Original subtitles

DUNCAN NARRATING: 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.

[theme music]

[theme music]

[theme music]

RICHIE [OFFSCREEN]: Check this place out.

This is unbelievable!

-I thought they only did ballet here now.

-This is a, uh, music and dance benefit for refugee

relief, I think.

-Oh, yeah?

And how did you get us invited to the rehearsals?

-Jenny, the girl who sings backup, invited me.

-Ha.

Why would she do that?

-Because I am irresistible.

CAROLYN [SINGING OFFSCREEN]: Ever since the beginning of

time, we speak of love as if nothing changes.

I wonder why love.

JENNY [SINGING OFFSCREEN]: 60 seconds in a minute, 60

minutes in an hour.

There is 24 hours in every day.

7 days a week, 52 weeks in a year.

100 years a century.

-[SINGING] Will the minutes turn into hours?

Will the weeks turn into years while we fade away?

We just fade away.

JENNY [SINGING OFFSCREEN]: 60 seconds in a minute, 60

minutes in an hour.

There is 24 hours in every day.

7 days a week, 52 weeks in a year, 100 years a century.

CAROLYN [SINGING OFFSCREEN]: Will the

minutes turn into hours?

Will the weeks turn into years while we fade away?

We just fade away.

-[SINGING] 10 centuries, a million years.

-Stop.

Ha.

I mean, why don't we just cut my microphone and let her

carry the song?

And the light.

Frank.

-Carolyn, do you suppose we could finish this technical

rehearsal before opening night?

-Who told you to turn that spot off of me?

-[sigh].

Carolyn, we have enough union problems as it is.

Jenny had a few featured bars, so he naturally thought that--

-I--

I want him fired.

Either you do it or I will, Frank.

-Take 10, everybody.

-Hey.

RICHIE [OFFSCREEN]: How are you?

-Oh.

Well, we're having a couple of technical problems.

FRANK [OFFSCREEN]: Carolyn.

-Look, I want him gone.

-Listen, you're being really unreasonable.

-Really?

I am just going to fill this place in three days.

This is my comeback.

I sang here 10 years ago, Frank.

And obviously, they have not forgotten.

So face the facts, this is my show.

-Oh, really?

I wonder what the rest of us are doing here?

You know, recently I haven't heard you utter one single

sentence that didn't begin with the word "I."

-I made you, Frank.

-I rest my case.

You know, when I rediscovered you, your career was history.

And you were so hungry to get back in the game, you were

drooling in my shoes.

But there was decency in you.

And now?

Now you're just another ego-laden

bitch with an attitude.

[sigh].

Whatever was special about you, you murdered it.

Ah!

-Who the hell do you think you are?

-I'm a very busy man with a show to run.

And you are just one element in it.

-We'll just see about that.

-Hey, listen.

I want to introduce you to some friends of mine.

-OK.

-Tessa, come here.

I would like you to meet Jenny.

-Hi.

-Hi.

Nice to meet you.

-And this here is my old friend, Duncan MacLeod.

Mac.

-Hi.

-You OK?

[scream]

FEMALE SPEAKER [OFFSCREEN]: Oh, no.

Frank.

-Is he all right?

FEMALE SPEAKER [OFFSCREEN]: Somebody call an ambulance.

I just saw him falling.

[breathing heavily]

[breathing heavily]

-I can't believe it.

I mean--

one minute he was right there and then--

-It's OK.

Jenny, maybe you should go back to the barge with us.

-Yeah.

I think it's a very good idea.

-And you never saw him?

-No, the lights were too bright.

-Do you think he ran out the door?

-I only felt a draft.

-Well, on that side of the stage, the doors are attached

to an alarm.

There's also a stairwell leading into the basement.

There's no door down there.

Anything else?

-No.

-What the hell are those about?

-Yes?

-I'm sorry.

I'm not disturbing you, am I?

-No.

-Do you mind if I come in a minute?

-Sure.

Are you with the police?

-Uh, no.

I was, uh--

-Oh.

I'm sorry, I remember you now.

Can I help you?

-Yeah.

Did you see what he looked like?

-The lights blinded me.

So--

-Wildflowers.

From an admirer?

-Oh, I don't know.

They were just here when I came in.

-You know they only grow in the forests.

-How nice.

Will you excuse me, please?

-Yes, certainly.

I'm sorry.

Thanks.

-Sure.

TESSA [OFFSCREEN]: You think an immortal killed him?

-I don't know, but there was an immortal there.

-It's someone you think you know, isn't it?

-What are you hunting?

-A beast that bears no name, sir.

A demon that dwells hereabouts.

-Demon?

Has he horns?

-None, sir.

But when he's cut down, he doesn't die.

He springs up somewhere else, like the mushrooms that grow

here at our feet.

[yelling]

-Stop it.

Stop the beast.

Stop it.

[shouting]

DUNCAN [OFFSCREEN]: Leave him alone.

He's done you no harm.

-Ow.

-No.

-He'll rise again.

You cannot kill him.

-Enough.

There are ways to bury a man so he will not rise again.

And I know of it.

Leave.

Now.

Any man that witnesses the burial site will remain here

and grow roots--

forever.

Go!

I won't harm you, but I couldn't let

you kill that man.

They won't bother you.

They think you're under there.

But you can't stay here anymore.

Do you understand what I'm saying to you?

-Mm.

-We must go.

Now.

-Where was he from?

How did he get there in the first place?

-I don't know.

-You never asked him?

-Well, he had a voice, but--

he didn't speak much.

It's my guess Ursa grew up in the wilds.

Alone.

He lived in a cave.

We stopped there to get the few things that he owned.

-But what would a man who lives in a cave in the woods

be doing in the heart of Paris at the opera?

It can't be the same person.

[breathing heavily]

-[SINGING] Ooh.

Ooh.

Ooh.

Ooh.

Who is it?

Who's there?

My friends will be right back.

Who are you?

You killed Frank.

-He hurt you.

-You're not going to hurt me like you hurt him, are you?

-No.

Sing.

Sing more.

-He hurt me, and you protected me.

Like a guardian angel.

Is that what you are?

My own guardian angel who brings me wildflowers from the

forest floor?

[SINGING] Ooh.

Ooh.

-Ursa?

Ursa.

Yes, I remember him.

He was a-- a gardener at the Abbey of San Gobain before the

Revolution.

They-- they tore the Abbey down and used the sterns to

build some houses.

Uh, I lost track of him after that.

-I was hoping you'd have some more recent recollection.

-Well, for me that is recent.

Here, try some of this.

-Oh, this isn't some more of your moss stuff, is it?

-No, no, no.

-I don't trust you.

You sure it's not?

-It's from a [inaudible].

Want some more?

-No.

No, no, no.

Look, uh, do you remember anything else about him?

-Well, the monks considered him as one of

God's special creatures.

They kept his secret from generation to generation.

And they taught him to sing.

-Do you know where he came from?

-No, I--

no, I doubt if he knows himself.

Mm.

He once drew me a picture of his home, of

mountains and a cave.

Well, it's strange that he should choose a monastery.

None of the monks remembered how he came to be there.

None of them.

Listen.

[chanting]

-If you stay out here, others like me will come.

You will have to take their heads or they will take yours.

You'll be safe in the abbey.

[inaudible] and the others like us cannot hurt you here.

Do you understand?

-[grunt].

[chanting]

-That's music.

Men's voices.

[chanting]

-You, too, could sing like that.

[chanting]

-But you never saw him again?

-Until yesterday, I think.

-Right.

It's a shame about the abbey.

It was his only true home.

Of course, now it would be in a suburb of Paris with its own

subway line.

-Subway?

-Mm.

-Subway.

Subway line.

Are there any woods or parks near the

site of the old abbey?

-Huge park, actually.

Yeah.

-Then it makes sense.

-What does?

-Well, Ursa always lived in caves, except for

his time in the abbey.

He'd be perfectly at home underground.

In sewers, in subways.

-The catacombs.

Those old tunnel works were used during the Great Plague

to empty the city's cemeteries.

Yes.

But what would draw Ursa so far into the city?

-The music.

-Yeah, the opera.

I suppose that it's possible.

-Yeah.

Ursa always loved music and beauty.

[knocking]

-Come in.

-Wow, it's, uh, hot stuff.

-Really?

-Uh, can I talk to you?

-Sure, Jenny.

-Well, um, the guys in the band have been helping me out

with a couple of songs I've been working on, and, uh--

well, they think they're pretty good.

-Uh-hmm.

I'll listen to them.

And if I like them, I'll try them out in rehearsal.

-The others thought that maybe I could sing them myself.

You know, I'd like to try.

-I bet you would like to try, Jenny.

If they're any good, we'll try them out in performance and

see if the fans go for them.

OK?

-Yeah.

That's all I want.

-That's all?

At your age, honey, I wanted to be the star.

No, seriously, Jenny.

You deserve the recognition.

-I won't forget this.

-I won't let you.

JENNY [OFFSCREEN]: OK..

-OK.

Bye, Jenny.

JENNY [OFFSCREEN]: Bye.

-Bye.

-Let me-- let me just get this straight.

You're going to go down there and look for this big giant

named Ursa who's like crawling around the opera, you think?

-That's right.

And I'm going on my own.

-OK.

So I take it you were around when they built the Paris

sewers, right?

You probably know them like the back of your hand?

-No.

I was actually not too much into sewers, you know?

-Well then, how do you know where you're going?

-Well, if the old saying goes, I'm going north by northwest.

Well, actually, I'm going that way.

-What if your compass doesn't work down there?

-I'll get lost.

And don't come after me.

-Right.

Sure.

Oh, great, big, dumb, giant, ugly neanderthal, immortal,

piece of-- oh, man.

-They're beautiful.

You're back again.

How do you get in here without anyone seeing you?

-Here?

RICHIE [OFFSCREEN]: Whoa.

Whoa.

Boy, am I glad to see you.

-The feeling isn't mutual.

I told you to stay by the manhole cover.

Now, go back.

-Go back?

I forgot my ball of twine.

-You're lost?

-Mac, I'm wandering around this place turning like fish

belly white growing these phosphorescent tendril out of

my forehead like some bottom-dwelling sea urchin.

-Quiet.

[distant voices]

-What?

-Voices.

-I'm afraid.

I--

I wouldn't have to be if--

but I couldn't ask you that.

You've already protected me once.

You don't like killing.

I guess I'll just have to go away far from everyone.

Far from you.

And just hope she doesn't find me.

Unless--

you could bring her down here.

No one will ever find you, or her.

She's already tried to murder me once in my sleep.

Do you want her to succeed this time?

Help me.

What?

What is it?

-What?

What's up?

What's going on?

Oh, fantastic.

-Stay here.

OK?

-All right.

[grunt]

[yelling]

-It's Duncan MacLeod.

Ursa.

Ursa.

Ursa.

-MacLeod.

-Ursa.

-You OK?

-Why did he attack you if he's your friend?

-He didn't recognize me.

It was dark.

I told him who I was, but maybe he didn't remember.

-Yeah.

And I suppose the old memory gets a little fussy after a

couple of hundred years.

-Uh-huh.

-But what's he doing down there?

Why did he kill that man at the opera?

-Well, that's what I'm going to have to find out.

See you.

-Later.

-You won't follow me again, will you?

-Ha-ha.

No, not this time.

Friend, ha?

Trust me, he's not exactly the kind of guy you invite over

for dinner.

Uh, Tessa.

-Sorry.

-Hi.

Jenny, right?

-Uh, yeah.

Hi.

-How you doing?

-Fine.

Fine, thank you.

-Have the police been back?

-Uh, questioning Carolyn mainly.

She's the only one who saw anything.

-You a friend of hers?

-Well, uh--

I guess I like to be.

I mean, she can sing anything.

You know, jazz, opera.

-But?

-Well, she can be hard to be around sometime, you know?

I keep telling myself that she's just scared.

You know, this is her big shot at a comeback.

-Hm.

How'd she get along with Frank?

-Yeah, well, uh--

I guess I shouldn't talk about that.

-Why not?

It might help.

-How?

-I don't know.

Uh, were they close?

-Yeah.

They were real friendly at first.

She was grateful.

He always said he was her number one fan.

But it's funny, with somebody like Carolyn, you could almost

see the gratitude working like a poison in her bloodstream.

And she started riding Frank like she

hated him or something.

I--

I guess that sounds crazy, right?

-No, not really.

Some people hate owing anything to anybody else.

Have to believe they've done it all themselves.

-Yeah.

-How did Frank deal with it?

-I don't know, like he'd seen it happen before.

It was just kind of sad.

Look, I really feel weird talking about this, OK?

-Well, I'm glad you did.

Listen, stop by the barge some time.

I think Richie's been looking forward to seeing you.

-Yeah, sure.

I'll do that.

-OK.

-Oh, look.

I hope you don't think that--

-No, I don't.

-OK.

Bye.

You know what bugs me the most about Carolyn?

-What?

-That I might turn into her.

-Well, I guess that's going to be up to you, isn't it?

-Look, we don't need to give 25% of our

money to some manager.

-Who's going to handle the books?

-I can.

-Sure you can.

-What the hell are you doing?

-I am getting everybody's attention.

-We are liked the way Frank ran things.

-Well, he can't anymore.

I can.

I mean, do you really think Frank was earning his

percentage?

He was a parasite.

I mean, I know this is cold, but that is the

way the world is.

We were the ones making things happen.

We were the ones with the talent.

Just let me have a shot at running the group, OK?

-Why isn't Jenny here?

-I didn't invite her to this meeting.

I wanted to talk to you all about her.

She's not working out.

-Come on, what are you talking about?

She's one of the best backup we ever had.

We all like the song she wrote.

-She is a distraction.

She is not what this troop is about.

-Exactly what are we about?

You?

-Look, we'll finish this later.

OK?

OK?

-Yeah, all right.

-Boo.

Oh, sorry.

Expecting someone else?

-No.

Where did you come from?

-Oh, a secret door that leads into the sewers.

But you've never seen it before, right?

-No.

How very exotic.

-I want to talk to you about the guy who killed Frank

Wells.

-Sure.

I have a costume to try on.

Come along if you want to talk.

-You know who killed your manager.

-I never saw his face.

-His name is Ursa.

-If you say so.

-He brought you the wildflowers in

your dressing room.

-I never made the connection.

I told you I didn't know who bought them.

-Well, you do now.

So why don't you tell the police?

-Why haven't you, if you know so much?

Who are you?

-My name's MacLeod.

And you're dealing with something very dangerous.

-I think I can handle whatever it is.

-I hope so.

[laughter]

-You took your time.

She'll be here any moment.

I found this in her dressing room.

She's going to use it on me.

-Oh.

Oh.

Uh.

-Oh, hey fellows.

Am I late?

-Yeah.

Hi, Jen.

-Hi.

How's it going?

-Good.

-Good?

OK, well, um--

I--

I'm just going to get my stuff.

OK?

All right?

So grab a seat and I'll be right back.

[music playing]

[grunt]

[screaming]

[screaming]

JENNY [OFFSCREEN]: Let go of me.

Help me, somebody.

Help.

RICHIE [OFFSCREEN]: Jenny.

-Richie.

Richie.

Put me down.

Richie.

Richie.

Please, put me down.

Let me go.

Let me go.

Ow.

-Richie, are you all right?

-Yeah, I'm fine.

-You're OK?

-Yeah.

-Ursa.

-What's happened?

What's happened?

-He took Jenny.

-Oh, how terrible.

-Damn!

-Don't shoot.

At least you don't need batteries.

Oh, Mac.

Look, check it out.

It slopes down there.

What is all that stuff?

-The catacombs.

-What?

Don't.

Wait for me, man.

-No, please don't hurt me.

-[grunting].

JENNY [OFFSCREEN]: Why are you doing this?

I--

please don't leave me.

No, please don't leave.

-Ugh.

Friends of your, huh?

-Very funny.

-Help me, someone.

-Jenny.

-Richie, wait for me.

RICHIE [OFFSCREEN]: Jenny.

Jenny.

JENNY [OFFSCREEN]: Richie.

-Jenny.

Oh.

Are you all right?

JENNY [OFFSCREEN]: Yeah.

RICHIE [OFFSCREEN]: You OK?

JENNY [OFFSCREEN]: Yeah.

Fine.

RICHIE [OFFSCREEN]: Did he hurt you?

-No, he didn't.

He seemed almost as frightened as I was.

I don't know why he took me down here.

-Mac?

-What?

-Is he close?

-No.

-Well, how do you know?

-Well, it's a maze down here.

He could be anywhere.

RICHIE [OFFSCREEN]: Yeah.

-Come on, Richie.

You find a way out of here.

-Me?

-You.

Go on.

-All right.

Let's go.

-You know.

I don't understand any of this.

He was like a confused animal or something.

I almost felt sorry for him.

I mean, who was he?

-He's someone very lost.

-Well, if you're right, it would take the entire Paris

police force to flush him out of there.

Some of these homeless guys have been living

underground for years.

-Well, I don't think you'd flush him out even then.

-Well, we're also making inquiries at all the asylums

and hospitals.

Maybe he escaped from one of them.

-Yeah, maybe.

-And you, MacLeod.

You did well finding her.

-Well, I guess it's just beginner's luck.

-And, uh, miss.

If you think of anything else, just call me.

JENNY [OFFSCREEN]: Thank you.

I will.

-You know your way out?

Jenny, have you had an argument with anybody lately?

-Like who?

-Well, like Carolyn?

-Carolyn?

No.

As a matter of fact, she's been really nice to me lately.

Uh, when the band wanted me to sing my own songs, um, she

seemed OK about it.

-They wanted you to sing?

-Well, it's not the first time.

Um, Frank talked about it, too.

-Carolyn didn't mind sharing the spotlight?

-No.

Um, she seemed fine.

-I was kind of surprised.

Why?

-Well, no reason.

-Everything's going to be just fine.

-She isn't dead.

I thought you were my friend.

You don't care at all.

Now there's someone else who wants to hurt me.

His name is MacLeod.

-MacLeod?

-You know who he is?

-He's coming to kill me.

And you'll just watch.

You don't really love me at all, not the

way that I love you.

-Ursa, it's me.

Don't you recognize me?

It's Duncan MacLeod.

-MacLeod.

-He's coming for me, Ursa.

-No, I'm not.

-[grunting].

-What are you waiting for?

Stop him.

He's going to kill me.

-I'm not going to hurt her, Ursa.

[grunting]

-Kill him!

-I'm not going to attack you, Ursa.

I don't want to fight you, Ursa.

She's lying to you, Ursa.

She's trying to fool you about the girl, Jenny.

But you didn't believe her, did you?

You knew she was good.

I've always been your friend, Ursa.

I told you, I don't want to fight you, Ursa.

We're friends.

She's using you to kill people for her.

Ursa, listen to me.

Don't make me do this.

-You won't stop a puppet!

Ah!

Ah!

-MacLeod.

Oh.

-Leave me alone.

I haven't done anything.

-You wanted him to kill for you?

-That is crazy.

First Jenny, then me.

He was a gentle soul.

-You were friends with that ox?

-Yeah, we were friends?

-He was a lobotomy case.

-Then you never cared for him?

-He must have hit you over the head.

He was a simpleton.

He belonged in some zoo exhibit.

-[grunt].

[honking]

-Ah.

[tires screeching]

-Ursa, there's nothing you can do for her.

Ursa.

They rebuilt the old chapel.

You'll be safe here.

The brothers will take care of you.

This is your home again.

I've got to be going, Ursa.

I'll come visit.

-MacLeod.

-See ya, Ursa.

[theme music]