All language subtitles for Highlander S01E12

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]