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Highlander Movie Script

Writer(s) : Gregory Widen

Genres : Action, Fantasy

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                                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_