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DeCarlo later visits Reynolds and reveals that Peter is now under Damien's influence and that the real Christ child is now beyond Damien's reach. Agreeing to help DeCarlo, Reynolds tricks Damien with the promise to bring him to the church ruins where the Christ child.
Music edit The score to The Final Conflict was composed by Jerry Goldsmith, who had also composed the Academy Award winning music for The Omen and its sequel Damien: Omen II.
Joined by six other priests, DeCarlo plans to kill Damien while finding the Christ child. Meanwhile, Damien becomes romantically involved with journalist Kate Reynolds. Learning of his assassins and killing all but DeCarlo over time, he proceeds to mold Reynolds's young son Peter into a.
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University of London Observatory in Mill Hill, London (identified as " Hendon " in Baker's commentary) substituted for the Fernbank Observatory for The Second Coming sequence. The crew did not go back to Subiaco to film the exterior location of the monastery as in the.
After the alignment of stars in the. Cassiopeia constellation on March 24, 1981, generating what is described as a second. Star of Bethlehem, Damien realizes that it is a sign of the Second Coming and orders his followers to kill all boys born in England.
It took over two weeks to get right. It is considered one of the nastiest mainstream movie deaths, involving a priest burning to death whilst trapped in melting plastic sheets. The scene where Barbara saw a vision of her baby burned/dead was shot on slate.
Dean refuses to kill his son and makes preparations to flee the country, only to return home and be killed by his wife, who has fallen under Damien's control and murdered their child.
However, Father DeCarlo, a priest from the Subiaco monastery where Father Spiletto spent his final days and who has observed Damien from afar since his adopted father's death, acquires the Seven Daggers of Megiddo that were dug out of the ruins of the Thorn Museum.
The score was performed by the National Philharmonic Orchestra, conducted by Lionel Newman (who also conducted the scores for the previous two movies). True to the style of his first two scores, Goldsmith used an orchestral/choral blend with light electronic elements to create the film's.
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