MacLeod has witnessed thousands of deaths. In this one, he participates in the joy of seeing the birth of a new life. It is especially poignant because, had events been different, this would have been “his” child. Anne, however, wimped out and left him. When Dr. Anne Lindsey is trapped in the rubble of a subway tunnel after a gas explosion, (why a seven-month pregnant woman takes this chance eludes me), Mac remembers his experience with his lover, Diane during the London blitz. Diane did not make it out and this weighs heavily on Mac’s mind, since he felt partly responsible at the time. New characters: DIANE TERRIN — a beautiful and gutsy American reporter who’s on assignment in London during Hitler’s blitzkrieg, also Mac’s lover. HARRY — Her assistant and radio engineer. MIKE LUNDY — Not exactly a new character but he speaks here for the first time (at least in sentences). He is a paramedic that often assists Anne in the ER. I guess the writers wanted to give him some lines before they whacked him. KAREN — Innocent victim trapped in the subway explosion. Anne is attempting to rescue her. FIRE CHIEF — He doesn’t need more civilians in harm’s way. Seacouver The newscast reports— The unfolding story, A subway explosion, Details will be gory. Is it a gas leak? A terrorist raid? All that’s known now— Are those victims need aid. Firefighters, rescue teams— Loud sirens blare. Dr. Anne to Mike Lundy, “We must get in there! They need extra help!” From the Fire Chief, a frown. “You can’t go in there, The whole place can come down!” Front Porch, MacLeod’s New House The paint is all dry, Furniture’s been moved back, The finishing touches— Look good to Mac. Richie’s been thinking, “If you’re moving here, Can I have the loft?” “No.” MacLeod’s clear. “I’m not moving in.” “You’ll sell it?” asks Rich, Mac says “No” again, Rich continues his pitch, “Can I live here then?” Mac laughs, enigmatic— The answer’s still “No.” Rich sees it’s emphatic. Subway Explosion Site Anne Lindsey and Mike, At her strong insistence— Are searching for victims— That may need assistance. Armed with two flashlights— They step through the rubble, A woman’s sharp cry! Someone in trouble! It’s Karen, she gratefully— Sees through the gloom— Two people to extricate— Her from this tomb. Debris pens her in, They tell her, “Don’t worry,” But the rubble is shifting, She urges them, “Hurry!” MacLeod’s New House Richie and Duncan— Are chatting a bit. The radio announces— “A second blast’s hit! A medical team, Led by Dr. Anne Lindsey, Have not yet emerged, The details are flimsy.” “Anne!” Duncan’s heart— Nearly stops when he hears— Anne and the baby, In danger, he fears. With Rich close behind— He speeds to the site. They try to get in, But, security’s tight. Subway Explosion Site It resembles a war zone, The blood and the crying, Victims on stretchers, Some close to dying. The Fire Chief’s in charge— Of this frenzied condition— Tells Mac, Anne went in— Without his permission. Another blast thunders, A beam falls on Mike. It crushes his spine, Weighs too much to hike, Anne cannot budge it, “Go now!” Is Mike’s plea, But Anne will not leave— Until Mike is free. The Chief says that he— Doesn’t need one more hero, Mac’s warned that his chances— Of entering are zero. “We’re not giving up?” Asks Rich of MacLeod, “No,” answers Mac, “Giving up’s not allowed.” They sneak in an entrance— And scramble below. “This looks like a bomb,” Notes Rich, as they go. “It does, but it’s gas,” States Mac, “I was there, World War 2, England. The Blitz—everywhere.” Flashback, The Savoy Hotel Lounge London, October, 1940 They’re broadcasting live, Commentators folks trust. The airwaves are run— By the Brits’ upper crust. Yet, life must go on— At this formal affair. Reporter Diane— Greets the Highlander there. “I’ve missed you,” she says, “Did you meet with success... In your secret mission?” (He’s a spy, is her guess.) “He tells a small fib, In a manner, blasé, Just then air raid sirens— Interrupt the soirée “Find cover! The Führer— Is paying a call, He wasn’t invited,” But soon bombs will fall. A blitzkrieg, it’s called, Death rains from the clouds, Below, in their shelters— The populace crowds. But Diane is planning— To air, she is hopin’... Eyewitness accounts— Of the raid, from the open. She asks the assistance— Of her engineer, “Set the radio up— On the roof, in the clear.” Harry refuses, “You’re NUTS!” He declares. But Mac will assist, Hauls the radio upstairs, He admires her pluck, Her talent and flair, If he has his way— She’ll get on the air. Roof of Savoy Hotel The sound of bombs falling, Roars, sirens wailing, Explosions and screams, Punctuate her detailing. She speaks to the Brits, The Americans, too, Describing the chaos, They know it’s all true. “Parliament’s still standing, The Palace, Big Ben, England’s eternal, And will rise again. To the Germans, I say— Our lives will go on, I danced when you came, And I’ll dance when you’re gone.” MacLeod: “You were great!” Tears of pride in his eyes, But imminent danger— Has made passion rise. Right there, on the roof, When the all-clear is done, Two bodies will couple— And merge into one. Later, Back in the Savoy Lounge The lounge now deserted, The lights dimmed and low, Diane and MacLeod— Bask in love’s afterglow. “They left us champagne.” Wartime ambiance, With music imagined, They lovingly dance. Harry comes back, To Diane and MacLeod— “From the shelter, we listened, You did us all proud. Thank you, MacLeod— For doing my job. Not one eye was dry, In all of that mob.” Later, the two— Share a small hotel room. Mac regrets that Diane— Has to see London’s gloom. “Some parts of this city— Are magical to see.” Diane, begs of him— “Please show them to me.” Present Day Underground Subway Explosion Site Dust, twisted metal, Chunks of concrete, They must be so careful— When placing their feet. A child lies in shock— Rich carries him out. Mac proceeds onward, Only pausing to shout. “ANNE!” he calls out— Only echoes resound, He clings to the hope— That safe, underground— She’s waiting for rescue, Then his heart turns to ice, He remembers Diane, No, it can’t happen twice! Mike’s fading fast, This rips Anne apart, She shoots an injection— Straight into his heart, Nothing is working, “Stay with us!” she cries, Despite pleas from Karen, Mike Lundy dies. Now Anne is wracked— With terrible cramps, She’s gasping for breath, As agony clamps, The baby! She’s coming! Eight weeks too soon! Will this be her birthplace, With rubble bestrewn? Flashback, London, October, 1940 Churchill proclaims— In a sonorous tone, The British will fight, Not be overthrown. On the seas, in the air, Every beach, every field, They will never surrender, Nor will they yield. MacLeod and Diane— Have gone for a stroll. The pressures of war— Have taken their toll. “Is Churchill right?” She asks by and by. “Some places,” he answers, “Don’t know how to die.” “It lived through the plague, It rebuilt from the fire, It’ll come back from Hitler, Rebuilt even higher.” “And what about us? After Hitler...what then?” While he fumbles for answers— A raid starts again. The Brits are accustomed— To an organized scurry. “Quick!” yells MacLeod, “To the shelter, let’s hurry.” “No, it’s my job— To describe this invasion.” “Please,” he entreats, Using all his persuasion. London Underground They fly down the steps, With moments to spare, Behind them, a blast— Cuts off all their air. They’re sealed in the station, Far away from the sky, Mac can’t dig them out. The rubble’s too high. MacLeod feels to blame, “If it wasn’t for me— Bringing you here, At the Savoy, you’d be.” “It’s probably bombed, Please, don’t you fret,” She takes out her lighter, Needing a cigarette. “NO!” He smells gas. One spark’s all it takes, They’ll be blown to pieces. Then his heart breaks. He now comprehends— No fresh air means death. Will he helplessly watch— As she gasps her last breath? Present Day Underground Subway Explosion Site Contractions have started, Anne’s panic has grown, But Karen’s a comfort, “I’ve four of my own. Start on your breathing, You’ll be okay.” “That’s my line”... but Anne— Knows the birth’s underway. Above Ground, Present Day Rich brought the boy up, Now he’ll receive care. Says the Chief, “You were warned— Do not go down there!” “My friends are still trapped, I’ll save you the trouble, You won’t have to search, I can lead through the rubble. Flashback, London Underground, 1940 Mac tries to dig out, He must not lose hope. Perhaps... an air pocket? But Diane is no dope. “British construction, Solid, well built. But MacLeod keeps on plodding, Through wreckage and silt. He climbs down to her, Knowing she’s right. Their time’s running short, He clasps her, holds tight. She clings to him now, “I don’t want to die.” “We’re not,” he lies gently Hope’s well has run dry. Present Day Underground Subway Explosion Site Through tortured contractions, Anne sobs out her fear, “I don’t want to have— My baby born here!” Karen reminds her, “You can’t always plan.” Then a far away voice, So familiar, calls... “ANNE!” Flashback, London Underground, 1940 Diane becomes weaker, Their chances look dim She tells Mac her vision— Of her future with him. They’ll grow old together, Have a big family, Sit quietly rocking, On a porch, peacefully. The air’s getting thin, She admits being scared, Mac knows he’ll survive— But he’s not prepared— To see Diane die, Deprived of her dreams, Young, brave, full of life— How unfair it all seems. Present Day Underground Subway Explosion Site That wonderful voice! “DUNCAN...Over here!” “Hang on, Anne, I’m coming!” Music to his ear. He rips through the wreckage, Is soon by her side. When he sees she’s in labor— He halts, petrified. Flashback, London Underground, 1940 He’s given up digging, No way, he’ll break through, He cradles Diane, Someone she can cling to. “My only regrets, Are for things left undone. At least in death, We will be joined as one.” Present Day Underground Subway Explosion Site Mac cradles Anne, Karen is coaching, Contractions come faster, The birth is approaching, Karen seems cheerful. “Are you always so gay?” “It’s easy,” she says, “Not MY kid on the way.” Flashback, London Underground, 1940 Diane’s voice is faint, “I wish I had seen— A place...my aunt wrote me... So peaceful and green. Gothic, Colorado...” Mac paints it for her, With words, he describes It’s beauty, grandeur. Present Day Underground Subway Explosion Site “PUSH!” Karen yells, Anne struggles, downbearin’ “Have you done this before?” Worried Duncan asks Karen. “Had four of my own, But I never caught one.” “Great,” thinks MacLeod, “I’ll see that it’s done.” “NO!” implores Anne, She clings to his shirt, “Hold me! Stay here! Such incredible hurt. “You can do it, keep pushing.” Karen’s urging her on. MacLeod can but hold her, And wish the pain gone. Flashback, London Underground, 1940 “When the snows melt, There’s a wondrous view, Flowers of every— Color and hue, Backlit by the sun, Hills appear to the eye— Like a giant cathedral, That glows in the sky.” A tear trickles down— The Highlander’s face. Must a beautiful soul— Disappear in this place? In his heart she will live, She will never grow old, Her warmth will remain, When her body grows cold. Diane rests her head— On his arm in repose, “It’s beautiful.” Then— Her eyes slowly close. Duncan soon follows, He hears her last breath, Enfolding her body, He joins her in death. Present Day Underground Subway Explosion Site A baby’s first breath! That wonderful cry! MacLeod is elated, Anne cannot deny— The suffering was worth it. (Can’t resist a small dig) For a seven month infant— She’s awfully big! Flashback, London Underground, 1940 The sound of pickaxes, Rescuers breaking through, Fresh air revives Mac, As he knew it would do. “Hang on, mate!” they call As they lift stone by stone, She’s still in his arms, But he’s leaving alone. Present Day Underground Subway Explosion Site The rescuers arrive, Under Richie’s direction, “How many down there?” “Three. No...four.” (Anne’s correction.) “Rich, get a blanket, We need it right now.” Mac shows Rich the baby, Rich can only mouth “Wow.” Anne’s picked a name, “Hope it’s simple,” says Mac “It’s Mary,” sighs Anne, Mac’s taken aback, “It was my mother’s name.” Anne responds, “Yes, I know.” MacLeod appears pleased, Anne admits, “I asked Joe.” MacLeod’s New House, Some Time Later On the great lawn— They have all congregated— To admire the house— That MacLeod renovated. “He picked the colors,” Says Richie to Anne. She agrees that MacLeod’s— A superb artisan. Richie walks off, Leaving Mac, Anne, and Mary. Mac tells her, “this house— Is meant for a family.” He shocks her; “It’s yours, Right now, things are blurry, You’ve a lot to consider, Don’t want you to worry.” “Mine?” She’s astonished! “It’s a generous offer...” “It’s in Mary’s name.” Renewing his proffer. He dangles the keys, While begging, “Say ‘yes’.” “For Mary,” she whispers Then tearful, speechless. Night at MacLeod’s Cabin Richie is watching— The campfire’s smoke drift. “I used to think roses— Made a nice gift. I want to know....” “Why?” Mac completes Richie’s query. “Someday you’ll move in.” That’s Richie’s theory. Mac shakes his head, “No, we’re long over.” “But Mac, you fixed up— That house like a lover. Your personal stamp— Is on every nail. It doesn’t make sense— After all your travail.” “Rich, did you see— The expression she showed, When I gave her the keys?” Rich admits, “Yes, she glowed.” “That’s why I made— The house a bestowment, To see on her face, That look, for one moment.” Peace, Emit © 2002 Under the Kilt from Highlander: the Official Site: David Abramowitz, Creative Consultant "There was this sex scene amidst the bombs exploding that was so rough and so violent that we couldn't use most of it." Don Paonessa, Creative Consultant, Post Production "This was a very interesting show because we had to create London, 1940. We shot on top of the Woodward Building in Vancouver. We ended up creating mattes in a shorthand kind of way. There was a song, ‘we'll meet again, don't know where, don't know when’ and we played that over the dying scene and we had to buy stock footage in order to create the stuff with flowers and this romantic moment as she lay dying. This was a show that had a lot of elements to it and needed to be resolved. And we were always dealing with budget concerns in Post Production, but it was fun because it allowed us to be creative and stretch our thinking to get stuff done, rather than throw money at it." Ken Gord, Producer "That was probably the toughest show because whenever you have a set and the script says ‘and then it burns down,’ that means you have to walk away for two days but usually it's the same place, but it gives you all sorts of problems. So this was a building collapsing and it was really tough. The stuff on the roof was tough; we tried to have planes going overhead while they were there. They used lots of stock footage there. It was a very big show." Home ~ Something Wicked