SEASON THREE
Episode 20: Reasonable Doubt

Scenes from the DVD set's "Final Shooting Script"
that do not appear in the episode.

 

SCENE ONE

 
SIMONE - A girl's got to think of her future.
 

BACK to transcript.

 

SCENE TWO

 
[Kagan turns his attention to the two men. His eyes fall on a pistol in a holster around Claude's ankle.]

KAGAN - The gun in the ankle holster... Take it out... Two fingers, please.

[Claude does and holds the gun between his two fingers.]

KAGAN - Thank you.
 

BACK to transcript.

 

SCENE THREE

 
[Kagan points to the gun lying by the dead Claude.]

KAGAN - He would've killed me. [He holds out his arm to her. She shakes her head.] It's over. There's nothing else I could've done.
 

BACK to transcript.

 

SCENE FOUR

 
MAURICE - Her mother was my sister-in-law by marriage--
 

BACK to transcript.

 

SCENE FIVE

 
SIMONE - Have to go.
 

BACK to transcript.

 

SCENE SIX

 
MAURICE - [jots down a phone number] Call her.
 

BACK to transcript.

 

SCENE SEVEN

 
KAGAN - What's your name?

CLARISE - Clarise.

KAGAN - That's a very pretty name.
 

BACK to transcript.

 

SCENE EIGHT

 
[Kagan meets up with Tarsis at the front door.]

TARSIS - Everybody on the floor!

[He shoots off another blast. Everyone starts to go down on their knees when Tarsis' eye is caught by a ring gleaming on a woman's finger. Tarsis approaches the woman, in her forties, who's huddled up in a corner with her fifty-year-old husband.]

TARSIS - The ring.

WOMAN - [tries to pull it off, but can't] It's stuck...

TARSIS - [reaches in his jacket and pulls out a stiletto] No problem.

[As the woman backs away, her husband gains enough courage to rush Tarsis. Tarsis knocks him back with the barrel of his gun, then points the barrel at the fallen man. MacLeod, watching, realizes what's about to happen.]

MacLEOD - NO!

[In slow motion, MacLeod moves toward Tarsis, who fires a short burst. The husband goes down. The crowd is shocked into silence. Tarsis aims at MacLeod while motioning for Kagan to hurry up and leave.]

TARSIS - Come on, let's get moving.

[As soon as Kagan is out the door, MacLeod moves after them.]

 

EXT. BANK - PARIS - 1930 - DAY

[MacLeod races out of the bank as Tarsis and Kagan start to pull away in their vehicle. MacLeod races to the car door. Kagan points his weapon through the window. MacLeod hits the ground as the Tommy gun burst cuts through the air above him. As he watches the car screech away--]
 

BACK to transcript.

 

SCENE NINE

INT. WHOREHOUSE - PARIS - 1930 - NIGHTS LATER

[A gaudy affair with crimson tassels and statues of naked women. There are overstuffed chairs and recliners, velvet sofas. A few scantily-clad prostitutes dance together or with customers to the scratchy sounds of an early Louis Armstrong record. While Tarsis is getting a neck massage from a beautiful blonde, Kagan sits on a couch, a girl under each arm. As he reaches for one and kisses her on the mouth... He is interrupted as he senses a BUZZ and an instant later the door to the brothel is kicked open and MacLeod steps through. Tarsis pushes his playmate aside, jumping to his feet. Kagan rushes at MacLeod, who blocks a punch and knocks Kagan cold with a combination. The girls scatter, squealing. MacLeod turns on Tarsis.]

[ON MACLEOD -- Tarsis charges MacLeod. Their momentum carries them through the door into--]

 

EXT. WHOREHOUSE - COURTYARD - PARIS - 1930 - NIGHT

[Both men roll about the courtyard until MacLeod scrambles free and both men pull their swords. Tarsis closes. The two men fight across the courtyard. Tarsis is good. He presses MacLeod up against a wall. Tarsis' hand moves to his pocket, searching for his stiletto.]

MACLEOD - Looking for -- [as he buries Tarsis' own stiletto in his side] This?
 

BACK to transcript.

 

SCENE TEN

INT. CHEZ MADAME CAMILLE - UPSTAIRS HALLWAY - CONTINUOUS

[MacLeod arrives on the landing. Kagan is out of sight. MacLeod follows the Buzz to one of the identical closed doors. He has his sword out as he reaches it, kicks it open as Kagan is making his way out of the window, trying to make his escape across the neighboring rooftops. MacLeod is hot on his trail. He steps out onto the Ext. Rooftop - Night]
 

BACK to transcript.

 

SCENE ELEVEN

EXT. ALLEYWAY - IRELAND - 1913 - DAY

[Two boys tussling in the alley. One is the Young Kagan, aged 12, a ragamuffin street urchin, scraped and dirtied. The other is Rudy, 13, older and larger than Kagan, but no match for the younger boy's terrier-like ferociousness. Rudy holds a folded penknife, the source of the fight, in a clenched fist over his head, out of Kagan's reach; Kagan is clawing at the older boy's arm, trying to get the prized knife. He butts his elbow into Rudy's midriff and Rudy oofs out a lungful of air, doubling over, his arm coming down. Kagan tries for the knife and Rudy pounds on the top of his head. Kagan spits blood and bites Rudy, hard, on the arm. As Rudy yelps, Kagan hooks a leg around his and the bigger boy goes down. Kagan is on top of him in a moment, kicking him in the ribs, then pulling his fingers open and taking the knife. Rudy rolls over, coughing, and Kagan kicks him in the kidneys for good measure.]

YOUNG KAGAN - Get going.

[Rudy hauls himself to his feet and runs off. Kagan, whistling to himself, opens up his new toy and turns it over in his hand, pleased with himself.]

TARSIS - [O.S.] That was your first mistake.

[Young Kagan turns to find Tarsis standing there. He's seen the whole thing.]
 

BACK to transcript.

 

SCENE TWELVE

In the original shootin script, there was no flashback here. The 1913 flashback was not split up; these lines were contiguous with SCENE ELEVEN.

BACK to transcript.

 

SCENE THIRTEEN

 
[Tarsis hits him, hard, knocking the wind out of him.]

TARSIS - Try that again, I'll make you eat it.

[Kagan looks at him, wide-eyed and silent, realizing he's met his match.]
 

BACK to transcript.

 

SCENE FOURTEEN

 
MacLEOD - And you want me to teach you. [It's a statement, not a question.]

KAGAN - Is that so hard to understand?
 

BACK to transcript.

 

SCENE FIFTEEN

 
SIMONE - I thought it might be something more.

[She stands in front of him, touches the buttons on his shirt, waiting for MacLeod to make some kind of move. But MacLeod doesn't. He takes her hands away.]

MacLEOD - It's not. [beat] What's this about, Simone?

SIMONE - Everybody's got an angle, MacLeod... I just want to know what yours is.

MacLEOD - What are you, Simone, twenty-three, twenty-four?

SIMONE - Twenty-two. [with sarcasm] And you're wondering what a girl like me is doing in a life like this.

MacLEOD - I have a pretty good idea.

[Simone's bitterness and anger are evident.]

SIMONE - You think you know me? [beat] Think you're gonna save me? [beat] Nobody saves me.

MacLEOD - Did you give anybody a chance?

SIMONE - What chance?
 

BACK to transcript.

 

SCENE SIXTEEN

 
KAGAN - I noticed. [beat] Now you have to do me a favor.

SIMONE - Anything.
 

BACK to transcript.

 

SCENE SEVENTEEN

EXT. SIMONE'S APARTMENT - NIGHT

[MacLeod and Maurice get out of MacLeod's car.]

MAURICE - You think he would hurt her?

[MacLeod reaches the doorway of the apartment. He feels no BUZZ.]

MacLEOD - He's gone.

MAURICE - How do you know?
 

BACK to transcript.

 

SCENE EIGHTEEN

 
MAURICE - It was easy. Besides this guy, all I really know about her is that her favorite doll had red hair.

MacLEOD - [reflective] You knew a lot.
 

BACK to transcript.

 

SCENE NINETEEN

 
CAMILLE - Her name's Lucille.
 

BACK to transcript.

 

SCENE TWENTY

 
KAGAN - I was with Lucille. Ask her. She lives right down the block.
 

BACK to transcript.

 

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