• Reborn (episode 98101) -First air date: September 21, 1998
• Full Disclosure (episode 98102) -First air date: September 28, 1998

"This above all: to thine own self be true,
And it must follow, as the night the day."
William Shakespeare - "Hamlet"

I have watched every Raven episode from the beginning, but I chose this one for my first review. My reasoning is that I think, so far, it more readily encompasses the ideals of Highlander than the other episodes and truly embodies what Highlander has always tried to impart to it's viewers.

John Ray Fielding is an Immortal warrior, not unlike so many Immortals we have seen in the past. In the guise of professional soldier, he survives from war to war; choosing his side and fulfilling his duty to the best of his ability, letting nothing get in his way. And when someone does, he makes it his personal mission to exact payment for this perceived wrongdoing.

And that is exactly what he is doing when this episode opens. Fielding is following Donald Magnus down a dark, foggy alley. Magnus, a decorated Gulf War Vet who has hit the skids, is presently very intoxicated when he hears a booming voice call his name. He turns and tries to make out the face of the uniformed figure, but it is too dark and he is far too drunk. He senses danger and runs to his car, but in his inebriated state, can't seem to hit the correct gear and ends up putting the car in reverse, backing over the solider. He gets out to inspect and finds that he has killed the man. In his panic, he flees the scene.

Cut to Magnus' run-down apartment as he stumbles his way inside only to find the soldier he just ran over waiting for him. Old Don is pretty freaked out by this and tells himself he must really be 'fried'. When confronted by Fielding, a scuffle ensues and Don tries to make off by way of the fire escape landing. When Fielding catches up to him and sees the fear of falling in Don's eyes, he uses this against him, throwing both of them off the landing to their deaths. When a few moments pass and Fielding revives, he has Magnus' dog tags in his hand. He quickly searches for his own, but can't find them. He hears a noise and realizes he better get the hell out of there and swears to himself as he gets up and leaves.

Cut to a smoky bar, and low and behold we learn that Don's brother is none other than Capt. Carl Magnus, Nick's old boss. Nick is having a drink with him, as Carl commiserates on how far his brother had fallen since returning from the war. He tells Nick that Donny was decorated with honors, and yet, the war left him a shell of his former self. In his drunken state, he tries to entice Nick back to the force, but the big guy isn't biting. He hustles Carl out of the bar and they stop off at Don's apartment to look around. Nick, his old cop instincts kicking in, checks the crime scene out as Carl sifts through Don's stuff, reminiscing.

Nick notices the door lock is broken, the jam splintered and he brings this to Carl's attention, but Carl doesn't think much of it because the place is a dump. Down in the alley, Nick finds Fielding's dog tags and pockets them, keeping mum about it. No need to alert Carl to this yet because he's too lost in his sorrow. But I have to wonder at the police department. That area of alley had been cordoned off with their yellow crime tape, yet they missed the dog tags just lying there? Oh well.

Meanwhile, Fielding is at the cemetery standing in front of his own grave, the headstone noting his death in Kuwait in February 1991. Seems he was buried with some of his comrades too, judging by how he looks around at the various headstones, pausing at William Dexter Smith's and reaffirming a promise to avenge their deaths. As chance would have it, Amanda is at the same cemetery, visiting Claudia's grave. Seems that the guilt she feels over this mortal death is still weighing heavily on her.

A: "Nick's doing really well. He's not a cop anymore, but I think you'd be really proud of him."

She has a mini flashback to the instant she saw the light fade from Claudia's eyes as she died trying to save Amanda's life.

A: "You've left me a lot to live up to."

This is definitely not the Amanda we are accustomed to seeing. Yes, in the past she has been contrite and even sorrowfully reflective when things looked glum for her and MacLeod. She usually told him (and sometimes others) what she felt had to be said, in order to get back into his good graces again and then continued to be the beautiful, conniving, self-indulgent Amanda we all know and love.

But this time, something has changed. Claudia's senseless death has caused a true epiphany. Extreme feelings of guilt have surfaced and she is having a devil of a time dealing with them. Just as she places the flowers on Claudia's grave and turns to go, it hits her. The Immortal buzz, so strong that it rips her attention from everything else as she scans the graveyard with her piercing eyes to locate the other Immortal.

Flashback to war torn France, 1917. Director George Mendulek and whoever was responsible for the editing of this scene did a magnificent job. Amanda's flashback memories spliced several times with Fielding's face, as he advances toward her, are masterful. Very nicely done!

Amanda, standing in the distance as shells explode all around, witnesses a Colonel stuff a small bag of gold into a pouch and give orders to Capt. John Ray Fielding to deliver the orders to the front and keep the rest safely until his arrival there. Fielding questions him about the origin of the valuables (which were lifted from a nearby chateau), but is abruptly cut off and told to carry out his orders. Being the consummate soldier, he does just that. Now the lovely Amanda, looking quite beautiful with long, curly black hair (more about this later), means to have those valuables for herself. So, she feigns an accident and uses her not inconsiderable talents (shades of Kalas) to manipulate Fielding into helping her. It is important to note here that at this point in time, Fielding is a pre-Immie, so when Amanda whips out a gun and demands the pouch he carries, he is truly frightened. He tries to explain to her that she doesn't understand, but she has complete tunnel vision where jewels and money are concerned and doesn't give him the opportunity to elucidate.

F: "You don't understand."
A: "Oh, I certainly do. Trust me, you'll get over it. If not in this century, then in the next."

Ironically, her little teasing comment aside, she couldn't be more erroneous. She gallops off on her horse and Fielding calls after her to wait, to let him explain.

Back to present. Amanda comes face to face with Fielding for the first time since that fateful day.

A: "John Ray Fielding. You're a soldier again."
F: "Still. And you; I thought you'd be long dead by now."
A: "Aren't you glad I'm not?"
F: "Puts a whole new light on things. You knew, way back then."
A: "About you being Immortal? Yes, I knew."

This is an important exchange because until this very day, Fielding had no idea that the woman, who so cavalierly stole from him and was responsible for changing his very existence, was an Immortal. In his eyes, this definitely sheds a new light on the situation.

He asks if she lives around there and she is non-committal, sensing that this is anything but a friendly exchange. She tells him she goes where fate takes her.

F: "You know, it's a funny thing about fate."
A: "What's that?"
F: "It doesn't discriminate. The next time we meet, it's not gonna be on holy ground."

Now, Amanda has had her share of challenges before, but this wasn't so much of a challenge as a declaration, a kind of promise. The look in his eye, the casual ease with which he states that simple fact really throws her off balance. You can see it in the expression on her face. Her past has come back to haunt her many times, but somehow, she knows that this time is different. She just isn't sure why, but she's about to find out....in a life altering manner.

Back at her apartment, Amanda and Lucy are having a discussion about Fielding. Lucy says that Amanda never mentioned him before and Amanda simply says that there was never any point. And in her mind, it's the truth. He was an insignificant pre-immie from whom she pilfered some gems and gold years ago. He meant nothing in her life. Lucy isn't convinced Amanda's chance meeting with Fielding is nothing to worry about and suggests they leave the country for a bit.

L: "Is it Paris or are we roughing it?"
A: "Is that your answer to absolutely everything? When the going gets tough, the tough get passports?" (hehehe)
L: "Yes."
A: "There is nothing linking the two of us together."

She opens a magazine as the doorbell rings. Lucy answers it and in walks the link.

A: "I promise you I'll never have to see him again."

That's a promise she will never be able to keep.

Lucy expresses delight at seeing Nick again and he walks in, crossing over to Amanda and dangles Fielding's dog tags in her face.

A (taking the tags): "Oh my God, you were drafted." (hehehe)
N: "I've got a riddle for you."
A: "What's that?"
N: "When's a dead soldier not a dead soldier?"
A: "I give up."
N: "When he's an Immortal."

Nick tells her that he checked with Washington and found out that Fielding died in the Gulf War seven years ago. He asks if she knows him.

A: "Yes and No."

Well, that's definite. She admits that yes, Fielding is an Immortal and she knows him but...no, she can't tell him where Fielding is.

N: "Can't or won't?"
A: "Yes." (hehehe)

He tells her that this Fielding may have information about the death of Carl Magnus' brother. For a minute Amanda pretends to reconsider, then tells him no, she can't tell him. Nick thinks she refuses to tell him, but in all honesty, she hasn't a clue how to find Fielding and wants to keep it that way.

N: "You know, you can really be a heartless, selfish bitch sometimes."
A: "Well darling, that's taken centuries of practice."

Lucy returns with tea, but Nick is on his way out.

Meanwhile, Fielding is at the police station reporting a bogus robbery. He describes Amanda to the officer and ID's her picture. Note: the picture shown is meant to be older and Amanda has short dark hair. I must admit that she looks so much better as a brunette. JMHO, of course, but she really doesn't have blonde coloring. Oh well!

The detective orders Amanda brought in, happy that he finally has her dead to rights. He thanks Fielding and John Ray just gives him an innocent little smile and thanks the officer right back. Isn't it interesting to see the various ploys that Immortals use to get a leg up in the Game?

Magnus tracks Nick down at their favorite watering hole. He's not happy that Nick pulled Don's records. He tells Nick that Donny's death was a suicide, plain and simple, but Nick isn't buying it. He tells Carl that he's been a cop too long not to know when something's off. No suicide note, the door kicked in from the inside. There are just too many unanswered questions. Carl tells him to let it be. As he leaves, he mentions that the cops just pulled Amanda in for a line up.

Okay, Amanda is in the line-up and she feels the Immortal buzz. It doesn't take long for her to realize this was a set up and the purpose for it. Fielding is there, behind the one-way mirror, which is more than transparent to the two Immortals. Now that Fielding has flushed Amanda out, he has what he needs and therefore refuses to ID her from the line up. This really ticks the cop off, but Fielding stands firm, telling him that he made a mistake. So, the police have no recourse but to let Amanda go, which is exactly what Fielding wants, because now he can follow her and she isn't on holy ground.

Lucy is surprised to see Amanda out in such record time and they are just about to leave when Fielding steps out of the police station and confronts her.

F: "Going somewhere?"
A: "Yeah, I gotta cake in the oven" (hehehe)

Before the exchange can commence any further, Nick steps out of the station and wants to know what Amanda was doing in there. John Ray looks up at Nick.

F: "She hasn't got the time to talk to you right now."
N: "Who the hell are you, slick? Nobody's going anywhere till I find out what's going on here."

Fielding slowly turns toward Nick and draws his pistol, but Nick is pretty cagey and was anticipating trouble. He already has his gun drawn too and there is a standoff. Amanda doesn't believe what she's seeing.

A: "Great! High Noon in front of the police station. Could you be any more obvious?"

Sure enough, the cops come out and haul them all inside. Nick, Amanda and Lucy end up in Magnus' office. He tells Nick that Fielding claims Nick pulled a gun on him because he fingered his girlfriend for a thief.

A: "I resent being called that."
M: "Thief?"
A: "Girlfriend." (hehehe)

Magnus isn't amused and he gets no info from any of them. In fact, the only one who comes away with anything is Lucy. Nick helps her with the palindrome she needs for her crossword puzzle. (nin...by the way)

Later that night, Nick is about to enter his apartment when he is confronted by Magnus. He has been drinking and Nick offers to make him some coffee, but Carl just wants assurance that Nick isn't keeping anything from him about Donny's death. Nick tells him that Carl will be the first to know if he finds out anything. But Nick knows that is a promise that he won't keep, because he strongly suspects that Don's death was at the hands of an Immortal and we all know Nick isn't about the let Carl in on that!

Magnus leaves and Nick enters his apartment building, only to find Fielding waiting there. He steps from the shadows, his gun drawn on Nick. He says he doesn't want to kill Nick, and Nick spins around, his own gun drawn, saying that's good because he doesn't want to die. Nick says they could shoot each other, but Fielding would still have the advantage.

F: "Meaning?"
N: "You do a lousy impression of a dead guy."

Fielding realizes that Nick knows about Immortals and Nick readily confirms that he does. He tells Nick that he has done some checking and knows that Nick is an honorable man. So they lower their guns and have a little heart to heart.

Fielding admits, after a fashion, that he was responsible for Donald Magnus' death. But he also clues Nick in on what it's like to watch your comrades in arms die, burned alive in an oven that used to be a tank. Shot up, not by the enemy, but by the misguided missile fired by one of their own; a Captain Donald Magnus. Was it murder? "Hell No", not according to the brass, who decorated Magnus with a metal to cover it up. Nick asks who the hell Fielding thinks he is.

N: "Because you're an Immortal, you think you can just play God?"
F: "What would you do if someone killed your partner? Damn, that's right, somebody did. What did you do?"

Nick refuses to answer. Fielding keeps pressuring him to answer and they get into a fist fight, all the while, Fielding keeps demanding Nick answer him until finally Nick has had enough. He pushes Fielding to the wall, pinning him and screaming that he put a bullet through the guy's head.

F: "Like I said, you're an honorable man."

Nick lets him go and steps back. Fielding composes himself and walks to the door. Before he leaves, he drops the bombshell.

F: "So you'll understand when I take Amanda's head."
N: "Amanda? What the hell does she gotta do with this?"
F: "Just like Donald Magnus, she's a murderer."

I'm really am impressed with the acting in this scene. Both Paul Johansson and Michael Rhoades are superlative here. I can't find fault with a single word or gesture. And speaking of Mr. Rhoades, this man has definitely captured his character; from the look, to the attitude, right down to the accent. Once again, TPTB come through on casting. They just amaze me!

And speaking of being amazed, hold on to your seat because the next scene is Amanda's true epiphany; the defining moment when her Immortal past comes crashing down around her shoulders.

Nick goes to see Amanda at her apartment. He tells her that he met with Fielding and that John Ray called her a murderer. Her reaction is exactly what you would expect....

A (standing up from her chair): "A what?"
N: "A murderer."
A: "Jarhead!"
N: "If I were you, I'd pack my bags."
A: "Well, he's obviously insane, Nick."

I love Nick here. He touches her arm to gently guide her to sit down again. And softly says her name....

N: "Amanda...Do you remember the dispatch pouch you stole from him?"
A: "Yeah...it had some jewels and a few francs in it."
N: "And an envelope."
A: "I don't know, I can't remember. If it wasn't full of money, I probably tossed it. What's the big deal anyway?"
N: "It was the middle of the war. Intelligence knew that the German's were about to attack the front. The 18th battalion were sitting ducks, one hundred twenty of them. That envelope contained general orders telling them to get the hell out of there."
A (it slowly dawning on her): "But...the orders never made it to the front."

Nick stares and slowly shakes his head.

A: "And John Ray?"
N: "He died with the rest of them."
A: "How many?"

Nick hesitates.

A: "How many?!?"
N: "A hundred and twenty men."

At first, momentary denial is the only coping mechanism that she has at her disposal.

A: "No, I didn't do that. I....It was just a pouch with jewels in it. I wanted it to get out. I didn't do that."

But looking at Nick's face, the enormity of it all descends over her and she is totally overwhelmed, unable to deal with the shock of the consequence of her long ago actions.

I can't help but feel sorry for her when I see this, because I realize that everything MacLeod had tried to drum into her pretty little head has finally come home to haunt her. And why did it take Nick and not Duncan, to finally get through to her? I have a theory....Duncan was an Immortal, with the past indiscretions that ALL Immortals have. Where Duncan was totally aware of his past actions and had learned to live with the aftermath of them, Amanda was so totally self-absorbed she was oblivious to the cataclysmic consequences of her past activities.

When Mac would try to point out to Amanda that her actions sometimes had dire consequences, he was trying to improve her character, not only for her sake, but also for his own, given their on-again, off-again relationship. She was so used to doing things her way and had grown so used to hearing his chiding, she no longer really listened to him on the subject.

But with Nick, there is no judgmental attitude. She listens to him because his voice will not be heard forever. He doesn't have that scolding attitude that Duncan always had. He is just relating some unknown facts to her, and as a friend....nothing more. He expects nothing from her; has not a thing to gain. And by this time, her head is in a completely different place, because she has already begun introspection since Claudia's death. Herein lies the difference.

Plus the fact that Nick's information catches her completely and totally off-guard. She stands up and walks away from him. The enormity of this information is crushing her. She goes into the atrium and stands before some potted plants, picking one up and hurling it against the wall. Nick follows her and, for a split second, is at a loss for words to comfort her. What asseveration can be given in the wake of this realization? Amanda starts pacing back and forth, on the verge of tears.

A: "What the hell is happening to me? I used to travel wherever I wanted to go, and I'd do whatever I wanted to do. I mean, a little burglary here, a little petty larceny there, you know my life was just rolling along and it was just fine."

Nick decides to go with the obvious.

N: "You don't have time for this."
A: "And then your partner, Claudia. She has to go and die trying to save my stupid life. Then all of a sudden, I have to start thinking about what I'm doing, what I'm about and all these things I've done."
N: "In twelve hundred years, a person is bound to have some regrets."

She stops pacing and faces him.

A: "Regrets? You call this a regret?"
N: "Don't be so hard on yourself."
A: "Really? You don't think its about time? I mean, I've lived my whole life without a care in the world and all of a sudden I find out I'm leaving a trail of corpses. I killed....a hundred and twenty men. I'm not running away."
N: "He's a professional soldier!"
A: "We all are."

Wow. This simple statement of fact says it all. Until she points out that one indisputable fact to him, I don't think Nick could really comprehend what it means to be Immortal. It encompasses so much more than just reviving from death. It is a completely combatant way of life; a continuing fight to the death for survival.

She tells Nick that she knows he wants to take responsibility for this, but he can't. The only think he can take responsibility for is introducing her to her conscience. She reaches up, gently kisses him on both cheeks and asks him to leave. It is unmistakably a last goodbye kiss. She means to face Fielding on his own terms.

Nick leaves her apartment and Amanda feels the Immortal buzz. She knows that Fielding is nearby. Meanwhile, Nick is waiting for the elevator and as the door opens, he comes face to face with Fielding. Nick wastes no time, as he knocks John Ray out cold. Amanda arrives at the elevator just in time to see Nick handcuff John Ray, but the door closes before she can get inside.

Nick drives Fielding to the cemetery. John Ray is still handcuffed and Nick marches him to the fresh gravesite of Donald Magnus. Nick tells him that the date says Magnus died four days ago, but that was a lie. He read the autopsy report. Don's kidney and lungs were shot and his heart was running on fumes. John Ray isn't moved one bit. Nick tells him that Donald was a soldier just like him, but Fielding is quick to point out that Magnus wasn't like him at all. Nick has to agree, telling Fielding that Don was also a husband, a father and a brother; a soldier who made a mistake and had to live with it every day since.

Fielding senses another Immortal and they both look up to find that Amanda has followed them. She tells Nick to uncuff Fielding and when Nick is reluctant, she reminds him that nothing can happen because they're on holy ground. Nick complies telling her not to make him regret this.

Nick steps back to give them space. John Ray and Amanda take a little stroll and Fielding starts telling her how he used to be just like these soldiers, a mortal man until she took all that away from him.

A: "I didn't kill you."
F: "Didn't you?"

He starts telling her, in minute detail, about his first death on that bloody battlefield. Amanda asks him not to do this, but John Ray is on a roll and nothing is going to stop him.

A: "Look, I just wanted the jewels. I didn't....I never think about the consequences."

As Shakespeare once wrote: "This above all: to thine own self be true." At long last, I think Amanda truly can.

John Ray continues, telling her how he later watched his wife remarry, have the children he could never give her and finally grow old and die. And as for himself, being a soldier was all he knew how to do, so that's what he became; France, Spain, World War II, Korea, Viet Nam, the Gulf.

F: "Living to die. Over and over again."

The impact of this line is unbelievable! Everybody eventually dies; except for the one last remaining Immortal. In the interim, love of life is what sustains us. And here is John Ray, confessing to Amanda that because he died his first death before he could find his niche in life, he was condemned to be the only thing he knew how to be. A professional soldier who lives to die. And, however indirectly, she is at least partly responsible. Amanda's mind can't even begin to comprehend the horror of this existence.

A: "War after war, how can you do that?"
F: "It's all I know. You killed a hundred and twenty of my brothers. It's time you honored their deaths."

Fielding doesn't even raise his voice. The calm with which he addresses Amanda is so telling of a man who never expected to be able to avenge the deaths of his WWI comrades, but now that it is within the realm of possibility, nothing will keep him from this vow. There is no ranting, no raving; just the quiet resolve of a man with a mission.

And Amanda can find no fault with his reasoning. Absence of malice is no excuse for her past misdeeds and as Fielding leaves her standing in the cemetery, she slowly comes to terms with what John Ray expects from her.

Meanwhile, Nick is back at the bar telling Carl the truth about his brother's heroics and Capt. Magnus isn't taking the news well. But all the pieces fit and it begins to make sense to him. The scene ends with Carl telling Nick that his badge is still in his desk drawer and he can come back to the department anytime.

Nick goes to Amanda's place and Lucy tells him that Amanda is asleep. Somehow, Nick just doesn't believe her. Lucy flits around the apartment, moving flowers and knick-knacks because she can't look Nick in the eye and tell him a bald-faced lie.

And speaking of Nick and Lucy, I adore what the writers have done with these two characters. The two mortals currently sharing Amanda's life have developed a genuine fondness and consequent respect for each other. All their scenes together have been most enjoyable.

Nick finally gives up and is about to leave when Lucy's conscience gets the better of her and she confesses that Amanda isn't there. This comes as no big surprise to the Nickster. Then Lucy walks over to the umbrella stand and lifts out Amanda's sword.

L: "And she didn't take this."

That's all it takes for Nick to be outta there. Now, how he knows just where Amanda and John Ray would be is beyond me....but hey, it pays not to question these things too closely.

Amanda and Fielding meet face to face in what appears to be a park. John Ray draws his sword, but Amanda stands there. While I don't care for her new hair color, I must admit that she is a vision dressed in white, literally from head to toe. Fielding demands she draw her sword and fight him, but she refuses.

A: "I'm not a killer. Irresponsible, inconsiderate, dishonest.....maybe. But I'm not a killer."
F (shouting): "Draw your sword."
A: "I have no quarrel with you."
F: "The hell you don't!"

She tells him to just get it over with and he asks what's she's doing. She tells him if he's going to do it, then just do it.

F: "This is a trick, right?"
A: "No sir! Those men are dead because of me. I'm willing to take responsibility for what I've done."

John Ray looks at her, then squares off and runs her through with his sword. From the startled look on Amanda's face, I'm not so sure she thought he would go through with it. But she stood her ground with dignity. She slowly crumples to the ground, a startling white figure against the green grass. Fielding raises his sword for the final stroke to her neck when he hears Nick telling him to drop it. He pauses.

Nick slowly walks up to him, his gun drawn and pointed at Fielding. He tells John Ray that he knows how to kill him. Fielding tells him that this isn't his fight; that killing Amanda is the honorable thing to do.

N: "Don't kid yourself. This isn't about honor."
F: "You don't know squat!"
N: "I know pride when I see it. And guilt, I know a little about guilt too."
F (shouting): "I got nothing to feel guilty about."
N: "Sure you do! You lived. You survived while all your men, your buddies were blown up all around you. So let's not dress this up and say it has anything to do with honor."

John Ray swallows hard. Seems Nick has hit a nerve. Fielding tells Nick that he wasn't there and doesn't know what war does. Nick tells him he knows what guilt does. He points to Amanda's still, lifeless body lying on the ground.

N: "She's dead. You killed her."

Nick throws Fielding's dog tags at him and John Ray catches them and looks them over.

N: "The war is over."
F (with resolve): "There's always another war."

Nick has finally gotten through to him. He looks down at Amanda and then back up to Nick.

F: "You tell her she died with honor."

He walks off, leaving Nick to kneel on the ground and cradle Amanda's body as he waits for her to revive. She gasps back to life, a little disoriented, but Nick still has her head cradled in his arm and tells her that it's okay, John Ray is gone.

A: "Where is he?"

Nick helps Amanda to her feet, the crimson bloodstain from her stomach wound providing a sharp contrast against her white outfit.

N: "He forgave you."
A: "He did?"
N (nodding): "Yeah. Now comes the hard part."
A: "What?"
N: "Forgiving yourself."

He helps steady her as he leads her out of the park as the episode fades out.

In this episode, Amanda comes face to face with her Stephen Keane. But unlike Duncan (in 'Forgive Us Our Trespasses'), Amanda had not lived with the ramifications of her past actions; she had heedlessly gone about her life, never learning from past indiscretions, because she was so oblivious to them. And also unlike Duncan, she wasn't facing Fielding to fight in defense of her deeds; she was facing Fielding to die, in payment for her perceived reprehensible past behavior.

I find Nick's part in this so compelling. He so easily understands Fielding's burning desire to avenge, and yet, by this time, his feelings for Amanda have become so complex, he is impelled to come to her defense. Not only to save her life, but also to be the catalyst who is finally able to make her understand just how irresponsible she has been for over a thousand years.

As I said earlier in this review, I find this episode encompasses all the qualities that make it worthy to carry the Highlander name. I have felt since the beginning of this new spin-off series that TPTB only needed a little time to find their way; some time to flesh out the characters and allow this 'new twist on an old favorite' to gel.

Writer James Thorpe is responsible for giving us some of the most outstanding Highlander: The Series scripts. Together with his talented writing team, he definitely has a winner with this one. Director George Mendulek also did a commendable job with this script. The scenes between Nick and Amanda are powerful ones and he directed them flawlessly.

'The Unknown Soldier' is an episode that can hold it's own with any Highlander: The Series episode. If you haven't given it a chance, please do yourself a favor and watch it. I don't think you'll be disappointed.

Please feel free to contact me if you have any comments or questions about this review. I gladly welcome any and all feedback.

Harmony