Highlander III: The Sorcerer Page #16

Synopsis: Highlander III: The Sorcerer, also known as Highlander III, Highlander III: The Magician, Highlander III: The Final Dimension, Highlander: The Final Dimension and Highlander 3: The Final Conflict, is a 1994 American action-adventure fantasy film and the third installment in the Highlander film series. A stand-alone alternate sequel to the original film, it is the final Highlander film that focuses on Connor MacLeod as the protagonist. In the film, Connor Macleod is forced to face against a new dangerous and powerful enemy; An extremely powerful sorcerer known as Kane who threatens to win the fabled "Prize" in order to gain world domination by eliminating Macleod. It grossed between $12.3 and $13.7 million in the US.
Year:
1994
888 Views


She looks at him warmly. Macleod kisses her on the forehead.

She leaves the room. A beat. Macleod walks over to a table

filled with various objects. One catches his eye. He picks up

an old WALKING STICK. Macleod closes his eyes -- his mind

drifts back.

68

CUT TO:

EXT. STREET, LONDON - NIGHT

Nineteenth century England.

The East end. The waterfront, cobblestone streets, gas lamps.

A thick fog hangs in the air. Piano MUSIC drifts out of one of

the pubs. CROWDS of people hurry along the street.

Among them is Macleod. He is dressed in a suit like an English

Gentleman and carries the ivory-handled WALKING STICK. He

walks slowly, through the crowd, seemingly oblivious to the

people around him. He comes to the mouth of an alley and

stops, thinks, then enters.

EXT. ALLEY - NIGHT

Wooden crates and stacks of garbage fill the alley. Macleod

continues. In the b.g. we HEAR the SOUNDS of a struggle.

+FURTHER DOWN THE ALLEY

A middle-aged man, also dressed like an English Gentleman is

struggling with a PROSTITUTE. He grabs her roughly and pins

her against the wall. From inside his overcoat he slowly

removes a long sword. He holds the tip of the blade up before

her eyes.

PROSTITUTE:

Please, sir -- you're frightening me.

This seems to please the man.

MAN:

Good.

He smiles -- then just as quickly his smile fades. He appears

to sense something. He turns around to see...

MAN'S POV

Nothing -- just FOG -- then Macleod appears. He stares at the

man.

The Man stares at Macleod then smiles -- a wild, crazy smile.

MAN:

(English accent)

Conner -- what an unexpected

surprise.

69

MCCLEOD:

Let her go.

MAN:

I'm afraid I can't do that. Just let

me kill her and then we can attend to

our business.

Macleod takes a few steps closer. He is now almost is striking

range. He slowly slides his Samurai out of the walking stick.

MCCLEOD:

When you make your thrust at her I'll

take your head. It's her or me.

MAN:

Oh dear me -- I do so hate decisions.

The man realizes that Macleod is right. He reluctantly lets

her go. The prostitute runs from the alley. A beat. The two

men stare at each other -- then the Man lunges at Macleod,

swinging his sword furiously. Sparks fly as sword cross.

EXT. STREET - NIGHT

Th Prostitute runs to the corner where she finds a CONSTABLE.

She hysterical gestures towards the alley. The Constable

follows her.

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.

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René Manzor

Born with the storytelling urge, René Manzor originally pursued his passion in cinema Game Over (1989), Labyrinth (2003). His first two features caught the attention of Steven Spielberg and George Lucas who hired him to direct some episodes of their saga Young Indiana Jones (1992). Several others followed. His first novel, Les âmes rivales (2012) . more…

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