HIGHLANDER III

EXT. ALLEY - NIGHT

The Constable moves down the alley with the prostitute, each of

them carefully making their way through the fog. As they reach

the end of the alley the fog lifts.

On the ground his the man -- his head severed from his body.

The prostitute looks away -- the constable stares at the

gruesome sight, his eyes filled with horror.

CONSTABLE

Dear mother of God.

In the b.g. Macleod steps out from behind a stack of crates.

He walks towards the street, disappearing in the fog.

EXT. STREET - NIGHT

As Macleod emerges onto the street we HEAR the SOUND of the

constables POLICE WHISTLE. As PEOPLE wander towards the alley

to fill their curiosity, Macleod calmly walks across the

street.

70

An OLD MAN sits behind a wooden crate selling NEWSPAPERS. A

piece of paper is tacked to the crate displaying the days

headline: WHEN WILL THE RIPPER BE CAPTURED?

Macleod looks at the headlines, the slowly turns and looks back

at the alley.

MCCLEOD

(softly)

Goodbye -- Jack.

CUT TO:

INT. BEDSOE'S OFFICE - DAY

Bedsoe is looking over some papers as he eats a pastry.

Detective Greley enters.

BEDSOE

Anything from the bank?

DETECTIVE GRELEY

We sent the prints we lifted from the

counter at the bank to the State

computers, the FBI and interpol.

Nothing.

BEDSOE

He had to come from somewhere.

DETECTIVE GRELEY

I think it was England.

BEDSOE

Why?

Greley looks at a printout.

DETECTIVE GRELEY

I asked the State Department to check

with our Embassies and Interpol to

see if there were any similar

occurrences like the bank. Two weeks

ago in London Charles Redder from the

Bronx was mugged in Hyde Park.

BEDSOE

So?

71

DETECTIVE GRELEY

So -- the only thing that was taken

was his passport. I checked with

immigration -- he returned to New

York ten days ago -- but our embassy

in London says he is still there.

Bedsoe thinks for a moment. He looks up at Greley with a

puzzled expression.

CUT TO:

INT. JENNIFER'S OFFICE - DAY

Old and cluttered with books and artifacts. Jennifer sits at a

table examining some articles from the Scotland site. She

appears distant, her thoughts distracted. Professor Dajorski

walks over to her and places a large BOOK on the table.

PROFESSOR DAJORSKI

I was going through some of my

mythology books last night. I think

you'd get a kick out of this.

She opens the book to where it is marked and begins to read.

What ever she is reading catches her interest. She looks up at

Dajorski amazed.

CUT TO:

INT. ANTIQUE SHOP - AFTERNOON

Macleod is with an ELDERLY WOMAN, showing her silver serving

trays. The woman can't decide on what to buy. She thanks

Macleod and leaves. As she walks through the door Jennifer

enters. Macleod is both happy and annoyed with her arrival.

MCCLEOD

You are a very persistent woman, Miss

Hillman.

JENNIFER

Jennifer.

Macleod stares at her. It unnerves her.

JENNIFER

Why do you stare at me like that?

MCCLEOD

You remind me of someone I used to

know.

72

(beat)

Why are you here?

JENNIFER

Same story -- same questions.

MCCLEOD

I don't have any answers for you.

JENNIFER

Who was that man last night?

MCCLEOD

I don't know.

JENNIFER

Then how did he know your name?

Macleod shrugs his shoulders.

JENNIFER

Do you always walk around with a

sword?

MCCLEOD

New York is dangerous place.

JENNIFER

You talk to me -- but you don't

answer my questions. I guess I'll

have to talk to Lieutenant Bedsoe.

MCCLEOD

About what?

JENNIFER

It probably wouldn't interest you.

It's something I read in a mythology

book.

MCCLEOD

I'm interested in mythology.

JENNIFER

Have you ever heard of the Calan?

Macleod expression shows that he has. He stares at Jennifer

for a moment.

MCCLEOD

No.

JENNIFER

You look like you have.

73

Macleod smiles, his eyes pierce into hers.

MCCLEOD

Do you like Italian food?

The change in conversation confuses her for a moment.

JENNIFER

Yes.

MCCLEOD

Meet me Tratino's at nine.

JENNIFER

Why?

MCCLEOD

I told you I'm interested in

mythology. We can talk about it

more.

CUT TO:

EXT. STREET - DAY

Kilvara walks down the street, still wearing his black robe.

Even in New York City his appearance draws attention. He walks

past a NEWSSTAND.

KILVARA'S POV

On the cover of one of the TABLOIDS is a photograph of him.

Kilvara looks up and notices the OWNER of the stand looking at

him. Kilvara's eyes narrow and stare deeply into the man's. A

beat. Kilvara walks away. As he does the Man looks at the

tabloid.

INT. CLOTHING STORE - DAY

Kilvara enters and walks up the counter. The SALESPERSON, a

middle-aged man stares at him with disapproval.

KILVARA

I would like to purchase a new

jacket.

EXT. NEWSSTAND - DAY

The Man is holding the tabloid as he talks with TWO UNIFORMED

POLICE OFFICERS and points down the street.

74

INT. CLOTHING SHOP - DAY

The Salesman holds up an expensive trench coat. Kilvara

studies it.

KILVARA

It looks a bit small.

SALESMAN

The tapered look is in.

KILVARA

I need a lot of room. Sometimes I

carry things under my coat.

The Salesman looks behind Kilvara -- something has caught his

attention. Kilvara turns around following his stare.

KILVARA'S POV

of the POLICE OFFICERS crossing the street.

EXT. STREET - DAY

The two cops move towards the store.

COP #1

Maybe we should wait for backup.

COP #2

This could be a big collar. Why let

the boys form robbery grab it?

INT. CLOTHING STORE - DAY

Kilvara starts to walk to the door when the two cops enter,

their guns drawn.

COP #1

Freeze!

Kilvara looks at them and grins.

KILVARA

Freeze. A popular expression.

In a flash Kilvara's grin fades. His sword streaks out from

under his jacket and slices through the first cops wrist.

75

EXT. CLOTHING STORE - DAY

We HEAR several SHOTS being fired. A beat -- then the WINDOW

of the store SHATTERS as the second cop comes flying through it

-- Kilvara's sword impaled in his chest. The cop crashes to

the ground -- dead. Kilvara walks out, retrieves his sword and

walks off.

CUT TO:

EXT. CLOTHING STORE - LATER - AFTERNOON

Bedsoe and Detective Greley watch as the bodies of the two COPS

are loaded into the Medical Examiner's wagon. Bedsoe walks

over to the Salesman.

BEDSOE

What happened?

SALESMAN

They shot him. I saw it. They shot

him and he got right back up.

Bedsoe pulls out the photograph of Kilvara and shows it to the

salesman.

BEDSOE

Is this the guy?

SALESMAN

Yes.

Bedsoe looks at the medical examiner's wagon as it drives away.

His eyes are filled with anger.

CUT TO:

EXT. CENTRAL PARK - NIGHT

Empty. The LIGHTS from the buildings that surround the park

fill the night sky. Kilvara walks into frame. Stops. Looks

out over the city.

KILVARA

You cannot hide from me, Macleod.

CUT TO:

76

INT. TRATINO'S RESTAURANT - NIGHT

Dark woods and leather. Soft MUSIC plays in the b.g. Jennifer

sits at a table alone, drinking second glass of wine. She

checks her watch. From her expression it is obvious that

Macleod is late. We see Macleod enter and walk up behind her.

MCCLEOD

Good evening.

JENNIFER

(annoyed)

You're twenty minutes late.

MCCLEOD

Sorry.

Macleod takes off his overcoat and sits beside her. On his arm

is a BANDAGE covering the cut on his arm from Kilvara's blade.

Macleod glances at her hand, his eyes focused on her ring.

Jennifer follows his stare.

JENNIFER

Does this ring mean something to you?

The WAITER walks over.

MCCLEOD

(to waiter)

Glenmorganie -- no ice and...?

Jennifer holds up her wine glass.

JENNIFER

The house red.

The waiter smiles and walks away.

JENNIFER

You didn't answer my question.

MCCLEOD

I know.

There is a moment of silence. Jennifer appears uneasy. She is

not good at small-talk.

JENNIFER

You have an interesting accent.

Where are you from?

MCCLEOD

Why?

77

JENNIFER

I'm just trying to place you.

MCCLEOD

I've lived all over the world.

She's aware that he is being evasive.

JENNIFER

You're not an easy person to get to

know.

MCCLEOD

Why? Because I don't give up all my

secrets?

JENNIFER

How come you wanted to meet tonight?

MCCLEOD