Original subtitles

DUNCAN MACLEOD [OFFSCREEN]: I was born 400 years ago in the

Highlands of Scotland.

I am immortal, and I am not alone.

Now is the time of the Gathering, when the stroke of

a sword will release the power of the Quickening.

In the end, there can be only one.

[MUSIC - QUEEN, "PRINCES OF THE UNIVERSE"]

[music playing]

-Whoa, damn, check me out.

I am one sharp dude.

-Even if you just say so yourself.

-Hey, Tess, I'm just calling them as I see them.

-Well, see if you can pry yourself away from the mirror

long enough to sign the guestbook.

-Well, it would be my pleasure.

-Hi.

-Hi.

-Hi.

-Hi, nice to meet you.

Thank you.

-Tess?

-See you later.

-Hmm, I think I could get used to this.

-A little culture is good for the soul.

-Oh, wow, the food looks great.

-Hi.

-Hi there.

Hmm.

-Ab-so-lutely.

-Go on, talk to her.

-Tess, you can dress me up.

But I know what's out of my league.

I wouldn't even know what to say.

-Uh, how about hello?

-No, this is kind of woman you got to impress

right off the bat.

-Just be yourself.

-I'll be myself later.

Right now I want to be someone who knows a lot about art.

What do I tell her about that painting?

-Tell her that you either like it or you don't.

-Tess, come on, please, you know what I mean.

-Tell her that you find the shapes provocative and the

colors organic but strangely disturbing.

-Organic, strangely disturbing--

TESS [OFFSCREEN]: Provocative.

-Provocative.

-Provocative.

-Provocative.

All right, thanks.

I'll see you later.

-Tessa--

-Hi.

-How wonderful you look tonight.

-Thank you.

And Duncan, where is that man of yours?

-He's still in New York.

He'll be back tomorrow.

-Oh, shame.

Do give him my regards, will you?

-I will.

-I see your fans are beginning to gather.

Shall we mingle a little?

-Tess?

She's loving it, all the organic, uh, stuff.

But uh, now she's talking about texture and comparing it

to the neoclassical school.

Help me, I'm lost.

-Why don't just tell her the truth?

-Tessa, come on, she's beautiful.

She's smart.

She's sexy.

She's uh--

I dream about women like her.

-OK, tell her it's definitely not neoclassical.

But it does have some abstract notions.

-All right, thank you.

-Morons.

-Pardon me?

-The only thing they care about is if it

fits their damn patio.

They don't sense the depth, the intensity, the experience.

-I am not always so sure it's there.

-It's there.

You'd have to be blind not to see it.

This is a work of life, of openness.

It's wonderful.

-Thank you.

-I'm tempted to buy it just so some idiot won't use it to

decorate his bathroom.

-Are you an artist?

-I was once.

Things change.

-Will you join me for a drink?

-Oh, thank you, but I can't.

I really have to go.

You have talent.

Use it while you can.

It won't last forever.

-What's your name?

-Ann.

-Well, I forgot what I was supposed to say.

So I told her that, basically, I didn't know

Picasso from a piano.

And she laughed.

And she said she, uh, doesn't care.

She thinks I'm cute.

-Go on, have a good time.

-Are you sure?

-Mm-hmm.

-I'll see you later.

-Tessa, have you got a moment?

-I'm coming.

Oh my god.

[police radio]

-If I have any more questions I'll give you a call.

Thank you.

Ms. Noel, um, I know you're not the type

to make things up.

But I was up on that bridge.

And well, there's no blood, no sign of a struggle.

You're sure you saw this?

-How many do I have to tell you?

-Well, my men have been out here since daybreak.

They've spoken to a lot of people, including the gallery

manager here.

And uh, no one else saw anything.

-I did.

-Uh, you said that uh, you saw this woman while you were at a

celebration, a cocktail party?

-Yes.

-Were you celebrating a little?

-You mean was I drinking, lieutenant?

-And the answer is no.

He had her against the railing.

They fought and he threw her off.

I'm not making this up.

-Of course not.

-Don't patronize me.

-It boils down to one question, did you or did you

not actually see him push her over?

-Tessa, have you got a moment?

-I'm coming.

No, but I only looked away for a second.

Where do you think she went?

-Maybe they made up.

Maybe she got back in his car.

-And maybe she's laying at the bottom of the river.

-Ms. Noel, all I've got here are a lot of nos.

I've got no real witness.

I've got no body, and I've got no crime.

Now, we have your name and number.

If anything comes up we'll call you.

Do you need a ride back home?

I can have one of my men take you.

-I'm quite capable lieutenant, thank you.

-You're welcome.

-I reported a possible murder, not a flying saucer.

They treated me like a child.

There was no place she could have gone

but over that railing.

-Bennett's a good cop.

If there's something to be found he'll find it.

If she doesn't come home tonight someone will report

her missing.

All right, what do you know about her?

-Only that her name was Ann.

-Well--

-Well, I signed the guestbook.

I don't know, maybe she did too.

What?

-Of course.

-It was a good idea.

Go on, stick with her.

-Now?

-Now.

-Oh, man.

Rockwell, Morgenthaler, Von Holst, why do I get the

feeling I never went to college with these guys?

-Probably because you never went to college.

The name we're looking for is Ann.

-Ann, Ann, Ann, Ann, Ann, bingo, it's the last one.

She must have come in at the end.

-Ann Wheeler.

-Perfect, let's give it to the cops.

-Not just yet Richie.

I'd like to follow up on this myself.

-What about Mac?

-That's not necessary.

-All right, I'm game.

Let's go.

I'm just going to wait in the car.

-You don't have to.

-I know.

I want to.

-Can I help you?

-Um, does Ann Wheeler live here?

-Yes.

-Did she return home last night?

-No, she didn't.

-Uh, I wonder if I might speak with you?

-Are you a friend of Ms. Wheeler's?

-Yes, yes I am.

Thank you.

-Just come this way please.

We moved many times, often every year.

She likes being new places.

She's adventurous, always going somewhere.

We came here only three months ago.

-So you're not worried that she didn't return home last

night?

-Oh, no, she's frequently gone several days at a time.

-This is her work?

-Yes, almost all of them are.

She used to paint a great deal.

-Is she still painting?

-Not like she used to.

I'm sure she has her reasons.

-When she returns, would you have her call me?

-Certainly, Ms. Noel.

-Thank you.

-Thank you for coming Ms. Noel.

-Now what, lieutenant?

-Well, now the investigation of the disappearance of this

Ann Wheeler will be dealt with in its proper order.

-Uh-huh, y--you mean it'll stay buried.

-Do you have any idea how many open murder cases I'm dealing

with Ms. Noel?

Cases with a motive or evidence or a body?

-Do you think I'd go to all this trouble if I didn't think

something was very wrong?

The woman is missing, maybe dead.

I'm not hysterical.

I don't see things.

And I'm not looking for attention.

I just want something to be done.

-Of course.

Just uh, don't expect miracles.

-I just expect you to do your job.

-I am Duncan MacLeod, of the clan MacLeod.

Who are you?

[grunting]

-Who are you?

-And the English Lord, thinking that he was safe

behind this shield, attacked a Scottish Chieftain.

But the Scot sword was made of the finest tempered steel,

which pierced the shield, killed the English sword, and

ended the battle.

That, of course, is the legend behind this particular shield.

-Mm-hmm.

-Anyway, please, take your time.

Take a look around the store.

-Can I talk to you?

-In my office.

-I'll be back in a moment.

-That's fine.

-OK, call me crazy, but you keep turning up at murder

investigations.

Coincidence?

I think no.

-I'm not following.

-Tessa Noel is named on a police report for a missing

person, Ann Wheeler.

-And you think it's murder?

-Tessa does.

-Well?

-Don't play games with me, MacLeod, what gives?

-Read the report.

-Oh, and I was hoping for your colorful narrative touch.

-Duncan, the man in the store likes the shield.

-I wanted to talk to you.

-Really?

-Oh, you're right, it's just a pretext.

We were deciding, your place, mine?

-Don't let me interrupt.

-Why doesn't she like me?

-It couldn't be your personality, could it?

Or tact?

-You know, I was kidding in there.

-So I guessed.

So what do you want from me?

-Was Ann Wheeler a friend of yours?

-I barely knew her.

-Then why are you so involved in try--

-If you saw someone murdered you would feel

involved, trust me.

-You're certain she was killed?

-One moment she was there, vibrant, alive,

breathing the same air.

And the next--

-You describe her like you knew her well.

-Maybe I do, somehow.

-I don't see.

-Well, of course you don't.

You're here for the story.

Well, this isn't a story.

It's a woman's life.

And it's been taken from her.

And you can't do anything about it, can you?

-Maybe I could.

-Only if it buys you air time.

-Well, it's been nice sparring with you.

You know, you may be right about me.

But I still think I could help.

So call me if you learn anything else.

CHIEF [OFFSCREEN]: Yeah?

-Chief?

You remember that woman I told you about, the one who thinks

she saw a murder at the bridge?

CHIEF [OFFSCREEN]: Vaguely, what of her?

-Well, I know we don't have much.

But from what I know of her, she's not the kind of woman

who makes things up.

And she's very persistent.

-Well, there's always a first time.

I wouldn't make it a big priority.

It's probably nothing, nothing at all.

-It's been two days.

She hasn't returned home and still the

police have done nothing.

-Well, they probably have nothing to go on.

You know, people disappear every day.

-You sound like that detective.

She didn't just disappear.

She was murdered.

I believe you.

But believing and proving are two different things.

-So what do I do?

Well, let Bennett do his job.

I mean, there's an auction in New York.

I thought you and Richie could go.

-New York?

-Yeah.

-Yeah, now we're talking.

-You want me to leave?

-Well, just for a couple of days, until this is over.

Wait a minute, why?

The only time you want me gone is when there

is an immortal around.

-Whoa, whoa, whoa, hold on one second here,

what's going on guys?

-All right, I'm sorry.

I figured you had enough on your minds without this to

worry about.

I just want you out of here until this is over.

-Absolutely not.

-Tessa.

-I'm an adult Duncan.

I know the risks I choose to take.

Tessa, this is the gathering.

-We've been through this before.

I stay with you because I want to.

I won't run.

I'm not that little woman.

And I'll never be barefoot and pregnant.

We all have things to face, this is mine.

I have to see it through.

-All right, we'll do together then.

Where do you want to start?

-With Ann's maid.

I think she was holding something back.

-OK, we'll start there.

-Bennett?

-Get in the car.

-What's up?

-I've been looking at your Duty Report.

Now, I thought we agreed to give the Wheeler disappearance

low priority.

This Noel woman just won't quit.

Now, I checked out Ann Wheeler.

She still hasn't come home.

Maybe there's something to it.

-How many cases you got?

-I got a feeling about this, Chief.

Now, do you want to talk to the eye witness?

-No.

Just keep me posted.

-Will do.

-Amazing work.

I remember her now.

It was years ago.

It's just as fresh as when I saw it in Paris.

-Paris?

But Ms. Wheeler hasn't shown in Paris for 20 years.

You're much to young to have seen it there.

-Of course, I must be thinking of someone else.

-I'm beginning to be frightened.

She's never been gone this long with calling me.

Maybe she's painting somewhere.

You know how artists are.

-Maybe.

You--you said she hadn't painted much recently.

-That's right.

-Why?

-I really don't know.

-I think you do know.

-I don't know you.

Ann Wheeler never mentioned either of you to me.

You have no right asking these questions.

I want you to leave.

-All we want to do is help.

There's something wrong.

And I think you know that.

Whatever the truth is, it'll be better than not knowing.

-Why did she stop painting?

-It was a man.

He left her just after I came to work for her.

They were together for years.

And when he left she was devastated.

She never painted again.

It was like the life was drained out of her.

She spent years searching for him, which was why she was

gone for days on end.

-Well, maybe he could tell us something.

Does he have a name?

-Andrew Holt.

But I think he changed it to avoid her.

-What about snapshots, an address?

-No, I never saw any.

-What about paintings?

If she loved him, she might have done a portrait.

-It'll get it.

-Now we'll know who he is.

-I don't think so.

She found it, didn't she?

-That last night, I--I heard her on the phone.

It must have been him.

She sounded so upset.

I came to her.

She made me promise never to talk about him again.

-We understand.

-She's dead, isn't she?

-I'm not sure.

-You think he might have killed her?

-Perhaps.

-But why?

Why?

Those paintings, I can close my eyes and see her.

I can feel what she felt.

It's like peering into someone's heart.

She was so human, so real.

-I suppose she was.

-I know why she kept looking for him.

She felt everything, violently, love, loss.

-You're not her.

-I could be.

-Tessa, you're stronger than she was.

If something happened to me you'd be fine.

-You only think so because it suits you.

-We've got to call Bennett and tell him about the phone call.

-What can tell him?

That she spoke to someone?

The man has no face and a name he no longer uses.

-So what do we do now?

-I don't know.

Get down!

[scream]

[groans]

-You're hurt!

-When I tell you, get inside, OK?

Go!

-What the hell?

What the hell?

What's going on here?

An Immortal?

-Uh, yeah.

-A--are you all right?

[coughs]

-I'll live.

You know, I just love all this attention.

-Why would an immortal shoot you?

-She's right.

Any immortal would know a gun is useless to kill you.

Why would he try?

-Because he's not coming for me, Richie.

He's coming for you, Tess.

[music playing]

-Nosebleed, my ass.

What is it with you people?

I know cops that have been on the force 20 years, never been

shot at or pulled their guns and never

involved in a murder.

But with you, this kind of thing seems like it's a

regular occurrence.

So you're telling me all this blood came from you hitting

the steering wheel?

-Well, it could have been a lot worse, Sargent.

But those seat belts, they're a lifesaver.

And who knows what could have happened without them?

-Look, I came here to put you under protective custody.

It looks to me like you need it.

-Why is that?

-Ann Wheeler's body washed up on the shore a few hours ago.

-So now you believe me?

-Are you sure it's Ann Wheeler?

-We do some things right, MacLeod.

Forensics ID'd the body just a while ago.

Ms. Noel, I'd like for you to come with us.

-Why?

-Because the chief thinks it's possible that the murder you

witnessed was committed by someone connected

to organized crime.

He think you'd be safer under our protection.

And now I agree with him.

-Is it really necessary?

-There is a pro shooter around.

He knows where you live.

He's watching you.

Next time he may not miss.

Well, maybe it's not a bad idea, you

know, just for a while.

-We can come back later and pick up your clothes.

Where are you taking her?

-To a safe house, that's all I can tell you.

-It's going to be OK.

-I know.

-Does that bike of yours still haul ass?

-Like Madonna's underwear, why?

I got you.

-I just heard about the shooting

over my police scanner.

Are you OK?

-Yes.

They found Ann Wheeler.

-I know.

You were right.

-I wish I weren't.

Funny, I just wanted to talk to her again.

I know you won't believe this, but I'm sorry.

-You were right about something else.

-What was that?

-She's dead and I really can't help.

I wish I could.

-I think we got a player, the guy on the motorcycle.

-Try a hard left and hit the gas.

Down.

It could our shooter.

-I'm going to call for some backup.

-Freeze!

-Whoa, whoa, whoa, whoa, whoa!

Don't shoot!

Don't shoot!

Don't shoot!

I'm one of the good guys.

-Talk to me, wise guy.

-I got a license.

I was uh, taking a joy ride.

-Look pal, if we wanted people to know where these safe

houses were, we'd put them in the phone book.

Now, somebody escort Mr. Indiana Jones

here back to his place.

-Well, does that mean that this is going to screw up my

safety driver discount?

-You bet your ass.

-Oh boy.

[phone rings]

-Bennett.

-This is Ballin here.

How's it looking?

-Quiet so far sir.

What's up?

-Just checking in.

Did she identify anyone from the mug books yet?

-Not yet.

Uh, is all this necessary?

I mean, the lady's not very happy.

-Well, she'd be a lot more unhappy if she took a .22

behind the ear.

Stay buttoned up.

I'll check back later.

No one in or out.

-Whatever you say, sir.

[ticking]

-Open up!

Open up!

-Freeze.

MacLeod, are you nuts?

-Now, listen to me very carefully.

There's a bomb on the outside of the house.

You have exactly under two minutes to

get everybody outside.

I haven't got time to discuss this.

90 seconds.

-Is this another one of your tricks like that guy on the

motorcycle?

No more time.

-Bennett, are you all right?

-Yeah.

Freeze.

Where is she?

Where is she?!

-Duncan!

-Out.

Now.

Now, I'm going to say it again.

There's a bomb about to go off.

Take that.

Get Bennett and get outside.

You've got 30 seconds.

-Who is doing this?

-He's an Immortal.

He's a cop that followed you here.

-You followed me too.

-Yeah, but I'm obsessed with you.

Come on.

-I don't know what the hell's going on MacLeod.

But you're in deep!

-Yep.

-Thanks.

I owe you.

How'd you know there was a bomb in there?

-I saw someone leaving the side of the house.

-Can you identify him?

-I didn't get that good a look.

-You expect me to believe that, MacLeod?

This wouldn't be the first time you lied to me, you know.

-You can believe whatever you want.

Who else knew you were bringing Tessa here?

-Who else know?

Huh?

-It was just me, uh, the chief, and a couple of my men.

Wait a minute.

Wait, you don't think my people had

anything to do with this?

-We have to go.

-Yeah, right downtown, to talk this out.

-Tomorrow.

-No way, MacLeod.

-You said you owed me, right?

-Tomorrow, early, or I'm coming to get you.

-You're going after him?

-I have to.

-Maybe he'll run off now that he knows we know it's him.

-What about Ann?

-I care about you.

-I have to stop him.

This will happen again and again, and again.

-I know, I know.

-I guess you were right about it being a mob hit.

If it wasn't for MacLeod, we'd all be dead.

-It's lucky he arrived.

And he didn't mention who planted the bomb?

-Well, he said he didn't see anybody.

But I think he knows.

He's just not telling us.

Tomorrow I will get it out of him.

-Right.

[phone rings]

-I'll be in my office.

-I've been waiting for you to call.

I'll be there.

-It must be useful being a cop, Ballin.

If you kill one of us you can be the first on the scene.

There's no questions, no suspicion, just good, solid

police work.

-I wasn't coming for you yet, MacLeod.

-Of course, it works just as well for mortals.

Why Ann?

She was your woman.

She wouldn't let go.

-Everywhere I went, so did she.

At the end, she threatened to expose what I was to the world

if I didn't go back to her.

-How many others have you killed?

-Does it matter?

They never live forever, and neither will you.

[music playing]

-This damn case gets weirder by the moment.

-Why?

-Well, Chief Ballin turns up murdered last night.

We find a-- a rifle in the trunk of his car, which

ballistics matched to a slug dug out of your upholstery.

We then matched the fibers from under Ann Wheeler's

fingernails, and they match Ballin's overcoat.

You think you know somebody.

-Yeah, Ann Wheeler thought she knew him too.

-Yeah, look uh, I'm sorry I didn't believe

you the first time.

-It's OK.

-I guess I'll be seeing you around.

-Duncan--

-What?

-When the time comes, if you ever have to leave me, I won't

be like Ann.

I'll leave you first.

-You do that.

-Yeah?

-Yeah, and I'll follow you.

-Mm-hmm.

-Wherever you go.

For as long as you live.

-Mm?

Then maybe, just maybe I won't leave.

You want some coffee?

-Yeah, I'd love some coffee.

-I'll make some.

-Ah, I thought you wanted coffee.

-Oh, I do, I want some coffee.

-I have to make it.

-Well, OK, OK.

You make it.

-Where'd you go?

-Huh?

-What do you have in mind, huh?

-Nothing, sweetheart.

-Yeah, you do.

I want coffee.

-Mm-hmm, I do, I love coffee.

-Duncan.

-Let's go make some coffee.

-Duncan!

[MUSIC - QUEEN "PRINCES OF THE UNIVERSE]