Charles Dickens meets Alfred Hitchcock. An homage to “A Tale of Two Cities” in the flashback, mixed with “Strangers on a Train,” in the present. Some skullduggery, swordplay, a pursuit through a magnificently intricate hedge maze, and a couple of Quickenings. All in all, not a bad hour’s work. Duncan has plenty to do in this one. Also...the combo of Adrian Paul and Anthony De Longis is spectacular! Two masters of swordplay, at the top of their form, enjoying every moment of their combat. Their battle is only surpassed by the one they perform in “Duende,” Season 5. New Characters: ROBERT WAVERLY — scummy mortal lawyer who catches Duncan doing his “slice & dice” on tape. BARBARA WAVERLY — his beautiful, mortal, soon to be wealthy wife who deserves better. LISA CRANE — Robert’s mortal mistress. PETER MATLIN — Immortal bad dude, Duncan finally caught up with him after 200 years. LYMAN KURLOW — Immortal, Matlin’s partner, an even worse dude, framed a friend of Mac’s for murder long ago. Mac owes him a fight. JOHNNY SONDRINGHAM — Mortal, very good friend of Mac’s who was framed and would have been hung if Mac did not intervene back in 1805. WILL LATTIMORE — Mortal, did a bad deed, paid a hard price. Lisa Crane’s Apartment Robert’s videotaping, Lisa frolics in bed. Real steamy stuff— Too bad, they’re not wed! “Are you going to ask— Barbara for a divorce?” “Be patient, sweetie,” “I’ll ask her, of course.” “When she’s thirty-five— I will put in my claim. That’s when the trust fund— Will be in her name.” Meanwhile, poor Lisa! Despite her protest— Robbie says he must fly— Back to his warm nest. Outside, Dark Street He approaches his car, Camcorder still out, He hears clanking sounds, Several grunts, then a shout! Two men in combat, Each one with a sword, He holds up the camera, And presses, ‘Record.’ Robert’s taping while one— Is brought to his knees. The other beheads him— With obvious ease. The victor looks up, Robert stares, wonder-stricken— At Duncan MacLeod— Just as Mac starts to Quicken. Robert beats a retreat. When Mac’s spasms are done— Mac looks, but the witness— Has vanished! Poof! Gone! This kind of behavior— Mac cannot excuse. Beheadings are private, Not for Six O’clock News. Joe’s Bar Mac: “What’s with the camera?” “What camera?” asks Joe, “I was videotaped, I was there. I should know! I want that tape! And I WANT IT NOW!!!” Joe ponders, what’s on— That tape, anyhow? “A beheading? On TAPE?” Mac feigns mock applause, “Not OUR guys,” swears Joe, “It’s against our bylaws, I’ll go along with you— To check out his face. This is going to be— An interesting case.” The Waverly’s Luxury Apartment “Robert...home late again?” “All billable hours.” Barbara knows hubby’s lying— By the way that he cowers. He seals up the tape— And locks it away. “That’s my life insurance.” Is all he will say. “From the jealous boy friend? — Of your mistress, so fine?” “Barbara, look how I’m shaking, My life’s on the line. This case that I’m working— Has put me in danger.” She tries to believe him. But to her, he’s a stranger. Street, Scene of the Beheading Joe: “Is this where he was?” Mac: No, three miles away.” Mac’s sarcastic wit— Sets the tone for the day. “He parked as a visitor, Maybe he will come back.” “Mac...the Immortal— Who did you whack?” “Matlin.” “PETER Matlin? — He’s a mean S.O.B.” “Was! He’ll no longer— Be bothering me.” “Now Kurlow will come,” “I’m counting on it” MacLeod’s debt to Kurlow— He’ll gladly remit. Flashback, English Town, 1805 Johnny’s ship has returned, He’s been two years at sea. Duncan’s cared for his kin— Now they’re drunk...shamelessly, As they weave through the streets, Johnny thanks Mac sincerely, “You’d have done it for ME,” Mac loves Johnny dearly. As the two woozy friends— Bid a tipsy goodnight, Down by the river— We see an odd sight. “Thank you for your help,”— Says young Lattimore— To the immortal Matlin, Fellow conspirator. Will Lattimore’s run off— With his family’s treasure. As the second born son— He would not get full measure. “Please give these letters— To my folks when I’ve gone.” “Of course,” assures Matlin. “It’s as good as done.” Will’s life’s done as well! From behind, Lyman Kurlow— Slips a rope ‘round his neck, “How easily they go.” Will’s body is dumped— In a boat, set afire. The newly rich killers— Warm their hands by the pyre. “The boat is on FIRE!” Johnny sees the flames’ glow. “Are you going to stand there?” Kurlow’s answer is, “No.” Johnny’s knocked on his head, In his pocket, Will’s letters, Kurlow sneers, “How fortuitous.” Soon Johnny’s in fetters. Present Day Street Outside Lisa Crane’s Apartment, Mac’s Car Mac and Joe are staked out— Hoping Robert comes back. Joe’s constant complaining— Doesn’t sit well with Mac. Joe is tired; he’s grumpy, His bladder is itching. “Use a tree, use a cup! Just cut out your bitching!” “There he is...one of yours?” But no Watcher is he, When Mac leaves his car— Robert speeds up to flee. Later, coast clear! Mac’s outfoxed so far? No, the Highlander’s hiding— Beneath Robert’s car. “I just want to talk, What ever you saw— It was... self defense!” Robert’s turn to guffaw. “Your butt is mine! You will do what I say. If you don’t comply— I’ll inform the DA” “Excuse me?” squeaks Mac, Can’t believe what he heard. This man’s talking blackmail! How bizarre! How absurd! “I don’t want your money,” Robert’s plan just took shape. “You do ME a service, I’ll give YOU the tape.” “And the service?” Mac asks, “I need my wife killed. You should have no trouble— Obviously, you are skilled.” Robert writes the address— Of Barbara, his wife. Mac looks at her photo— Sweet, young, full of life. Flashback, English Town, 1805 Johnny’s young—innocent, The perfect fall guy, He is pelted with garbage, “Murderer!” Townsfolk cry, Duncan: “You will not hang! I promise you that. I will search everywhere— Till I locate the rat.” “There were two of them, Duncan. The taller—” he said— “Had a streak of white hair— The right side of his head.” When MacLeod scours the district— No white streak does he spy, But he reassures Johnny— “You’ll be free, you won’t die.” The gallows stands ready, The jailer has come, “Today’s your big day— You’ll be free, my good chum. The real killer’s found, He confessed nice and loud, A man by the name— Of Duncan MacLeod.” “NO!” Johnny cries, You did not do this deed.” Duncan says, “I’m alone— You’ve a family to feed.” The crowd’s pelting Duncan— With trash and debris— But he walks to the gallows, With quiet dignity. “This won’t hurt,” says the hangman, Mac replies, “Always does.” As the black hood descends— MacLeod feels the Buzz, “There...the real killer— With the streak of white hair!” Kurlow gloats his approval— As MacLeod swings in air. Present Day The Waverly’s Apartment Barbara’s watching the tape, Lisa, Robert, in bed. Here’s the sad proof— How she’s been misled. Then the clanking of swords, Death struggle by night. She shudders transfixed— At the horrible sight. At that very moment— Mac silently enters. On this videotape— His focal point centers. To divert her attention— He pings on some crystal. While he snatches the tape— Barbara goes for her pistol. He gets away clean, But Mr. Boy Scout— Returns to warn Barbara— What her hubby’s about. She sees the head-chopper— From the videotape. Panics, shoots! MacLeod bolts! Barely makes his escape. Joe’s Bar Joe tells Mac, his honor— And sense of fair play— Goes against his self-interest, “Gets in the way.” Mac: “He must be stopped— Or he’ll kill her for sure. If I don’t do something, Someone else he’ll procure.” The Dojo Mac called Robert’s office— Boldly left his address. Robert storms in the dojo— With offensive rudeness. “You didn’t accomplish— Your assigned job’s intent!” Mac: “I took the tape, That’s why I went.” “Oh no! You’re not out!” Waverly has a gun. “I’m an eyewitness, To the DA I’ll run, He will start digging— And when he does...” Mac scorns Robert’s threats— He’s sensing a Buzz. “The side door...Out! Now!” Robert chooses to dally. Mac slugs him and throws him— To the cats in the alley. Kurlow swaggers in boldly, “Matlin was my good friend.” “Then you shouldn’t’ve sent him.” Mac’s thoughts backward wend. Flashback, 1805, After the Hanging Duncan’s fresh from his grave, Still covered with grime. Waiting for him...the duo— Who committed the crime. “I challenge the vermin— Who killed Lattimore— And would let my friend hang, Let’s even the score.” Kurlow steps lightly forward, Cape upswirled with panache— To envelop Mac’s sword— With buckle and swash. Kurlow flees between hedgerows— That form a large maze, Goading poor Duncan— Through its torturous ways. Duncan’s baffled, frustrated, “Kurlow, you can’t hide! Stand still and fight!”— Shouts the Highlander’s pride. Kurlow’s voice echoes— Across time and space, “I’ll pick the time, And I’ll pick the place!” The Dojo, Present Day Mac and Kurlow cross swords, “There are no bushes here.” But when Robert returns— They must stop, that is clear. “The tunnels at midnight.” “I’ll be there,” says Mac, To Robert, “Go away— And do not come back!” “What’s with the swords? There are easier ways— To bump off a person.” Robert fixes his gaze. To Mac, “Let’s switch murders, They cannot connect us, There will be no motive, No one can suspect us.” “Just like in the movie, You kill my wife, My nine millimeter— Will end your friend’s life.” “No deal!” says MacLeod, You’re over your head, If your wife suffers harm— You will wish you were dead.” The Railroad Tunnel, Before Midnight Robert’s so inflated— With an idiot’s pomposity, He insists on his part— Of this sick reciprocity. He arrives very early, Walks down the rail track. In the silent, dark tunnel, There is no sign of Mac. But Kurlow is waiting— Warning Robert to run. Robert, ever the fool— Pulls out his gun. Kurlow offers his chest— With a welcoming smile, “A lawyer hasn’t robbed me— With a GUN in a while.” Robert shoots Kurlow— Then makes his mistake, While he lingers to gloat— Kurlow gasps, jerks awake. Kurlow’s scarf now encircles— Roberts’s neck, ends his life, Robert’s last gurgled words, “I... have... a... rich... wife.” Joe’s Bar Mac found Robert’s body— Lying emptied of life, Now tells Joe, “The cops— Will go straight to his wife. She will lead them to me, I must now disappear, My life as MacLeod— Will be finished here. Joe’s Car, Near the Waverly Apartment “We’ll think of something,” Joe reassures Mac, “There must be some way— To throw Barbara off track.” “Rehearsing a movie?” “Killing in self-defense?” No cops yet in sight— But the Buzz is intense. Upstairs, Waverly Apartment Kurlow holds Barbara trapped, Blindfolded, she cries. When he hurls her toward Mac, Mac uncovers her eyes. THE MAN WITH THE SWORD! But his kindness shows through, “I’ve a good friend downstairs, He will take care of you.” Now the battle of battles, Both look forward to it, Their field’s the apartment— In, around, and all through it. Two superior swordsmen, Each in his prime, Mac hasn’t confronted— Such skill for some time. They butcher a TV, A bookcase, a plant. They circle the pool, Neither one dominant. Kurlow’s forced in the water— There MacLeod takes his head! When he sinks like a stone— The clear water runs red. The Quickening’s light show— Is truly first class. Fireworks, explosions, Noise, shattering glass. Its force knocks MacLeod— Backward into the water, He emerges with effort— Washed clean of the slaughter. The Dojo, Later Joe brings Barbara in, Now she feels Mac’s her friend, He will never reveal— Robert plotted her end. Barbara: “Is there a favor— You would like to be done?” “No” Mac declines. Joe answers, “There’s one.” “If anyone asks— About stuff on that tape....” “What tape?” Barbara looks— Joe’s mouth is agape. Mac’s secret is safe, No disclosures injurious, But Joe Dawson, Watcher— Remains ever curious. In private he asks, “Mac...for history’s sake— Will you be disturbed— If that tape I take?” Mac shoots a few darts— At his board, as he scores. “Whatever is on— The tape, Joe, is yours.” Joe sees he’s been had, Mac’s grin is too sly. “You erased it, MacLeod,” (Mac’s that kind of guy.) Immortality’s secrets— Must not be allowed— To be publicized— Thinks Duncan MacLeod. Peace, Emit © 2001-2003 From Under the Kilt from Highlander: The Official Site: Don Paonessa, Creative Consultant, Post Production “I think in some ways this has one of the best transitions that we ever did and that's something that Paolo Barzman came up with. We moved off of the hangman's gallows onto a television set and the television set was practical, it was on-set. And it became full frame and I did a dissolve to the TV and there was snow on it as the television was turned on. And then we pull back to reveal that it's the tape of the husband fooling around with the girl and his wife is watching.” Ken Gord, Producer “We had great flashback sequences, we used the same location as we had in ‘Obsession,’ we just changed a window here, painted a wall there and it looks different. The maze was a fun location. Paolo Barzman and I spent a long time figuring out who the side-kick was going to be, because we felt those two guys were very important in how they balanced each other and we thought we did good casting there.” Home ~ Vendetta