j

-, ~:'
:·
.. ,.,~

{.~1
L , :?.i ~tl

,.,·.

--

L A D Y a A WK E
0
Screenplay by

·."\,
Ed Khmara, Michael Thomas,
and
Tom Mankiewicz

FINAL SHOOTINGSCRIPT

July 27, 1983

 LADYHAWKE

FADE IN:

1 EXT. AQUILA - SUNRISE (MODEL) 1

Out of the clouded mists of history, a grim medieval

fortress city :r._ises like a:· jagged alp against the
the sky. Surrounded by a wide, river-like moat filled
with dark, brackish water, the spires and turrets of
AQUILA. are cloaked in a heavy mist.

.2 INT. AQUILA CATHEDRAL - DAY (STUDIO) 2 .

(2)
The vast vault of the cathedral is lit by flickering
candlelight. Resonant ORGAN MUSIC growls tremulously,
underscoring for the Mass now in progress.

The blotched, famished faces of the CITIZENS OF AQUILA

stare impassiveiy, resigned to their prayers. AN o.s.
VOICE chants the Credo mnr the Mass. They reply like
0 automatons with the obligatory Latin phrases.

The BISHOP OF AQUILA performs the Mass before the altar.

A tall, austere man with a chalk-white complexion, he
chants the Credo in a whining, almost threatening high-
pitched tone.

The BISHOP turns, revealing cold, pale eyes. Two young

ALTAR BOYS approach him with, the Holy Grailr now kneel __
in obeisance to kiss his ring. ~-

The BISHOP extends his hand. The ring is unorthodox·

for one of high religious rank. An ALTAR BOY's lips
press gently against it. An echoing "SNAP" - like a
gunshot - is HEARD.

The BISHOP's eyes flick over to an open cathedral window.

3 EXT. AQUILA SQUARE - DAY (CASTELL'ARQUATO) 3

0 (3)
The dangling legs of three DEAD BODIES swing silently on
the gallows of the square abutting the cathedral. MUSIC
from the Mass is heard in the intervening distance.

4 BACK TO CATHEDRAL AND BISHOP 4

(4)
The BISHOP turns, unconcerned, continues the Mass

5 BACK TO SQUARE 5
( 5)
A crowd of RAGGED CITIZENS stare up at the bodies.
Four GUARDSMENlook off at their Captain (MARQUET),
a brute of a man, created for mayhem and violence.
A set of gleaming eagle's wings adorn his helmet,
signifying his rank.

MARQUET turns to his lieutenant (JEHAN).

 2

5 cont 5

MARQUET
The next three.

6 INT. AQUILA DUNGEON - DAY (VIALE SOMALIA) 6

{6)
A dank, mud-walled:·corridor.:. in the:do.ngeoris.~ ..o"f AQUILA
castle. Ghostly FACES of PRISONERS shrink from the
moss-covered bars of their cells as a SQUAD OF GUARDS-
MAN pass by. JEHAN stops at a-particular cell door.
7 INT. CELL - DAY 7

A hellhole. Two wretched PRISONERS are propped against

the wall. One stares ahead catatonically. The other
hums a private tune. JEHAN squints through the dim
light.
.. JEHAN
Phillipe Gasto~? .•• ·
0 (to GUARD)
Wrong cell. I want Phillipe
Gaston, the one they call "the
Mouse".

INSANE PRIS.ONER
{singsong)
The mouse, the mouse~ •• has
left our house.~.

GUARD.
(checking door)
132, Sir. This is it.

INSANE PRISONER
He's run away .•. no -mouse today •.•
. The PRISONER giggles, points .'a.cross the cell. .
0 8 CLOSE ON GRATIN~,- HIS POV 8

An open drainage grate cut into the floor, no more

than two feet square. Suddenly - a tiny rat scurries
up out of it and runs across the cell floor.

INSANE PRISONER (V.O.)

••. to stop the pain, he's down
the drain ...
 3

8 cont. 8

JEHAN and the GUARDS stare unbelievingly.

JEHAN
What happened to him!

INSANE PRISONER
I just told you, gentle Lord.
I tried to escape myself but I
couldn't fit.
(crazy smile)
So since he still lives, you may
kill me twice.

JEHAN
(at GUARDS)
Search every sewer! Every drain!
Find him or Captain Marquet will
hang you in hi 9 place!
0
The terrified GUARDS hurry out of the cell. JEHAN
turns, frustrated, looks back at the small open grat-
ing.

JEHAN
Incredible •••

9 INT. DUNGEONSEWER SYSTEM - DAY 9

(7)
A vast network of drainage holes and sewers under the
dungeon. An endless, unfathomable maze. A Swiss cheese
of hell. CAMERA PANS to an opening in the sewer wall no
larger than the grating hole in.the cell.

Suddenly - an arm appears, the hand waving up and down,

feeling the fresh expanse of air. Then part of a shoulder.
Slowly emerging in sections, magically contorting himself
like a rubber man in the circus - the tiny, small boned
0 figure of PHILLIPE GASTON. He wriggles free, drops to
the sewer floor, looks back at the hole.

PHILLIPE
Not unlike escaping mother's
womb, really. God, what a
memory ...

PHILLIPE crouches, looks off: A long human skeleton is

embedded in the slime nearby. Its grinning skull stares
emptily back at him.

PHILLIPE
Six foot-two, eh? An ideal height
for passing through the gates of
heaven, my friend. But you see
where our Lord in His infinite
wisdom has chosen to deposit us.
(looks up)
I'm not complaining, mind you.
 4

9 cont. 9

PHILLIPE (cont.)
Just ••• pointing things out.

10 EXT. AQUILA CATHEDRAL BELFRY - DAY (STUDIO) 10

(8)
Several GUARDS rush into the belfry, yank on the cords
attached to a set of giant bells. The bells peal
loudly.

11 INT. CATHEDRAL (STUDIO) 11

(9)
The Mass continues. Those in attendance exchange
astonished looks, hearing the alarm.

The BISHOP turns away from the altar, betraying concern.

He looks off.

12 ANGLE ON MARQUET - BISHOP'S POV 12

0 MARQUET has entered the cathedral, now stands at the
back near a private chapel. He stares at the BISHOP

13
urgently.

INT.
..,
SEWER SYSTEM - DAY (VIALE SOMALIA) 13
(10)
PHILLIPE:scurr.ies dewn·a. sewer tunnel crouching low,
rodent-like. He shivers, squints through the darkness.

PHILLIPE
Easy does it, Mouse ••. steady
progress ••• a peaceful Sunday.
walk through th~ gardens of •••

He turns a corner as the hideous face of a SCREECHING

CAT fills the screen in front of him.

PHILLIPE SCREAMS - the CAT flashes pointed FANGS

0 14 BACK TO PHILLIPE 14
(10a)
Both startled occupants of the tunnel instantly bolt
off in opposite directions. PHILLIPE scrambles fran-
tically, adrenalin pumping. He looks behind as the
ground suddenly cracks awav!

The mud-caked edge of a sewer shelf has crumbled off!

PHILLIPE clings on desperately, his fingers digging
deeply into the slimy earth. He hangs frozen in sus-
pension, then hears RUSHING WATER beneath him, looks
down.

15 ANGLE ON WATER - HIS POV 15

The raging black waters of the main drainage outlet

below. Caught in unspeakable sludge - the dim light
·glances off the huge bleached skull of a cow. ., Long,
slimy black eels,dart in and out of the sunken eyeball
sockets.
 5

16 BACK TO PHILLIPE 16

His eyes shut in horror, trying to collect himself.

PHILLIPE
Lord ••. I will never pick another
pocket again as long as I live, I
swear. But here's the problem, if
you don't let me live, how aan I
prove my good faith to you?
(silence)
I'm going to pull myself up now,
Lord.
(silence)
If you've heard me this shelf will
remain steady as a rock. If not,
then no hard feelings of course.
But I will be very disappointed.

PHILLIPE grits his teeth, p~infully inches his way back

0 up onto the shelf.
hoists himself
Miraculously
onto secure ground,
- the earth
looks
holds.
around,
He
amazed.

PHILLIPE (cont.)
I don~t believe it •.•

Suddenly - the dim SOUND OF RELIGIOUS ORGAN MUSIC in

the distance. PHILLIPE is thunderstruck, looks up.

17 ANGLE ON SHAFT - HIS POV 17

A long shaft cut in the earth snakes its way up to the
surface. At the top - a faint, glowing light. The dim
echo of the ORGAN MUSIC continues underneath.

18 BACK TO PHILLIPE 18

In awe, undergoing a sudden religious experience.

0 PHILLIPE
I believe it ...

Transfixed, he quickly scrambles U? the shaft.

19 INT. SHAFT (PT. STUDIO+ PT. VIALE SOMALIA) 19

(11)
It's a hard climb. Foul black water drips down in his
eyes from the cracks in the rockface. The rusted iron
rungs embedded in.the walls have been there forever.
One comes away in his hand - he starts to fall - jams
his foot into another rung. It protests, but holds.

PHILLIPE looks up. The light is stronger. The ORGAN

MUSIC louder. Newly inspired, he feverishly starts up
again. The MUSIC is deafening now. A CHOIR has joined
in. PHILLIPE reaches the top, looks up, eyes widening.

20 ANGLE THROUGH GRATING - HIS POV 20

A steel grating crisscrosses above. Through it: a

 6

20 cont. 20

black-and-white stained glass rose window is visible.

21 INT. CATHEDRAL (STUDIO) 21

(12)
CLOSE ON the grating in the cathedral floor. PHILLIPE'S
blinking eyes are barely visible through it. CAMERA
TILTS UP: MARQUET stands only two feet behind, oblivious
to what is happening directly beneath his feet.

22 ANGLE ON FAMILY IN PEWS 22

A ragged FAMILY stands in the pews, singing along with
the CHOIR. The six year-old DAUGHTER on the end turns
curiously. She grins, then laughs, pointing her finger.

23 ANGLE ON GRATING - HER POV 23

PHILLIPE's fingers are now v~sible over the top of the

0 grating bars. Pushing. Trying to dislodge it.

24 BACK TO FAMILY 24

The FATHER angrily fe~ks the GIRL around again.

25 CLOSE ON MARQUET 25

Having noticed the disturbance •. Curious. MARQUET looks

around suspiciously, steps forwa 7d.
26 CLOSE ON GRATING 26
PHILLIPE's exposed fingers. MARQUET's heavy miiitary
boots are unknowingly about to crush them.

27 ANGLE ON CHOIR 27

Bursting forth with an enthusiastic vocal salvo.

0
28 BACK TO GRATING 28

MARQUET's boot crunches down on PHILLIPE's fingers!

29 CLOSE ON PHILLIPE 29

PHILLIPE's excruciating SCREAM blends in with the singing

of the CHOIR as he falls out of frame

30 BACK TO MARQUET 30

Feeling discomfort below his foot. Shifting weight.

Looking down. Seeing nothing.

31 INT. SHAFT (PT. STUDIO+ PT.

VIALE SOMALIA) 31
(13) /
PHILLIPE tumbles crazily back down the shaft, bouncing
off the walls, desperately grabbing for a handhold. He
flails away, catches onto something, pulls hard:
 7

32 ANOTHER HUMANHAND~ 32

It.snaps away from a dead arm as·PHILLIPE screams,

tumbles down the shaft again, crashes into th~ mud
shelf where he started, careens over the edge. The
raging, black, infested waters of the main drainage
sewage duct RISE UP to meet him!

33 BACK TO PHILLIPE 33
(13a)
Submerging, his mouth gagging on the foul water. He's-
swept along with horrifying debris, suddenly smashes
into an iron grill, clogged with centuries of sodden
refuse. Dazed, PHILLIPE clears his head, inhales a
huge mouthful of air, dives under.

34 ANGLE ON PHILLIPE - UNDERWATERSHOT (STUDIO) 34

PHILLIPE is swept under a dam of submerged debris.

He's near blacking out - his fingers grab desperately
at the iron spikes at the bottom of the grill. Suddenly
0 - between the spikes - an opening! Not wide enough for
a normal man, but ample for PHILLIPE. He drags himself
through, shoots for the surface.
~ .J

35 EXT. AQUILA MOAT - DAY (SONCINO) 35

(14)
PHILLIPE breaks the water's surface in the moat, lungs
bursting for air. The WARNING BELLS continue their
urgent PEALING. PHILLIPE looks off longingly at the
lowering sun and his potential freedom in the mountains
beyond.

36 EXT. 'AQUILA STREETS - DAY (CANALE MONTERANO'&other 36

locations)·
Surprised VILLAGERS react in astonishment to the warning
BELLS. PEASANTS scatter as GUARDS ride through.
37 EXT. SKYLINE - DAY _37
0 (15)
Seen from the skyline above: the spires and turrets
of AQUILA loom up against the sky. The PEALING ALARM
BELLS echo across the landscape. Suddenly - A GHOSTLY
SILHOUETTE rides slowly into the foreground. A huge man
dressed in black, mounted on a gigantic horse. The
SILHOUETTE (NAVARRE) stares down at the city of AQUILA
below.
A Hawk soars down in a lazy arc. The SILHOUETTE holds
out an arm. The bird lands on his gloved wrist. Wheeling
his enormous steed, the SILHOUETTE starts down the mountain-
side and disappears.

38 BACK TO PHILLIPE I:1 MOAT 38

(16)
Head low, PHILLIPE drifts silently' across the moat.

39 EXT. ATRIUM COURTYARD- DAY (CASTELL'ARQUATO) 39

(17)
The BISHOP drifts silently through an atrium courtyard
 8

39 cont. 39

followed at a distance by an EVER-PRESENT BODYGUARDand

an older, FUSSY SECRETARY. A grim-faced MARQUET heads
quickly toward the BISHOP from the other direction,
. visibly agitated.

MARQUET
Alarming news, Your Grace .••
BISHOP
You forget yourself, Marquet.

MARQUET realizes, instantly kneels to kiss his ring.

MARQUET
One of the prisoners has escaped.

The BISHOP jerks his hand away, flashes an icy stare.

BISHOP· (cont. )
0 No one escapes from the dungeons
of Aquila. The people of this
city accept that as a matter of
histor"ical fact.

MARQUET
(swallows)
The responsibility is mine.

BISHOP
Yes.

MARQUET
It would be a miracle if he.made
it through the sewage system.

BISHOP
I believe in miracles, Marquet.
0 They are an unshakable
of my faith.
component

MARQUET lowers his eyes nervously.

MARQUET
At any rate ... it's only one in-
significant petty thief •.. a
nameless piece of human garbage ...

BISHOP
(cold stare)
Great storms announce themselves
with a simple breeze, Captain.
And the fires of rebellion can be
ignited by a single random spark.
.,,
I

MARQUET
{jaw set)
If .he's out there I'll find him,
Your Grace.
 9

39 cont. 39

BISHOP
(eyes narrowing)
Since you have my blessing - I
can only envy your inevitable
success in the matter.

MARQUETnods, totally cowed by the wraith-like presence

of the BISHOP. He exits. CAMERAHOLDS on the BISHOP.
The one pale eye, cracked ice, blinks apprehensively.

40 EXT. AQUILA GATES - DAY (SONCINO) 40

(18)
The gates to the city burst open. Flints fly from
horses' hooves as a troop of GUARDSMEN (including JEHAN)
ride out, led by the formidable MARQUET. The GUARDSMEN
ride down to a supply .cart at the base of the curved
bridge. MARQUETyells at JEHAN

MARQUE-T
0 Take ten men toward Chenet!

41 CLOSE ON BASE OF BRIDGE 41

~,
The legs of the GUARDS' horses mill about near the
curved point where the bridge meets the land.

MARQUET'S VOICE
I'll ride north to Gavroche!

Suddenly, from under the bridge - PHILLIPE darts out

silently, scurrying low through a pair of horse's legs,
hugging the ~round.

42 BACK TO SCENE 42

MARQUET rides over to the supply cart.

MARQUET (cont.)
0 You! Take the supplies!

43 ANGLE UNDER CART 43

A SHADOWpasses under the cart, suddenly disaooears

into thin air as the legs of MARQUET's Horse appea=.

MARQUETTSVOICE (cont~)
We'll all rendezvot~ outside the
gates of Gavroche at noon tomorrow.

44 BACK TO SCENE
(19)
MARQUET (cont.)
(deadly gaze)
The name of the man who finds
Phillipe Gaston will.be brought
to the personal attention of the
Bishop! As will the body - of
the man who lets him get away.
 10

44 cont 44

JEHAN leads his men to the right at a gallop. CAMERA

HOLDS on the supply cart. The GUARD driving it cracks
his whip to signal the mules. The creaky cart lumbers
off down the road.

45 ANGLE UNDER CART - MOVING SHOT 45

As the cart rolls along. Seen wedged between the : :
spinning wheels, stuck as if b·y glue to the underside: -
the spread-eagled body of PHILLIPE, his legs jammed
into both rear corner :joints of the wood. PHILLIPE's
hand finds a loose board in the cart floor, lifts it,
sliding it aside.

46 ANGLE ON BACK OF GUARDS - MOVING SHOT 46

PHILLIPE's han~ emerges up through the cart floor •. It

gropes around aJDOng the loa?ed supplies, then stops .
.
0 A sacklike money purse hangs from the belt.of the
DRIVER. Next to it - a short, gleaming dagger ln a
sheath.

GUARD'S VOICE
We're looking for the ghost of a
dead man if you ask me •.•

PHILLIPE tries to unhook the,purse, tugs gingerly· at

it. The drawstrings are tied to the belt. His pand
moves over to the dagger, silently removes it from
its sheath.

DRIVER'S VOICE
Careful. They say the- Bishop
leaves his window open at night
and the voices of discontent
are brought to him on a black
cloud.
0
PHILLIPE delicately cuts through the drawstrings. The
money purse drops silently through the floorboard.

GUARD'S VOICE
In that case, I have a message
for the Bishop.

GUARD farts loudly.

GUARD'S VOICE (cont.)

Close your window!

46a ANGLE UNDER CART - MOVING SHOT 46a

The· two GUARDS explode with laughter. PHILLIPE

examines the contents of the ..purse, whispers under
his breath.
 11/12
46a cont 46a
PHILLIPE~
I know I promised, Lord. Never
again. But I also know you realize
what a weak-willed person I am.
This is your way of pointing that
weakness out to me, and I humbly
accept my punishment in Your name.

46b EXT. ROAD - DAY - WIDE SHOT 46b

The supply cart lumbers down the road. From O.S.
the DREADFUL HOWL OF A WOLF is heard as it rolls
ominously across the landscape.
DISSOLVE THROUGHTO:

Scs. 47 to 57 OMITTED

0
 13

58-60 EXT. VARIOUS LOCATIONS - DAY/NIGHT 58-60

A MONTAGE showing PHILLIPE travelling away from Aquila

for a period of two days. There will be FOUR CUTS in
all, (two DAY CUTS and two NIGHT CUTS), including:

61 EXT. WOODS - NIGHT 61

A TERRIBLE STORM rages through a patch of dense woods.
Sheets of rain pelt the treetops as WE CLOSE IN ON:

62 ANGLE ON PHILLIPE 62
PHILLIPE - nestled in a treetop for protection, jammed
in tightly under a network of branches which afford him
some protection. Heavy rivulets of rain water run off
his face. His eyes are welded shut. His mouth suddenly
forms itself into a wide, peaceful smile, his thoughts
elsewhere.
0 PHILLIPE
It's summer. The bright hot
suru dances like a child on the
clear blue water. And ..• she
appears. 'Oh, Phillipe, I love
you so ... I never knew a moment's
happiness but for you •.•

DISSOLVE THROUGH TO:

63 EXT. RIVER BANK - LATE AFTERNOON (VULCI) 63

(20)
The fireball of the sun slowly begins to set near a
narrow bridge high above a ·small river. PHILLIPE
sits on a rock below, half hidden among the reeds
and bulrushes, now takes off his shirt, exposing cruel
red welts on his back.

0 64 CLOSER ON PHILLIPE 64

He rubs his dagger against the rock to sharpen the

edge, now begins an excruciatingly painful job of shaving.

PHILLIPE
You've sent them all against
me, Lord. But still I survive.
You see before you a modern-day
Job ...

He hears a SOUND, turns.

65 ANGLE ON JEHAN - HIS POV 65

JEHAN approaches on horseback with another mounted

GUARD. They trample the foliage by the river bank,
searching.
 14
65 cont. 65

JEHAN's sword is drawn. He uses the flat edge to push

back reeds, scanning the surrounding countryside. They
arrive at the rock. PHILLIPE has disappeared. The
GUARD shifts wearily in his saddle as the horses begin
to graze, tearing away at the vegetation on the water
line.

GUARD
How much longer, sir?

66 UNDERWATERSHOT - PHILLIPE 66

PHILLIPE is submerged just below_the water line, a

thin hollow reed sticking out of his mouth. Foam
from the horses' mouths drifts down toward him as they
graze.

67 BACK TO SCENE 67
0 JEHAN
Until Captain Marquet has been
satisfied - that the Bishop has
been satisfied.

68 BACK TO UNDERWATER 68
Suddenly - a horse's mouth plunges into the water next
to PHILLIPE, snatches away the reed!

PHILLIPE's eyes bulge - unprepared to hold his breath.

69 BACK TO JEHAN 69

JEHAN
Marquet's life hangs in the
balance and he knows it.

0 70 BACK TO PHILLIPE 70

Lungs bursting - eyes straining against their sockets.

71 ANGLE ON WATER LINE 71

JEHAN's Horse lowers his head toward the river again.

Suddenly - a violent water soout explodes through the
surface, drenching the horse's face.

72 WIDER ANGLE 72

JEHAN is almost unhorsed, his animal lurching back.

PHILLIPE rises quickly from the water in front of them.

PHILLIPE
Sorry ... that's entirely my
fault. Here - let me dry
your horse off.
 15.

72 cont. 72

GUARD PHILLIPE JEHAN

It's him! No it ' s not! ! Get him!!

PHILLIPE
It isn't me!

PHILLIPE tries to head into the river but the GUARD's

horse plunges in past him, cutting him off. He sc:ti.ambl~s
back up the river bank as JEHAN gallops up behind him,
grinning broadly, a cat deciding to play with his mouse.

JEHAN swats PHILLIPE in the rear with the flat of his

sword, sends him sprawling. PHILLIPE takes o.f f for the
narrow bridge at a dead run. The two horsemen lope
easily behind him, ro~ring with delight, stringing out
the deadly chase •

73 ANGLE ON BRIDGE
.. 73
0 (21)
PHILLIPE races across the bridge. JEHAN and the· GUARD
ride after him'in pursuit. PHILLIPE looks back, suddenly
stumbling. He pitches forward, lands heavily, looks up,
his jaw dropping open.

74 CLOSE ON PHILLIPE 74
His head now rests between the steel hooves and thick
black legs of a MASSIVE STALLION. The hooves shift.
Wisps of steam pulsate from the flaring nostrils of the
magnificent beast. Dark eyes dance in its musc.ular
forehead. A pair of human legs covered in black lead·
PHILLIPE'S gaze up to:

75 A SCREAMING HAWK - its talons sunk deep into a black 75

leather wrist gauntlet. It hisses through its beak,
flares its wings menacingly as CAMERA PANS UP TO:
0 THE FIGURE OF NAVARRE. An awesome man, looming up like
the Fifth Horseman of the Apocalypse, a gleaminq broad-
sword in his hand. ,NAVARRE's face is grim. There is a
dangerous distance in his cold blue eyes.

76 BACK TO SCENE 76

JEHAN and the GUARD are momentarily frozen. Their horses

seem to recognize a dangerous presence, back up nervously.

JEHAN
Clear the bridge.

No reply. Just the wind.

JEHAN (cont.)
The man's an escaped prisoner.
We're taking him in.
 16

76 cont. 76

NAVARRE
On whose authority?

JEHAN
His Grace, the Bishop of Aquila.

77 CLOSE ON NAVARRE 77
His mouth twitches involuntarily.
--
The Stallion explodes forward, almost trampling
PHILLIPE. The HAWKrises shrieking into the air!

The GUARD lunges ahead to meet him. NAVARRE's Stallion

rises on its hind leg~ like a mythical beast. One
deadly sweep of NAVARRE's whistling sword chops through
the side of a r~b cage - the GUARD is propelled sideways
off his horse, plummets down into the river below with a
0 SCREAM.

NAVARRE turns on JEHAN, instantly unhorsing him. JEHAN

crumples to the planks of the bridge, rises to find
NAVARRE's sword jammed tightly into his throat. He
swallows hard, wild eyes anticipating the death thrust.

NAVARRE
Return to Marquet. Tell him
Navarre is back.

JEHAN nods, terrified,.runs off the bridge to his waiting

horse. NAVARRE watches as he gallops away. · ·

78 BACK TO PHILLIPE 78
(21a)
Staring, amazed. NAVARRE rides back across the bridge
in his direction. The HAWKflies down from nowhere,
settles back on his wrist. NAVARRE cocks a curious eye
0 at PHILLIPE.

PHILLIPE
Magnificent, sir! A dazzling
display! As I'm sure you could
tell, I was in the process of
luring them onto the bridge when
you arrived, and ...

NAVARRE
An escaped prisoner from Aquila?
Not from the dungeons.

PHILLIPE
Why not from-the dungeons?

NAVARRE
No one ever has.
 17
78 cont. 78

PHILLIPE shrugs, too much of a gentleman to brag .•

NAVARRE studies him carefully, then looks off.

79 ANGLE ON SETTING SUN - NAVARRE's POV 79

The setting sun starts to disappear below a hilltop.

80 BACK TO SCENE 80

NAVARRE prods his Stallion back across the bridge,

passing PHILLIPE silently.

PHILLIPE
Sir? Wait •..
(no reaction)
You see the truth is I've
been thinking of taking on
a travelling companion •••
(no reaction)
0 There are more guards out there!
You'll need a good man to watch
your flank!

NAVARRE heads off into the distance without turning.

PHILLIPE (cont.)
Oh, shut up, Mouse.

He glances down over the edge of the bridge

< at the
dead GUARD's body.

PHILLIPE (cont. )
You were severely outclassed,
my friend. You never had a
chance.

PHILLIPE crosses to the GUARD's horse, unhooks a money

0 purse from the saddle.

PHILLIPE (cont.)
It is easier for a camel to pass
through the eye of a needle than
for a rich man to enter the king-
dom of Heaven.
(looks down at body)
Don't mention it.

81 EXT. MOUNTAINS P.ND SKY - NIGHT (CAMP I) (CORTINA) 81

(22)
A FLASH OF LIGNTNING! A BOOMING CLAP OF THUNDER!
Sheets of rain pour down on a ridge of frosty mountain
peaks.

82 CLOSER.ON RIDGE 82

A.L~OTHERFLASH OF LIGNTNING. THUNDER rolls. Another

FLASH. Illuminated on the crest of the ridge:
 18

82 cont. 82

NAVARRE's huge Stallion - riderless - rears on its hind

legs through the storm, whinnying like a banshee. It
thunders off into/ the
I
icy woods beyond.

Sc 23 of ORIGINAL SCRIPT OMITTED

.,.'·.DISSOLVE THROUGHTO:
I

83 EXT. HILLSIDE NEAR VILLAGE - DAY - LONG SHOT 83

Seen from a distance: PHILLIPE scrambles down a hill-

side near a small village, disappears into some brush.

Now entering FOREGROUND: The imposing, dark SILHOUETTE

OF NAVARRE,. the HAWKp~rched on his wrist. NAVARRE's
head turns slightly,-seems to be following PHILLIPE's
progress.

84 EXT. VILLAGE - Dlr'l (CANALE M0NTERANO) 84

0 (24)
A small, poverty-stri.E;ke.n village. A few FAMISHED •
PEASANTS pass silently back and forth along pathways
made muddy by the previou~ night's.storm.
TWO QUICK CUTS AS:

A. PHILLIPE pilfers a pair of shoes left out to dry

behind a back door.
.
B. PHILLIPE selects a shirt from a clothesline behind
a hut, rejecting a pair of pants.

85 EXT. BACK OF HOUSE 85

Another clothesline is strung up across another yard in

the back of a small house which is partially under con-
struction.
0 PHILLIPE emerges from some·;t1earby foliage, crosses to the
clothesline, examines a ragged-looking pair of pants
which are hanging on it. He cocks_his heac critically.

PHILLIPE
His tailor could be a better
friend to him, but •.•

PHILLIPE jerks the pants 9ff the line, looks off .

..
 19

Scs. 86 & 87 OMITTED

88 ANGLE ON TAVERN 88

A sagging tavern, smoke wafting from its chimney

89 EXT. TAVERN ·- DAY· ( CANALE MONTERANO) 89

(25) ·
PATRONS sit at tables in front of the tavern. Drink-
ing and eating around a central pit fire •. A scatter-_
ing of FACES running a gamut from mean to disinterested.
A BARMAID drifts through the tables. -A BLACKSMITH works
at a forge nearby.

PHILLIPE approaches dressed.in his new outfit. He

elicits no visible reaction from the PATRONS who converse
in dronelike muted tones. He takes out the Guard's purse,
drops it on a table in front of the BARMAID.

PHILLIPE
0 A drink of your most expensive.
(to the OTHERS)
And the same for anyone who'll
join me in a toast!

The PATRONS glance at him curiously, then continue their

conversations. PHILLIPE shrugs, turns to the BARMAID.

PHILLIPE (cont.)
Not much of a recommendation.

FORNAC'S VOICE
Let's hear your toast.

PHILLIPE turns. A large, surly-looking MAN (FORNAC) in

a cloak stands near him, moves closer.

PHILLIPE
We drink to a special man, my
0 friend. Someone who's been
inside the dungeons of Aquila --
and lived to tell the tale.

FORNAC
Then you drink to me, little
man. I've seen those dungeons.

PHILLIPE looks him up and down curiously, grins.

PHILLIPE
A blacksmith, perhaps. A woods-
man, or even a stone cutter. But
a prisoner from Aquila?

FORNAC
I didn't say I was a prisoner.
 20

89 cont 89

FORNAC reaches behind his neck, unhooks. the cloak. He

is dressed in a Guard's uniform. PHILLIPE freezes.
OTHERS rise, removing ·their cloaks as well. In all,
more than a DOZEN GUARDS. The PATRONS hold still, faces
wired with fear. Rising from a dice game near the fire -
MARQUET, accompanied by JEHAN.

MARQUET ::.,
V

If you' a··stuck to the woods

you might have stood a chance,
Gaston.

PHILLIPE
You're right •••
(clearing throat)
••• that's why I was trying to
fin_,d you, Captain. One of your
men was cruell~ murdered not far
0 from here. But you're in luck.
I'm willing to exchange the name
of his killer for a pardon from
you.

MARQUET
(at FORNAC)
Kill him.

FORNAC lunges at him. PHILLIPE tosses the drink in

his face, dives under the nearest table, disappearing
through PATRONS' legs like a greased,pig. Several
GUARDS rush the table and upend.it, spilling its con~
tents on the floor. PHILLIPE has disappeared.

FORNAC
There he is!

0 PHILLIPE has popped up behind a PATRON not far away.

A GUARD immediately grabs him in a bear hug.

GUARD
Got him!
,....
PHILLIPE squirts out of his grasp like a glob of quick-
sllver, dives under the tables again as PATRONS rise in
terror. The place erupts in pandemonium. GUARDS fling
tables and chairs everywhere.

Sudden silence. PHILLIPE seems to be nowhere. Then a

 21

89 cont 89

SCREAM! PHILLIPE emerges from under a FAT LADY'S skirt

with an apologetic smile.·

PHILLIPE
Purely unintentional, madam ••. '

He pulls his dagger, races for freedom as the GUARDS

tear after him. MARQUET.strides quickly through the
confusion. A GUARD spins PHILLIPE around as MARQUET
arrives. PHILLIPE's dagger hand whistles through the
air, accidentally grazing MARQUET's cheek!.

MARQUET's face is frozen in rage.· A jagged red line

drips blood on the cheek. MARQUET's hand reachea~up
to confirm the wound. PHILLIPE stares, equally horri-
fied.

PHILLIPE
0 I'm ••• so terribly sorry •••

He dives back into the CROWD. MARQUETwades in after

him, knocking PATRONS left and right like tenpins.
PHILLIPE is trapped and he knows it- The GUARDS fan
out, circling their quarry under a table.

MARQUET flings the table aside. PHILLIPE cowers, eyes

bulging. MARQUETraises his,sword for the death blow.

PHILLIPE
May God help me~

SUDDENLY:

NAVARRE'S VOICE
Marguet!!

() MARQUETfreezes at the sound of the VOICE .. He and the

other GUARDS turn to see: THE FIGURE OF NAVARRE. His
left hand cradles a loaded crossbow.

MARQUET's eyes widen in disbelief. PHILLIPE trerr~les

on the ground beneath him. The area is deathly still.

MARQUET
(at NAVARRE)
One of my men told me you were
back. I wanted to cut out his
tongue for lying because I knew
you weren't that stupid.
(at JEHAN)
Forgive me, Jehan. You are
restored to your former rank.

NAVARRE
(at PHILLIPE)
You. Get out of here.
 2:2

89 cont '/. ,i',, . 89

I

PHILLIPE
Yes, sir. Thank you, sir ••.

NAVARRE
Marquet. Look at me. I
promised God my face would
be the last thing you ever
saw.

Suddenly - a GUARD rises from behind a table, his

crossbow ready. HE FIRES as:

NAVARRE notices, fires simultaneously. The GUARD's

arrow whistles past, inches from his face.

NAVARRE'.s arrow strikes home. The GUARD tumbles onto

the ground choking a death rattle.

()
_j NAVARRE wheels to find .ano~her G-UARDfacing him, sword
drawn. The GUARD hesitates an instant, starin~ into
NAVARRE's eyes with deep regret and uncertainty.

GUARD
(to NAVARRE)
Captain. ; • I .•.

Suddenly - MARQUET jams his boot-into the GUARD'S back,

shoving him into NAVARRE's sword. THE FIGHT IS ON.

MARQUET and the GUARDS rush NAVARRE. Broadswords .

whistle through the terrified pack· of screaming PATRONS.

The fight continues as the squad of GUARDS force NAVARRE.

back against the BLAZING FIRE in the earthen pit. METALLIC
SPARKS FLY from the clanging, whizzing swords. MARQUET
wades through the PATRONS, a man furiously possessed.
() NAVARRE runs a GUARD through, hurls him backward into
MARQUET. He extricates his weapon, taking a swipe at
MARQUET's head in the process. NAVARRE's sword creases
his helmet, severing the eagle's wings.

SMASH CUTS:

A·. MARQUET's realization - astonishment - rage.

B. NAVARRE's face~ grim smile.

NAVARRE grabs a BURNING LOG from the hearth, jams the

flaming end at MARQUET's face. MARQUETfalls backward
INTO THE FIRE, his cloak igniting! Several GUARDS rush
to extinguish the flames as NAVARRE continues his battle.

Scs. 90, 9·1, 92 (26, 27, 28 Original Sctipt) OMITTED

..
 23 --

93 ANGLE ON GUARDS' HORSES 93

4
The Guards' horses are tied.up together a short distance
away. PHILLIPE runs for them, unties the first one, then
hurriedly tries to put his foot in the stirrup as the
animal shies away from him.
PHILLIPE
Nice horse ••. good horse •..

The horse takes off. PHILLIPE unties the second, lookrng

back at THE FIGHT, starts. to mount.·

PHILLIPE (cont.)
I won't hurt you ••• I'm a
wonderful person •••

He pulls on the saddl~ to get ab.bard - it falls on the

ground, it's ci~ch strap having been loosened. PHILLIPE
curses, hurries ~o untie the next horse.
0
94 ANGLE ON NAVARRE 94
NAVARRE slashes away at his adversaries, the flaming log
in one hand, his sword in the other.

95 BACK TO PHILLIPE 95

Having untied all the horses.with no success. He heads

off at a dead run, hi.s legs churning as fast as they
can.

96 BACK TO NAVARRE "96

Spotting him. Running for his Stallion. Swinging up.

The HAWKflares its wings on the saddle, suddenly takes
off into the air. NAVARRE jerks the horse hard, gallops
after PHILLIPE.

97 BACK TO TAVERN 97

One of the GUARDS lifts a small horn, blows through it

to give a WARNING SIGNAL.

98 BACK TO PHILLIPE · 98

Running hard. Looking ahead apprehensively.

99 ANGLE ON GATE AND WALL - HIS POV 99

(29)
Directly ahead of him is a six-foot gate set in the
archway of a huge stone wall - his only possible
avenue of escape. But the GUARD posted at the gate
has heard the WARNING SIGNAL, now starts to close it!

100 BACK TO PHILLIPE 100

Still running. Looking back anxiously over his

shoulder.
 24

101 ANGLE ON NAVARRE 101

Bearing down on PHILLIPE from behind, the giant Stallion

kicking up chunks of the hard mud ground.

102 BACK TO GUARDS 102

FORNAC and another GUARD have mounted their horses,

now gallop off in pursuit of NAVARRE.

103 BACK TO PHILLIPE 103

A BLACK ARM sweeps down, scoops up-PHILLIPE, swinging

him across the front of the saddle~ The six-foot gate
has just closed at the huge Stallion launches itself
into the air!

The horse and riders sail across the six-foot gate in

a majestic arc •• NAVARRE bashing the attending GUARD
in the face on the way by, then head off quickly for
0 the countryside beyond.

104 ANGLE ON FORNAC AND GUARD 104

FORNAC and the other GUARD near the gate in the wall,
start to steady themselves for the difficult jump to
follow as:

0
 105 BACK TO NAVARRE 105

NAVARRE turns in the saddle, having placed a STONE in

a SLING. He whistles it expertly around and around -
now lets it fly! He looks up into the sky, spotting
the HAWK, yells:

NAVARRE
(at HAWK)
Hoy!

106 BACK TO FORNAC 106 --

The stone from.NAVARRE's sling flies·into the face of
the .GUARD who tumbles backward off his horse as:
107 ANGLE ON HAWK 107

The SCREECHING HAWKZ90MS INTO FRAME~·wings spread, its

vicious talons e~tended like knives!
0 .
FORNAC tumbles off his rearing horse·, crashing a~avily
to the ground.

108 EXT. TAVERN - CLOSE ON ~RQUET 108

(3o)
The stony face of MARQUET. Looking off at the wall.
He squints under singed eyebrows, his face blackened
by the flames.·.::---;_- ·-.-~:·.. - ._!..~ ~-:.• ·~·._._
-,---·-·
•• - ....

109 EXT. ~OUNTAIN RIDGE - DAY - ANGLE INTO SKY 109

( 31) . . .
The HAWKcircles la~ily in the sky,-drifts lower in
narrowing circles, finally settling on:

The wrist of NAVARRE. He rides.slowly through a stand

of timber running along a mountain ridge. Sitting behind
him - PHILLIPE - nestled among"thesaddlebags and supplies.
He holds on tightly, suffering· from a previously unexperienced
form of motion sickness. The HAWKflares its wings, glances
up at NAVARRE. He acknowledges the bird with the barest
trace of a smile.

PHILLIPE
That is a truly remarkable bird,
sir. I'd swear she flew at those
men of her own free will!

NAVARRE
We've travelled together a while.
I suppose she feels a certain ...
loyalty to me.
The HAWKtrains a beady stare at PHILLIPE, hisses defiantly
with a flaring of wings. PHILLIPE clears his throat.
 26
109 cont. 109

PHILLIPE
If ••• you don't mind, sir, perhaps
you could explain a certain loyal-
ty which you seem to feel for me.
(no reply) -
It's just that you've saved my
life twice and ••. I'm nobody!
(thinks)
Well, I'm somebody, of course ..•

110 CLOSE ON NAVARRE 110

Thinking carefully. Weighing his words. About to say
something then deciding against it. He smiles to him~
self, out of PHILLIPE '.s sight.

NAVARRE
I began thinking about what you
said to me that day on the bridge.

PHILLIPE
Aha. I see.
(pause)
What did I say?

NAVARRE
That I would be needing a good
man to watch my flank.

PHILLIPE beams, ~uddenly feeling useful.

PHILLIPE
One does what one can.
(nonchalant)
Did you happen to notice that
wicked gash across Captain
Marquet's cheek?
0
NAVARRE swivels in the saddle, looks back curiously.

PHILLIPE (cont. )
He asked for it.

NAVARRE nods grimly, as if one warrior acknowledging

another, turns forward. For one brief second - the
corners of his mouth crack into a broad orivate smile.

Sc. 32 of ORIGINAL SCRIPT OMITTED

111 EXT. TAVERN - DAY 111

(33)
FORNAC supervises as DEAD BODIES of several GUARDS are
loaded onto an ox cart. It lumbers off, passing a
MONK (BROTHER IMPERIUS), heading the other way.
 27

112 CLOSE ON IMPERIUS 112

Sixtyish, with a worn face,· and tired, bloodshot eyes.

IMPERIUS surveys the scene, pulls out a flask of wine,
drains it, then heads unsteadily for the tavern.

113 EXT. TAVERN RUINS 113

The INNKEEPER rummages through the broken debris

outside his tavern. He hears tankards clanking, turns-
angrily.

INNKEEPER
Get away from that wine, you
filthy bastards!

114 ANGLE ON IMPERIUS 114

IMPERIUS stands behind a charred table, pouring himself

an enormous drink. He star~s at.the embarrassed INN-
KEEPER, shocked at his language.

INNKEEPER (cont.)
Sorry, father.

IMPERIUS
God has already forgiven you,
my son.

IMPERIUS takes a long drink, downing the tankard.

IMPERIUS
They tell me Charles of Navarre
stopped by here not long ago.

INNKEEPER
You might say that.

IMPERIUS
Did you happen to.notice the
direction he was headed in?
It's crucial I find him.

INNKEEPER
I'll tell you what I noticed,
Father. Swords, arrows, fire
and blood!

IMPERIUS nods, downs another tankard, wipes his mouth ..

IMPERIUS
May God have mercy on you, and
on those desperate enough to
drink this wine.

IMPERIUS turns, staggers off.

 28

115 EXT. PITOU'S COTTAGE - LATE AFTERNOON 115

(34)
Nestled in the woods: a small thatched cottage, badly
in need of repair. A wisp of smoke rises from the
cracked chimney. Past the cottage is a crumbling barn
where a MAN (PITOU) can be seen working.

PITOU sharpens a sickle with a pumice stone. He is in

his fifties, with a twisted and ravaged body permanently
malformed from decades of working in the fields.

116 ANGLE ON.COTTAGE 116

MADAMEPITOU sweeps an enormous cyclone of dust out of

the cottage door with a tattered broom.· She is middle-
aged, with a face creased and drawn by hunger and extreme
poverty. She mops he~ brow with greasy hands, looks off.
Her eyes narrow, squinting into the late afternoon sun.

117 ANGLE ON NAVARRE

.. - HER POV 117
0
NAVARRE rides slowly toward her, PHILLIPE sitting on the
Stallion behind him.

118 BACK TO PITOU NEAR BARN 118

PITOU has spotted NAVARRE as well. He eyes him suspiciously,

then feel the razor'sharp edge of his sickle with a finger,
draws a tiny line of blood, sucks on it.

119 BACK TO SCENE 119

The PITOUS exchange a wary look, then advance to meet

NAVARRE who swings down from his Stallion.

NAVARRE
Good day. I wish to impose on
you for shelter tonight. For
myself and ..•
0 (at PHILLIPE)
my comrade-in-arms.

PHILLIPE beams at the description. PITOU looks NAVAR..tIB

up and down cautiously, glances at his wife.

PITOU
We have no food to share. But
there's straw in the barn - for
a price.

PHILLIPE jingles his stolen money purse partonizingly.

PHILLIPE
Bravely said, my dear fellow. But
don't be frightened. We're not
above compassion for those in
misery ...

The PITOUS freeze, staring at the bulging purse, mesmerized

by the tinkling sound of the coins. NAVARRE notices,
 29

119 cont~ 119

quickly steps in front of PHILLIPE.

NAVARRE
Your dinner will be payment
for our lodgings. Tonight you
stuff yourself on rabbit!.

NAVARRE turns, signals the HAWK with an upraised arm.

NAVARRE (cont.)
Hoy!

The HAWK explodes off the saddle, soaring quickly into

the late afternoon sun.

120 EXT. BARN - SUNSET 120

(35)
The setting sun halances itself on the horizon. A fire
0 has been built
rabbits crackle
near the barn:
over the flames
The carcasses
on makeshift
of two
spits.
The PITOUS, PHILLIPE and NAVARRE dine noisily.

121 ANGLE ON LOFT ENTRANCE 121

The HAWK is perched on the loft of the barn. It looks

down, flares its wings, then glances off at the setting
sun.

122 BACK TO SCENE 122

NAVARRE' stares off at the horizon as well. He tosses a

rabbit bone into the fire, rises. The PITOUS continue
eating, ravenous. PHILLIPE glances at NAVARRE. As he
does so, PITOU steals his food. PHILLIPE notices, shrugs.

PHILLIPE
We eat like this every night.
0
NAVARRE's face is cast in iron. A deep sadness wells
behind the eyes. He walks off slowly, his tall, dark
figure silhouetted against the bloody rays of the sunset.

123 BACK TO PHILLIPE 123

Looking off at him curiously through the fire. PITOU

catches PHILLIPE'S look. He too now stares at NAVARRE.
MME. PITOU glances nervously at her husband.

124 BACK TO NAVARRE 124

NAVARRE crosses silently to the Stallion who gives a soft

WHINNY of recognition. He reaches into his saddlebags.

125 CLOSE ON SADDLEBAGS 125

As NAVARRE's hands rummage through the contents.

 30

125 cont. 125

Curiously visible: a filmy, neatly packed WOMAN'S DRESS.

NAVARRE's hands reach down past it, pulling out a well-
worn piece.of parchment.

126 BACK TO NAVARRE 126

NAVARRE looks down at some faded writing on the parch-

ment. His eyes glass over with.tears which will not
fall.
127 CLOSE ON PARCHMENT 127

The script has almost become illegible. Only a large

version of the letter "I" is distinct.

128 BACK TO NAVARRE 128

Staring down. Caught betweep his past had his future.

0
PHILLIPE'S VOICE
Sir?

NAVARRE's face snaps around - suddenly filled with rage.

His eyes burn furiously. PHILLIPE recoils, terrified.

PHILLIPE (cont. )
If ••• there's nothing else I can
do, I think I'll turn in.

NAV~RRE's features slowly rearrange themselves. The

storm passes through his eyes, then suddenly disappears.

NAVARRE
There's a stall in the barn.
Before you gather firewood,
see to my horse.
0 PHILLIPE nods nicely, turns to the Stallion, reaches
for its reins.

PHILLIPE
C'mon, old girl, let's .••

Suddenly - the Stallion REARS with an angry SNORT!

It shies away from PHILLIPE, then levels a furious,
wild-eyed stare at him, unnerving the pickpocket.

PHILLIPE (cont.)
Spirited little lady, isn't
she .•. ah ... what's her name?

NAVARRE
His name is Goliath. -

PHILLIPE
(nervous smile)
Pretty name ...
 31

128 cont. . 128

NAVARRE takes the Stallion's reins, hands them to

PHILLIPE.

NAVARRE
(to Stallion)
Go with him.

PHILLIPE gingerly leads the huge animal off toward

the barn, casting a wary eye back_at him.

PHILLIPE
Listen, Goliath. _Before we get
to know each other better, I
feel I should tell you a story
about this tiny fellow called
David ••• ·

129 BACK TO NAVARRE .. 129

0
NAVARRE watches·,·::_grinning tn. spite·:of ·himself..:: l!e
turns, ·then spots something in the nearby foliage:

130 A clump of WILD SUNFLOWERS, the red glow.of the sun~ .130
set washing over their orange faces.

131 BACK TO NAVARRE 131

NAVARRE crosses to the flowers,.stares aown wistfully,

then picks the largest one. He twirls it delicately
.in his fingers, his thoughts miles away.

132 ANGLE ON PITOUS 132

The PITOUS watch NAVARRE from the fire. They exchange

a satanically evil look of delight, then continue
gnashing at their food.
()
133 EXT. COTTAGE AND BARN - NIGHT 133
(36)
A full moon shines down on the cottage and barn.

134 EXT. WOODS - NIGHT - Al~GLE ON PHILLIPE 134

PHILLIPE staggers through the woods with an armload of

dead branches, dropping more of them than he picks up
each time he bends down. PHILLIPE mutters to himself
angrily.

PHILLIPE
'Comrade-in-arms'. Slave is
more like it.
(Navarre imitation)
See to the fire, feed the animals,
gather the wood ..•
(looks up)
 32

134 cont. 134

PHILLIPE (cont.)
Look at me, Lord. I was better
off in the dungeons of Aquila.
My cellrnate was insane and a
murdurer, but at least he
respected me!
(looks back)
He's a strange one, Navarre.
And he wants something from me.
I can see it behind his eyes.

PHILLIPE suddenly grits his teeth, then drops the pile

of branches on the ground •

.PHILLIPE (cont.)
Well, whatever it is, I'm not
goipg to do it! And besides,
C) being
target
in the service
is not my idea·of
of a moving
steady
employment!
(yells back)
I'm still a young man, you know!
I've got prospects!

Then - a TWIG SNAPS in the darkness! PHILLIPE stops

.- listens. '

MORE RUSTLING in the woods nearby. SOMETHING - OR

SOMEONE is watching him, dogging his steps.

PHILLIPE (cont.)
Hello?

Silence. Then another tiny SNAP•. Then.silence again.

PHILLIPE's eyes narrow, concerned. He speaks in·a loud
voice.

PHILLIPE (cont)
Who do you think's out there?
Pierre, you'd better draw your
sword! Ah, Louis, you brought
your crossbow~ We'll all go
back to the barn now, okay?

PHILLIPE answers himself in muffled voices.

PHILLIPE (cont.)
Okay ... right! .•. okay •..

The PRES:EIN.CEis more definite now. Something is

approaching at a measured pace. PHILLIPE backs up a
few steps, then turns, starts off at a brisk walk,
trying not to panic. The PRESENCE picks up speed as
well, keeps perfect time.

PHILLIPE breaks into a loping run - the PRESENCE

imitates him. He drops any semblance of self-control,
 33

134 cont. 134

suddenly tears headlong through the trees, branches

swatting him iri the face as WHATEVERIT IS crashes through
behind him. PHILLIPE has reached the edge of the clearing.
He looks over his shoulder, then back to the front as:

PITOU LOOMS UP BEHIND HIM - moonlight gleaming off the

razor-sharp edge of his raised sickle! He starts to
swing the vicious blade down as:

A HUGE BLACK WOLF EXPLODES OUT OF THE BUSHES with a terri-

fying SNARL! It flies up at PITOU, its fangs sinking
deeply into his neck. PHILLIPE wheels, then watches in
horror as PITQU struggles vainly under the vise-like grip
of its jaws. He takes off for the barn at a dea~ run.

PHILLIPE (cont.)
SirJ •.• Come quickly, sir! •••
0 Wolf! .•. Wolf! ! ._..

135 INT. BARN - NIGHT 135

(37)
PHILLIPE crashes through the door to the barn.

PHILLIPE
Sir! You must come! •••

NAVARRE is nowhere to be seen. Panicked, PHILLIPE grabs

NAVARRE's longbow which rests against the barn wall, picks
up an arrow, then hurries to a cracked opening in the
wooden barn wall. He peers through,. sweat forming on
his brow.

136 ANGLE THROUGH CRACK -.HIS POV 136

The snarling WOLF still crouches over PITOU in the

distance, finishing his grisly job.

137 BACK TO PHILLIPE 137

Quickly fitting an arrow onto the_bowstring. But

NAVARRE's bow is far too strong for him! .. His muscles
strain, but only bend the string a few inches. He gives
one last mighty effort as:

A HAND covered by NAVARRE's BLACK CAPE suddenly flicks

the arrow off the bowstring!

138 CLOSE ON PHILLIPE 138

As he turns in a panic.

PHILLIPE
But, sir! There's a •..

PHILLIPE stops - struck dumb.

 34

139 ANGLE ON CAPE HOOD - HIS POV 139

The black hood of NAVARRE's cape swivels INTO CAMERA,

revealing:

THE FACE OF ISABEAU. A beautiful young woman. Her

incandescent pale green eyes sparkle in a delicate
alabaster face. In her hand - the sunflower we saw
NAVARRE pick earlier. She twirls it in her delicate
fingers, smiles at PHILLIPE with a peaceful serenity.
~

ISABEAU
I know.

From O.S. - the PLAINTIVE HOWL OF A WOLF. ISABEAU's

eyes flick over in the direction of the sound.

PHILLIPE
(trembling)
WhoJ •.•
0
She passes PHILLIPE silently, crossing the barn.•

PHILLIPE (cont.)
Don't go out there! There's a
wolf~ The biggest one you ever
saw! And a dead man!
(no reply)
Miss? My lady? Please~

ISABEAU exits silently through the barn door.

140 CLOSE ON PHILLIPE 140

He shuts his eyes, waiting for a scream which doesn't
come. He opens them again, blinks at the empty doorway.

PHILLIPE (cont.)
Maybe I'm dreaming. But my eyes
0 are open. Which means that maybe
I'm awake and just dreaming I'm
asleep. Or more likely - maybe I'm
asleep and dreaming I'm awake and
wondering if I'm dreaming.

ISABEAU'S VOICE
(floating softly)
You~ dreaming.

PHILLIPE slaps himself in the face! He crosses quickly

to the loft ladder, scrambles up.

141 ANGLE IN LOFT 141

PHILLIPE rushes to the opening in the loft, looks down.

142 ANGLE ON YARD - HIS POV 142

Seen below through the golden wash of moonlight:

 35

142 cont. 142

ISABEAU enters the yard, a faint breeze billowing out her

gown from behind her. From the opposite end - THE WOLF
APPROACHES. The dead body of PITOU lies at the edge of
the clearing.

143 BACK TO PHILLIPE 143

Shaking. Faced with reality.

144 BACK TO ISABEAU 144

She stands motionless, peacefully serene. The WOLF

circles, wild eyes appraising her, drawing closer,
edging back.

ISABEAU smiles with affection, then extends a hand,

beckoning the animal to her. The WOLF approaches
cautiously, then~takes her arm in his mouth. The needle-
0 pointed fangs curiously do not draw blood. ISABEAU's arm
gently encircles the animal's neck. A shud<ler. ~~sses
through its body. It hangs its head in docile acceptance
of her.

145 BACK TO PHILLIPE 145

Turning away, beads of sweat forming on his brow.

PHILLIPE
I have not seen what I have seen,
Lord. And I do not ·believe what
I believe. These are magical,
unexplainable matters, and I beg
you not to make me part of them.

146 EXT. COUNTRY ROAD AND GUARD OUTPOST - DAY 146

(38)
MARQUET thunders down a country road, whipping his horse
0 mercilessly with a knotted quirt. The wild-eyed animal
is near exhaustion as MARQUET jerks it to a stop at a
Guard Outpost where two more horses wait for hiI\1, 1one
saddled, one not.

147 EXT. COUNTRY ROAD (DIFFERENT LOCATION)- DAY 147

MARQUET gallops along at top speed on his new mount,

pulling the unsaddled horse along behind him with a
tether rope.

148 EXT. COUNTRY ROAD (DIFFERENT LOCATION) - DAY 148

MARQUET has all but exhausted his third mount as he

gallops off into the distance. Barely visible beyond:
the outline of th~ walled city of Aauila, still miles
away.

Scs. 3e & 40 .in ORIGINAL SCRIPT OMITTED

 36

149 EXT. BRIDGE AND AQUILA GATES (SONCINO) . 149

(41)
MARQUET's galloping horse clatters over the bridge into
Aquila. TWO GUARDS at the gate barely have time to leap
aside as he thunders through.

150 EXT. AQUILA UNDERGROUNDTUNNEL STREET - DAY 150

(VIALE SOMALIA PT. TORRECHIARA)

MARQUET rides quickly up and out of an underground tunnel

passageway. CAMERAPANS: The Bishop's castle can be -seen
in the distance beyond.

151 EXT. WOODS - DAY (CAMP II) (CORTINA) 151

(42)
The HAWK flutters quickly through the trees gaining speed,
then soaring high up into the air.

Behind: NAVARRE rides on his Stallion with PHILLIPE be-

hind him through the woods. His face is drawn tight,
0 creased with lack of sleep.- He reins in his horse, dis-
mounts.

NAVARRE
We'll stop now. I need sleep.

NAVARRE crosses to a nearby tree, slumps heavily on the

ground against its trunk. PHILLIPE hops off the horse,
suddenly having found the opening for the uncomfortable
subject he's about to bring up.

PHILLIPE
I could do with a bit myself, sir.
After last night's goings on.

NAVARRE1 s eyes shut, totally unconcerned.

PHILLI~E (cont . )
(pause)
0 That wolf could have killed me,
but he tore out the farmer's
throat and left me alone.

NAVARRE yawns, eyes still closed.

PHILLIPE (cont.)
And there was more.
(no reaction)
There was ... a lady. Like fine
porcelain, with glowing jade eyes.
A heavenly apparition from some
faraway land. And her voice!
The dulcet tones of an angel!

NAVARRE
(eyes popping open)
She spoke?
 37

151 cont 151

PHILLIPE
I asked her if I was dreaming.
She said I was. Then, and this
sounds impossible to believe ...

NAVARRE shuts his eyes again, rolls over to go to sleep.

PHILLIPE stares down, determined.
PHILLIPE (cont.)
I'm not insane. You must believe
me when I tell you these things.

NAVARRE smiles up sympathetically •

.NAVARRE
I do believe. I believe very
deeply ... in dreams.
() PHILLIPE
(disappointed)
I see.

NAVARRE
This lady of your dreams. Did
she have a name?

PHILLIPE
Not that she mentioned. Why?

NAVARRE
Since I'm about to fall asleeo
myself, I thought I might conjure
her up for~ dreams. I've ...
waited a long time·to see such
a lady as you describe .
."
C) PHILLIPE looks down at him curiously. The HAWK swoops
down, lands on NAVARRE's saddle.

NAVARRE (cont.)
Now get some sleep. The bird
will alert us if someone comes.

SMl\SH CUT: A PEACOCK SCREAMS~

152 EXT. CASTLE GARDENS - DAY (TORRECHIAR.;) 152

(43)
The brilliantly colored fan tail of the peacock closes,
revealing the grim figure of M.~RQUETstanding at the
entrance to the lavish gardens of Aquila castle.

FRIARS and other CLERICS engage in m~ted conversations.

Soothing MUSIC i~ play~d on a LUTE. An oasis of luxury
and peace in a desert of poverty.
 38

152 cont. 152

Off to one side, the BISHOP'S BODYGUARDand SECRETARY

stand in attendance. Past a sparling fountain, under
a mulberry tree - the BISHOP sits with a BEAUTIFUL WOMAN,
exchanges silent pleasantries over glasses of wine.

MARQUET strides . quickly toward the·. table, a sweat-

soaked beast invading a garden of serenity. CLERICS
turn with distaste as he passes. The BISHOP looks .up, -
displeasured, as MARQUET kisses his ring and a falling
bead of grimy sweat stains the BISHOP's white robes ..

MARQUET
My apologies, your Grace.
\
.BISHOP
Have you found the criminal,
Gas.,ton?
0 MARQUET
He ••• is not in my custody at
this time.

BISHOP
And yet you impose yourself upon
this garden, unshaved, unwashed .•.

MARQUET
Navarre has returned.

A bolt of electricity flashes through the BISHOP's face.

Features frozen. He rises, nods politely to the WOMAN.

BISHOP
(to MARQUET)
Walk.with me.
,--•
..•
MARQUETwalks, speaks in hushed, gravel-throated tones.
I•,J '

MARQUET
The criminal Gaston travels with
him. My men are combing the woods.

BISHOP
And the hawk?

MARQUET
Your Grace?

BISHOP
There should be a hawk.

MARQUET
There is. Trained to attack. It
unhorsed Fornac.

The BISHOP smiles thinly in spite of himself.

 39

152 cont. 152

BISHOP
Yes •. This hawk would have •••
spirit .•.

The BISHOP snaps to, his expression suddenly turning to

ice. His eyes bore in on MARQUET.

BISHOP (cont.)
The Hawk is not to be harmed, is
that understood? You see, the day
she dies a new Captain of the Guard
will preside at your funeral.

The BISHOP smiles thinly, turns back toward the garden

entrance.

BISHOP (cont.)
We live in difficult. times, Marquet.
0 This famine has prevented the people
from paying their proper tribute to·
the Church. I raise their taxes
only to be told there's nothing left
for me to tax. Imagine.

He stops. His eyes narrow, riveting MARQUET to the spot.

BISHOP -(cont.)
Last night the Lord,Almighty
visited me in my sleep. He told
me that Satan's messenger travelled
among us. And that his name was
Charles of Navarre.

MARQUET is transfixed. He drops to his knees, kisses the

BISHOP's ring.

0 BISHOP (cont.)
Go. To break faith with me is to
break faith with Him.

MARQUET rises, exits quickly. The BISHOP turns to his

SECRETARY who has followed a few paces behind him.

BISHOP
Get me Cezar.

153 EXT. CLEARING - DAY (CAMP II - CORTINA) 153

(44)
NAVARRE reclines against a tree, eyes closed, lost in
a deep sleep. Suddenly - a "w"HOOSH" is HEARD. A heavy
object slices through the air, O.S.

NAVARRE's eyes pop open automatically, ready for action,

familiar with the sound. His body-does not move.
 40

153 cont.
The HAWK is perched on the limb of a tree, looks down
curiously. Another "WHOOSH".

154 ANGLE ON PHILLIPE 154

PHILLIPE holds Navarre's gleaming broadsword in both

hands, swings it in wide arcs with a vicious look of
triumph, hacking invisible enemies to pieces. With e~ch
swipe of the sword he staggers, his small body unable to
counteract the great weight of the weapon. PHILLIPE swings
the sword back to stab the air again. From behind - a
black-clothed arm shoots into frame! NAVARRE effortlessly
wrests the sword away, embedding it in the dirt between
them. He sits, fingers the upraised hilt.

· NAVARRE
This sword has been in my family
fo~ five generations. It has
() never known de£eat in battle.

NAVARRE's hand caresses the sword hilt. There are two

large jewels embedded in the lower crosspiece, and one
more partway up the handle

NAVARRE (cont.)
This jewel represents my family
name. This one, our alliance
with the Holy Church in Rome.
(continuing)
This stone is from Jerusalem,
where my father fought the
Saracens.

NAVARRE's hand stops. His fingers.have found an emotv

depression in the hilt. He glances at PHILLIPE

PHILLIPE
() (clearing his throat)
Sir ... you don't think that I ...

NAVARRE
No. · This is mine to fill. Each
generation is called upon to find
its special mission.

PHILLIPE
And what ... is~ mission?

NAVARRE
(looks up)
To kill a man.

PHILLIPE
Well. I pity the poor wretch.
Does this walking corpse have a
name?
 41

154 cont. 154

NAVARRE
His Grace, the Holy Bishop of
Aquila.

PHILLIPE
(blinks)
I ••. see ...
(claps his hands)
Well! Then you have .•• much to
do and I've already been enough
of a burden to you. I hope our
paths cross again one day.

NAVARRE
(pa~se - stare)
Come with me to Aquila.

PHILLIPE
0 Not for the life of my mother.
Even if I knew who she was.

NAVARRE
I need your help to get into the
city. You're the only one who's
ever escaped from there.

PHILLIPE
Escaped? I fell down a hole and
followed my nose!

NAVARRE
Then follow it back again!

PHILLIPE
You don't want me with.you on a
mission of honor-,· sir. I'm just
a cutpurse, a professional thief!
0
NAVARRE gra~s him by the tunic front, deadly eyes searing
into him.

NAV;..RRE
For two years I've waited to hear
the warning bells of Aquila. Two
years without a roof over my head,
avoiding the Bishop's patrols, biding
my time, waiting for a sign fron God
that the moment of my destiny had ccme.
(qui-et smile)
And here you are, boy.

PHILLIPE
Me? Sir, the truth is, I talk to
the Lord all the time. and ... no
offense ... but He never mentioned
you.

NAVARRE jerks his sword out of the dirt, swings it back

 42

154 cont. 154

and forth easily with one hand.

NAVARRE
Perh9~s - you forgot to ask.
PHILLIPE swallows.'.har4,his gaze turning serious.

Sir,
PHILLIPE
I'm common as dirt.
common fears and common hopes
With -
for myself. There are ... strange
forces at work in your life,
magical ones which surround you.
They are far beyond my ability to
understand, but ... they frighten me.
(no reply)
Yo~•ve given me my life but the
truth is, I can never repay you.
0 I have no honor, never will have.

NAVARRE stares at him long and hard.

PHILLIPE (cont.)
I don't think you'd kill me
simply for being what I am.
But better that than to return
to Aquila.

PHILLIPE turns, walks off slowly into the woods. NAVARRE

watches, seeing his destiny elude him.

155 CLOSE ON PHILLIPE 155

He continues through the woods, picking up the pace.

Suddenly - A WHISTLING THROUGH THE AIR - then a "THUNK".
NAVARRE's sword quivers in a tree trunk, inches from
PHILLIPE's head. He turns.

156 ANGLE ON NAVARRE 156

Staring with cold, hard eyes. Frozen. Deadly.

157 BACK TO PHILLIPE 157

,_ .
PHILLIPE glances nervously at the quiveri~g sword, ..nen
turns with a nice smile.

PHILLIPE
I think I'll gather some wood
for the fire.

158 EXT. Ck.'1PSITE - NIGHT (CAMP II - CORTINA) 158

(45)
The embers of a dying camofire glow pulsatingly in the
clearing. Past them - Navarre's tethered horse, his
sheathed sword slung over the saddle. Silence. Until;
 43

158 cont. 158

A BRANCH CRACKS in the dark woods beyond. Then another.

Slowly ISABEAU emerges from the trees. She advances
cautiously into the empty clearing, glances around ner-
vously, expectantly. She crosses to the Stallion. The
huge animal gives a soft WHINNY of recognition. ISABEAU's
eyes wander to Navarre's sword, then focus in on something
else wedged in under the hilt.

A HAWK'S FEATHER! ISABEAU holds it up, mesmerized, staring

at p~rt of a living thing with which she appears to feel
an almost magical kinship. Her fingers gently _caress the
wispy extremities of the feather.

ISABEAU smiles privately to herself, then reaches to untie

the· rope halter by which the Stallion is tethered. The
huge animal emits a tiny SNORT of protest.

~ ISABEAU
() Oh, shush ...

She mounts the Stallion, bareback, gathers in the rope.

ISABEAU (cont.)
Now just make sure you remember
everything we've learned ...

She kicks the horse forward. The Stallion moves ahead

at a trot, then suddenly breakes into A SYNCOPATED DANCING
GAIT. ISABEAU grins as she guides him through a series of
complicated and beautiful routines worthy of a circus
horse, obviously the result of endless nights of training.

Making her second pass around the clearing, she rides under
the limb of a tree as she hears:

PHILLIPE'S VOICE
Psst ...
Q
ISABEAU reins in the Stallion, looks around, seeing nothing.

PHILLIPE'S VOICE (cont.)

Psst! My lady! Up here!

159 ANGLE ON PHILLIPE IN TREE - HER POV 159

PHILLIPE is tied around the overhanging limb of a tree

directly above her! His hands are bound behind his back -
the rope runs up to his neck. A perfect hog-tie. He
smiles down, tries to appear nonc~alant.

PHILLIPE
R~~ember me?

ISABEAU
What are you doing up there?
 44

159 cont. 159

PHILLIPE

What am I ... ah, and well you might

ask that, yes indeed ...
(thinking)
The Bishop's guards~ A dozen of
them! We had a terrible fight!

ISABEAU
Why didn't they kill you?

PHILLIPE
Why didn't they ... ah, yes, I asked
them that myselfJ

·ISABEAU
And ...

0 PHILLIPE
And?

ISABEAU
What did they say?

PHILLIPE
Why, that ... they preferred to
leave that honor to the Bishop!

ISABEAU smiles privately. She looks off at Navarre's

sword hanging from the Stallion's saddle by a tree.

PHILLIPE (cont.)
Please, my lady? A giant owl
examined me quite carefully not
one minute ago.

ISABEAU pauses, then heads for the ~word. She takes it,
0 then rides over to PHILLIPE, raising the heavy broadsword
with great difficulty.

PHILLIPE (cont.)
Easy does it now ...

ISABEAU swirigs the sword forward, launching herself over

the front of the horse.

PHILLIPE (cont.)
Look out!

The broadsword slices straioht through the heel of his

boot, severing the rope on the way by! PHILLIPE tumbles
to the ground, rises, uncoiling the rope, hopping on one
foot.

ISABEAU
Sorry ...

PHILLIPE
At my height ... what could it matter ...
 45

159 cont. 159

Suddenly: THE DISTANT HOWL OF A WOLF~ ISABEAU looks

off into the dark woods beyond, tensing. ANOTHER HOWL.
She speaks to PHILLIPE, turning in the saddle.

ISABEAU
Listen. There's nothing to ...

160 ANGLE ON CLEARING - HER POV 160

-·-
Blackness. PHILLIPE has silently, completely - disappeared.

161 BACK TO ISABEAU 161

ISABEAU dismounts, dropping the sword. She turns to

face the dark forest beyond.

162 EXT. COUNTRY SIDE - DAWN (CAMPO IMPERATORE) 162

(46)
The early morning sun hangs·high in the sky. PHILLIPE
picks his way along, his face dirty and cut by branches.
He stops, sniffs the air curiously with a rodent-like
wriggling of his nose. He turns toward the invisible
SMELL. His tongue parts his lips in anticipation.of a
meal.

163 EXT. CLEARING - DAWN ~AMP II - CORTINA) 163

(47)
The embers of the previous night's campfire still glow.
NAVARRE emerges from the woods, his face creased with an
apparent lack of sleep. He looks off, suddenly concerned,
noticing the empty tree limb where PHILLIPE was tied. The
severed rope lies in a pile on the ground.

NAVARRE Looks off toward the Stallion. His mouth suddenly

cracks into a broad smile.

() 164 ANGLE ON STALLION - HIS POV 164

The huge animal waits for him by the tree. Curiously

enough, its thick flowing mane has been braided into
delicate ringlets. The SUNFLOWER has been attached to
the mane at the top of its head. If any horse could lock
embarrassed, surely this would be the one.

165 BACK TO NAVARRE 165

,._, 1 •
Still grinning. He crosses to the animal, Ss.aKJ..ng his
head.

NAVA.RRE
Poor bastard ... you're defenseless
against her too, aren't you ...

166 EXT. RISE - DAY (CAMPO IMPER..I\.TORE) 166

( 48)
PHILLIPE arrives at the top of a crest, peers down.
Thick smoke rises. SHADOWYFIGURES can be made out.
The CRACKLING of a fire and GARBLED VOICES are heard.
 46

166 cont 166

Suddenly - a huge hand clamps on his shoulder, spinning

him around. A BURLY GUARDSMANgrins broadly.

GUARDSMAN
Join us~

He shoves PHILLIPE over the edge.

167 ANGLE FROM CAMPFIRE 167

---
PHILLIPE tumbles crazily down the hillside, winding up
on his back, finds himself looking at: FORNAC!

FORNAC
Well, well. You're a long way
from the·sewers, little rat.
This time the drinks, :are on me.

FORNAC grabs him roughly by-the neck, jerks him closer.

FORNAC (cont. )
Where's Navarre?

PHILLIPE
Navarre, Navarre .•. ah! Big man,
black horse? He •.. went south,
along the road to Aquila.

Another GUARD smiles knowingly at FORNAC.

GUARD
Then we ride north, right, sir?

PHILLIPE
It's not polite to assu.'11e someone's
a liar when you•~e only just met
() them.

FORNAC
(thinking)
And yet you knew we ~ould ...
(wide grin)
We ride south - toward Aquila!

The camp makes preparations to depart. PHILLIPE looks up.

PHILLIPE
I told the truth, Lord. How can
I learn any moral lessons if You
keep confusing me like this?

168 EXT. AQUILA ROAD- DAY (Cfu'1PO D-1PERATORE) 168

(49)
Late afternoon. The WIND whistles through the trees.
Clouds of dust and swirling leaves· cause NAVARRE to
shield his eyes as he rides INTO VIEW.

The HAWK is perched on his arm just below the elbow.

It huddles against the side of his chest for protection.
 47

168 cont. 168

Suddenly - a dead branch CRASHES down into the road.

The Stallion shies. The HAWK takes to the sky, startled.

169 ANGLE DOWN THE ROAD IN UNDERGROWTH 169

FORNAC and his MEN lie quietly in wait in the thick under-
growth on either side of the Aquila road.

PHILLIPE is jammed among the GUARDS. His hands are manacled -·-
behind him. His mouth has been gagged. He watches NAVARRE'S
approach helplessly with terror-stricken eyes.

FORNAC nods. The GUARDS silently load their crossbows.

PHILLIPE begins working on his gag, forcing it toward the
center of his mouth with twisting grimaces.

170 BACK TO NAVARRE 170

0 The Stallion's ears prick furward. He's sensed something.

171 BACK TO PHILLIPE 171

Having worked the gag into the center of his mouth. He

blinks nervously, knowing that any sound from him could
bring instant death. The GUARDS lift their crossbows.

172 BACK TO THE HAWK 172

The circling HAWK looks down, suddenly SHRIEKS!

173 BACK TO NAVARRE 173

NAVARRE looks up. The Stallion rears on its hind legs.

174 BACK TO PHILLIPE 174

0 Inhaling deeply to call out. The GUARD next to him

notices - instantly jams a meaty hand into his mouth.
PHILLIPE chomps down hard! The GUARD HOWLS I~ PAIN!

175 Ai'IGLE ON NAVARRE 17 5

FORNAC'S VOICE
FIRE!

A HAIL OF ARROWS FLY - one whistles directly into NAVARRE's

leg! A burst of red blood splatters over that side of the
saddle.
, - r
176 ANGLE ON HAWK .LI 0

SCREECHING. Extending its razor-sharp talons in defiance.

177 BACK TO Nl".VARRE 177

NAVARRE pulls out his broadsword, wheels his horse.

 48

178 BACK TO PHILLIPE AND GUARDS 178

The GUARDS reload their weapons hastily. FORNAC looks up

in the sky, furious, grimly aims his crossbow. PHILLIPE
grits his teeth, suddenly jerks his hands_down hard behind
him in a whiplash motion. He slips his manacles - then
strangles FORNAC from behind with his chain.

179 ANGLE ON NAVARRE 179

The Stallion
mechanized
crashes through
weapon of war.
the undergrowth
NAVARRE's sword
like
slashes
a
right
----
and left.

PHILLIPE hangs on fiercely, but FORNAC is too strong.

He flips the little pickpocket, clubs him viciously in
the side of the head, knocking him down.

180 ANGLE ON HAWK 180

..
0 The HAWK swoops up and down- frantically.

181 BACK TO FORNAC 181

Squinting cruelly. Taking deadly aim at NAVARRE with

his crossbow.

182 BACK TO PHILLIPE 182

PHILLIPE rises, sees what's about to happen. Picking

up a rock, he hurls it at FORNAC as another GUARD clubs
him to the ground on his way by.a

183 BACK TO FORNAC 183

..
The rock hits FORNAC in the side of the head as the
ARROW SHOOTS WILDLY up into the air!

184 ANGLE ON HAWK 184

C)
The HAWK is hit! An arrow pierces deeply into its breast.
It SCREAMS in agonizing pain.

185 BACK TO NAVARRE 185

His blade flashes at the retreating GCARDS. He hears

the SCREP.~"1- looks u9 in horror!

186 ANGLE ON HAWK 186

The HAWK flutters tmvard the ground i::i a wild flurry of

feathers, its N~ngs beating helplessly.

187 BP..CKTO NAVARRE 187

A gutteral ROAR OF FURY bellows out from deep inside him.

The Stallion rears. NAVARRE swivels, looks:
 49

188 BACK TO FORNAC 188

FORNAC grins cruelly at NAVARRE, aware of what he's done.

now FIRES AGAIN:

189 BACK TO NAVARRE 189

The arrow catches NAVARRE in the shoulder, knocking him

off his horse as his sword goes flying in the other
direction!

FORNAC spurs his horse - CHARGES at the helpless NAVARRE,

sword raised! At the last possible second, NAVARRE jerks
the arrow out of his leg, ducks under FORNAC's sword thrust,
then jams the arrow up under his heart, killing him instantly
as FORNAC tumbles backwards off his mount.

190 ANGLE ON PHILLIPE 190

PHILLIPE rises, <lazed, shakes his head. He surveys the

0 carnage around him, amazed, -looks off:

191 ANGLE ON NAVARRE 191

(49a)
NAVARRE kneels nearby, nursing the wounded HAWK. Blood
runs freely from the arrow in his shoulder. Oblivious
to the pain, he gently tries to clean the bird's wound.
NAVARRE's eyes fill with tears. He looks off.

192 ANGLE ON SETTING SUN 192

The red ball of the sun starts to set on the horizon.

193 BACK TO NAVARRE 193

Still staring. A SHADOW passes between him and the sun.

PHILLIPE is rooted to the spot. NAVARRE rises, bloody
and desperate. He holds out the stricken bird.
0 NAVARRE
Take the bird. Find help.

PHILLIPE
Me, sir?

NAVARRE
I have no one but you.

PHILLIPE
Sir ... the poor thing's done for ...

NAVARRE
(ignoring him)
There's an abbey on top of a
mountain in those hills over
there. In it you will find a
monk. Brother Imperius. Bring
him the Hawk. He will know what
to do.
 50

19 3 cont. 193

PHILLIPE
Sir, I ...

NAVARRE
Take my horse and go, boy.
Now.

PHILLIPE turns toward the Stallion which instantly REA~S,

s~ying backward, its flashing hooves pawing at PHILLIPE!

PHILLIPE
But sir, you're the only one
who can ride him, and,,,

NAVARRE BELLOWS a command at the Stallion who instantly

composes himself, now·waits at attention ... He grabs
PHILLIPE by the scruff of the neck.

0 NAVARRE
DO IT, BOY! !

NAVARRE sweeps PHILLIPE up into the saddle, then hands

him the HAWK. PHILLIPE takes it, cradles the bird gingerly.
NAVARRE's eyes flash grimly.

NAVARRE (cont.)
And know this. If you fail to
reach that abbey, I will follow
you the length of my days until
I find you, and carve your wretched
body into pieces fit for flies.

PHILLIPE nods in fear, starts off .. , NAVARRE's hand rises,

jerks the arrow out of his shoulder .. His teeth grit from
the pain, but his eyes never leave PHILLIPE.

194 ANGLE ON PHILLIPE 194

0
Riding. Carrying the bird like a fragile piece of china.
He looks back over his shoulder:

NAVARRE standSsilhouetted by the setting sun, head bowed,

a towering black monument suddenly crumbling.

195 EXT. HILLTOP - DUSK ( C.c,..MPOIMPERl,TORE) 195

(50)
PHILLIPE rides down a road near the corner of a hill.
The HAWK cries out feebly. PHILLIPE looks down.

PHILLIPE
It's all right ... I've got you ...

He arrives at the bottom of the hill, looks up.

196 ANGLE ON ABBEY - HIS POV 196

The decaying ruins of a once imposing abbey rise up at

the top of a high mountain immediately above him. An
 51
196 cont. 196
outgrowth of ivy and vines has snaked its way up and
around the weather-worn stones. The abbey tower is a
high one, overlooking the valley below.

197 BACK TO PHILLIPE 197

Looking down at the HAWK. Its feathers are soaked in
blood. The arrow still juts out from behind its wing.
PHILLIPE (cont.)
There it is ... see? The abbey!

He cups his hand tenderly behind the HAWK's head to

reassure it. The bird SNAPS at him viciously.

PHILLIPE (cont)
Well, that's gratitude! All
() right then! Let this Imperius
fellow watch you die, I've got
my own life to worry about!
- (at Stallion)
You're a witness!
198 EXT. ABBEY~ DAY (ROCCA CADASCIO) 198
(51)
PHILLIPE arrives at the abbey, looks up. Small birds
flit in and out of crumbling ivy-covered portals.

PHILLIPE
Hello! Hello in there!
(no reply)
For pity's sake - hello!

IMPERIUS' VOICE
Lower your voice out there, damn
you! Do you think I'm deaf?

The head of BROTHER IMPERIUS emerges atop a level which

is higher than the entrance. His eyes roll drunkenly,
bloodshot, trying to pinpoint the source of the yelling.

PHILLIPE
Over here, Father! Irnperius?

IMPERIUS
Curious. That's~ nfu~e too.

PHILLIPE
I was told to bring you this bird.
She's been wounded.

I:MPERIUS
Good shot! Bring her in and we'll
dine together~

PHILLIPE
We can't eat this bird!
 52

198 cont. 198

IMPERIUS
We can't?
(drunken pause)
Oh my God, is it Lent already?

PHILLIPE
This is no ordinary hawk, Father.
She belongs to Charles of Navarre.

IMPERIUS blinks. His eyes widen in recognition.

PHILLIPE (cont.)
He said you would know what to do.

IMPERIUS
Mother of God ... Bring her in!
Quickly!

0 IMPERIUS turns, jerks hard on a rope device which opens

the wooden door on the lower level.

199 BACK TO PHILLIPE 199

PHILLIPE dismounts with great difficulty, making sure

not to jostle the HAWK. He turns to the Stallion.

PHILLIPE
Wait here.

The Stallion WHINNIES, then instantly gallops off in

the direction they came from! PHILLIPE yells after him.

PHILLIPE (cont.)
Tell him we got here! _ Tell
him I did !!!Y part!

0 IMPERIUS
(from above)
Hurry, you cretin~ Get her .
up here~
: ''

PHILLIPE snaos to, hustles through the lower open doorway,

starts up for the abbey.

200 EXT. ABBEY DRAWBRIDGE - DUSK 200

PHILLIPE hurries toward the abbey drawbridge with

IMPERIUS, now starts across, carrying the H-Z\.WK. D1PERICS
grabs PHILLIPE's ar~.

I:1PERIUS
Careful, you lummox!

PHILLIPE stops, looks down.

201 ANGLE DOWN 0~1 DRAWBRIDGE - HIS POV 201

The wooden drawbridge - all seems normal.

 53

202 BACK TO SCENE 202

IMPERIUS pulls a puzzled PHILLIPE over to the left~

IMPERIUS
Walk on this side ...

They continue across, enter the abbey.

203 INT. IMPERIUS' CELL - DUSK 203

(52)
A small room with a table, chairs, and a cot. PHILLIPE
enterp, followed by IMPERIUS.

IMPERIUS
Over there on the cot ... easy ...

PHILLIPE gently deposits the bird on the cot.

IMPERIUS (cont.)
0 Leave us alone:

PHILLIPE
But ...

IMPERIUS
Get out!

PHILLIPE back~ away, reluctantly closing the door.

IMPERIUS inspects the wound. The HAWK looks up, eyes
flickering.

IMPERIUS (cont. )
(at HAWK)
Don't be frightened .. Navarre
was right - I do know what to
do.

IMPERIUS turns, heads quickly out of the room, closing

0 the door behind him. He·locks it from the outside.

204 EXT. ABBEY DRAWBRIDGE - DUSK 204

IMPERIUS disappears across the drawbridge. After a

pause - PHILLIPE appears. He approaches the door,
presses his ear against it, fingers the lock gently.

205 EXT. ABBEY GARDENS - SUNSET 205

(53)
An open-pit BONFIRE blazes in the center of the monastery
gardens area. IMPERIUS gathers herbs, moving quickly
between the plants, selecting only certain leaves in
specific quantities. He looks off, visibly worried.

206 ANGLE ON SETTING SUN - HIS POV 206

The sun now sinks below the horizon, shooting red streaks
upward through the evening sky.
 54

207 BACK TO ABBEY ENTRANCE 207

(54)
PHILLIPE is at the door, picking the lock with his dagger.
It snaps free! He opens the door quietly.

208 INT. CELL 208

As PHILLIPE enters, stops dumbfounded:

The delicate figure of ISABEAU now lies on the cot. Her

arms are spread out in imitation of the HAWK's wings, her
head slightly tucked in underneath them. The arrow sticks
out of her shoulder. Her eyes flutter open. She spots
PHILLIPE. She stares at him through agonizing pain, tries
to sit up.

ISABEAU
Navarre!· ... Where is he? Is he ...

PHILLIPE
0 He' 11 be fine·, my lady! There
was a terrible battle with the
Bishop's guards! Navarre fought
like a lion. The Hawk was ..•
(stops, stares)
But ... you know that, don't you ...

ISABEAU
(pause)
Yes.

PHILLIPE approaches the cot timidly, gazes down into the

shimmer of beauty beneath him, confused.

PHILLIPE
Are you flesh? Or are you spirit?

ISABEAU
0 I ... am sorrow.

The door suddenlv ooens. IMPERIUS enters, aghast.

IMPERIUS
How did you ... ?
(crossing)
Get out, da~n you; And~ out
this time!

I~PERIUS shoves PHILLIPE out the door, slams it.

209 ANGLE ON PHILLIPE OUTSIDE ENTR?.NCE 209

His back against the door. Panting. The adrenalin

pumping through his body in a delayed reaction.

210 BACK TO CELL 210

IMPERIUS places the herbs in a bowl, mashes them together

with a pestle. He looks at ISABEAU - her eyes flutter.
 55

210 cont 210

IMPERIUS
Holy Father - after all that's
happened, you couldn't possibly
have brought her here to die.

211 EXT. GARDEN AREA - NIGHT 211

(55)
PHILLIPE enters the garden area. The bonfire still
blazes. Looking around, he notices a scarred table-
top on which are apples and oranges carefully arranged
along circular rings.

PHILLIPE sits heavily at the table. From up in the

abbey - AN ANQUISHED MOAN is heard from ISABEAU.
PHILLIPE picks up an apple, chomps on it nervously.

212 INT. CELL 21"2

(56)
IMPERIUS heats the herb poultice from underneath with
a candle. ISABEAU moans again. He takes a wet cloth,
crosses, places it on her forehead.

213 CLOSE ON ISABEAU 213

Eyes shut, lost in a nightmarish coma. From O.S. -

the PLAINTIVE HOWL of a WOLF. ISABEAU's body twitches.

214 INT. BISHOP'S QUARTERS~ NIGHT (TORRECHIARA) 214

(57)
The troubled, sleeping face of the BISHOP, lying in bed
in sumptuous sleeping quarters. He tosses uncomfortably.

215 BACK TO ISABEAU 215

(58)
IMPERIUS sets the steaming hot poultice down. Hand
trembling, he reaches for the arrow.
0 216 BACK TO BISHOP 216
(59)
Moaning in his sleep. Eis hand reaches up for his face.

A SERIES OF QUICK CUTS:

217 IMPERIUS' hand closes around the arrow. 2 _,

1 ...
(58a)

218 PHILLIPE blin~s, takes another bite of the a?ple. 213

(SSa)

219 The BISHOP shudders, beads of sweat on his forehead, 219

(59a) gathers the sheets in around hin

220 IMPERIUS YANKS OUT THE ARROW. ISABEAU SCREI,J,!S ! 220

(58b)

221 PHILLIPE's head snaps around! He drops'the apple. 221

(SSb)
 56

222 The BISHOP bolts upright in bed, his eyes popping open222
(59b) as LIGHT streams across the room.

2:23 INT. BISHCP'S QUARTERS - NIGHT (TORRECHIARA) 223

(60)
A frightened young ACOLYTE stands in the doorway.
ACOLYTE
I'm ... sorry, your Grace. You
insisted on being told when he
arrived ...

The ACOLYTE scurries off. Now filling the doorway,

framed in backlight: A huge brutal figure with a
swirling black beard and a scar across one cheek. He
wears a wolfskin cloak, tunic, boots, and a cap made
out of a wolf's head .. A necklace of wolf's teeth
circles his throat. THE GRIM VISAGE OF CEZAR, THE
WOLF HUNTER.
0
224 EXT. RIDGE ACROSS FROM ABBEY - NIGHT (ROCCACAL~SCIA 224
(61) AREA)

The abbey is framed by the light of the moon. A DA!L~

PRESENCE suddenly enters frame, blocking the view. A
SOLITARY BLACK WOLF takes his position on the ridge.
The cold night wind whips through his heavy fur as he
emits a HOWL of terrible anguish.

225 INT. CELL (ROCCA CALASCIO) 225

(62)
The sleeping ISABEAU stirs, her eyes flickering.

226 EXT. GARDEN AREA - NIGHT (ROCCA CALASCIO) 226

(63)
IMPERIUS pours himself a huge tumbler of wine.
Suddenly - from O.S. - THE HOWL OF THE WOLF. IMPERIUS
looks off apprehensively. PHILLIPE studies him care-
CJ fully from across the fire.

PHILLIPE
(quietly)
It's him, isn't it.
(no reply)
The wolf. Somehow ... it 1
s hi~.

IMPERIUS
(pours another)
Here. Get drunk. You'll forget.
PHILLIPE
An hour ago you were drunk. And
you remembered.

IMPERIUS looks deeply into PHILLIPE's unwavering eyes.

It's no use. Resigned, he crosses with the wine.
 57

226 cont. 226

IMPERIUS
Her name is Isabeau of Anjou.
Her father, the Compte d'Anjou, was
an intemperate fellow who died
slaughtering infidels at Antioch.
She came to a cousin, I think it
was, in Aquila.
(sits, wistful)
I'll never forget the day I saw
her. It was like looking at ...
at ...

PHILLIPE
The ... face of love.

· IMPERIUS
(sympathetic smile)
You too, little thief? Well, I
0 suppose we were all in love with
her in different ways. His ...
(with difficulty)
Grace could think of nothing else.

PHILLIPE
(wide-eyed)
The ... Bishop ... loved her?

IMPERIUS
As nearly as that evil man could
come to the emotion of love. He
was wild in his passion. A man
possessed. But Isabeau shrunk
from his attentions, sent back
his letters unopened, his poems
unread. Her heart had been lost
to the Captain of the Guard.
0 PHILLIPE
Charles of Navarre ... the rna~~an ...

IMPERIUS
· To Isabeau - a fine man, a worthy
man. Their love was stronger than
anything which could stand in its
way. Until ...

IMPERIUS stops, takes a long swig of wine.

PHILLIPE
Until. .. ?

DlPERIUS
They were betrayed. A ... foolish
priest heard their confessions. And
in that priest's subsequent drunken
confession to his superior, he ...
felt a holy obligation to unburden
himself. He ...
(MORE)
 58

226 cont. 226

IMPERIUS (cont.)
(with difficulty)
committed a mortal sin by revealing
their mutual vows of love to the
Bishop.

PHILLIPE's gaze bores in on him.

IMPERIUS (cont.)
He ... didn't realize what he'd done
at first. The terrible vengeance
the Bishop would take. But His Grace
seemed to go mad - he lost both
sanctity and reason. He swore that
if he could not have her, no man
would.

PHILLIPE'S eyes wigen.

0 IMPERIUS (cont.)
Navarre and Isabeau fled from Aquil~.
But the Bishop followed them, truer
than an arrow, more persistent than
a hound. The Captain's great black
stallion bore the lovers away like a
blasting wind, until the poor beast
could no longer push them forward
with his heart alone. He fell, and
the Bishop and his jackals closed in
for the kill. Navarre turned and
fought. Captor after captor, guards
he had served with, lay dead on the
ground. Unwilling to .risk his own
body, the exasperated Bishop offered
his Immortal Soul instead - and he
called upon the powers of Darkness
for the means to damn them. In his
0 rage and his-frustration - he struck
an unholy bargain with The Evil One.

PHILLIPE trembles, frightened, as the HOWL OF THE WOLF

echoes through the valley below.

IMPERIUS (cont.)
The black powers of Hell spat up a
terrible Curse. She was to be a
Hawk by day, and he - a Wolf by
night. Poor, dumb animals with no
memory of their half-li~e of human
existence. Never touching, in the
flesh. Only the anguish of one split
second at sunrise and sunset when they
criuld almost touch - but not. Always
together. Eternally apart. For as
long as the sun shall rise and set.
As long as there is night and day.

PHILLIP.Eis s~Jnned. He rises, silently crosses to the

 59

226 cont. 226

window. The HOWL OF THE WOLF is heard again.

IMPERIUS (cont.)
You have stumbled into a tragic
story, little thief. Now you are
lost in it with the rest of us.

IMPERIUS turns, walks off into the night. PHILLIPE wanqers

over to a lower parapet of the abbey, notices a wooden cage
filled with PIGEONS. He looks inside.

227 ANGLE IN CAGE 227

One Pigeon stares back at PHILLIPE, cocking its head, as

if in recognition.

228 BACK TO PHILLIPE 228

0 PHILLIPE cocks his head questioningly, mimicking the bird.

PHILLIPE
A Princess, perhaps?

The Pigeon COOS.

PHILLIPE (cont.)
Just as I thought. And the
rest of you. A Sultan's harem?
(no response)
What the hell. One can't afford
to take the chance these days ...

PHILLIPE jerks open the cage as the BIRDS FLY TO FREEDOM'.

Sc. 64 in original script OMITTED

0 229 INT. CHATEAU BASEMENT - NIGHT (VIALE SOMALIA) 229

(65)
The BISHOP stands near CEZAR, staring down at a huge pile
of freshly skinned BLOODY WOLF PELTS. He holds his long
clerical staff •in one hand, looks down.

230 INSERT SHOT - BISHOP'S STAFF 230

The BISHOP's foot unhooks the base of his staff which

slides back, revealing a gleaming, tapered steel tio
with a razor-sharp point.

231 BACK TO SCENE 231

Using the steel tip like a giant fork, the BISHOP feverishly
peels back one pelt from another, flinging them aside,
spattering his white robes with blood. CEZAR watches,
his cruel face betraying fear at the furious intensity
of the man's passion.

BISHOP
Useless! All of them!
 60

231 cont 231

CEZAR
My traps are full. I can't
kill every wolf in France.

The BISHOP's eyes flash angrily. Then - total calm.

BISHOP
(quietly)
There is a woman.

CEZAR
Your Grace?

BISHOP
A beautiful woman. With alabaster
skin and· the eyes of a dove. She
travels by night - only by night.
Her sun is the.moon, and her name
0 is - Isabeau.

CEZAR stares uncomprehendingly. The BISHOP blinks.

BISHOP (cont.)
Find her and you find the wolf.
The wolf I want. The wolf ...
(pause)
who loves her ...

The BISHOP turns, disappears up the stairs.

232 EXT. ABBEY - NIGHT 232

(66)
The abbey under the moonlight. The HOWL OF THE WOLF rolls
mournfully through the countryside.

233 INT. CELL - NIGHT 233

0 (67)
The sleeping figure of ISABEAU. Her eyes pop open in
recognition. She tries to sit up, winces in pain.

PHILLIPE'S VOICE
Don't.

ISABEAU looks: PHILLIPE sits in a chair next to her.

PHILLIPE (cont.)
You ... could start bleeding again.

ISABEAU
(pause)
Tell me your name.

PHILLIPE
Phillipe, my lady. Phillipe
Gaston. Most people call me ...
Phillipe the Mouse.
 61

233 cont 233

ISABEAU
Odd. For one with such spirit.

She takes his hand gently.

ISABEAU (cont.)
I shall call you .•• Phillipe
the Brave.

A glowing shudder passes through PHILLIPE's body.

ISABEAU (cont.)
You'll ••. be seeing him again
tomorrow, won't you.

· PHILLIPE
If he wishes it.

0 ISABEAU
I want you to deliver a message.
Word for word as I tell it to you.

PHILLIPE
I promise. On my life.

ISABEAU
Tell him .•.
(eyes misting)-
! can't bear it any longer. Tell
him •.• the pain is too great .. And
tell him ..• if he wishes it ..•
(with difficulty)
... that a hawk is not"a difficult
thing to kill.

PHILLIEE
(horrified)
0 I can't ten: him that .•.

ISABEAU
You promised on your life.

PHILLIPE
A worthless life, my lady! Broken
promises are the tools of my trade!

ISABEAU turns away sadly.

PHILLIPE (cont.)
'You must save this hawk,' he saia
to me. 'For she is my life, my
last and best reason for living. 1

ISABEAU looks up. PHILLIPE stares_with quiet intensity.

 62

233 cont. 233

PHILLIPE (cont.)
And then he said: 'One day we
will know such happiness as two
people dream of, but never do.'

ISABEAU
He •.• said that?
PHILLIPE
I swear it. On my life.

ISABEAU
Swear it again. On !!!Y life .

. PHILLIPE
(long pause)
Your life is worthless too, if
0 you choose to ~hrow.it away so
cheaply.

He turns, walks off silently. The WOLF HOWLS in the

distance. ISABEAU shuts her eyes in pain.

234 INT/EXT. ABBEY ENTRANCE -· ANGLE ON PHILLIPE 234

(68)
PHILLIPE leans back against the cl~sed cell door, from
this point on forever involved with Isabeau's future.
He smiles to himself with deep. satisfaction.

PHILLIPE
Phillipe the Brave •.•

235 EXT. RIDGE ACROSS FROM THE ABBEY - "'PRE-DAWN 235

(69)
A RUSTLING, gradually growing lorid~r, on ridge across
from the abbey. THREE BLAZING TORCHES now glow brightly
0 through the darkness, advancing.slowly. JEHAN and two
GUARDS are spread out sev~ral feet apart from one another.
They examine the ground by the light of the flames. One
GUARD stops, lo_oks off curiously.

GUARD
Look1 Over there!

236 ANGLE ON ABBEY FROM - HIS POV 236

The Abbey bonfire glows in the distance.

237 BACK TO JEH.Ai'l' 237

His lips thinning, broadening into a cruel smile.

Sc. 70 to 75 in original script OMITTED

23 8 EXT. GARDEN - PRE-DAWN 238

(76)
IMPERIUS sits by the table, takes a swig from another
tumbler of wine. PHILLIPE stares sullenly.
 63

2J38 cont 238

PHILLIPE
Does she know?

IMPERIUS
What?

PHILLIPE
That you're the priest that
betrayed them?

IMPERIUS hurls the wine tumbler to the ground.

IMPERIUS
God has declared an end to it!
He has giyen me the knowledge to
undo what I have done!

() . PHILLIPE
(pause) -
Make yourself clear. If you can.

IMPERIUS
For two years I've sat here, staring
up into the sky, waiting for some
indication that my life and service
to God hadn't all been wasted and
destroyed. The sign never came ..•
But I began to see other things.

PHILLIPE
Once - when I was drunk - I saw
myself as king ..

IMPERIUS
Quiet, you wretched illiterate!

IMPERIUS turns to the tabl~. with the carefully arranged

pieces of fruit.

, IMPERIUS (cont.)
There are glowing object.sin the
night sky which seem to be prominent .
. This star here ...
(indicating)
... and the moon ...
(pause)
Where's the moon?

PHILLIPE
I think I ate the moon.

IMPERIUS
(bitterly)
Fool. ..

He slumps back down in his chair.

 64

238 cont 238

IMPERIUS (cont.) .
I have found a way to break the
curse. A time for Navarre to
face the Bishop and regain what
once was his.

PHILLIPE
He intends to face the Bishop.
To kill him with the sword of
his ancestors.

IMPERIUS
He can't! If he kills the Bishop,
the curse will go on forever~

Suddenly - A LOUD BANGING is heard from below.

·o JEHAN'S VOICE
Open up in the~e! Open up in the
name of his Grace the Bishop of
Aquila!

239 EXT. ABBEY DOOR - PRE-DAWN 239

(77)
JEHAN looks up from the door, a biazing torch in his hand.
The l'WO GUARDS hold 3 huge, dead log. JEHAN banks on the
door again. IMPERIUS' face appears above.
-~..~;.
IMPERIUS
Go away! This isn't a brothel!
This is the:House of God!

JEHAN ,,
Open up for the :Bish_op_!

.IMPERIUS
I've met t~e Bishop,~you blasphemous
lout!--xnd 'you don 1 t··1ook anything
like him!

JEHAN
(at GUARDS)
Break it in.

240 BACK TO GARDEN 240

IMPERIUS turns to PHILLIPE

IMPERIUS
Take care of Isabeau. Run,
you fool!

241 ANGLE AT ABBEY DOOR 241

(7~)
The GUARDS rush the ancient door, using the log as a
battering ram. It SPLITS on impact!
 65

241 cont 241

IMPERIUS
(yelling down)
By the Virgin, now you've gone
too far!

They try again. The door collapses! JEHAN and the

GUARDS rush up as THE STAIRS CRUMBLE AWAY BENEATH THEM~

IMPERIUS
(from above)
Sorry! I'm a monk, not an
engineer!

JEHAN and the GUARDS scramble up the rocks toward the

higher level.

242 INT. CELL - PRE-DAWN 242

(78)
0 PHILLIPE rushes into the ce~l. ISABEAU looks up.

ISABEAU
What is it?

PHILLIPE
Don't talk. Come this way ..•

ISABEAU
(rising)
Why? •••

PHILLIPE
Because I don't think we can go
that way •••

243 ANGLE NEAR DRAWBRIDGE

.
- PRE-DAWN..: .·.- 243

0 IMPERIUS hurries toward 'the drawbridge with a GUARD

alongside him. JEHAN an'd the'other GUARD follow behind .
.'
IMPERIUS
(gesturing)
Over there, my son! The door
on the right! And don't forget ...

IMPERIUS and the GUARD start across the drawbridge as

THE PLANKS ON THE RIGHT SIDE BREAK AWAYand the GUARD
falls!

A fading SCREAM ends abruptly with a SPLASH!

244 CLOSE ON IMPERIUS 244

IMPERIUS looks down sadly from the other side of the

drawbridge.

IMPERIUS
.•. to walk on the left side.

JEHAN'S SWORDHILT suddenly clubs IMPERIUS on the side

 66

244 cont 244

of the head, knocking him unconscious as JEHAN and the

remaining GUARD head for the abbey cell~

245 INT. ABBEY - PRE-DAWN 245

(80}
PHILLIPE leads ISABEAU through the abbey, spots a
wooden staircase which winds its way up a high turret.

PHILLIPE
Up there, my lady! Are you able?

ISABEAU nods in pain as PHILLIPE helps her up the stairs,

following behind.

246 INT. CELL 246

JEHAN and the GUARD exit the empty cell in the same
direction PHILLIPE and ISABEAU took.
()
247 INT. STAIRWAY 247

PHILLIPE leads ISABEAU up the winding stairway. She

stumbles, gasps for breath as he yanks her alor.g.

248 ANGLE NEAR BOTTOM OF STAIRS 248

JEHAN and the GUARD hear the noise. JEHAN silently

signals the GUARD forward, up the staircase.

249 ANGLE FARTHER UP STAIRCASE 249

The GUARD rounds a corner, stops as he hears:

ISABEAU'S VOICE
Please ... I just can •t· anymore ...

The GUARD grins. He sta.rts up around the corner as:

0
PHILLIPE SWIVELS.-AROUND in front of him, tripping him,
knocking him backward as ·he tumbles down the stairs.
PHILLIPE looks' up.

2,50 ANGLE ON ISABEAU - HIS POV 250

ISABEAU grins, gives PHILLIPE a confident high sign.

PHILLIPE
(from below)
Hurry! Keep going!

251 ANGLE DOWN STAIRWAY 251

JEHAN rounds a lower corner as the body of the GUARD

crashes down, his head craGking against the wall! The
GUARD crumples in a heap. JEHAL~ curses under his breath,
starts up again.
 67

252 EXT. ABBEY ROOF - PRE-DAWN 252

(81)
PHILLIPE pushes ISABEAU up through a narrow trap door
onto the abbey roof. They race across it against the
background of the pre-dawn sky, stop at the edge, look
down:

253 ANGLE DOWN PARAPET - THER POV 253

-
Fierce-looking gargoyle carvings jut out from under the
eave of the turret. Far below, jagged rocks in the
rugged countryside wait menacingly. It's much too far
to jump.

254 BACK TO PHILLIPE AND ISABEAU 254

Exchanging a quick, desperate look.

ISABEAU
0 Listen .•. it's .me they want ...

PHILLIPE
Don't flatter yourself.

From the open trap door - the SOUND of JEHAN'S FOOTSTEPS

on the stairs!

255 ANGLE ON TRAP DOOR 255

JEHAN appears in the opening, steps up as: THE DOOR

SLAMS ON HIS HEAD! PHILLIPE 'grabs a rope attached to .
the top of the trap door/ ties it firmly around a stone
cleat, locking it shut. JEHAN recovers quickly. The
trap door starts to buckle .from below as he bangs on
it with his sword hilt. PHILLIPE :~tands on top of the
trap door, looks off helplessly. at .. ISABEAU.

() 256 ANGLE ON ISABEAU 256

ISABEAU presses back up against the parapet. There's

no way out. Sud.denly, THE ANCIENT STONE CRUMBLES AWAY
BEHIND HER!

PHILLIPE
No! No!!

PHILLIPE rushes to her as ISABEAU FALLS, disappearing off

the top of the parapet!

257 CLOSE ON PARAPET 257

PHILLIPE lunges for her, GRABS A WRIST, jerking ISABEAU

to a stop! She looks up at him, eyes pleading, as the
little pickpocket strains to lift her back up, but can't.
PHILLIPE looks off desperately.
 68

258 ANGLE ON HORIZON 258

The clouds on the horizon are softening, preparing for

the dawn. BUT THERE IS NO SUNLIGHT. .

259 BACK TO PHILLIPE 259

Holding onto ISABEAU's wrist, but with great difficulty

260 BACK TO TRAP DOOR ~60

JEHAN's sword hilt has SPLIT the trap door! He bangs
away at it with renewed fury.

261 BACK TO PHILLIPE 261

ISABEAU looks up in terror as PHILLIPE struggles mightily

to hold on.

(1
_..,,,
ISABEAU
Oh, Please ... ·

PHILLIPE
I •.• can't ...

262 BACK TO HORIZON 262

Infinitesimally brighter. STILL NO SIGN OF THE SUN.

263 BACK TO PHILLIPE 263

PHILLIPE can hold on no longer. · ISABEAU'S WRIST SNAPS

FREE!

PHILLIPE
Oh, my God, No!!

264 CLOSE ON ISABEAU 264

SHE FALLS~

265 ANGLE ON ISABEAU FROM GROUND 265

Her body tumbles into mid-air, begins to fall

266 ANGLE ON HORIZON 266

Suddenly, from behind the ridge on the horizon: TWO

ORANGE BEAMS OF THE MORNING SUN knife up through the
dawn clouds!

267 BACK TO PHILLIPE 267

PHILLIPE watches ISABEAU, his jaw droooing open as he sees:

A MAGICAL, MIRACULOUS TRANSFORMATION BEGINS TO TAKE PLACE!

2'.68 ANGLE ON ISABEAU - HIS POV 268

(81a)
Her body tumbles th~ough the air. Suddenly - as if in
 69

268 cont 268

SLOW MOTION - her pale arms blur, begin to widen amor-

phously, turning brown in color.

269 BACK TO PHILLIPE 269

Wathing incredulously.

270 BACK TO ISABEAU 270

Almost floating. As if time itself had stopped for one

magi~ moment, her long, fulltbodied locks of hair rise
in one united mass, now telescope down into a sharp narrow
crest at the top of her head.

271 BACK TO HORIZON 271

MORE STABBING SUN RAYS shoot upward!

0 272 BACK TO ISABEAU 272

The arms have become WINGS! The transformation is nearly

complete. What is now essentially a bird begins to flap
desperately, trying to catch an updrafting air current.

273 BACK TO PHILLIPE 273

Watching. Wide-eyed.

274 BACK TO HAWK 274

The HAWK's body flutters down.the final distance between

it and the ground, its wings beating frantically. Suddenly
- at the last possible second - IT CATCHES AN AIR CURRENT
- its feeble wings extend to take advantage of it.

The HAWK hovers - then SHOOTS ~ACK UP INTO THE AIR, riding
() the current, taking off for the mountains beyond.

275 ANGLE ON TRAP D00~ 27 5

(82)
JEHAN's sword juts through the door, separates what's left
of the timbers -·the wood crumbles away in sections.
JEHAN steps out onto the roof, looks around, astonished.
The roof is emoty. Phillipe is gone as well! He crosses
quickly to the parapet, looks down.

276 ANGLE ON ROCKS - HIS POV 276

The jagged rocks of the countryside below, seen past the

out-jutting carvings of the gargoyles. Nothing else is
visible.

277 BACK TO JEHAN 277

Totally confused. He checks the empty roof area with a

puzzled look, is about to start back for the doorway:
THE SOUND OF A PIECE OF STONE CRUMBLING AWAY stops him.
He turns back, looks over the parapet again:
 70

277 cont 277

Tiny pebbles hit the ground below.

JEHAN leans over farther. Examining the wall below where

the gargoyles jut out. Visible inside the grinning stone
teeth of one open-mouthed gargoyle - A HUMANHAND.

278 ANGLE ON PHILLIPE 278

PHILLIPE is wedged between two gargoyles below the parapet
lip. He hangs on desperately, looks up at JEHAN.

PHILLIPE
(nervous smile)
Looks like a beautiful day.

JEHAN
Wh~re's the woman?
0
PHILLIPE
Woman?

JEHAN whistles his sword. It cracks against the face

of a gargoyle, splitting the stone away as SPARKS FLY.
Half the gargoyle's face plummets down the dizzying
distance to the countryside below;,

JEHAN
Where is she?

PHILLIPE
She •.. flew away ...

Enraged, JEHAN lifts his sword abov,e his head.

PHILLIPE (cont.)
God}s truth, she flew away!
()
His eyes slam shut in terror! Suddenly - a dull THUNK
is heard. Then ~ilence. PHILLIPE's eyes open again,
look up.

279 CLOSE ON JEHAN 279

Between two glassy eyes - an arrow is deeoly embedded in

JEHAN's forehead. He tumbles over the top of the parapet.

280 ANGLE ON GROUND 280

JEHAN's body hits the ground.

281 EXT. NEARBY RIDGE - DAY 281

NAVARRE stands near his Stallion between some rocks on

a nearby ridge, now lowers his longbow.

282 BACK TO PHILLIPE 282

Having seen. Sighing with relief.

 71

282 cont 282

PHILLIPE
It always pays to tell the· truth.
Thank you, Lord, I see that now •.•

283 EXT. ABBEY ENTRANCE - DAY 283

(83)
NAVARRE dismounts. His face scans the sky, concerned.

NAVARRE
Hoy~

284 ANGLE ON SKIES - HIS POV 284

Empty skies. Silence. Just the whistle of the wind.

285 BACK TO NAVARRE 285

... NAVARRE (c9nt.)

The echo of his yell rolls across the landscape, then

dies. Still nothing. NAVARRE lowers his eyes. Suddenly
- A SHRIEK from above! His head snaps around:

The HAWK circles into frame, beating its wings irregularly,

heading down toward him in a cro~ked path.

The HAWK lands on his wrist. NAVARRE tenderly strokes

the back of her head. The bird flaps its wings in
recognition.

NAVARRE
Ssshh ... be still now.· •. be still.

The HAWK nips him on the finger •. · ·NAVARRE stifles a grin.

NAVARRE (cont.)
So that's the way you greet your
master, is it?

The door.of the abbey opens. IMPERIUS appears, heads

quickly for him. NAVARRE's face darkens. The monk stoos
a few feet .away. The two men stare at each other for a·
l~mg moment .

NAVARRE (cont.)
I thought you might be dead, old
man. There were times I wanted
to kill you myself.
(with difficulty)
I'm grateful for what you've done
here.

IMPERIUS
Vengeance - like forgiveness - is
the privilege of God. And He has
forgiven me.
 72

285 cont 285

NAVARRE
I am not God. I have not
forgiven you. And I cannot
forget.

PHILLIPE appears in the doorway. He watches and listens,

completely ignored by the other two men.

IMPERIUS
What will you do then? Kill
me? His Grace?
(at HAWK)
Kill her, perhaps?

NAVARRE
Perhaps.

0 IMPERIUS
That is not how your story ends!
Only I know how it ends~ God has
told me how the Curse may be
broken!

NAVARRE stiffens. He grabs IMPERIUS by the front of

his robe, pulls him in, eyeball to eyeball.

NAVARRE
Betray me again, old man?
Torture me with false hopes?

IMPERIUS
Three days hence, in the Cathedral
of Aquila, the Bishop hears the .
confession of the clergy. You have
only to confront him - both of you,
as Man and Woman, in the flesh, and
0 the Curse will be confounded. Broken.
The Evil One will seize his prize
and you are free.

PHILLIPE listens from the doorway. Rooted to the spot.

NAVARREstares at IMPERIUS, querying, unbelieving.

NAVARRE
It's not possible. As man and woman.
Together, in the flesh. Impossible.

IMPERIUS
As long as there is night and there
is day. But three days hence you'll
have your chance. In three days, at
Aquila, there will be a day without
night, and a night without day.

There is a long pause. NAVARRE ponders the impossible.

 73

285 cont 285

NAVARRE
(deadly stare)
Go back inside, old man. Back
to your wine. God has not for-
given you. He has simply made
you mad.

IMPERIUS pauses, hangs his head sadly, turns, walks

back inside the abbey, passing PHILLIPE.

NAVARRE turns to PHILLIPE, extends his hand.

NAVARRE (cont.)
I am in your debt.

PHILLIPE
Me, sir? Not a bit.-
.. (pause)
She ••• wanted me to deliver
a message.
(NAVARRE stares)
To say she still has hope.
Faith. In you.

NAVARRE's questioning eyes search-PHILLIPE for the

slightest trace of duplicity. He 'looks at the HAWK.
It cocks its head curiously .. He turns to PHILLIPE.

NAVARRE·
You're free ~o go.

PHILLIPE
I know that, sir~

NAVARRE·
Do what you. like•r
0
PHILLIPE
Yes; sir.
(pause)
Then you and •.. Ladyhawke will
be continuing on?

NAVARRE looks down at the bird with a soft, private smile.

NAVARRE
Ladyhawke ...
(snaps to)
Yes. To Aquila.

PHILLIPE
As it so happens, I'm •.. heading
in that general direction myself.

NAVARRE
Suit yourself.

PHILLIPE grins as they turn, start walking down to the

lower level of the abbey.
 74

285 cont 285

NAVARRE (cont.}
Take one of the Guard's horses.
You'll tend to the animals as
before. Keep a decent fire going.
Cook the meals •.•

PHILLIPE
That's my lot in life, sir.
Common as dirt. I cut my first
purse when I was seven years old.
From a gentleman going into Notre
Dame for High Mass. I thought I'd
better get him on the way in while
he still had a few coins left. That
night my mother cooked meat for the
first time in two years. My family
sort of invented poverty, you know,
and •••
()
NAVARRE
Still feeling sorry for yourself,
eh, boy?

PHILLIPE
Born sorry, Captain.;.
'
NAVARRE looks at him curious~y. -

PHILLIPE
(smiles)
And sure tordie that way.

286 EXT. SKY - DUSK 286

(84}
Dark storm clouds gather· ominously' ·on the horizon,
blocking out the sun THUNDER._ROLLS.
0 287 EXT. WOODS - DUSK ( CORTINA) ·:.. ' 287
(85) .'
NAVARRE and PHILLIPE ride together through the woods.
PHILLIPE sticKs his hand out to test for the oncoming
rain.

PHILLIPE
Looks like a big one, Captain.
We're going to get soaked.

NAVARRE glances up, uncomfortably preoccupied, now reins

in the Stallion.

NAVARRE
Find shelter. The sun is going
down.

PHILLIPE looks off at the totally.cloud-covered sky.

PHILLIPE
How can you tell?
 75
287 cont 287

NAVARRE dismounts, looks up at him

NAVARRE
After so many sunsets - how
can I not?

NAVARRE hands PHILLIPE his sword, then the reins to

the Stallion.

The~ flies down, perches on NAVARRE's arm. He

takes hold of the bird, strokes it comfortingly, gently
places it under the lapel of PHILLIPE's coat.

NAVARRE (cont.)
Take care of Ladyhawke.

NAVARRE starts off into the woods. PHILLIPE stares

(J after him, cradling
the huge sword.
the bird under his coat,
NAVARRE stops,
holding
looks back at him.

288 CLOSE ON PHILLIPE 288

PHILLIPE grins confidently, raises the sword in a

salute.

289 BACK TO NAVARRE 289

NAVARRE acknowledges the salute, then walks off into

the woods. LIGHTNING CREASES THE SCREEN! He has
disappeared.

290 BACK TO PHILLIPE 290

Sword upraised, the grin still frozen on his face.

His arm begins to tremble, unable to hold the heavy
weapon any longer. He lets it fall with a sigh of
0 relief.

291 EXT. ROADSIDE INN - DUSK (CANALE MONTERANO) 291

(86)
LIGHTNING~ THUNDER! The rain is falling heavily now.
Through the downpour, the ramshackle facade of a forlorn
roadside inn is visible. Farther past it - a huae,
creaking wooden stable.

292 INT. STABLE - DUSK 292

(87)
Droplets of rain seep in through cracks in the roof.
NAVARRE's horses shudder and stomp in their decaying
makeshift stalls. PHILLIPE sits on a pile of damp straw,
NAVARRE's sword lying next to him, glances up.

PHILLIPE
Hungry?
(no reaction)
Do you understand me, Ladyhawke?
 76

292 cont 292

The HAWK is perched on a timber above the loft. It looks

down with a disinterested gaze. PHILLIPE studies the bird
for a sign of recognition.

PHILLIPE (cont)
You know, it's my favorite thing
for dinner, hawk. I've eaten
thousands of them. Used to kill
one every day, just for practice.

The bird stares down impassively. PHILLIPE shurgs, hugs

his knees, shudders, miserable in the cold and damp.

PHILLIPE (cont.)
Serves me right for getting
involved in this nightmare.
Nightmare ... daymare •.• and then •..
0 'It will be neither night nor day .•. '
(snorts) --
Why not? Makes about as much
sense as the rest of it.

Suddenly - the HAWKruffles its feathers. Strange

sensations shiver through its body. It stretches its
wings, showing the first signs of impending distress.
PHILLIPE rises, unsure of what to do. He should stay,
but some innate sense of decency forbids it.

PHILLIPE (cont.)
Listen ... I'll just ... wait outside,
all right?

PHILLIPE rushes to Navarre's saddlebags, pulls out two

pairs of trousers and a shirt, places one pair of trousers
neatly in the straw, looks up at the HAWK.
() PHILLIPE
I can't vouch for the fit, but ...
(nice smile)
Take your time ...

He's out the stable door with the other pair of pants
and the shirt, disappears into the storm.

293 EXT. STABLE - NIGHT 293

(88)
PHILLIPE takes shelter beneath an overhang, squints out
into the pouring rain as he starts changing pants.

294 ANGLE ON I~N - HIS POV 294

WARMLIGHT glows through the window of the Inn. SMOKE

wafts from its chimney. Now arriving in front~ A
LAUGHING YOUNG COUPLE in a covered cart. They get out,
run for the door. As they open it, WE HEAR LAUGHTER
from inside and the LILTING MUSIC of a lute.
 77

295 BACK TO PHILLIPE 295

Having changed clothes. He stares longingly at the

Inn.

PHILLIPE turns, then stares into the blackness of the

barn through the open door. Seeing and hearing nothing,
he KNOCKS loudly on the side.

PHILLIPE
Miss? My lady?
(no response - calls out)
I'm coming in! ...

296 INT. STABLE - NIGHT (CANALE MONTERANO) 296

(89)
The stable is dark. Silent. Just a SNORT from one of
the horses and the drumming of the RAIN on the roof.

PHILLIPE
0 (small voice)
Miss? Miss, it's me •..

Suddenly - SOMETHING grazes his arm from behind!

PHILLIPE CRIES OUT, terrified. ISABEAU emerges from
the shadows with a faint smile, wearing the trousers.

PHILLIPE (cont.)
(shyly)
Phillipe the Brave, remember?

ISABEAU
How •.. is he?

PHILLIPE
Alive. Like you. Full of hope.
Like you.
(confidently)
He left you in my charge, as you
0 can see by his sword over there.
'Tell her we two speak as one,'
he said. 'And she will follow
your instructions as my own.'

ISABEAU
Really.
(quickly)
No - don't swear.

PHILLIPE smiles. She looks up.

ISABEAU (cont.)
What ... do you instruct?
 78

296 cont 296

PHILLIPE
I instruct you to sit by a warm
fire. To drink a cup of sweet
wine, and to listen to bright
music, cheerfully played.

PHILLIPE crosses to Navarre's sword, kneels to pick it

up. ISABEAU smiles almost maternally.

ISABEAU
Ah, so you intend to be my
protector as well, eh? I'm
flattered.

PHILLIPE
In a manner of speaking, my
lady. The truth is •••
.. ( smile)
() He'll kill me•if I lose it.

297 EXT. STABLE - NIGHT (CANALE MONTERANO) 297

(90)
ISABEAU and PHILLIPE emerge from the stable, covering
their heads with a horse blanket. The rain falls in
sheets. PHILLIPE carries Navarre's sword, wrapped in
burlap.

PHILLIPE grins. ISABEAU's eyes _sparkle with anticipation.

They start across for the Inn, heads down, SUDDENLY
STUMBLE HEADLONGINTO THE SIDE OF A HORSE! ISABEAU
looks up, GASPS:

298 ANGLE ON CEZAR - THEIR Pov· 298

The terrifying face of CEZAR the Wolf Hunter glares down

through the torrent .. His face is streaked with blood.
0 CEZAR
Watch where you're going.

PHILLIPE
Yes, sir. Thank you, sir.

ISABEAU stares, SUDDENLY STRUCK DUMB WITH HORROR: CEZAR's pack

horse is laden with freshly killed wolf pelts! An ugly
display of blood, fur and sightless eyes. SHE SCREAMS as
PHILLIPE tries to comfort her.

PHILLIPE (cont.)
Isabeau1 Isabeau ...

CEZAR's lips peel back in a cruel smile, revealing blackened

gums and broken teeth.
 79

298 cont 298

CEZAR
Isabeau?
(evil grin)
Isabeau •..

PHILLIPE shoves ISABEAU to one side, unravels the burlap

from Navarre's gleaming broadsword, sticks it up toward
CEZAR's face with great difficulty.

PHILLIPE
Lay one hand on her and you'll
find it on the ground next to
your head. Now ride on.

CEZAR feints a move at.PHILLIPE, amused by his display of

bravado. PHILLIPE's sword whistles clumsily through the
air as CEZAR withdraws ..
his hand quickly •
0 CEZAR
Easy, little man. You wouldn't
cut someone for trying to make
a living, would you?-

PHILLIPE
Are you deaf? Ride on!

PHILLIPE pricks the rump of CEZAR's horse with the tip

of Navarre's sword. The animal explodes forward, gallop-
ing off for the woods beyond. · PHILLIPE turns triumphantly
to ISABEAU.

PHILLIPE (cont. )
Well. I guess we·showed him what ...
'
ISABEAU IS GONE! PHILLIPE hears a ~WISE, looks off toward
the barn.

Scs. 91 to 9 4 pt. of or_~ginal sc'ript OMITTED

299 ANGLE ON BARN -,HIS POV 299

(94pt)
Suddenly-- ISABEAU bursts through the barn door, riding
Navarre's Stallion! PHILLIPE jumps aside as the animal
thunders by, heading for the woods after CEZAR.

300 BACK TO PHILLIPE 300

Rising from the mud, looking off toward the woods.

PHILLIPE
.H~.'11 kill me ... He'll kill me!

301 EXT. SKY - NIGHT 301

(95)
The violent storm rages on with THUNDER and LIGHTNING.
Dimly perceptible underneath: the HOWL OF A WOLF echoing
through the night sky.
 80

NOTE: (SPECIAL EFFECTS) - DURING THE FOLLOWING SEQUENCE

LIGHTNING WILL HIT A TREE, SETTING IT ON FIRE

302 EXT. WOODS - NIGHT (SORIANO) 302

ISABEAU rides through the dense woods. Low hanging twigs

snap against her face but she ignores them, continuing her
search. Spotting something, she reins in Navarre's horse.

303 ANGLE ON CEZAR' S H0RSES·--HER POV 303

Cezar's horses:- tied to a tree in a small clearing.

There is no sign of the Wolf Hunter himself.

304 BACK TO ISABEAU 304

She rides up cautiously, dismounts. Suddenly - THE WOLF

HOWL - closer. ISABEAU's head snaps around. She reaches
into Navarre's s~ddlebag, withdraws a razor-sharp dagger.
0 Clutching it tightly, she heads into the trees.

ISABEAU continues. A BRANCH SNAPS beneath her as she

steps on it. She freezes. There is no reacting sound.
Silently cursing, she starts off again, suddenly stops.

305 ANGLE ON CEZAR - HER POV 305

In the distance - the ghostly outl•ine of CEZAR, his back

turned to her. He leans over.
..-~
306 CLOSE ON CEZAR 306

Setting a vicious looking steel wolf trap. He reaches

down, covers it with camouf lag_e. s_1:,1ddenly - he blinks.
His nose twitches, reading the smell of the wind. CEZAR
continues on, disappearing into the·:,'·darkness.

307 BACK TO ISABEAU 307

0. ....
Setting off sile~tly through the trees in pursuit. She
arrives at the spot where she saw CEZAR, looks around,
sees nothing, advances half a step.

Her feet move forward. Waiting for them under camouflage,

inches away·- THE YAWNING STEEL JAWS OF THE TRAP!

Her feet graze the side of the trao as she walks past,
unaware of the danger at her feet. She continues on
through the trees. CAMERA PANS:

CEZAR slowly peers out from behind a tree. He watches,

eyes gleaming with malice, now directly behind her.

308 INT. WOODS 308

A RUSTLING in another part of the woods. Now emerging -

a huge BLACK WOLF! Steam exudes from its nostrils. Its
nose searches for a scent.
 81

309 BACK TO ISABEAU 309

Stopped once again. Feeling the eerie silence.

310 BACK TO CEZAR 310

Noiselessly picking up a stone. He tosses it.

The stone hits the trap - the jaws snap shut with a loud
vicious CLANG!

311 BACK TO ISABEAU 311

.Wheeling around in terror, her dagger raised! She

squints into the darkness. Silence. Excruciating
silence.

312 BACK TO WOLF 312

() The BLACK WOLF has turned at the sound. He advances

slowly in Isabeau's direction.

313 ANGLE ON AIR 313

Another stone flies silently through the night air.

As the. :stone hi ts - ANOTHER TRAP SLAMS SHUT!

314 BACK TO ISABEAU 314

Spinning in the opposite direction! She waits, panting.

ISABEAU
Show yourself!
( silence)
Coward!

315 CLOSE ON CEZAR 315

0
Grinning cruelly. Keeping low. Perfectly still.

316 ANGLE INTO WOODS 316

Suddenly: another trap slams shut! This one accompanied

by the AGONIZED SCREAM OF A WOLF IN TERRIBLE PAIN!

317 BACK TO ISABEAU 317

Frozen. Aghast.

318 BACK TO CEZAR 318

His evil eyes flashing with feverish anticipation. He

rushes headlong through the woods, arriving at the trap:

A HUGE DEAD WOLF lies victim in the jagged jaws of the

trap. CEZAR looks down with a grin of victory.

He releases the dead animal; resetting the trap.

 82

318 cont 318

Suddenly, from behind: ANOTHER, DEEPER GROWL! CEZAR

spins!

THE BLACK WOLF stands directly behind him! It flashes

fearsome fangs dripping with saliva!

CEZAR spins on his heels in terror, rising to get away!

ISABEAU suddenly
trips
pushing
the off-balance
stands

him down into

directly
man with
the jaws
in front
her leg,
of him!
simultaneously
of the trap which SLAM
She -
SHUT~

CEZAR's death scream chokes off abruptly - the WOLF

bounds away into the dark woods, disappearing into the
blackness.

0 ISABEAU gasps for breath, her chest heaving, totally

drained. Suddenly - from-behind her - BRANCHES CRACK!

319 ANGLE ON PHILLIPE 319

PHILLIPE stands in the woods behind her, Navarre's

sword in his hand, totally appalled at what he sees.
ISABEAU stares wordlessly, starts to move forward as:

320 CLOSE ON ISABEAU'S ANKLE 320

A bloody hand grabs her ankle! ISABEAU SCREAMS!

321 CLOSE ON CEZAR 321

The twisted, dying face of CEZAR looks up at ISABEAU

defiantly. He emits a gutteral GROWL, then expires.

322 BACK TO ISABEAU 322

0
She hangs her head in utter exhaustion.

323 WIDER ANGLE 323

PHILLIPE is rooted to the spot, horrified by what he

realizes has just taken place.

ISABEAU acknowledges his presence silently, crosses to

the dead wolf by the trap, stares, then·leans down.

Slipping her arms under the carcass, she rises, holding

the dead animal in her arms. Her eyes are glassed over,
but tears will not fall.

ISABEAU
I wish it were him.
 83

323 cont 323

PHILLIPE
(softly)
You don't mean that, my lady.
No one can wish for love to
die.

ISABEAU smiles bitterly.

ISABEAU
Really? And what do_you know
of love?

She crosses slowly to the base of a tree, carrying the

dead wolf in her arms.

PHILLIPE
No~hing, I suppose. I've .. .
0 never been in love.
dreams, of course,
I have .. .
,,.but I've
never lived the dream.

ISABEAU
Then you're a fortunate man.

ISABEAU kneels, begins placing rocks around and over

the dead wolf, fashioning a makeshift tomb. Her gaze
is locked, as a deep, abiding anger begins to well up
inside.

ISABEAU (cont. )
I've lived the dream and I
wish him dead. I wish us both
dead. Tell him that.
(angrier)
Tell him I curse the day I met
him. Tell him, in fact - I
0 never loved him. Tell him ...

She looks up, tears falling now as a desperate rage

consumes her.

ISABEAU (cont.)
Oh, how can he go on, day after
day, in pain and anguish as great
as mine, and still pretend there's
an answer!

A long pause. PHILLIPE's eyes become moist. His voice

is tiny.

PHILLIPE
He ... loves you.

ISABEAU rises, her cheeks wet with tears. She nods

imperceptibly with a deeply embarrassed half-smile.
 84

323 cont 323

ISABEAU
It's ... silly, really, but .•.
every night, when I wake up,
I expect to see him. I know
he won't be there, but somehow .•.
(eyes closed,
remembering)
I can feel
fingers,
the tips
nestled
of his
behind
coming down ... so •.. tracing
my ear ...
the
--
line of my chin .•• touching my
lips ... releasing a smile •••
then covering it with a kiss.

ISABEAU stops. Her eyes open. She looks at PHILLIPE

who stares back, eyes now filled with tears.

PHILLl.PE
You have lived the dream, my
lady~d you will again - if
there's a God in heaven.

ISABEAU
Even if there is ••.
(soft stare)
Promise you won't leave us.

PHILLIPE
(shy)
I .•• asked the Captain not to
rely on me too heavily, you
know ...
(nice smile)
I told my mother I'd be back
in an hour ten years ago.

ISABEAU
We've ... never had someone to
help us until now.

PHILLIPE
Don't you worry, my lady.
After all - how else can I
live the dream?

They exchange a mutual grin with tears falling freely,

then lock themselves in a tight embrace.

324 EXT. SKY - NIGHT 324

THE CRACKLE OF LIGHTNING:

325 EXT. ABBEY - NIGHT (ROCCA CALASCIO) 325

Several GUARDS investigate the abbey, holding torches.

MARQUET stands near the drawbridge, turns as one GUARD
comes up to -him.
 85

325 cont 325

GUARD
Empty, sir. But we found
this ...

326 INSERT SHOT - HAWKFEATHER 326

The GUARD's hand holds the bloody feather of a Hawk!

327 BACK TO MARQUET 327

Squinting cruelly through the torchlight at the feather.
He grins, gestures to the abbey.

MARQUET
Burn th-is.

328 EXT. ABBEY - NigHT - POV FROM BRIDGE 328

0 Seen from a ridge near
-
the abbey - FLAMES SHOOT ~P,
engulfing the decaying building.

Scs. 96 - 100 in Original Script OMITTED

329 EXT. MOUNTAIN - DAWN (CAMP 4) (CORTINA) 329

(101)
The first morning rays of the sun spray up into the
sky behind the snowy crest of. a distant mountain.
Now flying into the morning light - the HAWK. It
descends in lazy circles, landing on the limb of a
tree.

330 ANGLE ON PHILLIPE 330

PHILLIPE lies sleeping by the ruins of a fire, Navarre's

sword clutched against his chest. AN ARM REACHES DOWN-
yanks the sword free! PHILLIPE wakes with a start.
0
NAVARRE
(looking down coldly)
The roads to Aquila will be
guarded. The only way open
is over the mountain. It will
be cold. There's snow above
the timberline.

NAVARRE starts for his horse. PHILLIPE hesitates, kicks

at the dead embers of the fire.

PHILLIPE
They'll kill you. And her.
You won't get within a hundred
yards of the Bishop.

NAVARRE swings into the saddle, looks down coldly, then

kicks his horse. PHILLIPE hops onto his own horse, yells
after him.
 86
330 cont 330

PHILLIPE
You should listen to me~ I
don't have to come along, you
know! I'm still a young man!
I've got prospects! ••.

331 EXT. MOUNTAINSIDE - DAY - WIDE SHOT (IST IMAGE) 331

(102) (CORTINA)

The snowy white face of the mountain, just above the

timberline. Seen from a distance: TWO TINY FIGURES
(NAVARRE and PHILLIPE) black against the landscape.

332 EXT. MOUNTAIN - CLOSE ON IMPERIUS (2ND IMAGE) 332

(102a) (CORTINA)

IMPERIUS watche~ them approach from his mule cart,

Q grits his teeth against the.cold.

333 EXT. WOODS - DAY - TRAVELLING SHOT (3RD IMAGE) 333

(102b) (CORTINA)

NAVARREand PHILLIPE ride together in silence. PHILLIPE

tries to stifle a yawn, but can't. He covers his mouth,
mutters to himself.

PHILLIPE
What a night •.•

NAVARRE looks over·curiously. PHILLIPE rides in silence.

NAVARRE
(pause)
What ... a night?

PHILLIPE
Hhmm? Oh, nothing I couldn't
handle, Captain.

PHILLIPE smiles nicely, turns his eyes front again.

NAVARRE casts a suspicious glance, then suddenly hears
A FAMILIAR CRY, looks up:

334 ANGLE ON HAWK - HIS POV 334

The HAWK flies down to join the riders.

335 BACK TO SCENE 335

NAVARRE lifts his arm for the HAWK to land on, but -
IT FLIES PAST HD1 AND ONTO THE ARM OF PHILLIPE!

NAVARRE stares incredulously as a suddenly selfconscious

PHILLIPE flashes an embarrassed smile, then looks down
at the bird.
 87
335 cont 335

PHILLIPE
Nice bird ... good little hawk ...
(shakes arm,
whispers urgently)
Go to your master, now ...
(shakes again)
Go on, Ladyhawke ..•

The bird remains locked on PHILLIPE's arm, cocks its

head at him pleasantly. PHILLIPE squirms in the saddle.
They ride on.

NAVARRE
Tell me about it.

PHILLIPE
Cap_tain? ...
0 NAVARRE
Last night, boy. Tell me
about it.

PHILLIPE
What's to tell?
(at HAWK)
Go on, now. Go, go, go •..
(no response,
looks up) ·
We ... ran into a bit of trouble
on our way to an Inn, and ...

NAVARRE PHILLIPE
You took Isabeau to (at HAWK)
an Inn? Fly to your master, fly to
the one you love ...
C) The HAWK remains locked on PHILLIPE's arm, looking up at
him. PHILLIPE turns to NAVARRE, red-faced.

PHILLIPE
Well, you see first, we went
to this stable ...

NAVARRE PHILLIPE
Stable? What did you · We changed clothes, and ...
do in the stable?

NAVARRE
You changed clothes in the stable?

PHILLIPE NAVARRE
Well, not together, of You left her alone?
course ...

PHILLIPE NAVARRE
Never! Then you did change clothes
togethe:r!
 88

335 cont 335

PHILLIPE NAVARRE
No! Don't lie to me, boy!

NAVARRE reins in his horse, draws his sword as the HAWK

SHRIEKS, flies over to him, settling on his arm

NAVARRE looks down at the HAWK, eyes softening, a sadness

welling up inside him

PHILLIPE
(quietly)
She's the most wonderful
woman who ever lived, sir,
and I can't say I haven't
had my fantasies, but the
truth is - all she did was
ta!k about you.
0
NAVARRE looks over, replacing his sword, eyes s~arching
into PHILLIPE.

NAVARRE
Tell me what she said. Everything
she said. And I warn you, boy -
I'll know if the words are yours.

NAVARRE starts forward again-, PHILLIPE riding slightly

behind. The pickpocket swallows hard.

PHILLIPE
She was •.. sad at first. She
talked about the day you met.
She ... cursed it.

NAVARRE's eyes blink.

0 PHILLIPE (cont.)
And then she said to say she ...
(with difficulty)
never loved you ...

NAVARRE looks down at the HAWK, then closes his eyes in

pain.

PHILLIPE (cont.)
But then she remembered a ...
gesture of yours - the way you
had of running your fingers down
from the back of her ear ...
tracing the line of her chin ...

NAVARRE's eyes open again. Tears have formed.

 89
335 cont 335

PHILLIPE (cont.)
(with tenderness)
•.• touching her lips •.. and her
eyes glowed, no - she glowed -
the entire person -=---as she
remembered you ... "releasing a
smile ... then covering it with
a kiss•~ .••

They ride on in silence.

PHILLIPE (cont.)
She loves you more than life,
sir. She's had to.

NAVARRE looks down at the HAWK, then over at PHILLIPE

with a small, sad smile.
0 NAVARRE
Did you know that hawks ...
and wolves ... mate for life?

PHILLIPE
No.

NAVARRE
The Bishop didn.' t even leave
us that, boy. Not even that.

Suddenly NAVARRE stops dead in his tracks!

336 ANGLE ON IMPERIUS - HIS POV 336

IMPERIUS blocks their path with his cart. His gaze is

serious.

0 IMPERIUS
Still planning to kill His Grace?

NAVARRE
You're the one I ought to kill,
old man. And I will, if you keep
following me.

IMPERIUS
Follow~, then. To Aquila. Where
two days from now you can face the
Bishop in the cathedral, with Isabeau
by your side - and watch as the Evil
One claims his reward.

NAVARRE
I'll be in Aquila tomorrow. One
way or the other - there will
finally be an end to it.
 90

336 cont 336

IMPERIUS
(at PHILLIPE)
Tell him he's wrong! Tell him
to give me a chance! -

PHILLIPE avoids NAVARRE's gaze, clears his throat.

PHILLIPE
One day ••. more or less •.. what
could it matter? Why not give
him a chance •..

NAVARRE stares coldly at PHILLIPE.

NAVARRE
You too.

They lock eyes s~lently. The icy wind whistles.

0
NAVARRE (cont.)
Stay here, then. With the old
man. Drink - and delude each
other with dreams.

PHILLIPE
I'm coming with you.

NAVARRE
No.
(pause)
There will be too many at my
front to have to watch my back
as well.

NAVARRE wheels his horse, rides off alone through the

snow. PHILLIPE has been bitterly stung.

IMPERIUS
You did the honorable thing,
little thief. You spoke the
truth.

PHILLIPE
I should have known better.
(looks up)
Every happy moment in my life
has come from lying.
337 EXT. MOUNTAINSIDE - DAY (4TH IMAGE) (CORTINA) 337
(103)
A wickedly COLD WIND whips through the trees. Approach-
ing in the distance - the lone figure of NAVARRE - a
black stick against the white landscape.

The HAWKhuddles close to him for protection, nips his

hand in irritation from the cold. NAVARRE looks down
at the bird,. affectionate and sad, then off toward the
mountain ahead.
 .91

338 EXT. MOUNTAINSIDE - DAY (PT. 4TH IMAGE) (CORTINA) 338

(103a)
Several miles back: PHILLIPE and IMPERIUS ride on the
mule ...cart, with Phillipe's horse tied behind. They follow
the trail of Navarre's Stallion.

PHILLIPE
You're a man of science,
Imperius ...

IMPERIUS
I like to think so.

PHILLIPE
Then tell me: Where does
the wind come from?

IMPERIUS
(shrugs)
0 Who knows?

PHILLIPE
And why does the sun make a
man's skin dark but bleach
linen white?

IMPERIUS
I haven't the slightest idea.

PHILLIPE
And where does a flame go when
you blow it out?

IMPERIUS
Ah! Where indeed ...

PHILLIPE
Do you mind my asking you all
these questions?

IMPERIUS
Don't be silly, my son. How
else will you learn?

Sc. 104 in Original Script OMITTED

339 EXT. SKY - NIGHT 339

(105)
A GLOWING MOON rises in the night sky, reflecting off
the snow drifts at the top of the mountain crest.

340 EXT. CAMPSITE - NIGHT (CA.~P 5) (CORTINA) 340

(106)
Navarre's broadsword lies in the snow near a camnfire.
Spare wood is stacked nearby. ISABEAU huddles beneath
Navarre's cloak which he's left for her.

FROM O.S. - THE HOWL OF A WOLF!

 92

340 cont 340

ISABEAU's head turns expectantly. Suddenly - from the

opposite direction - SNOW CRUNCHES. She swivels to look.

PHILLIPE slowly emerges from the trees. He crosses to

a relieved ISABEAU in silence.

ISABEAU
There you are. It suddenly
seemed so ... different, spending
a night without seeing you.

PHILLIPE drinks in the sight of her, always new, always

radiant. He speaks hesitantly, with difficulty.

PHILLIPE
This maybe ... our last night
together, Isabeau ...
0 ISABEAU
No •..
(rising)
Why?

PHILLIPE
There's a chance to break the
curse.

ISABEAU stares in silent shock, dumbfounded.

PHILLIPE (cont.)
I didn't want to torture you
with possibilities. Didn't
want to tell you until I
believed - really believed -
that it could happen. We have
a plan ...

ISABEAU
We? You and Navarre?

PHILLIPE
(swallowing)
No. Me ...
( looks off)
And him.

ISABEAU turns, her face suddenly reflecting shock, then

disappointment.

341 ANGLE ON IMPERIUS - HER POV 341

IMPERIUS emerges from the shadows. His face is tense,

but his gaze is determined.
 93

342 EXT. ICY RIVER - NIGHT (CORTINA & STUDIO) 342

(107)
CAMERA PANS DOWN from the moon to ISABEAU, standing by
the edge of the ice-covered pond. She wears Navarre's
cloak, shivers in the cold. THE HOWL OF A WOLF echoes
through the woods beyond. She looks off.

Suddenly - ANGRY MUMBLING is heard nearby. ISABEAU

look nervously over her shoulder.

343 ANGLE ON SNOW MOUND 343

A mound of snow is piled against the side of the river

bank. Past it - a deep pit has been dug. A large clump
of snow flies up and out of the pit. Navarre's sword is
buried deeply into the ice and snow. A rope attached to
it trails off down into the pit.

IMPERIUS' ··VOICE
0 Ow! Watch whe~e you're
you impossible dunderhead!
digging,

PHILLIPE'S VOICE
Watch it yourself or I'll leave
you down in this pit for the
wolf's dinner ...

344 ANGLE INTO PIT (STUDIO) 344

IMPERIUS and PHILLIPE are at the bottom of the pit.

They're finished. They gaze at the slick, icy walls.
IMPERIUS grabs hold of the rope, tests its strength.

IMPERIUS
Me first. You'll have to
push.

IMPERIUS hoists himself up, digging his feet into the

0 pit wall for support. PHILLIPE reaches under, strains
up against the monk's enormous behind.

PHILLIPE
When you kneel before the altar ...
how do you get up again?

IMPERIUS scowls, keeping climbing, painfully pulls him-

self out of the pit, lies panting on the snow.

Suddenly - THE HOWL OF_A WOLF~ Closer. Louder

IMPERIUS
(whisper)
Quickly! He's coming!

PHILLIPE scurries uo the side of the pit as if by magic.

He joins IMPERIUS. They look off at ISABEAU.

345 ANGLE ON ISABEAU 345

ISABEAU stares across the pond. ANOTHER HOWL - CLOSE!

 94

345 cont 345

She looks back at PHILLIPE and IMPERIUS, unsure.

PHILLIPE
(urgent whisper)
It's the only way. Do it! ...

ISABEAU turns back. Her eyes widen as they catch sight

of:

346 ANGLE ON WOLF 346

THE HUGE WOLF, emerging from the timberline. It's nose

is raised, searching for a scent.

ISABEAU starts out slowly across the edge of the pond,

trying to get close enough for the animal to spot her.

347 ANGLE ON ICE 347

0
As ISABEAU's feet cross the ice. TINY CRACKS spread
out like a spider's web.

348 BACK TO THE WOLF 348

Approaching the pond. It stops, seeing ISABEAU.

349 BACK TO ISABEAU 349

Stopped as well. Making eye contact with the animal.

350 BACK TO IMPERIUS AND PHILLIPE 350

Burying themselves tensely in the snow behind the pit.

IMPERIUS
That's right, Isabeau ... lead
0 him to the pit ...

351 BACK TO THE WOLF 351

The WOLF starts across the ice with difficulty, unable

to get traction, but irresistably drawn to ISABEAU.

352 BACK TO ISABEAU 352

Backing up toward the snow in front of t~e pit.

The WOLF matches her step for step, riveted by her

presence.

As ISABEAU takes another step - she stumbles! The ice

has cracked beneath her! ISABEAU regains her feet,
scrambles desperately for the bank.

353 BACK TO WOLF 353

Rushing across the pond after her! Suddenly: THE

ICE GIVES WAY BENEATH IT~ A black chasm of water
 95

353 cont 353

appears, engulfing the animal as it disappears!

ISABEAU plunges back onto the ice to save the drowning

WOLF, ignoring the CRACKS which appear with her every
step.

354 BACK TO PHILLIPE 354

PHILLIPE
Oh, my God!

PHILLIPE grabs Navarre's sword with the rope attached,

quickly vaults up and over the snow mound.

355 CLOSE ON ISABEAU 355

The WOLF surfac~s, in desperate trouble. He claws

0 wildly at the edge of the hole, then sinks from view
again.

ISABEAU stabs an arm down into the water, finds a hand-

ful of fur, pulls hard, but in vain. The weight of the
animal is dragging her into the hole! She hangs on
frantically, unwilling to let go, is about to be pulled
in as - PHILLIPE clamos his hands on her ankles!

He pulls hard, but he's losing traction. He starts to

slide! The WOLF surfaces, SNARLING in confusion and
pain.

Suddenly - IMPERIUS appea~s next to PHILLIPE1 He takes

over holding ISABEAU, his greater weight-steadying her.

IMPERIUS
Help her! Get him out!
0 PHILLIPE rises, thinking, then suddenly jams Navarre's
sword into the ice. CRACKS SPREAD - but it holds. He
grabs the attached:rope, then plunges into the icv black
water with the WOLF!

The WOLF surfaces, snarling, lashing out desperately

with raking claws. PHILLIPE coils the rope around its
neck - its snaooing jaws take a bite out of his shoulder:
He SCREAMS in pain as the WOLF rakes his chest again.

PHILLIPE scrambles back onto the ice, pulls on the rope

with all his might. The WOLF surfaces, gulping for air,
its lungs filled with water. ISABEAU grabs its neck.
PHILLIPE strains against the rope. Together, the two
of them painfully haul the animal up onto the ice.

The WOLF shudders on its side, tries feebly to get to

its feet, then collapses. ISABEAU strokes it tenderly,
burying her head in its icy wet fur. The WOLF looks up
with wild helpless eyes, flanks heaving, totally drained.

ISABEAU looks up at IMPERIUS with sad eyes, exhausted.

 96
-
355 cont 355

ISABEAQ
We must live, Father. As human
beings. Our lives are in your
hands now.

356 EXT. SKY - DAWN (CAMP 6) (CORTINA) 356

(108)
The first rays of the MORNING SUN begin to creep across
the melting snowscape. ISABEAU and the WOLF lie sleep-
ing on the river bank under Navarre's huge, heavy cloak.

PHILLIPE wakes near the sleeping IMPERIUS. He glances

over to where he left ISABEAU. He stares, wide-eyed.

357 ANGLE ON ISABEAU 357

FOR ONE CRUEL MOMENT- TIME WARPS - MISSING A BEAT!

()
For one split second - ISABEAU and NAVARRE come face
to face. In the flesh.

SIMULTANEOUSLY

Her hand reaches out to him. Her fingers flutter. Her-

arm crooks, then dissolves.into a feathery wing.

The WOLF stiffens beneath the blanket, a shudder racking

its backbone. Its body unbends, its claws begin their
metamorphosis into hands.

Her soft, dove-like eyes harden and narrow, becoming

the .steely penetrating predatory gaze of the HAWK.

The black fur hardens, stiffens into the battle-scarred

back of Charles of NAVARRE. He reaches out desperately
for his vanishing love with a TORTURED MOANOF AGONY.
0
358 BACK TO PHILLIPE 358

Staring. Deeply, painfully affected.

359 BACK TO SCENE 359

NAVARRE slumps under the blanket. The HAWK, reborn for

another day, stretches its magnificent wings and takes
off into the air.

DISSOLVE THROUGH TO:

360 SHOT OF NAVARRE 360

(109)
NAVARRE stands, exhausted and sad. He looks off, spotting
PHILLIPE and IMPERIUS. His eyes flick around the area,
searching.
 97

360 cont 360

NAVARRE
My sword.
(no reply)
Where is it?

PHILLIPE
Gone. It ••• fell through the
ice last night, crossing the
river.

NAVARRE
Damn you! Damn you to Hell!
That sword was mine from my
father and three fathers before
him~ The last bit of honor I
possessedt

0 PHILLIPE
I can 't undo it! But don' t.
you see? There is no mission
of honour now. No jewel to be
stuck in a sword hilt as a symbol
of your meaningless death~
(desperate)
But there's a chance for life!
A new life! With her, if you
wirr-only listen taus!

NAVARRE
(pause - ice)-· :.1..
I don't need a sword to kill
the Bishop.

NAVARRE turns, starts for the Stallion.

IMPERIUS
0 Navarre ••. Navarre& •• don't go!

PHILLIPE crosses in front of him, blocking NAVARRE's

way.

PHILLIPE
Go ahead, then. Kill yourself~
Kill her too! You never cared
as much for her as you did for
yourself anyway!

NAVARRE ROARS in fury, reaches out to grab PHILLIPE

who ducks, but not quite in time! He struggles to
get free, his shirt ripping away as he tumbles backward!

361 ANGLE ON PHILLIPE 361

Lying in the snow, panting. His chest is covered with
claw marks, wicked gashes, barely healing. A horrible
red welt oozes blood from under his shoulder.
 98 _

361 cont 361

NAVARRE stares at the ..wounds as if remembering in some

half-forgotten dream. ~IMPERIUS rises.

IMPERIUS
It ••• happened last night. While
he was saving your life.

NAVARRE turns away, troubled by the.sight. The furious

rage passes through him, giving way to sadness and shame·.

The HAWKswoops down! The bird lands on the Stallion's

saddle a short distance away, cocks its head questioningly.
NAVARRE watches, then turns back to PHILLIPE, who rises to
face him. The two men lock eyes.

NAVARRE
Fo~give me.
0 .
PHILLIPE
I can't.

NAVARREblinks. PHILLIPE cracks a tiny smile.

PHILLIPE (cont. )
It's not my place, ·sir. · I 'm
common as dirt, just like my
mother said.

NAVARRE
Your mother did not know you as
I do.
PHILLIPE
(with difficulty)
My mother did not know me at all,
Captain. She died two days after
0 I was born - hanged for stealing
a loaf of bread. I ••• wasn't trying
to be a hero last.night, it's just
that ••. I .•• never had a friend before.

NAVARREreaches out, draws PHILLIPE into a deeply felt

warm bear hug. PHILLIPE grins. IMPERIUS beams.

362 EXT. SNOW MOUND - DAY 362

(110)
CAMERA LOOKS DOWNon the empty pit in the snow.

PHILLIPE'S VOICE
We hoped to •.• reason with you.

363 ANGLE ON PHILLIPE AND IMPERIUS 363

They face NAVARRE, their heads hung low, guilty.

 99
363 cont 363
IMPERIUS
At the very least - to make sure
you dldn't arrive in Aquila until
tomorrow - when the time will be
right.

NAVARRE studies their determined faces. The HAWK flies

down, settles on his wrist.

NAVARRE
You both believe ••• enough to do
this .••

PHILLIPE
To tell the truth, sir, we didn't
know what to do.
(atHAWK)
Digging the pit was her idea.
0 NAVARRE looks
-
down at the HAV'lK, curious and surprised.

NAVARRE
Three against one, is it?

The bird cocks its head, uncomprehending. It takes off,

circling high in the air. NAVARRE thinks hard, his mind
racing. He turns to IMPERIUS, grins broadly •.

NAVARRE.(cont • )
Then let me show you hopeless
idiots how to trap a wolf.

IMPERIUS stares back unbelievingly. He's won!

Sc. lli° of Original Script OMITTED

364 ANGLE ON MOUNTAINSIDE 364

0 (112)
CAMERA PANS PAST the huge Stallion, almost dwarfing the
cart to which he's not attached, to the Figure of NAVARRE,
the HAWK on his arm, staring down at the city below.
PHILLIPE and IMPERIUS stand nearby. The HAWKsuddenly
soars up into the sky!
Next to them: A solidly constructed wooden cage sits in
the snow. The crisscrossing tree limbs have been lashed
together tightly with the braided cloth. Intertwined thick
foliage mats the floor. NAVARRE turns, stares down at the
cage blankly.
NAVARRE
So much has to go exactly as planned
- and nothing in my life ever has.
(turns back)
If you should be the ones to survive
- think well of me. And if God has
chosen to sacrifice us all - He has
blessed me with the two most loyal
.friends a man has ever had.
 100

364 cont 364

Suddenly: A SH:J:P;EK! The HAWKflies down, settles on
NAVARRE's wrist.

NAVARRE's eyes grow misty. He carres~es the bird gently.

NAVARRE (cont.)
We have known true love, Isabeau.
No one could ask for more.

Scs. 113, 114 in Original Script OMITTED

365 EXT. AQUILA - NIGHT (SONCINO) 365

(115)
BLAZING CAMPFIRES illuminate the landscape surrounding
the walled city of Aquila. Clusters of GUARDS huddle
around them near their tents for warmth. MEMBERSOF THE
CLERGY can be seen threading their way through the maze
0 of encampments.
ing to the guarded
They head tqward the arched
gates·of Aquila.
bridge lead-

Now appearing in the distance - Imperius' cart. Tethered

behind it - Navarre's Stallion.

IMPERIUS and ISABEAU ride on the front, her face partially

hidden by a hooded cloak. Behind them, the wolf cage_has
been lashed tight, totally covered by a blanket. PHILLIPE
is nowhere to be seen. The cart passes through a small
encampment. ISABEAU keeps her head down as IMPERIUS greets
the GUARDS warmly, dispensing blessings with.his hand.

IMPERIUS
God's mercy •.• God's mercy .••

366 EXT. DRAWBRIDGE& COURTYARDAREA - NIGHT (SONCINO) 366

(116)
The cart creaks on toward the entrance of the bridge.
0 IMPERIUS exchanges a nervous glance with ISABEAU.

367 ANGLE ON BOTTOM OF CART- 367

PHILLIPE drops down from under the bottom of.the cart,

scurries quickly through the dark shadows to the base
of the curved bridge where he now disappears.

368 EXT. BRIDGE NEAR GATE 368

The cart rumbles across the bridge, heading for the

gates of Aquila where a huge, surly GUARD signals
IMPERIUS to stop with a sweeping upraised arm. The
GUARD looks suspiciously at the covered cage.

IMPERIUS
A surprise gift for His Grace,
my son. From the devoted people
of my parish.
 101 ~

368 cont 368

The GUARD ignores him, proceeds _back to the covered crate,

pauses, then rips the blanket away!

THE WOLF SNARLS! He snaps at the GUARD through the bars

of the cage, causing the startled man to jump back!.

IMPERIUS (cont.)
A fine pelt for his wall •••

The GUARD stares.suspiciously, then walks around the front

again, this time eyeing ISABEAU. • She is slumped on the
seat, her hood pulled down across her face.

IMPERIUS (cont. )
(nervous)
A luxurious rug for his f 1·oor •••

0 The GUARD peels tne hood bact! ISABEAU's beautiful face

snaps around, frightened and trembling_ The GUARD looks
her up and down appreciatively.

IMPERIUS (cont.)
A ••• most pious daughter of the
church. Poor thing's deaf and
dumb. Excuse her .. nervousness.
It's her first time in Aquila.

GUARD
Deaf and dumb, eh? That's how
I like them too, Father •••

He reaches up to touch the side of her face. As his

filthy hand touche·s her cheek, she winces, AND:..

A FURIOUS SNARL FROM THE CAGE! The WOLF lunges out with
a long paw, rakes the GUARD viciously across his other
0 arm! Jagged red lines of blood appear as the GUARD jumps
back in a rage, draws his sword!

GUARD (cont. )
I've·never had th~ pleasure of
killing a wolf before •••

He advances to the cage. ISABEAU is about.to cry out!

IMPERIUS
Odd ••• that's precisely what His
Grace said.

The GUARD stops, looks up at him.

IMPERIUS (cont. )
When he heard about the gift.
"I've never had the pleasure" •••
(shrugs)
But I'm sure he'll understand you
• had your reasons . _: He ' s a notor-
iously forgiving man.
 102

368 cont 368

The GUARD pauses, then lowers his•sword, frustrated.

GUARD
Pass on through, Father.

IMPERIUS
M2ly God grant you your just reward,
my son.

369 ANGLE ON PHILLIPE 369

PHILLIPE peers out from under the bridge, watches as
IMPERIUS and ISABEAU pass through the gate.

PHILLIPE
We've come full circle, Lord.·
I'd like to think there's some
higher meaning to all this •••
0 (looks up)
It certainly would reflect well
on you.

PHILLIPE takes a coiled rope out from under his tunic,

drifts out silently into the black water of the moat.

370 EXT. STREETS OF AQUILA - NIGHT (TORRECHIARA) 370

(117)
The cart with IMPERIUS and ISABEAU creaks down the narrow
dark, deserted streets of Aquila. IMPERIUS turns the
Stallion into a dead-end alleyway.

371 EXT. SKY - NIGHT 371

A dark cloud passes over the shimmering moon.

372 EXT. ~QUILA - DAWN 372

0 (118)
A cloud-filled sky over Aquila at dawn. CAMERA PANS OVER
the roofs of the city. CATHEDRAL BEELS BEGIN TO TOLL.

373 EXT. CATHEDRAL SQUARE - DAWN (CASTELL'ARQUATO) 373

The deserted square in front of the cathedral. Pacing

on the steps - A LONE FIGURE. The grim face of MAR.QUET
sweeps the empty square.

37 4 INT.· BISHOP 'S QUARTERS - DAWN (TORRECHIAM) 374

(119)
A BONY HAND:.with·.:a. distinctlve ring reaches into a platter
filled with sweetmeats and other delicacies.

The BISHOP pops a treat into his mouth, licks his lips.
A KNOCK at the door. He glances across the room. The
BEAUTIFUL WOMANwe saw him with in the garden rises from
his bed, disappears through a private doorway.

BISHOP
Enter.
 103

374 cont 374

Two.ACOLYTES appear, carrying the BISHOP's embroideries
for the Mass. Rich brocades with miles of lace.
375 EXT. DEAD END ALLEYWAY- DAWN (TORRECHIARA) 375
(120)
The cathedral bells continue to PEAL. IMPERIUS adjusts
his monk's cowl, speaks seemingly to no one.

IMPERIUS I

Perhaps one hour, more or less.

(nervous)
Who can tell with this sky?

Stepping out from behind the car - NAVARRE. He looks

at the sky, concerned.

NAVARRE
0 Hoy!
376 ANGLE INTO SKY - HIS POV 376

The sk! is now aletely covered by clouds. The HAWK

¥£ff§ HRODGH
t' , disappears behind a building.

377 BACK TO NAVARRE 377

Worried. Glancing back at I~ERIUS.

IMPERIUS
She'll be back. Gaston's the
one I'm worried about.

NAVARRE
I trust him.

IMPERIUS
0 If he made a run for it last
night when he had the chance
- you're a dead man.

378 UNDERWATERSHOT - AQUILA DUNG~ON SEWERS (STUDIO) 378

PHILLIPE is submerged near the grating under which he

made his original escape. Fighting hard against the
current, he pulls himself under, hand over hand, then
shoots upward.
379 INT. AQUILA DUNGEONSEWERS - DAY (VIALE SOMALIA) · 379
(121)
PHILLIPE breaks the surface of the filty water, gasping,
looking back over his shoulder.

PHILLIPE
I should have made a run for it
when I had the chance •..
 104

380 EXT. CATHEDRAL SQUARE - DAY (CASTELL 'ARQUAT0) 380

(122)
MARQUET descends the cathedral steps, crosses to a
MOUNTED TROOP·. He swings up onto a magnificent
Andalusian stallion, leads the TROOP off.

381 EXT. BISHOP'S GAE!)EN - DAY (T0RRECHIARA) 381

(123)
The garden isffii·1edt1.with:.,<gdssiping PRIESTS, idling
FRIARS, MONKS, and MONSIGNORS. Some mutter prayers,
others giggle at the gossip. SUDDEN SILENCE. All heads
turn.

382 ANGLE ON BISHOP - THEIR POV 382

The BISHOP appears. A brilliant figure in- ·dazzling

gold and white.· He raises his hand in blessing like
a threat •. The CLERGY genuflect in response. The
BISHOP walks through them, nodding patronizingly, heads
0.
for the garden gates where MARQUET arrives
- with his TROOP.
. .

MARQUET looks down at the BISHOP who acknowledge& him.

~e CLERGY assemble behind.

383 EXT. CHATEAU GATES - DAY (TORRECHIARA) 383

(124)
The huge chateau gates swing open. The PROCESSION
emerges, heading down into the streets of Aquila.

MARQUET rides in the lead. Behind him, the 'BISHOP,

flanked by MOUNTED GUARDSMEN. Following in succession
of clerical rank: ·Monsignors, Priests, Monks and Friars.
Some swing censors belching smoke. Some carry articles
of faith. ALL CHANT the ~iturgy.

Scs. 125, 125a of Original Script OMITTED

384 INT. DUNGEON SHAFT - DAY (PT. STUDIO and PT. VIALE 384
0 (126) SOMALIA)

PHILLIPE climbs painfully up the long shaft, threading

his rope through its rusted iron rungs like a mountain
climber. He pauses, breathing heavily, looks up.

385 ANGLE ON TOP OF SHAFT - HIS POV 385

The black and white rose window is visible above.

.386 BACK TO PHILLIPE 386

Digging in just under the grating. Tying himself off

by threading the rope through the final rusty iron rung.
PHILLIPE pulls out his dagger, begins working on the
eroded metal bolts which hold the grating to the floor.

387 EXT. SKY --DAY 387

(127)
The totally cloud-covered sky is impenetrable.
 388 EXT. ALLEYWAY- ANGLE ON NAVARRE- 388
NAVARRE listens to the sounds of 'the proces·sion, j-aw set.
Deadly. The loud CHANT grows weaker as the Procession
trails off, threading its way. through the streets to the
Cathedral.

The HAWKis perched on the cart. Agitated·, NAVARRE

crosses to the Stallion, starts to unt~e him from the
cart. IMPERIUS looks up at the sky nervously.

IMPERIUS
It should be soon now. Once
these clouds break •••

NAVARRE yanks a saddle from the cart, turns.

NAVARRE
It's day, old man. All day. As
it was yesterday, and as it will
be tomorrow, if God grants me the
lif-e to see it.
()
NAVARRE crosses to his horse. IMPERIUS lowers his gaze.

Sc~ 127a in Original Scrip~OMITTED

389 EXT. CATHEDRAL SQUARE - WIDE ANGLE (CASTELL'ARQUAT0)389

(128)
The long colorful Procession snakes its way into the
vast cathedral square - a tr~ly impressive sight.

The Mounted GUARDS fan out at the base of the steps.

The BISHOP glances up at MARQUET, then passes on, heading
up the cathedral steps.

390 INT. DUNGEONSHAFT - DAY (PT. STUDIO_+ PT. VIALE 390

(129) SOMALIA)

PHILLIPE has managed to pry the last grating bolt loose!

0 It tumbles down the shaft •. He· tests the grating, pushing
up·.

Suddenly - AN ECHOING,CAVERNOUS THUD! The huge doors to

the cathedral are swinging open.

The grating silently lowers itself into place again.

391 INT. CATHEDRAL - _ANGLEON BISHOP (STUDIO) 391

(130)
The BISHOP appears in si.lhouette, his dark figure dwarfed
by the enormous hei_ght and size of the open carved cathed.J.
ral doors. He enters the church, the Procession filing
up the steps after him, continuing the CHANT.

392 EXT. ALLEYWAY (TORRECHIARA) 392

(131)
NAVARRE has saddled the Stallion, now finishes attaching
the bridle, setting the bit.
 106
393 EXT. STREET NEAR ALLEYWAY 393

A GUARDSMANrides down the des~rted cobblestone ·street

·near the alleyway, scanning doorways and rooftops.

394 ANGLE ON NAVARRE IN ALLEY 394

Hearing the approaching CLATTER of the Guardsman's
horse. His head snaps around. .

395 BACK TO GUARDSMAN 395

Approaching slowly. He reaches the corner of the
alleyway, stops his horse, takes a look:

Navarre's Stallion waits in the alley. Next to it -

IMPERIUS, holding the HAWK. Behind, the cart, covered
by the blanket for the .wolf cage. Nothing else is
visible. No movement of any kind:
0 IMPERIUS
(quick smile)
Oh, thank goodness! Which way
is it to the cathedral, my son?

The GUARDSMANrides slowly into the alleyway, ignoring

IMPERIUS. Passing the Stallion he pauses, leans down,
then rips the blanket away!

396 ANGLE ON NAVARRE - HIS POV 396

NAVARRE lies face up under the blanket, a loaded crossbow

pointed straight up at the GUARD. HE FIRES'!

The GUARDSMANis hit in the heart, ·topples.backward off

his horse. NAVARRE jumps out, crosses to the body_of
the dead GUARDSMAN, removes his sword. NAVARRE holds
the blade up, examining it critically, whistling it
0 through the air with a practice swing. He's made his
decision .. IMPERIUS crosses to him desperately.

IMPERIUS
Navarre, don't be a fool: This
chance will never come again!

NAVARRE
You're right, old man •. The Mass
will be over soon. _If Phillipe
has done his job, I can kill the
Bishop now - or never.

NAVARRE crosses to the Stallion, as the HAWKflies to

him. Then he takes out a small leather hood, fits it
over the bird's head. The bird CRIES OUT, having lost
its _bearings. It digs its talons deeply into NAVARRE's
gauntlet for support.
 396 cont 396

NAVARRE (cont.)
If the Mass ends ·peacefully and
the cathedral bells· begin to toll
again - you will ~now l have failed.

l.MPERIUS
And ••. if I hear the warning bells?

NAVARRE
Either way - I'm a dead man.

IMPERIUS
(carefully)
And •.• what then?

NAVARRE cros~es to IMPERIUS, the HAWK on his arm,

hands him a dagger.
0 NAVARRE
Take her life. Make it.quick
and painl'ess.

IMPERIUS.
(appalled)
I can't do that •••

NAVARRE
(raging)
Don't then! Let her live
without me and damn her to a
half-life of eternal pain and
misery!

IMPERIUS stares, stunned, unable to answer. NAVARRE

glances up at the cloudy sky, then back to him.
0 NAVARRE (cont.)
Have you ever considered, old
man -_that this was what God
intended all along?

NAVARRE hands IMPERIUS the HAWK. Crossing to the

Stallion's saddlebags, he takes out his CAPTAIN'S
HELMETWITH THE GOLD WINGS. He puts it on, then mounts
the Stallion quickly, heads out of the alleyway. IMPERIUS
watches, grief-stricken. The HAWK senses NAVARRE'.s departure
from underneath its hood, emits a HEARTBROKENANGUISHED
SHRIEK!

397 CLOSE ON NAVARRE. 397

His eyes wince at the sound. His face is creased with

sadness. He turns the alley corner, rides out into the
street.
 108 . ---
398 BACK TO IMPERIUS

Watching him disappear, sad and resigned.

IMPERIUS
Oh, Holy Father, deliver me from
my sins, and these good people
from the Curse which afflicts them.
You have seen fit to bring us all
this far, and we humbly place our
lives in the infinite mercy of
Your Everlasting Grace.

399 INT. CATHEDRAL - DAY (STUDIO) 399

(132)
The congregation of CLERGY is in place.
400 CLOSE ON DOORS 400
The huge wooden doors are slowly swung shut by TWO
ACOLYTES, then 1-ocked by the BISHOP'S BODYGUARD, who
0 turns a key in a large gold·lock.

401 INT. SEWER SHAFT - ANGLE ON PHILLIPE (PT. STUDIO+ 401

(133) P1I'.VIALE SOMALIA)
PHILLIPE looks up from the top of the shaft. It's time.
He starts to push on the grating, suddenly stops, looks
out.

402 ANGLE ON SHOES - HIS POV 402

A pair of shoes straddles the grating above! The hem
of the BISHOP'S SECRETARY's cloak is also visible.
Bright red stockings run up a pair of legs next to a
walking stick. -

403 BACK TO PHILLIPE 403

Frozen. Uncertain what to do.
() 404 EXT. AQUILA STREETS - DAY (CASTELL'ARQUATO) 404
(134)
NAVARRE rides purposefully toward the cathedral, the
Guard's sword by his side.

Sc. 135 of Original Script OMITTED

405 INT. CATHEDRAL - ANGLE ON BISHOP'S SECRETARY 405

(136~
The BISHOP'S SECRETARY still stands on the grating.
He looks off beneficently at the proceedings.

406 ANGLE IN SHAFT 406

PHILLIPE stares up, blinks, beginning to sweat. He

pulls his dagger out silently.

The tip of the blade protrudes through the grating,

lightly pricks the BISHOP'S SECRETARY on the foot1
 109

407 BACK TO BISHOP'S SECRETARY 407

Shifting his weight. Lifting his foot to scratch it.

Then standing back on the grating again.

408 BACK TO GRATING 408

The dagger appears, this time jabbing the foot smartly!
The BISHOP'S SECRETARY hops in pain, holding his foot.

BISHOP'S SECRETARY
Aahh! ! ...
A nearby FRIAR notices, rushes over to help.

FRIAR
Sir! What is it?

The BISHOP'S SECRETARY jams his walking stick into the

grating.
0
BISHOP'S SECRETARY
Rats!

409 ANGLE ON PHILLIPE IN SHAFT 409

DUCKING back against the side of the shaft. The walking
stick whizzes past his nose, missing it by a millimeter.

410 ~ACK TO CHURCH 410

The shocked FRIAR leads the BISHOP'S SECRETARY away.

FRIAR
A scandal ..•

411 BACK TO GRATING 411

The grating slides aside. PHILLIPE wriggles through,
hugging the ground. He looks off toward the doors.
0 The distance is too great to travel without being spotted.
His eyes flick around frantically, finally spots· something:

412 ANGLE ON BASKETS - HIS POV 412

Nearby, against the wall - A PILE OF STRAW BASKETS.

Sc. 137 from Original Script OMITTED

413 EXT. SQUARE - DAY (CASTELL'ARQUATO) 413

(138)
CAMERA PANS DOWN from the cloud-covered sky to the mounted
GUARDS, still fanned out in front of the steps. The stony
MARQUET looks off as ANO~'HER GUARD enters the square on
horseback, gallops up to him.
GUARD
All the men have reported in,
sir. Except Jouvet.
(MARQUET frowns)
We ... can't find him.
 110 - -:-
413 cont 413

MARQUET's brow ~urrows suspiciously. He turns to a fresh-

· faced YOUNG LIEUTENANT.

MARQUET
No one enters or-.leaves this
cathedral until the Mass is
ended, Lieutenant. You're in
command now. ·

The YOUNG LIEUTENANT gives an enthusiastic salute.

MARQUETgallops quickly out ~f the square.
414 INT. CATHEDRAL - DAY (STUDIO) 414
(139)
The BISHOP has begun the Mass in front of the altar,
turns his back to the Congregation as he prays. His
BODYGUARDstand~ nearby.
0 415 ANGLE ON PHILLIPE 415

Halfway down toward the doors. PHILLIPE scuttles

through the crowd of CLERGY, head bowed low, holding
out a straw basket, muttering under his breath.

PHILLIPE
Alms for the poor •• :God is
watching ••. alms,for the poor
••• God is watching •••

Most of the CLERGY recoil unpleasantly. But ,ONE PRIEST

actually drops a coin in his basket!

PHILLIPE (cont.)
(low mutter)
Thank you, Father." .• make a note
of him, Lord •.. alms for the
0 poor •••

Biting the coin, PHILLIPE drifts through the crowd

toward the doors.

416 EXT. SQUARE - DAY 416

The TROOP remains fanned out in front of the cathedral

steps, staring ahead silently.

417 EXT. AQUILA STREET - DAY 417

MARQUETrides through the streets at a lope, looking

into doorways, examining rooftops, etc. He gallops
on as CAMERA HOLDS:

Farther down through the streets in the distance:

NAVARRESUDDENLY APPEARS, riding in the other direction!

418 INT. CATHEDRAL - DAY 418

PHILLIPE has made his way through the last of the CLERGY,
 111
-
418 cont 418

now takes refuge·behind a column, stares off at the

cathedral doors, his face falling.

419 ANGLE ON DOORS - HIS.POV 419

CAMERA PUSHES IN on a huge lock which seals the doors

shut!

420 BACK TO.PHILLIPE 420

Sighing deeply, closing his eyes, thinking hard •

. 421 EXT. AQUILA STREET NEAR ALLEYWAY 421

MARQUET's horse trots slowly down the street near the
alleyway. He passes it, looks in curiously, then jerks
his animal to a ~top.
0
422 ANGLE INTO ALLEYWAY - HIS POV (TORRECHIARA) 422

The alleyway is deserted except for the cart and the

body of the dead GUARD.

423 BACK TO MARQUET 423

His face turning grim.

424 INT. CATHEDRAL - DAY 424

The entire Congregation kneels, in response to an

incantation from the BISHOP.

425 CLOSE ON PHILLIPE 425

PHILLIPE pulls out a small, sharp dagger, scurries

() quickly to the door, hugging the floor. He frantically
begins to pick away at the lock.

426 EXT. ALLEYWAY - DAY (rORRECHIARA) 426

MARQUET has yanked the crossbow arrow out of the dead

GUARD's body, examines the feather and the bloody tip.
A dark realization crosses his face. He swings up onto
his horse, gallops quickly out of the alleyway.

427 EXT. AQUILA STREET - DAY (CASTELL'ARQUATO) 427

As MARQUET gallops off. CAJ.'-1ERA

PANS:

Emerging from a darkened doorway farther down the street:

IMPERIUS, holding the HAWK. He looks after MARQUET with
deep concern, then down at the hooded bird with a welling
sadness.
 112 ~.

428 INT. CATHEDRAL - DAY (STUDIO) 428

PHILLIPE works desperately on the lock to no avail,

beads of sweat forming on his brow. In B.G., the
.BISHOP finishes his incantation as the CONGREGATION
RISES.

429 ANGLE NEAR.ALTAR 429

The CONGREGATION faces the BISHOP who still has his

back turned to them, facing _the altar. BUT THE BISHOP~S
BODYGUARDHAS RISEN AS WELL. He looks off- now, eyes
widening.

430 ANGLE ON PHILLIPE - HIS POV 430

In the distance, at the other end of the dark cathedral,

the outline of PHILLIPE can be seen, working on the lock
() 431 BACK TO BODYGUARD 431

The BODYGUARD's hand instinctively reaches for a short

sword hidden under his clothing. He starts off for the
doors at a slow, deliberate pace, not wanting to disturb
the _Mass.

Sc. 140 - 146 of Original Script OMITTED

432 EXT. , CATHEDRAL SQUARE - DAY._ HIGH SHOT 432

(147)
The MOUNTED GUARD remains fanned out in f~ont of the
steps. Now entering the square from the sidestreet:

THE LONE BLACK FIGURE OF NAVARRE!

The GUARDS react in frozen astonishment •. They blink,

exchanging nervous· looks.-·.· The YOUNG LIEUTENANT swa.Llows
()
,_ hard, looks around in vain for Marquet.

NAVARRE advances slowly, the huge Stallion's hoofbeats

echoing through the square. At a distance of some
twenty feet he reins in, faces the line of GUARDS in
silence.

LIEUTENANT
Put away your sword, Navarre.
Then dismount. You are ••• my
prisoner.

NAVARRE's eyes scan the motionless faces of the GUARDS.

NAVARRE
As your Captain who was, and
through God's Grace will be once
again - as a man who treated each
one of you with respect - I ask
you to let me pass.
 113

432 cont 432

There is a long pause. The line of GUARDS stares back

in silent acceptance of him. NAVARRE moves forward.

LIEUTENANT
Stop where you are!

NAVARRE continues on.

LIEUTENANT -{cont • )
I have my orders!

NAVARRE ad~ances. Suddenly - the LIEUTENANT breaks

from the ranks, gallops straight at him sword raised!
NAVARRE parries the blow - jams the hilt of his sword
into the LIENTENANT's stomach, unhorsing him! He jerks
the young officer's sword away from him as the surprised
man crumples to the ground. NAVARRE tosses the LIEUTENANT's
sword across the·square, then withers a cold, determined
0 gaze at the line of GUARDS.·

433 ANGLE ON GUARDS 433

The line of GUARDS parts silently, clearing a path to

the cathedral doors.

NAVARRE's face is set in concrete. He prods the Stallion

forward.

434 INT. CATHEDRAL - BACK TO PHILLIPE 434

PHILLIPE works on the lock like a -furious madman.

435 ANGLE ON BISHOP'S BODYGUARD

-
435'
The BODYGUARD.approaches, only a short distance away
now. He pulls his sword!
0
436 EXT. SQUARE - DAY (CAST~LL'ARQUATO) 43 6
NAVARRE digs in his spurs. The huge Stallion thunders
up the steps to the cathedral.

437 ANGLE ON CATHEDRAL DOORS 437

Growing closer. Looming up in front.

438 INT. CATHEDRAL 438

PHILLIPE hears a SOUND from behind, wheels to find the
BODYGUARDalmost on top of him, sword raised! PHILLIPE
jams his dagger violently into the lock for the last
_time as:
-
439 INSERT SHOT - LOCK 439
THE LOCK SNAPS FREE!
 114 ~-

440 EXT. CATHEDRALDOORS 440

The gigantic Stallion REARS UP -TO HIS FULL HEIGHT,

crashes against the doors with both· powerful front
legs!

441 INT. CATHEDRAL 441

The BODYGUARD'S sword whistles down at PHILLIPE.as he

jwnps aside and THE CATHEDRALDOORS BURST OPEN! One
of the swinging doors catches the BODYGUARD flush in
the head, sends him sprawling, senseless.

PHILLIPE squirts outside, past:

442 ANGLE ON NAVARRE IN DOORWAY 442

(148)
NAVARRE sits astride the Stallion in the doorway of
the cathedral. :otal silence. Excruciating silence.
0 443 ANGLE ON CONGREGATION 443

The CONGREGATION stares mutely - aghast.

444 CLOSE ON BISHOP 444

The BISHOP looks back at NAVARRE, motionless.· He

blinks in di_sbelief.

445 BACK TO NAVARRE 445

The Stallion starts down the center of the cathedral,

its HOOFBEATS echoing through the cavernous building
as NAVARRE heads for the BISHOP.

446 EXT. SQUARE (CASTELL'ARQUATO) 446

(149)
MARQUET ENTERS THE SQUARE AT A GALLOP! He jerks his
0 horse to a stop, sees what's happened, digs in his
spurs, heading up the cathedral steps!

447 INT. CATHEDRAL. (STUDIO) 447

(150)
MARQUET bursts through the cathedral doors as NAVARRE
swings hiS Stallion around to face him!

The two men stare stonily at each other as their huge

horses PAW THE GROUND, sensing the battle to come.

448 CLOSE ON BISHOP 448

The BISHOP blinks apprehensively, but holds his ground.

449 ANGLE ON MARQUET 449

Suddenly - MARQUET's Andalusian steed rears up to its

full height, hooves pawing at the air!
 115

450 ANGLE ON NAVARRE 450

The great.black Stallion does likewise ·as NAVARRE's

sword whistles back and forth through the air! As
the front hooves hit the ground - HORSE AND RIDER
EXPLODE FORWARD!

451 WIDER ANGLE 451

•
MARQUET rides forward to meet NAVARRE and: .THE FIGHT
IS ON! TOTAL PANDEMONIUMas the two brutal warriors
have at each other with everything they've got.

PANICKED CLERGY run everywhere trying to escape the

flashing HOOVES and showers of .SPA~. as rnetai meets
metal.

452 EXT. AQUILA STREETS - DAY ( CASTELL 'ARQUATO) . 452

() PHILLIPE runs through the st~eets.like quicksilver,

heading back.for the alleyway.

Sc. 151 of Original Script OMITTED

453 INT. CATHEDRAL 453

(152)
The mayhem between MARQUET and NAVARRE continues,
both men bloodied now.

454 ANGLE NEAR DOORWAY 454

The dazed BISHOP'S BODYGUARDclears his head, looks

off:

455 ANGLE ON BELFRY - HIS POV 455

The WARNING BELLS of the cathedral hang in the belfry,

unattended.
0
456 BACK TO BODYGUARD 456

Rising unsteadily, heading for the belfry.

457 BACK TO MARQUETAND NAVARRE 457

Both men gasping for breath now, chests heaving, as

their furious battle continues.

458 EXT. ALLEYWAY- DAY 458

PHILLIPE rushes into the deserted alleyway, runs to

the cart, REACHES UNDER IT, his hands searching for
something. HE SUDDENLY GRINS!

459 INT. . CATHEDRAL 459

The fight continues. Suddenly - with a superhuman

burst of strength - NAVARRE UNHORSES MARQUET! MARQUET
clatters to the floor. in a heap. NAVARRE lifts his
sword, about to deal a death blow as he sees:
 116 -=

460 ANGLE ON BODYGUARD IN BELFRY - HIS POV 460

The BODYGUARD is at the bottom of the belfry ropes,
about to yank on them as:

461 BACK TO NAVARRE 461

NAVARRE takes his crossbow off his saddle, aims and

FIRES!

462. BACK TO BODYGUARD 462

The BODYGUARD is hit, TUMBLES DOWN INTO THE BELL ROPES,

hopelessly entangled as the weight of his body pulls
on them and BEGINS TO RING THE BELLS!

463 BACK TO NAVARRE 463

His face regist~ring total shock,_realizing the

0 implications. •
--
NAVARRE
No, Imperius! No!!

464 EXT. AQUILA STREET (CASTELL'ARQUATO) 464

The SOUND of the TOLLING BELLS rolls· across the city

of Aquila to the alleyway.· IMPERIUS looks up from
the doorway, wincing at the ~nly sound he never hoped
to hear. He looks down sadly at the innocent HAWK,
his eyes filling with-tears.

IMPERIUS
Lord God Almighty --I do not
understand why this beautiful
creature should. have to pay for
my sins with her life. I never
meant harm to anyone and yet I
0 have caused much. Your ear is
deaf to me, but I beg you to
listen to the final. heartbeats of
this good woman, and of the man
she loved, and grant them their
rightful places in the Kingdom
of Heaven.

IMPERIUS tentatively raises the•dagger towards the neck

of the HAWKwith a trembling hand. CAMERA PANS UP to
the sky above. The clouds are starting to crack~

465 INT. CATHEDRAL 465

The stunned NAVARRE turns as MARQUET rises from the

ground. He has grabbed A HUGE, SMOKING CENSOR - swings
_it round and round by its chain - then hurls it up at
NAVARRE's face with all his might!

NAVARRE ducks as the censor continues upward and:

.
 117 -~-

466 ANGLE ON ROSE WINDOW 466

The censor. smashes through the black and white rose

window! A BRILLIANT PATCH OF BLUE SKY REVEALS A NEAR-
TOTAL ECLIPSE OUTSIDE! The moon has almost completely
blackened the face of the sun.

467 BACK TO CATHEDRAL 467

The cathedral is being plunged into darkness. TERRIFIED

CLERGY begin to pour out into the square.

468 BACK TO NAVARRE. 468

Wheeling aroun4 in his saddle, amazed as what he sees

through the smashed window. It is a day without night,
and a night without day! The BELLS continue to TOLL
as NAVARRE turns to face the BISHOP.

0 469 ANGLE ON BISHOP • 469

Staring back from the altar. Holding his staff: His

face breaks into a cruel grin.

470 BACK TO NAVARRE 470

His deadly gaze locked into the BISHOP's.

NAVARRE
(roaring)
Damn you! Damn you to hell!!-

NAVARRE digs.in his spurs. The Stallion starts for

the BISHOP.

471 ANGLE ON MARQUET 471

MARQUETpulls a long, pointed pennant pole from out

() of ·its socket, runs toward NAVARRE as the Stallion
passes by. Digging the tip of the pole into the
floor, HE VAULTS THROUGH THE AIR - smashing into
NAVARRE, unhorsing him as both men crash heavily
to the floor.

472 CLOSE ON THEM 472

The two exhausted warriors grapple at close quarters

in a climactic rage, using swords, fists, knives, etc.

473 EXT. SQUARE 473

(152a)
The CLERGY mix with PANICKED CITIZENS, staring up into
the sky in total disbelief. THE END OF THE WORLD HAS
COME!

474 INT. CATHEDRAL - ANGLE NEAR DOOR 474

As the last CLERGY run out, one FRIAR tumbling hard

against MARQUET's Andalusian stallion, spooking him!.
The horse takes off, back into the church.
 118 - -.--

475 BACK TO NAVARRE 475

NAVARRE bangs away against

- MARQUETwith every brutal
tactic he can think of.. MARQUET is being battered to
his knees. NAVARRE swings his sword back as:

MARQUET's HORSE RUNS BETWEEN THEM! MARQUET grabs onto

the saddle as the horse thunders by and NAVARRE's sword
whistles down through the air,- cracking against the
floor, SPLITTING ITSELF IN HALF!

476 ANGLE ON MARQUET 476

MARQUET, now fully mounted, swings his stallion around

near the altar. Sword at the ready, he looks back down
the cathedral.

477 ANGLE ON NAVARRE 477

0 NAVARRE faces W\.RQUET near ~he

stub of his sword still in his
doorway, the
hand, virtually
six-inch
~efense-
less.

MARQUET grins cruelly. The BISHOP stands behind him.

BISHOP
Kill him. Kill him.!!

MARQUET's horse lurches down, the aisle.toward:NAVARRE.

478 ANGLE ON NAVARRE 478

Holding his ground.

479 BACK TO MARQUET 479

Thundering forward. Sword at the ready.

0 480 BACK TO NAVARRE 480

~elpless. Suddenly: A WHISTLE, o.s.:

NAVARRE turns. PHILLIPE stands in the doorway -
NAVARRE'S .SWORD IN HIS HAND! He hurls it into the
church!

481 ANGLE ON SWORD 481

The jewelled sword skids across the floor to NAVARRE

who picks it up in one fluid motion and SLINGS IT DOWN
THE CATHEDRAL LIKE A GLEAMING, DEADLY JAVELIN!

482 ANGLE ON MARQUET 482

The sword impales MARQUET in the chest - vaults him

up into the air, sends him SLAMMING BACK INTO THE
PULPIT where he hangs suspended, head down - Dead.
 119 - -.--

483 ANGLE ON BISHOP 483

The BISHOP stares, horrified. He looks up and across

the cathedral.

484 ANGLE ON ROSE WINDOW - HIS POV 484

Seen through the smashed window: THE MOON NOW

COMPLETELY COVERS THE SUN!

485 ANGLE ON NAVARRE 485

NAVARRE faces the BISHOPr starts forward. He passes

the pulpit, withdraws his sword from MARQUET's body
which slithers to the floor.

486 ANGLE ON PHILLIPE IN DOORWAY 486

PHILLIPE watches near the doorway which has been

blackened by the eclipse, s~allows hard.
0
487 BACK TO NAVARRE 487

Advancing toward the BISHOP. His purpose is all-

consuming, blocking out the world around him. The BISHOP
remains motionless, holding on to his staff. NAVARRE
now stops, a sword's-length away

BISHOP.
Kill me, Navarre - and the
Curse will go on forever.

NAVARRE tightens his grip on the sword.

BISHOP (cont.)
Think of Isabeau!

NAVARRE
() (pause)
She's dead.

The two men exchange a brief look both stunned iy the

one concern they have in common.

NAVARRE's gaze turns cruel. He lifts his sword in

fury as:

ISABEAU'S VOICE
Navarre!.

Her VOICE echoes down the length cf the cathedral.

NAVARRE's arm is frozen in mid-air. His face is washed
by the memory of a sound he thought he'd never hear again.
He turns.
 120

ANGLE ON ISABEAU - HIS POV 488

ISABEAU STANDS IN THE CATHEDRAL DOORWAY! Framed in the

blackness of the eclipse, she is nonetheless radiant,
stunned by the miracle which·.has just taken place! She
stares at NAVARRE, her eyes adjusting like a blind person
who has suddenly been given sight. She advances slowly -

489 BACK TO NAVARRE 489

Staring. Transfixed. Suspended in time.

490 CLOSE ON BISHOP 490

The BISHOP watches in total disbelief, his expression
becoming deadly.

491 INSERT SHOT - BOTTOM OF STAFF 491

He silently remeves the cover off the bottom of his

0 staff, revealing the GLEAMING.STEEL SPIKE!

492 BACK TO ISABEAU 492

Still advancing slowly, gradually realizing that this

is indeed reality.

493 BACK TO NAVARRE 493

Drinking in the sight of her·. About to join her as:

494 ANGLE ON IMPERIUS IN D09RWAY 494

IMPERIUS appears in the doorway, his expression turning

to horror:

IMPERIUS
Navarre! Look out!!
0 495 BACK TO NAVARRE 495

NAVARRE wheels as the BISHOP LUNGES AT HD 1 'iHTH THE 1

SPIKE, creasing his side! NAVARRE grabs the staff,

bashing the BISHOP in the face with the heavy top end,
sending him flying down the steps from the altar to
the church floor.

NAVARRE is on top of him immediately, grabbing him by

the chest, pulling his face up.

NAVARRE
(deadly)
Look at me. Look at me!!

The BISHOP stares into NAVARRE's face, wide-eyed.

NAVARRE (cont •)
And now - look at us.

NAVARRE swivels the BISHOP'S head to face:

 121

496 ANGLE ON ISABEAU - BISHOP'S POV 496

ISABEAU stares back, farther down the cathedral.

Suddenly: THERE IS A CRACK OF LIGHT AS THE SUN BEGINS
TO REAPPEAR!

The shaft of sunlight streams through the smashed rose

window, hitting the floor directly in front of her.

SMASH CUTS:

497 BACK TO BISHOP 497

Staring.

498 BACK TO NAVARRE 498

Staring.

499 BACK TO PHILLIPE· 499

0
Staring.

500 BACK TO IMPERIUS 500

Crossing himself.

501 BACK TO ISABEAU 501

The shaft of light grows wider as ISABEAU STARTS TO

PASS THROUGHIT!

Her body seems to SHIMMER IN SLOW MOTION as it absorbs

the light and continues forward.

502 BACK TO THE BISHOP 502

Almost blinded by the light.

0
503 BACK TO NAVARRE 503
1-,'
The smile on his face growing wider as ••ope becomes
reality.

504 BACK TO ISABEAU 504

SHE HAS PASSED THROUGH THE LIGHT!. She blinks in

disbelief, then smiles with a glow which is brighter
than the sun's rays behind her.

sos BACK TO NAVARRE 505

Letting the BISHOP drop to the floor. He rises, looks

down in contempt, RAISES HIS"SWORD FOR THE FINAL BLOW!

IMPERIUS
Don't, Navarre1 He belongs
to the Evil One now!
 122
-·
506 CLOSE ON NAVARRE 605
Swinging his sword down as suddenly:

A COLD WIND EXTINGUISHES THE CATHEDRAL CANDLES AND A

CRACKLING LIGHTNING BOLT WIPES THE SCREEN!

The zig-zag electrical shaft makes contact with the

descending tip of the sword, sending a SHUDDERING
CURRENT through NAVARRE's body. The sword jumps out
of his hands as he tumb~es backwards.

507 ANOTHER ANGLE 507

NAVARRE lies on the floor. Suddenly - total quiet.

NAVARRE uncovers his face, looks back to where the
BISHOP was standing.

508 ANGLE ON WOLF - HIS POV 508

0 Now at the base of the altar steps, where the BISHOP
used to be: A SCRAWNY, MANGYWOLF WITH PATCHED FUR
AND YELLOWFANGS! He looks back at NAVARRE, fearful,
then runs off through the cathedral.

509 ANGLE NEAR ISABEAU 509

The Wolf gives ISABEAU a wide berth, then scuttles off

through the cathedral door with his tail between his
legs.

510 BACK TO NAVARRE 510

Rising. Turning to face ISABEAU. Walking toward her

with a quickening pace.

511 ANGLE ON ISABEAU 511

0 The growing SUNLIGHT has washed the area in front of

her. She extends her arms, grinning, as NAVARRE JOINS
HER IN THE LIGHT and they lock in a D.assior:ate embrace!

512 CLOSER ON THEM 512

NAVARRE kisses her deeply, endlessly. Their two bodies

seem for the moment - one.

513 ANGLE ON PHILLIPE AND IMPERIUS 513

PHILLIPE watches with tears in his eyes. D1PERIUS

falls to his knees in gratitude.

514 BACK TO NAVARRE AND ISABEAU 514

They break. ISABEAU spots PHILLIPE - GIVES HIM A WINK!

515 BACK TO PHILLIPE 515

PHILLIPE looks down, embarrassed.

 123 _

516 BACK TO NAVARRE 516

Having noticed ISABEAU's wink.

517 BACK TO PHILLIPE 517

Raising his head, suddenly WINKING BACK, but finding

himself staring at:

518 BACK TO NAVARRE 518

The dark, deadly face of NAVARRE! NAVARRE stares

coldly, then SUDDENLY GRINS!

519 WIDER ANGLE 519

NAVARRE kisses ISABEAU again as THE SHOWER OF LIGHT

POURS OVER THEM.

Q Sc. 154 in Original Script OMITTED _

520 EXT. SKYLINE ABOVE ROAD - DUSK (PT. MODEL+ PT. 520
(155) CORTINA)

The sun hovers blood red on the horizon, painting the

evening clouds pink and gold. We hear the SOUND OF
HORSES.

521 ANGLE ON RIDERS 521

ISABEAU and NAVARRE ride side by side at a lazy walk,

their horses almost touching, eyes only for each other.
Together the two of them turn to look down at the road
below.

522 ANGLE ON PHILLIPE AND IMPERIUS

C:-\
·/
PHILLIPE stands
mule cart.
in the road,
They acknowledge
next to I~QERIUS on his
the co~ple with a grin.
PHILLIPE watches them go wistfully. I:MPERIUS looks
over.

IMPERIUS
Don't worry, little thief.
Your time will come.
(pause)
I'm heading back for the
abbey.
(smile)
Td discover where the wind
comes from. May I drop you
somewhere along the way?

PHILLIPE hears something, looks off down the road.

523 ANGLK~ DOWNROAD - HIS POV 523

A small wagon approaches in the distance, driven by a

beautiful, innocent, rosy-cheeked PEASANT GIRL.
 124 - ~:-

524 BACK TO PHILLIPE 524

PHILLIPE
Actually - I'm headed in the
other direction.

IMPERIUS
I fully expect to meet you at
the Pearly Gates, little thief.
(nice smile)
Don't disappoint me.

IMPERIUS lumbers off down the road in his cart.

PHILLIPE turns back, then notices something, stops,
frozen.

525 ANGLE ON THE SETTING SUN - HIS POV 525

(156)
The sun sets below the horizon. THE HOWL OF A WOLF
rolls across the landscape!_ PHILLIPE tenses. Could
it be?

526 BACK TO NAVARRE AND ISABEAU 526

NAVARRE's face darkens, staring at the disappearing

sun. ISABEAU silently clutches his arm. She has made
it through - but has he?

527 BACK TO PHILLIPE 527

Slowly, apprehensively, PHILLIPE turns back to look.

528 ANGLE ON SKYLINE - HIS POV 528

On the skyline - a riderless horse!

529 BACK TO PHILLIPE 529

0 Terrified. Looking further a~ead along the skyline.

530 BACK TO SKYLINE 530

Mounted on the huge Stallion ahead: BOTH NAVARRE AND

ISABEAU. Her arms are wrapped around him, her laughing
face nestled against his chest.

531 BACK TO PHILLIPE 531

Grinning broadly. Giving a WHOOP! They've made it!

532 EXT. SKYLINE - SUNSET 532

(157)
The Stallion stu..'nbles slightly - ISABEAU steadies her?elf,
putting her hand on NAVARRE's sword hilt.

533 CLOSE ON SWORDHILT 533

As ISABEAU's hand wraps around it. At the top of the

hilt, the BLSHOP's ring has been_per:manently_embedded
in.the emp~y socket.
 125 - ---
533 cont 533

ISABEAU's hand adjusts around the hilt, then stops,

her fingers feeling for something curiously. At the
far side of the hilt - the green emerald has disappeared.

534 EXT. SKYLINE - WIDE ANGLE 534

(158)
The afterglow of the sun streaks the clouds with brilliant
colors. NAVARRE's booming VOICE thunders down.

NAVARRE
Damn you, Gaston! Damn you! •••

ISABEAU's PEALING LAUGHTER mixes in. CAMERAPANS down

from the skyline to the road:

The small wagon with the lovely PEASANT GIRL disappears

into the distance, illuminated by the dazzling sunset.
() PHILL''IPE (V. 0.)
It belonged to my mother •.•.

GIRL (V.O.)
It's ••. beautiful ...

PHILLIPE (V. 0. )
Actually, it's my only memory
of her .•.

FADE OUT

C)
FnHS