"Patient Number 7"


Adrian Paul (Duncan MacLeod)
Elizabeth Gracen (Amanda)
Peter Wingfield (Methos)
Jim Byrnes as Joe Dawson


Alice Evans (Kyra)
Michael Halsey
Mark Leadbetter
Donald Standen

Written by David Tynan
Directed by Dennis Berry
Production No. 97605-111
Full Credits

Table of Contents:

BackBack to the Index Page

Teaser Back to Top

Exterior of a hospital. In a room inside, Kyra is lying on a bed, staring blankly at the ceiling, her eyes wide open and unblinking. In the corridor outside, Jocko, an orderly, is pushing a cart along the hall. He looks through the window of Kyra's room, watching her for a moment as she lies on the bed, twisting her hands together while continuing to stare at the ceiling. She's strapped to the bed, but her hands are free. Jocko pushes the cart inside.

Jocko: "Evening, Number Seven." Krya doesn't respond. Jocko moves closer, and sits on the bed next to her. He moves his hand in front of her face, but she still does nothing. "Nobody home." His voice is almost sympathetic. "Hell, girl. You don't even know where you are." Kyra just stares.

Outside, in the hall, Zep and Lazlo are walking down the corridor. Only their feet are seen, Zep wearing cowboy boots, Lazlo in army boots with fatigues.

In Kyra's room, Jocko is still talking: "You promise not to fuss, maybe I take these off for a while. What do you say?" Kyra says nothing. Jocko chuckles. "Guess that's a yes, huh?"

In the hall, the two men come closer, and now the camera pans up to their faces.

In Kyra's room, Jocko is moving his hands to unfasten the straps.

Jocko: "Good. You just relax, now." He slips his hand under her gown, caressing her thigh. "Let Jocko help you remember." Krya continues to twist her fingers, oblivious to him. He goes on. "Jocko is going to take care of everything."

In the hall, Lazlo and Zep turn the corner and come upon a hospital guard. Zep reaches under his jacket as the guard lowers his newspaper.

Guard, bored: "Can I help you?"

Zep shoots him. He taps a chart with his gun as he walks by, and Lazlo takes it from the counter.

In her room, Kyra continues to stare up, twisting her fingers over and over.

Outside, Lazlo and Zep approach her room, Zep still holding the gun behind him.

In Kyra's room, Jocko is sliding his hand up towards her breasts.

Jocko: "Good . . ." Behind him, the door flies open and Zep and Lazlo come in, guns ready. Jocko turns, holding up his hands. "Listen! I--I didn't do nothing! No, NO!!!" Zep shoots him. For the first time, Kyra's eyes move. She continues to face forward, but her eyes dart to where Jocko fell, then back to the two men as they walk around beside the bed.

Lazlo: "There's something wrong with her."

Zep blows on the clip he's preparing to load into his gun: "Do you care?"

Lazlo: "She's not moving."

Zep loads the gun, and aims: "So much the better."

He fires, but Kyra dives aside at the last second, rolling away and off the bed so that the shots tear into the pillow. She falls to the floor, but immediately kicks the bed back, knocking the men over. She's on her feet in an instant, and kicks Zep in the head as he's crawling over the bed to get to her. He falls, and she shoves the bed on him again. Lazlo is getting up, but Kyra pushes Jocko's cart at him and grabs a tray, swinging at both men as they come at her, and buying herself enough time to escape. She runs away down the hall. Both men give chase, but she's long gone.

Outside, a police car is cruising by, the radio giving out a report: "This is an all points bulletin for the Central District, [alert at the] Central Hospital for the Criminally Insane." As the car rolls by, Kyra appears at the corner of the wall, lurking out of sight of the car. "The suspect is Caucasian female, five foot, six inches tall . . ." The car moves on, and Kyra creeps out, stealing along the wall.

Act One Back to Top

It's morning, and Kyra is lying asleep under a highway overpass. She's curled up in a gap among the concret supports, still wearing only her hospital gown. A little girl is standing in front of her, poking cautiously at her with a stick. Kyra sits up with a startled gasp, and the little girl jumps back.

Kyra, quickly, reassuring her: "No, no. It's okay. I was just--I was sleeping."

The little girl regards her for a moment, still looking a little scared. She's holding a doll close to her chest.

Little Girl: "Do you live here?"

Kyra shakes her head minutely: "No." She makes an almost amused face. "It's not very comfortable." She sits up, looking around, confused.

Little Girl: "What's your name?"

Kyra: "I don't know."

Little Girl: "How come you don't know your name? Everybody knows their own name." Kyra only shakes her head helplessly. "Are you sick?"

Kyra: "Maybe I am."

Little Girl, nodding: "Then you should go home."

Kyra jumps down from her perch, leaning briefly against the wall: "Maybe I should." She walks off quickly, leaving the girl to stare after her.

At his home, General Milos Vladic is holding a glass eye up to the already fitted eye of a stuffed tiger.

Vladic: "Ah, the eye. It is my biggest problem. Always the eyes. The claws are not so difficult, you see. Even the--the teeth." He gets up, pacing among the mounted animals, still talking. "And these things show only the anger, the rage. Easy stuff, really. But the eyes . . . it is different." He leans on a stuffed leopard, looking over at where Lazlo and Zep are standing. "And you know why, Lazlo? No? Perhaps you, Zep." [Ok, my first week with CC capabilities, and I'm already disagreeing. The CC for this line reads: "And do you know why that is so?" Me, I distinctly heard Lazlo's name, which is helpfully provided in the final credits. {I didn't hear "do," either, but never mind.} Anyway, here's both versions, like it's *really* important here . . . --Jinjifore] Vladic walks over to Zep, still talking. "Because the eyes alone show intelligence. Something you wouldn't know about." Zep croses his arms, looking away sulkily. "The order was simple, yes? The objective clear. Medicated, lying in a hospital bed. A damn girl is all and you can't even kill her and bring her to me."

Zep: "But--but General Vladic. She--she ran."

Vladic, boisterously sarcastic: "Oh, my, really? You expect her to stand and wait for a bullet like those miserable peasants in Garadjna." Lazlo looks embarassed. Vladic, shouting, "You are supposed to be soldiers!" Zep starts to say something, but Vladic cuts him off, saying more quietly, "If we were still in the field, I would have you buried in a lime pit, and I wouldn't waste a bullet first."

Zep, trying to explain: "But I don't think--"

Vladic: "Exactly! You follow orders. I want that girl dead, and I want you to bring me her body. Start using your eyes to find her now. Maybe I decide you don't need them anymore."

Zep: "General Vladic. Sir. There was something wrong with her."

Vladic: "Yes. Yes, she's still alive."

Zep: "No, no. There is something more." Cut to Kyra, walking away from the overpass, alone. Zep continues to speak in voice over as she walks. "I don't think that she was hiding. I don't think that she knew us."

Vladic, voice over as Kyra keeps walking: "Don't be stupid. How could she not know you?"

Back to Vladic's house. Zep holds out his hand to Lazlo.

Zep: "Lazlo." Lazlo hands Zep the medical charts they took from the hospital. Zep gives them to Vladic, who looks them over. He glances at Zep, interested.

Vladic: "That's interesting. Seems our little problem has amnesia. She has no idea who she is." He tosses the folder down, smiling. "Smile, Zep. Makes your job that much easier."

Zep looks at Lazlo, then back at Vladic: "How?"

Vladic: "Because without her memory she will be forced to rely on instinct." Cut to Kyra, huddled by a cement wall. She looks up in fright as she hears something. "Like an animal." Vladic goes on in voice over as Kyra creeps out of hiding. "You ever hunt a--a big cat? Of course not. Until I turned you into soldiers, you couldn't flush a toilet." A police car drives by, and Kyra ducks down again. Back to Vladic, stroking the back of the leopard. "A wounded animal is confused, and frightened." Cut to Kyra, yanking clothes from a clothesline strung behind a house, including a pair of canvas sneakers. "It goes to ground to--to someplace it feels safe, somewhere familiar." Kyra runs off with the clothing. "She is wounded." Back to Vladic. "And she will go to ground." He paces to the window, where a map is propped beneath a telescope. He taps the map at a particular spot. "Here."

On a street in Paris, a red pickup truck drives up. Kyra is in the front, wearing her newly-aquired clothes. The driver stops and looks at her.

Driver: "Are you sure this is where you want to go, miss?"

Kyra looks at him, still confused, and doesn't answer. She just gets out and walks away.

She walks down the street until she comes to a large house, with statues of Greek maidens flanking the doors. She looks up at the statues as she walks by, and as she stares at the face of the first one she gets a sudden flash. She sees a man, holding a gun, and then another man being shot. The picture clears, and it's Vladic holding the gun, firing as Richard, the man he's just shot, goes down. Kyra walks on.

As she rounds a corner, she sees a businessman getting a briefcase out of his car. He puts it on the roof and opens it, and she clearly sees him pulling out a gun and beginning to aim at her.

Kyra: "Don't!" She runs to him, kicking the gun from his hand and grabbing him. She pins him up against the car while he sputters in protest.

Businessman: "What, are you crazy? What? Just what do you think you're doing, lady? What the hell's the matter with you?"

Kyra lets him go abruptly, moving back and staring down at the "gun" lying on the sidewalk, which isn't a gun at all, but a cell phone.

Kyra, stammering: "I thought it was a . . . gun." She runs away, leaving the businessman to pick up the pieces of the phone.

Businessman: "Jeez, look at this thing!" He stares after her, indignant. "It's my phone!"

Kyra walks on, through a shady park, where people are sitting on benches and talking. There's a newsstand there as well, and the man sitting in the booth is talking in Arabic on his cell phone. He hangs up as Kyra approaches, and she bends down to the look at his papers.

Kyra: "Safi, r'lass-jibli el rhout?" Then in English. "Thursday." [see Notes]

Vendor: "You speak Arabic?"

Kyra looks at him, startled: "I guess I do." [CC: "So I guess I do."]

Nearby, Duncan MacLeod is walking down the street, reading a newspaper. Kyra is also walking, approaching around the corner. They sense each other at the same time, Duncan looking around as Kyra slumps against the wall, holding her head in pain and confusion. [see Notes] She walks on after a moment, and comes out onto the street where Duncan is standing. She looks around, staring right at Duncan.

Duncan, sounding pleased and relieved: "Kyra!" He takes a step forward, smiling. Kyra is only able to stare at him, though, and the smile fades a little. "It's me," he prompts, and smiles again. "MacLeod." She keeps staring, then her eyes widen as she looks at something behind him.

Kyra: "Behind you!"

Duncan turns to look, and Kyra dashes off like a shot. He sees nothing, and turns back only to find her gone. He pursues her, following her into an open warehouse. He walks down the aisle of bags piled on pallets, looking for her.

Duncan: "Kyra! Kyra, what's going on?" He walks on. "Kyra, at least come out and talk to me." He seems to hear something behind one of the stacked pallets, and walks back. "Kyra?" Kyra's there, all right, waiting for him with a long pole in her hands. "Kyra?" As Duncan comes around the corner, she jabs him hard in the stomach, sending him doubling over. "Ooh! What was that for?!" Kyra runs, and Duncan stumbles after, still clutching his stomach. She takes another swing at him, and he ducks, grabbing her and forcing her to drop the pole before pushing her against the piled bags. "Kyra! I'm not going to hurt you. Kyra, what's going on?"

Kyra, nearly panicked: "You know me?"

Duncan, gently: "We--we're friends."

Kyra: "If we're friends why did you chase me?"

Duncan, reasonable: "Because you ran." More calmly. "We were friends. At least I thought we were." He looks her up and down quickly. "What happend to you?"

Kyra, quietly: "I don't know."

Outside a police car approaches.

Inside, Duncan hears the siren and turns to Kyra: "What did you do?" She stares at him. "They're not after me, now what did you do?"

Kyra can only shake her head helplessly: "I don't know. You understand, I don't know."

The police car has arrived, and they can hear the sound of the men getting out of the car.

Duncan: "We'll talk about it afterwards. Come on." He starts off, but Kyra shrinks away, pressing herself against the bags. Duncan turns back. "It's either them or me. Your choice, but you better make it fast." Kyra hesitates a moment more, then steps forward to take his hand, letting him lead her away.

Act Two Back to Top

Kyra is with Duncan by the river, Kyra pacing while Duncan sits and watches.

Kyra is repeating her name: "Kyra, Kyra, Kyra . . ." She throws up her hands. "There, you happy? It doesn't mean anything." [The CC says it's: "There, are you happy," but I didn't hear "are." --Jinjifore]

Duncan: "Well, it's your name."

Kyra: "Right. That's what you keep telling me."

Duncan, patient: "Then what do you remember?"

Kyra closes her eyes. After a moment, she flashes on the room at the hospital, the empty bed and the white walls.

Kyra: "A room. A white room." Duncan stands up as she tries again. This time she remembers the cart Jocko pushed in, and the boxes of medicine on it. "Chemicals."

Duncan: "A hospital." Kyra looks at him, unsure. "Go on. Keep trying."

Kyra tries again. This time, she sees herself, lying on the bed, and then Zep pointing a gun at her. She gasps, putting her hands to her mouth as she stumbles back.

Duncan takes a step toward her: "What is it?"

Kyra, her voice shaking: "Oh, my God. There was a gun." She remembers Jocko, lying on the floor. "There was a body. There was a dead body." She looks at Duncan in near-panic. "What does it mean?"

Duncan: "You tell me."

Kyra: "I can't! Don't you get it? I'm trying but I can't get anything out of there." She backs up a step. "Oh, just forget it." She turns and paces away. "Just forget it."

Duncan: "You want to run, go ahead." Kyra stops and turns back, hands still clasped nervously under her chin. Duncan goes on. "Where are you going to go? You've got no money, you've got no ID. You don't even know who you are!"

Kyra: "I don't know who the hell you are?" She walks back to him. "Why should I trust you? Give me a reason, give me one good reason!"

Duncan looks at her, and says quietly: "Because there is no one else."

At Vladic's house, Zep is speaking while Vladic squints through the scope of a sophisticated-looking rifle.

Zep: "She has amnesia. She can't remember anything. Forget about her!"

Vladic, lowering the rifle: "Sooner or later she will remember everything and come for me. And it's always better to be the hunter than the prey. Always." He glances at Zep. "Ask any of them." He nods at his stuffed and mounted trophies.

Zep, sitting on a nearby table, merely slaps a clip into his gun with an angry snap, and gets up. He stalks out, Lazlo trailing silently on his heels. Vladic sights down the gun after they've gone, aiming and pulling the trigger on the empty chamber.

At the barge, Kyra and Duncan are having dinner on deck, the table lit with candles, and soft music playing. Kyra drinks down her glass of wine like it was water, and reaches for Duncan's.

Kyra: "Do you mind?" She takes the glass from his hand and drains it in the same way, and he looks at her, amused. She thumps the glass down. "God, that hits the spot."

Duncan, still amused: "I should hope so." He offers her a bowl of bread.

Kyra glances at the bowl as she's fishing out the bread.

Kyra, casually intrigued: "Tenth century Moorish. Umayyad period. Nice piece." She pops the bread into her mouth.

Duncan: "Yes, it is. But how did you know?"

Kyra mulls it over, not upset, just thoughtful: "I don't know. How did I know?" Duncan regards her. "How could I know something like that?" She looks at him. Duncan says nothing, just takes a strawberry and eats it, watching her with a bemused look on his face. She leans forward, speaking as if trying to convince herself. "You're right. Maybe I'm a history professor. Or an antiquities dealer. Someone in the arts, museum. Something like that." She nods brightly, returning her attention to her plate.

Duncan: "Maybe." He leans forward. "Or, maybe not."

Kyra looks up, nodding indulgently: "Right. The immortal thing." She raises a hand. "Hold on. My name is Kyra, and you and I have known each other--correct me if I'm wrong here, huh?--four hundred years."

Duncan: "Well, actually, it was more like three hundred and fifty."

Kyra nods politely, still eating. Duncan picks up the bowl, reaching for more bread.

Flashback France, 1640 Back to Top

Duncan is sitting in a tavern, having a meal. There are four other men, sitting at two different tables, also eating and drinking. Two of them are well-dressed, with fine hats and red coats. As he's eating, Duncan senses another immortal, and looks up as Kyra bangs through the door. She's dressed in man's clothes, with a long cloak and a wide-brimmed, feathered hat. She yanks off her gloves, seemingly oblivious to the fact that the room has gone silent, and that all the men are watching her. She takes off her hat, revealing her long hair and feminine features, and looks around for the first time, seeming only now to notice all the eyes in the room on her. Duncan regards her neutrally, and begins slowly licking his fingers from his meal. Kyra looks quickly away, at the innkeeper.

Kyra, slapping the bar imperiously: "Wine, innkeep. And leave the bottle." She walks to a table and sits.

In the corner, one of the two well-dressed men speaks up.

Man: "Look, Dupin. It's one of the Queen's loyal helpers."

Dupin: "They send a woman to do a man's job."

Man: "She'll be flat on her ass before the night is through." He looks Kyra up and down. "Or flat on her back."

Duncan stands up, looking almost bored: "Gentleman. I would take care how you address the lady."

As the rest of the room, murmurs, one man asking, "Who's he?," Kyra gives Duncan a sidelong glance.

Kyra, ignoring the others: "These are no gentleman." She looks up at Duncan. "And the lady can take care of herself." Duncan raises his glass cheerily and sits down with a bump. Kyra pours another glass of wine for herself.

The man in the corner stands up: "You've forgotten what it's like to be a woman." Kyra ignores him. "I think you need a real man to remind you, hm?"

Kyra stands up and makes a small show of looking around: "What men? [CC: "What man?"] All I see are a pair of miserable toads who work for the bastard Richelieu."

Man, indignant: "Cardinal Richelieu does the work of God!"

Kyra, smiling: "Is it true, Richelieu has syphillis?"

The room murmurs again, gasping and some saying, "No."

Kyra glances around, and continues: "'Cause if that's so that's quite an accomplishment for a eunuch." The two men are too outraged to speak, and Kyra goes on. "Maybe he's not a eunuch. But, you know, I hear it's, um . . ." She holds up her little finger, measuring the last two joints illustratively. Duncan chokes on his wine and backs immediately out of the way, seeing where this is headed. The two men are finally spurred into action at the last insult, and draw on Kyra.

Dupin's companion fights her first, and she spars with him for a few moments before knocking him out against a table. Dupin is next, and by the time he's dispatched the first man is on his feet again. Kyra duels with him briefly, then pins him against a table, holding her sword to his throat. Behind her, Dupin recovers and picks up a chair to hit her, but Duncan, who's been watching the fight with evident enjoyment, reaches out with his dagger and cuts his arm, forcing him to drop the chair with a cry of pain. Meanwhile, Kyra is educating his friend.

Kyra: "And what do you call Her Majesty Queen Anne, our sovereign monarch?" She leans closer. "I can't hear you."

Man, muttering: "A saint."

Kyra: "And Cardinal Richelieu is . . .?" She presses closer. "Go on, say it!"

Man: "A bastard." Kyra lets him up, but only so that she can show him the door, her sword at his throat every step of the way. "A traitorous, stinking, sewer rat of a bastard." The two men run, and Kyra shouts after them. "And don't forget it!" She slams the door shut.

Duncan watches the scene with amusement: "I take it you have no real love for Cardinal Richelieu."

Kyra: "You're very astute. A Scotsman, I take it."

Duncan bows with a flourish: "Duncan MacLeod of the Clan MacLeod." He pours her a drink, and holds it out to her. "And you are?"

Kyra: "Off to bed." She looks at the innkeeper. "Innkeep. A room for the night."

Duncan: "I'm afraid it has already been taken. But I'd be happy to share it with you." She looks at him sharply. "Under strictly honorable circumstances, of course."

Kyra, unsmiling: "Of course." She reaches in her purse, and flips him a coin. "Here," she says blandly. "My share."

Later, in the room, Kyra is lying in the bed while Duncan undresses. She glances at him, then turns on her back, looking up the ceiling.

Kyra: "I've never met a Scotsman before. Tell me, are they well-armed?"

Duncan stops in the process of taking off his shoes, and looks at her, one hand on his hip: "What exactly do you mean?"

Kyra, innocent: "I mean their swords, of course. What did you think I meant?"

Duncan, momentarily nonplussed, but not for long: "Oh. Uh, your French toad-stabbers, they're fine for some, but . . ." He turns away, finishing with mild contempt, " . . . they're kind of puny."

Kyra sits up: "You think them small?"

Duncan: "Och! They're hardly worth your while." He continues, with a slight note of smugness creeping into his voice. "A Scotsman's weapon, that's another matter." He gets in the bed. "Once it gets going, there's nothing that can stop it."

Kyra lies back, making a noise of almost disbelief: "Really?"

Duncan: "Aye." He holds up his hands, curving them around the imaginary, um, sword. "Two hands to hold the thing." He hefts the imaginary object illustratively. "I doubt you could even hold it." He suddenly clears his throat, and prepares to lie down.

Kyra: "Surely you exaggerate."

Duncan: "No. Not a wee bit." He pulls the covers up. "Come to Scotland and I'll show you."

Kyra, confused: "Scotland?"

Duncan looks at her in mock amazement: "You didna think I could bring it in here, did you? I mean, the bloody thing wouldn't fit through the door!"

Kyra: "Oh. You mean your sword."

Duncan: "The claymore, of course." His voice turns sly. "What did you think I meant."

Kyra: "I--" She doesn't finish, and as one they turn on their sides, away from each other and prepare to sleep back to back.

Duncan, as he lies down: "Ow!" He fishes under himself, and produces a dagger. He hands it to Kyra.

Kyra: "Oh, I'm sorry. That. I--I don't . . ." She slips it under her pillow, and they prepare to sleep again. Duncan's eyes, though, are wide open, and so are Kyra's.

Kyra, after a moment of lying there: "MacLeod?"

Duncan: "Hmm?"

Kyra: "Can you sleep?"

Duncan, slowly: "No." He waits a moment. "You?"

Kyra: "No."

They turn, lying side by side.

Kyra: "Now, why do you suppose that is?"

Duncan looks at her: "I have a theory."

They turn to face each other. Duncan props himself up on his elbow.

Duncan: "Shall I tell you?"

Kyra: "Is it strictly honorable?"

Duncan shakes his head minutely, grinning: "Mm-mm."

Kyra, also smiling: "Show me, then."

Duncan kisses her, and they embrace under the covers.

Present Day Back to Top

Kyra is standing, facing Duncan: "If you expect me to believe that, then you're the one who should have been in the hospital." She pushes herself away, pacing past Duncan. "I think I'll take my chances alone."

Duncan: "There's a birthmark on your thigh." She stops, and Duncan turns to face her. "Left leg. It's . . . inside." He shifts, a little embarassed. "Shaped like a small butterfly."

Kyra looks at him, then walks over to the pilothouse. She turns at the door.

Kyra: "Turn around." Duncan obeys, and she moves inside, lowering her jeans far enough to check. She gasps loudly as she finds the mark. "Oh, my god." She pulls her pants up, and comes back outside. "So you and me were really . . ." Duncan looks a little uncomfortable. "I mean, we were lovers?" Duncan looks at her. "You were somebody I could--" He still doesn't answer. "Please, I've got to know."

Duncan: "Once. Just one night. We were . . . friends." He starts to move away. "But I haven't seen you in over a hundred years."

Kyra turns a little, looking out towards the shore: "Can't have been much of a night, then."

Duncan: "Oh, I don't know. I remember it." He looks over at Kyra, and she glances at him.

Kyra, relenting: "Okay. Maybe you knew me. But all that other stuff." She waves her hand. "I just don't buy it."

Duncan glances at her, then steps forward and picks up a length of pipe from the deck. He unscrews the sections, and sticks one out at Kyra.

Kyra, taking it reflexively: "What's this?"

Duncan hefts his own piece of pipe, then abrubtly swings at her, hard. Kyra ducks instinctively, and brings her pipe up to parry.

Kyra: "Stop it!" But she brings up the length of pipe easily into a defensive position, and as Duncan continues to attack she parries him deftly, countering his blows until she knocks the pipe from his hand and swings immediately for his neck. Duncan grabs her arm, stopping her. He takes the pipe away gently.

Kyra: "It's really true, isn't it."

Duncan: "All of it."

Kyra: "So why can't I remember? I had friends, a life, people that loved me." She looks at him, frustrated. "How can you forget your whole life?"

Duncan: "It's called hysterical amnesia. When your mind can't handle things, it just shuts down. Good news is, it's not permanent. You'll get your mind back." He turns away, putting the pipes back.

Kyra: "What if I don't want my memory back?" Duncan turns to face her. "What if I really killed those people?" Duncan doesn't answer, and she turns and walks to the other end of the barge, climbing on top of the roof. She stands there, looking out.

As she stares, she has another memory. She sees herself, dancing with Richard and wearing an evening dress. Then she's playing the piano, still in her fancy dress, and Richard leans down to kiss her neck. Then they're lying together in bed, kissing. She sees the inside of a house, filled with antiques and fine furniture. She remembers the outside again, the two Greek maidens that she passed when she had her first memory. Then the visions fade, and she stands there alone, thinking.

Later, Kyra is walking down the street to the house again. On the street outside, Zep and Lazlo are waiting by a car, listening to rock music on the stereo. Zep is leaning on the fender, smoking, and Lazlo is sitting in the car. Kyra slinks into a niche, watching them.

Kyra, recognizing Zep: "You."

Zep turns away to light another cigarette, and Kyra takes the opportunity to slip out and move a little closer. She ducks into another niche as Zep walks around and gets in the car. While they're sitting there, she moves again and begins climbing the outside pipes to the top of the house.

Act Three Back to Top

Kyra slips through a balcony door into the interior of the house, looking around as she walks through. She finds herself in the room from her vision, and moves on, ducking under crime scene tape stretched across one door. She enters another room, and remembers again playing the piano, and Richard leaning down to kiss her. Then Richard takes her hand, stopping her playing, and they begin to dance. Kyra stands, staring, remembering the dance, her face fading in over the dancers as she remembers. Then the vision is gone, and Kyra is picking up a framed photograph. It's of her and Richard, but the glass is broken, their faces ruined by the bullet holes through each of their foreheads. She stares at the picture, gasping in horror, frowning as she tries to remember. She walks on, holding the picture to her chest, and comes to another taped-off door, this one another balcony door, the glass broken, leaving the room open to the outside. She stares at it, remembering again, and this time the vision is clearer. She hears Richard's voice first.

Richard: "It's time to go now."

He's putting their suitcases down inside, while Kyra is standing on the balcony rail, balancing herself on the narrow span while she hums lightly. She's wearing a light blue mini dress, very springy.

Richard, nervous: "I really wish you wouldn't do that." He leans on the doorway. "What if you fell?"

Kyra jumps down: "You know I'll only bounce." She comes inside. "But anyway--" She puts her arms around his neck. "I prefer the view from in here."

Richard: "Mmmm." He kisses her. The vision begins to fade again, Kyra's face fading in on the scene.

Kyra, sing-song: "We're going to the countryside." She takes hold of his lapels. "And you won't be in international court anymore. No more microphones, no more threats, no more reporters." Kyra's face fades out, and the vision is clear again.

Richard, blandly sarcastic: "Good god. How will we spend our time?"

Kyra: "Leave the diversions to me. You've earned it after six months on the bench."

Richard: "Six months or six years would have been worth it. Vladic is going to prison for the rest of his life."

Kyra sobers: "He's an immortal, Richard. It won't be forever. If I'd had my way--"

Richard: "I know, you would have had his head. But his crimes were against humanity. And humanity's punished him."

Kyra: "I know. For a month we forget all that, huh? No more courtrooms, no more criminals."

Richard: "And no guns?"

Kyra smiles, lifting her arms and pirouetting to show him: "Not even a small one."

In the house, Kyra slides down, crying, holding the picture to her.

Kyra, whimpering: "No." She looks at the picture, at the bullet holes through their faces.

In the memory, the phone rings, and Kyra lets go of Richard with a disappointed groan. She points a stern finger at Richard.

Kyra: "Don't move." She moves to the phone. Just as she picks it up, someone knocks on the door. Richard turns to it.

Kyra: "Hello."

Richard: "Always late, huh?" He heads for the door, as someone knocks again. "Yeah, just a second. I'm coming."

Kyra, on the phone, cheery: "Yes, he is, but we're just about--" Her voice freezes. "Sorry, what did you say?" She listens for a second. "When?" Just then, though, she senses another immortal, and realizes what's happening. "Richard!"

But Richard is already stepping back, retreating from the open door and the gun Vladic has pointed at his head.

Kyra: "No!"

Vladic fires, and Richard jerks back. Zep fires, too, then Vladic again, shooting as Richard falls back.

Kyra, screaming: "No!"

Vladic walks into the other room, aiming at Kyra, but she retreats, smashing through the balcony door and hurling herself over the rail to escape.

Back in the house, Kyra is sobbing, looking at the picture.

Kyra: "I should have known." She hugs the picture to her. "I should have been ready." She looks around, as if she's suddenly remembered where she is. She gets up, still looking around, and walks to a cabinet by the wall. She takes down a large metal case, and opens it. Inside is an assortment of guns, nestled in foam cutouts. She chooses one and takes it out, holding it up and taking aim at an imaginary target.

In the car, Lazlo and Zep are still waiting, staring ahead and listening to music. Kyra is able to slip right up to the driver's door, and smiles at them brightly.

Kyra: "Looking for me." Zep gives her a disgusted look, and looks down. Kyra lifts the gun to aim at his head. "Mine's a .44. Modified. Go right through you." Her eyes slide to Lazlo. "Probably kill your partner, too." The don't say anything. "Of course, I'm only a girl. Might lose my nerve. Might even miss." She lowers the gun, and Zep looks at Lazlo, nodding a signal. Kyra peers at Lazlo, and sees the gun he's holding in his lap. "What have you got there?" Lazlo says nothing, but before he can use the gun she shoots him through the door. Lazlo slumps back, dead and twitching.

Zep: "Jesus!"

Kyra: "But not this time." She nods at Lazlo. "Take that back to Vladic. Tell him I want to see him. Go!" Zep starts the car and roars off, leaving her alone in the street.

Act Four Back to Top

Back at Vladic's place, Zep is ranting furiously.

Zep: " . . . and she shot him through the door!" He throws up his hands, making a frustrated noise as he turns his back on the table where Lazlo's body is laid out.

Vladic looks at the body, nodding approvingly: "What the enemy least expect. A good tactic. It is better this way."

Zep snorts derisively: "How?"

Vladic: "Because now she will come to me. Now we fight on my terms, on my ground." He looks at Zep. "And this time, I will kill her." He reaches in his pocket and hands Zep a cell phone. "Call. Tell her we meet at the observatory."

Zep gets up, turning on the phone as he paces slowly to Vladic's side: "What time?"

Vladic: "Doesn't matter. We'll already be there."

Duncan is on the deck of the barge when he senses another immortal. He turns to find Kyra walking toward him. She's dressed all in black now, black shirt, black pants, and a black leather jacket.

Duncan, as she comes up to him: "So you're back. What about all that happened in the papers?"

Kyra: "Not me." She pauses. "His name is Vladic."

Duncan: "Milos Vladic?"

Kyra nods: "He called genocide 'military victories.'"

Duncan: "And after the trial, the chief judge was murdered. Albright."

Kyra, closing her eyes briefly: "Richard. Richard was his name." She looks at him. "Did you ever meet someone truly good, MacLeod? Someone who didn't want money or power or . . . or glory. Somebody beyond temptation and corruption."

Duncan: "You were his bodyguard."

Kyra, pacing past him: "I did a hell of a job, didn't I?"

Duncan, prompting: "And there's more."

Kyra, facing him again: "That's how it started. God, I loved him. Richard believed, MacLeod. Believed like, like nobody I'd ever met before." She and Duncan start walking together, slowly. "Justice, compassion . . . They were his gods. Being with him was like being inside a--a warm, bright light. Ten years, MacLeod. I wanted it never to stop. And then, somebody stopped it." She stops, turning to face him once more. "Do you know what that feels like?"

Duncan, swallowing: "Yeah. I do."

Kyra: "MacLeod, if I don't come back from this, and you run into Vladic . . ."

Duncan: "I'll make it a point."

Kyra: "Thanks." She turns and walks away, leaving Duncan to look after, his brow wrinkled in worry.

At the observatory, Vladic is sitting on a table, cleaning his sword. On the roof, Tovic walks down a ladder from an observation tower, a gun ready in his hand. He trades glances with Zep as he walks over the roof.

On the edge of the roof, Kyra's hands appear, and then her face as she pulls herself up to look around. Zep and Tovic are still patrolling, and Tovic looks over as he hears a faint scuffle. Kyra lowers herself, but Tovic is already on his way. He walks to the edge and looks down, but sees nothing. He continues his patrol.

Meanwhile, Kyra pulls herself over the wall in a different spot, and darts over the roof, hiding behind concealing pillars. Zep and Tovic keep looking around, and Tovic looks down as he spots what appears to be a hundred franc note on the stairs. He bends to pick it up, and Kyra leaps out and kicks him in the face. Zep hears the noise and comes to investigate. Kyra drags the body off, but Zep spots her as she conceals herself behind a pillar. He opens fire.

Inside, Vladic looks up from his sword-cleaning as he hears the gunfire.

On the roof, a hand creeps up from the steps where Kyra was hiding, groping for a hold on the metal handle set into the stone. Zep opens fire, but instead of Kyra, it's Tovic's body that rolls away. Zep cries out in frustration, lifting his gun up even as Kyra slips up behind him, pressing the barrel of her gun to his neck.

Kyra: "Nice shooting. But then, you like it when they can't get away, don't you?"

Zep: "Oh, yes. Especially with your judge. It's so much the better." [The CC says: "Especially when it's your judge. It's so much better." It looks to me like this part was dubbed over, but I just don't hear what the CC says, even though it makes more grammatical sense. --Jinjifore]

Kyra: "Move!" She grabs his jacket, pushing him over to the edge.

Zep: "Wait." He waits. "Wait!"

Kyra ignores him, pushing him around to face her as they near the edge. She's still holding the gun on him, but as he's standing there he suddenly kicks out and knocks the gun from her hand. She grabs his leg and twists it, and pushes him to the edge. She heaves him over the wide railing, even as he cries out, hanging onto the edge with his fingers.

Zep: "No, wait! What are you doing?" Kyra punches him, making him lose his grip, and he falls to his death.

Downstairs, Vladic is trying to get his guards on the radio.

Vladic: "Zep? Zep?!" There's nothing but static. "Tovic, report."

Kyra's voice comes over the radio: "I'm sorry, but all scumbags are currently unavailable."

Vladic: "Where in hell are you?"

Kyra pauses a second: "Imagine. A big general like you, a real war hero, and those two are the best you could come up with?" She laughs. Vladic looks around, and finally senses her. "There's no one home, Vladic. You're lost. You're alone." Kyra appears behind him, strolling through the far door with her sword drawn. She speaks to him, now, discarding the radio. "How does it feel?" She walks toward him. He makes a move for the gun lying on the table, but she knocks it away with her sword. "No more guns. No more psychopaths to do your dirty work. Just you and me." She glances at her sword. "And this."

Vladic: "You had your chance. Your courts, your judges. No one had the will or strength to stop me." He points to himself. "Vladic is still here."

Kyra, calm: "Yes. That was my big mistake. But I'm here to fix that."

Vladic: "You're mistake was coming here. A woman, trying to do a soldier's job."

Kyra: "A soldier? Is that what you call yourself?"

Vladic swings at her, and they fight. They spar around the room for a while, fairly evenly matched, then Kyra gets a good kick at his midsection and he stumbles. They exchange a few more blows, then she gets another kick at his face, sending him reeling back. A few more strikes, and she gets hold of his sword arm, slashing it with her blade, then stomps on the back of his leg so that he goes down. She puts her blade under his throat, forcing him to raise his chin.

Kyra: "I was a soldier for a thousand years. You're no soldier. You're a butcher." She raises her sword, and he slowly lowers his eyes, knowing what's coming. She swings down, taking his head. As the Quickening begins, her face appears in the blade of his sword, reflected in the surface as the lightening crawls over her, and then the image fades to black.

Tag Back to Top

Duncan walks up the barge, and finds Kyra waiting for him on deck.

Duncan: "It's good to see you."

Kyra: "It wasn't the justice Richard believed in, but it was justice. It'll have to do."

Duncan: "What about the police? They'll still want you for questioning."

Kyra spreads her hands, pushing herself away to pace to the end of the deck: "I'll keep moving. Keep looking around. There's always someone who needs protection. You know how it is."

Duncan helps her step to the shore: "Kyra." She turns to face him. "If you ever need anything . . ."

Kyra: "Thanks." She smiles a little. "But the lady can take care of herself."

Duncan smiles. She kisses him briefly, then draws back.

Duncan nods, still smiling: "I remember."

Kyra turns to go: "So do I." She leaves, turning to look back over her shoulder as she walks away.

Notes Back to Top

Good news! I can see the closed captioning now! Yea! At last, someone to blame for the spelling . . . Actually, in a couple of places I disagreed with the CC folks, and I've mentioned where. Also, the Arabic Kyra speaks is copied right off the CC captions, and I have no clue what it means. Oh, one last thing. In the old CCs from USA, the "buzz" effect was indicated with the little music symbols. Here, it actually says [BUZZING]. Nice touch . . .

Due to the unusual kindness of this week's dialogue, "Guess the Name" will not be featured this week. I couldn't believe it. Nearly everyone got called by their name at some point, and there were no mysterious characters left over from the final credits. Wow.

Just for the record, Jocko pronounces his name "Joe-koh," not "Jock-oh," which is what I thought. Vladic is pronounced "Vla-deech," but Tovic is "Toe-vick."

If you're thinking, "Gee, Duncan wasn't really in this episode that much," you're right. From what I've heard, the original plan for the season was to make a total of thirteen episodes, one of which would not have Duncan at all, and another in which he would have a much-reduced role (i.e., this episode). Now, as I understand it, Duncan will not appear in a total of *two* episodes, numbers 10 and 11, I think. Anyway, just some behind-the-scenes trivia to explain Duncan not being around much this episode.

This episode is also the second of the "spinoff" episodes, the four episodes this season which will, I gather, be used to showcase a female immortal in hopes that she might be chosen to star in a spinoff series. "Sins of the Father" was the first such, featuring Alex Raven as said female immortal. So, that's two contestants down, two to go . . .

Next week, "Black Tower"


These pages are written by Jinjifore and are translated into HTML and maintained by Ian.

Disclaimer: All the dialogue, characters, situations, and darn near everything else belong to a bunch of fine and talented folks at Rysher Entertainment and Panzer/Davis, and in particular the dialogue belongs to the credited writer of this episode. Me, I just wrote the rest down in my own words, which belong to me, but the episode itself was made by the aforementioned people and is owned by them. This humble synopsis isn't meant to infringe on their rights, and I'm sure as heck not making any money from doing these.

Everything not belonging to Rysher, et al, ©Copyright 1997 by Jinjifore

Feel free to copy and distribute as long as this copyright notice and disclaimer are included, except where local bandwidth laws apply.

Also, check out Ian's home page.

Celtic clip art courtesy of the Celtic Art Web Page.
Last Rev: CCH [ 12 Dec 97 ]