HIGHLANDER
by
Gregory Widen
1 EXT. STREET - NIGHT 1
Garish purple light spills out of side-street porno houses,
illuminating a silhouette, and little else, of a MAN leaning
against an alley wall.
He is waiting.
Another silhouetted FIGURE appears and approaches the first.
They size each other up as best they can.
FIRST MAN
MacLeod.
The second nods.
The first without hesitation raises a sword, the intended
thrust interrupted by his own death as the second with a flash
of metal severs the agressor's head.
2 INT. HUTCH - MORNING 2
A 15th century Scottish home.
A haggard WOMAN, her small CHILD clinging to a tattered apron,
stands hunched over a glowing hearth. Her veined hands drag
a wooden spoon around and around through a soot-covered pot
of grey soup.
From an adjoining room CONOR MACLEOD, a young man dressed up
in his best traditional Celtic tartan, enters.
MOTHER
My, but are you the
picture.
CONOR
(surveying himself)
It's a bit tight.
His FATHER enters with a pail of milk.
FATHER
Ah, Conor, how you look
a man.
MOTHER
Have you time for some-
thing to eat?
CONOR
No, Mother. They'll be
here shortly.
Conor's father looks him over with pride.
FATHER
Your grandfather wore
that in his service to
the King, and I to fight
for the Duke.
MOTHER
Must he go?
FATHER
Aye. It is his duty. All
of ours.
MOTHER
But Ian, he's still but a boy.
FATHER
He's a MacLeod.
CONOR
I'll be fine Mother.
3 EXT. HUTCH - MORNING 3
Several HORSEMEN gallop up through the early morning fog to
the cottage door.
Conor's father steps out to meet them.
4 EXT. HILLTOP - MORNING 4
A massive KNIGHT sits astride his horse, moorish dew cling-
ing to his helmet and breastplate. A CLANSMAN hikes up the
heather-carpeted slope to him.
CLANSMAN
They march.
KNIGHT
Is the boy among them?
CLANSMAN
Aye.
5 EXT. ALLEY - NIGHT 5
The second kneels to examine the headless body of the first.
With a CLACK a window, high on the alley wall, closes.
6 EXT. HIGHLAND PLAIN - MORNING 6
The DUKE is leading a brigade of CLANSMEN out onto the plain.
Mounted VASSALS ride back and forth inspecting the line. The
low fog makes it impossible to see beyond a few yards. There
is an erie, smothering silence.
VASSAL #1
Is a bad day for this.
VASSAL #2
The Duke has been compro-
mised. He will have his due.
VASSAL #1
By day's end he will have
our heads.
VASSAL #2
We ride against the Suther-
lands. That is all that
matters.
VASSAL #1
This makes no sense to me.
CONOR
And a friend are marching through the moist heather.
FRIEND
The fog is bad. We cannot
even see the sides of our
own ranks.
Conor's nervousness is showing.
FRIEND
Is this your first?
CONOR
Aye.
SHOUTING is heard on the plain.
FRIEND
It's begun.
7 EXT. HILLTOP - MORNING 7
The Knight, above the fog, hears the battle commence below.
He spurs his horse and starts down into the mist.
8 EXT. PLAIN - MORNING 8
The two opposing clans are now one confused mass of tartan
and clashing swords. The air is charged with SHOUTS of ex-
citement, agony, and the SHRILL of bag pipes.
The fog has made each man's battle his own, each isolated with
his opponent.
THE KNIGHT
Rides calmly through the fracas. He strikes and kills those
that assault him, but appears disinterested in battle.
He is looking.
CONOR
Is standing above the twitching body of his friend.
Alone and confused, Conor has become seperated from the clan.
He stumbles through the fog, seeking help.
Suddenly he is alone with the Knight.
The face of iron locks its gaze onto the boy. His fear turned
to panic, Conor turns and flees.
The Knight, his resolve steeled in a raised sword, kicks his
horse into persuit.
Conor is easily overtaken and on his first pass the Knight
brings his blade down hard into Conor's shoulder, slicing
open most of the boy's back and knocking him face-first into
the heather.
As Conor watches his own blood spew forth, he rolls over in
time to see the Knight dismount and start for him.
THE KNIGHT
Leans down next to Conor, his metal face nearly against the
boy's. His voice slithers out of the iron in almost a whisper.
KNIGHT
There can be but one.
A CLANSMAN
Charges out of the fog and attacks the Knight, who cuts him
nearly in half. ANOTHER wanders in and meets the same fate.
The battle is shifting to where they are.
Not finished yet with Conor, the Knight is finding himself
forced into retreat from an ever increasing number of assail-
ants.
A VASSAL
Sees his men being hacked apart trying to stop the now-mounted
Knight.
VASSAL #1
Leave him!
The clansmen obey.
With the slap of an armored gauntlet against his steed, the
Knight disappears into the fog.
The Vassal surveys the carnage before him. His eyes fall a
moment on the moaning, gurgling Conor.
The Vassal turns and leaves the boy for dead.
9 EXT. ALLEY - NIGHT 9
A patrol car pauses at the mouth of the alley.
The figure considers his situation, then quickly shoves his
sword into a near-by drain. He straightens up and waits.
AN OFFICER
Steps out of his unit and cautiously walks forward. His PARTNER
switches on the patrol car's side lamps, bathing the alley
in a harsh glare.
MAN IN ALLEY
For the first time we can see his face. RICHARD TAUPIN, clad
in a well-cut business suit, looks exactly like Conor.
The police officer, upon seeing the body, grabs instinctively
for his pistol. He yells to his partner now coming into the
alley.
OFFICER #1
Kevin! Get is a backup.
TAUPIN
I was merely walking by
when-
OFFICER #1
Don't move.
The officer has his pistol out and leveled.
His partner runs up, shotgun in hand.
OFFICER #2
They're on their way.
His voice cuts short as the blood flows against his shoe.
OFFICER #2
Christ.
10 INT. HUTCH - NIGHT 10
Conor lies moaning on a cot. Makeshift bandages wrap his
body, stained and pasted by thick, dried blood.
The family surrounds their dying son.
A PRIEST is delivering the last rites.
PRIEST
...Libera Domine Animan
servi tui sicut libertasi
David de manu regis Saul...
His sobbing mother holds a compress to Conor's forehead.
PRIEST
...In mamus tuas domine
commendo spiritum meum...
11 EXT. HUTCH - NIGHT 11
A Vassal rides up to the hutch, dismounts, and approaches a
CLANSMAN standing in the open doorway.
VASSAL #1
Has the boy died?
CLANSMAN
He is having the last rites
now. It should be over by
morning.
VASSAL #1
Never seen anybody cut as
bad live so long. He should
have died on the field.
CLANSMAN
Tonight or tomorrow, it's
all the same.
The Vassal peers inside at the priest administering the
sacraments.
PRIEST
...Auditorium nostrum in
nomine domini...
VASSAL #1
This has been a dark day.
PRIEST
...Requiescant in pace...
12 EXT. ALLEY - NIGHT 12
There is a bustle of activity. Setting up barricades, uni-
formed OFFICERS are trying to keep NEW CREWS and curious
ONLOOKERS at a distance.
DETECTIVE LT. MORAN
Lean, fortyish, and comfortable with the gore in front of him,
is inspecting the corpse with a MEDICAL EXAMINER.
EXAMINER
(studying body)
Real clean. No sawing
action at all. Whatever
it was did it in one
swipe.
(looks up at Moran)
Like the other one.
Moran gestures to a sword, wrapped in plastic, lying nearby.
MORAN
What about that?
EXAMINER
Hasn't any blood on it.
MORAN
(looking around)
About the only thing
that doesn't.
EXAMINER
I'll give it a closer
look when I get back.
BRENNA CARTWRIGHT
Pretty but not beautiful, thirtyish, she exudes a sort of
insolent intelligence.
An OFFICER sees her duck under a police barricade.
OFFICER #3
Come on Brenna, you know
better than that.
BRENNA
I'm invited.
She walks to where the medical examiner is organizing his
equipment.
BRENNA
(greeting)
Mr. Levine...
The examiner turns and smiles.
EXAMINER
Hope this isn't past your
bedtime.
Brenna looks to the now-sheeted corpse, blood flowing from
where the head should be.
BRENNA
Doesn't have a head,
does he?
EXAMINER
This one came unassembled.
Lt. Moran is standing near.
MORAN
(no warmth)
Just show her what she came
for, Tom.
EXAMINER
(stands, taps Brenna's arm)
Come on, this is more
your line of work.
Brenna and the examiner walk the few yards from the corpse
to the sword.
EXAMINER
How's your uncle? I hardly
ever see him anymore.
BRENNA
Fine.
The examiner stops and gestures to the weapon clothed in
forensic plastic.
EXAMINER
There you go.
Brenna's expression changes to interest as she kneels down
beside it.
EXAMINER
Didn't look like it came from
"Toys-Are-Us", that's why I
called you.
BRENNA
(looks up in Moran's direction)
Didn't think it was my
buddy over there.
EXAMINER
Figured you knew more about
swords than I did.
BRENNA
Claymore.
EXAMINER
Huh?
BRENNA
Scottish claymore. Take
a French epee, add twenty
pounds of ballast so it
means business, and you've
got a claymore.
EXAMINER
You're the expert.
BRENNA
(runs hand along hilt, slightly
confused)
It's in good condition.
RICHARD TAUPIN
Is being put in the rear of a patrol car. Brenna studies his
face in the half-gloom. There's something different about him.
A steadiness.
13 INT. POLICE INTERROGATION ROOM 13
Richard Taupin is seated at a graffitti scrawled table in a
room otherwise bare of furnishings. He seems unphased by his
surroundings.
The door opens and Moran enters with bag and notebook. He
picks up Taupin's wallet on the table top and checks the
driver's license.
MORAN
This your present address?
TAUPIN
Yes.
MORAN
Mr.-
(looks at license)
Taupin, what were you
doing in that alley?
TAUPIN
I was walking by when I
heard a shout. Your men
came right after.
MORAN
Did you know the victim?
TAUPIN
No.
MORAN
His name was Iman Fasil
if that jogs your memory.
TAUPIN
It doesn't.
MORAN
He was carrying a Syrian
passport and had been in
the country less than a week.
Taupin's face is stoic and controlled.
MORAN
Two days ago a Bulgarian
national was murdered the
same way. He'd also been
in the country less than a
week.
(beat)
What is your citizenship?
TAUPIN
American.
Moran paces to a corner of the room.
MORAN
Do you make a habit of
hanging out in that neigh-
borhood at night?
TAUPIN
What are you getting at?
MORAN
Let's just say that in my
years with this department
I've seen more than one well
dressed business man look for
a hand job on 14th Street.
Moran places both hands on the table and leans across it.
MORAN
What were _you_ looking for?
TAUPIN
That's none of your business.
MORAN
You're wrong.
Moran reaches into a bag on the table and removes a large
broad sword; old, but in mint condition.
MORAN
Do you know what this is?
TAUPIN
I presume it's a sword.
MORAN
A claymore to be exact. You
wouldn't know anything about
it would you?
TAUPIN
Your murder weapon?
MORAN
It was covered with Mr.
Fasil's fingerprints, but
none of his blood.
TAUPIN
A mystery.
MORAN
For the moment.
Moran turns the sword over in his hand then sets it down.
He rises and opens the door.
MORAN
All right Mr. Taupin, we'll be in
touch.
Taupin passes through the doorway without comment.
14 EXT. POLICE STATION - NIGHT 14
Taupin out into the crisp night air. His eyes search out the
darkness.
DISSOLVE TO:
15 EXT. CONOR'S FAMILY HUTCH - DAY 15
A medieval sun beats down on an OLD TRAVELER making his way up
the MacLeod home. Conor's mother, scrubbing clothes in a
bucket, smiles in recognition.
MOTHER
Ah Steven, it is good to see you.
TRAVELLER
I only just heard of Conor. I came
up from Catroch as soon as I could.
MOTHER
You're a kind man to be sure.
TRAVELLER
I thought it only proper to pay
me last respects to the family.
MOTHER
Steven, Conor didn't die.
TRAVELLER
But I had heard his wounds were
mortal.
MOTHER
They were Steven, they were. It's
been a miracle it has. He lasted
right through and healed. No one
in the village has ever seen anything
like it. Ever.
16 EXT. MEADOW - DAY 16
Perched on a heather-carpeted rise above the village a young
woman, MARA, sits contemplating the intricaces of a daffodil.
Balancing on a shepard's staff, Conor limps over and puts
his lips to her ear.
CONOR
You're pretty today.
Mara is silent. Distant.
CONOR
I'm your future husband, remember?
MARA
I have no future husband.
CONOR
I don't understand. Not a week
ago your father gave us his blessing.
This is difficult for her. Tears well in her eyes.
MARA
My future husband died in battle
against the Sutherlands.
CONOR
What are you saying? I'm standing
here as real as you.
MARA
You cannot be real, Conor. You had
the last rites. No man has been cut
half as bad and lived.
CONOR
But I did live.
MARA
Live? In less than a week you're
prancing about the country like a
squirrel.
CONOR
So why the crazy talk? It's a
miracle it is. Saint Andrew has
smiled on me. On us.
MARA
Some think not.
CONOR
Who?
MARA
There's rumor in the village.
Some call it magic.
CONOR
That's mad. Surely you don't
take their word?
MARA
I don't know, Conor. It's not
natural. Maybe something has
touched you.
CONOR
You're sounding like that mad
woman, Widow Baggins.
MARA
Me father has taken back my
hand.
He puts a hand to her cheek.
CONOR
Ah, Lassie...
She steps back.
MARA
Please not be touching me, Conor.
CONOR
I'll not take that kind of talk
from you. From those others
below, maybe. But not from you.
MARA
Leave me alone, Conor. Please.
CONOR
You're not talking sense, Mara!
Anger tumbles into exasperation.
CONOR
I'm sorry.
He steps for her. She moves away. Conor's face hardens with
resentment.
CONOR
If you send me away now, Mara,
I'll not come looking for you.
MARA
(crying)
Do what you must.
Resigned, Conor turns and limps away.
DISSOLVE TO:
17 INT. ANTIQUE SHOP - DAY 17
Classy antiques. Unusual. Clocks, tables, chests. Small and
personal.
Richard Taupin enters and sheds his overcoat.
RECEPTIONIST
Mrs. Thompson agreed to settle for
fifteen, Melvin's wants to make a
pick-up at three o'clock, the coffee
machine's broken, and there's a
Miss Cartwright from the Smithsonian
in your office.
Taupin is hardly in the mood.
18 INT. TAUPIN'S OFFICE 18
Brenna Cartwright stands in Taupin's cluttered surroundings
admiring a bagpipe set neatly on a shelf.
BRENNA
Do you play?
TAUPIN
Yes.
BRENNA
Very traditional.
Taupin sits down and begins sorting through a stack of papers
on his desk.
TAUPIN
(impatient)
Miss Cartwright, what is it I can
do for you?
BRENNA
I'd like to ask you about the
claymore.
TAUPIN
It's not mine.
BRENNA
It's quite rare you know, some-
thing so common in its time so
well looked after all these years.
TAUPIN
Miss Cartwright, unless you have
come here to sell the sword,
there's very little I can help
you with. Now if you will excuse
me, I have a great deal of work
to do.
Brenna has taken a carving from the shelf.
BRENNA
Byzantine?
TAUPIN
Basil the II.
BRENNA
Charming guy, Basil. Once after
beating an army of Serbians he
blinded all but-
TAUPIN
-All but one out of a hundred, I
know. All left to be led like
donkeys back home. Now if you will
please-
Brenna suddenly tosses the carving at him. Taupin snatches it
out of the air with lightning precision.
BRENNA
Good reflexes.
TAUPIN
Good day, Miss Cartwright.
19 INT. SMITHSONIAN MUSEUM DEPARTMENT OFFICE 19
A lonely, ancient room full of equal parts dust and oaken
study tables.
The department SUPERVISOR sits at his desk surrounded by a
handful of his staff RESEARCHERS - Brenna included. A faded,
stern portrait of some forgotten curator presides over propped
up feet, cold coffee, and half eaten sack lunches.
BRENNA
I don't believe him.
SUPERVISOR
Why?
BRENNA
He's too cool. Too sharp. I
think he's got something to
do with it.
RESEARCHER #1
Oh, has your penetrating research
on 9th Century Lithuanian dildos
suddenly made you an expert on the
criminal mentality?
BRENNA
Screw off, Larry.
The men, LAUGH. They delight in baiting her.
Researcher #2 opens a Budweiser and pours the beer into a medieval
mug he's borrowed from the collection.
RESEARCHER #2
The cops bought it. They let him
go.
BRENNA
What could they hold him for? I
think they're just waiting for
something concrete before they
haul him in for real. We should
look into it. He had to have
gotten that sword from somewhere.
SUPERVISOR
Hang on a sec, you did your little
favor for the boys downtown, I'm
sure your uncle and the rest are
perfectly capable of taking it
from here.
BRENNA
I've seen nobleman swords that
weren't as well preserved. It's
just a hunk of peasant iron. Why
would he be carrying it around
in an alley?
RESEARCHER #1
Here we go. Everytime there's a
murder in town we have to put up
with junior D.A.
RESEARCHER #2
Must be genetic.
BRENNA
Someone should check him out.
Maybe a collection somewhere
got knocked over. He has one,
he might have two.
SUPERVISOR
You see that desk? _Your_ desk? You see
the crap piled up on it?
BRENNA
Give it a rest Ned, huh?
RESEARCHER #2
Might be interesting to see what
his family connections are. That's
a hell of a piece to be just chuck-
ing around in an alley.
SUPERVISOR
(sighs)
I swear to God Brenna, between you
and Thompson's novels I'm going to
get a bloody ulcer.
Researcher #2 lifts the mug of beer to his mouth.
CUT TO:
20 INT. TAVERN 20
An empty mug is set on the counter of a medieval drinking
establishment.
CLANSMEN, their faces and clothes smudged with a day's work in
the fields, relax and enjoy the company of their fellow VILLAGERS.
No longer requiring the use of a cane, Conor enters.
CONOR
(to owner)
Evening, Douglas.
DOUGLAS
Conor.
The tavern goes silent. Wary. The attention is on Conor.
CONOR
Ale suits me.
The owner unenthusiastically fills Conor a mug. Conor takes
it and walks to where four other VILLAGERS sit.
TAVERN MAN #1
We rather you not be sitting with
us, Conor.
Conor looks to the next table.
TAVERN MAN #2
We be drinking alone as well.
The entire tavern spells the same sentiments.
CONOR
What's wrong with you all?
Silence.
Angered, Conor approaches the second man. As he looms above
his chair the man in genuine fear pulls out a cross and thrusts
it forward.
TAVERN MAN #2
Requiem acer'nam donaei-
CONOR
What are you doing man?
TAVERN MAN #2
-Et lux perpetua-
CONOR
You'll not be bringing the church
into this.
TAVERN MAN #2
-Luceat ei-
The weird display frightens Conor.
CONOR
Be quiet.
TAVERN MAN #2
-Auditorium nostrum-
CONOR
Stop.
TAVERN MAN #2
-In nomine sanctus esperitu-
CONOR
Stop!
Conor HURLES his mug against the wall.
His nerves shattered, he rushes out.
21 INT. MACLEOD HUTCH 21
Conor packs a satchel with his few clothes and belongings.
He walks to the doorway where his mother and father wait.
His mother, tears on her cheek, hugs him tightly.
MOTHER
Please take care of yourself.
CONOR
Aye.
Conor turns to his father.
FATHER
I wish there was some other way.
They clasp hands.
FATHER
Goodbye, Conor.
CONOR
Goodbye.
Without looking back he passes through the doorway and down the
empty path, his figure quickly fading in the moorish fog.
DISSOLVE TO:
22 INT. POLICE DEPARTMENT 22
The NOISY business-as-usual confusion at the Washington P.D.
processing center.
Amongst the dinge of CLANGING phones and CLACKING typewriters,
a uniformed OFFICER enters something into a computer terminal.
Brenna sits perched on a desk nearby.
DESK OFFICER
This is against the rules.
BRENNA
So's playing choo-choo with two
high school cheerleaders in the
middle of-
DESK OFFICER
-Okay okay.
BRENNA
You owe me. Besides, I'm cute.
The computer returns a reply onto a printer.
DESK OFFICER
(tears off sheet)
Taupin, Richard Marshall. Born
March 16, 1945 in Church Hill,
Maryland. Received first driver
permit 1967 in Philadelphia.
BRENNA
Church Hill, that's pretty close,
isn't it?
DESK OFFICER
Anything in Maryland is close.
23 EXT. GEORGETOWN STREET - DAY 23
Taupin steps out of a Metro station and walks the few blocks
to his brick townhouse. Climbing the front stairs, he fishes
his keys out of a coat pocket. About to insert the key he stops,
sensing something.
Backing down the steps, Taupin slips around to the rear of the
building.
24 INT. TAUPIN HOME 24
Like a spider Taupin pries open a window and slips silently
inside.
The home is dark and still.
Taupin creeps down the hallway and peers into the entryway.
There a MAN, dressed in a tuxedo jacket and nearly imperceptible
in the dim light, is crouched at the front door.
He is holding a sword.
Taupin removes a knife from his pocket and JUMPS the intruder.
The two STRUGGLE fiercely.
Taupin pins the intruder against the carpet and shoves his
knife firmly against the man's throat.
TAUPIN
Where is he?
Bulging eyes stare at him.
TAUPIN
Where!
INTRUDER
I don't know.
TAUPIN
What name is he using?
Taupin presses the blade. A trickle of blood rolls down the
throat.
INTRUDER
Smith. Carl Smith.
TAUPIN
How many came?
INTRUDER
The last four.
TAUPIN
And the Bulgarian?
INTRUDER
He got him.
(hoarse chuckle)
He always does. Eventually.
TAUPIN
He knows I'm here. How?
INTRUDER
None of this would be happening
if you hadn't run...
The knife is pressed deeper.
TAUPIN
_Answer_ me.
INTRUDER
(gasping)
We learned he'd found the immigration
notaries in Liverpool and traced them
to New York. Then he figured out the
birth records in Church Hill...
25 EXT. RURAL HIGHWAY - DAY 25
A city limit sign announcing the small community of Church
Hill is overtaken by Brenna's sedan.
26 EXT. ROADSIDE CAFE TELEPHONE BOOTH - DAY 26
Brenna looks through a telephone book.
BRENNA
Taupin...Taupin...
Nothing. She closes the book and drums her fingers on the cover.
27 EXT. COUNTY RECORDS OFFICE - DAY 27
An 1860s stone columned affair, far more impressive than the
low-lying town that surrounds it.
Brenna enters.
28 INT. COUNTY RECORDS OFFICE 28
Brenna sits sifting through a large cloth-bound book entitled
_Certificates of Birth: 1941-1948_.
BRENNA
(reading)
Tarmin...Tatum...Taupin, Richard
Marshall. Born to William and
Karen Taupin, no address. Attend-
ing physician, Dr. Willis Kidell.
29 INT. DR. KIDELL'S HOME 29
Dr. Kidell stands at his bookcase leafing through a binder.
KIDELL
1945, that strains the memory.
(after a fashion)
Here we are, Richard Taupin.
He carries the binder to the table where Brenna sits.
KIDELL
Would you like more tea?
BRENNA
No thank you, I'm fine.
Kidell sips his own and looks over the binder page.
KIDELL
He was unsual.
BRENNA
Why?
KIDELL
Well, this is a small town, and
it was even smaller then. Most
all the babies I delivered were
from local families. Richard's
parents were just passing through
when his mother's time came. I
did it right here at the house.
BRENNA
Then you didn't know Richard
later on.
KIDELL
No.
BRENNA
I've been trying to find somebody
who knew him and any connections
his family might have had with
museums or historical societies.
KIDELL
Don't know about any of that.
Suppose nobody does.
BRENNA
I don't follow you.
KIDELL
Poor little tyke didn't have a
chance. Hopelessly premature. He
died a few days after he was born.
BRENNA
The boy _died_?
KIDELL
Mother too. Sad case it was. The
young lady just couldn't make it
through labor. Never even saw her
son.
Dr. Kidell removes from the binder a tattered newspaper clipping.
KIDELL
My brother worked for the town
paper at the time. He took this
picture of the funeral.
Something in the clipping sparks Brenna's interest.
BRENNA
Have you spoken to anyone else
about this?
KIDELL
There was this one fella. Asked
a lot of questions. I was out
of town but I heard he spent near
a full day in the records office.
BRENNA
Would you remember his name?
KIDELL
(thinks)
Carl Smith.
30 INT. POLICE STATION 30
A police line-up.
Seven MEN, all dressed in Santa Claus outfits with bare legs,
are paraded for a small, old LADY.
OFFICER
Just tell us when you see the one.
Several rows back in the dark sits Brenna's UNCLE JOE, the
district attorney, and another man, his ASSISTANT.
UNCLE JOE
Forget it.
BRENNA
I'm just curious.
UNCLE JOE
You're never "just curious".
(to assistant)
You've met my neice, Brenna.
ASSISTANT
Hi Brenna.
OFFICER
(to line-up)
Number 5, lift your coat up more.
UNCLE JOE
Aren't you getting a little old for
this? You flunked out of law school.
BRENNA
(rolls her eyes)
Now there's a new topic.
UNCLE JOE
Don't they have enough for you to
do at the castle?
Brenna puts on her best little-girl angelic smile, a smile her
uncle can never refuse.
UNCLE JOE
(sighs)
Forgers do it all the time. They
take the birth certificate of some-
one who died young and use it to
get legit I.D. Usually they carry
it long enough to pass some bad
checks then dump it.
BRENNA
Thanks.
UNCLE JOE
Call your mother. You never call her.
OFFICER
(to old lady)
Well?
OLD LADY
I don't know. I'd have to see his
thing.
31 INT. BRENNA'S BEDROOM - NIGHT 31
A swath of moonlight shines in across a carafe-turned-vase,
a New England college diploma, and a police uniform hanging
from the bedpost where Brenna lies with another man, DENNIS.
BRENNA
I can't figure out why he's doing it.
He's been Richard Taupin at least
since 1967. And the guys rich. You
should see the stuff he has in that shop.
DENNIS
Maybe he's hiding from something.
BRENNA
Some guy named Smith was asking
about him in Church Hill. I passed
his name around with your buddies
downtown but they drew a blank. So
he isn't a cop. District anyway.
Dennis gets out of bed and begins putting on his uniform.
DENNIS
Probably just some exec ducking
an ex-wife.
BRENNA
Dr. Kidell had a picture in his
file of the funeral. The father
looked just like Richard. Even had
a mark on his cheek.
DENNIS
How old is Richard?
BRENNA
P.D. says 41, but he barely looks
30.
DENNIS
Find the father. That should clear
things up.
He buttons his shirt. Something occurs to him.
DENNIS
Taupin, isn't that the guy Moran
picked up the other night?
BRENNA
Yeah.
DENNIS
He'd want to know about all this.
BRENNA
Mr. Congeniality? Let him find his
own clues. There's a journal article
in this somewhere.
DENNIS
(shakes head)
Uncle Joey's little girl. Can't
get the taste out of her mouth.
Dennis puts on his police cap.
DENNIS
Well, the cream of society awaits.
(cocks hat to one side)
If you're ever in the neighborhood...
BRENNA
Sure.
32 EXT. RIVER EMBANKMENT - NIGHT 32
POLICE OFFICERS, their flashlights cutting the darkness, search
the mud shores of a Potomac tidal basin. The glowing Jefferson
Memorial can be seen in the distance.
DETECTIVE MORAN
Is supervising. An OFFICER climbs up the embankment to him.
OFFICER
They found it.
The officer leads him down to the river where a headless BODY
wearing a tuxedo jacket is being put into a plastic bag.
OFFICER
It was about fifty yards down-
stream from the head.
Moran looks down at the body bag, its dark plastic reflecting
the rythmic rotation of squad car beacons.
OFFICER
Both were cut real clean. Like the
other ones...
33 EXT. EQUESTRIAN RIDING GROUNDS - DAY 33
A steeple-chase course lies shrouded in an Arlington fog.
Across the damp grass a lone horse, heaving clouds of warm
breath, leaps gracefully over a hurdle. Driving the steed
hard through the course, Taupin pulls firm on the reins,
bringing horse and rider to a shuddering stop where Detective
Moran waits.
MORAN
There's been another murder.
Taupin lifts his eyes to the suburban treeline.
TAUPIN
My condolences.
MORAN
Where were you Tuesday night?
TAUPIN
Home.
MORAN
A neighbor saw your car leave.
TAUPIN
He's mistaken.
Taupin climbs down from his horse. Moran moves close.
MORAN
Look, I don't know what the hell
you're up to, but I think I've got
a pretty good idea.
TAUPIN
Do you?
MORAN
All I need is time.
TAUPIN
I've got all the time in the world.
(looks at watch)
Except right now. If you will excuse
me, Lieutenant.
In no hurry, Taupin leads his horse away.
34 INT. MUSEUM RESEARCH DEPARTMENT 34
Brenna sits surrounded by books of old English law, colorful
family banner plates, and a medieval caltrap sitting on her
desk corner.
Boring quickly, she shuts the book and sighs. From another
folder she pulls out a computer sheet.
INSERT COMPUTER SHEET
The police sheet has Taupin's name and motor vehicle record.
Below are listed four WILLIAM TAUPINS, their hometowns and
driving records. Richard Taupin's first driver permit was in
1967.
Brenna looks down the list to a WILLIAM TAUPIN of Felton,
Delaware, who stopped filling for driver permits in 1967, the
year Richard started.
35 EXT. GAS STATION - DAY 35
Dropping a couple of quarters into a vending machine, Brenna
removes and opens up a map of the State of Delaware.
36 EXT. GRAVEYARD - DAY 36
Brenna steps out of her car at a small town cemetary.
Holding a slip of paper, she weaves her way through the shade
covered tombs of revolutionary heroes and their descendants.
On a small rise fresh dirt lies in careless piles around an
open grave.
Richard Taupin stands at the mouth of the pit.
A coffin has been brutally pulled from the dirt and lies open
and propped diagonally beside a marker that reads: "WILLIAM
MICHAEL TAUPIN".
The casket is empty.
BRENNA
Someone beat you.
TAUPIN
Have you taken to touring small
town cemetaries, Miss Cartwright?
BRENNA
Grave robbers?
TAUPIN
Probably.
BRENNA
Who?
TAUPIN
People like that rarely leave
business cards.
BRENNA
Does Carl Smith?
A flash of interest, quickly suppressed.
TAUPIN
I don't know what you're talking
about.
BRENNA
I think you do. Better yet, I don't
think anything was stolen because
nothing was there in the first place.
And I think Mr. Smith, whoever he is,
now knows that.
TAUPIN
You have an active imagination.
BRENNA
I've been to Church Hill.
TAUPIN
Miss Cartwright, you are
involving yourself in
matters that do not concern
you. I strongly suggest you
return to Washington and stay
out of small town cemetaries.
He starts for the gate.
BRENNA
I could find him.
Taupin stops.
BRENNA
I have friends.
TAUPIN
I doubt that.
(beat)
Good day, Miss Cartwright.
He walks on.
After only a few paces Taupin suddenly shudders to an abrupt
stop.
BRENNA
What's wrong?
He holds up an open palm to silence her.
TAUPIN
Your help may be unneccessary.
The air is still.
Taupin's face is expressionless. He listens intently. Sensing.
An unseen voice rides seemingly on the wind.
VOICE
(o.s.)
Good afternoon, "Mr. Taupin".
Taupin whirls around to see a large man standing with broad
sword in hand. We have never seen the knight out of his armor
before, but this man certainly seems to fit the bill. Wearing
Levis and leather jacket in contrast to Taupin's expensive
business suit, he speaks with icy evenness from a face of stone.
Taupin, naked without his own sword, is trapped against a
marble wall.
KNIGHT
Long time.
TAUPIN
Not so long.
The Knight is closing in on him, sword gripped in both hands.
TAUPIN
You've been here from the
start.
KNIGHT
My quarry grows clever with
age. And the others, incompetent.
The Knight throws Brenna a glance.
KNIGHT
Friend of yours?
TAUPIN
Of sorts.
KNIGHT
I do hope she enjoys a good
show.
The Knight leans his whole body into a two-fisted swing,
clanging out a chunk of marble as Taupin ducks.
A second swipe also imbeds itself in stone.
KNIGHT
So now it ends.
A thrust cuts only air.
KNIGHT
Generation upon generation.
Tens of thousands of miles.
Taupin leaps behind a tree. The Knight cuts it nearly in half.
KNIGHT
You're the last, MacLeod.
Romirez, Lacroux, Neuvich,
those fools that followed
me, their heads all line my
shelf. All but yours.
Taupin drops to the ground in a shoulder roll to avoid a swipe.
KNIGHT
Can you feel it, MacLeod?
Can you _feel_ it!
Taupin grabs a tree branch and raps the Knight on the knee,
knocking him over.
The Knight quickly rights himself and cuts the branch from
Taupin.
KNIGHT
There can be but one.
He raises his blade.
An elderly WATCHMAN, shotgun cradled in his arms, stands in
the clearing.
WATCHMAN
Hey! What's going on here?
The Knight pauses a split second then with decision launches
his sword spear-style firmly into the watchman's chest.
Taupin pushes past him to Brenna.
TAUPIN
Run!
Brenna is frozen in shock.
Taupin shoves her roughly toward the gate.
TAUPIN
Run!
KNIGHT
MACLEOD!
The Knight retrieves his sword from the watchman's body and
lumbers after them.
Taupin and Brenna bolt from the cemetary and into the surround-
ing residential area.
37 EXT. RESIDENTIAL STREET - DAY 37
Taupin leads an exhausted Brenna in a gallop down the side-
walk.
They have apparently lost the Knight. Taupin pauses at a
corner. He sees a church across the street.
38 INT. CHURCH 38
Brenna enters and collapses into a pew, her labored breathing
echoing off the high ceiling.
Taupin walks the length of an aisle to see that they are alone.
Satisfied, he leans against a banister and considers his sit-
uation.
Trying to recover her wind, Brenna has her eyes closed and
head against the back of the pew.
BRENNA
Jesus Christ.
TAUPIN
You'll be safe here. He won't
kill in a church.
BRENNA
Why not?
TAUPIN
(distracted)
Tradition.
BRENNA
What the hell is going on?
Taupin stares out the window, stained glass shining orange on
his face. He looks at Brenna briefly, then passes through the
Church's doorway without a word.
DISSOLVE TO:
39 INT. MEDIEVAL BLACKSMITH SHOP 39
A glowing horseshoe HISSES wildly as it slips into a wooden
cooling bucket. Pulling it out with iron tongs, Conor lays
it on a counter and pounds it even with a mallet.
Sweaty and streaked with dirt, he tosses the mallet aside
and walks out into the late afternoon sunshine.
40 EXT. SHOP FRONTAGE - DAY 40
Conor leans over a water barrel and dunks his head and arms,
cleaning off a day's worth of sweat and grime.
JUAN ROMIREZ
Stirring up dust with his travelling boots, this Spanish acc-
ented man stops at Conor's shop. He wears a large broad sword
strapped to his waist.
CONOR
Afternoon.
ROMIREZ
Your name is Conor?
CONOR
Aye.
ROMIREZ
(bows slightly)
Juan Cid Romirez. Chief
surveyor and alchemist.
CONOR
(notices accent)
You're not from these
parts.
ROMIREZ
I am from Spain. And I
would like a moment of
your time.
41 INT. CONOR'S HOME 41
Romirez is seated at a table. His back to the Spaniard,
Conor is preparing some food.
CONOR
I haven't much to offer,
Mr. Romirez from Spain,
but you're welcome to what's
here.
ROMIREZ
Please go to no trouble.
Romirez is looking at the faint, pale hint of a scar that
runs from Conor's shoulder blade to his waist.
ROMIREZ
Your back, it would seem
perhaps you were injured
in battle?
CONOR
Five years past me clan
fought another over some-
thing I cannot even re-
member.
ROMIREZ
Your marks would suggest
great injury.
CONOR
I was nearly killed.
ROMIREZ
But you lived.
Conor looks up from his work in pained memory.
CONOR
I did at that.
ROMIREZ
And but for a mark you are
well as any man, no?
CONOR
Aye.
ROMIREZ
I should imagine that your
recovery must have alarmed
your fellow villagers, perhaps
giving them reason to invent
an explanation. And a solution.
Something isn't right.
Conor turns and faces him.
CONOR
I was driven out.
ROMIREZ
And now you live in a small
village miles away from all
you knew.
CONOR
How can you know this?
ROMIREZ
(tone lightens)
First food, no? A good meal
makes conversation so much
easier.
Stunned with the implications of what Romirez has said, like
a robot Conor serves the meal. His eyes never leave Romirez,
who digs hungrily into the food.
ROMIREZ
Hmm, que rico. What is it you
call this?
CONOR
Pheasant.
ROMIREZ
You Scots have a way with
game. It still has life in it.
Spirit. Back home the food
is so...domestic.
CONOR
Why are you here?
ROMIREZ
I was sent by his majesty of
Spain to Inverness as a con-
sultant on matters of metal.
CONOR
You're a long way from Inverness.
ROMIREZ
In my travels I heard the story of
the MacLeod boy struck down and
brought from the hand of
death by powers not of this Earth.
CONOR
You know me home. Me name.
ROMIREZ
It was time for our paths to cross.
Romirez pulls back the sleeve on his cloak.
ROMIREZ
You see this?
He traces some discoloration on his arm.
ROMIREZ
When I was a boy a cart driven
by a drunken fool crushed me. All
thought I would die or be maimed
for life. But I healed quickly.
And like you I paid the price
for being different.
CONOR
You are the same?
ROMIREZ
Do you ever feel a flow, as if some-
thing were pushing against you?
CONOR
Yes. Always.
ROMIREZ
Does it change with me in the room?
CONOR
It is less.
ROMIREZ
You feel you know me.
CONOR
I don't know why.
ROMIREZ
We are brothers.
42 EXT. VILLAGE - NIGHT
Romirez and Conor walk alone amongst torch-lit hutches.
CONOR
He told me there could be only
one.
ROMIREZ
Some cling to sanity through time
with the one continuity and trad0
ition their lives have known: The
Game.
(Conor confused)
You and I Conor, we are different
from all others around us. You
know this, you can feel it. We are
flesh and bone like any man, but
unlike our neighbors we are rather
difficult to injure,
(looks away)
permanently.
CONOR
I don't understand.
ROMIREZ
You are still so very young.
CONOR
I'm twenty-two.
ROMIREZ
(shakes head)
Not even a single lifetime.
Romirez chooses his words very carefully.
ROMIREZ
Conor, you and I, we cannot be
killed.
CONOR
What?
ROMIREZ
We are immortal.
Stunned, Conor backs away from Romirez.
CONOR
No, that can't be.
Romirez grasps Conor's shoulder.
ROMIREZ
It is as you are.
CONOR
(pushes away)
No!
This is all too much for Conor.
ROMIREZ
Listen to me. Hear the words.
CONOR
This is madness!
ROMIREZ
It is the truth.
CONOR
No!
Romirez suddenly draws his sword and thrusts it into Conor's
heart. The boy's mouth drops open in shocked terror as his
eyes roll up into his head.
A shudder, then Conor slides off the blade and crashes to the
ground.
DISSOLVE TO:
43 EXT. POLICE STATION - DAY 43
Brenna stops her car in front of the Washington Police Depart-
ment. Getting out of her car she climbs the stairs but stops.
After a moment of indecision she changes her mind and returns
to her car.
44 INT. BRENNA'S APARTMENT - DAY 44
Brenna lowers herself wearily into a chair, rubs her eyes,
and stares absently out the window.
Reaching across to an end table, she plays back her answering
machine.
Beep.
MALE VOICE
This is Dr. Wickland at GWU. Your
test came back today. You can call
me here at the med center if you
have any questions.
Click.
Beep.
SUPERVISOR'S VOICE
Brenna, where the hell are you?
The place is full of cops asking
weird questions. What's going on?
I've got work stacking up. Get
in here right away.
Brenna stands and goes to the kitchen, returning with a glass
of wine.
Click.
Beep.
KNIGHT'S VOICE
Brenna.
She freezes in her tracks.
KNIGHT'S VOICE
My quarrel is not with you. Meet
me.
Brenna's eyes are glued on the machine.
KNIGHT'S VOICE
We have much to talk of, you and
I. Answers for the young historian.
(beat)
O'Reily's. Tonight. I've grown to
like taverns.
Click.
Beep.
SEVERAL LITTLE GIRLS
(singing)
Happy birthday to you, happy birth-
day to you, happy birthday dear
Brenna, happy birthday to you.
Brenna is still upset from the last call.
MOTHER'S VOICE
Hi Brenna, it's mom. Me and your neices
just wanted to call and wish you a
happy birthday. Crissy made a real cute
card for you, be sure to call her. Will
you be home for Easter? Call when you
can. Love you.
Click.
Hiss.
DISSOLVE TO:
45. INT. CONOR'S HOME - DAY 45
This HISS of Brenna's answering machine becomes the HISS of
cooking. Bandaged about the chest, Conor asleep on his
cot.
Suddenly he sits up. Sweating. He looks about the room in
confusion as Romirez enters with a plate of food.
ROMIREZ
Three days you've laid there.
It's time you ate.
CONOR
(dazed)
This can't be.
ROMIREZ
You are not dead, boy. Accept it.
CONOR
This is monstrous. I'll burn in
hell for all eternity.
ROMIREZ
You'd have to die first.
(extends forkful of food)
Aqui.
Conor starts CRYING.
CONOR
What is to become of me? Am I to
wander the Earth forever like a
ghost?
ROMIREZ
You will live. Survive.
CONOR
Then they were right. I am evil.
This is God's punishment.
ROMIREZ
You have done nothing wrong Conor
MacLeod.
CONOR
Oh my God. Oh my God I'm lost.
DISSOLVE TO:
46 EXT. CONOR'S VILLAGE - DAY 46
Two days later.
Nearly healed, Conor and Romirez stand near a quietly moving
stream.
CONOR
Why does he want to kill me?
ROMIREZ
You recall how I spoke of the push
you feel and how I make it less?
CONOR
Aye.
ROMIREZ
It is always less with my living.
Far or near. But if I were to die
the push would become stronger
than ever before. There is power
in this. And as long as you and I
live, The Knight can never have
it all.
CONOR
But we cannot be killed.
ROMIREZ
There is an imperfection. For all
your healing, if your head ever
leaves your neck, you are dead.
You can survive anything but steel
against your threat. Then it is
over. The end.
CONOR
How can I stop such a man?
ROMIREZ
Hide. Run to the ends of the Earth
till you learn. You must learn to
defend yourself. In this I can help.
CONOR
Why?
ROMIREZ
We are brothers. And you are a
defense-
(beat)
-of sorts.
47 EXT. PENNSYLVANIA FARMHOUSE - DAY 47
An old man, MR. NORTH, leads Taupin up the drive of a rural
farmhouse somewhere in the hinterland of Pennsylvania.
MR. NORTH
When your father died I saw to
it that the grounds were kept up.
TAUPIN
The money in the estate was
enough to cover your costs?
MR. NORTH
Oh yes, more than enough.
48 INT. FARMHOUSE 48
Furniture clad in white sheets. Dust everywhere.
MR. NORTH
Most of the furniture was put
into protective storage. I'll
have some boys come up and clean
the place out for you.
Taupin drags a finger across a dusty window pane.
MR. NORTH
(fascinated)
You're one of William's kids,
huh?
TAUPIN
His only kid.
MR. NORTH
Sure take after him. Never seen
a father and son look more alike.
TAUPIN
We were very close.
MR. NORTH
The resemblance is amazing.
TAUPIN
When may I expect the cleaners?
MR. NORTH
I'll send them right up.
49 INT. "O'REILY'S" - NIGHT 49
Coupled strangers gyrate under colored lights and recorded music.
Brenna sits alone. Whatever nervousness she brought through the
door with her has been turned into a comfortable cynicism by
the three empty glasses in front of her.
A MAN
With something less than perfect coordination, sits down beside
her.
MAN
That stuff'll put you away if
you're not careful.
BRENNA
There was a Count. Count Dusan. He
would invite the local peasants to
his chateau, fill them full of wine,
then slice their bellies so he
could reuse it.
(smiles)
The symmetry of that somehow always
appealed to me.
MAN
You're very macabre.
BRENNA
It's my birthday.
MAN
Happy birthday.
BRENNA
Thanks.
Brenna drains her glass and sets it down with a sigh.
BRENNA
Buy a birthday girl a drink?
50 INT. PUB - NIGHT 50
A small neighborhood tavern. Regulars chat amicably with the
BARTENDER-OWNER.
TAUPIN
Sits alone at a corner table. A WAITRESS hovers over him.
TAUPIN
Lager and lime.
LATER
Taupin's lager is drained. Lost in thought, he drags a finger
around and around the lip of the mug.
He hand stops. It twitches. Shakes.
Taupin pulls his hand from the glass and watches it shake slightly
out of control. A warning.
He WHIRLS around suddenly to see LING KAHN, Asian, standing
over him.
KAHN
MacLeod.
Taupin is anxious, poised for attack.
Kahn breaks into a broad smile.
KAHN
Spare a chair?
TAUPIN
Kahn?
KAHN
Are you going to offer me a chair
or leave me standing here all night?
TAUPIN
Sit.
Kahn takes his place across the table.
TAUPIN
(unsure)
How are you?
KAHN
Head still secure to the neck.
TAUPIN
How did you find me?
KAHN
How many places this side of the
Atlantic serve lager and lime?
Taupin looks to his own glass.
KAHN
Old habits die hard.
(to waitress)
Waitress! A round of Nitzhic!
(beat)
Peasant drool, I know. But it's the
closest thing they stock to my side
of the fence.
TAUPIN
What are you doing here?
KAHN
It is the gathering, my friend. The
settling of old scores.
Taupin tenses.
TAUPIN
And have you something to settle
with me?
KAHN
(smiles)
Not tonight. Tonight I have a drink
with an old friend.
TAUPIN
It's good to see you, Kahn.
The waitress sets down two glasses.
KAHN
Come, toast with me the past.
(raises glass)
To old conquests, old loves, and to a
time when we cared about either.
Kahn drains his glass.
KAHN
Waitress!
51 EXT. THE WASHINGTON MALL - NIGHT 51
Kahn and Taupin sit drunkedly on the marble steps of a closed
government building.
KAHN
I'll never forget the look on that
Papal commander's face when his
"heretic stronghold" turned out to
be a rock full of whores climbing
all over Neuvich.
TAUPIN
Neuvich, the clown of the crusades.
KAHN
But then rides up Pope Pius who
calmly brushes the dust from his
papal cross, climbs off his papal
horse, draws his papal sword and
asks just what the hell is going
on. And what did Neuvich, dear
dear drunken Neuvich do?
TAUPIN
Offered the Pope one of his whores.
They LAUGH.
A JOGGER stops on the gravel and listens to the strange conversation.
TAUPIN
Had a great swing with his blade.
For a Pope.
KAHN
(sighs)
Good times then. A man could
stretch his legs without bring-
ing half the world down around
his ears. Not like now.
The jogger shakes his head and runs on.
TAUPIN
(serious)
He found us even there.
KAHN
He always did.
52 EXT. ZOO - NIGHT 52
A CLINKING of chain link as Taupin and Kahn climb a fence and
tumble into the Washington Zoo.
TAUPIN
I haven't drunk this much since-
KAHN
-Since you last saw me.
Kahn chucks an empty wine bottle. An unspecified animal GROWLS
sleepily somewhere in the darkness.
KAHN
Come on.
53 EXT. DISPLAY AREA - NIGHT 53
Taupin and Kahn stumble through an open-air display of Asian
animals. Their VOICES seem to echo everywhere.
KAHN
I love zoos. Ever since I was
a kid.
TAUPIN
You were never a kid.
Kahn leans on the wall of a water buffalo pen.
KAHN
(points at one)
I knew his great-grandfather.
TAUPIN
You're insane.
KAHN
No, seriously. We used to shoot pool
together in Rangoon.
TAUPIN
How do you do it, Kahn? How do you
live so full of life for so long?
KAHN
Tasting and enjoying life is the
only thing of value we have. All
else is just marking time.
(beat)
You're marking time.
TAUPIN
I've had a few more concerns.
Kahn jams his hands into his overcoat and starts down the footpath.
KAHN
The pressure only comes when you
let the taste slip into your mouth.
TAUPIN
You're wrong.
KAHN
You don't run as hard, MacLeod.
You just don't run as hard anymore.
54 INT. O'REILY'S - NIGHT 54
Late. The bar is nearly empty.
No sign of the Knight. Brenna looks at her watch, sighs, and
drops a bill onto the counter.
55 EXT. STREET - NIGHT 55
Brenna has left the bar and is now walking down a dimly lit
street.
She hears something and turns.
-Nothing. A breeze rustles the trees above.
After only a few more paces she hears something again.
Brenna abruptly turns.
-Right into the face of THE KNIGHT.
Brenna SCREAMS. The Knight reaches into his leather carrying bag.
A GROUP OF NOISY TEENAGERS
Exit a facing townhouse. The Knight removes his hand from the
bag as they spill onto the sidewalk LAUGHING and YELLING.
Brenna moves close to the group as they walk to the corner.
The Knight follows at a measured distance.
At the corner the teenagers climb into a pickup and drive off.
Brenna bolts into the intersection. Weaving through SCREECHING
brakes, she disappears into a pair of lighted glass doors.
56 INT. BUILDING 56
40 well dressed PATRONS, numbered cards pinned to their lapels,
sit in velvetly plush surroundings. At the front of the room
stands a thin moustached art AUCTIONEER.
Brenna BUSTLES in from outside.
AUCTIONEER
I apoligize for the lateness of the
hour, but I'm sure you will all agree
the quality of this year's collection
is well worth the time.
The Knight BURSTS in with his leather carrying bag. Brenna
slides along the draped back wall to avoid him.
AUCTIONEER
(holding statuette)
For this fine example of medieval
religious art, let us open the bid
at 4,000 dollars.
The Knight closes in on Brenna casually, without hurry.
AUCTIONEER
10,500 once, 10,500 twice...
Brenna raises her arm to attract the attention of a SECURITY
GUARD..
AUCTIONEER
(points at Brenna)
11,000. A bid at 11,000.
BRENNA
No, I-
The guard notices she has no lapel number and starts for her
very officially.
Being closed in on from both sides, Brenna suddenly runs across
the room to a fire exit, setting off an ALARM as she flies open
the door.
The Knight leaps after her, knocking over an OLD WOMAN in the
front row.
57 EXT. BUILDING - NIGHT 57
Brenna runs the sidewalk and disappears into a Metro station.
58 INT. METRO STATION 58
Brenna runs down the platform and jumps into a subway car
just as the doors shut.
THE KNIGHT
is also now on the platform but can only watch Brenna through
a window as the train pulls away.
59 EXT. TAUPIN'S TOWNHOUSE - DAY 59
Brenna KNOCKS at the front door. No answer.
She KNOCKS harder. The unlatched door pushes open.
60 INT. TOWNHOUSE 60
Brenna stands in the doorway.
Before her is a disaster. Furniture has been smashed like
matchsticks. A desk drawer's contents lie strewn in piles on
the floor.
Brenna enters slowly.
BRENNA
Mr. Taupin? I have to talk to
you.
Nothing has been left unturned or unbroken.
Brenna kneels and sifts through a pile of crumpled papers.
She comes across an old black and white photograph. Badly
streaked and faded, it shows Taupin standing beside a farm-
house. Written in the corner is "Worstick, 1928".
Brenna slips the photo into her pocket. Standing, she turns
smack into Taupin.
TAUPIN
Finished?
He looks past her to the destruction of his living room. It
doesn't seem to surprise him.
BRENNA
He tried to kill me last night.
TAUPIN
Where?
BRENNA
Dupont Circle.
Taupin sifts through the debris, selecting articles from it.
BRENNA
Who is he?
TAUPIN
At the moment? Carl Smith.
BRENNA
And you?
He ignores the question.
BRENNA
What will you do now?
TAUPIN
You needn't worry Miss Cartwright.
I've been at this a very long time.
BRENNA
He called you "MacLeod".
TAUPIN
Not your concern.
BRENNA
I left a man dead in
Felton. But you don't
really care, do you?
TAUPIN
That bothers you?
BRENNA
He was innocent.
TAUPIN
He's dead. Whatever I may
or may not feel means
exceedingly little to him
now.
BRENNA
What about me?
TAUPIN
You?
BRENNA
I'm a witness to a murder. That
seems to put me pretty high
on your friend's chop list.
TAUPIN
Have you gone to the
police?
BRENNA
No.
TAUPIN
Why not? I'm sure they'd
love to hear your story.
BRENNA
I'd rather hear yours.
TAUPIN
(beat)
You are being foolish.
BRENNA
I'm a historian, Mr. Taupin.
Only once in a lifetime do you
stare history in the face.
TAUPIN
Go home.
He walks to the doorway.
BRENNA
Why does he want to kill you?
Taupin stops, his back to her.
TAUPIN
He sees me as a threat.
BRENNA
Are you?
Taupin walks out the door.
DISSOLVE TO:
61 EXT. GRASSY KNOLL - DAY 61
On a clear rise above the village Romirez and Conor spar with
swords covered in heavy cloth. Conor is having difficulty.
ROMIREZ
Concentrate!
Conor thrusts. Romirez blocks.
ROMIREZ
Harder. Concentrate harder.
CONOR
Me arm hurts.
ROMIREZ
Again. Try again.
Conor strikes. Romirez easily blocks.
ROMIREZ
Harder! You swing like an impotent
cow!
CONOR
Go to hell.
ROMIREZ
Oh, the boy has a mouth,
now if only he had an arm.
Ticked off, Conor leans himself into a two-fisted swing.
Romirez knocks it aside, but Conor recovers faster than he,
knocking Romirez flat on his back.
CONOR
Impotent cow.
ROMIREZ
Muy Bien!
Conor drops the sword and wipes the sweat from his face.
Romirez pours wine from a leather bag into a goblet pulled
from his belt. He offers it to Conor.
ROMIREZ
Here my boy, from vineyards
as sweet and smooth as a young
girl's thigh.
Conor accepts the cup. Romirez pulls himself to his feet.
ROMIREZ
It will take less effort
as you learn.
CONOR
It's like to kill me first.
Romirez puts his arm around Conor and refills his cup.
ROMIREZ
You have a gift. One you
must protect.
CONOR
And what is this great
gift that cannot be seen
or smelt?
ROMIREZ
The Fabric of life. The spark
that allows the passing of
existence from one generation
to another.
CONOR
(shakes head)
If that was meant to be an ex-
planation Mr. Romirez from Spain,
I'm afraid you've failed.
Romirez put his arm around Conor and leads him away.
ROMIREZ
Come. Enough sword play for an
afternoon.
62 EXT. COUNTRYSIDE - DAY 62
A friendly horse race. Their reflections bouncing off a clear
glen, Conor and Romirez dodge moss-laiden ruts and leap fallen
tree trunks.
Beaming, Conor pushes through a last turn and stops to wait
for Romirez, several lengths behind.
CONOR
(as Romirez rides up)
You're no match for Scot, Mr.
Romirez. We're raised as riders.
ROMIREZ
Point conceeded, Mr. MacLeod.
Both their eyes turn to the beauty in view. Romirez pulls a
leaf from a tree and studies it closely.
CONOR
What is the fascinatioon? It is only
a leaf.
ROMIREZ
All living things pay dues,
Conor. They must be respected
for that.
He pulls the leaf's points from the stalk, one by one.
ROMIREZ
As they age they contribute to a
sum that is the kindling from which
all future life comes. To feel it,
to know it, is to be in touch with
the will of every living thing.
CONOR
I do not think I like the sound
of that.
ROMIREZ
It does not feel nearly as frightening
as it sounds. But the consequences of
such feelings can be very frightening.
For it gives you great strength. The
strength of _knowledge_. The ability
to stand between the giving of what
has always been to what will always
be.
CONOR
I feel hardly nothing.
ROMIREZ
You have not been fully trained.
But you will learn. And you will be
good, I can feel that. You have apt-
itude. This is why our friend is
so concerned.
CONOR
But why be so concerned about me?
ROMIREZ
This power is divided amongst you,
me, and others like cuts in a pie.
But the cuts are not equal. Some,
like you and he, have more. Much
more.
CONOR
And you?
ROMIREZ
I am a small player. But if by
helping you I can keep that monster
from being the last, then perhaps
my life has meant something.
CONOR
I am not ready for this.
ROMIREZ
You must be. You have responsibilities.
You must learn the rules. You can never
attract attention to yourself, never
show the side that will draw others to
you. You will always know when you are
in the presence of another. Beware.
But more importantly Conor MacLeod, will
be your battle against time. In the
coming years you will see kingdoms rise
then rot like wheat. People will
become a transitory, pathetic lot. The
only constant you will know will be
the others and the tradition their
greed and quest represent. But life
without morality, without the ability
to truly taste the sweetness of wine
and love, is no life at all. That is
how the others exist. Nothing more
than walking corpses living only to
slaughter each other in an insane quest
to be the last. Keep your soul sewed
to the earth. Do not become one of them.
CONOR
Of course.
ROMIREZ
You are young, inexperienced. You
do not know what time can do. How
it can sap all pity, all love.
CONOR
That is not me.
ROMIREZ
With the proper tools, Conor, a
naive man can be much more dangerous
than an evil one.
VILLAGER
Conor!
A VILLAGER approaches from across the pasture.
CONOR
Yes, Darin.
VILLAGER
Hate to be bothering you like this,
but me mare threw a shoe.
Conor looks to Romirez.
ROMIREZ
Go ahead, Senor.
(gestures to wine)
I have my friend to keep me company.
CONOR
I'll be back when I can.
Conor sets off across the pasture.
64 INT. CONOR'S HOME 64
Romirez enters and flops onto a cot.
Settling down for a nap, he sets his sword beneath the bed
and closes his eyes to the distant sound of CHILDREN playing.
The room is still.
Romirez begins to drowse.
Suddenly his eyes leap open with full alertness.
His hand moves under the cot.
With an EXPLOSION the front door is lifted from its hinges
and splintered into fragments. Passing through a cloud of
sawdust enters the Knight. Without pause he topples a kitchen
shelf onto a supine Romirez.
KNIGHT
Romirez. What a surprise.
Romirez is struggling under the debris.
The Knight thrusts hard onto an exposed leg.
The limb is severed.
ROMIREZ
Madonna!
The Knight begins casting aside the shelving.
With lightning speed Romirez pulls the sword from beneath the
bed and hammers it deep into the Knight's side.
KNIGHT
Bastard!
He crashes back against the wall.
Romirez tries to lift himself from the bed using his sword
as a crutch.
The Knight has regained a meager balance on his knees.
Blood pours from the slice in his stomach,
Romirez pushes himself across the bed, plants his sword into
the floor and hobbles a few paces before collapsing.
ROMIREZ
Oh, Santa Maria!
The Knight crawls across the bed and drops to his knees
beside Romirez.
KNIGHT
Why run?
ROMIREZ
Demonio!
The Knight's trembling hands raise his shaking sword high.
KNIGHT
To hell with you.
65 EXT. BARNYARD - DAY 65
Conor pounds at a horseshoe.
The hammer slips from his grasp as he slumps forward as if
pushed.
66 EXT. CONOR'S HOME - DAY 66
Badly wounded, the Knight staggers through the shattered
doorway and tumbles into the street.
A CHILD SCREAMS.
Pulling himself up, the Knight hobbles away.
67 EXT. - DAY 67
Conor is running through the village.
67 INT. CONOR'S HOME 67
Conor rushes in and shudders to a stop.
An entire wall is showered with blood.
Conor walks slowly forward. Dazed.
As he looks down something takes his attention.
It is Romirez's severed head.
Conor moans in anguish and drops to his knees on the blood-
stained floor.
His head sinks to his chest as he begins sobbing.
DISSOLVE TO:
68 INT. MUSEUM RESEARCH LIBRARY 68
Somewhere in the bowels of the museum, the RESEARCH
LIBRARIAN, a wiry young man, sits at his cluttered desk.
Brenna looms above him.
LIBRARIAN
Come on Brenna, your ass
is already in a sling, don't
drag me into it.
BRENNA
All I need is for you
to check the name.
LIBRARIAN
You talked to your supervisor
lately? He's burning up the
place about you just dropping
out of sight. That on top of
the cops bugging him.
BRENNA
I'll take care of that
Corey, but I need this now.
The librarian looks her over skeptically.
BRENNA
Corey, you _owe_ me.
LIBRARIAN
It's that important?
BRENNA
Yeah.
The librarian reluctantly reaches for his keys.
69 INT. STORAGE AREA 69
Holding Brenna's photograph, the research librarian is comb-
ing through stained binders. The room is old, disorganized,
and gives the impression that every fact worth knowing must
be in it somewhere.
RESEARCHER
Wilson know about this?
BRENNA
I'm doing it on my own.
LIBRARIAN
Good way to lose your job.
BRENNA
Some job. Card filing and
cabinet dusting. Four years
in this dump and I haven't
written anything for Wilson
that a wounded yak couldn't
do.
LIBRARIAN
I liked the bit you did
about Baltic chastity belts.
Too bad no one else did.
BRENNA
It's bullshit. Everything.
My job, the people I get
involved with, I'm up to here
with it.
LIBRARIAN
You always were hard to
impress.
The librarian pulls a binder and opens it.
BRENNA
Who is it?
LIBRARIAN
Not who. What. Worstick's
a town in Pennsylvania.
70 INT. MUSEUM RESEARCH OFFICE 70
Brenna enters and sits at her desk. She is looking for
something.
BRENNA
(confused)
Chris, have you seen my
notebook?
Chris is seated at the desk next to her. He points at the
supervisor's door.
BRENNA
Why, that son of a bitch.
71 INT. MUSEUM SUPERVISOR'S OFFICE 71
The high backed office chair is spun away from an angry,
entering Brenna.
BRENNA
What's wrong Wilson, huh? Not enough
excitement in your own desk? What the
hell were you looking for in mine?
The chair turns. Detective Moran, not her supervisor, leafs
through her notebook.
MORAN
A murder.
BRENNA
You better have a warrant. That's
my notebook, you've got no right
to be sticking your fingers into it.
MORAN
I've got a morgue filling up with
bodies. That's my right.
BRENNA
What do you want from me?
MORAN
Well, the man of the hour that we
all would like to talk to about now
has apparently skipped town.
(looks at notebook)
And all of a sudden the Smithsonian's
ambulence chaser is an expert on
missing persons.
Brenna lifts the telephone receiver.
BRENNA
I'm calling an attorney.
MORAN
You and I should talk first.
BRENNA
We've got nothing to say.
Moran presses the post on the phone.
MORAN
What are you going to tell them? That
you're protecting a man who's
killed four people?
BRENNA
Four?
MORAN
All fashionably without heads.
BRENNA
Spare me the details.
MORAN
But there's more. Wednesday someone
played javelin with the cemetary
curator in Felton, Delaware. Some
locals spotted two cars with D.C.
plates and surprise surprise, they
turn out to be registered to our
own Brenna Cartwright and the ever
popular Richard Taupin.
BRENNA
What are you getting at, Moran?
MORAN
You've been a busy little beaver.
Especially with that records mess
up in Church Hill.
(looks at notebook)
Your notes are very complete.
Naturally my feelings were crushed
when you didn't rush right over
and tell us what you knew.
(looks up)
In fact, we're considering book-
ing the ambulence chaser as an
accessory to murder.
BRENNA
It'll never stick.
MORAN
But we might just give it the
'ole college try. What with the
court back ups, it could be days
before you got an arraignment.
But then, I'm sure the flunk-out
neice of the D.A. knows all about
that.
BRENNA
You're an asshole, Moran.
MORAN
I want Taupin.
BRENNA
What makes you so sure he's
the one?
MORAN
Just for laughs we raided wonder
boy's house. There was a gallon
of one of the corpse's blood in
his carpet. I think it was about
then I withdrew his name for
humanitarian of the year.
BRENNA
What's all of this got to do
with me?
MORAN
What were you doing in Felton?
BRENNA
Research. If your pal was there
I never saw him.
MORAN
I have witnesses that can put
the two of you together.
BRENNA
(knows he's bluffing)
Never take up poker, Detective.
MORAN
Don't be stupid, lady. Your neck
can be sliced as fast as anyone
else's.
Brenna reaches across and lifts her notebook.
BRENNA
Why don't you wait until it comes
out in paperback?
Moran watches her leave. He lifts the telephone receiver.
RESEARCH OFFICE
Striding out into the corridor, Brenna passes Dennis, the cop
from her bedroom, leaning against the doorway.
DENNIS
I warned you.
BRENNA
Go to hell.
72 INT. CHURCH (WASHINGTON D.C.) 72
A PRIEST celebrates mass in a present-day cathedral.
In the rear of the church apart from the other PARISHIONERS
sits the Knight. As the priest leads the parishioners through
the procession of faith, the Knight alone repeats it quietly
to himself in Latin, the ancient language of the church.
DISSOLVE TO:
73 EXT. ABANDONED GRAVEYARD - DAY 73
Crooked tombstones strewn across the bleached ground of a place
not beloning to reality.
In full medieval tartan, Conor stands against a forceful wind.
CRACKS
Run the length plain, spewing forth steam and staggering
SKELETONS. There are dozens of them, all carrying their skulls
under one arm.
The skeletons press forward and trap Conor against the trunk
of a dead oak. The heads break into harsh, demonic LAUGHTER.
Conor puts his hands over his ears in pain as the bodies push
forward.
SCREAMING, he disappears under a mass of gleaming bones.
CUT TO:
74 INT. TAUPIN'S WORSTICK HOME 74
Taupin wakes from the dream with a SHOUT.
He has fallen asleep in a desk chair.
Taupin walks to a window and looks out to the green hills. To
the distance.
75 EXT. RURAL ROAD - DAY 75
Brenna's sedan shoots down a country highway.
76 INT. SEDAN - DAY 76
Checking her rear view mirror, Brenna notices two suspicious
FIGURES in a car behind her.
77 EXT. RURAL ROAD - DAY 77
Brenna pulls to the side. The car from behind passes without
incident.
78 INT. SEDAN - DAY 78
Brenna is driving again. Listening now to the RADIO, she
casts a glance in the mirror. The same car is behind her.
79 EXT. RURAL ROAD - DAY 79
Passing over a rise in the highway, Brenna turns abruptly
onto a service road and behind a group of trees.
THE OTHER CAR
Pauses a moment at the intersection, then drives on.
80 EXT. STOREFRONT - DAY 80
Brenna shows the PROPRIETOR the photograph. He explains
something to her.
Brenna steps outside the store onto the Main Street of the
very small community of Worstick.
AT A STREET CORNER
Brenna passes a small monument settled in a flower bed. It has
a plaque memorializing five locals murdered in 1931.
81 INT. SEDAN 81
A mile out of town Brenna stops at a farmhouse. She checks
it against the photo she found at Taupin's townhouse. They
match.
82 EXT. FARMHOUSE DOOR - DAY 82
Brenna KNOCKS.
TAUPIN
You shouldn't have come.
Brenna whirls around and sees Taupin behind her.
TAUPIN
We're you followed?
He looks to the road.
BRENNA
No.
TAUPIN
No one knows you're here?
BRENNA
No. I had to talk to you.
TAUPIN
You had to do _nothing_!
BRENNA
You're wrong.
TAUPIN
You're a fool.
BRENNA
Maybe.
Pause. Taupin strides through the doorway.
TAUPIN
Come inside.
83 INT. FARMHOUSE 83
Brenna and Taupin enter. A heavy broad sword sits on the
coffee table.
BRENNA
Is this what you killed them with?
TAUPIN
You've been listening to rumors.
BRENNA
Our cars were seen together in
Felton. They're calling me an
accessory to murder.
TAUPIN
You are. Now.
Beat. They're stuck with each other.
TAUPIN
There's several bedrooms down the
hall. Take your pick.
84 INT. BEDROOM 84
The room is a strange decor. 18th century paintings hang
beside grotesque medieval carvings.
Brenna's face softens with worry. What is she doing?
85 EXT. RURAL PAY PHONE - DAY 85
A plain-clothed POLICE OFFICER is in mid conversation.
OFFICER
No, that's the last place we saw
her. Okay, will do.
He hangs up.
PARTNER
Well?
OFFICER
(shrugs)
We keep looking.
PARTNER
Wonderful.
86 INT. FARMHOUSE - DAY 86
Taupin sits at his desk. Before him is spread out blank birth
certificates, driver licenses and title deeds. His eyes lift
to the corridor where Brenna is. An idea has come to him.
Brenna enters.
BRENNA
What's all that?
TAUPIN
Richard Taupin has become
cumbersome. It would be best
if he just disappeared.
Brenna walks to the window.
BRENNA
You did kill those men.
TAUPIN
Not all of them.
BRENNA
When you finish, what then?
TAUPIN
I go my way and you can write
all you want about the big bad
Mr. Taupin.
BRENNA
You make it all sound so simple.
TAUPIN
The only real difficulty comes
in changing over the ownership
of property I've aquired. That
requires certain records and
most importantly a personal
appearance at the county seat in
Gettysburg. But that's where
you come in.
BRENNA
You want me to front for you.
TAUPIN
The less exposure I recieve
around government buildings the
better. You, as Mrs. Taupin,
will attract considerably less
attention than I.
Brenna is unsure.
TAUPIN
Not such a bad trade. The story
of a lifetime for a few days
work?
87 INT. TAUPIN'S WASHINGTON TOWNHOUSE 87
Detective Moran looks through the broken remains of the living
room.
An INSPECTOR enters.
INSPECTOR
They lost her outside of Thurmont.
Moran sighs and tosses a piece of wood on the pile of debris.
MORAN
I want people in here to check
over every piece of this stuff.
INSPECTOR
Figure she's with him?
MORAN
Yeah.
INSPECTOR
We ran down that Church Hill info.
She's right. There is no Richard
Taupin.
MORAN
Any other I.D.s come up?
INSPECTOR
Not yet. Called FBI yesterday.
Thompson's going to try CIA
this afternoon.
(shrugs)
Y'never know.
Moran rises and dons his coat.
MORAN
Should have seen him the first
night. Son of a bitch stood there
with a quart of blood on his
pant leg and didn't even blink.
INSPECTOR
You'd think he'd had practice.
Moran walks to the door.
MORAN
I think he has.
DISSOLVE TO:
88 EXT. FRENCE MILITARY CAMP - DAY 88
Conor, now MAJOR DUPONT of the French infantry, pours over
battle plans.
An AIDE, dressed as Conor-Dupont in 18th century European
military garb, enters the command area.
AIDE
The men are assembled, Major.
A GENERAL stands beside the major.
GENERAL
See that they are indeed ready,
Dupont.
DUPONT (CONOR)
Yes General.
89 EXT. PARADE GROUND - DAY 89
A regiment of INFANTRYMEN, pale blue coat tails tossing in
the light breeze, stand at attention.
A STAFF SARGEANT presents the men to Dupont.
STAFF SARGEANT
Regiment ready for review, sir.
Dupont walks past the sargeant to the line.
DUPONT
(to soldier)
Stand straight, you are a soldier
of the King.
SOLDIER #1
Yes sir.
Dupont continues down the line. Another soldier's infantry
jacket is almost hilariously mis-buttoned, one collar sticking
up four inches higher than the other.
Dupont with both hands rips open the soldier's coat, spraying
brass buttons onto the ground.
He moves on.
DUPONT
(to soldier)
Where is your bayonet?
SOLIDER #3
Lost it sir.
DUPONT
Where?
The soldier hedges.
STAFF SARGEANT
You heard the Major! Where!
SOLDIER #3
Whorehouse sir.
Dupont's face softens in exasperation, then toughens.
DUPONT
Your rifle. Hand it to me.
The soldier obeys. Dupont inspects the firing mechanism.
DUPONT
The flint is cracked. No spark
will reach your powder. You will
die tomorrow.
He throws the rifle roughly back into the soldier's hands.
DUPONT
Tomorrow you go to _battle_! And
you look like children!
(beat)
The General has charged me with
seeing that you are prepared, and
prepared you will be! If necessary
you stand here all night! Sargeant!
The sargeant leaps to attention.
SARGEANT
Yes sir.
DUPONT
See to it.
SARGEANT
Yes sir.
Dupont turns briskly, then stops abruptly as if alerted by some-
thing. He whirls around and faces the young infantrymen.
His expression is quizzical as he walks the line, checking
each face carefully.
One PRIVATE seizes his attention. The private is cautious.
DUPONT
Your name?
MULET
Mulet.
It is as if Dupont knows him. The two stare at each other.
Dupont turns and leaves.
90 INT. COTTAGE - EVENING 90
Inside a small farmhouse commandeered for officer's quarters,
Dupont (Conor) and several others eat their evening meal.
A CAPTAIN finishes his story.
CAPTAIN
(amused)
...And what a sight! That old
mare just kept falling over her
own guts till someone finally
shot her.
The OFFICERS LAUGH. All but Dupont.
MAJOR
(beside Dupont)
Complete your inspection?
DUPONT
They're nothing but boys. It
will be a slaughter tomorrow.
MAJOR
(laughs)
I doubt much can change that.
The enemy has five brigades
waiting for us.
DUPONT
We need more time.
MAJOR
Won't get it.
(shrugs)
We are a sacrifice. A diversion.
Dupont pokes unenthusiastically at his plate.
MAJOR
Eat up Dupont. It will probably
be your last.
DUPONT
(rises)
Not likely.
Dupont goes to the window. Dusk shines orange on his face.
In the foreground the man Dupont encountered at the line-up,
Mulet, is chopping firewood.
91 EXT. COTTAGE - NIGHT 91
Several hours later.
Most are asleep. Mulet continues his wood splitting.
From out of the dark cottage steps Dupont.
DUPONT (CONOR)
I thought I gave orders the
regiment was to drill.
MULET
Staff sargeant detailed me to
prepare firewood for the break-
fast cooking.
DUPONT
What is your position?
MULET
Second musketeer.
DUPONT
I understand you joined up in
Bremen.
MULET
You seem to understand a great
deal.
DUPONT
I am a Major, Private. You would
do well remembering that when
addressing me.
MULET
Excuse me, "sir". I thought we
spoke as equals.
DUPONT
Equals?
MULET
(shrugs)
If you wish to play games, Major.
Mulet returns to his chore.
DUPONT
Wait. I think we understand each
other.
MULET
We have no understanding.
DUPONT
Then it is time two of us did.
You are very young. I was once
young. I can help.
Mulet LAUGHS.
MULET
Help? I've seen others "help".
Somehow a head always ended up
on the counter.
DUPONT
It can be different. It must be.
MULET
It never changes, Major.
Mulet turns to his chore. Dupont grabs his arm.
DUPONT
We must talk.
MULET
(shakes him off)
Stay out of it.
DUPONT
(angry)
Don't threaten me, Private.
MULET
(disgust)
Who do you think I am? One of your
freckle faced children waiting to
die tomorrow? "Threaten you"? You
and I just living will always be a
threat. Forever. Look at your life,
Major. Look at mine. Nothing there
but threat. Threats and nothingness.
It's what we live for.
Mulet turns his back on Dupont.
Dupont draws his cutlass.
DUPONT
Do not turn your back on me.
MULET
You are really going to force this,
aren't you?
DUPONT
Either you are with me or against me.
Mulet turns slowly, axe in hand.
MULET
Have I a choice?
The two stare into eyes empty of emotion.
Mulet's hand flinches. An attack?
Dupont CUTS quickly, slicing open both of Mulet's arms.
The axe drops to the ground.
Mulet seems strangely calm.
MULET
You see Major? You are not so
different.
Dupont cuts off Mulet's head where he stands.
92 EXT. CLEARING - NIGHT 92
Dupont drags the corpse across the meadow and dumps it into
a swamp.
93 INT. CATHEDRAL - NIGHT 93
It is very late. Only a few OFFICERS are seated in the pews.
Dupont tries to concentrate on prayer, but is distracted.
MULET
(voice flashback)
You see Major? You are not so
different...
DUPONT
I had no choice.
Dupont sighs and looks to the altar.
DUPONT
Who am I deceiving?
KNIGHT
Certainly not me.
Dupont whirls around to see the Knight, dressed as he in uniform,
sitting one row behind.
Dupont leaps to his feet.
KNIGHT
You needn't look so flushed,
Major. You are quite safe in
church.
Dupont eases his breathing.
KNIGHT
State of grace and all that.
DUPONT
Tradition.
KNIGHT
It's all we have.
Dupont has backed up a few paces.
KNIGHT
All this time and still a scared
little boy.
Dupont sits down.
DUPONT
Not so scared.
KNIGHT
Perhaps not.
(smiles)
You seem to have misplaced a
private. No doubt by now his
head is stranger to his neck.
DUPONT
No doubt.
KNIGHT
You surprise me. Eliminating a
rival like that. Such are the
actions of a man of conquest. I
was mistaken. 300 years have
turned the boy's fear into ambit-
ion.
DUPONT
You're wrong.
KNIGHT
I know you very well, Conor MacLeod.
And I can see the truth beginning
to make itself clear to you. Mulet,
Romirez, they were fools without
vision. It was destined that the
board would be cleared for the real
players.
The Knight almost seems proud of Dupont.
DUPONT
Romirez understood. Not you.
KNIGHT
Romirez is dust.
The Knight looks to the altar.
KNIGHT
Finish your prayers?
DUPONT
Finish yours?
KNIGHT
(smiles)
Our common heritage.
(beat)
I am your only real friend, you
know. The only one who truly
understands you.
(rises)
I look forward to the day we
meet again. And I kill you.
DUPONT
So sure?
The Knight leans forward and puts his face very near.
KNIGHT
You can't stay in church forever.
The Knight moves into the aisle.
KNIGHT
Good night, Major.
He exits.
Conor sits in the dim church alone. Very alone.
DISSOLVE TO:
94 EXT. WORSTICK CHURCH (PRESENT DAY) 94
Richard Taupin sits against the stone of an old Catholic church.
Taupin sighs. A long, weary sigh.
95 INT. TAUPIN'S FARMHOUSE 95
Taupin and Brenna sit at a table working on forms.
Taupin looks up from his work and studies Brenna's face without
malice.
95 EXT. CREEK - DAY 95
Brenna and Taupin are taking a walk along the township's
outskirts.
Crossing a small bridge over a smaller creek, they encounter
the elderly caretaker Mr. North and his eight year old GRANDSON.
Both with fishing poles.
MR. NORTH
Morning Mr. North
TAUPIN
Same.
MR. NORTH
Such a pretty day. If I live
to be 90 I'll never tire of
mornings like this. Mind you
I'm 74 now.
TAUPIN
No.
MR. NORTH
Yes sir. When you get older your
priorities change. It's the simple
things that count. Without them
growing old can be a very lonely
thing.
TAUPIN
I'm sure that's true.
The grandson is having difficulty baiting his line. Taupin bends
down beside the young fisherman.
TAUPIN
(takes worm)
Here. The hook should go just below
the head, where the meat is toughest.
GRANDSON
Thanks.
Taupin's show of affection surprises Brenna.
TAUPIN
Show you a trick.
Taupin takes a clump of leaves from the bridge and winds them
around the hook.
TAUPIN
Fish are creatures of habit. They
like their food where they're used
to it. At the top, hiding in old
leaves.
GRANDSON
Where did you learn that?
TAUPIN
My father taught me.
GRANDSON
Your father must be smart.
TAUPIN
Yes, he was.
Brenna is touched.
96 INT. TAUPIN'S FARMHOUSE - NIGHT 96
Brenna lies on her bed thinking. She puts on a robe and walks
into the living room.
LIVING ROOM
Taupin sits before the fireplace, its flames reflecting on his
brandy glass. Brenna moves quietly to a seat beside him.
TAUPIN
(eyes on the fireplace)
There was a man once. Just a simple
woodcarver. But he understood. More
than anyone he could see to the heart
of it.
(beat)
It never ends. Today is the same as
the first. Tomorrow will be the
same as today. So much time. And all
of it wasted.
(beat)
You love history?
BRENNA
Yes.
TAUPIN
I wish I could.
97 INT. CITY HALL 97
Brenna looks through a property zoning book.
98 EXT. WORSTICK MAIN STREET - DAY 98
Walking past small town stores, Brenna allows herself a moment
to window shop.
IN A SHOP WINDOW
Is a small poster advertising a community get-together. Brenna
peels it off the glass and slips it into her notebook.
99 INT. TAUPIN'S FARMHOUSE 99
Brenna and Taupin go over various forms and documents.
BRENNA
The estate stuff is pretty straight
forward. Just lots of forms and an
appearance at the county seat.
TAUPIN
It will take some time for the
forms to clear before you go to
Gettysburg.
Brenna is silent.
TAUPIN
Second thoughts?
Pause.
BRENNA
No.
(beat)
So what now? We just wait?
TAUPIN
Yes.
BRENNA
Well, as long as we're stuck here.
She hands him the poster from earlier.
BRENNA
It's some sort of party the
town is throwing.
TAUPIN
They do it each year.
BRENNA
I thought it might be a nice break
from all of this.
Taupin stacks the documents into a folder.
TAUPIN
Maybe it would do us both good.
BRENNA
There's a catch. You're supposed
to wear 19th century clothing.
100 INT. FARMHOUSE CELLAR 100
Taupin is going through an old trunk.
TAUPIN
My father was something of a
junk collector.
He comes across a long period dress and offers it to Brenna.
TAUPIN
Here, try this. I suppose they're
still making women the same as back
then.
BRENNA
It's beautiful.
TAUPIN
A little dusty.
Taupin fishes through the trunk and comes up with an old top
hat. He turns it over in his hand with stoic memory.
DISSOLVE TO:
101 EXT. COLONIAL STYLE HOME - DUSK 101
Conor and a beautiful young woman, KATHERINE, sit on the porch
steps in 1800s period dress. Other young COUPLES relax nearby
enjoying the warm summer's twilight. Katherine's MOTHER shuffles
between the couples offering lemonade, cakes, and the like.
KATHERINE
Do it again.
She is thoroughly charmed by Conor.
CONOR
All right.
Conor wraps a length of yarn about his fingers. By turning his
hand over and bending his knuckles just so, the web becomes the
outline of a lion..
CONOR
A lion.
(growls)
Katherine is delighted.
Conor starts to remove the yarn. Katherine touches his arm.
KATHERINE
Oh please. Another one.
CONOR
What would you like?
KATHERINE
Something pretty.
CONOR
Like you.
Conor cups his hands, bends his fingers, and comes up with a
four leaf clover.
KATHERINE
That's wonderful. Where did you
ever learn it?
CONOR
Far away.
KATHERINE
Kiss me.
Conor shoots a glance for the mother, then kisses Katherine
softly.
YOUNG MAN
(o.s.)
You'll be leaving the girl alone.
A YOUNG MAN stands a few yards from the stairs.
KATHERINE
David.
CONOR
Do you have cause to bothering
us?
YOUNG MAN
That's my girl.
KATHERINE
David, we've already spoken of this.
YOUNG MAN
He's not what he pretends to be.
Conor climbs to his feet.
CONOR
You best leave, son.
YOUNG MAN
You think you're so high and
mighty, coming into town and
taking a man's woman. Well I
know about you. I know about
the things you do.
CONOR
(moving closer)
I said you best leave.
YOUNG MAN
You'd like that, wouldn't you?
(to Katherine)
Ask him about his friends. The
ones he meets in the town square.
Ask him about the blade he keeps
beneath his bed.
Conor grabs the youth's collar and pulls him close.
CONOR
(like ice)
Leave. While you still can.
The youth pushes away from the grasp.
YOUNG MAN
You don't frighten me.
CONOR
I should.
The young man throws a fist at Conor. It is easily blocked.
Conor returns with a savage blow to the chest that knocks
the young man gasping onto the ground.
Katherine runs up behind and grabs Conor's outstretched arm.
KATHERINE
No! Leave him. Please don't hurt him.
Please.
COUGHING painfully, the youth climbs to his feet and staggers
away.
YOUNG MAN
He's not what you think.
He turns and runs down the road.
YOUNG MAN
He's not what you think!
Katherine turns to Conor, his face still locked in ice.
KATHERINE
I don't care who you are or where
you come from.
She hugs him tightly.
KATHERINE
I love you.
Conor's face softens as he brings up an arm to hold her.
DISSOLVE TO:
102 INT. WORSTICK TOWN HALL (PRESENT DAY) 102
An auditorium has been transformed with colored lights and
strung paper into a small town party.
TEENAGERS in period dress control the floor, dancing to a
decidedly un-period ROCK BAND.
The OLDER GUESTS are gathered around the punch bowl talking
crops or Pennsylvania politics.
BRENNA
Fitted as well as can be expected in her lace dress, enters
with Taupin, himself dressed in a formal suit complete with cape.
His clothes fit perfectly.
Mr. North, comically dressed as a pirate, greets them.
MR. NORTH
Mr. Taupin! Glad you could make it.
Best get some punch before it's
gone. Near the whole valley showed
up.
They go to the table.
Taupin pours a glass of punch. An ELDERLY WOMAN approaches him.
WOMAN
If I didn't know better I'd say
William Taupin.
TAUPIN
His son. Richard.
MR. NORTH
Mr. Taupin is up from Washington
to look over his father's estate.
WOMAN
Your father died some years ago.
This is your first visit?
The tone is snide.
TAUPIN
Of sorts.
WOMAN
I suppose a Taupin had to show
up eventually.
(walks away)
TAUPIN
Good evening, Mrs. Butler.
She turns in surprise at his knowing her name, then walks on.
BRENNA
What was all that about?
MR. NORTH
Sorry Mr. Taupin. That's not meant
for you. Just some didn't take
much to your father.
BRENNA
Why?
TAUPIN
My father was never one for social
whirls.
MR. TAUPIN
Kept to himself for sure. Then with
all that business in '31.
BRENNA
What business?
MR. NORTH
Family down the road from the
Taupin place was murdered. All
cut up they were. Horrible. Two
strangers were also found with
the bodies. No one ever accused
William, but with his reputation
as a loner and the rumors about
him and some of the wives in town,
folks just never forgot. Most
were relieved when they heard he'd
died. Sorry Mr. Taupin.
TAUPIN
Nothing to be sorry about.
MR. NORTH
Just your pappy scared some.
The rock band finished as a PORTLY MAN in a union soldier's
uniform takes the microphone.
PORTLY
All right, the kids have had their
fun. Now it's time for a little
more traditional dancing.
The rock band gives ground to a group of older MUSICIANS. With
a nod from the union soldier they begin a folk tune with fiddles
and hammer dulcimer.
The costumed guests take to the floor.
BRENNA
I don't know any of these. I'll
make a fool of myself.
TAUPIN
Follow me.
Taupin starts into it with perfect grace. A faltering Brenna
tries to keep up.
BRENNA
William Taupin seems to have left
his mark.
TAUPIN
Yes.
BRENNA
And you are William
Taupin, aren't you?
TAUPIN
Yes.
They do a final turn and finish. The other DANCERS applaud.
BRENNA
You're using your son's
name.
TAUPIN
No. Just the child of
some lonely girl I gave
a ride to. When they
died I put them in a
grave with my name on it.
Twenty years later I
became the son.
Brenna is staring at him.
TAUPIN
More punch?
He leads her to a table.
BRENNA
Then you must be at least
70 years old.
TAUPIN
At least.
BRENNA
That's impossible.
Several of the ELDERLY WOMEN are watching Taupin from across
the room.
103 EXT. BUS STATION - NIGHT 103
A bus with "Gettysburg" across the front pulls to a stop at
a dark terminal. A lone passenger steps off into the mist.
It is the Knight, bound up in a leather jacket and carrying
only a long, narrow case.
104 EXT. - NIGHT 104
Brenna and Taupin walk alone in the night outside the hall.
BRENNA
It's frightening sometimes the
way you talk about other people's
lives.
TAUPIN
A factor of age.
BRENNA
I hope I never get that old.
TAUPIN
You won't.
Brenna pulls away.
BRENNA
I must be insane. Leaving work,
ditching cops. All to follow a
murderer. A very old murderer,
but a murderer just the same.
TAUPIN
Why are you here?
BRENNA
I've been telling myself it's the
award winning journal article I'm
going to write. But it's not.
(looks at him squarely)
It's you.
TAUPIN
I see.
BRENNA
I'm not even sure why.
TAUPIN
Hardly a reason to run off with
a murderer.
BRENNA
My life has been chock full of
people with complications and weak-
nesses. I can't stand it. But
you're different. It's in your
hands. A clarity.
TAUPIN
You are a very perceptive young
woman.
BRENNA
Just a little crazy.
A thoughtful pause.
TAUPIN
Miss Cartwright, it's time I
showed you something.
105 INT. FARMHOUSE CELLAR 105
Taupin and Brenna descend the stairs to a seemingly flush wall.
Taupin reaches behind a bookcase and pulls something. A press
from his hand and the wall becomes a doorway.
TAUPIN
(gestures to interior)
Miss Cartwright?
Brenna steps uneasily into the darkness. Taupin follows and
switches on the light.
106 INT. HIDDEN ROOM 106
Brenna's expression changes to awe.
The room is massive, a cross between a museum and an old attic.
Suits of armor, Italian statuettes, Czech ironworks, Persian
fetishes and a thousand other oddities from a hundred eras
crowd the shelving and floor space.
The room has the look of ownership, as if civilization had
taken the time to keep a scrapbook.
BRENNA
My God.
The sight is overwhelming.
TAUPIN
I had this room built some
time ago.
Brenna picks up a Carolingian tapestry and runs her hand along
its intricate weaving.
BRENNA
Who are you?
TAUPIN
That would be difficult to explain.
BRENNA
I'd like you to try.
Taupin picks up a Byzantine icon, brushing the dust from its
shoulders.
TAUPIN
I was born Conor MacLeod in the
village of Ardvrek on the High-
land plain of Strathnaver in the
clan of MacLeod under the King
of Scotland. On the eleventh of
December, 1408.
He replaces the icon.
TAUPIN
I have served in the armies of
twelve nations, married nine
women, fathered thirty-eight
children and buried them all.
Taupin walks along the cases.
TAUPIN
I carried that rifle in World
War I. This book is a 16th Century
policy report for the King of
Austria. The diploma is my con-
ference of degree in Latin from
Trinity College. Class of 1672.
(beat)
It goes on.
BRENNA
That's why Smith called you
MacLeod.
TAUPIN
Yes.
BRENNA
He knows about you.
TAUPIN
He is older than I.
BRENNA
What could possibly be worth all
this murder and distruction.
TAUPIN
Sometimes I think it's just for
something to do. A conquest to
be the last. Something to hold
onto while everything else around
you withers and blows away. Some-
thing to replace the love that can
never work.
BRENNA
That's insane.
TAUPIN
Perhaps. There is something more.
An inheritance.
BRENNA
Of bodies.
TAUPIN
I didn't kill the watchman.
BRENNA
You killed those other two.
TAUPIN
Not the same.
BRENNA
What about that family in '31?
TAUPIN
Sometimes innocents become involved.
BRENNA
You and your buddy make a real
team, don't you? Exchanging
eloquent threats in iambic pen-
tameter while hacking up all
the innocents in between.
TAUPIN
There are differences.
BRENNA
You kill with your left hand?
TAUPIN
I haven't killed _you_.
BRENNA
Is that a threat?
Taupin moves very close.
TAUPIN
No.
Brenna's face softens. She turns away.
BRENNA
Don't.
TAUPIN
Come here, Brenna.
BRENNA
Damn you.
He kisses her.
DISSOLVE TO:
107 EXT. TURN OF THE CENTURY CEMETARY - DAY 107
RELATIVES in period dress watch as a family member is lowered
into the ground.
A very OLD WOMAN stands stoically, supported on both sides by
her middle aged SONS.
MINISTER
May God commend into his kingdom
the soul of our dear departed
Jason, son of Katherine-
The old woman.
MINISTER
And brother to Howard and James-
The two middle aged sons.
CONOR
Watches the funeral quietly at a distance.
THE OLD WOMAN
As the minister continues allows her gaze to wander. She sees
Conor standing at the treeline. Her eyes crinkle in disbelief.
Releasing herself from her sons, she hobbles toward Conor.
Confused, the brothers watch their mother leave the ceremony.
CONOR
Watches the woman approach but decides against moving.
She stops a few paces away and looks over him.
OLD WOMAN
You.
CONOR
Katherine.
OLD WOMAN
What are you doing here?
CONOR
I owe him this.
OLD WOMAN
He never knew you.
The two sons come up behind. The three stand there: an old
woman who could be 60 years Conor's senior and her two sons
old enough to be his father.
SON #1
Is something wrong, Mother?
OLD WOMAN
Howard. James. This is your
father...
DISSOLVE TO:
108 INT. BEDROOM 108
Taupin and Brenna lie together.
Running her hands along the contours of his body she sees the
countless faint scars of bullet and sword wounds.
Taupin strokes her softly.
TAUPIN
"Brenna". In Celtic is means
"woman with raven hair". Only
chieftan's daughters were allowed
it.
Brenna is lost in Taupin's scars.
BRENNA
What is it like? Being you?
TAUPIN
Empty. And fear. Fear of those that
would kill you and fear of those that
would love you. It can never last, and
in the end you always end up destroying
both.
BRENNA
But you're known so much.
History I'll only read about.
TAUPIN
It's all the same. Half lives that
never go away.
BRENNA
What is it you want?
TAUPIN
All of it finished.
109 EXT. FARMHOUSE - MORNING 109
Taupin and Brenna stand beside her car. She has an armload
of documents.
TAUPIN
Gettysburg's an hour's drive
at most. You should be back
by nightfall.
BRENNA
Will I see you again?
TAUPIN
Be careful. Don't stay any
longer than you have to.
Pause. Brenna considers touching him but instead climbs briskly
into the car.
TAUPIN
Good luck.
110 EXT. POLICE DEPARTMENT PARKING LOT - DAY 110
Detective Moran and his Inspector walk among parked squad cars.
MORAN
Are you sure?
INSPECTOR
Won't know till the
records department comes
back with it this after-
noon. Looks good though.
They found the receipt
in his townhouse. It was
pretty smeared but had
Taupin's father listed
as a signatory.
MORAN
Round up who you can
and put them on standby.
INSPECTOR
Think we should call the
local P.D. out there
first?
MORAN
No. I want this to be
all ours.
111 INT. COUNTY RECORDS OFFICE 111
Brenna is standing at a counter signing the last of a stack.
CLERK
O.K. Mrs. Taupin, that's
all I need.
The clerk fills out a small sheet and hands it to her.
CLERK
Just take this down
the hall to the regis-
trar. Hurry up though,
it's near closing time.
Most everyone's gone
home already.
A pair of Levis follow Brenna at a distance down the corridor.
112 INT. REGISTRAR'S OFFICE 112
Sealed from the corridor by a pair of doors, two CLERKS
sit in an office mostly cleared of employees.
Brenna hands the slip to a clerk.
CLERK #2
I'll be right back.
She disappears into the rear area.
BRENNA
(to other clerk)
Do you have a drinking
fountain?
CLERK #3
Around the corner.
Brenna steps around and takes a drink. She looks into her
reflection on the stainless steel and spends a moment fiddling
with her hair.
THE CLERK
Still hasn't returned. Brenna drums her fingers on the
counter top and looks around the office.
The second clerk is also gone.
Brenna sees something unfamiliar on the second clerk's desk.
She steps over to it.
It is a large blood stain.
Brenna shoots a glance to the double doors.
They're closed.
Brenna rushes to the doors. Someone's locked them.
She struggles with the handles, then turns to see the Knight
walking to her with his stained sword.
With a SCREAM she kicks a rolling office chair into him and
runs down an opposite corridor.
THE KNIGHT
Flings the chair aside and knocks open the door with a SLAM
of his palm.
BRENNA
Has run out of corridor. She looks back at the Knight closing
the distance. CRYING in fear, she frantically searches for
a way out.
The Knight is nearly upon her.
In desperation she runs into a janitorial closet, closing
its heavy door.
THE CLOSET
Is dark and full of old paint cans and mops. Her BREATHING
is at a PANIC.
THE KNIGHT
Tries the door handle.
Stepping back, he lifts his sword and HAMMERS it deep into
the wood.
BRENNA
(crying)
Oh God...
He STRIKES again. And again. Splinters smack against surround-
ing walls.
BRENNA
Go away! Oh God, go
away!
CRYING hysterically, Brenna presses herself against the far
wall, sliding to the floor in a crouch.
THE KNIGHT
Steps back and gives the door a last two-fisted swing.
Brenna SCREAMS.
The door collapses.
113 EXT. HIGHWAY - EVENING 113
A group of unmarked police cars race by with the last light
of day.
114 INT. CAR 114
At the wheel is Moran's assistant, the inspector.
114 INT. HOME - NIGHT 114
Taupin stands at his fireplace, the only light in the room,
poking at it with a tong.
His gaze goes to a mantle clock.
It is 10:30 PM.
The phone RINGS.
He looks to it.
It RINGS again.
He picks up the receiver slowly and places it against his ear.
KNIGHT'S VOICE
We have some unfinished
business.
TAUPIN
Are you here?
KNIGHT'S VOICE
I want you to come to
me.
TAUPIN
And if I refuse?
KNIGHT'S VOICE
Give me an address where
I can forward Miss Cart-
wright's head.
This affects him.
KNIGHT'S VOICE
Yes laddie, I have her.
TAUPIN
Should I care?
KNIGHT
You have three hours.
115 EXT. RURAL ROAD - NIGHT 115
The unmarked cars shoot by.
116 INT. HOME 116
Taupin hangs up the phone.
He looks to the sword on the table, reflecting the firelight.
117 EXT. FARMHOUSE - NIGHT 117
POLICE OFFICERS, placed around Taupin's house, are COCKING
shotguns and CHAMBERING pistols.
Two officers take positions on either side of the door. A
third, after getting the signal, kicks the door open.
118 INT. FARMHOUSE 118
The officers drop to firing positions in the doorway. The
room is empty.
119 INT. FARMHOUSE BEDROOM 119
An officer BURSTS in. It's empty.
120 INT. MAIN ROOM 120
The Inspector is on the phone.
INSPECTOR
He's not here.
121 EXT. THE JEFFERSON MEMORIAL - NIGHT 121
Spotlights seperate the whitemarble from the surrounding
blackness.
Taupin's face moves into frame.
122 EXT. MONUMENT STAIRS - NIGHT 122
Sword firmly in one hand, Taupin climb's the monument's steps.
123 INT. JEFFERSON MEMORIAL - NIGHT 123
A twenty-five foot bronze of Thomas Jefferson flanked by his
quotations.
A sword in one hand and Brenna in the other, the Knight stands
at the statue's base.
KNIGHT
Welcome.
Taupin stands at the entrance.
KNIGHT
Kahn sends his best.
In a corner the Asian's head lies on its side, the horror of
death still pressed into the face. Taupin's eyes return slowly
to the Knight and Brenna.
TAUPIN
Let her go.
The Knight throws Brenna roughly against a wall.
KNIGHT
You disappoint me.
(looks at Brenna)
I thought you'd finally gotten over
that sort of thing.
TAUPIN
Leave her out of this.
KNIGHT
As you wish.
The Knight holds his sword out at a ceremonial angle. Taupin
does the same. The weapons are CLANKED together twice, then
pulled back into battle position.
The two begin walking a circle, poised swords waiting for an
opening.
The Knight leaps first, his clash of steel RINGING off the high
walls.
Another ATTACK without result.
KNIGHT
You can do better than that.
Taupin swings. The Knight jumps back. Sweat gleams from their
brows.
124 EXT. JEFFERSON MEMORIAL - NIGHT 124
Two LOVERS enjoy a late night walk along the tidal basin.
There is a distant CLANKING of metal.
BOY
It's from over near the memorial.
He jumps up on a rock. Several yards away can be seen two figures
attacking each other.
BOY
Shit.
125 INT. POLICE DEPARTMENT - NIGHT 125
Standing at a map of the city, Moran nurses a cup of coffee.
The phone RINGS.
MORAN
Moran. All right, get a patrol
unit out there right away. I'll
meet them.
126 INT. JEFFERSON MEMORIAL - NIGHT 126
The Knight and Taupin are PANTING heavily.
The Knight goes low. Taupin blocks. The Knight comes overhead
quickly. Taupin misjudges and the blade slices deep into his
shoulder and chest. The impact knocks him flat on his back.
The Knight looks down on his wounded prey.
A SCREECH of brakes from outside the monument. Two OFFICERS
are coming up the steps.
KNIGHT
No. Not now.
127 EXT. MEMORIAL - NIGHT 127
The officers reach the top and enter.
INSIDE
One of the officers is Dennis, who sees only a CRYING Brenna
and Taupin lying wounded on the floor.
DENNIS
Brenna?
The Knight rushes up from behind, his sword in full swing.
128 EXT. INTERSECTION - NIGHT 128
Moran's car blows through a cross street.
129 INT. CAR 129
Moran is at the wheel.
130 INT. MEMORIAL - NIGHT 130
The Knight walks from the two officers spread out like rag
dolls on the floor.
KNIGHT
(to Taupin)
Get up.
Taupin looks at Brenna and the dead policemen. A resignation
sweeps over him.
TAUPIN
What's the point?
KNIGHT
This isn't done. Get up.
TAUPIN
What's the point! You have me,
finish it!
KNIGHT
I have waited forever for this.
You will not cheapen it, little
boy.
TAUPIN
(irony)
Tradition.
KNIGHT
It's all we have.
TAUPIN
Go to hell.
The Knight looks to Brenna.
KNIGHT
Perhaps Miss Cartwright would like
to play.
TAUPIN
Leave her alone.
KNIGHT
Get up.
Taupin struggles to his feet. Blood pouring from his shirt, he
stands uneasily with his sword at ready.
The Knight swings. Taupin blocks.
131 EXT. MEMORIAL - NIGHT 131
Moran drives up. There is an empty police car, the door still
ajar.
132 INT. MEMORIAL - NIGHT 132
Taupin is badly outclassed.
He feebly fends off an attack, but the Knight returns quickly
with a savage SLICE that rips open Taupin's stomach and throws
him again to the floor.
BRENNA
You bastard!
KNIGHT
Be silent.
BRENNA
Leave him alone.
KNIGHT
You will be silent!!
The voice is THUNDERING.
Taupin kneels with his forehead pressed against the floor. His
teeth grind in pain.
The Knight smiles.
KNIGHT
I do hope you're enjoying this
as much as me.
MORAN
Stands in the entryway. The Knight sees him.
KNIGHT
Get out.
Moran draws his pistol.
The Knight walks toward him,
KNIGHT
This is nothing that concerns you.
Moran levels his gun.
The Knight raises his sword.
KNIGHT
You will leave!
Two EXPLOSIONS as Moran FIRES. The slugs slam into the Knight,
blowing him off his feet.
He lies still.
Moran looks to Brenna. To Taupin. Then he walks closer to the
Knight.
TAUPIN
(hoarse)
Don't.
Taupin curls in a spasm of pain.
Moran moves closer.
The Knight lies face down, blood oozing from exit wounds over
his heart. He isn't breathing.
Moran bends over slowly to see the Knight's face.
TAUPIN
Stop. You don't understand.
The Knight suddenly rolls over and plants his sword into Moran's
chest. The pistol DISCHARGES against a far wall.
Taupin crawls for the Knight.
Moran's mouth opens but no sound escapes. The Knight, blood
pouring from his mouth and nose, thrusts deeper then retracts
quickly.
Moran slides off the sword dead.
Taupin CUTS hard against the Knight's chest. The Knight GAGS
in surprise and crumples. Taupin CUTS again, then puts the
blade against the Knight's GURGLING throat.
TAUPIN
In mamus tuas Domine commendo
spiritum meum. Auditorium nostrum
in nomine Domine.
He raises the sword.
TAUPIN
Requiescant in pace.
And CUTS the Knight's head off.
Taupin drops his sword.
His breathing quickens.
A sensation sweeps over him.
Taupin drops to the floor WHIMPERING. He sucks in painful gulps
of air.
BRENNA
My God.
Taupin bolts up and looks at her without seeing.
BRENNA
Conor.
Taupin is looking past her.
A blood-stained hand suddenly GRABS Brenna's shoulder. She
SCREAMS. The headless body of the Knight stands beside her.
THE KNIGHT'S HEAD
Lies on the floor.
The eyes open. The face pulls into a smile.
KNIGHT
And now you know.
The eyes roll up into the skull. The face slackens.
The hulking mass standing beside Brenna sways, the collapses
to the ground.
TAUPIN
Is CRYING. Not from wounds he no longer feels, but from something
else.
BRENNA
What's wrong?
TAUPIN
I can't stand it. Oh God, I can't
stand it!
Brenna kneels beside him.
TAUPIN
The scream of your blood. The
shriek of trees. Stop it! Stop it!
Brenna SOBS.
BRENNA
What is it?
TAUPIN
I'm the last. Oh Christ, I'm the
_last one_!
Taupin doubles over in pain. The pain of the whole world trying
to force itself into him.
Brenna tries to hold him. He pushes her savagely away.
TAUPIN
Get out.
BRENNA
No!
TAUPIN
I'll destroy you. I've destroyed
everything I've ever touched! Oh
God...
He doubles over in pain.
BRENNA
Conor...
He grabs his sword and threatens her.
TAUPIN
_Get out_!
SOBBING, Brenna runs from the memorial. Taupin is alone.
Bleeding. Crying. In agony.
FADE OUT
FADE UP:
133 INT. SMITHSONIAN MUSEUM 133
Brenna at work in the research area. She's silent. Distant.
Something is missing from her.
134 EXT. GEORGETOWN STREET - DAY 134
Brenna stands in the street before Taupin's townhouse.
A boarded up window. A for-sale sign. Taupin is gone forever.
As if he never was.
135 INT. BRENNA'S APARTMENT 135
A desk. A single light. A cup of coffee.
A typewriter.
Brenna tries to force thoughts to the surface. CLACK-CLACK.
It is at last her journal article. She types a line, then rips
it from the carriage and tears it to pieces.
The thoughts won't come.
136 EXT. WASHINGTON MALL - DAY 136
Brenna sits on the expanse of grass throwing scraps to a group
of wild park cats.
A shadow covers her face. She looks up.
It is Taupin.
Something has changed him. His face is less cynical. More
vulnerable. More human.
He sits down on the grass beside her.
BRENNA
(after a moment)
What are we supposed to say?
The cat's eyes are all fixed in Taupin. They cautiously shrink
away, frightened.
TAUPIN
The emptyness. The years and years
of void. Nothingness. Bordered only
by the quest for ultimate nothingness.
Who would have guessed?
BRENNA
The inheritance.
TAUPIN
Not power. Not control.
Taupin holds a blade of grass as if it was speaking to him.
TAUPIN
Life. It is the gift and the under-
standing of life.
BRENNA
You have lived forever.
TAUPIN
Life is only life when it is bounded
by death. The inheritance is death.
The gift is the finality of life.
To be part of the fabric. The inside.
(turns to Brenna)
I love you Brenna.
Brenna's chin quivers.
TAUPIN
It will be horrible. The future. I
may die tomorrow or 10,000 tomorrows.
I can promise you nothing. Nothing
but a moment. Maybe two. But a moment
of love, is that not worth a lifetime?
BRENNA
(crying)
Yes.
He holds her. They hold each other.
TAUPIN
It's taken me so long. So very
long.
A jogger runs by, unaware of any life but his own.
FADE OUT
_END_
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