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I, IMMORTAL
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An Ogre Slayer/Highlander Crossover
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Part 1 of 2
Written by
Ed Hrzic
Copyright (c) 1997 by
Ed Hrzic
Characters herein remain the property of their respective owners.
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Yes, it's another crossover by yours truly. It's my rather
pitiful attempt to try and dilute the "Ranma" and "Sailor Moon"
fanfiction that has been dripping onto raac like a faucet turned
on full.
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Comments? Send them to "bd981@yfn.ysu.edu". Thanks!
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NOTE: This work of fiction contains violence and mature
language. Please be advised.
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FYI: The time-line of this series takes place during the
Highlander T.V. series, after Tessa was murdered...or something
like that...
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[HIGHLANDER INTRO (whatever season it is)]
FADE IN ON:
EXT. DOCK, NIGHT
I, Immortal
Story by Written by
Ed Hrzic Ed Hrzic
A young man, with short, black hair, steps off of the plank
leading from the edge of the ship to the dock. He carried what
appears to be something long wrapped in cloth, and tied closed.
After stepping upon the dock, he looks up at the full moon, and
turns to his left, looking down the dock. He then begins walking
in that direction.
INT. GYM
DUNCAN is practicing a variety of moves on a training bag. No
one else is in the room. He commences with several punches and
kicks to the lower area of the bag. He gets half-way through
another kick-
SOUND, B.G.: SENSE
DUNCAN turns. The door behind him opens, and RICHIE steps in,
carrying his helmet.
DUNCAN. Richie.
RICHIE. Hey Mac.
DUNCAN. About time you showed up.
RICHIE. Yeah, well I would've been here sooner, but I got a
little delayed.
DUNCAN. I'll bet. And her name was?
RICHIE. It doesn't ALWAYS have to be a woman, Mac.
DUNCAN. Name?
RICHIE. You wound me, Mac. You think-
DUNCAN. Name.
RICHIE. Lacey. There...happy?
DUNCAN (smiling). Fully.
DUNCAN turns back to the punching bag and continues the assault.
RICHIE. So, are we going to practice today or what?
DUNCAN. One more-
DUNCAN spins around and gives the bag a good hit, sending it
swinging high into the air.
DUNCAN. I'll need to get cleaned up.
FIELD
Two swords clash, and hold there.
DUNCAN. Remember to tense up just as the blades are meeting. If
you use all of your stamina on the way down, you won't have
anything to parry with.
RICHIE. Got it.
DUNCAN. Okay then. Let's try it.
DUNCAN and RICHIE step back, then RICHIE swings down with his
sword. DUNCAN parries the attack.
DUNCAN. Good, now lean into the attack as well, and you'll have
some good power behind it. Again.
CUT TO:
LATER
DUNCAN. You're getting better every day.
DUNCAN puts his and RICHIE's swords into the trunk of the car.
RICHIE. I should hope so. I'd like to say my life doesn't
depend on sword fighting, BUT...
They get into the car. RICHIE sighs.
DUNCAN. I know that it's going to tough, Richie, but without it,
you're never going to keep that head on your shoulders.
RICHIE. Yep. It seems that things can only get better nowadays.
CUT TO:
INT. DUCAN'S LOFT
DUNCAN pulls the gate upward, and walks off the left.
DUNCAN. I'm going to put the stuff away.
RICHIE. Go right ahead.
RICHIE walks into the room, and notices a curious, medium-sized,
manilla envelope resting against one of the many antiques on a
table. He picks it up. It has the words "Duncan MacLeod"
written on it, in elaborate cursive.
RICHIE. Hey, Mac.
DUNCAN (voice). What?
RICHIE. Come out here for a moment.
DUNCAN walks into the room.
DUNCAN. What is it?
RICHIE. Looks like someone left you a little something.
DUNCAN. How did they get-
DUNCAN takes the envelope and opens it up. He reaches inside,
and pulls out a dark-red rosary. He stops for a moment.
RICHIE. Mac?
DUNCAN. Rosario.
FLASHBACK TO:
INT. HOUSE, BEDROOM
SCREEN WRITING: MADRID, 1820
A woman in a red Sevillana* dress waits inside of her room. A
dark-red rosary hangs from the edge of a mirror.
ROSARIO. Duncan? Duncan? Are you finished?
DUNCAN walks in the room dressed in a set of black clothes, and a
black hat. He also has his sword at his side.
(* AUTHOR'S NOTE: If you don't know what Spanish Sevillana
outfits for males and females look like, then go to a library and
look it up. It'll improve your mind.)
DUNCAN. These pants are a little too tight.
ROSARIO. I doesn't matter.
ROSARIO walks up to him.
ROSARIO. We'll have a wonderful time at the fair tonight. It's
spring after all. There will be dancing, drinking, laughing-
DUNCAN. And your father...
ROSARIO. Come now, Duncan. Just give father a little time to
warm up to you. Everything will be fine, okay?
DUNCAN. You always had the flair for the unobtainable.
ROSARIO. Duncan, just give it some time.
DUNCAN sighs.
DUNCAN. Okay, you win. Let's go the fair, shall we?
DUNCAN offers her his arm. ROSARIO takes it.
ROSARIO. And we'll show those stuffy country people how well a
foreigner can dance the Sevillanas.
DUNCAN. Well, I had a good teacher.
He leans down and kisses her.
ROSARIO. Well, let's go.
CUT TO:
FAIRGROUNDS
ROSARIO and DUNCAN are walking along the streets toward a
bodega*. Many people are standing outside of it, talking and
drinking.
(* A general equivalent to a bar/cafe with a dance "floor".)
ROSARIO. I told you that the fairs brought everyone out.
Everyone in the whole country is celebrating.
DUNCAN. Here?
ROSARIO. No, silly Duncan! Around the country.
DUNCAN. Here comes papa.
ROSARIO. What?
From across the street comes a rather tall man: ROBERTO. He is
dressed in a black suit.
ROBERTO. Rosario.
ROSARIO. Good evening father.
She gives him a kiss on each cheek.
DUNCAN (extending his hand). Good evening Mister Luna.
ROBERTO looks at DUNCAN's hand, and then back up to him.
ROBERTO (to DUNCAN). Surely. (to ROSARIO) Rosario, your mother
has been quite anxious to see you dance. She has been telling
everyone about how well you are doing.
ROSARIO. Well, father, we were just about to go in.
ROBERTO (sour expression). Very well.
ROBERTO continues walking in the same direction.
ROSARIO. See? That went well.
DUNCAN. Sure. It could have been worse. He could have run me
through.
ROSARIO. Duncan!
DUNCAN. What?
CUT TO:
INT. BODEGA
DUNCAN and ROSARIO are dancing, amid many other people on the
dancing floor. They continue as the music plays. Then, when the
music stops, they make one last spin, and strike a pose*.
(* It's hard to describe unless you've seen one of the
Sevillanas.)
Everyone then begins to clap the performance.
DUNCAN and ROSARIO walks to one of the tables surrounding the
dance floor.
CARMEN. My dear, you were simply wonderful!
ROSARIO. Thank you mother.
CARMEN. As were you, Mister MacLeod.
DUNCAN. I thank you.
CARMEN. And here is your sword back, Mister MacLeod.
DUNCAN (taking it). Thank you.
DUNCAN fastens it back on to his waist. Someone taps him on the
shoulder. DUNCAN turns, and there is a man standing behind him.
DUNCAN. Yes?
MAN. What a wonderful display of the Sevillanas. I haven't seen
such grace in years.
DUNCAN. What can I say? I'm flattered.
The MAN pats DUNCAN on the shoulder.
MAN. Well, just keep it up. Soon, you'll be better than some of
the experts here!
DUNCAN and the MAN laugh heartily. The MAN then leaves.
ROSARIO. Duncan.
DUNCAN. What?
ROSARIO. You shouldn't be talking to commoners like that.
DUNCAN. What? Why? He was just giving me a compliment.
ROSARIO. I know, but it's just not done.
DUNCAN (sighs). Fine. I'm...I'm going to go out for some air.
ROSARIO. Okay. I'll be here with mother.
She kissed him on the cheek.
DUNCAN. Fine.
CUT TO:
EXT. BODEGA
DUNCAN walks out and stretches, as well as taking a deep breath.
ROBERTO. Mister MacLeod.
DUNCAN grimaces and then turns around with his best face.
DUNCAN. Mister Luna! I'm surprised to see you around here. Did
you see your daughter's dance? Her mother just-
ROBERTO. Mister MacLeod, this is NOT a social engagement. Would
you care to talk in private?
DUNCAN. Not really.
ROBERTO. It would be in your best interests to do so.
DUNCAN (shrugging). Well, you've always been one to sway
opinions.
ROBERTO. Please follow me.
ROBERTO turns and walks away, with DUNCAN following. ROBERTO
then turns a corner, into what appears to be an alley.
DUNCAN (in English). Gee, it looks like a trap.
ROBERTO. What was that, Mister MacLeod?
DUNCAN (back to Spanish). Oh, nothing.
ROBERTO stops and turns.
ROBERTO. Mister MacLeod, it concerns my daughter-
DUNCAN. Mister Luna, no, ROBERTO, we both know this isn't a
conversation. Call you goons out now.
ROBERTO. Very well.
ROBERTO whistles.
Two men enter the alley. They then draw their swords. ROBERTO
draws his.
ROBERTO. You've done a grave injustice, MacLeod.
DUNCAN (drawing his sword). By doing what?
ROBERTO. My daughter. Our lineage is of the purest in Spain.
We don't need it polluted.
DUNCAN. We? Polluted? No wonder I never liked you in the first
place.
ROBERTO signals, and the two men attack. DUNCAN parries one
attack, and kicks the other man in the stomach. He then dodges
as ROBERTO attacks from behind. DUNCAN then steps back as the
first man attacks again. DUNCAN parries, and swirls then swords
around, sending the man's sword up, and behind him. DUNCAN than
give him a good boot the chest. The other man continues with the
attack, DUNCAN parries several time, and slashes downward,
killing the man.
ROBERTO (stepping forward). You have surprising skill.
DUNCAN. I was taught by one of the finest swordsman that ever
lived. And you're nothing but a goon yourself, Roberto. You
couldn't even face me alone. That shows what kind of gentleman
you are: not even one.
ROBERTO charges forward, thrusting several times. DUNCAN parries
a few times, but one knocks off his hat, and one slashes his
arms. ROBERTO chuckles.
DUNCAN picks up the assault, slashing several times. ROBERTO
parries, and tries to then lunge at DUNCAN. DUNCAN sidesteps,
and pushes ROBERTO in the back, sending him sprawling against one
of the alley walls.
DUNCAN (smiling). Any time now, Roberto.
ROBERTO takes another swing, but DUNCAN lifts the sword out of
his grasp and sends it deep into the alley. DUNCAN points his
sword at ROBERTO.
ROBERTO. Go ahead MacLeod. Finish it.
DUNCAN. Perhaps not.
ROSARIO appears at the mouth of the alley. DUNCAN and ROBERTO
look to see her. ROBERTO takes the blade of DUNCAN's sword and
runs himself through.
[END FLASHBACK]
RICHIE and DUNCAN as sitting in chairs.
RICHIE. So, then what happened?
DUNCAN. I did what any other frightened person would have done:
I ran.
RICHIE. And you never saw her again?
DUNCAN. Nope.
RICHIE. Did you even try to find out more about what happened?
DUNCAN. Why bother?
RICHIE. Well, Mac, it sounded a like you liked her a lot.
DUNCAN. I did.
CUT TO:
INT. ABANDONED FACTORY, NIGHT
A woman walks into the deep of the factory. She stops and looks
around. Eventually, two large creatures arise from behind some
crates. One of green, and the other blue. Both are identical
except for the color: two large horns on their heads, long claws,
and nine feet tall.
FIMUR (green). Is this the human?
FUMIR (blue). This isn't a human. This one is different. Are
you the one who called us here?
ROSARIO. Who else would be here besides who called you?
FIMUR. Ask the boy and the girl who were here earlier.
FUMIR. Yes. Young bodies, with tasty flesh.
ROSARIO. I'm not here to discuss your eating habits.
FIMUR. Then what do you want?
ROSARIO. The Bargaining.
FUMIR. The Bargaining?
ROSARIO. Yes, yes, I know. You scratch my back, I scratch
yours.
FIMUR. Then what do you want? Fortune? Fame?
ROSARIO. I want you to make it so that my head can never be cut
off my body.
FUMIR. What?
ROSARIO. You heard me.
FIMUR. Why, mortal, would you want that of all things?
ROSARIO. Because, you fool, I'm not mortal! I'm immortal!
FUMIR stomps his foot.
FUMIR. Don't call my brother a fool, or you'll regret it.
ROSARIO, with the blink of an eye, unsheathes her sword, and
slashes both FUMIR and FIMUR across the chests. The howl.
ROSARIO. So, you can bargain, or die. And it's not exactly a
trick question.
FUMIR and FIMUR looks at each other.
FUMIR. Okay, IMMORTAL, here's what we want you to do.
ROSARIO. What is it?
FIMUR. We have been hounded by an cursed creature called the
Ogre Slayer. We know that he is here in this city. We want you
to kill him.
ROSARIO. After my part of the bargain.
FUMIR. Kill him first, and THEN you get your share!
ROSARIO. But how can I kill him unless I'm absolutely
invulnerable? With my neck protected, there is no way that I can
be killed.
FIMUR and FUMIR look at each other again. And growl.
FIMUR. Okay, immortal. You're part of the bargain.
FUMIR. But we need some elements...since you're not a mortal.
ROSARIO. And what would those elements be? Brains?
FIMUR and FUMIR look at her grimly.
FUMIR. We shall be back soon.
CUT TO:
INT. DUNCAN'S LOFT
RICHIE. Do you really think that it's her?
DUNCAN. There's not telling. Then again, it could just be
someone from then, who knows what happened.
RICHIE. What about her father? You said that you ran, right?
What if her father became an immortal?
DUNCAN. I don't really know. We can only sit here and find out.
CUT TO:
BUILDING ROOF, NIGHT
FUMIR jumps on top of the roof. He then senses someone else, on
the other side of the roof.
FUMIR. Come on out!
Ogre SLAYER steps closer.
SLAYER. My, an ogre. How surprising.
FUMIR. You're-
SLAYER. Ogre Slayer.
SLAYER unsheathes his sword.
SLAYER. Where is your brother, Fumir?
FUMIR. You little bastard. Like I would tell you!
FUMIR charges. SLAYER jumps rolls to the left, and rushes to
close in on FUMIR. FUMIR tries to claw him, but SLAYER ducks,
and slashes upward with his sword, tearing a large wound in
FUMIR's chest.
SLAYER. DAMN YOU!
FUMIR continues his attacks, smashing the top of the roof in an
attempt to hit SLAYER. SLAYER dodges, rolling clear out of the
way. He then rushes in to attack again. FUMIR slashes, tearing
across SLAYER's left arm. He winces, then swings his sword,
cutting off FUMIR's left arm. FUMIR screams.
SLAYER. Eye for an eye, fool.
FUMIR continues to scream while pounding around the roof, trying
to kill SLAYER. Suddenly, the whole roof goes in, FUMIR carried
into the floor below.
INT. BUILDING
A pile of rubble moves slightly. Then FUMIR bursts out of it.
FUMIR. Where are you, you accursed FLY!
SLAYER. Right here!
FUMIR turns just as SLAYER leaps down from the roof him, severing
FUMIR'S head from his body. SLAYER then looks down at the body
as it begins bubbling and crackling, and eventually turning into
a pool of an indistinguishable substance. It then fades into
smoke.
SLAYER. One down, one more to go.
CUT TO:
STREETS
RICHIE is sitting in DUNCAN's car. DUNCAN comes out of a grocery
store, carrying three bags. He tosses then in the back seat and
opens the door.
RICHIE. What did you ge-
SOUND, B.G.: SENSE
Both RICHIE and DUNCAN look around. Out of an alley, they see
SLAYER, carrying his wrapped-up sword. He stops when he sees
them.
RICHIE. Mac, who is he?
DUNCAN. I have no idea.
SLAYER begins walking toward them.
DUNCAN. Mac-!
RICHIE. I know Richie.
SLAYER picks up the pace, and pulls his covered sword in front of
him.
RICHIE. Mac!
DUNCAN unsheathes his sword.
DUNCAN. I am Duncan MacLeod of the clan MacLeod. Who are you?
SLAYER unwraps his sword.
SLAYER. Only ogres give off that kind of sense.
SLAYER unwraps his sword, and unsheathes it, then shoves the hilt
into the ground.
SLAYER. I am known only by the name of my sword: Ogre Slayer.
DUNCAN. Ogre Slayer? I don't know what kind of name that is,
but I'm sure it doesn't have to end like this.
SLAYER. You are an ogre. Ogres give off a "sense" that I can
detect.
DUNCAN. I sensed you as well. Does that mean that you're an
"ogre"?
SLAYER. You're very bright.
SLAYER thrusts, and turns it into a slash, causing DUNCAN to
dodge out of the way. SLAYER follows up, DUNCAN parrying and
countering with a few slashes of his own. As SLAYER retaliates,
DUNCAN moves back toward a lamp-post, and dodges behind it to
avoid SLAYER's attack. SLAYER swings his sword, cutting through
the post, and it falls the ground.
DUNCAN moves back, dumbfounded.
RICHIE. MAC!
DUNCAN turns to see RICHIE running up.
DUNCAN. Richie! Stop!
SLAYER swings his sword, knocking DUNCAN's far and away from him.
SLAYER points his sword at DUNCAN's neck.
SLAYER. Now, what did you say your name was again?
DUNCAN. Mac...MacLeod. Duncan McLeod.
SLAYER pulls his sword away from DUNCAN's neck.
SLAYER. MacLeod...MacLeod... (SLAYER thinks for a moment)
DUNCAN. Is there something-
SLAYER. A highlander?
DUNCAN. Born in Scotland.
SLAYER. Now I remember. But it was a man named Connor that I
remember.
DUNCAN. You know Connor?
RICHIE. Mac, what's going on here? First he's here to slash you
throat, and-
DUNCAN. Quiet.
SLAYER. No, I don't know Connor. I know...knew...Ramirez.
DUNCAN. Connor's teacher?
SLAYER. Yes. I was trying to "hunt", if you excuse the
expression, him down, since we're old friends. I met him in
Japan quite a long time ago. It was a shame to find that he was
slain by the Kurgan.
DUNCAN. Then, what does Connor have to do with this?
SLAYER. I found that Ramirez had taken an immortal under his
wing, and trained him. And it seems that wherever I see
immortals, or ogres, I find this name "MacLeod" popping up.
SLAYER turns to leave. DUNCAN stands.
DUNCAN. Then, are you an immortal, too?
SLAYER. Yes, you could consider me one.
DUNCAN. And who are you?
SLAYER. Ogre Slayer.
SLAYER picks up his sheath, and disappears into the night.
RICHIE. Mac, is this what I have to put up with?
DUNCAN. Maybe, Richie. But I'm going to find out more about
him.
FADE TO BLACK
SCREEN WRITING: TO BE CONTINUED...
[HIGHLANDER CREDITS]
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This was the first part to "I, Immortal". To get the final part,
you're going to have to e-mail me for the final portion, with
your comments on the story thus far.
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