Dangerous Straits
mln

DISCLAIMER: Big surprise. The characters of Michael, Nikita, 
Operations, Madeline, Birkoff, and Walter belong to the folks at 
LFN. The characters of Duncan, Joe, Richie, and Methos belong to 
the folks at Highlander: The Series.
This arc is a crossover with the show Highlander. I have tried to 
make it accessible to those who might be unfamiliar with HL, but 
it probably would help to know the HL mythology.

"O compassion on these suffering conscious beings
Who wander in the life cycle, darkened with delusions,
Not knowing their own minds as the infinite Truth Body
May all of them attain the Body of Truth."

Prayer from "The Tibetan Book of the Dead"


TEASER

SCENE: INSIDE THE SECTION VAN - NIGHT. The scene opens with close-
ups: hands pulling on boots, fastening gear, loading and cocking 
weapons.

The camera pulls back: we are in the van, and Michael is on a comm 
link as Nikita and three other operatives suit up. Michael 
finishes listening to the message and turns to the operatives.

MICHAEL: Our visual satellite link is down due to atmospheric 
interference. Infrared surveillance will not be possible.

EXTRA OP: Are we aborting?

MICHAEL: No.

NIKITA: You mean weíre going in blind?

MICHAEL: Yes.

The four operatives look at one another.

MICHAEL: Letís go.

CUT to three-story house, outside Paris. The van is parked down 
the street. The van doors open, and the four operatives, under 
cover of night, stream across the expansive lawn. Two go to the 
left of the house, the other two to the right.

CUT to the left side of the house. Nikita and Fuller, an extra op, 
sneak up to a basement window. Nikita pries it open, and then 
Fuller helps her drop inside.

NIKITA: Iím in.

MICHAELíS VOICE: Go.

Fuller passes an equipment bag through the window to Nikita. She 
disappears into the basement. Fuller turns - and is blindsided 
with a punch to the face. His body is dragged into the bushes.

CUT to inside the basement. Nikita works her way down a dark, dank 
hallway. She checks rooms on each side, combat mode, and then 
stops on reaching a door at the end.

NIKITA: West end clear.

MICHAELíS VOICE: Proceed. And remember, Nikita, Corman must be 
taken alive.

NIKITA: (irritated) I know, Michael.

CUT to a center hall that runs down from the basement steps. A man 
in a dark coat turns off from the center hallway into a side 
hallway. Just as the door closes, a door opposite opens, and 
Nikita steps into the center hallway. She looks from one side to 
the other, and then enters the same side hall as the man in the 
dark coat.

CUT to side hall. It is the same as the hall Nikita was in before, 
except that one of the doors is open. Nikita approaches it 
carefully.

As she arrives at the door, the scene shifts into slow motion.

MUSIC rises: U2's "Pride (In the Name of Love)"

Nikita rounds the corner of the doorway, weapon raised. In shock, 
she nearly drops it.

"One man comes in the name of love
One man come and go -"

In the room are seven children, all young boys of African or 
Hispanic descent. They have been beaten and abused, and are tied 
up on filthy cots.

A tall, dark-haired, pony-tailed man is kneeling beside one of the 
cots, untying one of the children. He looks up at her entrance. He 
is a devastatingly handsome man, his eyes dark with pain.

"One man come he to justify
One man to overthrow -"

NIKITA: What are you doing?

DARK MAN: Help me -

Nikita steps in. The dark-haired man gently lifts the child to his 
feet.

DARK MAN: (to the child) Thereís a church a half-mile down the 
road. Go there - now!

The child nods and runs past Nikita.

"In the name of love
What more in the name of love -"

DARK MAN: (to Nikita) Please - we must hurry -

She holsters her gun and starts untying the child nearest her. He 
looks up at her with terrified eyes.

NIKITA: Youíll be all right.

"In the name of love
What more in the name of love -"

MICHAELíS VOICE: Whatís going on, Nikita?

NIKITA: (teeth clenched) Not now -

MICHAELíS VOICE: We spotted Corman in an upstairs window. Move on 
the target.

NIKITA: (hissing) Go to hell, Michael.

She continues untying and shooing children out. She is so busy she 
doesnít see the dark man working with her suddenly raise his head 
and look upward. She doesnít hear him steal out of the room.

The last child freed, Nikita looks around. The room is empty.

"One man caught on a barbed wire fence
One man he resist -"

Nikita breaks for the outer door - she runs down the central hall 
and up the basement stairs.

NIKITA: Where is he?

MICHAELíS VOICE: On the roof.

"One man washed up on an empty beach
One man betrayed with a kiss -"

MICHAELíS VOICE: Heís not alone.

NIKITA: I know.

MICHAELíS VOICE: Incidental disposal, Nikita. No interference.

CUT to roof. Nikita steps through the tall open window, part of a 
parapet. She pulls out her gun and looks around. The roof slopes 
gently

"In the name of love
What more in the name of love -"

NIKITA: Oh, my God, Michael! Theyíve got -

MICHAELíS VOICE: What?

"In the name of love
What more in the name of love -"

Nikita stares dumbfounded at the two men in front of her: one is 
the tall dark man who helped free the children, the other small, 
compact, his bald head gleaming in the moonlight. They are 
delicately balanced on the slanted roof, moving here and there, 
thrusting and parrying with -

NIKITA: SWORDS!

The blades clang and spark in the moonlight.

MICHAELíS VOICE: Fuller, move in to back up Nikita.

There is no answer.

MICHAEL: Fuller! (still no response) Nikita, Iím coming in.

NIKITA: (watching the duel, open-mouthed) Uh huh.

CUT to front lawn. Michael jumps out of the van, checking his gun. 
He looks around and sees, down the block, a car with a man sitting 
inside and watching the house. Michael looks at the house, and 
then decides. He runs, low and swift, up to the driverís side 
window of the car. He raises up, pointing the gun at the driver.

"Early morning April four
A shot rings out in the Memphis sky -"

MICHAEL: Out of the car.

The man, a weaselly looking fellow about to take a sip of coffee, 
freezes.

CUT to roof.

Nikita moves carefully across the roof, holding with one hand for 
balance.

"Free at last
They took your life
They could not take your pride -"

The two men make their way to the other side, and then the tall, 
dark man loses his balance a moment. The bald man, with a strong 
whack, disarms him, sending his sword clattering off the roof.

"In the name of love
What more in the name of love -"

The bald man raises his own sword high in the air.

Nikita sees her chance. She braces herself, raises her gun, and 
points it.

NIKITA: Hold it right there!

The bald man freezes and looks over at her.

NIKITA: Drop it!

The bald man looks down at his opponent.

BALD MAN: Next time, old friend.

"In the name of love
What more in the name of love -"

He lowers his sword, as if to surrender it, but the move is a 
decoy. With a swift move, he pulls out a rappelerís hook and cord: 
he slings it onto the eaves of the roof and rappels down.

NIKITA: Fuller! Heís coming down your side!

CUT to side of house. Fuller, tied and gagged in the bushes, 
watches helplessly as the bald man gets away.

"In the name of love
What more in the name of love -"

CUT to rooftop. The tall, dark man is standing now, facing Nikita. 
She raises the gun.

NIKITA: Who are you?

DARK MAN: I have to go after him.

NIKITA: Not until you tell me who you are.

DARK: MAN: Heís getting away -

NIKITA: You either answer me or you answer St. Peter.

DARK MAN: (with a tired smile) I always wanted to meet St. Peter.

"In the name of love
What more in the name of love -"

The dark man looks over the edge of the roof and then back to 
Nikita.

DARK MAN: Iím sorry.

Silently, he leaps off the roof.

NIKITA: NO!!

She slips and slides to the edge of the roof to look over. The 
childrenís saviour lies sprawled on the ground, his body bent and 
broken from the fall.

"In the name of love -"

MUSIC stops.


**********


SCENE: FRONT OF HOUSE, LATER. Nikita exits the house just as 
Michael reaches the front porch steps. Behind him, the extra ops 
are holding the weaselly man, whose hands are cuffed behind him.

Nikita looks down at Michael from the top of the steps.

NIKITA: Corman?

MICHAEL: No.

She holsters her gun and starts down the steps.

MICHAEL: (stopping her as she passes) Nikita, what happened with 
the collateral?

NIKITA: (sullenly) See for yourself.

She gestures with her head to the side of the house. After a look 
at her, he walks around to the side of the house, stopping at the 
corner.

MICHAEL: Nikita -

Reluctantly, she goes over to him.

MICHAEL: I donít understand.

Nikita looks: the dark-haired manís body is gone.

The camera pans to the weaselly man. The extra ops turn him to 
lead him to the van.

A close up of his hands, tied behind him. On his wrist is a 
Watcher tattoo.

ROLL CREDITS


ACT ONE: Dead Men Walking

SCENE: SECTION ONE, CONFERENCE ROOM. Michael, Nikita, Birkoff, and 
two extra ops wait at the table. Michael is watching a stone-faced 
Nikita. He seems about to say something when Operations enters. 
With an impatient click, Operations turns on the blue view screen. 
The bald man appears.

OPERATIONS: Randall Corman, mercenary, thief, terrorist, bigot, 
and all-round scum. He is surpassed in scumminess only by his 
partner, Theodore Ferris --

He clicks the remote, and an image of a tall, thin man with 
bleached-blond hair and a tight, lined face appears.

OPERATIONS: Together, they are responsible for the illegal 
smuggling of arms and intel to the Central European neo-Nazi 
organization, the Fifth Reich. Weíve been trying to infiltrate the 
Fifth Reich for almost ten years, but until we targeted Corman and 
Ferris, our chances seemed slim. Now they seem nonexistent. 
Unless, of course, we can locate them. AGAIN.

He clicks off the viewscreen.

OPERATIONS: Where are they?

BIRKOFF: We picked up Corman at the Paris airport boarding a 
flight for the Big Apple. Unfortunately, we lost him in La 
Guardia.

OPERATIONS: Weíre two for two.

MICHAEL: What about Ferris?

BIRKOFF: Heís even more difficult to locate. Our last intel had 
him in Seattle, but that was a month ago.

OPERATIONS: Well, since those of us at this table seem incapable 
of getting our jobs done, I guess weíll just have to hope Madeline 
is able to do hers.


**********


SCENE: WHITE ROOM. In a close up, we see the weaselly Watcher - 
screaming.

The scream subsides to a whimper. The camera pulls back and we see 
Madeline standing in front of him. He is strapped to a chair, 
electrodes implanted in his forehead, arms, chest, and legs. 
Beside him is a Section technician turning the dial on a 
forbidding machine.

MADELINE: So, are you ready to tell us who you are?

WATCHER: (gasping in pain) I - I told you -

Madeline shakes her head, and then looks at the technician. He 
turns the dial again. The Watcher screams.

MADELINE: And once again I ask - who are you and what were you 
doing in Paris?

WATCHER: (crying) I - told you the truth - I swear -

The door creaks open, and Michael enters. Madeline looks at him, 
and then back at the Watcher. She steps forward and runs a finger 
lightly down his arm, stopping to finger the strap across his 
forearm. She fingers the end of the strap, teasing him with the 
possibility of undoing it. He watches her hand, transfixed.

MADELINE: All you need to do -

She sees the tattoo. Quickly, she unstraps the Watcherís arm and 
turns his wrist up. Michael steps forward and sees it as well. His 
head goes back slightly, as if he recognizes it.

MADELINE: What is this symbol?

WATCHER: (desperately) Nothing - nothing! My fraternity in college 
- initiation -

Madeline restraps his arm forcefully. She straightens up and turns 
to the technician.

MADELINE: Five minute intervals, increasing incrementally. When 
heís ready, let me know.

WATCHER: Itís the truth! Please --

Madeline leaves without looking back. Michael follows.

As the door closes, the Watcher screams.

CUT to hallway outside. The scream is cut off.

MADELINE: You recognized it.

MICHAEL: Iíve seen it somewhere, but Iím not sure where.

MADELINE: Get Birkoff to do a search.

MICHAEL: What about him?

MADELINE: (shrugs) If he survives, cancel him.


**********


SCENE: SYSTEMS. Birkoff is at a terminal, with Nikita sitting 
beside him. Birkoff turns from the screen to Nikita.

BIRKOFF: Are you sure about this?

Nikita looks at picture on the screen: a computer drawing of the 
dark-haired man.

NIKITA: Thatís him.

BIRKOFF: He looks like Fabio.

NIKITA: Fabio is blond.

BIRKOFF: So I hear. Where do you want me to run this?

NIKITA: Well, he didnít sound French. Try passport databases: 
American, British -

Michael enters and comes up behind them. Nikita stands 
defensively. Michael gives her a look, and then turns to Birkoff, 
handing him a disk.

MICHAEL: Run a search to see if you can identify this symbol. 
(then, to Nikita) I need to see you in my office.

He leaves. Nikita looks at Birkoff.

NIKITA: Ever get called to the principalís office, Birkoff?

BIRKOFF: I had my own chair.


**********


SCENE: MICHAELíS OFFICE. Nikita knocks and enters. Michael secures 
the room without looking up.

MICHAEL: Why are you having Birkoff run a search for a dead man?

NIKITA: (stiffly) Dead men donít walk away.

MICHAEL: He could not have survived that fall. Corman could have 
dragged the body off.

NIKITA: Then his body could lead us to Corman.

Michael looks up at her at last.

MICHAEL: Nikita, whatís going on?

She gets up with a jerk and goes over to his window, looking out 
at the recruits training just outside.

NIKITA: Nothingís going on.

He shuts off his computer and crosses to her, resting his hand on 
her shoulder.

MICHAEL: (almost whispering) Nikita -

NIKITA: (her throat constricted with tears) Iím just - Iím just so 
tired of it -

MICHAEL: Tired of what?

NIKITA: Of it all. The lies - the killing -

He opens his mouth to say something.

NIKITA: I keep seeing those children -

After a moment, Michael seems to change his mind about what he was 
going to say.

MICHAEL: Letís get out of here.


**********


SCENE: NIKITAíS APARTMENT. Nikita is walking around the apartment, 
prowling like a caged animal. Michael is in the kitchen, heating 
cognac and watching her.

Nikita runs a hand along her stereo and hits a button. MUSIC 
rises: REMís "Losing My Religion."

She plops onto the sofa as Michael finishes pouring the cognac. He 
brings her a glass.

"Oh, life is bigger
Itís bigger than you and you are not me -"

NIKITA: Getting drunk wonít solve anything, Michael.

He doesnít say anything - he just holds the glass out steadily. 
Finally, she takes it and cups it in her hands, swirling the warm 
dark liquid. Michael sits beside her. He sips and waits.

"The lengths that I will go to
The distance in your eyes -"

NIKITA: (abruptly) Do you believe in an after life?

MICHAEL: (surprised) You mean, heaven and hell?

NIKITA: Yes.

MICHAEL: No.

"Oh, no, Iíve said too much
Iíve set it up -"

NIKITA: Not at all?

MICHAEL: Well, there was a time I believed -

NIKITA: What?

MICHAEL: When I lived in Thailand, I learned a lot about - about 
Buddhism. At the time, it made sense to me. That when we die, our 
life force, our essence, doesnít pass away but merges back into 
the world, recreated in a new form.

NIKITA: Reincarnation.

MICHAEL: Yes.

"Thatís me in the corner
Thatís me in the spotlight -"

NIKITA: But you donít believe that anymore?

MICHAEL: I donít think about it anymore.

"Losing my religion -"

NIKITA: I told that man he would be facing St. Peter.

MICHAEL: And it got you to thinking about all the people youíve 
killed.

NIKITA: Yes.

She puts the untouched cognac down on the coffee table.

"Trying to keep up with you
I donít know if I can do it -"

Michael takes her hand.

MICHAEL: You have done what you had to do.

NIKITA: Have I?

There is long, awkward pause. Michael strokes the back of her 
hand, thoughtfully

"Oh, no, Iíve said too much
I havenít said enough -"

NIKITA: I should have let them cancel me, Michael. That would have 
been the right thing to do. The noble thing. I should have died 
rather than let the Section turn me into this - this -

MICHAEL: Nikita -

"I thought that I heard you laughing
I thought that I heard you sing -"

He turns her hand over in his, running his fingers along the 
inside of the palm.

MICHAEL: They wouldnít have canceled you, Nikita. I wouldnít have 
let them.

"I think I thought I saw you try -"

MICHAEL: I kept you alive for me. If anyone is to blame, itís me.

Nikita pulls her hand away and stands up to look down at him.

NIKITA: (coldly angry) You arenít my master, Michael. Or my 
scapegoat. Youíre -

MICHAEL: What?

She doesnít answer - just stares at him mutely, her hands on her 
hips. He stands to face her.

MICHAEL: (insistently) What?

Slowly, her expression changes: the anger melting into pain. She 
reaches out and takes his face in her hands, pulling it to her.

"Every whisper
Every waking hour
Iím choosing my confession -"

CUT to bedroom. In slow motion, Nikita is falling back on the bed, 
drawing Michael down with her. Around them, candles flicker, 
lighting their bare skin with soft shimmers.

Michael grips her bright hair with both hands, running his lips 
over her eyes, her cheeks, down her neck. Her nails dig into his 
back.

"Trying to keep an eye on you
Like a herd lost and blind and cold - cold -"

CUT to later. Nikita throws her head back, her sweat-soaked hair 
flying in slow motion. Eyes closed, she cranes her neck, rocks, 
and smiles, painfully, blissfully.

She bends forward, leaning toward Michael. His eyes are open, dark 
with desire, aring up at her as if trying to see into her soul. 
With a cry, he sits up to meet her -

MICHAEL: (whispering) Look at me -

NIKITA: (gasping) Michael -

MICHAEL: (urgently) LOOK at me -

"Oh, no Iíve said too much
I set it up -"

With an "oh," she opens her eyes and looks at him.

MICHAEL: Oh, God -

He locks his lips on hers and, protecting the back of her head 
with his hands, turns them, so she is under him, both clutching 
together like castaways tossing in the ocean.

CUT to later. An extreme slow-motion shot of Nikita, her head 
turning and her mouth opening to an eternal "oh -"

"Consider this
Consider this - for half a century Ė"

An extreme slow motion shot of Michael, his head arching back as 
he sends a prayer of ecstasy upward.

"Consider this slip
You brought me to my knees -"

CUT to later. The passion has subsided into intimacy: Nikita 
smiles like a languorous cat as Michael kisses her forehead, her 
eyes, her cheek, and then - softly, thick of tongue - her mouth.

"What if all these fantasies
Come flaming to ground
Now Iíve said too much -"

They turn, and she settles comfortably into his neck. His arms 
wrap around her, his cheek into her hair. They close their eyes 
and inhale each other.

"I thought that I heard you laughing
I thought that I heard you sing -"

Nikitaís eyes open, and she stares bleakly ahead of her, her 
expression shielded from Michael.

"I think I thought I saw you try."

The phone rings. Music stops.

It rings again. Not looking at Michael, Nikita reaches over him 
and picks up the receiver.

NIKITA: Hello.

BIRKOFFíS VOICE: I found him.


ACT TWO: Angel in Arms

SCENE: SECTION ONE, SYSTEMS. Birkoff is at the computer. At one 
shoulder is Nikita, at the other shoulder Operations. Behind them 
stands Michael, his arms crossed.

Birkoff hits a computer key: a picture of the dark-haired man 
comes on screen.

BIRKOFF: His name is Duncan MacLeod. He owns - or owned a martial-
arts dojo in Seacouver, Washington. Someone used his passport to 
fly from Paris to New York just a few hours after the raid on 
Cormanís house. From New York, he flew to Seacouver.

OPERATIONS: (to Nikita) This is the man?

NIKITA: Yes.

OPERATIONS: I thought he was collateral.

NIKITA: Ferris might have used his identification.

A shot of Michael, who looks suspicious.

NIKITA: In any event, I think itís worth checking on.

OPERATIONS: (reluctantly) All right. But youíll have to go solo. 
We canít spare anyone else.

He turns to leave, but stops in the doorway.

OPERATIONS: Forty-eight hours, Nikita. If you havenít Corman or 
Ferris by then, I want you back at Section.

He leaves. Nikita starts to follow, but is stopped by Michael.

NIKITA: Yes?

MICHAEL: Be careful.


**********


SCENE: SEACOUVER -- THE DOJO, NIGHT. The dojo is dark and 
deserted. Nikita enters and stops to look around. She sees 
something on the wall: swords. Curious, she goes over and looks at 
them, running a finger down the hilt.

She hears someone enter, and she steps away from the swords. A 
moment later, Richie enters. He is surprised to see her, but not 
unpleasantly. With a smile he steps forward.

RICHIE: Hi. Can I help you?

NIKITA: Uh - Iím not sure. Iím looking for a Duncan MacLeod.

RICHIE: Of course you are. Why else would a beautiful woman walk 
in here at this time of night?

NIKITA: Is he here?

RICHIE: Not at the moment, but heíll be ba-

He stops, and a strange look crosses his face. He looks up to the 
ceiling, and then steps closer to Nikita and takes her arm.

RICHIE: Uh - heíll be back in the morning. Maybe you could come by 
then.

He starts pushing her to the exit.

NIKITA: What time?

RICHIE: Uh - any time will be fine. Iíll be sure to give him the 
message.

They are at the door.

NIKITA: But I didnít give you any message -

RICHIE: Iíll be sure to tell him that. Good night.

He practically pushes her out the door, and then he runs for the 
dojo office, where he grabs the phone and dials a number.

Nikita sneaks back into the foyer and watches him through the 
glass.

RICHIE: Mac - heís here. . . . Upstairs in the loft. . . Yeah, 
yeah, I know. Iím history.

He hangs up the phone and hurries out of the office, toward the 
swords on the wall. Halfway across the floor, he hears the 
elevator coming down. He quickly grabs a sword and leaves through 
the dojo side entrance.

The elevator arrives. Nikita watches as the door slides up, and 
Corman steps out, sword drawn.

CORMAN: I know youíre here, MacLeod. I can sense you.

He looks around, and then heads for the side entrance. He kicks 
open the door and, sword drawn, moves outside.

Nikita steps into the dojo, pulling out a cell phone and hitting 
an automatic dial button.

NIKITA: Michael - Cormanís here. Yes, Iím right behind him.

She follows Corman out the side exit.

As soon as the door closes behind her, Duncan runs in the main 
dojo entrance, his sword drawn. He looks around, but the place is 
empty.


**********


SCENE: REMOTE CABIN, NIGHT. Nikita drives up and parks in the 
long, wooded drive. She takes out her cell phone and dials again.

NIKITA: Iím at a cabin out in the middle of nowhere.

CUT to Section airplane. Michael sits forward.

MICHAEL: Surveillance only, Nikita. Wait for the team.

CUT back to cabin.

NIKITA: Iím just going to do some recon. Iíll let you know -

She hangs up before he can object. Then she gathers her things to 
check the cabin out.


**********


SCENE: OUTSIDE CABIN. Nikita sneaks up to the cabin. Just as she 
reaches the front door, another car arrives. Quickly, she jumps 
off the porch and hurries to the side of the cabin. There, she 
crouches and waits.

Out of the car steps Ferris, Cormanís partner, his blond hair lit 
by the moon. He hurries up to the cabin. Just as he reaches the 
porch steps, Corman opens the door.

CORMAN: Oh, itís you.

FERRIS: You were expecting someone else?

CORMAN: MacLeodís agreed to meet me at Whitehall Park.

FERRIS: And the kid?

CORMAN: (with a smirk) Heís all yours. Enjoy.

Corman heads down the porch to his car. Ferris watches him leave, 
and then he smiles, slowly takes out a sword, and goes inside.

Nikita grabs her phone and dials.

NIKITA: (whispering) Michael - Whitehall Park -

A yell from inside interrupts her. She hangs up and grabs for her 
gun. Quickly, she leaps onto the porch and kicks down the front 
door.

In front of her she sees Richie, tied to a chair, his eyes closed 
in a grimace. Ferris has his sword raised over his head.

Nikita fires, and Ferris falls.

Richie opens his eyes.

RICHIE: Oh my God - youíre an angel -

NIKITA: (hurrying to untie him) Are you all right?

RICHIE: Yeah, Iím fine, but -

Nikita steps over to Ferrisís body and rummages through his 
pockets to get his keys.

RICHIE: Who are you?

NIKITA: A friend. Here -

She throws him the keys.

NIKITA: You were never here. You understand?

RICHIE: No, actually, I donít.

NIKITA: Look, I canít explain - just trust me -

She pulls him up and begins pushing him to the door.

RICHIE: Wait -

He looks around, spots his sword on a table, and retrieves it. He 
looks down at Ferrisís body. His hand grips the hilt of the sword.

NIKITA: (grabbing his arm) Somehow I think that would be a little 
redundant. Come on -

She pushes him to the door.

RICHIE: (resisting) Who the hell are you?

NIKITA: Iím the woman whoís going to break your head if you donít 
get out of here.

RICHIE: Lady, you got no idea what you just said.


**********


SCENE: WHITEHALL PARK - NIGHT. Nikita stands beside her car, her 
elbows propped on the roof as she watches through binoculars. A 
Section van pulls up beside her, and Michael jumps out and hurries 
over.

MICHAEL: Whatís going on?

NIKITA: (without lowering the binoculars) Ferris is dead. It 
couldnít be avoided.

MICHAEL: And Corman?

Nikita lowers the binoculars and points.

NIKITA: There.

Michael looks: across the park, two men duel in the moonlight, 
just at the edge of a wood.

NIKITA: (raising the binoculars again) Itís incredible. Theyíve 
been at it for hours.

MICHAEL: Then itís time to stop it.


*********


SCENE: WHITEHALL PARK, later. Duncan and Corman are still battling 
- evenly matched on open ground.

Suddenly, they hear a horn blaring. Both men stop and turn. 
Nikitaís car barrels across the expanse of the park, headed right 
for them, the headlights blinding them.

They hold up their arms to shield their eyes as she brings the car 
to a screeching, dusty stop beside them. She hops out and looks 
over the roof of the car at them.

NIKITA: Hi, guys. Remember me?

There is the sound of guns being cocked. The two swordsmen turn: 
around them are Section operatives. Michael steps out from the 
cover of the trees.

MICHAEL: Drop the swords.

Corman and Duncan, both breathing hard, let the swords fall from 
their hands. Michael comes forward, his gun aimed at Corman. He 
stands there a moment and then, over his shoulder, speaks to 
Duncan.

MICHAEL: You can go.

Duncan looks over at Nikita, who has moved around to the front of 
the car. She nods at Duncan and gestures for him to leave.

Slowly, he picks up his sword and walks over to her.

DUNCAN: What about - (he looks back at Corman)

NIKITA: Weíll take care of him. (She looks at Duncan) Thereís a 
young man looking for you at your dojo.

Michael, surprised, turns his head slightly. Corman, quick as a 
snake, grabs Michaelís arm and breaks it over his knee. Michael 
falls, and Corman grabs his gun and points it at Michaelís head.

NIKITA: (running forward) NO!!!!

Corman raises the gun and shoots her point-blank.

Michael, agonized, watches in slow motion as Nikita falls.

Voices yell - guns fire - all vague and warped, as if the sounds 
are echoing from the far end of a long tunnel.

In slow motion, Michael crawls to Nikitaís body. Gently, he 
touches her neck with the fingers of his good arm, feeling for a 
pulse.

MICHAEL: Nikita?

His hand jerks away.

MICHAEL: No - no -

Gently, he brushes aside her golden hair.

MICHAEL: No -

An extra op drops to the ground beside him.

OPERATIVE: Michael - Cormanís running -

MICHAEL: Where?

OPERATIVE: Into the woods.

Michael looks up. The operative is holding a shoulder, bloody from 
a bullet wound.

OPERATIVE: Cragenís down - the other guy with the sword - he ran 
after -

The operative wavers, and then falls unconscious to the ground. 
Michael reaches over and brutally pulls the gun from the 
operativeís hand.

Enraged, he runs toward the woods.


***********


SCENE: WOODS, NIGHT. Michael makes his way through the dark trees. 
His broken arm hangs limp, but he doesnít seem to notice. Instinct 
has kicked in; he is a panther stalking his prey.

Suddenly, he hears a clang. Then another. Metal on metal.

Swiftly and surely, he moves through the trees and underbrush 
toward the sound.

The ringing of the blades grows louder - and faster. Michael sees 
something ahead: he ducks and quickly runs to a tree. He leans his 
back against it, raising the gun level to his face. The duelists 
are on the other side.

With a deep breath, Michael whirls around the tree and points the 
gun.

What he sees stops his trigger finger.

In a small, moonlit clearing, he sees Corman on his knees, hands 
at his side. In front of him is Duncan, his sword raised like that 
of a dark avenging angel.

As Michael watches, Duncan gives a roar and the blade slices 
through the air - and through Cormanís head.

Michael lets the gun drop. He takes an unsteady step forward - and 
then stops.

Duncan staggers around the body to stand a few feet away. From 
Cormanís body, a mist rises and then slowly circles in the 
moonlight. Duncan stiffens, as if bracing himself, and raises his 
sword in the air.

The mist moves around Duncanís upright form and then, as if 
vacuumed, suddenly penetrates him. Duncan jerks as if hit.

Lightning crackles, bounding off and around the trees, a fiery 
cacophony that finally strikes Duncanís sword, the charges running 
down the blade and into the man. He yells, a primal yell of pain 
and exultation. Man and metal electrify.

Michael, stunned, stumbles back. His foot slips on a tree root and 
he goes falling back. His head hits the tree behind him, and all 
goes black.


**********


SCENE: CLEARING, LATER. Michael wakes, slowly raising himself to a 
sitting position. He shakes his head and looks around. The 
clearing is empty and dark.

CUT to park. Michael emerges from the woods. Shaken and in pain, 
he looks around, pointing the gun here and there. The extra ops 
are on the ground: one dead, the other unconscious.

Michael runs over to the car.

He stops, falling against the hood for support.

Nikitaís body is gone.


ACT THREE: Lost and Found

SCENE: SECTION ONE. The scene opens with a close up of Michael 
staring blankly ahead. The camera pulls back and reveals that he 
is wearing a cast. The camera moves further back and reveals that 
he is in a briefing with Operations and other operatives.

No dialogue over the following montage. Just MUSIC: Sarah 
MacLachlanís "I Love You."

Michael turns to the operative beside him. He blinks and looks off 
to the side.

FLASHBACK: "Love" scene -- Nikita and Michael walking from 
Walterís area -- Nikita smirking at Michael as she puts on her 
sunglasses and taunts him.

"I have a smile
Stretched from ear to ear
To see you walking down the road -"

BACK TO PRESENT. Michael, still wearing a cast, stands beside 
Birkoffís station, handing him a disk with his good arm. Birkoff 
looks up at a monitor and says something. Michael lowers his head 
a fraction.

FLASHBACK: "Charity" scene - Nikita complaining to Birkoff about 
the watch and then sauntering off, giving Birkoff the peace sign.

"We meet at the light
I stare for a while
The world around us disappears -"

BACK TO PRESENT. Michael, now wearing just a sling, stands at the 
observation window of a white room. Inside, Madeline is 
interrogating a prisoner. Michaelís gaze shifts.

FLASHBACK: "Hard Landing" scene - Michael walking into the boat, 
slapping away Nikitaís gun and pushing her back on the bed.

"Itís just you and me
On my island of hope
A breath between us could be my soul -"

BACK TO PRESENT. Michael, no longer wearing the sling, walks away 
from Walterís area. Walter steps to the doorway, watching him. 
Walter looks over at Birkoff, who glances up to the observation 
deck, where Operations and Madeline watch Michael.

Michael walks across the room to the threshold of a hallway. He 
stops suddenly and catches the corner of the wall as if to steady 
himself.

FLASHBACK: earlier scene in Nikitaís apartment - Michael taking 
her hand on the sofa, and then, later during the lovemaking, 
raising up to tell her to open her eyes.

"Let me surround you
My sea to your shore
Let me be the one you see -"

BACK TO PRESENT. Michael sits at his desk, staring at the 
computer, his still hands on the keyboard. He looks up at the 
door.

FLASHBACK: Scene from "Choice" - Nikita bursting in and demanding 
to be cancelled, Michael lecturing her on free will.

"But every time Iím close to you
Thereís so much I canít say
And you just walk away -"

BACK TO PRESENT. Michael standing at his office window, staring 
out. His eyes close.

FLASHBACK: Scene from "War" - the cages swinging together, Nikita 
covering his hands through the bars.

"And I fall down
To tell you
I love you -"

FLASHBACK: Scene from "War" - Nikita realizing the set up and 
telling Michael "Weíre finished."

"And nightís too long
And too cold here without you -"

FLASHBACK: Final scene from "War" - Michael leaning over to kiss 
the sleeping Nikita.

"I grieve for my condition
For I cannot find the words to say
I need you so -"

BACK TO PRESENT. Michael is seated at his desk again, a pen in his 
hand. He looks down at what heís drawn on a notepad: the Watcher 
symbol. He stares at it a moment, and then he tears the paper off 
the pad and leaves.


************


SCENE: SECTION ONE, MAIN AREA. Michael approaches Birkoffís 
station. Birkoff looks up.

BIRKOFF: Weíve got the intel on -

MICHAEL: (interrupting) I need you to find someone.


*************


SCENE: JOEíS BAR, SEACOUVER. Joe stands behind the bar, cleaning 
it. The door opens, and Michael enters and looks around. He 
finally goes up to the bar, still looking around.

JOE: Well, what can I get you?

MICHAEL: Iím looking for -

Suddenly, he sees what he wants.

MICHAEL: Nothing.

He crosses the room to a man seated in a back table. The man has 
his back to the room and his legs up on a chair opposite. On the 
table is a beer, and in his lap a book.

MICHAEL: Adam.

The man turns and looks up. Itís Methos.

METHOS: Well, well, if it isnít the Dark Shadow. Risen from the 
dead and everything.


***********


SCENE: JOEíS BAR, LATER. Joe sets a beer down in front of Michael, 
who has taken the chair opposite Methosí. Joe looks from one man 
to another.

JOE: Everything all right?

METHOS: Joe, Iíd like you to meet a former student of mine. 
Michael Samuelle, Joe Dawson.

Michael, after a moment, shakes the hand Joe proffers.

METHOS: Actually, Michael was my star pupil. Only student I ever 
had at the Paris University who was as fluent in Sanskrit as I 
was.

JOE: Paris, huh? Youíve come a long way.

MICHAEL: (looking at Methos) Yes, I have.


SCENE: FLASHBACK: CLASSROOM IN PARIS. The room is a large lecture 
hall, but only about twenty students are scattered around. In the 
front of the room, Methos sits in a chair, his legs propped on the 
desk in front of him. He is a relaxed, engaging lecturer.

METHOS: So the female version of Heruka, the form of Perfect 
Buddhahood, came to be known as Vajradakini. Thatís dakini for 
"angel" and "Vajra" for diamond. The diamond angel. Even in 
Buddhism, diamonds are a girlís best friend.

There is a ripple of polite laughter.

METHOS: According to most theories, the Vajradakini is a fiercely 
erotic female deity whose main job is to teach - well, and to 
inspire and discipline. (He smirks.) Itís not hard to imagine what 
Freud would have made of that.

A little more laughter. Then, a figure in the very last row raises 
a hand.

METHOS: Ah, yes, Monsieur Samuelle, our Dark Shadow.

A shot of Michael: he is older than most of the students in the 
room. He is in all black, wearing a t-shirt with the initials 
LíHS.

YOUNG MICHAEL: Itís my understanding that "dakini" is usually 
translated as "goddess."

METHOS: (shrugging) Po-tay to, po-tah-to. Semantics are just a 
form of intellectual masturbation.

YOUNG MICHAEL: But "goddess" ascribes the dakini a personal 
standing and strength that "angel" does not. The angels were 
servants, not masters.

METHOS: Depends on the Hebrew translator. There are scholars who 
would disagree -

He notices that the other students are packing their bags up.

METHOS: And then there are those scholars who remind me that time 
is up.

He drops his legs from the desk and stands up languidly.

METHOS: For next time, please read "The Prayers of the Reality 
Between" in the Book of the Dead. That will be all for today.

The students filter out, all except Michael, who keeps his seat. 
Methos, packing his own bag, looks up and sees him.

METHOS: Does the Dark Shadow have more questions?

Michael doesnít answer. Methos picks up his bag and begins up the 
stairs of the lecture hall. He stops beside Michael.

METHOS: Come with me.

SCENE: SHAKESPEARE BOOK COMPANY. Young Michael is standing amid 
the stack of books, looking around. Methos is on a ladder, looking 
for a particular book.

METHOS: Ah, yes, here it is.

He pulls it off the shelf, leafs through it quickly, and then 
looks down the ladder at Michael.

METHOS: Catch.

He drops the book; Michael catches it deftly.

MICHAEL: What is it?

METHOS: A very old argument.

He starts down the ladder.

METHOS: Written by two very bored and overly erudite men three 
hundred years ago on the same questions you asked today: angel or 
goddess - witch or fairy - madonna or (He reaches the bottom and 
jumps off.) Madonna?

Michael looks through the book, and then turns back to the inside 
cover, where he finds an inscription.

MICHAEL: Whatís this?

METHOS: (glancing at it) An old joke.

MICHAEL: I donít recognize the alphabet.

METHOS: You wouldnít. Itís ancient Greek.

MICHAEL: What does it say?

METHOS: (after a moment) "Live. Grow stronger. Fight another day."

He heads for a room in the back of the store, and Michael follows. 
In the back room, Methos goes over to a hot plate and begins 
heating water for tea, while Michael hovers in the doorway.

MICHAEL: What does that mean?

METHOS: Letís just say itís the personal mantra of someone very 
close to me.

MICHAEL: You?

METHOS: (with a short laugh) Youíre a very perceptive young man. 
Too perceptive. And too old and educated to be in an undergrad 
course.

MICHAEL: Iíve begun to wonder whether I know anything at all.

METHOS: Donít know anything? Or donít believe in anything?

Michael doesnít answer. Methos pours two cups of tea and hands him 
one. Then, he takes a seat at the jumbled desk against the wall 
and motions for Michael to take a chair opposite.

Michael sits, holding the cup in one hand and balancing the book 
on his knee with the other.

METHOS: You must believe in something.

Michael looks up, and Methos indicates his t-shirt.

METHOS: LíHeure Sanguine, níest-ce-pas?

MICHAEL: How did you -

METHOS: (shrugs) I listen. I watch. I learn. (a pause, and then 
pointedly) What I couldnít figure out, though, was why a student 
revolutionary was interested in a course in basic Buddhist 
philosophy. But now I think Iím beginning to.

MICHAEL: Oh?

METHOS: (shaking his head) Itís a terrible thing - the need to 
belong, to find your purpose in the identity of others, especially 
when that "other" is not a human being but a group, an 
organization. Itís that kind of blind loyalty that leads to 
fascism.

MICHAEL: (stiffly) Weíre not fascists.

METHOS: No, youíre anarchists, and thatís even worse. Without the 
rule of law -

MICHAEL: The law is just a tool of the government, used for their 
own ends to justify their means.

METHOS: And to give out parking tickets.

The two men stare at each other. Finally, Michael hands the book 
over to Methos.

MICHAEL: I donít think Iíll have time to read this.

Methos doesnít take it at first. Finally, with a sigh, he sets 
down his cup.

METHOS: Well, itíll be here if you change your mind. And so will 
I.

He reaches with his left hand for the book, the sleeve of his 
sweater pulling up. Michael looks down: on the inside of his left 
wrist is a Watcher tattoo.


**********


SCENE: BACK TO PRESENT - JOEíS BAR. Michael is looking down at 
Methosí wrist. There is no tattoo.

METHOS: So, Michael, how did YOU manage to be resurrected from the 
dead?

MICHAEL: When you were my instructor, you had a tattoo on your 
wrist that looked like this.

He pulls a photograph from his jacket: a shot of Smithís wrist. He 
sets it in front of Methos.

Methos sips his beer, not looking at the picture.

METHOS: I had it removed.

MICHAEL: Apparently.

Methos doesnít answer.

MICHAEL: I need to know what it means.

METHOS: No, you donít.

MICHAEL: Adam -

METHOS: (with false cheerfulness) So what have you been up to the 
past decade or so? Still building bombs? Overthrowing governments? 
Practicing your yoga?

Michael takes out another photograph: this one of Corman and 
Ferris.

MICHAEL: Did you know either of these men?

METHOS: (glancing at the picture) No.

MICHAEL: Adam, I have to know -

METHOS: No, you donít. Leave it be, Michael.

MICHAEL: I canít.

METHOS: You have to.

Michael pockets the pictures.

MICHAEL: I wonít.

He stands and looks down at the other man. After a long moment, he 
speaks.

MICHAEL: I never thanked you for visiting me in prison. You helped 
me sort some things out.

METHOS: Apparently, I was less a help than I thought.

MICHAEL: (after a pause) It was good to see you. Donít get in my 
way.

He leaves. Methos stares into his beer morosely, and then he gets 
up and crosses to the bar.

METHOS: (to Joe) I need the phone.

Joe hands him the phone from behind the bar.

JOE: Problem?

METHOS: You could say that.

He dials a number quickly, but apparently there is no answer.

METHOS: (hanging up impatiently) Damn!

JOE: What is it?

METHOS: Ferris is in town.

JOE: Ferris!

METHOS: You didnít know?

JOE: We havenít assigned him a new Watcher yet. Still hoping his 
old one will turn up - where are you going?

METHOS: (headed for the door) To find MacLeod. Or Ferris. Or both. 
Hopefully NEITHER.

The door bangs behind him.


***********


SCENE: DOJO. The scene begins with a close up of Duncan and he 
walks into the dojo. Suddenly he stops and raises his head 
sharply.

With a whoosh, a sword appears at his throat. Duncan freezes.

The camera pulls back. Standing behind him, holding the sword, is 
Nikita. She grins.

NIKITA: Gotcha.


ACT FOUR: Only One

SCENE: DOJO. Nikita still holds the sword at Duncanís throat.

DUNCAN: Nice move.

NIKITA: The first lesson in Section One is the art of surprise. 
And I was a very good student.

DUNCAN: Well, you know, thereís one thing the Section could not 
have taught you.

NIKITA: Yeah? Whatís that?

DUNCAN: That itís impossible for one immortal to surprise another.

With a twist, he ducks under and around the blade, knocking Nikita 
back in the process. She hits the ground with an "oof."

NIKITA: You never showed me that one.

DUNCAN: I just did.

He reaches into his coat and pulls out his sword. Nikita grins and 
leaps to her feet, gripping her own sword.

Duncan doffs his coat and moves to the center of the dojo floor.

DUNCAN: (smiling) Now show me some more of that Section training.

Still grinning, Nikita waves her sword back and forth, and then 
she attacks, swinging hard. Duncan blocks her and counterthrusts. 
She blocks him, and the two of them are off: ducking, parrying, 
jabbing. They are almost of the same height, and equally agile. 
Duncan is the better swordsman, but Nikita has learned quickly, 
and she surprises him with a few improvised moves. They are 
healthy and strong, and they thoroughly enjoy the workout.

Finally, Duncan blocks a high swing of Nikitaís, turns under and 
around her upraised arm, knocks her knees out from under her, and 
brings his sword down from behind. The blade stops inches from her 
neck.

NIKITA: (out of breath) I hope thatís my next lesson.

DUNCAN: (smiling, also out of breath) It was.


************


SCENE: DUNCANíS LOFT. The elevator opens, and Duncan and Nikita 
enter the loft. They are still sweat-soaked and breathing hard, 
wiping their faces with towels.

NIKITA: So how do you know Ferris is in town?

They set the swords on the counter. Duncan heads for the 
refrigerator to retrieve bottles of water for both of them. Nikita 
perches on a counter stool.

DUNCAN: (handing her water) Joe told me.

NIKITA: You know, you never told me how you met Corman and Ferris.

DUNCAN: Itís a long story.

Nikita takes a swig of water and wipes the remaining sweat on the 
back of her neck..

NIKITA: Iíve got time.

Duncan takes a swig from his own water bottle and then straddles 
the seat next to her.

DUNCAN: Iíve run into them twice. The first time was in 1864, in 
Virginia. They were rounding up runaway slaves - for a price, of 
course, but they probably would have done it for free. They caught 
a family I was trying to help get north. They tortured the father, 
raped the mother, and I donít want to think about what they did to 
the son -

Nikita puts the water bottle down, sickened.

DUNCAN: (continuing) By the time I caught up with them, an army 
unit arrived, and they got away.

NIKITA: And the second time?

DUNCAN: The second time was in Paris, during the Occupation. They 
were officers in the S.S. Perfect for the job. It gave them all 
the authority they needed for their - experiments. I tracked them, 
but then the troops landed in Normandy, and all hell broke loose 
and - (he stops, looking away) A few months ago I read about a 
group of children found in a Seattle house. From the description 
of what had been done to them, I knew it had to be Corman and 
Ferris.

NIKITA: (swallowing) Like the children in Paris.

DUNCAN: Yes.

She gets off the stool and starts wandering around the loft.

DUNCAN: Nikita?

NIKITA: (shaking her head) I thought - I thought Iíd accepted 
this. That Iíd adjusted -

She stops at the window and looks out, taking a deep breath. 
Duncan joins her, resting a hand on her shoulder.

DUNCAN: You have to give it time.

NIKITA: But itís not like it hasnít happened before. Youíd think 
Iíd be an old pro at dying and finding myself living a whole 
different life.

DUNCAN: This isnít quite the same as what Section One did to you.

NIKITA: Isnít it? (mockingly) "There can be only Section One." 
Thatís what was drilled into me from the very first day. The rules 
are different, but the game is the same. Itís all about power - 
and killing.

DUNCAN: Life as an immortal isnít all about killing.

NIKITA: No? Then what have you been training me to do?

DUNCAN: (earnestly, turning her to face him) To defend yourself. 
To survive so you can live and learn -

Nikita is quiet a moment, resting her hand on his chest.

NIKITA: I donít mean to sound ungrateful. Youíve been so wonderful 
to me - so patient and understanding. Youíve made me laugh when I 
didnít think it possible that I could ever laugh again -

DUNCAN: Itís a wonderful laugh. I hope to hear it a lot over the 
next few centuries.

She looks at him, wide-eyed. Until now, they have been easy and 
comfortable with one another, like great friends. Suddenly, there 
is another feeling.

Nikita reaches up to stroke his chin.

NIKITA: Duncan -

She pulls his face down. Their blood still warm and bodies still 
wet from the workout, they slide easily into a kiss, into desire. 
Nikitaís hands run up his back; Duncanís hands entangle themselves 
in her hair as the kiss grows deeper and deeper.

Suddenly, Duncan breaks away. He pulls back, his breath shallow, 
his voice husky.

DUNCAN: Nikita, no -

NIKITA: (yearning) Duncan -

He tilts her chin up to look into her eyes.

DUNCAN: I donít know who he is, Nikita, but making love with me 
wonít help you forget him.

She looks away.

DUNCAN: But hey, give me a call in a hundred or years or so and -

He stops. They both sense it: another immortal.

They break apart and go for the swords on the counter. Duncan 
motions for Nikita to stand back, and he takes position beside the 
elevator, sword at the ready.

The elevator clangs into place; the door slides up. Methos steps 
out and is met by Duncanís sword at his chin.

METHOS: (calmly) Iíd rather have a beer.

Duncan drops the sword with an impatient whoosh.

DUNCAN: And Iíd rather you called before coming over.

METHOS: I didnít think youíd want me to stop and find a pay phone. 
Hi, Nikita.

NIKITA: Adam.

DUNCAN: Whatís up?

METHOS: Iíve got a lead on Ferris.

NIKITA: (stepping forward) Where?

METHOS: He has an old girlfriend in town. (to Duncan) I thought 
youíd want to check it out.

NIKITA: Letís go -

DUNCAN: Oh, no, you donít.

NIKITA: Duncan, Iím not exactly a rookie at combat -

DUNCAN: No, but youíre still in the minor leagues as a swordsman, 
and for this game youíre staying in the dugout.

NIKITA: I hate baseball.

DUNCAN: So write a letter to Bud Selig.

Stubbornly, she stares up at him, arms on hips. He smiles and 
kisses her quickly.

DUNCAN: See ya later, Rook.

Duncan and Methos get on the elevator. Duncan smiles and waves 
good-bye as he pulls the door down.

NIKITA: Itís swordsWOMAN, thank you very much.

METHOS: (to Duncan) I like her.

The elevator descends.


**********


SCENE: DOJO. Michael enters and looks around. He hears the 
elevator descending, and he quickly ducks out the side entrance. 
The elevator arrives, and Duncan and Methos exit and cross the 
dojo floor quickly. The elevator rises back up.

DUNCAN: So howíd you find out he was in town?

METHOS: An old friend told me.

DUNCAN: Donít you have any NEW friends?

They leave. Michael steps back into the room. He looks around, and 
then he heads for the office. When he reaches the office door, he 
hears the elevator running. He steps just inside the office door.

The elevator arrives, and the door slides up. Michael moves a 
little to see who exits.

Nikita steps off the elevator. She is carrying her sword. Her back 
to Michael, she crosses the dojo floor to a gym bag across the 
room. She bends down to the gym bag.

Michael steps out, stunned.

MICHAEL: Nikita?

Nikita jumps up and turns, sword drawn.

NIKITA: Michael!

He walks toward her slowly.

MICHAEL: Oh, my God - how -

She backs away, her sword still out.

NIKITA: (desperately) You shouldnít be here, Michael.

MICHAEL: You were dead - you were really dead -

Nikita stops. The sword wavers in her hands.

NIKITA: (agonized) You have to leave -

As he reaches her, she lets the sword drop to her side. 
Wonderingly, he touches her face.

MICHAEL: Youíre alive - itís - itís -

Nikita, a smile hovering on the edges of her lips, moves toward 
him as if unable to resist.

MICHAEL: A miracle -

Suddenly, she stiffens, her head raised. Another immortal is 
approaching.

NIKITA: Michael, get out of here.

MICHAEL: What -

NIKITA: (pushing him away) Get out of here now!

Still stunned, he lets her push him to the side door.

NIKITA: Iíll explain later. Now go!

She pushes him hard through the door. As soon as it closes, Ferris 
enters from the main dojo entrance. Nikita whirls, raising her 
sword.

Ferris smiles.

FERRIS: Iím looking for Duncan MacLeod.

NIKITA: Heís not here.

FERRIS: Oh? Well, thatís all right. Youíll do nicely. For an 
appetizer.

He pulls a sword and advances toward her. Nikita backs away to the 
center of the dojo.

FERRIS: My name is Theodore Ferris, by the way.

NIKITA: Is it? I thought your name was MUD.

She swings. He counters. Their blades clang and spark. Nikita 
holds her own.

The side door opens, and Michael re-enters. At first he just 
dumbly watches, but then he sees Ferris taking advantage of a high 
swing to reach into his belt and pull out a knife.

Michael pulls his gun.

Ferris stabs Nikita under her arm. She jerks and gasps. Her sword 
falls from her hands, and she falls to her knees.

Ferris raises his sword. Michael fires - Ferris stumbles back.

Michael fires again. Ferris staggers toward the door, reeling from 
the shots.

Michael fires again, and Ferris falls to the ground, just at the 
door of the dojo.

Michael holsters his gun and hurries over to Nikita. She is on the 
ground, holding the wound in her side. As he kneels beside her, 
she sits up.

NIKITA: (grimacing) Michael, you shouldnít have interfered -

MICHAEL: Iíve got to get you to a hospital.

He pulls off his coat and presses it against her side to stop the 
bleeding.

NIKITA: No, Iím all right -

MICHAEL: Iím not losing you again -

He reaches around her shoulders to help her to her feet. She stops 
him with a raised hand.

NIKITA: No. I donít need any help -

MICHAEL: Nikita -

NIKITA: (firmly) No, Michael. No.

Gently, she pries his hand and coat away. She raises her shirt. 
Michael looks down at her side.

The wound has healed.

MICHAEL: What? How -

Nikita gestures to the dojo door.

NIKITA: Look.

Michael turns. Ferris staggers to his feet. Michael reaches for 
his gun, but Nikita stills his hand.

FERRIS: Tell MacLeod Iím waiting for him.

Ferris leaves.

Michael sits on the dojo floor with a thunk.


*************


SCENE: LOFT. Michael is standing by the window, in the same spot 
Nikita was in earlier. She is behind him, perched on one of the 
kitchen stools.

MICHAEL: Immortal.

NIKITA: Yes.

MICHAEL: And this MacLeod - he knew.

NIKITA: As soon as he met me.

MICHAEL: How?

NIKITA: We - we can sense each other.

MICHAEL: So that night, in the park -

NIKITA: I died. Then I came back, and Duncan was there.

MICHAEL: Duncan.

NIKITA: He took me away and he explained it all to me.

MICHAEL: And youíve been with him ever since.

NIKITA: (after a pause) Yes.

Michael turns to face her.

MICHAEL: What about the Section?

NIKITA: (expressionless) What about them?

MICHAEL: Theyíll find out -

NIKITA: And do what - cancel me? The last time I looked, the 
Section had not added beheading to its cancellation options.

MICHAEL: I donít know what to say.

NIKITA: (sighing) Michael --

She stops, and her head raises up.

MICHAEL: What is it?

NIKITA: Someoneís here.

MICHAEL: Again?

She grabs her sword and heads to the elevator, taking the position 
Duncan had earlier. Michael watches with a strange, curious 
detachment. The elevator arrives, and Duncan barrels out, followed 
by Methos.

DUNCAN: Nikita!

NIKITA: Here -

She lowers her sword and steps forward; Duncan turns and grabs her 
shoulders..

DUNCAN: Are you all right? Thereís blood on the floor of the dojo 
-

NIKITA: Iím sorry. I didnít think - I should have - (She takes a 
deep breath). Something has come up -

Michael steps forward.

METHOS: (seeing him) Michael?

MICHAEL: Adam.

NIKITA: You know each other?

METHOS: Oh, yes. Weíre old friends.

MICHAEL: We were.

METHOS: I didnít know YOU two knew each other. Oh, yes, of course. 
Section One. (to Michael) Thatís how you -

DUNCAN: (interrupting) I hate to break up such touching reunions, 
but would someone please tell me what the hell is going on?

NIKITA: Uh, Duncan, this is Michael. Heís - uh - he found me -

METHOS: No doubt by following me.

NIKITA: Michael, this is Duncan MacLeod. Duncan has been training 
me. Swords. You know.

Nikitaís two trainers face each other, sizing up the other one. 
After a moment, Duncan holds out a hand.

DUNCAN: Good to meet you.

Michael shakes his hand.

DUNCAN: Sheís a very good student.

MICHAEL: I know.

There is an awkward pause.

DUNCAN: (to Nikita, not pleased) You told him?

NIKITA: I had to. Ferris was here -

DUNCAN: Ferris? Nikita, you didnít -

NIKITA: I tried, but he got away. Heís after you, Duncan.

METHOS: And now, I imagine, heís after you as well.

Michael and Duncan look at Nikita.

METHOS: Got anything to eat in this dump?


**********


SCENE: LOFT, LATER. Duncan and Nikita stand side by side in the 
kitchen. Duncan is washing lettuce, and Nikita is taking the 
chunks and tearing them into pieces. They are easy and domestic in 
their manner.

Michael is standing at the bookcase, ostensibly reading the titles 
but really trying not to watch Duncan and Nikita.

Methos strolls into the kitchen and helps himself to a beer from 
the refrigerator. He opens the bottle and then steps up to Duncan 
and Nikita.

METHOS: If you need any help in here --

DUNCAN: (with emphasis) No thanks.

NIKITA: Iíve had enough yak liver to last me a lifetime. Several 
lifetimes.

METHOS: You only had one bite.

NIKITA: Exactly.

METHOS: No one appreciates cosmopolitan cuisine.

He wanders out of the kitchen, crossing to Michael, who has moved 
from the bookcase toward the bedroom area. From the nightstand, he 
picks up a small wire sculpture: clearly Nikitaís work. Beside it 
is a pair of sunglasses.

METHOS: How are you doing?

MICHAEL: I honestly donít know.

METHOS: Itís a lot to take in.

Michael turns to him.

MICHAEL: Youíre one of them.

METHOS: Guilty.

MICHAEL: And that tattoo -

METHOS: (sighing) Thereís an organization called the Watchers. 
Theyíve been around for centuries. Their job is to, well, watch 
immortals - record their lives, their battles.

MICHAEL: But theyíre not -

METHOS: No, the watchers are mortal. Most of them.

MICHAEL: You were a Watcher -

METHOS: One of my more brilliant ideas, I think. I joined the 
Watchers to keep an eye on other immortals.

MICHAEL: What happened?

METHOS: Letís just say I found the two lives - irreconcilable.

Michael doesnít answer. He turns to look at Duncan and Nikita, who 
are setting out the dinner plates on the counter. Nikita turns to 
a cabinet to take out glasses. She clearly knows the kitchen well.

METHOS: She canít go back with you.

MICHAEL: I explained away her death once before.

METHOS: Let her go, Michael.

Michaelís beeper goes off. He looks up: Nikita is watching him, 
holding glasses and her breath.


**********


SCENE: LOFT, LATER. Nikita, Duncan, and Methos are sitting at the 
counter. Methos is eating, but Duncan and Nikita are just toying 
with their food.

METHOS: (to Nikita) Could you pass the salt?

NIKITA: (distracted) What?

METHOS: Salt?

NIKITA: Oh. Sure.

She picks up the salt shaker, but then hears the elevator and sets 
it down. She gets up, as does Duncan. Methos sighs and stretches 
over to get the salt himself.

The elevator doors open, and Michael steps into the room. His 
expression is all blank Section business.

MICHAEL: We have a location on Ferris.

NIKITA: Where?

Michael looks at Duncan.

MICHAEL: He showed up at his old girlfriendís house an hour ago.

Duncan throws down his napkin and goes for his coat. Methos crams 
the last of the bread in his mouth and gets up.

NIKITA: (to Michael) That was quick.

MICHAEL: (not looking at her) Weíve had her under surveillance for 
some time.

NIKITA: Even though you thought Ferris was dead.

DUNCAN: (to Nikita) Wait here.

NIKITA: Duncan -

DUNCAN: No arguments. (to Methos) Are you coming?

Methos nods and, his mouth full, mumbles something unintelligible. 
Michael and Nikita watch them leave, and then Michael turns to 
Nikita.

MICHAEL: I have to go.

NIKITA: (grabbing his arm) Where?

MICHAEL: A team from the Seattle substation is en route. I have to 
brief them -

NIKITA: And then?

MICHAEL: (staring at her) And then -

He tucks a lock of her hair behind her ear.

MICHAEL: Have a good life, Nikita.

He turns quickly and exits by the side stairs. Nikita stares after 
him a moment.

NIKITA: Oh, no, you donít, Michael.

She grabs her coat and sword and follows him.


***********


SCENE: CABIN - NIGHT. It is the same cabin in which Richie was 
held. One light is on in the front window.

A car drives up and parks some distance away. The engine shuts 
off, and Michael gets out. He quickly scans the area, and then he 
makes his way to the cabin. He looks in through the window, and 
then steps to the front door, pulling out his gun. Mentally, he 
counts, and then he kicks in the door, points the gun, and fires. 
He waits a moment, and then he goes inside.

Another car drives up and parks behind Michaelís. Nikita is 
driving. She takes out a cell phone and dials.

NIKITA: Itís me. I was right.

The cabin door opens, and Michael emerges, carrying Ferrisís 
slumped body over his shoulder and Ferrisís sword in his hand. 
Nikita gets out and watches as he crosses to his car and dumps the 
body, face down, over the hood, and then tosses the sword to the 
side. She crosses to him as he pulls Ferrisís arms around him, 
holding them in a vise-like grip.

NIKITA: You canít do this, Michael.

MICHAEL: You know the mission objective. We need Ferris alive.

NIKITA: Heís immortal - Madelineís threats wonít work on him.

MICHAEL: No, but mine will. Now that I know how to kill him.

He reaches around and pulls Ferrisís knife from his waistband. A 
groan from Ferris alerts them to the fact that heís waking. 
Michael holds the knife to Ferrisís neck.

NIKITA: Do you know what he is? What he does? Michael, those 
children - he and Corman have been torturing and molesting 
children for centuries. CENTURIES -

MICHAEL: It canít be helped.

NIKITA: And what if one of those children were your son?

Michael doesnít answer, but his grip on Ferris tightens.

Nikita steps up to him, shoulder to shoulder.

NIKITA: They were your son, Michael. All of them.

An agonizing moment for Michael - a crossroads.

Finally, he lets go of Ferris.

MICHAEL: (whispering) Do it.

He steps back, and Ferris jumps up and around. Nikita pulls her 
sword and steps in between Ferris and Michael.

NIKITA: Heís not part of this. Itís just you and me.

FERRIS: This is not how the game is played.

NIKITA: I know how the game is played. Itís right there.

She gestures with her sword to the spot where his sword fell.

NIKITA: Go on. Get it.

MICHAEL: Nikita, what are you doing?

NIKITA: Following the rules, Michael. Just following the rules.

Ferris darts over and grabs his sword - he turns and Nikita is 
behind him, swinging down. He blocks her, the blades clanging 
mightily.

Using his sword to hold her arms high and torso exposed, his free 
hand fumbles for his knife. Surprised to find it gone, his sword 
arm goes limp. With a yell, Nikita swings again, and Ferrisís 
sword flies out of his hand.

Ferris, on his knees, whimpers.

FERRIS: Please, donít -

NIKITA: Say your prayers.

With a mighty swing, she takes his head.

Michael steps back and waits. Behind him, in the drive, another 
car drives up. Duncan and Methos jump out. Duncan runs over to 
Michael, grabbing his arm to pull him back further. Michael 
resists, jerking his arm away. He watches Nikita, wide-eyed with 
wonder.

The quickening begins: a waft of essence rising from the body, 
swirling in the night air and then swooping down, into Nikita.

She cries out. Her head falls back and her arms rise as the 
charges bounce off the cars, the trees, the walls of the cabin, 
blowing out windows, showering the onlookers with sparks -

Michael shields his eyes.

The lightning hits Nikita: she cries out again, her body 
irradiated with light and energy and power.

One final, great charge, and then itís over. Streams of smoke rise 
from the charred trees. Nikita falls to the ground, drained.

Frozen, Michael watches as Duncan goes to her. He watches as the 
other man gently lifts her to her feet and supports her as she 
walks to the car.

Michael watches as Duncan helps Nikita into the passenger side of 
his car. He watches as Duncan himself gets into the driverís side, 
and as Methos, with a grave look, gets into the back seat.

He watches Nikita through the window of the car as they drive 
away.


EPILOGUE

SCENE: SECTION ONE, MAIN AREA. Birkoff is at his station, with 
Madeline and Operations standing beside him. All three are 
watching a monitor overhead.

BIRKOFF: The team is in.

On the monitor is a view of a warehouse from an operativeís visual 
comm link. The warehouse is empty except for some crates.

OPERATIONS: Any sign of Wilson?

The view pans left to right as the operative looks around.

MICHAELíS VOICE: No. The site is empty.

OPERATIONS: Damn -

MADELINE: What about the weapons?

The view on the monitor pans again.

MICHAELíS VOICE: Nothing here except a few crates.

Two extra ops come into view on the monitor.

MICHAELíS VOICE: Check the perimeter for transports.

The two ops nod, and then leave.

OPERATIONS: Michael, what are you doing?

MICHAELíS VOICE: Iím going to check -

The view on the monitor pans down to a crate. Michaelís hand comes 
into view, opening the crate.

He lifts the crate lid. Inside is a bomb.

BIRKOFF: Michael, get out of -

The comm link goes dead. Snow fills the screen.

BIRKOFF: Michael! Michael, report! Michael!

Shocked, Birkoff turns slowly to Operations and Madeline.

BIRKOFF: Heís gone.


***********


SCENE: JOEíS BAR. Nikita sits at a table, staring sadly ahead and 
absently fingering a coaster. She is so engrossed in her thoughts 
she doesnít see Duncan approach. She jumps a bit as he sets down a 
glass of wine in front of her.

DUNCAN: Joeís finest.

He takes the seat beside her, sipping his own wine.

DUNCAN: (wincing a bit) Not exactly the same vintage found at 
Versailles.

NIKITA: Iím sure itís fine.

Duncan watches her for a moment as she disappears into her own 
thoughts again.

DUNCAN: So have you decided?

NIKITA: (distracted) What?

Duncan leans forward to capture her attention.

DUNCAN: Where you want to spend the next few decades.

NIKITA: Oh. (She shrugs.) I donít know.

DUNCAN: Paris is beautiful this time of year.

NIKITA: (abruptly) No.

She picks up her glass and takes a quick drink.

NIKITA: Not Paris.

Duncan takes her hand in his, gently stroking it.

DUNCAN: It will get easier, Nikita.

She looks up - and then over his head as Joe steps up to the 
table.

NIKITA: Hi, Joe.

DUNCAN: Hey, Dawson, grab a chair.

JOE: No, I canít. Iím sitting in with the band tonight.

With a nod of his head, he indicates the band setting up 
instruments on the stage at the end of the bar.

JOE: I just stopped by to congratulate Nikita.

NIKITA: On what?

JOE: On officially becoming a member of the - uh - club.

NIKITA: The club? What - do I get special pin or something?

JOE: No. (He grins.) You get a Watcher.

DUNCAN: You finally assigned someone.

JOE: (still grinning) Yep.

He turns and looks the other side of the room. Nikita cranes her 
neck to see around Duncan.

Michael stands at the bar.

NIKITA: What -

DUNCAN: Joe, you canít.

JOE: Well, itís not exactly by the book, but since when have we 
followed the book, MacLeod?

Duncan, after a moment, smiles and nods. He looks over at Nikita. 
She is stunned.

DUNCAN: (to Nikita) I think the next few decades just got very 
interesting.

She looks at him, and then back at Michael. Slowly, she stands and 
starts walking slowly toward him. Joe and Duncan watch.

DUNCAN: I never pegged you for a matchmaker, Dawson.

JOE: You ainít seen nothiní yet.

Joe goes up to the band and says something to them. They nod. He 
takes a chair on the stage and picks up his guitar.

Nikita reaches Michael. She stands a few feet away from him, not 
saying a word.

Michael holds out his left hand, palm up. Nikita looks down. On 
the inside of his wrist is a Watcher tattoo. Nikita touches it, 
wonderingly.

NIKITA: I donít understand -

MICHAEL: The Section thinks Iím dead. Joe - (he nods toward the 
stage) pulled a few strings. I can complete Watcher training while 
in the field.

NIKITA: And youíre assigned - to me?

MICHAEL: Yes.

She swallows, unable to speak.

MICHAEL: Unless you donít want me.

The band starts a song: Louis Armstrongís "Thatís My Desire." Joe, 
his voice rich, deep, and rough, sings the lyrics.

"Iíll spend one night with you
At our old rendezvous
And reminisce with you
Thatís my desire -"

NIKITA: Itís not that I donít want you, Michael.

MICHAEL: Then what?

NIKITA: I canít - I canít live like before. I canít live with the 
lies, with Sectionís delusions about whatís right and wrong -

MICHAEL: Iím not asking you to.

"To meet where gypsies play
Down in that dim cafe
Weíll dance
Thatís my desire -"

NIKITA: Then what are you asking me?

MICHAEL: Iím asking for a chance to do it differently. To do it 
your way -

NIKITA: I have to fight my own battles.

MICHAEL: I know. I accept that.

"Weíll sip our little glass of wine
Iíll gaze into your eyes divine
Iíll feel the touch of your lips
All wrapped in mine -"

NIKITA: Do you? Can you?

MICHAEL: All I want is to live - and to learn how to love you -

He steps forward and gently strokes her bright hair.

MICHAEL: I want you to teach me how.

"Yes, whisper love
Before itís time to go
Darliní I love you so
Thatís my desire."

MICHAEL: Teach me, Dakini.

He leans forward, and just before his lips meet her he whispers 
again.

MICHAEL: Vajradakini.


THE END


"When I wander in the life cycle driven by powerful instincts,
May the host of mild and fierce Lord lead me on the path
Of the clear light that conquers terror-visions of hate and fear.
May the fierce Ishvari goddess hosts back me on the way,
Deliver me from the dangerous straits of the between,
And carry me to perfect Buddhahood."

Prayer from "The Tibetan Book of the Dead."

ROLL CREDITS