HIGHLANDER III

I like my work.

PROFESSOR DAJORSKI

I'm having some people over tonight

for dinner -- I'd like you come.

JENNIFER

(smiles)

We'll see.

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

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

PROFESSOR DAJORSKI

Take a lok at this.

Jennifer lifts the paper.

JENNIFER

(reading)

The headless corpse of a man was

found early this morning in a meat

packing warehouse near the river.

Police say the unidentified body was

dressed in what appears to be a

costume from the seventeenth

century...

Jennifer lowers the paper and looks at Dajorski with confusion.

CUT TO:

INT. BANK - DAY

An old building with several large PILLARS running from floor

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

forties stands at counter. He finishes filling out a deposit

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

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

bathroom.

SOMEONE'S POV

of Parker walking into the bathroom. The POV slowly heads

towards the bathroom.

36

INT. BATHROOM - DAY - SOMEONE'S POV

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

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

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

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

on the toilet. He looks up, startled.

PARKER'S POV

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

KILVARA

Don't get up.

INT. BANK, TELLER'S WINDOW - DAY

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

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

briefcase in the other.

TELLER

Good afternoon, Mr. Parker.

MR. PARKER

Good afternoon...

(looks at name plate)

... Shirley.

TELLER

Would you like to deposit this in

your account?

MR. PARKER

No. The money, please.

TELLER

This check is for sixteen thousand

dollars. That's a lot of cash to be

carrying around.

MR. PARKER

I can take care of myself.

TELLER

Alright. It's going to take a few

minutes. I have to call and verify

the funds.

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

The Teller is on the phone.

37

TELLER

Yes -- I'll hold.

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

wall behind him reads: 1:10

The Teller hangs up the phone and walks back to her station.

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

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

several stacks of ONE HUNDRED DOLLAR BILLS. She starts to

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

MR. PARKER

That's okay -- I trust you.

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

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

behind one of the PILLARS as he heads for the exit. When we

see him again he looks different. He passes behind another --

and again when we see him he appears different. From pillar to

pillar his shape changes until when he passes from behind the

last one he is now Kilvara.

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

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

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

Kilvara who is still holding the BRIEFCASE.

GUARD

Just a moment, Sir.

Kilvara stops. He turns around slowly.

GUARD

Would you come with me please?

KILVARA

I think not.

The Guard moves closer. Kilvara slowly reaches his free hand

under his jacket. The Guard instantly removes his revolver and

aims it at Kilvara.

GUARD

Freeze!

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

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

first three shots hit Kilvara in the chest -- his light colored

shirt splatters with blood. The shots drive him backwards but

not down. He staggers forward. The Guard FIRES three more

shots. Kilvara falls to the ground on his back.

38

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

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

leans over to take a pulse. Kilvara's eyes open. He grabs the

Guard by the throat and lifts him off the ground and he stands.

Kilvara pushes him against the wall and stares angrily into his

eyes.

KILVARA

(pissed off)

That hurt.

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

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

from the bank.

CUT TO:

INT. ANTIQUE STORE - DAY

The elevator opens and Macleod steps out carrying a DUFFLE BAG.

Rachel is at the counter.

RACHEL

What are you doing?

MCCLEOD

I shouldn't have come back here. It

was a mistake.

RACHEL

Is it a mistake for someone to go to

the ones who love them when they're

in trouble?

MCCLEOD

Yes -- when their troubles can harm

them.

RACHEL

Why won't you ever let anyone help

you?

Macleod puts his bag down near the counter. He touches

Rachel's face lightly.

MCCLEOD

Because no one can.

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

MAN'S VOICE

Hello, Nash.

39

Macleod turns around. Bedsoe is standing at the door with TWO

DETECTIVES.

MCCLEOD

Detective Bedsoe.

BEDSOE

(correcting him)

Lieutenant.

MCCLEOD

Congratulations.

Bedsoe walks towards him. Rachel pushes the duffel bag behind

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

BEDSOE

Guess what we found this morning?

Macleod shrugs his shoulders.

BEDSOE

(continuing)

A body -- with it's head cut off.

Sound familiar?

Macleod doesn't answer.

BEDSOE

(continuing)

When did you get back?

MCCLEOD

A few days ago.

BEDSOE

That's what I figured. Well, I have

a little home coming present for you.

Bedsoe pulls out his HANDCUFFS and dangles them before Macleod.

BEDSOE

(continuing)

I've been waiting seven years for

this.

CUT TO:

INT. INTERROGATION ROOM, POLICE STATION - DAY

Macleod and Bedsoe sit on opposite side of a table.

40

BEDSOE

Where were you last night around

nine?

MCCLEOD

I already told you. I took a walk.

BEDSOE

Tell me again. Where'd you go?

MCCLEOD

Central Park.

BEDSOE

Doesn't it scare you walk through the

park at night?

MCCLEOD

No. I don't scare easy.

BEDSOE

Where have you been for the last

seven years?

MCCLEOD

Around.

BEDSOE

And Brenda?

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

look before -- he knows what it means.

BEDSOE

How?

Macleod doesn't answer the question. His personal life is not

open for discusion.

BEDSOE

She was a good woman.

MCCLEOD

You didn't bring me here to talk

about her.

BEDSOE

No.

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

the meat packing warehouse.

41

BEDSOE

(continuing)

I brought you here to talk about him.

Do you know him?

MCCLEOD

No.

BEDSOE

You sure?

MCCLEOD

He doesn't look familiar -- but then

he'd probably be easier to identity

with his head.

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

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

INT. HALL - DAY

Bedsoe walks over to CAPTAIN NEWSOME. We can Macleod through

the mirror.

BEDSOE

I'm in the middle of an

interrogation, Captain.

CAPTAIN

Interrogation's over, Bedsoe.

BEDSOE

What?

CAPTAIN

Cut him loose. The D.A. says you

ain't got shit on this guy.

BEDSOE

You don't understand. About seven

years ago we found the body of a guy

named Vasilnic in Jersey. A week

later in the parking lot of Madison

Square Garden we found Iman Fasil.

Three days after that Luman Castageer

was found in an alley. The fourth

body we've never been able to

identify. All four men died from

decapitation. Nash was our primary

suspect -- but he disappeared.

CAPTAIN

It's circumstantial.

42

BEDSOE

For Chrissake! Gimme a break. The

guy disappears for seven years and as

soon as he comes back it starts

again.

CAPTAIN