by

Brad Mirman

First Draft

PROPERTY OF DAVIS/PANZER PRODUCTIONS

1

FADE IN:

EXT. COUNTRYSIDE - DAY

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

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

the DISTANT MOUNTAINS adding to the beauty of the setting.

SUPER IMPOSE: SCOTTISH LOWLANDS - 1665

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

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

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

EXT. VILLAGE - DAY

Plague. Once a charming settlement it is now ravaged by

disease. Everywhere BONFIRES burn, sending plumes of BLACK

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

blackening the earth. VILLAGERS scurry about in tattered

clothing, their faces soiled by soot as they throw objects of

WOOD and CLOTH into the fires.

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

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

MAN'S man's face is hidden from us in the shadows of a black

HOODED CAPE. He dismounts, motioning for the other two to wait

for him.

The Hooded Man walks though the village. The SOUND of

HAMMERING fills the air as several VILLAGERS finish building a

make-shift GALLOWS.

CUT TO:

EXT. CHURCH - DAY

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

guard at the entrance. The Hooded Man approaches and WHISPERS

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

INT. CHURCH - DAY

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

through the windows. The Hooded Man follows the Villager

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

back.

2

INT. STONE ROOM - DAY

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

a CIRCLE has been drawn. Bordering the circle are hundreds of

CANDLES, forming a ring of fire. A MAN stands in the center,

his head bowed -- his weight supported by thick ROPES around

his wrists that are fastened to a wooden beam which runs the

length of the room.

HOODED MAN'S VOICE

Vieira...

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

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

follows him with his eyes, trying to see the Hooded Man's face.

Vieira strains against his ropes. The Hooded Man does not

move.

VIEIRA

How comes it your are not afraid?

HOODED MAN

Would'st you harm one who comes to

aid you?

Vieira's silence indicates he is listening.

HOODED MAN

(continuing)

I've come to strike a bargain with

you. I wish to learn the power of

changing.

VIEIRA

And what would'st I gain from this

bargain?

HOODED MAN

(nonchalantly)

Your life.

VIEIRA

How?

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

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

He grins -- a wicked grin.

HOODED MAN

I have a magic of my own.

3

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

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

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

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

pulls the knife from his chest, then stands unharmed. Vieira

cannot believe what he has seen.

HOODED MAN

Teach me the chant and I will take

your place on the gallows.

EXT. CHURCH - LATER - DAY

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

INT. STONE ROOM - DAY

Vieira has finished teaching the chant.

VIEIRA

After you recite the chant you must

concentrate of the form you wish to

take. The stonger you are the longer

you can hold the illusion.

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

stairs. Vieira looks at the Hooded Man.

VIEIRA

They come. Quickly, take my place.

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

RELIGIOUS MAN

What are you doing here?

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

slowly, his thin lips from a cruel grin.

HOODED MAN

Just saying goodbye to an old friend.

Vieira stares at the Hooded Man angrily.

VIEIRA

We had a bargain. You promised.

HOODED MAN

I lied.

The Hooded Man walks from the room.

4

EXT. CHURCH - DAY

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

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

looks at a RANGE OF MOUNTAINS in the distance.

CUT TO:

EXT. VALLEY - DAY

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

the other OLD fight across the SNOW-SWEPT GROUND. In. the b.g.

a large, stone building is built at the base of a mountain

range.

The Young Man fights furiously, his only weapon strength, but

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

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

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

away, then pushes him to the ground. The Young Man looks up as

the older man raises his SWORD above his head. Their eyes

lock. The Old Man smiles and slowly lowers the sword to the

Young Man's neck.

OLD MAN

It's over.

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

feet. The Young Man is clearly angry.

OLD MAN

Your anger blinds you. You must

learn to control it. When the time

comes you'll only have but one

chance. You best use it well.

INT. STONE BUILDING - DAY

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

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

eating.

The Young Man appears restless. He pushes his plate

away -- stands up and walks toward the door.

OLD MAN

Where are you off to?

YOUNG MAN

To the village for some ale -- and if

the truth be known, I need to see

someones face other than yours, old

man.

5

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

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

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

He looks towards the door filled with a premonition. Outside

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

moment. SILENCE.

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

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

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

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

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

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

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

Young Man places his sack on the table.

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

the mantle. The Young Man's expression hardens. He stares at

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

OLD MAN'S POV

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

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

the Old Man's neck.

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

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

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

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

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

A TRANSFORMATION BEGINS. The image of Young Man begins to fade

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

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

appreciation of the illusion.

OLD MAN

(hatefully)

Kilvara...

The Hooded Man smiles when he hears his name.

KILVARA

It flatters me you remember, old one.

It's been what... two hundred years?

OLD MAN

It's not been long enough. What

witchcraft is this?

6

KILVARA

Impressive -- is it not? The problem

is I can only keep the illusion for a

few minutes. I need more power to

hold the form longer. I need the

Highlander. Where is he?

OLD MAN

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

KILVARA

(cutting him off)

I know. I know-- you would not tell

me. Loyalty -- it really is a

concept that eludes me.

(shrugs his

shoulders)

Oh well -- I shall find him. Time is

on my side.

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

grins.

KILVARA

Is this what you're looking for?

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

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

starts towards the door. Suddenly he stops and turns back to

face the Old Man.

KILVARA

(mockingly)

Oh -- I almost forgot. Your head.

OLD MAN

It does not come off as easily as the

young ones.

KILVARA

(amused)

Perhaps -- but it comes off none the

less.

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

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

down on the table, shattering it into splinters.

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

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

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

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

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

Kilvara examines the wound.

7

KILVARA

You're dead.

With brutal strength Kilvara begins his attack again, whipping

his sword through the air furiously. Their swords cross --

sparks fly. Kilvara is too powerful for the Old Man. All he

can do is back up -- using his sword to block each ferocious

blow. They pass through a large ARCH at the rear of the room.

INT. CAVERN - NIGHT

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

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

WOODEN BRIDGE is built over a deep RAVINE. Kilvara and the Old

Man continue their fight across the bridge. The Horsemen lag

behind, enjoying the battle. The Old Man's strength is giving

way under the merciless attack.

The SPARKS from each contact is even more dazzling in the dim

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

to block it. In one fluid movement Kilvara scrapes his SWORD

along the Old Man's -- then lunges forward -- thrusting his

blade through the Old Man's chest. The Old Man SCREAMS in

pain. Kilvara lifts him up with the blade. Kilvara flings him

off the blade and onto the ground. The Old Man is on his

knees. Kilvara raises his sword above his head.

KILVARA

There can be only one.

Kilvara brings the blade down. It slices through the Old Man's

neck, severing his head from his body. Kilvara waits,

preparing himself. A stream of bright GREEN LIGHT begins to

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

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

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

Kilvara. The force knocks him to his knees.

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

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

grows LOUDER and LOUDER -- blinding GREEN LIGHT FILLS the cave

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

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

everyone inside.

EXT. MOUNTAIN - WIDE SHOT - NIGHT

The RUMBLING SOUND subsides. In the distance we hear the

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

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

SMASH CUT TO:

8

EXT. NEW YORK CITY - NIGHT

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

their LIGHTS reflecting off the water.

EXT. STREET - NIGHT

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

newspapers and other articles of trash along the deserted

street.

EXT. ALLEY - NIGHT

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

light bulb shines down like a spotlight. Through the fog the

SILHOUETTE of man appears as he steps under the light.

MOVING WITH THE MAN - REVERSE SHOT

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

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

over his shoulder. As he moves down the alley he hears a

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

A street PUNK emerges from behind a trash crate, scraping the

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

the man for a moment as he runs his thumb along the edge of the

blade, almost caressing it.

PUNK

What'cha got in the bag?

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

around.

PUNK

Hey -- you hear me?

CONNER MACLEOD slowly turns around. He is mid thirties,

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

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

sadness from a lifetime of pain and loneliness. He stares at

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

what the outcome will be.

MACLEOD

(softly)

Yes -- I hear you.

PUNK

Good. Now, give it up.

9

Macleod studies the Punk for a moment.

MACLEOD

Go home -- while you still can.

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

Punk moves after him quickly. Macleod reaches into a trash can

and pulls out a piece of PIPE. The Punk stops and stares at

Macleod.

PUNK

(amused)

What do you think you're gonna to do

with that?

Macleod raises the pipe, twirling it around expertly in his

hand.

MACLEOD

(deadly calm)

Let's find out.

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

CLOSE ON MACLEOD'S EYES

Deep. Confidant. They radiate an intensity that seems to burn

into the Punk.

The Punk is unnerved by Macleod's calm. Macleod waits, letting

him make the next move. A beat. The Punk backs away and

disappears into the darkness. Macleod stares him for a moment,

then drops the pipe to the ground and walks off in the other

direction.

EXT. STREET - NIGHT

Macleod stops at the mouth of the alley where it intersects

with the street. He stares across the street.

MACLEOD'S POV

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

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

memories as he looks at the building.

Across the street the door of the antique store opens. RACHEL,

an attractive woman in her fifties exits -- locks the door --

walks down the street.

10

Macleod watches her affectionately -- painfully. As she

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

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

stops -- thinks -- looks back at the Antique Store. She is

only a few feet away from Macleod.

CLOSE ON MACLEOD

Macleod struggles to make a decision. Slowly he raises his

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

Rachel starts to walk away.

MACLEOD (OS)

Rachel.

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

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

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

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

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

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

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

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

their eyes.

CUT TO:

INT. ANTIQUE STORE - NIGHT

Crowded with tables, chairs, cabinets and other rare old

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

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

RACHEL

You know it's not safe here for you.

MACLEOD

I know.

RACHEL

The police still have a lot of

questions for Russell Nash.

MACLEOD

I can take care of myself.

Rachel's emotion builds.

11

RACHEL

Why are you here, Conner? After

seven years without a word, why have

you come back? You went off to make

a new life with Brenda and that was

the last I heard--

A sadness falls over Macleod's face.

MACLEOD

Brenda's dead.

Rachel is stunned.

MACLEOD

(continuing)

Four years ago. I've nowhere else to

go. You're all I have, Rachel -- and

I'm just so tired of being alone.

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

bottle of GLENMORGANGIE scotch. Macleod forces a weak smile.

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

RACHEL

It isn't over, is it, Conner?

MACLEOD

(wearily)

No.

RACHEL

How can that be?

MACLEOD

I don't know.

Rachel's face fills with compassion. She reaches out and holds

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

INT. LIBRARY - NIGHT

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

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

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

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

table.

RACHEL

Is there anything else you need?

MACLEOD

No -- I'm fine. Thank you.

12

RACHEL

I'm glad you've come home, Conner.

MACLEOD

Me too.

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

looks through it. Outside a STREAK of LIGHTNING cuts across

the night sky. Macleod looks out the window concerned.

CUT TO:

EXT. FARM - DAY

Seventeenth century Scotland. The CAMERA rise over an old

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

thatched roof sits in the distance. Smoke drifts lazily from

the chimney.

+IN THE FIELD

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

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

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

longer, but he looks exactly the same.

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

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

tastes it.

FARMER

It will be a good harvest this year.

MCCLEOD

Can you really tell from doing that?

FARMER

What do you think?

MCCLEOD

I think you just like to eat dirt.

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

and bright blue eyes approaches Macleod with a water pale.

SARAH

(shyly)

Would you care for some water,

Conner?

MCCLEOD

Aye -- that I would, lass.

13

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

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

blushes and runs off.

FARMER

I think my Sarah fancies you, Conner.

MCCLEOD

She's a treasure she is.

FARMER

She'll soon be of age.

Macleod understands him only too well.

MCCLEOD

Your words are kind and they flatter

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

Besides, you hardly know me.

FARMER

I know that for six months you've

worked hard and asked for little.

That you're a good and honest man.

What more need I know?

The conversation is interrupted by the SOUND of HORSES HOOVES

thundering across the fields. TWO MEN, dirty and rough-looking

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

The Farmers wife and Sarah stand outside the house.

EXT. FARM HOUSE - DAY

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

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

FARMER

Good day.

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

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

WOMEN come in from the fields.

FARMER

You are welcome to share our food and

our fire.

WARRIOR #1

We do not share, old man. We take.

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

back at his friend with a toothless grin.

14

WARRIOR #1

You can eat if you want. I'm going

to start with her.

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

Farmer stands in the path of the Warrior.

FARMER

No!

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

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

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

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

SCREAM. A beat. Suddenly, the doors of the barn crash open as

the Warrior flies out of the barn and lands on his back.

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

#2, still mounted on his horse grins.

WARRIOR #2

It appears this farmer has a temper.

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

stares angrily at Macleod.

WARRIOR #1

This farmer is dead.

Warrior #1 lunges at Macleod who casually sidesteps his attack

and slices his sword across the Warriors chest. The Warrior

GASPS, then falls to the ground dead.

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

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

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

spear. He THROWS it at the Warrior at the same time he FIRES

the cross bow. The sword flies into the Warrior's stomach.

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

dead.

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

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

Farmer runs after him.

INT. BARN - MOMENTS LATER - DAY

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

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

farmer cannot believe what he has just seen. He crosses

himself.

15

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

mother running towards them. The Farmer quickly closes the

doors and bolts them.

FARMER

(stunned)

This cannot be.

MCCLEOD

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

know. I must leave, for if I stayed

others would surely hear of this and

worse than they will come.

FARMER

Agreed.

MCCLEOD

(sadly)

I would like to say goodbye.

FARMER

How?

EXT. BARN - DAY

The doors opens and the Farmer comes outside. He motions for

his wife and Sarah to enter.

INT. BARN - DAY

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

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

mat of straw.

FARMER

Be quick -- he has not much time.

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

She holds his hand.

SARAH

Don't leave us, Conner.

MCCLEOD

(weakly)

It's not for me to decide.

He gently wipes her tears away with his hand.

16

MCCLEOD

(continuing)

Don't cry, wee one. It's a better

place I go to.

SARAH

I love you, Conner.

MCCLEOD

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

never loved anyone more.

SARAH

I'll no forget you.

MCCLEOD

(sadly)

And I you. Go now. Let me walk to

heavens door alone.

The Farmer ushers his wife and Sarah from the barn.

EXT. ROAD - NIGHT

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

around.

FARMER

This should do.

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

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

FARMHOUSE below.

FARMER

Go. I will dig a grave and mark it

with your name.

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

what he has seen.

MCCLEOD

Thank you.

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

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

FARMER

Conner?

Macleod turns around.

17

FARMER

I will not pretend to understand what

I have seen this day. I am a simple

man. Whatever you be -- demon or

spirit -- I thank you for the life of

my Sarah and I wish you God's peace.

The Farmer turns the cart around, leaving Macleod alone,

staring into the night.

CUT TO:

INT. LIBRARY - NIGHT

Macleod is still staring out the window as the memories fade

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

through it.

MACLEOD

(reading aloud)

The forest is lovely. Dark and deep

-- but I have promises to keep -- and

miles to go before I sleep.

Another FLASH of LIGHTNING. He looks out the window into the

night.

MACLEOD

(wearily)

"Miles to go before I sleep"

CUT TO:

EXT. ARCHAEOLOGICAL SITE, SCOTTISH HIGHLANDS - LATE AFTERNOON

The WIND HOWLS through the valley. Outside the crumbling RUINS

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

several four wheel drive trucks and vans. PROFESSOR PAUL

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

pipe, tweed jacket. He walks across the field with a REPORTER

and CAMERAMAN.

PROFESSOR DAJORSKI

For years this site was thought to

hold no archaeological value. That

is until a few weeks ago when some

local boys discovered what appears to

be a collapsed passageway that leads

into a cavern.

REPORTER

How much longer until you expect to

enter the main cavern?

18

PROFESSOR DAJORSKI

That's what we're going to find out

now.

A STREAK OF LIGHTNING CUTS across the clear blue sky.

Professor Dajorski looks up.

REPORTER

(referring to the

lightning)

I've never seen anything like that

before.

PROFESSOR DAJORSKI

It just started a few hours ago.

WORKERS exit the building pushing wheelbarrows filled with rock

and dirt. The Professor enters the stone building, followed by

the Reporter and his team.

INT. STONE BUILDING - LATE AFTERNOON

Inside groups of VOLUNTEERS attend to various functions.

Professor Dajorski walks through the room. The Camera Crew

follows.

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

into the mountain.

JENNIFER HILLMAN an attractive woman in her late twenties

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

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

Dakorski.

JENNIFER

Electro magnetic soundings indicate

we've only got a few inches of rock

left before we reach the main

chamber.

REPORTER

Any idea how big the cavern is on the

other side?

JENNIFER

Huge.

REPORTER

What are you hoping to find inside?

The question strikes Jennifer as odd.

19

JENNIFER

You guys are from the British museum,

right?

REPORTER

No -- we're from Strange facts and

mysteries. It's a syndicated show

out of..

JENNIFER

(to Dajorski)

Paul. I thought we agreed. No

press.

PROFESSOR DAJORSKI

Just a little. Who knows what we're

going to find in there. It could be

a huge excavation. A little friendly

PR never hurt.

JENNIFER

Where is the film crew from the

British Museum?

PROFESSOR DAJORSKI

They've had a little car trouble.

I'm afraid they won't be here until

after dark.

JENNIFER

Then we shouldn't break into the

cavern until tomorrow morning. This

could be a very important find. I

want it documented.

CUT TO:

EXT. ARCHAEOLOGICAL SITE - NIGHT

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

CUT TO:

INT. STONE BUILDING - TUNNEL ENTRANCE - NIGHT

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

CUT TO:

20

INT. TUNNEL - NIGHT

ELECTRIC LIGHTS are set up at intervals along the tunnel. We

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

of the huge rocks blocking the tunnel begins to move. It moves

forward slowly, then falls to the ground with a THUD. There is

now a hole in the wall.

INT. STONE BUILDING - TUNNEL ENTRANCE - NIGHT

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

tunnel, then enters.

INT. TUNNEL - NIGHT

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

on the ground and the hole in the wall is now even bigger. The

Guard slowly removes a FLASH LIGHT and moves towards the wall.

He shines the light inside and looks in. A beat -- then,

suddenly and hand reaches out, grabbing the Guard and pulling

him in through the hole. A beat. ALL IS QUIET.

Kilvara steps out through the hole holding his sword. He

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

CUT TO:

EXT. STONE BUILDING - NIGHT

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

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

the two Horsemen. Kilvara closes his eyes.

KILVARA

Can you feel it? There is another

one among us. It has not ended?

HORSEMAN #1

What now?

Kilvara opens his eyes and slowly looks at the Horseman.

KILVARA

Everything is as it was before.

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

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

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

himself to receive the power.

21

EXT. STONE BUILDING - WIDE SHOT - NIGHT

A Brilliant GREEN LIGHT pierces the darkness, lighting the

front of the Stone Building.

SMASH CUT TO:

INT. MACLEOD'S BEDROOM - NIGHT

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

CUT TO:

EXT. COUNTRY ROAD - DAY

Seventeenth century England.

Macleod rides his horse along a road blanketed by dense forest

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

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

the road.

MAN'S VOICE

Good day.

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

branch of a tree that extents over the road is THOMAS

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

thick sheepskins. He drops from the tree landing before

Macleod. Macleod slowly reaches for his Samurai.

CAVANAUGH

You'll have no need for that,

Highlander.

MCCLEOD

Since we hardly know each other, I'm

sure you'll understand if I hold one

to it for awhile.

CAVANAUGH

Caution shows wisdom.

Cavenaugh notes the Samurai.

CAVANAUGH

I know that weapon. It belonged to

Juan Romeriz. He's dead?

MCCLEOD

(sadly)

Aye.

22

CAVANAUGH

You?

MCCLEOD

No. He was my brother. He died at

anothers hand.

CAVANAUGH

We too are brothers, Macleod. In

fact, you have more family than you

think.

MCCLEOD

Who are you?

CAVANAUGH

Thomas Cavenaugh. I am a teacher of

sorts. Like Romeriz I help those

newly acquainted with our life.

MCCLEOD

I learned my fill from Romeriz.

CAVANAUGH

Indeed you did. And now it is time

for you to pass on to others what you

learned from him.

Cavenaugh walks over his horse and mounts it.

MCCLEOD

So they can take my head?

Cavenaugh rides over to Macleod.

CAVANAUGH

Your head is not important,

Highlander. What is important is the

prize. It must go to one who would

not misuse it. Ride with me. Come

and meet your family.

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

him, then follows.

CUT TO:

EXT. ANCIENT CHURCH - DAY

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

from time and neglect. Fog carpets the ground. HORSES and

CARTS are in front of the building.

23

INT. ANCIENT CHURCH - DAY

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

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

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

was the altar and listen as Cavenaugh speaks.

CAVANAUGH

I've called this gathering on holy

ground so that each man might take

comfort in knowing he is protected

inside the confines of these walls.

None of us, good or evil would dare

raise a hand against the other in

God's house.

MAN #1

If God protects us so, why has he

cursed us?

CAVANAUGH

God's purpose for us is unclear, save

that he has given us a gift.

MAN #2

A gift? You call never growing old -

- watching friends and loved ones die

a gift?

CAVANAUGH

I do not profess to know what is in

God's mind. He has chosen us. We

are his warriors through time. The

final Gathering is still far away but

the prize must be captured by a man

who is pure of heart. Those of us

who would use the prize for goodly

purpose must band together against

those who would use it for evil.

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

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

CUT TO:

EXT. ANCIENT CHURCH - LATER - DAY

Macleod walks with Cavanaugh, weaving through the crowd of men

and horses.

24

MCCLEOD

The prize? So much blood so that in

the end the one that remains will be

mortal again. So much pain so that

the winner can grow old and have

children. The prize hardly seems

worth the cost of it.

CAVANAUGH

There will be more to the prize than

that. Power will come with it -- and

it must be used for good.

MCCLEOD

The days of magic are ending. The

world is changing.

CAVANAUGH

Aye -- yet one such as I who has

wandered this world for nearly nine

centuries can remember back to other

days of change. Days of Robin of the

Hood and Arthur Pendragon. They were

real enough once, but they drifted

into men's dreams and became legend -

- as we shall do one day.

Macleod stops at his horse.

MCCLEOD

I grow weary of the fight.

Macleod mounts his horse.

CAVANAUGH

You cannot run from your destiny,

Conner.

MCCLEOD

Perhaps -- but if I must face it, let

it find me, for I shall search for it

no more.

CUT TO:

EXT. ARCHAEOLOGICAL SITE - MORNING

Professor Dajorski walks quickly to the Stone Building. The

area is surprisingly empty. Jennifer walks over to meet him.

PROFESSOR DAJORSKI

What's going on? Where is everyone?

25

JENNIFER

We're holding the workers down below.

PROFESSOR DAJORSKI

Why?

JENNIFER

Someone broke into the cavern last

night.

PROFESSOR DAJORSKI

What? How?

Jennifer begins to walk. Dajorski follows.

JENNIFER

We're not quite sure. The Guard was

knocked out.

Dajorski is concerned. Jennifer waves him off.

JENNIFER

He's fine. He swears he never left

his post for a moment. He heard a

noise and when he went back to look

they were already inside.

PROFESSOR DAJORSKI

How could they get by him?

JENNIFER

I don't know.

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

covered by a blanket. Beside him, covered with a jacket is the

head. Dajorski looks at it.

JENNIFER

(pointing)

We found him this morning.

PROFESSOR DAJORSKI

(pointing)

What's that next to him?

JENNIFER

His head. Someone cut it off.

Dajorski shivers at the thought of it.

JENNIFER

Look at this.

26

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

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

bends down and examines the dead man's clothing.

PROFESSOR DAJORSKI

Incredible. The cloth -- the buttons

-- it looks to be mid sixteen

hundreds. It's a remarkable

duplication.

JENNIFER

I don't think it is a duplication.

PROFESSOR DAJORSKI

It has to be.

JENNIFER

And this?

Jennifer lifts the sword. Dajorski examines it.

PROFESSOR DAJORSKI

Same period -- and exceptionally well

preserved. Jennifer, what's going on

here?

Jennifer look back at the stone building.

JENNIFER

That's a good question. That's a

very good question.

CUT TO:

INT. ANTIQUE STORE - DAY

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

the counter.

MCCLEOD

I'm going out for a while.

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

them to him.

MCCLEOD

You kept it?

RACHEL

Yes.

Macleod smiles and kisses her on the forehead.

27

INT. GARAGE - DAY

A tarp is pulled off of a 1958 convertible PORSCHE.

EXT. STREET - DAY

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

INT. CHURCH, NEW YORK - AFTERNOON

Filtered light flows through stain glass windows. Macleod sits

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

thought. A PRIEST walks down the aisle -- stops -- studies him

for a moment, then sits beside him.

PRIEST

You look troubled my son.

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

understatement. He does not look at the Priest.

PRIEST

Sometimes we feel better if we talk

about the things that bother us. How

long has it been since your last

confession?

MCCLEOD

(distantly)

A long time.

PRIEST

Perhaps if you--

MCCLEOD

I don't think confession will help

me, father.

Macleod stands and prepares to leave.

PRIEST

Redemption is one of God's gifts.

Macleod looks at the Priest sadly.

MCCLEOD

God's gifts? You mean like, life,

having children, growing old, dying

and heaven?

PRIEST

Exactly.

28

MCCLEOD

Those are gifts I can never have.

Macleod walks down the aisle.

PRIEST

You are too young to be so bitter.

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