The characters Xena and Gabrielle, (owned by Renaissance Pictures/MCA) are used herein strictly for non-profit purposes of parody and satire. No infringement is intended.

1. Shady streamside. Late afternoon.

View of a hook with a tasty-looking cockroach impaled on it splashing into the water. Beneath the surface something dimly moves -- a whopper of a trout. Camera pans up the fishing line to reveal the archer, her bare feet dangling in the water, holding her bow (now a fishing pole) and settling back against a tree trunk for a pleasant wait. The horse that used to belong to Leader placidly grazes on the bank behind her. In the background, between the tree leaves, a view of the stream emerging from the canyon.

[Foley: very faint sounds of soldiers approaching]

The archer casts a put-upon glance toward the sounds and starts to get up. The end of her bow twitches with a bite. Elated, but rushed and more than a little frustrated at the Fates' impeccable sense of timing, she jerks on the bow to set the hook. A short struggle, and she finds herself looking at the frayed end of the broken fishing line. She's frustrated. She picks up her arrows and shoulderbag (boots tied to the strap) and sends a hostile glare toward the sounds. After a swat to his rear with the bow, the stallion neighs and gallops toward the camera and away.

[Foley: soldiers start running instead of sneaking. Talk of "she's riding off," "follow her," and the like, ad lib, retreating as they follow the horse through the woods]

The archer calmly wades upstream, toward the canyon.

Wipe to:

2. The cavern. The woman lies unconscious on bare rock.

A closeup on the woman who caught the chakram. She is out cold and her skin has a frightening sheen and deathly pallor to it. Xena, off screen except for her hands and arms, spreads a bedroll beside her and rolls her onto it. Xena gently lifts the woman's head and pushes a roll of cloth under it. Then, with a hesitation unlike her, Xena turns the woman's hands palm up and gently pries open the fingers. Crescent scabs cover both palms. Xena draws her chakram and holds it against first one palm, then the other. The curve of the scabs match the curve of the chakram.

Cut to:

3. Xena beside the woman, the fire behind her.

Still barefoot but wearing her leathers (no breastplates), Xena sits half-crosslegged, with her hurt leg at an awkward angle as she absently massages it with one hand. Her other hand holds the chakram, and her gaze shifts from woman to chakram and back again. The fact that this person could catch the chakram stirs up uncomfortable memories for her. Looking at the woman, she is more than a little awed, and also wary, more suspicious with each glance.

Gabrielle (approaching off screen) I'll have some soup ready in just a bit.

Gabrielle's shod feet come into view in the foreground. She pauses. Distracted, Xena doesn't seem to realize Gabrielle is there.

Gabrielle (getting attention) Xena. (gently) What's wrong?

Xena (snapping out of it) Nothing. I wish she would wake up.

Xena stands with care, experimentally putting weight on her twisted ankle. She holds Gabrielle's staff, but is clearly trying not to lean on it. Gabrielle quickly steps around the woman, coming fully into view, and, juggling various burdens, frees a hand to put around Xena's waist.

Gabrielle You rest. I fed Argo, but she prefers the little patch of grass up there. (more authoritative, almost Xena-ish) Here, lie down. I've taken care of everything.

Gabrielle kicks the other bedroll, unrolling it so that it lies at right angles to the one on which the woman is lying, with the fire in the angle between them. She tries to push Xena down onto it. Xena impatiently shoves Gabrielle away. Gabrielle stumbles, nearly falls. A shocked pause -- neither can quite believe that this has happened. They frown at each other briefly, Xena stubborn, Gabrielle hurt. Gabrielle breaks the stare and turns to her cooking things (pot, pan, knife, stirring spoon) and soup ingredients (a water bag, packets of dried meat and vegetables). After a moment, Xena sits on the bedroll. During the following exchange, Xena watches Gabrielle while Gabrielle keeps her eyes on the food. Xena wants to talk, to apologize and restore communication, but she isn't very good at it. Gabrielle is trying to pack away and hide her feelings of hurt and anger, but she isn't very good at it.

Xena (regret and sorrow in her voice) Did you see any ways to get in or out above the water?

Gabrielle (trying to pretend it didn't happen) There don't seem to be any, unless you want to climb up that (pointing toward the "chapel").

Xena Is it climbable? If they found us and we had to run?

Gabrielle is almost done adding ingredients to the pot. She pours water in, and sets it on the fire before answering.

Gabrielle (addressing the fire) Now be a good magical fire and cook this like a normal fire would.
(to Xena) Not for Argo it isn't climbable.

Xena (pause) You're far more important to me than Argo.

Gabrielle looks up, meeting Xena's gaze.

Cut to:

4. Gabrielle's face in closeup from Xena's POV.

As she throws away all the negativity she had been feeling. Her expression shifts from thanks to astonishment as she meets Xena's eyes. This is the closest Xena has ever come to saying that she loves her, far closer than Gabrielle ever thought Xena would or could come to saying it outright. She opens her mouth to say something.

Cut to:

5. Reverse angle, Xena in closeup from Gabrielle's POV.

Xena makes a hushing motion. She comes close to regretting what she just said, but it's too late for regrets, and too late to dismiss it. Instead she smiles, and the warmth in her eyes confirms that yes, she really means that. She starts to speak.

Gabrielle (off screen) (quietly) Don't.

Xena falls silent.

Gabrielle (off screen) (long pause, then, whispering) You're far more important to me than Lila (pause, almost inaudible) or Perdicus.

At mention of Gabrielle's sister, something starts to tear at Xena. At mention of her dead husband, it gets too great to ignore, and she shuts her eyes.

[Intercut: Teenage Xena on a soldier's back, throwing away the helmet she was beating him with as he tries to stab at her with a dagger. She grabs the dagger. Zoom in close. She makes a slicing motion out of view, and blood splashes on her deathly pale frozen face. Shot is solarized or B&W]

Xena takes a deep breath. She is nearly crying.

Gabrielle (off screen) (concerned, standing up) Xena? What is it?

Xena mutely shakes her head. She chokes back a sob, but has no tears. Gabrielle comes into view, and kneels beside her. Gabrielle reaches out tentatively, then embraces Xena.

Gabrielle I'm sorry. I shouldn't have said anything. I'm sorry.

Gabrielle holds Xena's face as if to wipe away the tears that aren't there. Her ring glints in the firelight.

Xena No.

She looks up and holds Gabrielle's face in her hands. Gabrielle looks away.

Xena No. It wasn't anything you said. Don't blame yourself. (deep breath, intensely) Gabrielle.

Eye contact. Gabrielle still feels that she has somehow, inexplicably, caused this hurt. Xena is reassuring, but her feelings are still amazingly close to the surface. Emotional stress (normally so well hidden as to be invisible) and physical stress have built to the breaking point. She's about to speak aloud things that in a calmer time she would never even let herself think about.

Xena Back when we first met up with, (hesitation) with her, after I told you about Cirrah, I made you a promise.

Gabrielle nods. They gaze into one another's eyes.

Xena You know nobody will ever hurt you as long as I'm alive.

Gabrielle (wan smile) Yeah, I know.

Xena But someday a bounty hunter is going to get lucky and my head will decorate some warlord's pike.

Gabrielle looks ill, starts to protest. She's no longer comfortable looking into Xena's eyes.

Xena (gentle, but insistent) It's the truth. And then what are you going to do?

Gabrielle pulls her head away, and Xena lets her go. Suddenly rediscovering her personal boundaries, Gabrielle draws away from Xena, at the same time turning away and looking down.

Xena (long pause, then hesitantly, not sure how to segue to this new topic) I was going to hamstring her and take her back to prison, but when you told me to "go get her," I knew I had to kill her for you. I had to do it to get you back.

This is a truth about herself that Gabrielle has been trying to avoid. She gets up and starts to walk away.

Xena (commanding, sharp) Gabrielle.

Gabrielle stops, just barely still in view. Xena wishes the entire previous conversation could be unsaid, but it is far too late, and too much has been sacrificed to stop now and have the entire shambles be for no purpose.

Xena (deep breath, then quietly) I want you to swear by the Nine Muses that when I am killed, you won't seek to avenge me.

Gabrielle walks off the screen.

Cut to:

6. Omitted

7. Another angle, Gabrielle and Xena.

Gabrielle is facing Xena across the fire, but looking down as she stirs the soup.

Gabrielle (voice shaking) This will be done soon.

Xena (sharp, almost angry) Gabrielle!

Gabrielle looks up.

Xena (fierce, demanding) Swear it.

Gabrielle looks down again.

Gabrielle I can't. (quietly) I should never have asked that of you. It was cruel. Unfair. It's not something you can expect the other person to be able to keep to. (nearly inaudible) I know I that I probably couldn't, (pause) not anymore.

A long pause, as they look at each other as if across an unbridgeable gulf. Then Xena turns away, and after a moment, stands. Gabrielle looks down into the soup, which is starting to steam.

Xena (gesturing toward the woman) I have to try something. Is my medicine bag still with Argo?

She starts to limp up the slope.

Gabrielle Yes. And please bring the bowls. Can you see the spot where I slipped?

Xena (slowly climbing up the slope) I'll be careful.

Do these last exchanges slowly, and hold on the scene until the unresolved tension between them becomes unbearable, then

Fade to black, and cut to:

8. Leader, Lieutenant, some soldiers bending over a map.

[Grahms: the Imperial march again, but less certain of victory]

The light from the door of the tent suggests that it is late in the day. As a soldier or Lieutenant speaks, the camera focuses on the map and their pointing fingers. As Leader speaks, the camera cuts to his face, then cuts back to the map as his subordinates answer.

Soldier (midsentence) ... and we were approaching from this direction. They were boxed. We managed to find some tracks -- it was a lame horse and two people, one tall and limping, one short.

Lieutenant #1 They could only have gone up this way. It ends around here with a bunch of short falls and steep rapids. You could climb out, but limping, or with a horse, it's a dead end. I have teams searching in what caves there are up there.

Leader Good. I expect to wake up to reports of your success. And what is this I hear about my horse?

Lieutenant #1 That was here, and the animal bolted off this way. It had no saddle, no bridle, and won't let anyone near it. (regret) I'm afraid it's gone wild, sir.

Another soldier (hesitantly) The horse could have been a diversion. They had at least two accomplices, after all -- the girl with the staff and the sniper.

Leader is utterly furious at this interruption, but ignores it. He goes to the tent's door and sticks his head outside.

Leader (bellowing) Maid! Where's that food? MAID! What's taking so long!? (coming back inside, voice still raised and angry)

[Grahms: March falters]

Leader (continued) I want the two who went up that canyon, I want them alive for interrogation and vengeance execution, and I want them found before it is too late to launch our attack on the city. We are not going to divert our energies chasing after a bunch of worthless accomplices. (pause) Is that clear?

A general chorus of "yes, sir."

Wipe to:

9. The cavern, a closeup of acupuncture needles on a cloth.

Camera follows Xena's hand in closeup as she takes a needle, holds the tip briefly in a candle flame, shakes it through the air to cool it, and then inserts it at a carefully selected spot on the woman's back. Pull back to reveal the woman, head toward the camera, most of her clothes taken off or pushed aside, still unconscious on the bedroll with numerous needles sticking in her back, arms, and legs. Xena sits on the ground beside her with one leg crossed and the hurt one sticking out straight, where Gabrielle is massaging it. Empty wooden soup bowls sit beside them. Another bowl is visible in the background, sitting near the pot, which rests at the edge of the fire, some steam rising from under its lid. Clearly Xena and Gabrielle are silently pretending that their earlier conversation did not happen.

Gabrielle (a little dubious) She's starting to look like a pincushion.

Xena (amused) Yeah, but it works. (to herself) It's hard to believe I still remember how to do this.

Xena feels the woman's forehead, then puts fingers on her neck. She takes another needle, starts to place it, changes her mind, hesitates, and puts it back down with the others.

Gabrielle Are they any help for sprained ankles?

Xena I've never been able to do it right on myself at all.

A few touches here and there with her fingers, and Xena makes up her mind that she is done. The woman's unhealthy pallor and sheen are gone. She could just be sleeping now rather than unconscious and near comatose. Xena puts out a hand to stop Gabrielle's massage.

Xena That isn't helping much. Let me take these out, and we'll try something different for my foot.

Dissolve to:

10. The canyon, late in the day.

An upside-down view of the magical pool. A silk smooth, river-polished pebble spins into view, hits the water, and skips about a dozen times in a graceful curve across the still pool, splashing normally. The canyon bottom (top of screen) is in shadow, but the heights above (bottom of screen) are still sunlit.

[Foley: somewhere off screen 3 women soldiers shout to each other over the rumble of the rapids as they search out the nooks and crannies of the canyon walls. Ad lib along the lines of, "Nothing here," "Fine, mark it and move on," and "We're nearly half done." They are making little effort to surprise or sneak up on anyone. They are tired, cold, wet, and very pissed at being asked to do a search that will last long into the night while their male comrades are resting up for the equinox assault. This is not the team from the previous day, but a different one.]

The archer's torso swings into view. She is hanging upside-down by her legs from a tree branch, so she appears to us rightside-up as she reaches out and rhythmically splashes the water's surface with her palm, repeating a pattern. After a few moments, the surface changes, smooths out. The camera follows the archer as she climbs back up onto the branch, righting itself in the process.

With a few quick glances toward the approaching voices, the archer hyperventilates as she quickly dons her boots. Clutching her belongings, she swings down and dangles for a moment from the branch by one hand with her legs in the water, then lets go and falls into the pool, disappearing with a subdued plop.

[Foley: loud creak from the branch as it sways upward]

First woman (off screen) What was that?

She begins splashing toward the pool. The camera is pointing slightly downward, so the first sight of her is of the light of her torch reflected in the water, then she comes into view herself (yes, it is too bright to need torches as yet, but they have been searching in dark caves and overhangs, hence the torches).

Second woman (off screen) (calling out) What was what?

The first woman approaches the pool, splashes into it. She is too tired and wet to notice the water's peculiarity. In the middle of saying "here," she steps off the edge of a shelf and falls forward, yelling, to disappear with a plop.

First woman I think I heard somebody in a tree up ahead heee...

[Foley: under the rapids, shouts of "Metis!" Swords being drawn, splashing as the other two women approach cautiously]

Third woman (off screen) (undertone) Did she fall?

Second woman (off screen) (undertone) I don't know, there wasn't a splash.

Reflections of their torches appear, then Metis (the first woman) breaks the surface. She drags herself up onto the shallow ledge, choking and gasping, as her teammates rush into view. In the gesture of a parent or lover, the second woman cradles Metis's head to keep her from falling into the water as she is racked by a coughing fit. The third woman sees and pulls from the shallows Metis's dry torch, which smolders for a moment, then relights. Fascinated, she gets the others' attention, dips her own torch into the water, pulls it out still burning.

Suddenly a big sheet of normal water flies from the center of the pool behind the camera, soaking all three of them from head to toe and putting out all the torches.

[Foley: the sound of the rapids abruptly vanishes, leaving behind a profound silence in which we can hear the water quietly dripping off the women into the pool.]
[Grahms: Something really big. Like "Giants" (16)]

Simultaneous with the ceasing of the rapids, the camera takes off like a rocket, straight up, to tower over the women from a height of ten meters. Metis, mostly recovered from her coughing fit, and the other two look up with fearful respect and astonishment.

Metis (still wheezing) I think she wants us to go away.

Second woman Hey, no problem.

All three make a show of putting away their weapons as they start backing away from the pool. The camera drops slowly, but continues to loom over them.

Third woman (sudden inspiration) That's where they are. (in answer to questioning looks) She's protecting them. An underwater cave. They (pointing jerking head toward the camera) always have one of those in the stories.

Metis looks around, up, jerks her head.

Metis That big tree might mark a way in. Kind of conspicuous.

A pause. All three continue to back away, but Metis and her companion seem to be backing at a different angle from their teammate, who looks at them questioningly.

Metis I've been in the city. Dull. And he's going to look for her until it's too late to attack on the equinox anyway.

She and the second woman look at each other and seem to communicate silently.

Second woman And except during festival, it's always barter, hardly ever any coins. And even if there were five shares of gold in the whole place, he wouldn't give them to any of _us_.

Third woman (dawning realization) So you'll just keep going upstream?

Metis I don't think we have anything back there we care about.

Third woman But I have someone. (torn) I either lie about you, and about that (jerking chin toward camera), or I tell where she's hiding. (pause) And I'm not going leave Sinope alone by getting sent to the other side in pieces.

Metis nods. She doesn't like it, but she approves of those priorities. They all know what happens to people caught lying in this army. The second woman has a thought and starts rummaging through her pockets and pouches.

Second woman What is it they're supposed to like, pretty rocks?

She shows something to Metis, who looks pained, but nods. The second woman tosses the keepsake into the pool. The camera swoops forward and down to the spot where it landed, ending up at a conversational distance from and at the same height as the three women. The third woman looks puzzled, then gets it (she's pretty sharp).

Third woman (addressing the camera) Can you take a message to my friend? She lives with an army next to a stream in the big meadow. (struggling to figure out how to give directions) It's the stream that this one joins, about a thousand paces up from the fork. (searching for a description, realizing it sounds lame) Her skin is like shiny black mud in the sunlight, and she has black hair all curled like moss. Here...

She pulls out a bit of papyrus, quickly realizes that won't do, takes off one of the shoulderguards from her armor, and, careless for the edge on her dagger, scratches a few words into the soft bronze.

At the indicated point in the following dialogue, she tosses the message, which hits the water and stays afloat like a cork in mercury. A moment's thought, a few more words, and she reluctantly takes a lapis-lazuli ring from her finger and tosses it to the camera. The "antics" in the dialogue are as follows: The shoulderguard with the message, floating absurdly high, shoots off downstream, speedboat style. An instant later, the camera abruptly drops to the water's surface and goes under. The woman's last sentence is heard obscurely from underwater.

Third woman Give her that (tossing message) and, well, I'm sorry it isn't very pretty, but it's (tossing ring) what I have. (antics; a pause, then she turns to the other women) Let's hurry before she decides to turn the falls back on again.

Cut from one murky underwater shot to an even more murky underwater shot.

11. The cavern pool.

The camera barely breaks the water's surface, we hear a gasp of breath, and it drops back under. Awkwardly (hand-held), the camera moves forward and raises above the surface as the bottom slopes up. Gabrielle and Xena can be heard but not seen from around the corner of the cavern.

Gabrielle (out of breath, excited at learning a new thing) Like that?

Xena (muffled, rather giddy) Yes. Now go steady, and don't worry if I shout a lot. Yes, that's right (pause, then, gasping) harder! (shouting) Yes!

The camera rounds the corner. Xena is lying on a bedroll, and Gabrielle, feet braced against Xena's body, is pulling and putting pressure on her injured leg in a basic maneuver of myo-fascial release. After a long moment, Xena begins to shout in pain, her face contorted. Gabrielle is alarmed (since when has Xena ever cried out?) and lets go, then reaches out with contrition.

Xena (getting her breath back) No, that was perfect.

Gabrielle You mean I can tell when I'm doing it right because you'll start screaming?

Xena (amused) Something like tha--

She trails off as she sees something out of the corner of her eye and whips her head around to look toward the camera. Xena is still tangled up in Gabrielle's legs and can't stand, but she *very* quickly grabs the chakram and holds it ready to throw. Her expression turns an awkward, even undignified posture into something deadly and menacing.

Cut to:

12. Xena and Gabrielle's view of the pool.

The archer wades slowly toward shore. Her hands are out from her sides, and she holds up a white fletched arrow unthreateningly between two fingers of one hand. Her other hand holds her bow/fishing pole. She appears to have left her other belongings under the waters of the pool.

[Foley: scrambling as Gabrielle disentangles herself from Xena and stands up.]

The camera zooms in close on the arrow, then

Cuts to:

13. Reverse angle: closeup of Xena's face.

As she recognizes the arrow and starts to relax.

Xena It's all right Gabrielle.

Pull back to show Gabrielle, staff in hand, standing protectively in front of Xena. She is careful to stay slightly to one side, however, giving Xena a clear shot with the chakram. Gabrielle keeps her eyes on the archer.

Gabrielle Are you sure?

Xena She helped me in the fight.

Gabrielle relaxes, but doesn't lower her guard. The archer walks past the camera into view. Xena stands, and holds out her hand in greeting. She is clearly in much less pain now.

Cut to:

14. Another angle. Xena, Gabrielle, and the archer.

Xena is in the center of the screen. The woman who caught the chakram is visible lying on a bedroll in the background.

After a moment of hesitation, the archer sets down both bow and arrow and takes Xena's hand. She isn't familiar with handshakes. With her free hand, the archer gestures apologetically toward the bandage on Xena's back. In the first pause in her speech, cut to a new angle on the scene, also centered on Xena, but closer, with only Xena and the archer visible. In the second pause, cut to a third angle, this time in closeup on Xena alone.

Archer I had a hard time getting a clear shot. (pause) And then, you didn't really need my help. (pause, apologetic) I probably just made things harder for you.

Xena's face shuts down.

Freeze frame on Xena's face, then cut to:

15. Xena's memory -- a flashback.

A view looking awkwardly up from the ground at Second Soldier swinging his sword. This is Xena's point of view as she is whipping her arm to throw the leatherworking needle. An arrow appears in Second Soldier's hand and his sword goes flying. SLOW MOTION as he starts to clutch at his hand, and clearly there was plenty of time for Xena to stop, to not throw the needle. The needle leaves her hand. Zoom to follow it. The needle hits him in the forehead. FREEZE FRAME on the man's face in closeup at the instant of impact. He was not an evil person, any more than First Soldier was.

Match cut back to:

16. Xena's face in freeze frame.

Xena's face matches the size and position of the soldier's face. Unfreeze as time starts again for her.

Xena (hiding her feelings) No, no, you-- (hesitation) Thanks for your help. (pause, then sincerely) You did the right thing.

There is just the slightest emphasis on "you" in the last sentence. An awkward pause.

Cut to:

17. Looking past the white haired woman toward the archer.

The acupuncture needles are gone, and woman's clothes have been replaced, but are disarranged. The archer lets go of Xena's hand just as Xena starts to take it back. She walks up and kneels beside her friend. Gabrielle comes up behind her. Xena approaches more slowly, no longer limping, but still a little stiff.

Gabrielle (worried) Xena's been taking good care of her, but she still hasn't waken up.

Archer (nods) She pushes herself too hard.

The archer caressingly runs her hands through the woman's hair, then leans down and kisses her. The woman's eyes open suddenly, and Gabrielle gives a little jump, then scrambles back to fetch the leftover soup.

Archer (stern) Coca leaves are no substitute for rest, you know.

Woman (I know what I'm doing attitude) I had to get things done.

The woman's voice is unaccented, somewhat similar to Xena's, but distinct -- it's difficult but possible to confuse them.

Xena Coca?

Archer It can stave off weariness, for a while. Not something that grows anywhere near Greece.

The woman slowly rolls over and sits up. She locks eyes with her friend, then looks slowly down toward the hollow of the archer's throat, or perhaps toward the rose brooch. The archer touches the brooch as she speaks her next words.

Archer I still don't see why you get things done in ways that might make you-- leave, with more important things unfinished.

The woman ignores the question. Her shirt is twisted. She pulls it off, then dons it properly, letting her friend see her body as she does so. A pause, another eye contact, and she winds her hand in the archer's braid, pulls. Their lips meet in a lingering, passionate, open-mouth kiss.

Neither Gabrielle nor Xena looks surprised at this, but after a moment they both look away from this private moment and stand. The camera smoothly stands with them, so the two embracing friends (hey, it's what Gabrielle and Xena call each other) go out of sight beneath the frame. As they stand, Gabrielle and Xena make eye contact. They hold it for a moment, and then both of them look away.

Cut to:

18. Another angle on all four women.

The two friends break off their kiss. A pause, and then Gabrielle sets a bowl next to them, spoons soup into it.

Gabrielle Sorry if there isn't enough for two.

The woman pushes the bowl to her friend; peeved, the archer pushes it back. The woman carefully stands, holding one hand at the wound in her back.

Woman I think I'll go up and see if the tree has any fresh peaches, instead.

This earns puzzled glances from both Gabrielle and Xena -- it's the wrong time of year for fresh fruit of any kind.

Xena (suspicious, wanting some answers) I'll join you.

The group splits up, with Xena and the woman heading up the slope toward the "chapel." The archer sets the bowl near the fire and stands.

Gabrielle (to the archer) Hey, you don't have to go hungry. There is enough food, it just isn't made yet.

Archer She needs to eat more than I do.

The archer walks down to the edge of the pool. Gabrielle looks down at the bowl of abandoned soup, bemused, a bit peeved, and then looks up in the direction Xena went.

Cut to:

19. Xena near the tree beside Argo -- Gabrielle's POV.

Xena bends over to pull on her boot, then straightens.

Cut to:

20. Same angle -- Closeup of Xena's back.

Xena stands from donning her other boot and begins climbing up the "chapel." There is a spot of fresh blood on her bandage where the wound has reopened.

Cut to:

21. Closeup of Gabrielle's face.

A tear on her cheek. She quickly gets up and walks away from the camera to join the archer by the pool.

Cut to:

22. Looking past Gabrielle and the archer at the pool.

They sit at the edge. The archer ties a line to her bow.

Gabrielle I hate to disappoint you, but no self respecting edible fish would swim in that stuff. (after a moment with no response) You aren't much for conversation, are you?

Archer (deadpan) Silence has its own eloquence.

Gabrielle ponders that. The archer slowly undoes one of the jeweled clasps holding on her braid and ties it to her line, then casts into the pool. Just as the clasp hits the water, the calm surface roils and a woman made of water surges up to grab it. Gabrielle gasps and sprawls backward.

This is nothing like the faux "naiad" seen in the opening credits to Hercules. Although adult sized, she seems pre-adolescent, with no breasts or even nipples and child-like features. She looks bald, with no suggestion of hair. And most important, she is only transparent around the very edges, and translucent only in the fingers and other thin parts. The rest of her is an opaque, vivid blue-white from numberless tiny bubbles that are constantly circulating through her body in ever changing, patternless currents. She has no legs or fins. Rather, below a shockingly human navel, she becomes a pillar of water rising up from the pool. She glides toward the camera.

The naiad reaches under the surface and pulls up the archer's quiver and bag, which she sets on the shore beside Gabrielle, who remains frozen sprawled awkwardly backward.

Cut to:

23. Closeup of Gabrielle's face.

The camera centers on a still damp tear track on Gabrielle's cheek. Her expression slowly changes from fear to awe.

Pull back to reveal the naiad looking closely at Gabrielle's face. She gestures -- International Sign Language for 'mother.' Always a fount of previously unsuspected talents, Gabrielle understands what is being said and looks down at herself, touching her ring hand to her abdomen below her bare navel. The naiad shakes her head and reaches out to touch the tear on Gabrielle's cheek. Gabrielle closes her eyes at the naiad's touch. A transcendent experience for her. A long moment, and then she opens her eyes, takes her hand away from her belly, and shifts forward into a normal cross-legged sitting posture.

Gabrielle (Awe, perhaps relief) Oh. Salt water, like the ocean.

Gabrielle seems content to just look, mouth agape, at the naiad for as long as she cares to stay. The archer ahems.

Archer I've given her a gift. You can ask her a favor.

Gabrielle (to the naiad, still awed) Just seeing you is favor enough.

Then naiad shakes her head. She signs that there are venerable traditions and rules about such things, and those rules say otherwise.

Gabrielle (reluctantly) Well, could you bring us some food? Nothing fancy, no need to steal, just a few fish, and maybe a couple loaves of bread? It's not like we're feeding a crowd here.

The naiad presses her palms together, bows, and *swiftly* draws back down into the pool and vanishes. Gabrielle lets out her breath, shakes her head to wake from a daze, stands, and looks about. Her face has a "what now?" expression. Unconsciously, her ring hand again covers her abdomen.

Archer (gently, trying not to offend) I have wild carrot seeds if you need them.

It takes a moment for that to register, and then Gabrielle jerks her hand away from herself and walks over to pick up her staff so her hands will have something to occupy them.

Gabrielle (brisk) I've been taking that. And Xena went and bought some silphium, Artemis's gift, in case the seeds don't work. (pause) It's just the waiting that gets to me, is all.

She starts to practice with the staff.

Archer Would you like a sparring partner?

Gabrielle stops short.

Gabrielle I've never even seen you before this evening.

Archer Does it matter?

Gabrielle listens to her feelings. Somehow, it doesn't, not here, not with this person.

Gabrielle (shouting to be heard) Xena?! We're just practicing!

She puts up her guard and nods. As the two women begin sparring, staff against unstrung bow,

Dissolve to:

24. Looking out from the cavern opening high on the cliff.

Breathless, the white haired woman lifts herself up onto the rocky lip at the top of the shaft that leads down to the "chapel" and looks around. Go to a series of dissolves showing what she sees:

[Grahms: something meditative, Zen Buddhist-like but, like the woman herself, hard to identify, or to place as to origin.]

a. Out and downstream: The canyon meanders into the distance, where it opens onto the valley. The canyon rim above is backlit by the sunset, which is also turning the clouds on the horizon red-gold on their undersides.

b. Up: The trunk of the tree finally sprouts branches just overhead. The tree is a huge, healthy Metasequoia Glyptostroboides in bark and leaf, yet its branches are heavy not with cones but with both new peach blossoms and with peaches ranging from green to perfectly ripe.

c. Out and upstream: The stream falls down the steep rapids with a steady rumble. A little bit of mist and spray just manage to rise high enough to be lit by the sunset.

d. Down: Hand and toeholds are carved into the vertical wall of the shaft. Xena is climbing up into view.

[Foley: under the rapids/falls, the faint sounds of staffs striking wafts upward from the shaft.]

Still a little stiff in one leg but not letting that stop her, Xena climbs up. The woman gives her a hand, and the camera moves back and follows Xena up, leveling on a view of the two of them.

Xena Thanks.

Xena also looks around while catching her breath. This time, however, a series of cuts, without music.

e. Up: Focusing on where the foot and toeholds continue all the way to the top of the cliff above.

f. Out and down: Zooming in on tiny figures of four soldiers searching the canyon near its mouth.

Xena (off screen) Still? The man needs to get a life. (angry) I should have broken his other wrist.

g. Back to Xena and the woman:

Woman Perhaps his power over others comes from words, not prowess.

Xena looks at her sharply, thinks about it, nods thoughtfully, and turns to look out again.

h. Out and up: Focus on the women soldiers who are still cautiously climbing (with military teamwork and efficiency) up along the rapids out of the canyon. Zoom in close as one of the women looks, then points toward the camera, calling out to the others. After a moment of consultation, she faces the camera, raises her sheathed dagger by the blade in salute, then tosses it into the pool below. Camera follows the dagger as it falls into the water, then

Cut to:

25. Looking in (toward the cavern) at Xena and the woman.

Xena is confused. She understands the peaceful meaning of that gesture, but not the reasoning behind it.

Woman (helpfully) The soldiers who saw you tending your horse last night did the same thing. (philosophical) I suppose different people join armies for different reasons.

Xena is even more confused now. She knows how being famous makes her a target, but has never encountered the opposite reaction before. She dismisses the entire puzzle, turning her focus to the woman beside her. Her breath back, the woman stands. She plucks a cluster of flowers and pushes them behind one ear, then begins to search among the branches for the one peach which is most perfect.

Xena (fed up with mystery, suspicious) He stabbed you deeply. You should be dead. Who... What are you? Who are you working for? (light dawns) It's Ares, isn't it?

The woman spends a few silent seconds contemplating a fruit before answering. She looks like her mind is on the search, but her voice shows that Xena does have her full attention. During the rest of this conversation, the camera cuts back and forth between them as each speaks in turn.

Woman Not him, no. I've always preferred creation and life to destruction and death. (pause) I've been around the world a few times, and I've become good at staying alive, sure, but... my folk aren't to be found. If I'm the only one, then, (pause, then quietly) I can't be anybody special.

Xena (still tired of mystery and non sequiturs) Why help us then?

Woman (shrugs) Your dreams were making you unhappy. And I like to help people with their dreams.

Xena (stymied for a moment) And how did breaking his wrist help that fellow's dreams?

Woman (smiles) Maybe he will no longer be sad dreaming of what he cannot have. (pause) Besides, if I hadn't hurt him, I wouldn't be alive to help anyone else.

The second half fits well with Xena's ideas of life. Her suspicion is being replaced with respect, and limited trust.

Xena I was getting worried about Gabrielle. She was hardly sleeping at all anymore. (with sincerity) Thank you.

Camera stays on Xena during this next speech.

Woman (off screen) (apologetic) I'm sorry it was only her, but it... it takes touch, and wasn't safe, not with you... This one's perfect.

She hands Xena a peach. Xena takes it and sets it in her lap absently. The talk about her dreams, and about the safety of touching her, has made her uncomfortable.

Xena (shrugging) It's all right. I've lived with a lot worse than nightmares. (pause) Why did you tell her it was a horn dream? We've already had trouble from Morpheus.

Woman (dismissive) Gods are just silver tongued dreams that a lot of people have sacrificed sheep to. (pause) Oh, they can be very pretty, very sexy, the ivory dreams, with what they promise -- fame, fortune, power over others --

Camera stays on the woman.

Xena (off screen) (she is remembering) Safety and security at home...

The woman nods in agreement.

Woman The source of all kinds of mischief. But the kind you've both been having --

Camera goes to a view of both of them for this next bit.

Xena (interrupting, she doesn't want to hear about it) The truth can be hard to face sometimes. I suppose that explains Gabrielle's nightmares.

The woman shakes her head. Xena frowns. Trying to end the conversation, Xena picks up the peach and offers it to her.

Xena I'm not hungry. Here.

Woman No, I got that for you. (finally making up her mind) Here's one for me.

She sits, leans back against the rock, and takes a bite.

Woman They're very good.

Cut to:

26. Very close shot on Xena's face

As she takes a tentative bite. It may not have the powers of Ambrosia but it tastes far better. Xena closes her eyes as her face gives way to purely sensual enjoyment.

[Grahms: Xena theme made sensual, not _quite_ erotic. "Hail Xena" (25) falls quite short.]

Dissolve to:

27. Landscape montage. A series of dissolves.

a. The sunset on the undersides of the clouds.

b. The last rays of sunlight on the mist above the rapids.

c. A songbird in the tree, heralding the onset of dusk.

d. Extreme closeup of Xena's face as she looks up at the bird, her face at peace. Just before setting for the night, the sun peeks through the mouth of the canyon. Xena's face is bathed in red light. The fingers of her hand gleam with juice as she raises the whorled pit to her mouth, and, eyes closed, scrapes it clean with her teeth.

Slowly pull back from Xena's face as she savors the last of the taste. She opens her eyes and gives a satiated smile. Stop pulling back as the woman comes into view.

Xena Thanks.

Woman Sometimes it helps to remember what's important in life. (hesitates) Good or bad, dreams are what people make of them. (pause) Oneiros isn't the one who's dreaming.

Xena (not wanting to argue theology) I guess so.

An awkward silence. Xena looks off downstream.

Xena Well, either he'll give up or his army will abandon him. Either way, another day or so and we can leave.

Xena stands and her ankle spasms. The woman steadies her.

Woman You're too hard on yourself.

She isn't just talking about the ankle. Xena looks at her sharply, says nothing as she pulls off her boot and kneads her ankle's pressure points.

Xena (no longer suspicious, just curious) What is this place anyway? How'd you know about it?

Woman Oh, it's just an old garden spot some friends told me about.

Fade to black, then cut to:

31. The cherry tree at the cliff top.

The four soldiers are still there. The camera travels slowly around the trunk. #4 is slumped, asleep or possibly dead, the snake curled contentedly between his legs. #3 is in a Zen-like trance watching the garden spider build a web between the trunk above his head and the trigger string that runs taut from his throat to the crossbow.

#1 I think it's starting to walk on me again.

#2 I'm sorry.

#1 Well, you're lucky. One bite and yours skittered off. The damn thing thinks my skin makes a nice home.

#2 If I don't scratch this soon I'm going to die anyway. (contemplative) It'd be quick. One jerk and wham! Between the eyes. Probably I wouldn't even feel it.

#1 No, no, she'll be back. She wants something. Softening us up. You can last if I can. (pleading) We're together, right?

Wipe to:

28. The bottom of the cavern's "chapel."

The sun has set, but the twilight from above is somehow still enough to see by. Argo dozes to one side as the woman, followed by Xena, descends the last meter or so to the floor. The woman is helping Xena find toeholds.

[Foley: Staffs striking one another, as Gabrielle giggles helplessly, occasionally roaring with laughter]

Cut to:

29. Xena in closeup taking the last step to the floor.

Xena listens to the laughter. A weight lifts from her.

Xena (softly, choking with emotion) I was beginning to wonder if I'd ever hear that again.

Woman (tender) She helps me remember what's important in life.

Xena (sardonic) Like a peach? (sincere) I'll be thanking her.

Cut to:

30. Gabrielle and the archer near the fire in the cavern.

Gabrielle is unable to land a blow on the archer, despite the fact that the archer comes close to behaving as if Gabrielle is not even there. The white haired woman used the same style of quasi-disengaged fighting earlier, but the difference is that between Bruce Lee and Peter Sellers.

The white haired woman and Xena approach in the background. Cut to each of the four in turn: The archer is deadpan. Her friend is smiling. Gabrielle alternates between focused attempts to land a blow and helpless, barely-able-to-stand giggles. Xena is serious, cool as she evaluates the archer's defense, trying to figure out a counter. Then, slowly, she allows herself to smile.

Hold on that smile and

Slowly fade to black.

31. The cavern, late at night.

The camera moves through the pitch darkness. Suddenly a dim moonbeam provides a spot of light. Then the camera comes upon large patches of moonlight shining down from the "chapel," and the light of the woodless fire, which is still as brisk as ever.

Beyond the fire the women lie in one another's arms. Gabrielle and Xena have lent them the patterned blanket and Xena's large bedroll. Meanwhile on one side of the fire Gabrielle and Xena are sleeping crowded back-to-back on Gabrielle's narrower bedroll, under separate blankets. Xena is next to the fire, Gabrielle on the far side of her from it. The camera moves forward to close on Gabrielle's face, which lies in a moonbeam.

Totally unfocus, then refocus on:

32. Bright day. Gabrielle, pregnant, on a fence rail.

[Foley: no sounds] [Grahms: Quarterman's Festival, too fast to think]

A scene matching the end of Gabrielle's last dream, except she is now wearing her wedding dress, retailored to accommodate her pregnancy.

She sits against a fence around a field of ripe wheat. One hand cradles her belly, the other keeps her from falling. She wears no rings. She winces from a contraction. Camera closes on her face. Gasping, she looks to the side, and

Cut to:

33. Another angle, looking to the side with Gabrielle.

Xena is there, putting an arm around Gabrielle to support her, helping her stand. Xena puts her other hand over Gabrielle's and intertwines their fingers, so that they are both protectively cradling her abdomen.

Xena It's only a short walk to the midwife, I'll help you.

Cut to:

34. Gabrielle's face in closeup, walking slowly.

Gabrielle shuts her eyes for another contraction. She opens them, and looks to the side. Confusion on her face.

[Intercut: Gabrielle's POV. Xena is not there.]

Gabrielle looks to the other side.

Cut to:

35. Looking to that side with Gabrielle.

Perdicus is there, supporting her, but not in the way Xena was. His other hand holds her free hand, not the hand she is holding to herself. His fingers are wrapped around hers, not intertwined. It is clumsier, somehow, than Xena's assured and calming competence. She wears her jade ring.

Cut to:

36. Gabrielle's face in closeup.

She looks lost, this is all a mistake. As she winces from another contraction,

Fade to white screen, then redarken on:

37. Closeup on Gabrielle's face in the moonlight.

Gabrielle wakes up, grimacing. She reaches down, and then brings her hand out from under the blanket. The blood on the tips of her fingers is shiny black in the moonlight. A sigh of relief. Layers of suppressed worry fall from her.

Gabrielle Thank you, Artemi-sssss.

Ending in a hiss of pain. This is going to be a bad one.

Gabrielle Sponges. Pennyroyal tea. Right.

Somehow wrapping the blanket around herself so she is covered without getting the blanket more stained than it already is, Gabrielle gets up, careful not to disturb Xena. The camera follows her as she walks awkwardly up the slope. In the background, the archer sleeps alone.

Cut to:

38. Argo, the woman, and someone else in the moonlight.

The tree trunk is nowhere to be seen, and the "chapel" is lit with a solid shaft of brilliant moonlight, as if the leaves and branches above were completely gone. Argo stretches out her neck absurdly far, as if reluctant to step too close, to take a peach from the hand of the someone else. She is a tall, stout woman, naked but for a green serape, with dark red-brown wrinkled skin and peach blossoms woven into her golden yellow hair. A lapis-lazuli ring gleams on her finger. Her legs are fashion-model long, rough, and end in wide, splaying feet with toes that dig deeply into the soft ground. She stands arm-in-arm with the white haired woman, whispering to her with a voice so soft it might be leaves rustling in the breeze.

Gabrielle (off screen) Oh.

The tall woman looks up.

Shock cut to:

39. Gabrielle's astonished face.

Shock cut to:

40. The white haired woman, Argo, and the tree trunk.

Scattered patches of moonlight show the woman standing with her arm wrapped around the tree trunk. Argo nuzzles a peach lying on the ground, picks it up and starts chewing.

Woman (to Argo, amused) Don't hurt your teeth on the pit.

Gabrielle walks into view from behind the camera.

Gabrielle I, I'm sorry. (looking up, whispering) Will she come back?

Woman (shaking her head) You own an axe.

Gabrielle is crestfallen. She reaches out to the tree trunk imploringly. The woman puts a hand on her shoulder.

Woman It's all right. They're always shy like this. I'll talk with her later. (addressed upward) Show her it's all right.

A moment, and then a peach falls from above into Gabrielle's outstretched hand. Gabrielle just looks at it, stunned.

Woman (gently) It's meant to be eaten.

Gabrielle nods, then suddenly sways on her feet. Cradling the peach protectively against her chest, she walks over to Argo's half-unpacked saddlebags. She pulls out a bundle of sponges, then, after a few moments of frustrated rummaging, she just heaves all the bags up onto her shoulder. Her face is set with the expression of someone telling herself that these are just cramps, and no matter what it seems like now she will live through them.

Woman (sudden understanding) Here, I'll take those. And I'll brew it for you. You just get yourself cleaned up, sit against the trunk, and let my friend whisper in your ear.

The woman takes the saddlebags from Gabrielle and walks down the slope toward the fire. Camera closes on the peach as Gabrielle sets it on the grass and picks up the sponges.

Dissolve to:

40a. Same view of the peach.

The moonbeams around it have shifted slightly. Pull back as Gabrielle picks up the fruit. Camera follows her as, wrapped in a new blanket, moving with evident pain but much less awkwardly, she walks over to the trunk, sits down, and leans against it, eyes closed. An unobstructed shaft of moonlight falls on her face.

[Foley: Redwood needles and branches rustling in the wind, almost like a voice speaking. Faint at first, then louder.]

The set expression on Gabrielle's face relaxes. She looks up, hopefully, but there is nothing to see. Looking down, she pulls the stem from the peach, looks at it for a long moment, and then smells it like a bouquet. This is Gabrielle, after all -- not even a particularly nasty period after too long a wait for anyone's peace of mind can destroy her interest in food. She takes a bite. Like Xena, her face becomes suffused with sensual pleasure at the taste. Camera angle and framing echoes the earlier scene.

As Gabrielle continues to eat, the camera begins to orbit the tree trunk, so that Gabrielle vanishes behind the trunk, then comes back into view from the other side, with time having passed in the interval. Gabrielle closes her lips around the denuded pit and slowly sucks it into her mouth between her teeth, then just as slowly pushes it back out with her tongue, scraping the last of the flesh off. She languidly wipes her chin, then licks the gleaming juice off her fingers, one by one, her eyes closed. Linger on Gabrielle's face for a long moment, then pull back as

The woman kneels and hands Gabrielle a steaming wooden cup.

Woman It's cool enough to drink. I couldn't find yours without making a mess of things, so I used some of ours. (pause. grimace at bringing up a painful subject) There's something you need to see, if you're up to it.

Gabrielle nods. They stand. Gabrielle sips the tea, and raises her eyebrows at the good but unexpected taste.

Cut to:

41. Looking past Xena sleeping at Gabrielle and the woman.

Lying stiff, hand to mouth, Xena is in the midst of another nightmare. Gabrielle sees, stops short. The empty cup drops from her nerveless hand.

Gabrielle (both anger and sorrow) She (whispering) she *lied* to me.

She walks up to kneel beside Xena.

Woman I tried to help her, last night. It isn't safe.

Heedless, Gabrielle reaches out to take Xena's hand in hers before Xena can bite herself. The instant she touches her, Xena reacts, jumping up, grabbing Gabrielle by the throat, dragging her down, pulling a dagger from somewhere, rolling on top of Gabrielle with the dagger held back ready to plunge into Gabrielle's heart. Xena freezes as she realizes who she is choking and tosses the dagger aside, letting go of Gabrielle's throat. It all happens in an instant, so fast that the (handheld) camera can't quite keep up.

[Intercut: The commotion wakes the archer. The flowers her friend plucked from the tree earlier are tucked behind her ear. After a moment of conversation (too low to hear) with her friend, they both retreat upslope.]

Xena (angry and frightened at herself) Never try to wake me like that. I could have killed you.

Xena gets off of Gabrielle and reaches out a hand to help her up. Gabrielle swats the hand aside as she pulls the blanket around herself again. Gabrielle does not raise her voice at all in any of the following lines.

Gabrielle (too angry to cry) Why didn't you tell me? Don't give me that look! (imitating Xena's manner) "I slept fine Gabrielle." You *lied* to me.

Xena I could have hurt you.

Xena could be repeating herself about the attack that just happened, or explaining why she didn't tell the truth. Gabrielle assumes the first.

Gabrielle (anger) I trusted you. I knew you could never do anything to hurt me. (sorrow) I guess I was wrong about that.

This is like a physical blow to Xena.

Gabrielle (continued) Trust takes two people. We both know what helps you to sleep well at night. But if (choking up, whispering) if I'm going to start holding you again, (louder) there has to be trust. (anger keeps her from crying) And I guess we don't have as much of that as we thought we did.

Refusing Xena's help, Gabrielle gathers the blanket around herself again and gets up. Camera stays on Xena, who is frozen with shock, as Gabrielle angrily walks over to the bedroll she was sharing with Xena and snatches her up her clothes, then walks up the slope toward the "chapel".

Gabrielle (calling out without turning around) See you in the morning. I found a spot under the tree up here that'll suit me fine.

Xena is numb, shaking. She moves to pick up the cup that Gabrielle dropped, fumbles it, and gives up, sitting down heavily on the bedroll and staring blankly into the fire.

The woman walks back down the slope. She picks up the patterned blanket and, hesitantly, drapes it around Xena's shoulders. With an effort, Xena acknowledges her presence.

Xena You sure you won't need it?

Woman It was overgenerous of you. We keep each other warm enough. (pause) Will you be all right?

Xena (nods) I survived for a long time without knowing her. (very quietly) Gods know how, but I did.

[Intercut: Closeup on Xena's hand in the firelight as she rubs at the base of her thumb. A fresh set of tooth-mark shaped bruises covers some old, fading scars, the kind made by biting the same place over, and over, and over again.]

They sit beside each other, Xena watching the fire, the woman watching Xena.

Xena (not entirely there) It ought to be cold and damp in here instead of dry and warm. (pause as she tries to figure out why she said that) This is the first time I've been hurt that I didn't wake up in the middle of the night shivering. (looking at the woman) Thanks for keeping the fire going.

Woman It was the least I could do. (pause) You know she loves you.

Xena looks back at the fire.

Woman My voice is a little like yours. When I stopped her nightmare, she was confused. She mumbled something about being sorry for yelling, and about love.

Xena (gazing at the fire, far off) It's never been said.

Woman Some things don't need to be.

Xena (in a whisper, almost crying) Love makes people do horrible, evil things.

A long pause. There are no words. The woman puts her arm around Xena.

Xena (still nearly crying) Please go away.

The woman gets up and walks up the slope. Camera stays with Xena staring at the fire. An unbearably long silence.

Callisto (voice over) You tell me Xena. Do you sleep well at night?

Xena (sad) Not anymore.

Without standing, Xena turns, leans out, and drags Argo's saddlebags next to where she is sitting. She rummages deep into the bottom of one of them and pulls out an old, worn, carefully tied bundle of cloth, and unwraps an even older and more worn rag doll. It sits in her lap as she can't quite bring herself to hold it.

Cut back to a middle distance shot of Xena sitting next to the fire gazing down at the doll.

Cut back again, all the way across the cavern. Xena is a small figure in a little pool of firelight in the middle of the screen. All else is pitch darkness.

Fade out.