listens.
AMANDA:
Yes. Thank you.... He is.
She hands the phone to Duncan and goes to the bedroom.
DUNCAN:
MacLeod. Yeah, we've been at the
cemetery. I was meaning to call
you anyway, have you seen Richie?
INT JOE'S BAR - SAME TIME
Joe is at a desk surrounded by the night's receipts. In the background
is the patron who followed Richie earlier.
JOE:
Not for a couple of hours. And I
can't find him now. He said an
Immortal named Trevor Matthews
was after him?
INT PARIS HOTEL
DUNCAN:
Yeah. At least we think so.
INT JOE'S BAR
JOE:
(reaching for folder)
I did some checking. Mac,
Richie's in serious trouble.
Fade to black. Commercial.
ACT FOUR:
INT CLOSET (Gratuitous Richie Scene)
It is pitch black. Richie gasps as he wakes up on the floor. He
bangs his head on something and yelps. He struggles around the
room until he finds a light switch. A swinging bare bulb suddenly
lights up, brightening a small area of the utility closet. He
is naked, dried blood on his face and body. On a table next to
him is a paper sack with his sword hilt sticking out, a large
note attached to it. Richie pulls it off and reads it.
RICHIE:
(reading)
Hey, Roadkill. Couldn't save
the clothes. I'm out covering
for your missing body. Call me
later with the details. Service
door is to your right. Miss ya,
Anne.
He chuckles as he reaches back and turns out the light.
EXT AIRPORT - LATE AFTERNOON
Joe is finishing throwing a bag into the trunk of his car. Duncan
is helping Amanda get into a cab, kissing her and watching the
cab pull away. He gets into the passenger side as Joe sits in
the driver's seat. They drive off.
DUNCAN:
Any word.
JOE:
There was a John Doe matching
his description involved in a hit
and run. Dead on arrival. The
body was taken to the hospital.
DUNCAN:
How long ago?
JOE:
Two, three hours.
DUNCAN:
He won't be there. Where's
your phone?
Joe hands him a cellular phone. Duncan dials.
INT RICHIE'S APARTMENT - LATER
Richie is running in and out of the bedroom, throwing more clothes
into another bag. His sword is lying on a table nearby. The phone
rings. He is hesitant to pick it up. On the fourth ring, he does.
RICHIE:
Yeah.
DUNCAN:
(from phone)
Is Mark there?
RICHIE:
No. Gee, Mac, you wouldn't
believe...
DUNCAN:
Get out.
RICHIE:
What?
DUNCAN:
Get out of there! Now!
Levison is...
(Dead silence)
RICHIE:
Mac? Hello?
He tries the phone and cannot get a dial tone. Confused, he sets
it back down, heading for the bedroom. He comes out of the bedroom,
clothes in hand, when the buzz hits. He automatically reaches
for the sword.
MARK:
(outside apartment)
Richie! It's Mark. Open up.
Leaving the sword, Richie runs to the door, throwing it open.
Mark steps inside as Richie babbles.
RICHIE:
Man, you wouldn't believe
what...
Mark grabs him by the throat, backing him all the way to the back
wall.
MARK:
(raspy)
It took a bit to shake the cops,
but I'm here to finish things.
RICHIE:
Oh, man.
Mark keeps him pinned to the wall as they struggle. Mark pulls
a dagger out with his free hand, managing to pin his left hand
to the wall, driving the blade into the stud. ((*Wall* stud.
Jeeze!)) Mark stands back, watching Richie try to alternately
pull the dagger out, or grasp for his sword, just out of reach.
MARK:
(pulling out sword)
You've been far luckier than
most. They rarely take this
long.
RICHIE:
Duncan will be here any
minute.
MARK:
(readying stroke)
I've heard that one before.
Just as he starts to swing, a buzz is heard. Duncan appears in
the open doorway, katana drawn. His face displays no emotion.
Mark turns to face him, Richie still struggling with the dagger.
MARK:
You can't interfere!
DUNCAN:
Why, Mark? You've been killing
students for over a century. Why
didn't it end when you stopped
Matthews?
MARK:
(on edge)
Matthews was my first kill, can
you believe it? I had to trick him.
The Quickening was... I wanted
more. But I wasn't good enough.
Nathan showed me that. I had to
fight people I could beat. Young
ones. They're so easy.
DUNCAN:
You can't go on... doing this.
MARK:
I'm ready, Duncan. Even for you.
DUNCAN:
I'll be waiting.
MARK:
(Turning back to Richie)
Just as soon as I finish.
Duncan begins to leave, briefly making eye contact with Richie.
Richie nods slightly, then resumes pulling at the dagger as Duncan
exits.
MARK:
It's time to get weaned, lad.
Mark swings, but Richie frees the dagger from the wall, ducking
in the nick of time. He tumbles to his sword, and they fight.
Richie is losing until he throws a punch with his free hand, the
dagger still embedded in it. Realizing his advantage with a second
weapon, he manages to gut Mark, who ends up on his knees, bleeding
from the stomach. Mark is in shock, unable to believe he is losing.
Richie stands over him, ready to decapitate him.
RICHIE:
Too late. I'm outta the milk phase.
He swings. There is a spectacular Quickening, destroying his apartment.
Richie ends up on his knees when the pyrotechnics stop, eyes closed.
Slowly opening them, he looks around his shattered apartment,
grimacing.
RICHIE:
There goes the security deposit.
Fade to black. Commercial.
TAG:
EXT ALLEY IN FRONT OF ANTIQUE STORE - DUSK
Richie is sitting on the bench across from the store, tossing
popcorn from a bag at birds on the brick street. Duncan walks
up, pausing before sitting down.
DUNCAN:
Joe said I'd find you here.
RICHIE:
Amanda settled?
DUNCAN:
Yes.
Silence. Several people walk between them and the camera as Richie
continues to throw popcorn. Duncan waits. Richie finally leans
the bag over, giving Duncan the opportunity to take some. Duncan
does, munching on a few kernels.
DUNCAN:
I thought maybe we could take
a few days off, after she leaves....
Drive down the coast a bit and see
what's going on.
RICHIE:
I'd like that.
Duncan struggles to find the words to say.
DUNCAN:
There's not a lot left I can
teach you...
RICHIE:
This isn't another so long, go
away, watch your head speeches,
is it?
DUNCAN:
(chuckling)
No. I want you to stay. It's
just....
RICHIE:
You'll worry.
(off Duncan's nod)
Welcome to the club. It hasn't
been a picnic watching you take
off after another Immortal night
after night.
DUNCAN:
I guess not.
RICHIE:
How about you try and not fuss
over me and I'll try and not do
anything stupid.
DUNCAN:
Deal.
They shake hands.
RICHIE:
Now that's settled, can I borrow
the T-bird tonight? I want to
take Susie to the drive-in. Perfect
weather to let the top down, maybe
take a midnight drive into the
mountains...
DUNCAN:
(drawing out the word)
Richie...
RICHIE:
(copying Duncan)
Mac...
They hold the moment, trying not to laugh. Duncan finally stands,
throwing the remaining popcorn in his hands to the birds. He fishes
for the keys, tossing them to Richie, then starts walking away.
RICHIE:
Hey, you and Amanda want to
double date? They're showing
'Samurai Nuns meet the Furry,
Flying Rodents from Hell'.
Duncan stops, looks as if he's going to say something, then changes
his mind and walks off, shaking his head and smiling. Fade to
black. End Credits.