TEASER

"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 an audio 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 will not be possible.

EXTRA OP: Are we aborting?

MICHAEL: No.

NIKITA: You mean we're going in blind?

MICHAEL: Yes.

The four operatives look at one another.

MICHAEL: Let's go.

CUT to three-story house, outside Paris. The van is parked down the street. The 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: I'm in.

MICHAEL'S VOICE: Go.

The extra op passes an equipment bag through the window to Nikita. She disappears into the basement. The extra op 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.

MICHAEL'S VOICE: Proceed. And remember, Nikita, Corman must be taken alive.

NIKITA: (irritated) I know, Michael.

CUT to a center hall that runs down the basement steps. A man in a dark coat turns off the center hall into a side hallway. Just as the door closes, a door opposite opens, and Nikita steps into the center hall. 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, gun 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 devastatingly handsome, his eyes dark with pain.

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

NIKITA: What are you doing?

DARK MAN: Please help me --

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

DARK MAN: (to the child) There's 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. The boy looks at her with terrified eyes.

NIKITA: You'll be all right.

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

MICHAEL'S VOICE: What's going on, Nikita?

MIKITA: (teeth clenched) Not now --

MICHAEL'S VOICE: We spotted Corman in an upstairs window. Move on the target.

NIKITA: (almost hissing) Go to hell, Michael.

She continues untying and shooing children out. She is so busy she doesn't see the dark man working with her suddenly raise his head and look upward. She doesn't 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 door -- she runs down the central hall and up the basement steps.

NIKITA: Where is he?

MICHAEL'S VOICE: On the roof.

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

MICHAEL'S VOICE: He's not alone.

NIKITA: I know.

MICHAEL'S VOICE: Incidental disposal, Nikita. No interference.

CUT to roof. Nikita steps through a 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: (spotting the target) Oh, my God, Michael! They've got --

MICHAEL'S 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 is small, compact, his bald head gleaming in the moonlight. They are delicately balanced on the slanted rooftop, moving here and there, thrusting and parrying with --

NIKITA: SWORDS!

The blades clang and spark in the moonlight.

MICHAEL'S VOICE: Fuller, move in to back up Nikita.

There is no answer.

MICHAEL'S VOICE: Fuller! (no response) Nikita, I'm 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, opposite the van, a car with a man sitting inside and watching the house. Michael looks at the house, and then decides. He runs, low and swift, to the driver's side window. He raises up, pointing his 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 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 for a moment. The bald man, with a strong whack, disarms him, sending the 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 rappeler's hook and cord: he slings it onto the eaves of the roof and rappels down.

NIKITA: Fuller! He's coming down your side!

CUT to side of the house. Fuller, tied and gagged, 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 her gun.

NIKITA: Who are you?

DARK MAN: I have to go after him.

NIKITA: Not until you tell me who you are.

DARK MAN: He'll get 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: I'm sorry.

Silently, he leaps off the roof.

NIKITA: NO!!

She slips and slides to the edge of the roof to look over. The children's saviour lies sprawled on the ground below, 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 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, Michael walks around to the corner.

MICHAEL: Nikita --

Reluctantly, she goes over to him.

MICHAEL: I don't understand.

Nikita looks: the dark-haired man's body is gone.

The camera pans to the weaselly man. The extra ops turn 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

SCENE: SECTION ONE CONFERENCE ROOM. Michael, Nikita, Birkoff, and an extra op 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. A picture of the bald man appears.

OPERATIONS: Randall Corman, mercenary, thief, terrorist, bigot, and all-around 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 group, the Fifth Reich. We've been trying to infiltrate this group for 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: We're two for two.

MICHAEL: What about Ferris?

BIRKOFF: He's even more difficult to locate. Our last intel had him in Seattle, but that was amonth ago.

OPERATIONS: Well, since those of us here seem incapable of getting our jobs done, I guess we'll 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 a dial. The Watcher screams again, and again subsides to a whimper.

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

WATCHER: (crying) I -- I told you the truth -- nothing --

The door creaks open, and Michael enters. Madeline glances at him, and then back at the Watcher. She runs a finger lightly down his arm, stopping at 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 is --

She sees the tattoo. Quickly, she unstraps his 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 -- just a fraternity prank -- initiation --

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

MADELINE: Five-minute intervals, increasing dosage incrementally. When he's ready to talk, let me know.

WATCHER: Please! It's the truth!

Madeline leaves without looking back. Michael follows.

As the door closes, the Watcher screams.

CUT to hallway outside. The scream is cut off.

MADELINE: (to Michael) You recognized it.

MICHAEL: I've seen it somewhere, but I'm not sure where.

MADELINE: Get Birkoff to do a search.

MICHAEL: What about him?

MADELINE: (shrugging) 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: You sure about this?

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

NIKITA: That's him.

BIRKOFF: He looks like Fabio.

NIKITA: Fabio is blond.

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

NIKITA: He didn't sound French. Try passport databases: American, British --

Michael enters and comes up behind them. Nikita stands defensively. Michael gives her a look, and then hands Birkoff 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 principal's office, Birkoff?

BIRKOFF: I had my own chair.

*********

SCENE: MICHAEL'S OFFICE. He is seated as his desk, typing as usual on his computer. Nikita knocks and enters. Michael stops typing and secures the room without looking up.

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

NIKITA: (stiffly) Dead men don't 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, what's going on?

She gets up with a jerk and crosses to his window, where she gazes at the recruits training just outside.

NIKITA: Nothing's going on.

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

MICHAEL: Nikita --

NIKITA: (constricted tears) I'm just -- I'm just so tired of it --

MICHAEL: Tired of what?

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

He opens his mouth as if 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: Let's get out of here.

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

(adult content)

SCENE: NIKITA'S 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: REM's "Losing My Religion."

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

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

NIKITA: Getting drunk won't solve anything, Michael.

He doesn't 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 his own cognac 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, I've said too much
I've 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, doesn't pass away but merges back into the world, recreated in a new form.

NIKITA: Reincarnation.

MICHAEL: Yes.

"That's me in the corner
That's me in the spotlight --"

NIKITA: But you don't believe that anymore?

MICHAEL: I don't think about it anymore.

"Losing my religion --"

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

MICHAEL: (nodding) And it got you thinking about all the people you've killed.

NIKITA: Yes.

She puts the glass of cognac down, untouched, and stares down at her hands.

"Trying to keep up with you
I don't know if I can do it --"

Michael takes her hand.

MICHAEL: You have done what you had to do.

NIKITA: Have I?

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

"Oh, no I've said too much
I haven't said enough --"

NIKITA: I should have let them cancel me. 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, running his fingers along the inside of her palm.

MICHAEL: They wouldn't have canceled you. I wouldn't have let them.

"I think that I saw you try --"

MICHAEL: I kept you alive for me. If anyone is to blame, it's me.

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

NIKITA: (coldly angry) You aren't my master, Michael. Or my scapegoat. You're --

MICHAEL: What?

She doesn't answer -- she just stares at him mutely, her hands on her hips. He stands to face her.

MICHAEL: (insistently) What?

Slowly, the anger in her face melts away, leaving behind nothing but pain. She takes his face in her hands, pulling it to her.

"Every whisper
Every waking hour
I'm 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 sleek 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 cries out, and bends forward to Michael. His eyes are open, dark with desire, staring up at her as if trying to see into her soul. With a moan, he moves up to her.

MICHAEL: (whispering) Look at me --

NIKITA: (gasping) Michael --

MICHAEL: (urgently) LOOK at me --

"Oh no I've said too much
I set it up --"

With an "oh," she opens her eyes and looks down 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 --"

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

"What if all these fantasies
Come flaming to ground
Now I've said too much --"

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

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

Nikita's eyes open, and she stares bleakly ahead of her, her expression shielded from Michael.

"I think that 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.

BIRKOFF'S VOICE: I found him.

**********

-- ACT TWO

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 appears.

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 hours after the raid on Corman's house. From New York, whoever it was flew to Seacouver.

OPERATIONS: (to Nikita) This is the man?

NIKITA: Yes.

OPERATIONS: I thought you reported him as collateral.

NIKITA: Ferris might have used his identification.

Michael looks suspicious.

NIKITA: In any event, I think it's worth checking on.

OPERATIONS: (reluctantly) All right. But you'll have to go solo. We can't spare anyone else.

He turns to leave, but stops in the doorway.

OPERATIONS: Forty-eight hours, Nikita. If you haven't found Corman or Ferris by then, I want you back in 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 looks around. She spots something on the wall: swords. Curious, she goes over and looks at them, running a finger down the hilt.

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

RICHIE: Hi. Can I help you?

NIKITA: Uh -- I'm not sure. I'm 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: (hesitantly) Is he here?

RICHIE: Not at the moment, but he'll be ba--

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

RICHIE: Uh -- he'll 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. I'll be sure to give him the message.

They are at the door.

NIKITA: But I didn't give you any message --

RICHIE: I'll be sure to tell him that. Good night.

He practically pushes her out the door, and then he runs for the dojo office on the other side of the room. Quickly, he grabs the phone and dials a number.

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

RICHIE: Mac -- he's here. . . Upstairs in the loft . . . Yeah, yeah, I know. I'm history.

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

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

CORMAN: I know you're here, MacLeod. I can sense you.

He looks around, and then he heads for the side exit. He kicks open the door and, sword first, moves outside.

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

NIKITA: Michael -- Corman's here. Yes, I'm right behind him.

She follows Corman out the side exit.

A moment later, the front door of the dojo opens, and Duncan runs inside, sword drawn. He looks around. 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: I'm at a cabin in the middle of nowhere.

CUT to Section airplane. Michael sits forward in his seat.

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

CUT back to cabin.

NIKITA: I'm just going to do some recon. I'll let you know what I find.

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 porch. Just as she reaches the front door, she hears another car arrive. Quickly, she jumps off the porch and hurries to the side of the cabin. There, she crouches and watches.

Out of the car steps Ferris, Corman's 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, it's you.

FERRIS: You were expecting someone else?

CORMAN: MacLeod's agreed to meet me at Whitehall Park.

FERRIS: And the kid?

CORMAN: (with a smirk) He's all yours. Enjoy.

Corman heads down the porch to his car. Ferris watches him leave, and then he smiles, slowly draws 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 yanks out 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, you're an angel --

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

RICHIE: Yeah, I'm fine, but --

Nikita steps over to Ferris's body. She rummages through his pockets to get his car keys.

RICHIE: Who are you?

NIKITA: A friend. Here --

She tosses him the keys.

NIKITA: You and I were never here. You understand?

RICHIE: No, actually, I don't.

NIKITA: Look, I can't explain. Just trust me --

She pulls him to his feet and starts pushing him to the door.

RICHIE: Wait --

He looks around and spots his sword on a table. After retrieving it, he looks down at Ferris's 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: I'm the woman who's going to break your head if you don't get out of here.

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

***********

SCENE: WHITEHALL PARK. 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 up and hurries over.

MICHAEL: What's going on?

NIKITA: (without lowering the binoculars) Ferris is dead. It couldn't 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) It's incredible. They've been at it for hours.

MICHAEL: Then it's time to go.

***********

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. Nikita's car barrels across the expanse of the park, headed right for them, the headlights blinding.

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.

Duncan and Corman, both breathing hard, let the swords fall from their hands. Michael comes forward, his gun trained on 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 gestures to Corman)

NIKITA: We'll take care of him. (She looks at Duncan) There's a young man looking for you at your dojo.

Michael, surprised, turns his head slightly. Corman, quick as a snake, grabs Michael's arm and breaks it over his knee. Michael falls, and Corman grabs the gun and points it at Michael's 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 Nikita's 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 back her golden hair.

MICHAEL: No --

An extra op drops to the ground beside him.

OPERATIVE: Michael -- Corman's running --

MICHAEL: Where?

OPERATIVE: Into the woods.

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

OPERATIVE: Fuller's 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 operative's 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 doesn't 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. They are on the other side of the tree.

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 Corman's neck.

Michael lets the gun fall to his side. He takes an unsteady step forward -- and then stops.

Duncan staggers around the body to stand a few feet away. From Corman's 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 Duncan's 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 Duncan's 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, steps 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 his 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.

Nikita's body is gone.

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

-- ACT THREE

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 shows that he is in a briefing with Operations and other operatives.

No dialogue over the following montage. Just MUSIC: Sarah MacLachlan's "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 Walter's 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 Birkoff's 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 awhile
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. Michael's gaze shifts.

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

"It's 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 Walter's area. Walter steps to the doorway, watching him. Walter looks over at Birkoff, who glances up at the observation deck, where Operations and Madeline also watch Michael.

Michael crosses 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 Nikita's 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 I'm close to you
There's so much I can't 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 "We're finished."

"And night's too long
And cold here without you --"

FLASHBACK: FInal scene in "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 as his desk again, a pen in his hand. He looks down at what he's 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 Birkoff's station. Birkoff looks up.

BIRKOFF: We've got the intel on --

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

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

SCENE: JOE'S 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.

JOE: What can I get you?

MICHAEL: I'm looking for --

Suddenly, he sees what he wants.

MICHAEL: Nothing.

He crosses the room to a man seated at 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. It's Methos.

METHOS: Well, well, well. If it isn't the Dark Shadow. Risen from the dead and everything.

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

SCENE: JOE'S BAR. Joe sets a beer down in front of Michael, who has taken the chair opposite Methos's. Joe looks from one man to the other.

JOE: Everything all right?

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

Michael, after a moment, shakes Joe's hand.

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

JOE: Paris, huh? You've come a long way.

MICHAEL: (staring 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. That's "dakini" for "angel," and "Vajra" for "diamond." The diamond angel. Even in Buddhism, diamonds are a girl's best friend.

There is a ripple of polite laughter.

METHOS: According to most theories, Vajradakini is a fiercely erotic female deity whose main job is to teach -- and to inspire and discipline. (He smirks) And it's 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 the other students, but younger than present day. He is in all black, wearing a t-shirt with the initials "L'HS."

YOUNG MICHAEL: It's 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 some scholars who would disagree --

He stops on noticing that the other students are surreptitiously packing their bags up.

METHOS: And then there are other 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 doesn't 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 stacks of old 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 jumps off the ladder) Madonna?

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

MICHAEL: What's this?

METHOS: (glancing at it) An old joke.

MICHAEL: I don't recognize the alphabet.

METHOS: You wouldn't. It's ancient Greek.

MICHAEL: What does it say?

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

He heads for a room at 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: Let's just say it's the personal mantra of someone very close to me.

MICHAEL: You?

METHOS: (with a short laugh) You're a very perceptive young man. Too perceptive. (He gives him a quick look) And too old and educated to be in an undergrad course.

MICHAEL: I've begun to wonder if I know anything at all.

METHOS: Don't know anything? Or don't believe anything?

Michael doesn't 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: L'Heure Sanguine, n'est-ce-pas?

MICHAEL: How did you --

METHOS: (shrugging) I listen. I watch. I learn. (a pause, and then pointedly) What I couldn't figure out, though, was why a student revolutionary was interested in a course in basic Buddhist philosophy. But now I think I'm beginning to.

MICHAEL: (defensively) Oh?

METHOS: (shaking his head) It's 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. It's that kind of blind loyalty that leads to fascism.

MICHAEL: (stiffly) We're not fascists.

METHOS: No, you're anarchists, and that's 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 one another. Finally, Michael hands the book over to Methos.

MICHAEL: I don't think I'll have time to read this.

Methos doesn't take the book at first. Finally, with a sigh, he sets down his cup.

METHOS: Well, it'll 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 -- JOE'S BAR. Michael is looking down at Methos's wrist. There is no tattoo.

METHOS: So, Michael, how did YOU manage to come back from the dead?

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

He pulls out a photograph of the Watcher tattoo from his jacket. He sets it in front of Methos.

Methos sips his beer, not looking at the picture.

METHOS: I had it removed.

MICHAEL: Apparently.

Methos doesn't answer.

MICHAEL: I need to know what it means.

METHOS: No, you don't.

MICHAEL: Adam --

METHOS: (with false cheerfulness) So what have you been doing the past decade and a half? Still building bombs? Overthrowing governments? Practicing your yoga?

Michael takes out another photograph: 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 don't. Leave it be, Michael.

MICHAEL: I can't.

METHOS: You have to.

Michael pockets the pictures.

MICHAEL: I won't.

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. Don't 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 behind the bar.

JOE: Problem?

METHOS: You could say that.

He dials a number quickly, but there is no answer at the other end.

METHOS: (hanging up impatiently) Damn!

JOE: What is it?

METHOS: Theodore Ferris.

JOE: Ferris!

METHOS: You didn't know?

JOE: We haven't 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.

**********

SCENE: DOJO. The scene begins with a close up of Duncan as 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

SCENE: DOJO. Nikita still holds the sword at Duncan's 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, there's one thing the Section could not have taught you.

NIKITA: What's that?

DUNCAN: That it's 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 before.

DUNCAN: I just did.

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

Duncan doffs his coat and moves into 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 Nikita's, 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 that's my next lesson.

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

***********

SCENE: DUNCAN'S 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 kitchen 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: It's a long story.

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

NIKITA: I've got time.

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

DUNCAN: I've run into them twice before. 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. (His expression darkens.) They tortured the father, raped the mother, and I don't 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 had arrived, and they got away.

NIKITA: And the second time?

DUNCAN: In Paris, during the occupation by the Germans. They were officers in the SS. Perfect for the job. Gave them all the authority they needed for their little -- habits. I tracked them, but then the troops landed in Normandy and all hell broke loose -- (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 I'd accepted this. That I'd adjusted --

She stops at the window and takes a deep breath. Duncan joins her, standing with a hand on her shoulder.

DUNCAN: You have to give it time.

NIKITA: But it's not like it hasn't happened before. You'd think I'd be an old pro at dying and finding myself living a whole different life.

DUNCAN: This isn't quite the same as what Section One did to you.

NIKITA: Isn't it? (then, mockingly) "There can be only Section One." That's what was drilled into me from the very first day. The rules are different, but the game is the same. It's all about power -- and killing.

DUNCAN: Life as an immortal isn't all about killing.

NIKITA: No? Then what have you been training me for?

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 don't mean to sound ungrateful. You've been so wonderful -- so patient and understanding. You've made me laugh when I didn't think it possible I could ever laugh again.

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

She looks up at him, wide-eyed. Until now, they have been easy and comfortable with one another, like great friends and playmates. 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. Nikita's hands run up his back; Duncan's hands entangle themselves in her hair. The kiss grows deeper and deeper.

With a groan, Duncan breaks it off. He pulls away, his breath shallow, his voice husky.

DUNCAN: No, Nikita --

NIKITA: (yearning) Duncan --

He tilts her chin to look into her eyes.

DUNCAN: I don't know who he is, but making love to me won't help you forget him.

Her head falls forward, against his great chest.

DUNCAN: (stroking her hair) But, hey, give me a call in a hundred 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 in and is met by Duncan's sword at his chin.

METHOS: (calmly) I'd rather have a beer.

Duncan drops the sword with an impatient whoosh.

DUNCAN: And I'd rather you called before coming over.

METHOS: I didn't think you'd want me to stop to find a pay phone. Hi, Nikita.

NIKITA: Adam.

DUNCAN: What's up?

METHOS: I've got a lead on Ferris.

NIKITA: (stepping forward) Where?

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

NIKITA: Let's go.

DUNCAN: Oh, no, you don't.

NIKITA: Duncan, I'm not exactly a rookie at combat.

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

NIKITA: I hate baseball.

DUNCAN: So write a letter to Bud Selig.

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

DUNCAN: See you later, Rook.

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

NIKITA: It's 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 exit. The elevator arrives, and Duncan and Methos exit and cross the dojo floor quickly. The elevator rises back up.

DUNCAN: So how'd you find out he was in town?

METHOS: An old friend told me.

DUNCAN: Don't you have any NEW friends?

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

The elevator arrives, and the doors slide 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 of the office, stunned.

MICHAEL: Nikita?

Nikita jumps and turns, sword drawn.

NIKITA: Michael?

He walks toward her slowly.

MICHAEL: Oh, my God -- how --

She backs away, her sword still out.

NIKITA: (desperate) You shouldn't 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: You're alive -- it's -- it's --

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: I'll explain later. Now go!

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

Ferris smiles.

FERRIS: I'm looking for Duncan MacLeod.

NIKITA: He's not here.

FERRIS: Oh? Well, that's all right. You'll do nicely. For an appetizer.

He pulls a sword and advances to 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 of Nikita's 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 to 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 shouldn't have interfered --

MICHAEL: I've got to get you to a hospital.

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

NIKITA: No, I'm all right --

MICHAEL: I'm 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 don't 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: But how -- ?

Nikita gestures to the dojo door.

NIKITA: Look.

Michael turns. Ferris gets to his feet. Michael grabs his gun, but Nikita stills his hand.

FERRIS: Tell MacLeod I'm 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 you've 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: They'll find out --

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

MICHAEL: I don't know what to say.

NIKITA: (sighing) Michael --

She stops, and her head raises up.

MICHAEL: What is it?

NIKITA: Someone's 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: (behind him) Here --

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

DUNCAN: Are you all right? There's blood on the floor of the dojo --

NIKITA: I'm sorry. I didn't 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. We're old friends.

MICHAEL: We were.

METHOS: I didn't know YOU two knew each other -- oh, yes, of course. Section One. (to Michael) That's 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. He's -- uh -- he found me --

METHOS: No doubt by following me.

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

Nikita's 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: She's 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 didn't --

NIKITA: I tried, but he got away. He's after you, Duncan.

METHOS: (to Nikita) And now, I imagine, he's after you as well.

Michael and Duncan exhcange a look, and then look at Nikita together.

METHOS: Got anything to eat in this dump?

***********

-- ACT FIVE

SCENE: LOFT, LATER. Duncan and Nikita stand side by side in the kitchen. Duncan is washing lettuce, and Nikita is taking the chunks from him 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 --

DUNCAN: (with emphasis) No thanks.

NIKITA: I've 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 any more.

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 Nikita's work. Beside it is a pair of sunglasses.

METHOS: How are you doing?

MICHAEL: I honestly don't know.

METHOS: It's a lot to take in.

Michael turns to him.

MICHAEL: You're one of them.

METHOS: Guilty.

MICHAEL: And that tattoo --

METHOS: (sighing) There's a secret organization called the Watchers. They've been around for centuries. Their job is to, well, watch immortals -- record their lives, their battles.

MICHAEL: But they're 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: Let's just say I found juggling the two lives -- irreconcilable.

Michael doesn't answer. He turns to look at Duncan and Nikita, who are setting out plates on the kitchen counter. Nikita counts, and then goes directly to a cabinet to take out glasses. She clearly knows the kitchen well.

METHOS: She can't go back with you.

MICHAEL: I explained away her death once before.

METHOS: Let her go, Michael.

Michael's beeper goes off. He looks up: Nikita is looking at 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 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 to get the salt himself.

The elevator door opens, and Michael steps into the room. His expression is all Section blankness.

MICHAEL: We have a location on Ferris.

NIKITA: Where?

Michael looks at Duncan.

MICHAEL: He showed up at his old girlfriend's 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) We've 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 the two of 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 exits quickly by the side stairs. Nikita stares after him a moment.

NIKITA: Oh, no, you don't, 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 Michael's. Nikita is driving. She takes out a cell phone and dials.

NIKITA: It's me. I was right.

The cabin door opens, and Michael emerges, carrying Ferris's slumped body over his shoulder and Ferris's sword in his hand. Nikita gets out and watches as Michael 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 Ferris's arms around him, holding them tightly.

NIKITA: You can't do this, Michael.

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

NIKITA: He's an immortal -- Madeline's threats won't work on him.

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

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

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

MICHAEL: It can't be helped.

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

Michael doesn't answer, but his grip on Ferris grows tighter.

Nikita steps up to him, touching him on the shoulder.

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

An agonizing moment for Michael -- a crossroads.

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: He's not part of this. It's just you and me.

FERRIS: This is not how the game is played.

NIKITA: I know how the game is played. It's right there.

She gestures 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 knocks Ferris's sword out of his hands.

Ferris, on his knees, whimpers.

FERRIS: Please, don't --

NIKITA: Say your prayers.

And with a great swing, she takes his head.

Michael steps back and waits. Behind him, in the drive, another car pulls up. Duncan and Methos jump out. Duncan runs over to Michael, grabbing his arm to pull him back. 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 cabin walls -- windows are blown out, and the onlookers are showered 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 it's 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 his car.

Michael watches as Duncan helps Nikita into the passenger side of the car. He watches as Duncan himself gets into the driver's 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 operative's visual comm link. The warehouse is empty except for a few crates.

OPERATIONS: Any sign of Wilson?

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

MICHAEL'S VOICE: No. The site is empty.

OPERATIONS: Damn --

MADELINE: What about the weapons?

The view on the monitor pans again.

MICHAEL'S VOICE: Nothing here but a few leftover crates.

Two extra ops come into view on the monitor.

MICHAEL'S VOICE: Check the perimeter for transports.

The two ops nod, and then leave.

OPERATIONS: Michael, what are you doing?

MICHAEL'S VOICE: I'm going to check --

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

Inside the crate 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: He's gone.

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

SCENE: JOE'S BAR. Nikita sits at a table, staring sadly ahead and absently fingering a coaster. She is so engrossed in her thoughts that she doesn't see Duncan approach. She jumps a bit as he sets down a glass of wine in front of her.

DUNCAN: Joe's best.

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

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

NIKITA: I'm sure it's fine.

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

DUNCAN: So have you decided?

NIKITA: What?

Duncan leans forward to capture her attention.

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

NIKITA: Oh. (She shrugs.) I don't know.

DUNCAN: Paris is always nice --

NIKITA: (abruptly) No.

She picks up her wine glasses and sips.

NIKITA: (more calmly) Not Paris.

Duncan takes her hand, 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 can't. I'm 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 a 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 toward the other side of the room. Nikita cranes her neck to see around Duncan.

Michael stands at the bar.

NIKITA: What --

DUNCAN: Joe, you can't --

JOE: Well, it's 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 walks toward him. Joe and Duncan watch.

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

JOE: You ain't seen nothin' yet.

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

Nikita reaches Michael. She stands a few feet 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 don't understand --

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

NIKITA: And you're assigned to -- me?

MICHAEL: Yes.

She swallows, unable to speak.

MICHAEL: Unless you don't want me.

The band starts a song: Louis Armstrong's "That's My Desire." Joe, his voice rich, deep, and rough, sings the lyrics.

"I'll spend one night with you
At our old rendezvous
And reminisce with you
That's my desire --"

NIKITA: It's not that I don't want it, Michael.

MICHAEL: Then what?

NIKITA: I can't -- I can't live like before. I can't live with the lies, with Section's delusions about what's right and wrong --

MICHAEL: I'm not asking you to.

"To meet where gypsies play
Down in that dim cafe
We'll dance
That's my desire --"

NIKITA: Then what are you asking me?

MICHAEL: I'm 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.

"We'll sip our little glass of wine
I'll gaze into your eyes divine
I'll 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 it's time to go
Darlin' I love you so
That's my desire."

MICHAEL: Teach me, Dakini.

He leans forward, and just before his lips meet hers 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 Lords lead me on the path
Of the clear light that conquers terror-visions of hate and fear.
May the fierce Ishvari goddess hosts me back 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"

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