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.
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.
My, but are you the
It's a bit tight.
His FATHER enters with a pail of milk.
Ah, Conor, how you look
Have you time for some-
thing to eat?
No, Mother. They'll be
Conor's father looks him over with pride.
Your grandfather wore
that in his service to
the King, and I to fight
for the Duke.
Must he go?
Aye. It is his duty. All
But Ian, he's still but a boy.
He's a MacLeod.
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.
Is the boy among them?
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.
Is a bad day for this.
The Duke has been compro-
mised. He will have his due.
By day's end he will have
We ride against the Suther-
lands. That is all that
This makes no sense to me.
And a friend are marching through the moist heather.
The fog is bad. We cannot
even see the sides of our
Conor's nervousness is showing.
Is this your first?
SHOUTING is heard on the plain.
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
Rides calmly through the fracas. He strikes and kills those
that assault him, but appears disinterested in battle.
He is looking.
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
As Conor watches his own blood spew forth, he rolls over in
time to see the Knight dismount and start for him.
Leans down next to Conor, his metal face nearly against the
boy's. His voice slithers out of the iron in almost a whisper.
There can be but one.
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-
Sees his men being hacked apart trying to stop the now-mounted
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.
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
Kevin! Get is a backup.
I was merely walking by
The officer has his pistol out and leveled.
His partner runs up, shotgun in hand.
They're on their way.
His voice cuts short as the blood flows against his shoe.
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.
...Libera Domine Animan
servi tui sicut libertasi
David de manu regis Saul...
His sobbing mother holds a compress to Conor's forehead.
...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.
Has the boy died?
He is having the last rites
now. It should be over by
Never seen anybody cut as
bad live so long. He should
have died on the field.
Tonight or tomorrow, it's
all the same.
The Vassal peers inside at the priest administering the
...Auditorium nostrum in
This has been a dark day.
...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.
Real clean. No sawing
action at all. Whatever
it was did it in one
(looks up at Moran)
Like the other one.
Moran gestures to a sword, wrapped in plastic, lying nearby.
What about that?
Hasn't any blood on it.
About the only thing
I'll give it a closer
look when I get back.
Pretty but not beautiful, thirtyish, she exudes a sort of
An OFFICER sees her duck under a police barricade.
Come on Brenna, you know
better than that.
She walks to where the medical examiner is organizing his
The examiner turns and smiles.
Hope this isn't past your
Brenna looks to the now-sheeted corpse, blood flowing from
where the head should be.
Doesn't have a head,
This one came unassembled.
Lt. Moran is standing near.
Just show her what she came
(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.
How's your uncle? I hardly
ever see him anymore.
The examiner stops and gestures to the weapon clothed in
There you go.
Brenna's expression changes to interest as she kneels down
Didn't look like it came from
"Toys-Are-Us", that's why I
(looks up in Moran's direction)
Didn't think it was my
buddy over there.
Figured you knew more about
swords than I did.
Scottish claymore. Take
a French epee, add twenty
pounds of ballast so it
means business, and you've
got a claymore.
You're the expert.
(runs hand along hilt, slightly
It's in good condition.
Is being put in the rear of a patrol car. Brenna studies his
face in the half-gloom. There's something different about him.
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
The door opens and Moran enters with bag and notebook. He
picks up Taupin's wallet on the table top and checks the
This your present address?
(looks at license)
Taupin, what were you
doing in that alley?
I was walking by when I
heard a shout. Your men
came right after.
Did you know the victim?
His name was Iman Fasil
if that jogs your memory.
He was carrying a Syrian
passport and had been in
the country less than a week.
Taupin's face is stoic and controlled.
Two days ago a Bulgarian
national was murdered the
same way. He'd also been
in the country less than a
What is your citizenship?
Moran paces to a corner of the room.
Do you make a habit of
hanging out in that neigh-
borhood at night?
What are you getting at?
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.
What were _you_ looking for?
That's none of your business.
Moran reaches into a bag on the table and removes a large
broad sword; old, but in mint condition.
Do you know what this is?
I presume it's a sword.
A claymore to be exact. You
wouldn't know anything about
it would you?
Your murder weapon?
It was covered with Mr.
Fasil's fingerprints, but
none of his blood.
For the moment.
Moran turns the sword over in his hand then sets it down.
He rises and opens the door.
All right Mr. Taupin, we'll be in
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
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.
Ah Steven, it is good to see you.
I only just heard of Conor. I came
up from Catroch as soon as I could.
You're a kind man to be sure.
I thought it only proper to pay
me last respects to the family.
Steven, Conor didn't die.
But I had heard his wounds were
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.
You're pretty today.
Mara is silent. Distant.
I'm your future husband, remember?
I have no future husband.
I don't understand. Not a week
ago your father gave us his blessing.
This is difficult for her. Tears well in her eyes.
My future husband died in battle
against the Sutherlands.
What are you saying? I'm standing
here as real as you.
You cannot be real, Conor. You had
the last rites. No man has been cut
half as bad and lived.
But I did live.
Live? In less than a week you're
prancing about the country like a
So why the crazy talk? It's a
miracle it is. Saint Andrew has
smiled on me. On us.
Some think not.
There's rumor in the village.
Some call it magic.
That's mad. Surely you don't
take their word?
I don't know, Conor. It's not
natural. Maybe something has
You're sounding like that mad
woman, Widow Baggins.
Me father has taken back my
He puts a hand to her cheek.
She steps back.
Please not be touching me, Conor.
I'll not take that kind of talk
from you. From those others
below, maybe. But not from you.
Leave me alone, Conor. Please.
You're not talking sense, Mara!
Anger tumbles into exasperation.
He steps for her. She moves away. Conor's face hardens with
If you send me away now, Mara,
I'll not come looking for you.
Do what you must.
Resigned, Conor turns and limps away.
17 INT. ANTIQUE SHOP - DAY 17
Classy antiques. Unusual. Clocks, tables, chests. Small and
Richard Taupin enters and sheds his overcoat.
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.
Do you play?
Taupin sits down and begins sorting through a stack of papers
on his desk.
Miss Cartwright, what is it I can
do for you?
I'd like to ask you about the
It's not mine.
It's quite rare you know, some-
thing so common in its time so
well looked after all these years.
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
Brenna has taken a carving from the shelf.
Basil the II.
Charming guy, Basil. Once after
beating an army of Serbians he
blinded all but-
-All but one out of a hundred, I
know. All left to be led like
donkeys back home. Now if you will
Brenna suddenly tosses the carving at him. Taupin snatches it
out of the air with lightning precision.
Good day, Miss Cartwright.
19 INT. SMITHSONIAN MUSEUM DEPARTMENT OFFICE 19
A lonely, ancient room full of equal parts dust and oaken
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.
I don't believe him.
He's too cool. Too sharp. I
think he's got something to
do with it.
Oh, has your penetrating research
on 9th Century Lithuanian dildos
suddenly made you an expert on the
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.
The cops bought it. They let him
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.
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
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?
Here we go. Everytime there's a
murder in town we have to put up
with junior D.A.
Must be genetic.
Someone should check him out.
Maybe a collection somewhere
got knocked over. He has one,
he might have two.
You see that desk? _Your_ desk? You see
the crap piled up on it?
Give it a rest Ned, huh?
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.
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.
20 INT. TAVERN 20
An empty mug is set on the counter of a medieval drinking
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.
The tavern goes silent. Wary. The attention is on 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
Conor looks to the next table.
TAVERN MAN #2
We be drinking alone as well.
The entire tavern spells the same sentiments.
What's wrong with you all?
Angered, Conor approaches the second man. As he looms above
his chair the man in genuine fear pulls out a cross and thrusts
TAVERN MAN #2
Requiem acer'nam donaei-
What are you doing man?
TAVERN MAN #2
-Et lux perpetua-
You'll not be bringing the church
TAVERN MAN #2
The weird display frightens Conor.
TAVERN MAN #2
TAVERN MAN #2
-In nomine sanctus esperitu-
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.
Please take care of yourself.
Conor turns to his father.
I wish there was some other way.
They clasp hands.
Without looking back he passes through the doorway and down the
empty path, his figure quickly fading in the moorish fog.
22 INT. POLICE DEPARTMENT 22
The NOISY business-as-usual confusion at the Washington P.D.
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.
This is against the rules.
So's playing choo-choo with two
high school cheerleaders in the
You owe me. Besides, I'm cute.
The computer returns a reply onto a printer.
(tears off sheet)
Taupin, Richard Marshall. Born
March 16, 1945 in Church Hill,
Maryland. Received first driver
permit 1967 in Philadelphia.
Church Hill, that's pretty close,
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,
Backing down the steps, Taupin slips around to the rear of the
24 INT. TAUPIN HOME 24
Like a spider Taupin pries open a window and slips silently
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.
Where is he?
Bulging eyes stare at him.
I don't know.
What name is he using?
Taupin presses the blade. A trickle of blood rolls down the
Smith. Carl Smith.
How many came?
The last four.
And the Bulgarian?
He got him.
He always does. Eventually.
He knows I'm here. How?
None of this would be happening
if you hadn't run...
The knife is pressed deeper.
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.
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.
28 INT. COUNTY RECORDS OFFICE 28
Brenna sits sifting through a large cloth-bound book entitled
_Certificates of Birth: 1941-1948_.
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.
1945, that strains the memory.
(after a fashion)
Here we are, Richard Taupin.
He carries the binder to the table where Brenna sits.
Would you like more tea?
No thank you, I'm fine.
Kidell sips his own and looks over the binder page.
He was unsual.
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.
Then you didn't know Richard
I've been trying to find somebody
who knew him and any connections
his family might have had with
museums or historical societies.
Don't know about any of that.
Suppose nobody does.
I don't follow you.
Poor little tyke didn't have a
chance. Hopelessly premature. He
died a few days after he was born.
The boy _died_?
Mother too. Sad case it was. The
young lady just couldn't make it
through labor. Never even saw her
Dr. Kidell removes from the binder a tattered newspaper clipping.
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.
Have you spoken to anyone else
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.
Would you remember his name?
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.
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.
I'm just curious.
You're never "just curious".
You've met my neice, Brenna.
Number 5, lift your coat up more.
Aren't you getting a little old for
this? You flunked out of law school.
(rolls her eyes)
Now there's a new topic.
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.
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.
Call your mother. You never call her.
(to old lady)
I don't know. I'd have to see his
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.
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.
Maybe he's hiding from something.
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.
Probably just some exec ducking
Dr. Kidell had a picture in his
file of the funeral. The father
looked just like Richard. Even had
a mark on his cheek.
How old is Richard?
P.D. says 41, but he barely looks
Find the father. That should clear
He buttons his shirt. Something occurs to him.
Taupin, isn't that the guy Moran
picked up the other night?
He'd want to know about all this.
Mr. Congeniality? Let him find his
own clues. There's a journal article
in this somewhere.
Uncle Joey's little girl. Can't
get the taste out of her mouth.
Dennis puts on his police cap.
Well, the cream of society awaits.
(cocks hat to one side)
If you're ever in the neighborhood...
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.
Is supervising. An OFFICER climbs up the embankment to him.
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.
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.
Both were cut real clean. Like the
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
There's been another murder.
Taupin lifts his eyes to the suburban treeline.
Where were you Tuesday night?
A neighbor saw your car leave.
Taupin climbs down from his horse. Moran moves close.
Look, I don't know what the hell
you're up to, but I think I've got
a pretty good idea.
All I need is time.
I've got all the time in the world.
(looks at watch)
Except right now. If you will excuse
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
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
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
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
The casket is empty.
Someone beat you.
Have you taken to touring small
town cemetaries, Miss Cartwright?
People like that rarely leave
Does Carl Smith?
A flash of interest, quickly suppressed.
I don't know what you're talking
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.
You have an active imagination.
I've been to Church Hill.
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.
I could find him.
I have friends.
I doubt that.
Good day, Miss Cartwright.
He walks on.
After only a few paces Taupin suddenly shudders to an abrupt
He holds up an open palm to silence her.
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.
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
Not so long.
The Knight is closing in on him, sword gripped in both hands.
You've been here from the
My quarry grows clever with
age. And the others, incompetent.
The Knight throws Brenna a glance.
Friend of yours?
I do hope she enjoys a good
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.
So now it ends.
A thrust cuts only air.
Generation upon generation.
Tens of thousands of miles.
Taupin leaps behind a tree. The Knight cuts it nearly in half.
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.
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
There can be but one.
He raises his blade.
An elderly WATCHMAN, shotgun cradled in his arms, stands in
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.
Brenna is frozen in shock.
Taupin shoves her roughly toward the gate.
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-
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-
Trying to recover her wind, Brenna has her eyes closed and
head against the back of the pew.
You'll be safe here. He won't
kill in a church.
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.
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.
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.
Your name is Conor?
Juan Cid Romirez. Chief
surveyor and alchemist.
You're not from these
I am from Spain. And I
would like a moment of
41 INT. CONOR'S HOME 41
Romirez is seated at a table. His back to the Spaniard,
Conor is preparing some food.
I haven't much to offer,
Mr. Romirez from Spain,
but you're welcome to what's
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.
Your back, it would seem
perhaps you were injured
Five years past me clan
fought another over some-
thing I cannot even re-
Your marks would suggest
I was nearly killed.
But you lived.
Conor looks up from his work in pained memory.
I did at that.
And but for a mark you are
well as any man, no?
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.
I was driven out.
And now you live in a small
village miles away from all
How can you know this?
First food, no? A good meal
makes conversation so much
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.
Hmm, que rico. What is it you
You Scots have a way with
game. It still has life in it.
Spirit. Back home the food
Why are you here?
I was sent by his majesty of
Spain to Inverness as a con-
sultant on matters of metal.
You're a long way from Inverness.
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.
You know me home. Me name.
It was time for our paths to cross.
Romirez pulls back the sleeve on his cloak.
You see this?
He traces some discoloration on his arm.
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.
You are the same?
Do you ever feel a flow, as if some-
thing were pushing against you?
Does it change with me in the room?
It is less.
You feel you know me.
I don't know why.
We are brothers.
42 EXT. VILLAGE - NIGHT
Romirez and Conor walk alone amongst torch-lit hutches.
He told me there could be only
Some cling to sanity through time
with the one continuity and trad0
ition their lives have known: The
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,
I don't understand.
You are still so very young.
Not even a single lifetime.
Romirez chooses his words very carefully.
Conor, you and I, we cannot be
We are immortal.
Stunned, Conor backs away from Romirez.
No, that can't be.
Romirez grasps Conor's shoulder.
It is as you are.
This is all too much for Conor.
Listen to me. Hear the words.
This is madness!
It is the truth.
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
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
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.
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
She freezes in her tracks.
My quarrel is not with you. Meet
Brenna's eyes are glued on the machine.
We have much to talk of, you and
I. Answers for the young historian.
O'Reily's. Tonight. I've grown to
SEVERAL LITTLE GIRLS
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.
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.
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
Suddenly he sits up. Sweating. He looks about the room in
confusion as Romirez enters with a plate of food.
Three days you've laid there.
It's time you ate.
This can't be.
You are not dead, boy. Accept it.
This is monstrous. I'll burn in
hell for all eternity.
You'd have to die first.
(extends forkful of food)
Conor starts CRYING.
What is to become of me? Am I to
wander the Earth forever like a
You will live. Survive.
Then they were right. I am evil.
This is God's punishment.
You have done nothing wrong Conor
Oh my God. Oh my God I'm lost.
46 EXT. CONOR'S VILLAGE - DAY 46
Two days later.
Nearly healed, Conor and Romirez stand near a quietly moving
Why does he want to kill me?
You recall how I spoke of the push
you feel and how I make it less?
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
But we cannot be killed.
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.
How can I stop such a man?
Hide. Run to the ends of the Earth
till you learn. You must learn to
defend yourself. In this I can help.
We are brothers. And you are a
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.
When your father died I saw to
it that the grounds were kept up.
The money in the estate was
enough to cover your costs?
Oh yes, more than enough.
48 INT. FARMHOUSE 48
Furniture clad in white sheets. Dust everywhere.
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.
You're one of William's kids,
His only kid.
Sure take after him. Never seen
a father and son look more alike.
We were very close.
The resemblance is amazing.
When may I expect the cleaners?
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.
With something less than perfect coordination, sits down beside
That stuff'll put you away if
you're not careful.
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.
The symmetry of that somehow always
appealed to me.
You're very macabre.
It's my birthday.
Brenna drains her glass and sets it down with a sigh.
Buy a birthday girl a drink?
50 INT. PUB - NIGHT 50
A small neighborhood tavern. Regulars chat amicably with the
Sits alone at a corner table. A WAITRESS hovers over him.
Lager and lime.
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
Taupin is anxious, poised for attack.
Kahn breaks into a broad smile.
Spare a chair?
Are you going to offer me a chair
or leave me standing here all night?
Kahn takes his place across the table.
How are you?
Head still secure to the neck.
How did you find me?
How many places this side of the
Atlantic serve lager and lime?
Taupin looks to his own glass.
Old habits die hard.
Waitress! A round of Nitzhic!
Peasant drool, I know. But it's the
closest thing they stock to my side
of the fence.
What are you doing here?
It is the gathering, my friend. The
settling of old scores.
And have you something to settle
Not tonight. Tonight I have a drink
with an old friend.
It's good to see you, Kahn.
The waitress sets down two glasses.
Come, toast with me the past.
To old conquests, old loves, and to a
time when we cared about either.
Kahn drains his glass.
51 EXT. THE WASHINGTON MALL - NIGHT 51
Kahn and Taupin sit drunkedly on the marble steps of a closed
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.
Neuvich, the clown of the crusades.
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?
Offered the Pope one of his whores.
A JOGGER stops on the gravel and listens to the strange conversation.
Had a great swing with his blade.
For a Pope.
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.
He found us even there.
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.
I haven't drunk this much since-
-Since you last saw me.
Kahn chucks an empty wine bottle. An unspecified animal GROWLS
sleepily somewhere in the darkness.
53 EXT. DISPLAY AREA - NIGHT 53
Taupin and Kahn stumble through an open-air display of Asian
animals. Their VOICES seem to echo everywhere.
I love zoos. Ever since I was
You were never a kid.
Kahn leans on the wall of a water buffalo pen.
(points at one)
I knew his great-grandfather.
No, seriously. We used to shoot pool
together in Rangoon.
How do you do it, Kahn? How do you
live so full of life for so long?
Tasting and enjoying life is the
only thing of value we have. All
else is just marking time.
You're marking time.
I've had a few more concerns.
Kahn jams his hands into his overcoat and starts down the footpath.
The pressure only comes when you
let the taste slip into your mouth.
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
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.
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.
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.
10,500 once, 10,500 twice...
Brenna raises her arm to attract the attention of a SECURITY
(points at Brenna)
11,000. A bid at 11,000.
The guard notices she has no lapel number and starts for her
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 Knight leaps after her, knocking over an OLD WOMAN in the
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.
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
Brenna enters slowly.
Mr. Taupin? I have to talk to
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.
He looks past her to the destruction of his living room. It
doesn't seem to surprise him.
He tried to kill me last night.
Taupin sifts through the debris, selecting articles from it.
Who is he?
At the moment? Carl Smith.
He ignores the question.
What will you do now?
You needn't worry Miss Cartwright.
I've been at this a very long time.
He called you "MacLeod".
Not your concern.
I left a man dead in
Felton. But you don't
really care, do you?
That bothers you?
He was innocent.
He's dead. Whatever I may
or may not feel means
exceedingly little to him
What about me?
I'm a witness to a murder. That
seems to put me pretty high
on your friend's chop list.
Have you gone to the
Why not? I'm sure they'd
love to hear your story.
I'd rather hear yours.
You are being foolish.
I'm a historian, Mr. Taupin.
Only once in a lifetime do you
stare history in the face.
He walks to the doorway.
Why does he want to kill you?
Taupin stops, his back to her.
He sees me as a threat.
Taupin walks out the door.
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.
Conor thrusts. Romirez blocks.
Harder. Concentrate harder.
Me arm hurts.
Again. Try again.
Conor strikes. Romirez easily blocks.
Harder! You swing like an impotent
Go to hell.
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 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.
Here my boy, from vineyards
as sweet and smooth as a young
Conor accepts the cup. Romirez pulls himself to his feet.
It will take less effort
as you learn.
It's like to kill me first.
Romirez puts his arm around Conor and refills his cup.
You have a gift. One you
And what is this great
gift that cannot be seen
The Fabric of life. The spark
that allows the passing of
existence from one generation
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.
Come. Enough sword play for an
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
Beaming, Conor pushes through a last turn and stops to wait
for Romirez, several lengths behind.
(as Romirez rides up)
You're no match for Scot, Mr.
Romirez. We're raised as riders.
Point conceeded, Mr. MacLeod.
Both their eyes turn to the beauty in view. Romirez pulls a
leaf from a tree and studies it closely.
What is the fascinatioon? It is only
All living things pay dues,
Conor. They must be respected
He pulls the leaf's points from the stalk, one by one.
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.
I do not think I like the sound
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
I feel hardly nothing.
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
But why be so concerned about me?
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
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.
I am not ready for this.
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.
You are young, inexperienced. You
do not know what time can do. How
it can sap all pity, all love.
That is not me.
With the proper tools, Conor, a
naive man can be much more dangerous
than an evil one.
A VILLAGER approaches from across the pasture.
Hate to be bothering you like this,
but me mare threw a shoe.
Conor looks to Romirez.
Go ahead, Senor.
(gestures to wine)
I have my friend to keep me company.
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.
Romirez. What a surprise.
Romirez is struggling under the debris.
The Knight thrusts hard onto an exposed leg.
The limb is severed.
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.
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.
Oh, Santa Maria!
The Knight crawls across the bed and drops to his knees
The Knight's trembling hands raise his shaking sword high.
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
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-
His head sinks to his chest as he begins sobbing.
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.
Come on Brenna, your ass
is already in a sling, don't
drag me into it.
All I need is for you
to check the name.
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.
I'll take care of that
Corey, but I need this now.
The librarian looks her over skeptically.
Corey, you _owe_ me.
It's that important?
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.
Wilson know about this?
I'm doing it on my own.
Good way to lose your job.
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
I liked the bit you did
about Baltic chastity belts.
Too bad no one else did.
It's bullshit. Everything.
My job, the people I get
involved with, I'm up to here
You always were hard to
The librarian pulls a binder and opens it.
Who is it?
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
Chris, have you seen my
Chris is seated at the desk next to her. He points at the
Why, that son of a bitch.
71 INT. MUSEUM SUPERVISOR'S OFFICE 71
The high backed office chair is spun away from an angry,
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.
You better have a warrant. That's
my notebook, you've got no right
to be sticking your fingers into it.
I've got a morgue filling up with
bodies. That's my right.
What do you want from me?
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
Brenna lifts the telephone receiver.
I'm calling an attorney.
You and I should talk first.
We've got nothing to say.
Moran presses the post on the phone.
What are you going to tell them? That
you're protecting a man who's
killed four people?
All fashionably without heads.
Spare me the details.
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.
What are you getting at, 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.
In fact, we're considering book-
ing the ambulence chaser as an
accessory to murder.
It'll never stick.
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
You're an asshole, Moran.
I want Taupin.
What makes you so sure he's
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.
What's all of this got to do
What were you doing in Felton?
Research. If your pal was there
I never saw him.
I have witnesses that can put
the two of you together.
(knows he's bluffing)
Never take up poker, Detective.
Don't be stupid, lady. Your neck
can be sliced as fast as anyone
Brenna reaches across and lifts her notebook.
Why don't you wait until it comes
out in paperback?
Moran watches her leave. He lifts the telephone receiver.
Striding out into the corridor, Brenna passes Dennis, the cop
from her bedroom, leaning against the doorway.
I warned you.
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.
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.
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
SCREAMING, he disappears under a mass of gleaming bones.
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
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
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
82 EXT. FARMHOUSE DOOR - DAY 82
You shouldn't have come.
Brenna whirls around and sees Taupin behind her.
We're you followed?
He looks to the road.
No one knows you're here?
No. I had to talk to you.
You had to do _nothing_!
You're a fool.
Pause. Taupin strides through the doorway.
83 INT. FARMHOUSE 83
Brenna and Taupin enter. A heavy broad sword sits on the
Is this what you killed them with?
You've been listening to rumors.
Our cars were seen together in
Felton. They're calling me an
accessory to murder.
You are. Now.
Beat. They're stuck with each other.
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.
No, that's the last place we saw
her. Okay, will do.
He hangs up.
We keep looking.
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.
What's all that?
Richard Taupin has become
cumbersome. It would be best
if he just disappeared.
Brenna walks to the window.
You did kill those men.
Not all of them.
When you finish, what then?
I go my way and you can write
all you want about the big bad
You make it all sound so simple.
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.
You want me to front for you.
The less exposure I recieve
around government buildings the
better. You, as Mrs. Taupin,
will attract considerably less
attention than I.
Brenna is unsure.
Not such a bad trade. The story
of a lifetime for a few days
87 INT. TAUPIN'S WASHINGTON TOWNHOUSE 87
Detective Moran looks through the broken remains of the living
An INSPECTOR enters.
They lost her outside of Thurmont.
Moran sighs and tosses a piece of wood on the pile of debris.
I want people in here to check
over every piece of this stuff.
Figure she's with him?
We ran down that Church Hill info.
She's right. There is no Richard
Any other I.D.s come up?
Not yet. Called FBI yesterday.
Thompson's going to try CIA
Moran rises and dons his coat.
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.
You'd think he'd had practice.
Moran walks to the door.
I think he has.
88 EXT. FRENCE MILITARY CAMP - DAY 88
Conor, now MAJOR DUPONT of the French infantry, pours over
An AIDE, dressed as Conor-Dupont in 18th century European
military garb, enters the command area.
The men are assembled, Major.
A GENERAL stands beside the major.
See that they are indeed ready,
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.
Regiment ready for review, sir.
Dupont walks past the sargeant to the line.
Stand straight, you are a soldier
of the King.
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.
Where is your bayonet?
Lost it sir.
The soldier hedges.
You heard the Major! Where!
Dupont's face softens in exasperation, then toughens.
Your rifle. Hand it to me.
The soldier obeys. Dupont inspects the firing mechanism.
The flint is cracked. No spark
will reach your powder. You will
He throws the rifle roughly back into the soldier's hands.
Tomorrow you go to _battle_! And
you look like children!
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.
See to it.
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.
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.
...And what a sight! That old
mare just kept falling over her
own guts till someone finally
The OFFICERS LAUGH. All but Dupont.
Complete your inspection?
They're nothing but boys. It
will be a slaughter tomorrow.
I doubt much can change that.
The enemy has five brigades
waiting for us.
We need more time.
Won't get it.
We are a sacrifice. A diversion.
Dupont pokes unenthusiastically at his plate.
Eat up Dupont. It will probably
be your last.
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.
I thought I gave orders the
regiment was to drill.
Staff sargeant detailed me to
prepare firewood for the break-
What is your position?
I understand you joined up in
You seem to understand a great
I am a Major, Private. You would
do well remembering that when
Excuse me, "sir". I thought we
spoke as equals.
If you wish to play games, Major.
Mulet returns to his chore.
Wait. I think we understand each
We have no understanding.
Then it is time two of us did.
You are very young. I was once
young. I can help.
Help? I've seen others "help".
Somehow a head always ended up
on the counter.
It can be different. It must be.
It never changes, Major.
Mulet turns to his chore. Dupont grabs his arm.
We must talk.
(shakes him off)
Stay out of it.
Don't threaten me, Private.
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.
Do not turn your back on me.
You are really going to force this,
Either you are with me or against me.
Mulet turns slowly, axe in hand.
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.
You see Major? You are not so
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
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.
You see Major? You are not so
I had no choice.
Dupont sighs and looks to the altar.
Who am I deceiving?
Certainly not me.
Dupont whirls around to see the Knight, dressed as he in uniform,
sitting one row behind.
Dupont leaps to his feet.
You needn't look so flushed,
Major. You are quite safe in
Dupont eases his breathing.
State of grace and all that.
It's all we have.
Dupont has backed up a few paces.
All this time and still a scared
Dupont sits down.
Not so scared.
You seem to have misplaced a
private. No doubt by now his
head is stranger to his neck.
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-
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
The Knight almost seems proud of Dupont.
Romirez understood. Not you.
Romirez is dust.
The Knight looks to the altar.
Finish your prayers?
Our common heritage.
I am your only real friend, you
know. The only one who truly
I look forward to the day we
meet again. And I kill you.
The Knight leans forward and puts his face very near.
You can't stay in church forever.
The Knight moves into the aisle.
Good night, Major.
Conor sits in the dim church alone. Very alone.
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
95 EXT. CREEK - DAY 95
Brenna and Taupin are taking a walk along the township's
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.
Morning 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.
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
I'm sure that's true.
The grandson is having difficulty baiting his line. Taupin bends
down beside the young fisherman.
Here. The hook should go just below
the head, where the meat is toughest.
Taupin's show of affection surprises Brenna.
Show you a trick.
Taupin takes a clump of leaves from the bridge and winds them
around the hook.
Fish are creatures of habit. They
like their food where they're used
to it. At the top, hiding in old
Where did you learn that?
My father taught me.
Your father must be smart.
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.
Taupin sits before the fireplace, its flames reflecting on his
brandy glass. Brenna moves quietly to a seat beside him.
(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
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.
You love history?
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.
The estate stuff is pretty straight
forward. Just lots of forms and an
appearance at the county seat.
It will take some time for the
forms to clear before you go to
Brenna is silent.
So what now? We just wait?
Well, as long as we're stuck here.
She hands him the poster from earlier.
It's some sort of party the
town is throwing.
They do it each year.
I thought it might be a nice break
from all of this.
Taupin stacks the documents into a folder.
Maybe it would do us both good.
There's a catch. You're supposed
to wear 19th century clothing.
100 INT. FARMHOUSE CELLAR 100
Taupin is going through an old trunk.
My father was something of a
He comes across a long period dress and offers it to Brenna.
Here, try this. I suppose they're
still making women the same as back
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.
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.
Do it again.
She is thoroughly charmed by Conor.
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..
Katherine is delighted.
Conor starts to remove the yarn. Katherine touches his arm.
Oh please. Another one.
What would you like?
Conor cups his hands, bends his fingers, and comes up with a
four leaf clover.
That's wonderful. Where did you
ever learn it?
Conor shoots a glance for the mother, then kisses Katherine
You'll be leaving the girl alone.
A YOUNG MAN stands a few yards from the stairs.
Do you have cause to bothering
That's my girl.
David, we've already spoken of this.
He's not what he pretends to be.
Conor climbs to his feet.
You best leave, son.
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.
I said you best leave.
You'd like that, wouldn't you?
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.
Leave. While you still can.
The youth pushes away from the grasp.
You don't frighten me.
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.
No! Leave him. Please don't hurt him.
COUGHING painfully, the youth climbs to his feet and staggers
He's not what you think.
He turns and runs down the road.
He's not what you think!
Katherine turns to Conor, his face still locked in ice.
I don't care who you are or where
you come from.
She hugs him tightly.
I love you.
Conor's face softens as he brings up an arm to hold her.
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.
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. Taupin! Glad you could make it.
Best get some punch before it's
gone. Near the whole valley showed
They go to the table.
Taupin pours a glass of punch. An ELDERLY WOMAN approaches him.
If I didn't know better I'd say
His son. Richard.
Mr. Taupin is up from Washington
to look over his father's estate.
Your father died some years ago.
This is your first visit?
The tone is snide.
I suppose a Taupin had to show
Good evening, Mrs. Butler.
She turns in surprise at his knowing her name, then walks on.
What was all that about?
Sorry Mr. Taupin. That's not meant
for you. Just some didn't take
much to your father.
My father was never one for social
Kept to himself for sure. Then with
all that business in '31.
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.
Nothing to be sorry about.
Just your pappy scared some.
The rock band finished as a PORTLY MAN in a union soldier's
uniform takes the microphone.
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.
I don't know any of these. I'll
make a fool of myself.
Taupin starts into it with perfect grace. A faltering Brenna
tries to keep up.
William Taupin seems to have left
And you are William
Taupin, aren't you?
They do a final turn and finish. The other DANCERS applaud.
You're using your son's
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.
He leads her to a table.
Then you must be at least
70 years old.
Several of the ELDERLY WOMEN are watching Taupin from across
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.
It's frightening sometimes the
way you talk about other people's
A factor of age.
I hope I never get that old.
Brenna pulls away.
I must be insane. Leaving work,
ditching cops. All to follow a
murderer. A very old murderer,
but a murderer just the same.
Why are you here?
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)
I'm not even sure why.
Hardly a reason to run off with
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.
You are a very perceptive young
Just a little crazy.
A thoughtful pause.
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.
(gestures to interior)
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.
The sight is overwhelming.
I had this room built some
Brenna picks up a Carolingian tapestry and runs her hand along
its intricate weaving.
Who are you?
That would be difficult to explain.
I'd like you to try.
Taupin picks up a Byzantine icon, brushing the dust from its
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
He replaces the icon.
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.
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.
It goes on.
That's why Smith called you
He knows about you.
He is older than I.
What could possibly be worth all
this murder and distruction.
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
Perhaps. There is something more.
I didn't kill the watchman.
You killed those other two.
Not the same.
What about that family in '31?
Sometimes innocents become involved.
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.
There are differences.
You kill with your left hand?
I haven't killed _you_.
Is that a threat?
Taupin moves very close.
Brenna's face softens. She turns away.
Come here, Brenna.
He kisses her.
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.
May God commend into his kingdom
the soul of our dear departed
Jason, son of Katherine-
The old woman.
And brother to Howard and James-
The two middle aged sons.
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.
Watches the woman approach but decides against moving.
She stops a few paces away and looks over him.
What are you doing here?
I owe him this.
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.
Is something wrong, Mother?
Howard. James. This is your
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.
"Brenna". In Celtic is means
"woman with raven hair". Only
chieftan's daughters were allowed
Brenna is lost in Taupin's scars.
What is it like? Being you?
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
But you're known so much.
History I'll only read about.
It's all the same. Half lives that
never go away.
What is it you want?
All of it finished.
109 EXT. FARMHOUSE - MORNING 109
Taupin and Brenna stand beside her car. She has an armload
Gettysburg's an hour's drive
at most. You should be back
Will I see you again?
Be careful. Don't stay any
longer than you have to.
Pause. Brenna considers touching him but instead climbs briskly
into the car.
110 EXT. POLICE DEPARTMENT PARKING LOT - DAY 110
Detective Moran and his Inspector walk among parked squad cars.
Are you sure?
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.
Round up who you can
and put them on standby.
Think we should call the
local P.D. out there
No. I want this to be
111 INT. COUNTY RECORDS OFFICE 111
Brenna is standing at a counter signing the last of a stack.
O.K. Mrs. Taupin, that's
all I need.
The clerk fills out a small sheet and hands it to her.
Just take this down
the hall to the regis-
trar. Hurry up though,
it's near closing time.
Most everyone's gone
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.
I'll be right back.
She disappears into the rear area.
(to other clerk)
Do you have a drinking
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.
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.
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.
Flings the chair aside and knocks open the door with a SLAM
of his palm.
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.
Is dark and full of old paint cans and mops. Her BREATHING
is at a PANIC.
Tries the door handle.
Stepping back, he lifts his sword and HAMMERS it deep into
He STRIKES again. And again. Splinters smack against surround-
Go away! Oh God, go
CRYING hysterically, Brenna presses herself against the far
wall, sliding to the floor in a crouch.
Steps back and gives the door a last two-fisted swing.
The door collapses.
113 EXT. HIGHWAY - EVENING 113
A group of unmarked police cars race by with the last light
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.
We have some unfinished
Are you here?
I want you to come to
And if I refuse?
Give me an address where
I can forward Miss Cart-
This affects him.
Yes laddie, I have her.
Should I care?
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.
He's not here.
121 EXT. THE JEFFERSON MEMORIAL - NIGHT 121
Spotlights seperate the whitemarble from the surrounding
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
A sword in one hand and Brenna in the other, the Knight stands
at the statue's base.
Taupin stands at the entrance.
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.
Let her go.
The Knight throws Brenna roughly against a wall.
You disappoint me.
(looks at Brenna)
I thought you'd finally gotten over
that sort of thing.
Leave her out of this.
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
The Knight leaps first, his clash of steel RINGING off the high
Another ATTACK without result.
You can do better than that.
Taupin swings. The Knight jumps back. Sweat gleams from their
124 EXT. JEFFERSON MEMORIAL - NIGHT 124
Two LOVERS enjoy a late night walk along the tidal basin.
There is a distant CLANKING of metal.
It's from over near the memorial.
He jumps up on a rock. Several yards away can be seen two figures
attacking each other.
125 INT. POLICE DEPARTMENT - NIGHT 125
Standing at a map of the city, Moran nurses a cup of coffee.
The phone RINGS.
Moran. All right, get a patrol
unit out there right away. I'll
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.
No. Not now.
127 EXT. MEMORIAL - NIGHT 127
The officers reach the top and enter.
One of the officers is Dennis, who sees only a CRYING Brenna
and Taupin lying wounded on the floor.
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.
Taupin looks at Brenna and the dead policemen. A resignation
sweeps over him.
What's the point?
This isn't done. Get up.
What's the point! You have me,
I have waited forever for this.
You will not cheapen it, little
It's all we have.
Go to hell.
The Knight looks to Brenna.
Perhaps Miss Cartwright would like
Leave her alone.
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
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.
Leave him alone.
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.
I do hope you're enjoying this
as much as me.
Stands in the entryway. The Knight sees him.
Moran draws his pistol.
The Knight walks toward him,
This is nothing that concerns you.
Moran levels his gun.
The Knight raises his sword.
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
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.
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
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.
In mamus tuas Domine commendo
spiritum meum. Auditorium nostrum
in nomine Domine.
He raises the sword.
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
Taupin bolts up and looks at her without seeing.
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.
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.
Is CRYING. Not from wounds he no longer feels, but from something
I can't stand it. Oh God, I can't
Brenna kneels beside him.
The scream of your blood. The
shriek of trees. Stop it! Stop it!
What is it?
I'm the last. Oh Christ, I'm the
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.
I'll destroy you. I've destroyed
everything I've ever touched! Oh
He doubles over in pain.
He grabs his sword and threatens her.
SOBBING, Brenna runs from the memorial. Taupin is alone.
Bleeding. Crying. In agony.
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.
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.
(after a moment)
What are we supposed to say?
The cat's eyes are all fixed in Taupin. They cautiously shrink
The emptyness. The years and years
of void. Nothingness. Bordered only
by the quest for ultimate nothingness.
Who would have guessed?
Not power. Not control.
Taupin holds a blade of grass as if it was speaking to him.
Life. It is the gift and the under-
standing of life.
You have lived forever.
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.
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?
He holds her. They hold each other.
It's taken me so long. So very
A jogger runs by, unaware of any life but his own.