Highlander (1992–1998): Season 1, Episode 16 - The Beast Below - full transcript
During a rehearsal, the manager of a band is thrown from a balcony and killed while having an argument with the band's lead singer. Duncan, who is there with Tessa and Richie as guests of the backup singer, believes the manager was killed by a mentally handicapped immortal he once befriended.
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]
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]