FADE IN:

EXT. COUNTRYSIDE - DAY

The end of Winter. SNOW blankets the landscape. A SMALL

STREAM rushes through the VALLEY. A clear, blue sky hangs

over the DISTANT MOUNTAINS adding to the beauty of the

setting.

SUPER IMPOSE: SCOTTISH LOWLANDS - 1665

The CAMERA begins to PAN. The color of the SNOW begins to

change, darkening from PURE WHITE to ASH GRAY, eventually to

COAL BLACK. We continue to pan until we arrive at..

EXT. VILLAGE - DAY

Plague. Once a charming settlement it is now ravaged by

disease. Everywhere BONFIRES burn, sending plumes of BLACK

SMOKE rising into the sky -- the ash and soot drift back

down, blackening the earth. VILLAGERS scurry about in

tattered clothing, their faces soiled by soot as they throw

objects of WOOD and CLOTH into the fires.

THREE HORSEMEN ride into the village. Two of them we can

see clearly as large, powerful men with savage faces. The

THIRD MAN’S man’s face is hidden from us in the shadows of a

black HOODED CAPE. He dismounts, motioning for the other

two to wait for him.

The Hooded Man walks though the village. The SOUND of

HAMMERING fills the air as several VILLAGERS finish building

a make-shift GALLOWS.

CUT TO:

EXT. CHURCH - DAY

Built of stone it is already centuries old. A VILLAGER stands

guard at the entrance. The Hooded Man approaches and WHISPERS

something in the Villagers ear, then holds up a GOLD PIECE.

INT. CHURCH - DAY

Dark and musty, lit only by shafts of LIGHT which flow in

through the windows. The Hooded Man follows the Villager

across the stone floor until he reaches a WOODEN DOOR at the

back.

INT. STONE ROOM - DAY

No windows. The Hooded Man enters. In the center of the

room a CIRCLE has been drawn. Bordering the circle are

hundreds of CANDLES, forming a ring of fire.

A MAN stands in the center, his head bowed -- his weight

supported by thick ROPES around his wrists that are fastened

to a wooden beam which runs the length of the room.

HOODED MAN’S VOICE

Vieira...

VIEIRA looks up. He is old, his hair thin and gray, but his

eyes are alive, defiant. The Hooded Man moves closer. Vieira

follows him with his eyes, trying to see the Hooded Man’s

face.

Vieira strains against his ropes. The Hooded Man does not

move.

VIEIRA

How comes it your are not afraid?

HOODED MAN

Would’st you harm one who comes to

aid you?

Vieira’s silence indicates he is listening.

HOODED MAN

(continuing)

I’ve come to strike a bargain with

you. I wish to learn the power of

changing.

VIEIRA

And what would’st I gain from this

bargain?

HOODED MAN

(nonchalantly)

Your life.

VIEIRA

How?

The Hooded Man slowly pulls back his hood. We see his face

for the first time. It is hard, brutal, his eyes cold and

dark.

He grins -- a wicked grin.

HOODED MAN

I have a magic of my own.

The Hooded Man removes a KNIFE from under his coat. He holds

it before Vieira, then he quickly stabs it into his chest.

His face fills with pain -- blood flows from the wound -- he

falls to his knees. A beat. He slowly looks up at Vieira

as he pulls the knife from his chest, then stands unharmed.

Vieira cannot believe what he has seen.

HOODED MAN

Teach me the chant and I will take

your place on the gallows.

EXT. CHURCH - LATER - DAY

A GROUP of RELIGIOUS-LOOKING MEN walk toward the church.

INT. STONE ROOM - DAY

Vieira has finished teaching the chant.

VIEIRA

After you recite the chant you must

concentrate of the form you wish to

take. The stonger you are the longer

you can hold the illusion.

In the b.g. we HEAR the SOUND of FOOTSTEPS coming up the

stairs. Vieira looks at the Hooded Man.

VIEIRA

They come. Quickly, take my place.

The Men enter. One of them looks at the Hooded Man.

RELIGIOUS MAN

What are you doing here?

The Hooded Man stares at him -- a hard, unnerving stare --

then slowly, his thin lips from a cruel grin.

HOODED MAN

Just saying goodbye to an old friend.

Vieira stares at the Hooded Man angrily.

VIEIRA

We had a bargain. You promised.

HOODED MAN

I lied.

The Hooded Man walks from the room.

EXT. CHURCH - DAY

The Hooded Man walks out. The TWO HORSEMEN ride up. The

Hooded Man climbs on his horse. He takes a DEEP BREATH as

he looks at a RANGE OF MOUNTAINS in the distance.

CUT TO:

EXT. VALLEY - DAY

The SOUND of SWORDS CROSSING fill the air. Two MEN, one

YOUNG, the other OLD fight across the SNOW-SWEPT GROUND.

In. the b.g. a large, stone building is built at the base

of a mountain range.

The Young Man fights furiously, his only weapon strength,

but he is clearly inexperienced. The OLD MAN is agile, and

easily moves out of the way of each blow. The Young Man

swings wildly, he loses his balance. The Old Man strikes

his SWORD away, then pushes him to the ground. The Young

Man looks up as the older man raises his SWORD above his

head. Their eyes lock. The Old Man smiles and slowly lowers

the sword to the Young Man’s neck.

OLD MAN

It’s over.

The Old Man reaches out his hand, helping the Young Man to

his feet. The Young Man is clearly angry.

OLD MAN

Your anger blinds you. You must

learn to control it. When the time

comes you’ll only have but one chance.

You best use it well.

INT. STONE BUILDING - DAY

Large and barren. A fires roars in the fireplace. The Old

Man sits across a wooden table from the Young man as they

finish eating.

The Young Man appears restless. He pushes his plate away --

stands up and walks toward the door.

OLD MAN

Where are you off to?

YOUNG MAN

To the village for some ale -- and

if the truth be known, I need to see

someones face other than yours, old

man.

They smile. The Young Man takes his SWORD then puts on his

COAT. He picks up a SACK and leaves. The Old Man begins to

clear away the dishes. Suddenly he stops -- his smile fades.

He looks towards the door filled with a premonition. Outside

we HEAR the SOUND of SWORDS CROSSING. It lasts only for a

moment. SILENCE.

A blinding GREEN LIGHT fills the frame of the door. The

ground begins to TREMBLE -- the STONES of the building shake

from the force -- debris falls from the ceiling. It stops.

SILENCE.

The Old Man takes his SWORD from the mantle. The DOOR OPENS.

The SOUND of the WIND rushes in. Outside nothing can be

seen -- only the darkness of the night. A beat. The Young

Man enters the room. The Old Man smiles at the sight of

him. The Young Man places his sack on the table.

The Old Man turns his back as he starts to replace his sword

on the mantle. The Young Man’s expression hardens. He stares

at the Old Man’s neck as he starts to raise his sword.

OLD MAN’S POV

In a SILVER WINE CHALICE he sees the reflection of the YOUNG

MAN who is now slowly raising his SWORD and about to strike

at the Old Man’s neck.

In one fluid movement the Old Man unsheathes his sword, then

turns quickly. The Young Man’s blade slices through the air

missing it’s target. The Old Man pivots and slices his blade

across the Young Man’s chest. The Young Man winces in pain,

then takes a deep breath -- his body begins to shake

violently.

A TRANSFORMATION BEGINS. The image of Young Man begins to

fade and is replaced by the HOODED MAN. He LAUGHS LOUDLY as

he holds up his arms as if prompting The Old Man for his

appreciation of the illusion.

OLD MAN

(hatefully)

Kilvara...

The Hooded Man smiles when he hears his name.

KILVARA

It flatters me you remember, old

one. It’s been what... two hundred

years?

OLD MAN

It’s not been long enough. What

witchcraft is this?

KILVARA

Impressive -- is it not? The problem

is I can only keep the illusion for

a few minutes. I need more power to

hold the form longer. I need the

Highlander. Where is he?

OLD MAN

I do not know -- and even if I did...

KILVARA

(cutting him off)

I know. I know-- you would not tell

me. Loyalty -- it really is a concept

that eludes me.

(shrugs his shoulders)

Oh well -- I shall find him. Time

is on my side.

The Old Man looks sadly at the open door. Kilvara notices

and grins.

KILVARA

Is this what you’re looking for?

Kilvara opens the SACK. Inside it is the head of the Young

Man. Kilvara LAUGHS, a deep guttural laugh. He turns and

starts towards the door. Suddenly he stops and turns back

to face the Old Man.

KILVARA

(mockingly)

Oh -- I almost forgot. Your head.

OLD MAN

It does not come off as easily as

the young ones.

KILVARA

(amused)

Perhaps -- but it comes off none the

less.

With a savage YELL Kilvara draws his sword and lunges at the

Old Man. The Old Man steps aside and Kilvara’s sword smashes

down on the table, shattering it into splinters.

The two Horsemen step into the room and watch. Kilvara lunges

again -- and again -- each time the Old Man side-steps him.

Kilvara swings -- the Old Man ducks -- the blade hits the

stone wall -- SPARKS FLY -- ROCK EXPLODES. The Old Man slices

his blade across Kilvara chest. A deep gash is cut -- blood

flows.

Kilvara examines the wound.

KILVARA

You’re dead.

With brutal strength Kilvara begins his attack again, whipping

his sword through the air furiously.

Their swords cross -- sparks fly. Kilvara is too powerful

for the Old Man. All he can do is back up -- using his sword

to block each ferocious blow. They pass through a large

ARCH at the rear of the room.

INT. CAVERN - NIGHT

The building is built at the mouth of a vast CAVE. TORCHES

set in the walls of the cavern are the only source of light.

A WOODEN BRIDGE is built over a deep RAVINE. Kilvara and

the Old Man continue their fight across the bridge. The

Horsemen lag behind, enjoying the battle. The Old Man’s

strength is giving way under the merciless attack.

The SPARKS from each contact is even more dazzling in the

dim light of the cavern. Kilvara swings again. The Old Man

tries to block it. In one fluid movement Kilvara scrapes

his SWORD along the Old Man’s -- then lunges forward --

thrusting his blade through the Old Man’s chest. The Old

Man SCREAMS in pain. Kilvara lifts him up with the blade.

Kilvara flings him off the blade and onto the ground. The

Old Man is on his knees. Kilvara raises his sword above his

head.

KILVARA

There can be only one.

Kilvara brings the blade down. It slices through the Old

Man’s neck, severing his head from his body. Kilvara waits,

preparing himself. A stream of bright GREEN LIGHT begins to

flow from the BODY of the OLD MAN. It grows BRIGHTER and

BRIGHTER. The Body of the old man begins to hover above the

ground, then in a pulsing burst of energy the LIGHT flows

into Kilvara. The force knocks him to his knees.

The GROUND SHAKES -- The walls of the cavern move. Suddenly,

chunks of rock are blown out of the walls -- the RUMBLING

SOUND grows LOUDER and LOUDER -- blinding GREEN LIGHT FILLS

the cave and then -- a deafening EXPLOSION. Whole sections

of the cavern begin to collapse -- covering the exit --

trapping everyone inside.

EXT. MOUNTAIN - WIDE SHOT - NIGHT

The RUMBLING SOUND subsides. In the distance we hear the

savage SCREAM of Kilvara. The CAMERA MOVES UP the side of

the mountain. As we come over the top we see...

SMASH CUT TO:

EXT. NEW YORK CITY - NIGHT

The familiar towers of the city skyline stand along the bay,

their LIGHTS reflecting off the water.

EXT. STREET - NIGHT

A thick FOG hangs in the air. A light wind blows, moving

newspapers and other articles of trash along the deserted

street.

EXT. ALLEY - NIGHT

Crates and trash dumpsters line the alley. A single, naked

light bulb shines down like a spotlight. Through the fog

the SILHOUETTE of man appears as he steps under the light.

MOVING WITH THE MAN - REVERSE SHOT

We follow the man from behind. He is tall, dressed in a

long, tan rain-coat, jeans and sneakers. A small TRAVEL BAG

is slung over his shoulder. As he moves down the alley he

hears a SCRAPING SOUND. HE stops -- but does not turn around.

A street PUNK emerges from behind a trash crate, scraping

the BLADE of his KNIFE along the wall of a building. He

studies the man for a moment as he runs his thumb along the

edge of the blade, almost caressing it.

PUNK

What’cha got in the bag?

Not only does the man not answer -- he doesn’t even turn

around.

PUNK

Hey -- you hear me?

CONNER MACLEOD slowly turns around. He is mid thirties,

handsome, his chin dotted with the stubble of a beard. He

is calm, detached -- yet under the surface there is a great

sadness from a lifetime of pain and loneliness. He stares

at the Punk wearily -- knowing both what is going to happen

and what the outcome will be.

MACLEOD

(softly)

Yes -- I hear you.

PUNK

Good. Now, give it up.

Macleod studies the Punk for a moment.

MACLEOD

Go home -- while you still can.

Macleod turns his back to him and starts to walk away. The

Punk moves after him quickly. Macleod reaches into a trash

can and pulls out a piece of PIPE.

The Punk stops and stares at Macleod.

PUNK

(amused)

What do you think you’re gonna to do

with that?

Macleod raises the pipe, twirling it around expertly in his

hand.

MACLEOD

(deadly calm)

Let’s find out.

A beat. The Punk is losing confidence. He looks at Macleod.

CLOSE ON MACLEOD’S EYES

Deep. Confidant. They radiate an intensity that seems to

burn into the Punk.

The Punk is unnerved by Macleod’s calm. Macleod waits,

letting him make the next move. A beat. The Punk backs

away and disappears into the darkness. Macleod stares him

for a moment, then drops the pipe to the ground and walks

off in the other direction.

EXT. STREET - NIGHT

Macleod stops at the mouth of the alley where it intersects

with the street. He stares across the street.

MACLEOD’S POV

An old building. A sign reads: RUSSELL NASH, ANTIQUES.

A sadness falls across his face -- his mind floods with

memories as he looks at the building.

Across the street the door of the antique store opens.

RACHEL, an attractive woman in her fifties exits -- locks

the door -- walks down the street.

Macleod watches her affectionately -- painfully. As she

crosses the street, he steps back into the shadows of the

alley, hiding in the darkness. Rachel reaches the alley,

then stops -- thinks -- looks back at the Antique Store.

She is only a few feet away from Macleod.

CLOSE ON MACLEOD

Macleod struggles to make a decision. Slowly he raises his

hand -- reaches out -- but cannot bring himself to touch

her.

Rachel starts to walk away.

MACLEOD (O.S.)

Rachel.

No more needs to be said. She recognizes the voice instantly.

She turns around slowly and looks behind her. In the b.g.

Macleod steps out of the darkness. He smiles at her weakly.

Confusion fills her face, but is quickly replaced by a wave

of emotion. She moves towards Macleod slowly, as if trying

to determine if he is really there. She cups her hands to

his face and stares deeply into his eyes. No words are spoken --

none need to be. The power of their feelings are shown in

their eyes.

CUT TO:

INT. ANTIQUE STORE - NIGHT

Crowded with tables, chairs, cabinets and other rare old

objects of furniture. Macleod is seated at a 17th century

dinning table. Rachel stands in the center of the room.

RACHEL

You know it’s not safe here for you.

MACLEOD

I know.

RACHEL

The police still have a lot of

questions for Russell Nash.

MACLEOD

I can take care of myself.

Rachel’s emotion builds.

RACHEL

Why are you here, Conner? After

seven years without a word, why have

you come back? You went off to make

a new life with Brenda and that was

the last I heard--

A sadness falls over Macleod’s face.

MACLEOD

Brenda’s dead.

Rachel is stunned.

MACLEOD

(continuing)

Four years ago. I’ve nowhere else

to go. You’re all I have, Rachel --

and I’m just so tired of being alone.

His words touch her. She opens a cabinet and pulls out a

bottle of GLENMORGANGIE scotch. Macleod forces a weak smile.

In the light he looks tired. She pours him a drink.

RACHEL

It isn’t over, is it, Conner?

MACLEOD

(wearily)

No.

RACHEL

How can that be?

MACLEOD

I don’t know.

Rachel’s face fills with compassion. She reaches out and

holds Macleod. He lays his head on her shoulder like a baby.

INT. LIBRARY - NIGHT

Every inch of wall-space is filled with shelves and BOOKS.

Macleod walks along a row studying the titles. A faint grin

falls across his face as he sees a selected works of poetry.

Rachel enters the room with a tea service and places it on

the table.

RACHEL

Is there anything else you need?

MACLEOD

No -- I’m fine. Thank you.

RACHEL

I’m glad you’ve come home, Conner.

MACLEOD

Me too.

Rachel leaves. Macleod takes a small book off the shelf and

looks through it. Outside a STREAK of LIGHTNING cuts across

the night sky. Macleod looks out the window concerned.

CUT TO:

EXT. FARM - DAY

Seventeenth century Scotland. The CAMERA rise over an old

stone wall. A charming farm house with stone walls and a

thatched roof sits in the distance. Smoke drifts lazily

from the chimney.

IN THE FIELD

A man toils behind an ox, his arms straining as he guides a

plow through the soft earth. He stops, runs his hand across

his brow, then turns around. It is Macleod. His hair is

longer, but he looks exactly the same.

The FARMER and owner of the land, a kindly-looking man in

his fifties walks over to him. He picks up and handful of

soil and tastes it.

FARMER

It will be a good harvest this year.

MCCLEOD

Can you really tell from doing that?

FARMER

What do you think?

MCCLEOD

I think you just like to eat dirt.

They both LAUGH. SARAH, fifteen years old, with flaxen hair

and bright blue eyes approaches Macleod with a water pale.

SARAH

(shyly)

Would you care for some water, Conner?

MCCLEOD

Aye -- that I would, lass.

Conner takes the ladle and pours it over his head. He scoops

out some more water and drinks, then WINKS at Sarah. She

blushes and runs off.

FARMER

I think my Sarah fancies you, Conner.

MCCLEOD

She’s a treasure she is.

FARMER

She’ll soon be of age.

Macleod understands him only too well.

MCCLEOD

Your words are kind and they flatter

me -- but I think of her as a sister.

Besides, you hardly know me.

FARMER

I know that for six months you’ve

worked hard and asked for little.

That you’re a good and honest man.

What more need I know?

The conversation is interrupted by the SOUND of HORSES HOOVES

thundering across the fields. TWO MEN, dirty and roughlooking

ride up to the house. They have the look of warriors

to them.

The Farmers wife and Sarah stand outside the house.

EXT. FARM HOUSE - DAY

The Farmer arrives, out of breath from his run across the

field. In the b.g. we see Macleod going into the barn.

FARMER

Good day.

The Men do not answer. The Farmer is nervous. He has seen

men like this before. A few other FARM HANDS, mostly OLD

MEN and WOMEN come in from the fields.

FARMER

You are welcome to share our food

and our fire.

WARRIOR #1

We do not share, old man. We take.

Warrior #1 dismounts. His eyes fall on young Sarah. He

looks back at his friend with a toothless grin.

WARRIOR #1

You can eat if you want. I’m going

to start with her.

Warrior #1 walks towards Sarah who clings to her Mother.

The Farmer stands in the path of the Warrior.

FARMER

No!

Warrior #1 backhands the Farmer across the face, sending him

falling to the ground. Sarah tries to run but the Warrior

grabs her. He lifts her over his shoulder and carries her

inside the barn, closing the door behind them. We HEAR Sarah

SCREAM. A beat.

Suddenly, the doors of the barn crash open as the Warrior

flies out of the barn and lands on his back.

Macleod steps out of the barn, his Samurai in hand. Warrior

#2, still mounted on his horse grins.

WARRIOR #2

It appears this farmer has a temper.

Warrior #1 staggers to his feet. He removes his sword and

stares angrily at Macleod.

WARRIOR #1

This farmer is dead.

Warrior #1 lunges at Macleod who casually sidesteps his attack

and slices his sword across the Warriors chest. The Warrior

GASPS, then falls to the ground dead.

Warrior #2 cannot believe what he has seen. Anger fills his

face. He reaches to the side of his saddle and lifts a CROSS

BOW. Macleod changes his grip on the sword and holds it

like a spear. He THROWS it at the Warrior at the same time

he FIRES the cross bow. The sword flies into the Warrior’s

stomach.

Blood flows from his mouth. A beat. He falls from the

saddle, dead.

Macleod is standing, an ARROW dead-center in his chest.

Blood flows from the wound. He slowly walks into the barn.

The Farmer runs after him.

INT. BARN - MOMENTS LATER - DAY

The Farmer enters. Macleod is on his knees, his face filled

with pain. He pulls the arrow from his chest and stands.

The farmer cannot believe what he has just seen. He crosses

himself.

Outside, through the open barn doors we see Sarah and her

mother running towards them. The Farmer quickly closes the

doors and bolts them.

FARMER

(stunned)

This cannot be.

MCCLEOD

It is. Do not ask me how. I do not

know. I must leave, for if I stayed

others would surely hear of this and

worse than they will come.

FARMER

Agreed.

MCCLEOD

(sadly)

I would like to say goodbye.

FARMER

How?

EXT. BARN - DAY

The doors opens and the Farmer comes outside. He motions

for his wife and Sarah to enter.

INT. BARN - DAY

Sarah is crying as she enters with her Mother and Father.

Macleod is laying on the ground, his head propped up under a

mat of straw.

FARMER

Be quick -- he has not much time.

Tears flow from Sarah’s eyes as she kneels next to Macleod.

She holds his hand.

SARAH

Don’t leave us, Conner.

MCCLEOD

(weakly)

It’s not for me to decide.

He gently wipes her tears away with his hand.

MCCLEOD

(continuing)

Don’t cry, wee one. It’s a better

place I go to.

SARAH

I love you, Conner.

MCCLEOD

Aye -- I know, Las -- and I have

never loved anyone more.

SARAH

I’ll no forget you.

MCCLEOD

(sadly)

And I you. Go now. Let me walk to

heavens door alone.

The Farmer ushers his wife and Sarah from the barn.

EXT. ROAD - NIGHT

The Farmer sits on a cart pulled by an ox. He stops and

looks around.

FARMER

This should do.

In the back of the cart Macleod lifts up a tarp and gets

out.

He looks down in the valley. He can see the LIGHTS in the

FARMHOUSE below.

FARMER

Go. I will dig a grave and mark it

with your name.

The farmer’s voice is distant. He is still unable to grasp

what he has seen.

MCCLEOD

Thank you.

Macleod reaches up his hand. The Farmer does not take it.

Macleod understands. He starts to walk off into the night.

FARMER

Conner?

Macleod turns around.

FARMER

I will not pretend to understand

what I have seen this day. I am a

simple man. Whatever you be -- demon

or spirit -- I thank you for the

life of my Sarah and I wish you God’s

peace.

The Farmer turns the cart around, leaving Macleod alone,

staring into the night.

CUT TO:

INT. LIBRARY - NIGHT

Macleod is still staring out the window as the memories fade

back into the past. He opens the book of poetry and searches

through it.

MACLEOD

(reading aloud)

The forest is lovely. Dark and deep --

but I have promises to keep -- and

miles to go before I sleep.

Another FLASH of LIGHTNING. He looks out the window into

the night.

MACLEOD

(wearily)

"Miles to go before I sleep"

CUT TO:

EXT. ARCHAEOLOGICAL SITE, SCOTTISH HIGHLANDS - LATE

AFTERNOON

The WIND HOWLS through the valley. Outside the crumbling

RUINS of the STONE BUILDING (we saw in the opening sequence)

are several four wheel drive trucks and vans. PROFESSOR

PAUL DAJORSKI, is a typical academic in his fifties: beard,

glasses, pipe, tweed jacket. He walks across the field with

a REPORTER and CAMERAMAN.

PROFESSOR DAJORSKI

For years this site was thought to

hold no archaeological value. That

is until a few weeks ago when some

local boys discovered what appears

to be a collapsed passageway that

leads into a cavern.

REPORTER

How much longer until you expect to

enter the main cavern?

PROFESSOR DAJORSKI

That’s what we’re going to find out

now.

A STREAK OF LIGHTNING CUTS across the clear blue sky.

Professor Dajorski looks up.

REPORTER

(referring to the

lightning)

I’ve never seen anything like that

before.

PROFESSOR DAJORSKI

It just started a few hours ago.

WORKERS exit the building pushing wheelbarrows filled with

rock and dirt. The Professor enters the stone building,

followed by the Reporter and his team.

INT. STONE BUILDING - LATE AFTERNOON

Inside groups of VOLUNTEERS attend to various functions.

Professor Dajorski walks through the room. The Camera Crew

follows.

WE MOVE WITH THEM as they walk down a long tunnel that leads

into the mountain.

JENNIFER HILLMAN an attractive woman in her late twenties

stands next to a TECHNICIAN. They each watch the screen as

bright green light oscillates up and down. She looks up at

Dakorski.

JENNIFER

Electro magnetic soundings indicate

we’ve only got a few inches of rock

left before we reach the main chamber.

REPORTER

Any idea how big the cavern is on

the other side?

JENNIFER

Huge.

REPORTER

What are you hoping to find inside?

The question strikes Jennifer as odd.

JENNIFER

You guys are from the British museum,

right?

REPORTER

No -- we’re from Strange facts and

mysteries. It’s a syndicated show

out of..

JENNIFER

(to Dajorski)

Paul. I thought we agreed. No press.

PROFESSOR DAJORSKI

Just a little. Who knows what we’re

going to find in there. It could be

a huge excavation. A little friendly

PR never hurt.

JENNIFER

Where is the film crew from the

British Museum?

PROFESSOR DAJORSKI

They’ve had a little car trouble.

I’m afraid they won’t be here until

after dark.

JENNIFER

Then we shouldn’t break into the

cavern until tomorrow morning. This

could be a very important find. I

want it documented.

CUT TO:

EXT. ARCHAEOLOGICAL SITE - NIGHT

All is quiet. Trucks and Vans are parked near the structure.

CUT TO:

INT. STONE BUILDING - TUNNEL ENTRANCE - NIGHT

A GUARD sits in a fold-out chair at the entrance to the

tunnel.

CUT TO:

INT. TUNNEL - NIGHT

ELECTRIC LIGHTS are set up at intervals along the tunnel.

We HEAR a SCRATCHING SOUND. A beat. The SOUND grows LOUDER.

One of the huge rocks blocking the tunnel begins to move.

It moves forward slowly, then falls to the ground with a

THUD. There is now a hole in the wall.

INT. STONE BUILDING - TUNNEL ENTRANCE - NIGHT

The GUARD hears the SOUND. He turns around and looks down

the tunnel, then enters.

INT. TUNNEL - NIGHT

The Guard reaches the end. He sees there are now several

rocks on the ground and the hole in the wall is now even

bigger. The Guard slowly removes a FLASH LIGHT and moves

towards the wall. He shines the light inside and looks in.

A beat -- then, suddenly and hand reaches out, grabbing the

Guard and pulling him in through the hole. A beat. ALL IS

QUIET.

Kilvara steps out through the hole holding his sword. He

shields his eyes from the light and moves towards the exit.

CUT TO:

EXT. STONE BUILDING - NIGHT

Kilvara steps outside. He takes a deep breath, filling his

lungs with the cool night air. A moment later he is joined

by the two Horsemen. Kilvara closes his eyes.

KILVARA

Can you feel it? There is another

one among us. It has not ended?

HORSEMAN #1

What now?

Kilvara opens his eyes and slowly looks at the Horseman.

KILVARA

Everything is as it was before.

Kilvara raises his sword -- swings in at the Horseman -- and

severs his head from his body. The other Horseman looks on

in horror. He backs up slowly, then runs off. Kilvara

prepares himself to receive the power.

EXT. STONE BUILDING - WIDE SHOT - NIGHT

A Brilliant GREEN LIGHT pierces the darkness, lighting the

front of the Stone Building.

SMASH CUT TO:

INT. MACLEOD’S BEDROOM - NIGHT

Macleod bolts up in bed. He stares out the window sadly.

CUT TO:

EXT. COUNTRY ROAD - DAY

Seventeenth century England.

Macleod rides his horse along a road blanketed by dense forest

on each side. Suddenly, he stops his horse as a premonition

fills him. He looks around. A horse is tethered to a tree

off the road.

MAN’S VOICE

Good day.

The VOICE comes from above. Macleod looks up. Sitting on

the branch of a tree that extents over the road is THOMAS

CAVANAUGH. He is a large, robust MAN in his fifties dressed

in thick sheepskins. He drops from the tree landing before

Macleod. Macleod slowly reaches for his Samurai.

CAVANAUGH

You’ll have no need for that,

Highlander.

MCCLEOD

Since we hardly know each other, I’m

sure you’ll understand if I hold one

to it for awhile.

CAVANAUGH

Caution shows wisdom.

Cavenaugh notes the Samurai.

CAVANAUGH

I know that weapon. It belonged to

Juan Romeriz. He’s dead?

MCCLEOD

(sadly)

Aye.

CAVANAUGH

You?

MCCLEOD

No. He was my brother. He died at

anothers hand.

CAVANAUGH

We too are brothers, Macleod. In

fact, you have more family than you

think.

MCCLEOD

Who are you?

CAVANAUGH

Thomas Cavenaugh. I am a teacher of

sorts. Like Romeriz I help those

newly acquainted with our life.

MCCLEOD

I learned my fill from Romeriz.

CAVANAUGH

Indeed you did. And now it is time

for you to pass on to others what

you learned from him.

Cavenaugh walks over his horse and mounts it.

MCCLEOD

So they can take my head?

Cavenaugh rides over to Macleod.

CAVANAUGH

Your head is not important,

Highlander. What is important is

the prize. It must go to one who

would not misuse it. Ride with me.

Come and meet your family.

Cavenaugh’s horse begins to walk away. Macleod stares after

him, then follows.

CUT TO:

EXT. ANCIENT CHURCH - DAY

The Church stands alone in a valley, it’s stone walls

collapsed from time and neglect. Fog carpets the ground.

HORSES and CARTS are in front of the building.

INT. ANCIENT CHURCH - DAY

Only three of the four stone walls are standing. A large

section of the roof is gone. Inside are about thirty MEN,

WARRIORS, fierce and hard-looking. They stand before what

once was the altar and listen as Cavenaugh speaks.

CAVANAUGH

I’ve called this gathering on holy

ground so that each man might take

comfort in knowing he is protected

inside the confines of these walls.

None of us, good or evil would dare

raise a hand against the other in

God’s house.

MAN #1

If God protects us so, why has he

cursed us?

CAVANAUGH

God’s purpose for us is unclear,

save that he has given us a gift.

MAN #2

A gift? You call never growing old - -

watching friends and loved ones die

a gift?

CAVANAUGH

I do not profess to know what is in

God’s mind. He has chosen us. We

are his warriors through time. The

final Gathering is still far away

but the prize must be captured by a

man who is pure of heart. Those of

us who would use the prize for goodly

purpose must band together against

those who would use it for evil.

In the back of the room, standing alone is Macleod. His

eyes are on the altar, but his mind seems far away.

CUT TO:

EXT. ANCIENT CHURCH - LATER - DAY

Macleod walks with Cavanaugh, weaving through the crowd of

men and horses.

MCCLEOD

The prize? So much blood so that in

the end the one that remains will be

mortal again. So much pain so that

the winner can grow old and have

children. The prize hardly seems

worth the cost of it.

CAVANAUGH

There will be more to the prize than

that. Power will come with it --

and it must be used for good.

MCCLEOD

The days of magic are ending. The

world is changing.

CAVANAUGH

Aye -- yet one such as I who has

wandered this world for nearly nine

centuries can remember back to other

days of change. Days of Robin of

the Hood and Arthur Pendragon.

CAVANAUGH

They were real enough once, but they

drifted into men’s dreams and became

legend - - as we shall do one day.

Macleod stops at his horse.

MCCLEOD

I grow weary of the fight.

Macleod mounts his horse.

CAVANAUGH

You cannot run from your destiny,

Conner.

MCCLEOD

Perhaps -- but if I must face it,

let it find me, for I shall search

for it no more.

CUT TO:

EXT. ARCHAEOLOGICAL SITE - MORNING

Professor Dajorski walks quickly to the Stone Building. The

area is surprisingly empty. Jennifer walks over to meet

him.

PROFESSOR DAJORSKI

What’s going on? Where is everyone?

JENNIFER

We’re holding the workers down below.

PROFESSOR DAJORSKI

Why?

JENNIFER

Someone broke into the cavern last

night.

PROFESSOR DAJORSKI

What? How?

Jennifer begins to walk. Dajorski follows.

JENNIFER

We’re not quite sure. The Guard was

knocked out.

Dajorski is concerned. Jennifer waves him off.

JENNIFER

He’s fine.

JENNIFER

He swears he never left his post for

a moment. He heard a noise and when

he went back to look they were already

inside.

PROFESSOR DAJORSKI

How could they get by him?

JENNIFER

I don’t know.

Jennifer stops. A few feet away lies the torso of the

horseman covered by a blanket. Beside him, covered with a

jacket is the head. Dajorski looks at it.

JENNIFER

(pointing)

We found him this morning.

PROFESSOR DAJORSKI

(pointing)

What’s that next to him?

JENNIFER

His head. Someone cut it off.

Dajorski shivers at the thought of it.

JENNIFER

Look at this.

Jennifer lifts the cloth. Dajorski isn’t pleased with the

sight, but he immediately sees what she is referring to. He

bends down and examines the dead man’s clothing.

PROFESSOR DAJORSKI

Incredible. The cloth -- the buttons --

it looks to be mid sixteen hundreds.

It’s a remarkable duplication.

JENNIFER

I don’t think it is a duplication.

PROFESSOR DAJORSKI

It has to be.

JENNIFER

And this?

Jennifer lifts the sword. Dajorski examines it.

PROFESSOR DAJORSKI

Same period -- and exceptionally

well preserved.

PROFESSOR DAJORSKI

Jennifer, what’s going on here?

Jennifer look back at the stone building.

JENNIFER

That’s a good question. That’s a

very good question.

CUT TO:

INT. ANTIQUE STORE - DAY

Macleod comes out of the elevator. He walks over to Rachel

at the counter.

MCCLEOD

I’m going out for a while.

Rachel opens a drawer and removes a set of keys. She hands

them to him.

MCCLEOD

You kept it?

RACHEL

Yes.

Macleod smiles and kisses her on the forehead.

INT. GARAGE - DAY

A tarp is pulled off of a 1958 convertible PORSCHE.

EXT. STREET - DAY

The PORSCHE roars up the driveway and out onto the street.

INT. CHURCH, NEW YORK - AFTERNOON

Filtered light flows through stain glass windows. Macleod

sits alone in the pew. He stares at the altar, his mind

deep in thought. A PRIEST walks down the aisle -- stops --

studies him for a moment, then sits beside him.

PRIEST

You look troubled my son.

Macleod’s mouth hints at a grin from the Priest’s

understatement. He does not look at the Priest.

PRIEST

Sometimes we feel better if we talk

about the things that bother us.

PRIEST

How long has it been since your last

confession?

MCCLEOD

(distantly)

A long time.

PRIEST

Perhaps if you--

MCCLEOD

I don’t think confession will help

me, father.

Macleod stands and prepares to leave.

PRIEST

Redemption is one of God’s gifts.

Macleod looks at the Priest sadly.

MCCLEOD

God’s gifts? You mean like, life,

having children, growing old, dying

and heaven?

PRIEST

Exactly.

MCCLEOD

Those are gifts I can never have.

Macleod walks down the aisle.

PRIEST

You are too young to be so bitter.

Macleod stops. He turns back and looks at the Priest.

MCCLEOD

(sadly)

I’m older than I look.

CUT TO:

EXT. DOCKS - DUSK

A desolate area of the RIVER. Abandoned WAREHOUSES line the

waterfront. His PORSCHE is parked in the b.g. Macleod leans

against the railing, staring out over the water. A beat.

Suddenly, Macleod stiffens, his gaze lifts off the water. A

premonition fills him. He turns around, knowing what he

will find behind him.

MACLEOD’S POV

The other Horseman approaches. He holds his broad sword at

his side.

Macleod holds his hand up.

MCCLEOD

Wait. We don’t have to do this.

The Horseman lunges at Macleod. He raises the sword and

brings it down quickly. Macleod moves quickly to his side.

The sword miss him by inches as it smashes into the railing,

slicing through the metal.

Macleod stares into the Horseman’s eyes -- they are cold,

savage. He knows there is not point in talking.

MCCLEOD

Alright.

Macleod opens his rain coat and slowly removes the ancient

Samurai sword. He expertly twirls the sword as he raises it

over his head and holds it in a fighting stance. A beat.

Both men lock eyes. The Horseman attacks.

Blades cross. Sparks fly. The men move across the quay

towards the warehouse.

The Horseman thrusts his sword. Macleod steps to the side

and slices the blade of the Samurai across the Horseman’s

face. A deep gash appears, blood flows down his cheek. The

Horseman touches the wound, looks at the blood on his finger,

then tastes it. He grins and attacks.

The Horseman whirls his sword, swinging furiously at Macleod.

Blow after powerful blow pounds against the samurai. Macleod

is backed up against the railing. The swords cross and

remained locked -- each man pushing against the other in a

show of strength.

The Horseman knees Macleod in the groin. Macleod doubles

over.

The Horseman brings the butt of his sword down hard between

Macleod’s shoulder blades. Macleod falls to his knees,

dropping his sword. The Horseman lifts the Samurai and throws

it behind him. Macleod struggles to shake the pain from his

body as the Horseman raises the sword above Macleod’s neck.

As he brings it down, Macleod lunges forward, hurling his

body into the Horseman and picking him. Macleod’s runs across

the quay carrying the Horseman on his shoulder. The Horseman

raises his sword above his head.

Macleod heads towards one of the large windows of the

warehouse.

INT. MEAT PACKING WAREHOUSE - DUSK

CRASH! Glass shatters as Macleod and the Horseman break

through the window. Carcasses of BEEF hang from hooks on a

curving S-HAPED processing line. Slowly the two warriors

get to their feet. The Horseman’s sword is a few feet behind

him. He stands and walks to it. Macleod looks around the

room, looking for something -- anything -- that might be

used as a weapon.

The Horseman attacks, swinging his sword wildly. Macleod

grabs the racks of beef, using them as a shield. The

Horseman’s blade slices through the meat. Macleod back up,

grabs another side of beef and pushes it into the Horseman.

The impact knocks the Horseman to the ground. His sword

slides across the floor. The Horseman gets up and walks

over to his sword.

Macleod grabs one of the MEAT HOOKS and hurls it towards the

Horseman’s back. The Horseman has just about reached the

sword when the Hook spears him between the shoulder blades.

Macleod pushes a RED BUTTON. The processing line begins to

move -- the hook lifts, picking the Horseman off the ground.

The Horseman tries desperately to reach the hook, but he

cannot. Macleod picks up the sword and readies himself.

The Horseman heads back towards Macleod . In one fluid motion

Macleod cuts off his head -- leaving the rope intact. The

headless body continues to swing across the room.

A beat. Macleod readies himself for what he knows his coming.

Sparks of green light begin to pulse out from the Horseman’s

headless body.

Macleod’s body stiffens as a jolt of power fills him.

Overhead LIGHT FIXTURES CRACKLE as the LIGHT BULBS begin to

glow. The ENGINE of an old fork lift comes to life. A RADIO

turns on filling the room with MUSIC.

EXT. WAREHOUSE - NIGHT

One by one the WINDOWS EXPLODE, raining a shower of glass on

the dock -- and then -- SILENCE.

An exhausted-looking Macleod staggers out of the building.

He searches through the darkness until he finds his sword,

then runs off into the night.

CUT TO:

EXT. RIVER - DAY

Seventeenth century England.

Macleod rides along the shores of the river. Cavanaugh rides

beside him, singing and old FOLD SONG loudly. His voice

clearly annoys Macleod.

MCCLEOD

Must you do that?

CAVANAUGH

What?

MCCLEOD

Sing.

CAVANAUGH

It is a beautiful day. I am merely

enjoying it.

MCCLEOD

Can’t you enjoy it quietly?

CAVANAUGH

Are you always this pleasant?

(Macleod doesn’t answer)

You know what you’re problem is?

MCCLEOD

You?

Cavanaugh forces a grin. He stops his horse. Macleod stops

beside him.

CAVANAUGH

Life. You’ve stopped living it.

You look, but you do not see. You

listen but, you do not hear.

MCCLEOD

I hear you.

CAVANAUGH

What else? What else do you hear

right now?

Macleod listens for a moment.

MCCLEOD

The river.

CAVANAUGH

That’s all?

MCCLEOD

Yes.

Cavanaugh closes his eyes.

CAVANAUGH

Do you not hear the wind in the trees?

The songs of the birds. The horses

breath?

(beat)

There is a whole world around you.

Alive. Living. Feel it -- become

part of it. Live your life,

Highlander. It’s going to be a long

one.

MCCLEOD

That is what bothers me.

CAVANAUGH

I see. You don’t care about life

anymore.

Macleod shrugs his shoulders, indicating he doesn’t care.

MCCLEOD

I guess not.

In an instant Cavanaugh draws his sword and swings it at

Macleod’s neck. Just as quickly Macleod removes his Samurai

and blocks the attack. A beat. Cavanaugh grins, then lowers

his sword.

CAVANAUGH

You protect yourself well for a man

who doesn’t care if he lives or dies.

Cavanaugh moves his horse forward.

CAVANAUGH

(looking back at

Macleod)

Fear not, my friend -- we’re all

going to die. It’s just going to

take us longer, that’s all.

CUT TO:

INT. INN - NIGHT

A small country inn. A fire roars in the fireplace. Macleod

sits at a table, staring into the flames. Cavanaugh joins

him carrying to tankards of ale. A beat. Cavanaugh does

not interrupt Macleod’s thoughts.

MCCLEOD

I’m leaving.

CAVANAUGH

Leaving what?

MCCLEOD

England. There is nothing for me

here anymore.

CAVANAUGH

And what do you think you will find

in another land?

MCCLEOD

Maybe myself.

CAVANAUGH

Then it’s worth the journey.

Macleod holds out his hand.

MCCLEOD

Thank you, Thomas.

CAVANAUGH

For what?

MCCLEOD

For being a friend when I needed

one. I hope our paths cross again.

CAVANAUGH

I’m sure they will.

MCCLEOD

As friends -- always as friends.

CAVANAUGH

We cannot write our destiny, Macleod.

In the end it could be you and me.

MCCLEOD

That is a thought that doesn’t please

me.

CAVANAUGH

If it came down to it what would you

do?

MCCLEOD

I do not know. I pray that I shall

never have to raise my sword against

one that I call friend.

Cavanaugh raises his tankard. Macleod joins him. They tab

there tankards together and drink.

CUT TO:

EXT. MEAT PACKING WAREHOUSE - MORNING

Several BLACK AND WHITE POLICE CARS are in front of the

building. An unmarked car drives up and BEDSOE the cop from

Highlander one gets out. He is older, heavier and now a

Lieutenant. He walks towards the entrance of the warehouse.

INT. MEAT PACKING WAREHOUSE - MORNING

POLICE OFFICERS and members of the FORENSIC TEAM search

through the rubble for clues. The headless corpse of the

Horseman is still hanging from the meat hook in between

several slabs of beef. Bedsoe enters at stares at the

gruesome sight. A DETECTIVE GRELEY, a sloppy-looking man in

his thirties joins him.

DETECTIVE GRELEY

Caretaker found him this morning.

He’s got no I.D. on him -- we’ll

have to run his prints.

Bedsoe looks around the room. The scene is all too familiar

to him.

DETECTIVE GRELEY

So, whaddaya think, Lieutenant,

U.S.D.A?

Greley grins. Bedsoe looks at him askance.

BEDSOE

Did you find a sword? An old sword?

DETECTIVE GRELEY

(surprised)

Yeah -- how’d you know that?

Bedsoe ignores the question. He looks away, his mind deep

in thought.

BEDSOE

(quietly to himself)

He’s back.

CUT TO:

EXT. MUSEUM - MORNING

An old building set among warehouses and abandoned buildings.

In the b.g. looms the modern high-rises of the city.

INT. OFFICE - MORNING

A large room, filled with tables that are piled high with

artifacts. Professor Dajorski enters, hangs up his jacket

and walks across the room. Jennifer is asleep at a workbench,

her head resting on the surface. Dajorski stares at her for

a moment, then gently wakes her.

PROFESSOR DAJORSKI

You stayed here again last night?

JENNIFER

I was working on the cataloging.

PROFESSOR DAJORSKI

Jennifer, there is more to life than

work.

JENNIFER

I know, Paul.

PROFESSOR DAJORSKI

Do you? Then why don’t you go out?

Meet someone. Make a life for

yourself instead of hiding away in

the past?

JENNIFER

I like my work.

PROFESSOR DAJORSKI

I’m having some people over tonight

for dinner -- I’d like you come.

JENNIFER

(smiles)

We’ll see.

Dajorski knows her well enough to know when to stop pushing.

He places a copy of the morning paper in front of her.

PROFESSOR DAJORSKI

Take a lok at this.

Jennifer lifts the paper.

JENNIFER

(reading)

The headless corpse of a man was

found early this morning in a meat

packing warehouse near the river.

JENNIFER

Police say the unidentified body was

dressed in what appears to be a

costume from the seventeenth

century...

Jennifer lowers the paper and looks at Dajorski with

confusion.

CUT TO:

INT. BANK - DAY

An old building with several large PILLARS running from floor

to ceiling. MR. PARKER, a distinguished looking man in his

forties stands at counter. He finishes filling out a deposit

slip, then endorses the back of a check. Parker looks at

the line, puts the check in his BRIEFCASE, then walks towards

the bathroom.

SOMEONE’S POV

of Parker walking into the bathroom. The POV slowly heads

towards the bathroom.

INT. BATHROOM - DAY - SOMEONE’S POV

walking along the stall, looking under them to see if they

are occupied. We come to one and see a pair of shoes. A

beat. The POV rises, as if the person is straightening up.

A beat.

Suddenly the door is kicked open, revealing Mr. Parker siting

on the toilet. He looks up, startled.

PARKER’S POV

Kilvara is standing at the entrance of the stall with a grin.

KILVARA

Don’t get up.

INT. BANK, TELLER’S WINDOW - DAY

The TELLER, a bored middle-aged woman looks up routinely as

Mr. Parker walks to her window with his check in one hand,

his briefcase in the other.

TELLER

Good afternoon, Mr. Parker.

MR. PARKER

Good afternoon...

(looks at name plate)

... Shirley.

TELLER

Would you like to deposit this in

your account?

MR. PARKER

No. The money, please.

TELLER

This check is for sixteen thousand

dollars. That’s a lot of cash to be

carrying around.

MR. PARKER

I can take care of myself.

TELLER

Alright. It’s going to take a few

minutes. I have to call and verify

the funds.

We hold on Mr. Parker who is becoming a little anxious.

The Teller is on the phone.

TELLER

Yes -- I’ll hold.

Mr. Parker taps his fingers on the counter. The CLOCK on

the wall behind him reads: 1:10 The Teller hangs up the phone

and walks back to her station.

Mr, Parker looks pale, beads of sweat dot his forehead. The

CLOCK on the wall now reads: 1:22. The Teller takes out

several stacks of ONE HUNDRED DOLLAR BILLS. She starts to

count them. Mr. Parker scoops them into his briefcase.

MR. PARKER

That’s okay -- I trust you.

Mr. Parker walks away. His face sweats more, his body

stiffens. He draws the attention of a GUARD. Mr. Parker

walks behind one of the PILLARS as he heads for the exit.

When we see him again he looks different. He passes behind

another -- and again when we see him he appears different.

From pillar to pillar his shape changes until when he passes

from behind the last one he is now Kilvara.

The Guard cannot believe what he has seen -- or what he thinks

he has seen. He weaves in an out of the pillars looking for

any sign of Mr. Parker. There is none. He rushes up to

Kilvara who is still holding the BRIEFCASE.

GUARD

Just a moment, Sir.

Kilvara stops. He turns around slowly.

GUARD

Would you come with me please?

KILVARA

I think not.

The Guard moves closer. Kilvara slowly reaches his free

hand under his jacket. The Guard instantly removes his

revolver and aims it at Kilvara.

GUARD

Freeze!

Kilvara stares at the gun with amusement. In a flash his

sword his drawn. He moves towards the Guard. The Guard

FIRES. The first three shots hit Kilvara in the chest --

his light colored shirt splatters with blood. The shots

drive him backwards but not down. He staggers forward. The

Guard FIRES three more shots. Kilvara falls to the ground

on his back.

The Bank breaks into Chaos. CUSTOMERS dive to the ground.

The Guard slowly moves over Kilvara and kicks the sword away.

He leans over to take a pulse. Kilvara’s eyes open. He

grabs the Guard by the throat and lifts him off the ground

and he stands.

Kilvara pushes him against the wall and stares angrily into

his eyes.

KILVARA

(pissed off)

That hurt.

In the b.g. we HEAR POLICE SIRENS. Kilvara knows he has

little time. He lets go of the Guard, picks up his sword

and runs from the bank.

CUT TO:

INT. ANTIQUE STORE - DAY

The elevator opens and Macleod steps out carrying a DUFFLE

BAG.

Rachel is at the counter.

RACHEL

What are you doing?

MCCLEOD

I shouldn’t have come back here. It

was a mistake.

RACHEL

Is it a mistake for someone to go to

the ones who love them when they’re

in trouble?

MCCLEOD

Yes -- when their troubles can harm

them.

RACHEL

Why won’t you ever let anyone help

you?

Macleod puts his bag down near the counter. He touches

Rachel’s face lightly.

MCCLEOD

Because no one can.

We HEAR the BELLS on the front door as someone opens it.

MAN’S VOICE

Hello, Nash.

Macleod turns around. Bedsoe is standing at the door with

TWO DETECTIVES.

MCCLEOD

Detective Bedsoe.

BEDSOE

(correcting him)

Lieutenant.

MCCLEOD

Congratulations.

Bedsoe walks towards him. Rachel pushes the duffel bag behind

the counter with her foot, hiding it from Bedsoe’s view.

BEDSOE

Guess what we found this morning?

Macleod shrugs his shoulders.

BEDSOE

(continuing)

A body -- with it’s head cut off.

Sound familiar?

Macleod doesn’t answer.

BEDSOE

(continuing)

When did you get back?

MCCLEOD

A few days ago.

BEDSOE

That’s what I figured. Well, I have

a little home coming present for

you.

Bedsoe pulls out his HANDCUFFS and dangles them before

Macleod.

BEDSOE

(continuing)

I’ve been waiting seven years for

this.

CUT TO:

INT. INTERROGATION ROOM, POLICE STATION - DAY

Macleod and Bedsoe sit on opposite side of a table.

BEDSOE

Where were you last night around

nine?

MCCLEOD

I already told you. I took a walk.

BEDSOE

Tell me again. Where’d you go?

MCCLEOD

Central Park.

BEDSOE

Doesn’t it scare you walk through

the park at night?

MCCLEOD

No. I don’t scare easy.

BEDSOE

Where have you been for the last

seven years?

MCCLEOD

Around.

BEDSOE

And Brenda?

A sadness falls across Macleod’s face. Bedsoe has seen that

look before -- he knows what it means.

BEDSOE

How?

Macleod doesn’t answer the question. His personal life is

not open for discusion.

BEDSOE

She was a good woman.

MCCLEOD

You didn’t bring me here to talk

about her.

BEDSOE

No.

Bedsoe picks up an 8x10 PHOTOGRAPH of the HEADLESS CORPSE in

the meat packing warehouse.

BEDSOE

(continuing)

I brought you here to talk about

him. Do you know him?

MCCLEOD

No.

BEDSOE

You sure?

MCCLEOD

He doesn’t look familiar -- but then

he’d probably be easier to identity

with his head.

Macleod and Bedsoe lock eyes. A beat. There is a KNOCK on

the two-way mirror. Bedsoe gets up and leaves the room.

INT. HALL - DAY

Bedsoe walks over to CAPTAIN NEWSOME. We can Macleod through

the mirror.

BEDSOE

I’m in the middle of an interrogation,

Captain.

CAPTAIN

Interrogation’s over, Bedsoe.

BEDSOE

What?

CAPTAIN

Cut him loose.

CAPTAIN

The D.A. says you ain’t got shit on

this guy.

BEDSOE

You don’t understand. About seven

years ago we found the body of a guy

named Vasilnic in Jersey. A week

later in the parking lot of Madison

Square Garden we found Iman Fasil.

Three days after that Luman Castageer

was found in an alley. The fourth

body we’ve never been able to

identify. All four men died from

decapitation. Nash was our primary

suspect -- but he disappeared.

CAPTAIN

It’s circumstantial.

BEDSOE

For Chrissake! Gimme a break. The

guy disappears for seven years and

as soon as he comes back it starts

again.

CAPTAIN

I see your point, Bedsoe, but I have

to look at this from the law’s point

of view. There’s something missing

here. It’s something I’m sure you’ve

come across many times in your career.

It’s called evidence.

(beat)

Get me a murder weapon with his

fingerprints on it. Find me an eye

witness. Dig up a motive. Until

then we don’t have a case against

him.

The Captain walks away. Bedsoe is furious. He looks at

Macleod who is staring at him through the mirror as if he

knows exactly what is going on.

INT. SQUAD ROOM - DAY

Macleod walks towards the exit with Bedsoe.

BEDSOE

This isn’t over Nash. It’s just

beginning.

Jennifer is sitting on a chair. She gets up and walks over

to Bedsoe.

JENNIFER

Lieutenant Bedsoe?

BEDSOE

Not now. I’m busy.

Macleod’s attention is focused on Jennifer. It’s as if he

knows her but can’t quite place her.

BEDSOE

(to Macleod)

I’m gonna nail you, Nash. That’s a

promise.

MCCLEOD

Is that it?

Bedsoe steps in. His face is inches from Macleod’s.

BEDSOE

No. I’m telling you right now, the

next person’s head that comes off is

gonna be yours.

MCCLEOD

(sarcastically)

Lieutenant, you’re really frightening

me.

BEDSOE

(controlled anger)

Get outta here.

Macleod walks out the door. He stops and looks back at

Jennifer again, then leaves. Bedsoe NODS to a DETECTIVE who

starts to walk after him. Macleod appears in the doorway

again with a grin. The Detective stops and tries to act

nonchalant.

Macleod leans towards him.

MCCLEOD

(to Detective)

I’m going to Jimmy’s Bar on West

sixty seventh for drink. See you

there.

Macleod grins at Bedsoe, then leaves. Bedsoe stares after

him hatefully. Jennifer approaches him again.

JENNIFER

Lieutenant?

BEDSOE

(snapping)

What? Who are you? What do you

want?

JENNIFER

My name is Jennifer Hillman. I’m an

archaeologist. I read in the paper

about the murder yesterday and I

thought I should come talk to you.

BEDSOE

Talk to me about what?

Jennifer opens an ENVELOPE and removes a PHOTO of the corpse

of Horseman #1 at the Scotland site.

JENNIFER

About this.

Bedsoe looks at the PHOTO, then back at Jennifer. He ushers

into his office and closes the door. Through the GLASS

PARTION we see them talking.

CUT TO:

INT. MORGUE - DAY

Bedsoe is there with Jennifer. A the headless CORPSE of

Horseman #2 is laying on one of the steel tables. The MEDICAL

EXAMINER, a short, fat man in his forties is eating a donut.

MEDICAL EXAMINER

Well, it wasn’t easy but I finally

determined the cause of death.

Bedsoe doesn’t find any humor is this. Jennifer goes over

to the counter and looks through the personal affects.

BEDSOE

What else?

MEDICAL EXAMINER

Nothing. Besides not having a head

he’s in perfect health. No cavities.

No broken bones. Have you found out

who he is?

BEDSOE

He’s nobody. The police, the F.B.I,

Interpol -- nobody has record of

this guy. It’s like he was never

born.

Jennifer is examining the Horseman’s jacket.

JENNIFER

That’s exactly what Scotland Yard

said about the person we found at

the site.

Bedsoe walks over to Jennifer.

BEDSOE

What do you think?

JENNIFER

They appear to be authentic.

BEDSOE

Why are people walking around New

York with swords, dressed in mid

evil clothing?

JENNIFER

Well, technically it’s not mid evil - -

it’s Renaissance.

BEDSOE

Whatever -- it’s old clothing, right?

This is some weird shit.

Detective Greley enters.

DETECTIVE GRELEY

Hey Lieutenant, the boys in robbery

have something I think you should

look at.

BEDSOE

What is it?

DETECTIVE GRELEY

A tape from the surveillance camera

at the First National Bank. It was

robbed this morning.

BEDSOE

Really? I want to make sure that I

understand what you’re telling me,

Greley. A crime was committed in

New York City? That is news.

DETECTIVE GRELEY

The guy had a sword and was dressed

like this guy.

Bedsoe’s interest is peaked. He looks at Jennifer.

DETECTIVE GRELEY

That’s not all, Lieutenant.

DETECTIVE GRELEY

Wait until you see the tape. It’s

unbelievable.

BEDSOE

(to Jennifer)

I’d like you to see this.

CUT TO:

INT. CONFERENCE ROOM, POLICE STATION - AFTERNOON

CLOSE ON TELEVISION SCREEN. We see Kilvara walking towards

the GUARD with his sword. The GUARD fires at him. Kilvara

moves towards him again. The Guard FIRES again. Kilvara

falls to the ground.

The CAMERA PULLS BACK to show Bedsoe, Jennifer, Greley and

several other Detectives looking at the tape.

ROBBERY DETECTIVE

Watch this part.

On the Television we see Kilvara reach up and grab the Guard,

then stand up unharmed. Bedsoe cannot believe what he has

seen.

BEDSOE

What the hell. What is this? A

joke?

ROBBERY DETECTIVE

No joke, Lieutenant.

BEDSOE

Where’s the guy we saw in the

beginning -- what’s his name...?

ROBBERY DETECTIVE

Parker. We found him knocked out in

the can.

BEDSOE

If he was knocked out in the can how

could be walking across the lobby?

The robbery detective shrugs his shoulders.

ROBBERY DETECTIVE

Hey, I don’t have answers for this.

I just brought you down here because

of the sword.

BEDSOE

Am I supposed to believe that this

guy got shot in the chest six times

at point blank range and just got up

and walked out?

ROBBERY DETECTIVE

You can believe what you want. You

saw the tape.

Bedsoe walks out of the room. Jennifer follows.

INT. HALLWAY - DAY

Jennifer catches up to Bedsoe.

BEDSOE

You didn’t see this. Understand?

JENNIFER

Yes.

(beat)

That guy you were talking to upstairs --

Nash. You think he knows what’s

going on?

BEDSOE

Let me worry about Nash.

CUT TO:

EXT. CENTRAL PARK - DAY

Macleod walks along a gravel path. He stops and looks behind

him.

MACLEOD’S POV

Of the Detective trying his best not to be seen.

Macleod continues to walk. He stops at a large POND.

CHILDERN play, sailing miniature SAILING SHIPS. Macleod

stares at the ships -- his mind drifts.

CLOSE ON MINITURE SAILING SHIP

It moves over the choppy water, bobbing up and down behind

the waves. It disappears behind a wall of water -- when it

reappears...

CUT TO:

EXT. SAILING SHIP - DAY

A real Eighteenth century sailing ship, churning the rough

water of the Atlantic.

Macleod stands on the deck, staring out at the horizon. A

spray of water shoots over the side drenching him. He closes

his eyes and grins.

MAN’S VOICE

You’re going to fall over you damn

fool.

Macleod turns around to find a rather pale Cavanaugh standing

behind him.

MCCLEOD

(surprised)

Thomas. What are you doing here?

CAVANAUGH

You didn’t think I’d let you go off

by yourself, did you?

Macleod embraces him.

MCCLEOD

You’re looking a wee bit green,

Thomas.

CAVANAUGH

The sea and I don’t agree with each

other. Where we off to?

MCCLEOD

France.

CAVANAUGH

(suddenly feeling

sicker)

How long is the voyage?

MCCLEOD

Not long. We should arrive in the

morning.

(amused)

Are you going to be alright?

CAVANAUGH

Me? Of course.

The ship rolls up over a wave. Cavanaugh’s face cringes.

CAVANAUGH

Oh, Lord have mercy.

Cavanaugh bends over the rail dropping out of FRAME. Macleod

grins as he watches him. Slowly his grins fades -- the sight

of Cavanaugh’s illness affects him. Macleod holds his

stomach, his cheeks bulge.

MCCLEOD

Oh no.

Macleod bends over the rail and out of FRAME.

CUT TO:

EXT. PARIS - DAY

A Horse-drawn COACH arrives. TRAVELERS disembark. Among

them is Macleod and Cavanaugh. A small, street-wise man

named GASTON approaches them.

GASTON

(in French)

Excuse me gentlemen. My name is

Gaston.

CAVANAUGH

(to Macleod)

What’d he say?

MCCLEOD

I have no idea.

GASTON

(in English)

Ah, you are English. I speak English.

My name is Gaston. For a small fee

I would gladly be your guide.

Macleod and Cavanaugh look at each and decide why not.

Cavanaugh tosses up and coin which Gaston eagerly grabs.

CAVANAUGH

We need food and lodging.

GASTON

Not to worry, Monsieur. My Uncle

owns a very reputable inn.

Gaston takes Cavanaugh’s bag and carries it. He attempts to

take Macleod’s, but Macleod will not let go of it.

GASTON

How was journey?

MCCLEOD

Great.

MCCLEOD

I’d recommend it for anyone who wants

to lose weight.

CUT TO:

INT. BEDSOE’S OFFICE - DAY

Bedsoe is watching the TAPE of the bank robbery on a small

television. Detective Greley enters holding a PHOTOGRAPH of

Kilvara.

DETECTIVE GRELEY

Here it is, Lieutenant. We blew it

up off the tape. Every cop in the

city has a copy of it.

BEDSOE

Good -- also, give it to the papers

and TV.

DETECTIVE GRELEY

Y’know, the guys in robbery are gonna

get kind of upset. We’re stepping

on their toes of this one.

BEDSOE

Tough.

DETECTIVE GRELEY

It’s not a homicide, Lieutenant.

BEDSOE

This ties in with Nash.

DETECTIVE GRELEY

We don’t have any proof of that.

BEDSOE

I don’t need proof. I know it.

Send it out.

CUT TO:

INT. NEW YORK LIBRARY - AFTERNOON

Jennifer sits at one of the microfilm machine scanning over

old newspaper articles. She stops at one that reads:

ANTIQUE DEALER ARRESTED IN CONNECTION WITH HEADLESS CORPSE.

INT. LOBBY, LIBRARY - AFTERNOON

Jennifer looks through the WHITE PAGES.

JENNIFER

(reading aloud)

Russell Nash Antiques. Hudson street.

CUT TO:

EXT. NASH ANTIQUES - DUSK

Macleod walks towards the entrance of the shop. As he reaches

the door Jennifer steps out of the shadows.

JENNIFER

Mr. Nash?

Macleod turns towards her. His face betrays nothing.

JENNIFER

My name is Jennifer Hillman. I was

at the police station earlier today--

MCCLEOD

I remember you.

JENNIFER

I was wondering if I could talk to

you?

MCCLEOD

Are you a cop?

JENNIFER

No. I’m an archaeologist.

MCCLEOD

What do you want?

JENNIFER

To talk to you.

MCCLEOD

I don’t think we have anything to

talk about, Miss Hillman.

Macleod enters the store. Jennifer follows after him

determined.

INT. ANTIQUE STORE - DUSK

Macleod walks across the room. Jennifer enters.

JENNIFER

(yelling after him)

Not even headless corpses wearing

seventeenth century clothing?

Macleod turns around slowly.

MCCLEOD

Corpses?

JENNIFER

Yes. We found another man outside a

site we were working at in Scotland.

MCCLEOD

In the highlands?

JENNIFER

Yes. How did you know?

MCCLEOD

A lucky guess.

JENNIFER

I don’t think so -- but then, maybe

you’ve can guess how a guy with a

sword could rob the First national

Bank this afternoon -- and get shot

six times in the chest by the guard

and still get up and walk out?

MCCLEOD

He was wearing a bullet proof vest.

JENNIFER

Bullet proof vests don’t bleed.

MCCLEOD

(shrugs his shoulder)

You got me.

JENNIFER

Why do I feel that you know what’s

going on?

MCCLEOD

Are you the type of person who takes

advice, Miss Hillman?

JENNIFER

If it’s good advice.

MCCLEOD

This is. Go home. Stay out of this.

JENNIFER

Why? What’s going on?

Macleod shows a hint of frustration that she isn’t going to

take his advice. Macleod starts to walks away.

Jennifer grabs his arm. Macleod turns around and pulls her

hand away.

Suddenly his expression changes as he stares at her hand.

MACLEOD’S POV

On her finger is a distinctive RING. It is very old intricate

gold patterns carved in gold and set in ivory.

Macleod is shocked. He slowly raises her hand up before his

face and looks her in the eyes.

MCCLEOD

Where did you get this ring?

Jennifer is more than a little frightened by Macleod

intensity.

MCCLEOD

(continuing)

Where did you get it?

JENNIFER

It’s mine. It’s been in my family

for years. It belonged to my great,

great, great grandmother.

Macleod stares at the ring again -- his mind drifts away for

a moment, then he looks at Jennifer.

MCCLEOD

Goodnight, Miss Hillman.

Macleod walks towards the elevator. A beat. Jennifer gathers

her composure -- in spite of his intensity there is something

that interests her about Macleod. Macleod steps in the

elevator and looks back at her. He says nothing. The

elevator doors close. Jennifer stares after him, intrigued.

CUT TO:

INT. UPSTAIRS HALLWAY - NIGHT

As Macleod walks down the hall Rachel opens her bedroom door.

RACHEL

I heard voices downstairs. Is

everything alright?

MCCLEOD

Fine.

RACHEL

What will you do?

MCCLEOD

There’s nothing I can do. I’ll wait.

One way or another soon it will all

be over soon.

Macleod feigns a grin for Rachel’s sake. He leans in a kisses

her on the forehead, then continues down the hall.

INT. UPSTAIRS LIVING ROOM - NIGHT

Exactly as we remember it from Highlander one. Macleod sits

on the couch, next to the aquarium. His eyes drift up a

stone wall at the back of the room.

HIS POV

of Macleod eyes drifting up the wall. PULL BACK TO REVEAL

we are now at...

CUT TO:

INT. BALLROOM - NIGHT

Eighteenth century France.

An elegant room. Aristocrats, dressed in lavish clothing

mingle and dance. Macleod and Cavanaugh stand off to the

side.

They are well dressed with white, powered wigs. Cavanaugh

is clearly uncomfortable with his dress and surroundings.

CAVANAUGH

What are we doing here?

MCCLEOD

Living. Remember?

CAVANAUGH

(tugs at his clothing)

You may be living -- but this suit

is killing me.

Something catches Macleod’s eye.

MACLEOD’S POV

Across the room, standing with a group of pompous-looking

MEN is ISABELLE TOUREZ a beautiful woman in her early

twenties.

She looks remarkably like Jennifer. Her gaze falls on

Macleod, she smiles shyly.

Cavanaugh follows Macleod’s stare. He knows when trouble is

coming -- and this is it.

MCCLEOD

She’s beautiful.

Macleod starts to walk over to her.

CAVANAUGH

Where are you going?

MCCLEOD

To ask her to dance.

CAVANAUGH

She’s the King’s cousin.

MCCLEOD

Then she should be an excellent

dancer.

Macleod walks across the room, his eyes on Isabelle. She

steps forward as he approaches, leaving the group of MEN

behind her.

Macleod smiles and bows, then offers her his hand. She takes

it and they walk out onto the dance floor.

CUT TO:

EXT. COUNTRYSIDE - DAY

Macleod and Isabelle lay on a blanket in a green meadow.

Macleod seems preoccupied.

ISABELLE

Conner?

Macleod looks at her and smiles.

MCCLEOD

Aye?

ISABELLE

Where do you go when your mind drifts?

MCCLEOD

Different places.