OPENING TEASER

SCENE CITY STREET, NIGHT. The scene opens with a tracking shot of the street, a red-light district. Hookers, junkies, and general lowlifes hang out in front of strip clubs. MUSIC rises The Wallflowers' "Sixth Avenue Heartache."

"Sirens ring

Shots ring out

A stranger cries

Screams out loud--"

The camera tracks around a corner, down a dark, empty side street. The Section van is parked behind a dumpster, and a man in standard-issue Section trench coat is opening the door. Nikita steps out, smiling. She is dressed as a hooker. Her smile fades when she sees the operative who opened the door.

NIKITA Where's Michael?

OPERATIVE (shrugging) I don't know. Madeline called me an hour ago to work the perimeter.

Nikita looks away, pretending to adjust her purse. Her face is tight and closed. Out of the van steps another operative, dressed as a homeless man. His name is Jason. He has sandy hair and a football physique, and he looks around eagerly.

"I had my world

strapped against my back

I held my hands

Never knew how to act--"

The operative looks at Jason, who steps forward, hand outstretched.

JASON Jason.

OPERATIVE (shaking his hand) I haven't seen you before.

NIKITA Jason just "graduated" from training. Can we get this show on the road?

OPERATIVE (shrugging again) Our girl just took position.

NIKITA Good. (to Jason) This one's a milk run. All you have to do is watch my back.

She walks toward the street. Jason grins at her bare back and turns to the operative.

JASON It's a tough job, but someone's gotta do it.

He starts after Nikita.

"The same black line that was drawn on you

was drawn on me

and that's drawn me in

Sixth Avenue heartache--"

CUT to the street. Nikita walks along, sauntering like a hooker. She gets a couple of whistles from lowlifes lounging around and a couple of dirty looks from the hookers. Jason follows behind her, shambling like a drunk.

"There was a homeless man

singing songs

I knew complete

on the steps alone

his guitar in hand

It's fifty years

to understand--"

Nikita comes to a stop under a streetlight. She takes a look around the street.

The camera pans across the street and slowly zooms to the entrance to an alley. Michael stands there, watching.

"The same black line

that was drawn on you

was drawn on me

and that's drawn me here--

Sixth Avenue heartache--"

Nikita spots her target a tall hooker with a spiky punk haircut, black-rimmed eyes, and a tight leather dress. Slowly, Nikita makes her way over to her. She reaches out to the hooker's purse. The hooker turns and slaps her hand away.

HOOKER Hey! What do you think you're doing?

NIKITA Sorry. It looked like a purse I used to have.

HOOKER Well, it's mine, all right? Go find your own corner.

NIKITA No sweat.

She backs off and heads down the street. Michael watches, and Jason follows.

"The same black line

that was drawn on you

was drawn on me

and that's drawn me here--

Sixth Avenue heartache--"

As Nikita reaches the end of the block, a sleazy drunk in a garish plaid jacket steps into her path. We watch from Michael's point of view as he tries to solicit her, and Nikita tries to step around him without incident.

"Walking home

on the street

The river winds

move my feet--"

A close up of Michael's hands, clenching into fists.

Back to a shot of Nikita--still having trouble with the drunk. She looks back. Jason's attention is elsewhere watching the punk hooker getting into a limousine.

NIKTA Jason!

Nikita turns to the drunk and gives him a punch in the chest. Jason hurries to her side.

"Subway steam

like silhouettes in dreams

stood by me--"

The drunk gets obnoxious. Jason grabs his arm and twists it around behind his back, and then he pushes the drunk up against the wall.

"The same black line

that was drawn on you

was drawn on me

and that's drawn me here--

Sixth Avenue heartache--"

The Section van pulls up, and Nikita gets in. Jason is still holding the drunk against the wall.

NIKITA Jason, let's go--

Jason lets go of the drunk and gets into the van. The van speeds after the limousine.

Cut to a shot of Michael turning to look at the drunk, who yelling at the disappearing van. A close-up of Michael's expression his eyes narrow.

The drunk starts walking away, toward a park. Michael looks both ways, then crosses the street.

"The same black line

that was drawn on you

was drawn on me

and that's drawn me here--

Sixth Avenue heartache--"

CUT to inside the park. The path is dark, and the only people around are a few sleeping bums. The drunk is stumbling along and finally comes to a stop by a fountain that doesn't work.

"Look out the window

and down upon that street

and gone like midnight

was that man--"

The drunk pulls out a cigarette and lights it. Taking a deep drag, he looks up. He sees Michael standing in front of him.

"But I see on sixth street

leaning against the wall

And all his dreams

they all look so small--"

The drunk stands up, full of false bravado.

"I got my fingers crossed

on a shooting star--"

Michael decks him with a hard right. The drunk goes flying to the ground.

"The same black line

that was drawn on you--"

Michael kicks the drunk in the abdomen when he tries to get up.

"was drawn on me--"

Michael reaches down and lifts the drunk up by the lapels. He holds him with his left hand, and with his right, he hits him again, breaking his nose.

"And that's drawn me here--"

Michael picks him up and throws him into the fountain. The drunk hits his head on the concrete and falls back, unconscious.

"Sixth Avenue heartache."

A close up of Michael's face as he steps over to look into the fountain he is filled with cold rage.

ROLL CREDITS

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

ACT ONE Removal

SCENE SECTION ONE CONFERENCE ROOM. Operations, Madeline, Nikita, Birkoff, and Jason are in attendance. Nikita is quiet and subdued. Jason, beside her, is looking self-important. Operations hits the remote and the viewscreen comes on a man with thinning hair and glasses comes into view.

OPERATIONS This is Howard Sherman, the head of a large and well-connected lobbying firm on Capitol Hill. Sherman's largest account is one Armstrong Industries, which in an of itself is unimportant. What is important is that even with an account as large as Armstrong, there is no way Sherman could afford his most recent purchases (he clicks to show pictures of each purchase) a condo in Aspen, a yacht anchored in Newport, a villa in Switzerland, and of course the nifty million-dollar hideaway we trailed him to last night.

He clicks the viewscreen off.

OPERATIONS Our intelligence is that Sherman is selling extremely top-secret information piecemeal to his clients, Armstrong Industries being one of them. What we don't know is where Sherman is getting this information.

BIRKOFF What kind of information?

Operations looks at Madeline.

OPERATIONS That's classified. All you need to know is that we will be maintaining twenty-four hour surveillance on Mr. Sherman until we locate his source. We have eyes and ears already in place in his office and residences. And, beginning tonight, Nikita and Jason will be in place to keep an even closer eye on him.

Nikita looks up. She glances at Jason, then back at Ops.

OPERATIONS You have a question, Nikita?

NIKITA Uh--no.

OPERATIONS Good. Then let's get started.

The meeting breaks up. Jason turns to Nikita.

JASON Guess they think we made a pretty good team.

NIKITA Uh, yeah, I guess so. (She sees Madeline about to leave.) Excuse me a minute--

She goes up to Madeline, stopping her from leaving. She smiles over her shoulder as Jason walks past them to the exit.

MADELINE What is it, Nikita?

NIKITA Do you really think Jason is ready for this?

MADELINE Well, ready or not, he's the only operative available.

NIKITA What about-- (she stops)

MADELINE What about Michael?

Nikita looks away, refusing to agree or disagree.

MADELINE Michael is currently limited to desk duty.

NIKITA Desk duty? That sounds like--you don't mean abeyance?

MADELINE Not exactly. He made the request himself.

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

SCENE MICHAEL'S OFFICE. Michael is working at his computer. Nikita appears in his window and stands watching him a moment. His hands pause, but then continue typing. She moves to his door and stands there, waiting for him to acknowledge her.

MICHAEL (without looking up) Yes?

Nikita steps in, closes the door, and takes a seat. She still doesn't speak. Finally, he stops typing and looks up.

NIKITA Madeline tells me you have removed yourself from field work.

MICHAEL That's right.

NIKITA Why?

MICHAEL That's my concern.

He returns his attention to his computer.

NIKITA (quietly) Michael, you're scaring me.

He stops typing, but doesn't look up.

NIKITA I know you feel--for whatever reason--that you have to distance yourself from me, but it's like you're trying to shut yourself completely off from everything.

MICHAEL Leave it alone, Nikita.

NIKITA I can't. (She looks at him, stricken) I--I miss you. (She looks down at her hands.) And I need you out there.

MICHAEL I'm the last person you need.

NIKITA What does that mean?

MICHAEL Just--just do your job, Nikita. You'll be fine.

After a long moment, she gets up and starts to leave. At the door, she pauses.

NIKITA Michael, I AM fine. Really.

Michael doesn't answer. Nikita watches him, but finally sighs and leaves.

Michael sits at his computer. His jaw clenches, and with a quick jab he shuts down the computer. He barely contains himself from slamming the door as he leaves the office.

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

SCENE SECTION MAIN AREA. Nikita is standing beside Jason at Birkoff's station. Michael enters and sees them. He quickly moves to the side, trying to exit without being seen, but Nikita spots him just as he leaves. She says something to Jason and Birkoff, and then follows Michael.

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

SCENE HOSPITAL CORRIDOR. Michael is standing at the nurse's station, asking a question, when Nikita exits the elevators. She quickly ducks so he won't see her. The nurse points to a room, and Michael heads for the room. Nikita slips over to a waiting area across from the elevators and picks up a magazine.

CUT to inside the hospital room. The drunk from the night before is in the bed, asleep. He is bruised and battered, and has a bandage around his head. Michael stands looking down at him. Then he takes out an envelope and slips it into the man's hand. He leaves.

CUT to corridor. Michael steps into the elevator while Nikita hides behind the magazine. As soon as the elevator doors close, Nikita gets up and heads to the room Michael entered.

CUT to inside the hospital room. Nikita peeks in and sees the occupant is asleep. She comes in, looking around, and stands beside the man's bed. She frowns, and then she sees the envelope. She pulls it out of his hand and opens it it's full of cash.

Still confused, she puts the envelope back, and then goes over to the room's closet. She opens it and sees the man's plaid jacket. She looks back at the bed, remembering suddenly.

SCENE HOSPITAL PARKING LOT. Michael is putting a key into a car door when suddenly he is hit from behind--two fists pounding on his back. Instinctively, he turns and grabs the arms that hit him.

NIKITA You son of a bitch--

MICHAEL Nikita--

NIKITA You don't get to do this, Michael! You don't get to turn this into your tragedy! It happened to ME! Do you understand? I was the one that was raped, and I don't need you to fight back for me! Do you get it? Do you?

He lets her go and turns away.

MICHAEL (his voice choked) That's not--

NIKITA (grabbing his arm to turn him back to her) That's not why you did it? Oh, don't give me that. That's exactly why you did it. So are you planning to do that from now on? Are you going to follow me around and beat up any man that looks at me wrong? That's sick, Michael. It's just sick!

Michael looks at her, impassive once again.

MICHAEL It won't happen again.

NIKITA Oh, great, Mr. Robot is back.

MICHAEL What do you want from me, Nikita?

She looks away, shaking her head.

NIKITA You know, if you really cared for me, Michael-- (her expression twists in pain and anger) Never mind. Just--just stay away. Stay away from me.

She walks off. He watches her leave, his fists slowly clenching.

As soon as she is out of sight, he whirls and smashes the car window with his hand. He stares at his cut and bleeding hand, and then begins walking back to the hospital.

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

ACT TWO Fair-Haired Boys

SCENE ELEGANT PARTY. The guests in attendance are the rich and powerful. Sherman, the host, is near the door, greeting people as they enter. He has a martini in hand and already looks well on the way to being inebriated.

Nikita and Jason enter. Nikita is in a drop-dead gorgeous black dress, and Jason looks tall and imposing in a tuxedo. He looks around him, impressed by the surroundings. Sherman turns to them.

NIKITA Mr. Sherman? I'm Amanda Lake, and this is my brother Andrew.

SHERMAN (shaking Nikita's hand and then Jason's, and addressing his remarks to Jason) Ah, yes, the electronics firm?

JASON That's right. Quite a place you have here.

SHERMAN Well, the best time to do business is after business hours, I always say. So you're in the market for a lobbyist?

JASON (his eyes wandering to a beautiful blonde who passes by) Uh--yes, we are.

SHERMAN (grinning) You like? (He leans forward and speaks confidentially.) She's the--uh--"niece" of old Senator Townsend. I'm sure she wouldn't mind giving her uncle the night off.

JASON Yeah?

NIKITA Mr. Sherman, my brother and I--

SHERMAN Oh, drinks first, and then we talk business. (He sees other guests entering.) John, glad you could make it.

Sherman turns away to greet the new guests. Nikita grabs Jason by the arm and hisses in his ear.

NIKITA We're not here to party. We're here to do a job. You got that?

JASON (resentfully pulling his arm away) I got it.

CUT to later. Nikita is standing to the side, sipping a drink and watching a group of men across the room, including Sherman, Jason, and several older men in suits. They are all laughing and talking--the old boys' network. The beautiful blonde "niece" comes up beside her.

"NIECE" Give it up, honey. They won't have time for us until they're finished with their boy's club meeting.

NIKITA No women allowed, huh?

"NIECE" Not until after the meeting is over.

NIKITA Who are all those men?

"NIECE" Well, you know Sherman, I'm sure. The old geezer next to him is my date, Senator Townsend. And beside him is Derek Armstrong, CEO of Armstrong Industries. The blond hunk--you came in with him, right?

NIKITA (nodding) My brother.

They watch as Sherman puts a chummy arm around Jason and points to something across the room.

"NIECE" Looks like your brother is the new fair-haired boy.

Nikita nods and sips her drink.

CUT to later. Jason is at the buffet table, loading up a plate with food. Nikita comes up beside him.

JASON You believe this spread, Nikita?

NIKITA (sotto voce) Amanda.

JASON (cheerfully) Oh, sorry.

NIKITA So what did you find out?

JASON About what?

NIKITA About WHAT?

JASON Oh, you mean-- (he shrugs) Well, Sherm introduced me around. Mostly senators and businessmen.

NIKITA (really getting angry) Did you get any names? Townsend? Armstrong?

JASON Yeah, that was it. How'd you know?

NIKITA I'm getting my coat, and then we are getting out of here.

JASON But the party's just getting started--

Nikita gives him a look, and then leaves. Jason sighs and puts down the food. Sherman comes up to him.

SHERMAN Andy, there's someone I want you to meet.

JASON Can't do it, Sherm. My, uh, sister isn't feeling well. We'll be taking off.

SHERMAN Already?

Jason shrugs.

SHERMAN Well, tell you what. Drop your sister off at your hotel, and then come back by here after midnight. We have a poker game planned for the shank of the evening. You'll make some great contacts.

JASON Sounds great. I'll try, but--uh--

He sees Nikita at the door, waiting for him.

JASON I'll be here.

He smiles, shakes Sherman's hand, and then leaves.

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

SCENE MISSION ARRIVAL PORT. Operations and Madeline await the arrival of the van. The doors open, and Nikita exits, followed by Jason.

JASON What's the big deal?

NIKITA The deal is you were careless and distracted and you nearly broke our cover.

OPERATIONS (grimly) Problem?

NIKITA You could say that. (She sends a look to Jason.) We did get a few names, no thanks to Wonder Boy here.

Operations looks at Madeline.

OPERATIONS Nikita, we'll debrief upstairs.

He walks away, and Nikita follows. Jason starts to follow, but Madeline steps in front of him.

MADELINE Jason, could I see you in my office?

She walks away in the other direction. Jason looks at her, then turns to stare resentfully at Nikita's retreating back.

JASON Bitch.

He turns to follow Madeline, and comes face to face with Michael. The two men stare at each other. Jason blinks first, stepping around Michael to hurry down the corridor.

***********

SCENE OBSERVATION DECK. Operations is staring down at the scene below, while Nikita watches him.

OPERATIONS Townsend, huh?

NIKITA Yes. Does that mean anything?

OPERATIONS Townsend is on the Senate Ways and Means committee.

NIKITA And--

Operations turns to look at her, crossing his arms and considering. Finally, he decides.

OPERATIONS This information does not leave this room.

NIKITA All right.

OPERATIONS Have you ever wondered how all this (he gestures to the room below) is paid for?

NIKITA Well, yes, actually I have.

OPERATIONS The funding is siphoned off a number of national and international sources in an extremely elaborate and very covert budgetary plan. Although we are not dependent on any one source, we would find life very difficult if our American funding were to be cut off. It constitutes by far the largest portion of our budget.

NIKITA Sherman knows about the Section.

OPERATIONS That's unclear. He knows that a covert operation is being funded, and he has obtained evidence of it. If any of this evidence were to be made public-- well, let's just say the information he is selling to his clients is worth its weight in gold for blackmail purposes.

NIKITA And you think Townsend gave him the information.

OPERATIONS That's what I want you to find out. Assemble a team to infiltrate Townsend's home--check out his computer records.

Nikita nods and turns to leave, but then she stops.

OPERATIONS What is it?

NIKITA Why-- why are you trusting me with this?

OPERATIONS Because I know you can handle it.

Nikita gives him an odd look, and then she leaves.

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

SCENE SECTION MAIN AREA. Michael stands next to Birkoff's station. Birkoff is packing up to leave. Nikita enters, in combat gear and carrying an equipment bag. On the equipment bag is hooked a pair of her sunglasses. She goes up to Birkoff. MUSIC rises Fiona Apple's "Sleep to Dream."

"I tell you how I feel, but you don't care--

I say tell me the truth but you don't dare--"

NIKITA (ignoring Michael) Ready, Birkoff?

BIRKOFF Ready.

Birkoff shoulders his equipment bag and leaves. Nikita looks at Michael.

"You say love is a hell you cannot bear

And I say gimme mine back and then go there - for all I care--"

Nikita walks off. Michael watches her.

"I got my feet on the ground and I don't go to sleep to dream

You got your head in the clouds, and you're not at all what you seem--

This mind, this body, and this voice cannot be stifled by your deviant ways--

So don't forget what I told you, don't come around, I got my own hell to raise--"

Michael turns and sees Jason entering from a hallway. He heads for the exit, his head down and his look angry and resentful. Madeline enters from the same hallway and watches him leave. She shakes her head, and then turns to go back into the hallway. Michael, after a moment, follows Jason.

CUT to Townsend's house. The van pulls up. The house is dark.

A cut to inside the van. Nikita and an extra op look over at Birkoff.

BIRKOFF I'm reading no activity. Should be an easy in and out.

NIKITA Let's go.

She and the extra op leave. They make their way swiftly and silently to the rear of the house.

"I have never been so insulted in all my life

I could swallow the seas to wash down this pride--"

CUT to outside Sherman's house. Jason rings the doorbell, then stands, looking around nervously. The door opens, and Sherman greets him jovially. Jason goes inside.

The camera pans, and we see Michael watching.

"First you run like a fool to be at my side

And now you run like a fool, but you just run and hide, and I can't abide--"

CUT to Townsend's house. Nikita uses equipment to disable the alarm, and then she and the extra op break into the house. They make their way down a hall to an office. On the desk is a computer. Nikita sits at the computer and turns it on.

"I got my feet on the ground and i don't go to sleep to dream--

You got your head in the clouds and you're not at all what you seem

This mind, this body, and this voice cannot be stifled by your deviant ways--

So don't forget what I told you, don't come around, I got my own hell to raise--"

CUT to Sherman's house. Michael sneaks around the side, looking into windows. He finally arrives at one that gives him a view of what's going on inside a poker game. Several men, including Townsend and Armstrong, are seated at the poker table. Sherman and Jason are at the bar, where Sherman is talking fast and furious while Jason downs a drink. Sherman finishes, and Jason nods. Michael frowns.

"Don't make it a big deal, don't be so sensitive--

We're not playing a game anymore, you don't have to be so defensive--

'Don't you plead me your case, don't bother to explain--

Don't even show me your face `cuz it's a crying shame--"

CUT to Townsend's. Nikita is at the computer. She hits a key and smiles.

EXTRA OP You got something.

NIKITA Uh, maybe. (She looks up at him.) Would you wait outside?

With a frown, he leaves. Nikita puts a disk into the computer and then hits a button. The screen reads "Downloading File."

"Just go back to the rock from under which you came

Take the sorrow you gave and all the stakes you claim

And don't forget the blame--"

CUT to Section main area. Michael enters from one hallway in time to see Nikita, Birkoff, and the extra op entering from the other. They head for Birkoff's station. Nikita drops her equipment bag on the desk. She says a few words, and then heads for a hallway. Michael watches as she stops at the threshold, looks back at the central area, and then surreptitiously takes a disk from her pocket. She looks up at the observation deck, where Operations is looking down.

She glances around and sees Michael watching her. She pockets the disk as he approaches.

"I got my feet on the ground and I don't go to sleep to dream--

You got your head in the clouds and you're not at all what you seem--"

MICHAEL Nikita, what's going on?

NIKITA That's not your concern, Michael.

She leaves. Michael looks up at Operations. He makes a decision and heads in the opposite direction.

"This mind, this body, and this voice will not be stifled by your deviant ways--

So don't forget what I told you, don't come around, I got my own hell to raise--"

Jason enters. Half drunk, he strolls over to Birkoff's station, where he sees the equipment bag with a pair of sunglasses hooked to it. While Birkoff's attention is diverted, Jason takes out a computer disk and slips it into the bag.

"I got my feet on the ground, and I don't go to sleep to dream--

You got your head in the clouds and you're not at all what you seem--"

CUT to Madeline's office. She is working at her computer when the door opens and Michael enters. Michael stands in front of her.

MICHAEL I'm ready to go back into the field.

"This mind, this body, and this voice cannot be stifled by your deviant ways--

So don't forget what I told you, don't come around, I got my own hell to raise."

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

ACT THREE Other Channels

SCENE MISSION DEPARTURE PORT. Operations and Nikita stand by the door. Nikita is dressed in dark clothes, but not combat gear. She is strapping on a gun. They speak in low voices.

NIKITA What about Townsend?

OPERATIONS He will be taken care of through other channels.

NIKITA Other channels?

OPERATIONS Believe it or not, there is such a thing as an Ethics committee on the Senate, and they will soon be hearing about all of Townsend's "nieces." Your job is simply to get Sherman out alive. We need to know who he has sold information to.

Nikita nods, and then turns to see Michael approaching.

OPERATIONS Ready?

MICHAEL Yes.

Nikita looks from one to the other.

NIKITA What's going on?

OPERATIONS (with a smirk) Michael's riding shotgun for you on this one, Nikita. Funny how things turn out, isn't it?

He leaves. Nikita looks at Michael.

MICHAEL I understand this is a surgical.

NIKITA (dumbfounded) Yes.

MICHAEL Well, let's get going.

He heads for the van. After a moment she follows.

***********

SCENE SHERMAN'S HOUSE, MORNING. Jason stands at the door, very nervous. He rings the bell several times, and then starts banging on it. Sherman, in his robe and hungover, opens it.

SHERMAN What the-- Andrew. Do you know what time it is?

JASON My name isn't Andrew. And you have to get out of here. Now.

SHERMAN What are you talking about?

JASON They'll be here any minute.

SHERMAN Who?

JASON You don't want to know. (He starts backing away.) Don't even pack a bag. Just get out.

He looks around, and then runs down the street. Sherman looks after him, and then wakes up. He slams the door.

Jason, running, sees the van. He ducks behind a hedge and watches the van pull up in front of Sherman's house. He backs away and runs in the other direction.

Nikita and Michael get out of the van and walk to the front door. Michael stands to the side, his arms crossed and his hand on his gun, while Nikita rings the bell. There is no answer. Nikita, without looking at Michael, pulls out a device for breaking the door lock. The door opens easily she slides it open, stepping to the side. Michael pulls his gun and turns to point it inside. Nikita pulls her gun, and the two of them enter.

Sherman appears at the side of the house--still in his robe and carrying car keys. He gets into his car, puts it in neutral, and lets it roll back. Once on the street, he starts the engine and drives off.

CUT to inside the house--the kitchen. Michael and Nikita enter in combat mode, and then see no one is there. They exchange glances. Nikita walks over to the counter and feels a half-full coffee cup.

NIKITA It's still warm.

They move out of the kitchen.

CUT to hallway. Michael and Nikita move room to room in combat mode. At the end of the hall, they come to the poker room.

CUT to inside poker room. They enter, guns drawn, but once again there is no one there. Nikita walks to the window, while Michael walks over to the bar. He looks around, and then he finds a small black notebook hidden in the bottles. He pulls it out and opens it. There are a series of entries, the last one of which is "A Lake." He looks up at Nikita.

*********

SCENE SECTION MISSION ARRIVAL PORT. A grim Operations and Madeline stand at the door. Michael and Nikita exit the van and walk up to them. Operations looks at Nikita. He holds up a disk.

OPERATIONS Would you mind explaining this?

**********

SCENE WHITE ROOM. The room is empty, except for Madeline and Nikita.

NIKITA I told you, I have no idea how that disk got into my bag.

MADELINE Michael found Sherman's client list. The last entry was "A. Lake." Your undercover name was Amanda Lake.

NIKITA Yes, and Jason was "Andrew Lake." Has anyone talked to him? He and Sherman were getting along like old friends.

MADELINE We will interrogate Jason. When we find him.

NIKITA When you find him?

MADELINE He did not return home last night.

NIKITA Well, doesn't that tell you anything?

MADELINE It could tell me any number of things.

NIKITA Madeline, you don't honestly think I would--

MADELINE You left the Section for a few hours yesterday afternoon. Where did you go?

NIKITA I--I had some errands to run.

MADELINE What errands?

NIKITA The usual. Dry cleaners. Groceries.

MADELINE You left in the middle of a mission to pick up your dry cleaning.

NIKITA Madeline, I didn't do this.

MADELINE Well. We shall see.

***********

SCENE SECTION MAIN AREA. Michael enters, almost distraught. He sees Birkoff and hurries over to him.

MICHAEL Birkoff--do we still have the surveillance tapes from Sherman's house?

BIRKOFF Uh, yes. They haven't been processed yet.

MICHAEL I need to see them. Now.

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

SCENE WHITE ROOM. A chair, like a dentist's chair, has been set up and Nikita has been strapped in. Madeline stands in front of her. The Girl Torture Geek stands beside her, holding a needle.

MADELINE (slowly, awkwardly) For what it's worth, Nikita, I do believe you. But we have to be sure.

NIKITA Madeline, please--

Madeline nods to the Girl Geek, who injects the needle into Nikita's arm.

MADELINE Sodium pentathol. You will feel a wave of dizziness and nausea, but it will pass.

Nikita's head falls back on the chair.

MADELINE Your vision will become blurred and your perceptions will become hazy, almost as if you are in a hypnotic trance.

Nikita's eyes glaze over and her head moves around slowly. Madeline nods to the Girl Geek.

MADELINE That should suffice.

The Girl Geek leaves and Madeline walks around to the side of Nikita's chair. She reaches over and gently brushes her hair out of her face.

MADELINE (softly) Nikita, can you hear me?

NIKITA (vaguely) Yes.

MADELINE I want you to think back to yesterday afternoon. You were in the Section, but then you left. Where did you go?

NIKITA Michael--

MADELINE What about Michael?

NIKITA I followed Michael.

MADELINE Why did you follow Michael?

NIKITA I wanted to know why--

The cell door opens, and Michael enters. Madeline gives him a look, and he stops. She turns back to Nikita.

MADELINE What was it you wanted to know, Nikita?

NIKITA I wanted to know why he didn't want me anymore.

Madeline looks over at Michael, who is staring at Nikita.

MADELINE What makes you think he didn't want you anymore?

NIKITA Because of the rape. I was afraid he thought I was--I was--defiled.

MICHAEL Madeline--

Madeline quiets him with a gesture.

MADELINE Nikita, did you meet with Howard Sherman that afternoon?

NIKITA No.

MADELINE Did you accept a disk with confidential information from him?

NIKITA No.

MICHAEL Madeline, Operations wants to see you.

Madeline looks over at him.

MICHAEL We have surveillance tapes of Jason accepting the disk from Sherman.

MADELINE (smiling) Good.

She looks back at Nikita and once again brushes her hair back. Then she turns to Michael.

MADELINE Someone should stay with her until the drug wears off.

She walks out slowly. Michael steps over to Nikita. He reaches out and brushes her hair, much as Madeline had done.

MICHAEL I am so sorry, Nikita.

NIKITA Michael--

MICHAEL It was my fault. If I hadn't gotten you involved--

NIKITA Michael, I need you--

MICHAEL (leaning over and whispering) You can't. You mustn't. It will get you killed, and I couldn't bear to lose you again.

He leans his forehead against her hair. She turns to him out of instinct.

NIKITA (whispering) Michael--

Michael stands up abruptly.

MICHAEL No.

He leaves her side and goes to stand against the opposite wall. He crosses his arms and waits for her to come to.

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

ACT FOUR Survival

SCENE SECTION MAIN AREA. Michael is leaning over Birkoff's chair, watching the monitor. Operations approaches.

OPERATIONS Anything?

MICHAEL Nothing yet.

OPERATIONS The man did not drop off the planet. He has to be somewhere.

NIKITA (coming up behind Operations) He needs money.

Operations, Michael, and Birkoff turn. Nikita steps to the desk. She looks pale but composed.

OPERATIONS Aren't you supposed to be in medlab?

NIKITA Sherman needs money, and since we have cut off his accounts, there's only one place he can get money.

OPERATIONS (smiling and nodding) Armstrong.

**********

SCENE OFFICE BUILDING PARKING LOT. The van drives past a sign that says "Armstrong Industries." The parking lot is nearly empty, except for a few cars.

Cut to inside the van. Birkoff is working the computer while Nikita, Michael, and two extra ops suit up.

BIRKOFF Yep, there it is. Sherman's car. Good thing it's the weekend. The place is almost deserted.

MICHAEL Do we have a floor plan?

BIRKOFF Yes. The first three floors are mostly offices. The fourth floor is a cafeteria and various supply rooms. Executive offices are on the sixth floor.

MICHAEL That's where they'll be.

BIRKOFF We should enter through the loading dock. That way we can keep the mobile comm unit out of sight in case anyone looks out a window.

MICHAEL Good.

CUT to outside. The van drives around to a loading platform that runs under the building. Michael, Nikita, and the two extra ops get out.

MICHAEL (to the extra ops) Take the ground floor. Don't let anyone get by you. (He looks at Nikita.) We'll take the stairs.

They head for the stairwell doors, while the extra ops head for a door into the building. Michael and Nikita enter the stairwell.

CUT to inside stairwell. Nikita starts up the stairs, but Michael stops her with a hand. She looks back at him questioningly.

MUSIC begins Seal's "Crazy." (I know I got some of the lyrics wrong. My apologies.)

"Innocence

the rising face

talks about the human wonder--"

Michael reaches over a tucks a strand of hair behind her ear. Nikita looks at him, wonderingly.

The music picks up.

MICHAEL Let's go.

They start up the stairs. Shots of them bounding up the stairs together.

"Lonely childhood--

A man inside has left us

for fourteen years

that's what he goes there for

is to unlock the door--

while those around him

creating sighs and sleep--"

They reach the executive floor and stop, out of breath, one on each side. Michael looks at Nikita. She nods. He reaches for the door handle.

CUT to inside executive office. Armstrong is walking away from an open safe, carrying a sack. Sherman stands by the desk. Armstrong puts the sack down, opens it, and starts taking out stacks of bills. Jason is standing at the door, looking outside nervously.

ARMSTRONG Your friend there is a little nervous.

JASON You would be too if you knew--

ARMSTRONG (stopping) If I knew what?

JASON Nothing. Let's get out of here.

Armstrong shrugs and continues to count the money. Sherman looks from Jason to Armstrong. He walks over to the safe, reaches in, takes out a gun, and puts it in the robe of his pocket. He returns to stand behind the desk, beside Armstrong.

"I threw a something on a breaking wall

I see you my friend

and touch your face again--

Miracles will happen as we speak--"

Jason steps out of the office and past the secretary's desk. He stops at a corner and looks around. He sees the stairwell door opening. He runs back, past Armstrong's office, and hides in an adjacent office..

The stairwell door opens, and Michael and Nikita enter.

"But we're never gonna survive

unless we get a little crazy

No, we're never gonna survive--

Unless we are a little crazy--"

Michael and Nikita burst into Armstrong's office, guns drawn. The two men throw up their hands. Michael and Nikita advance into the office.

ARMSTRONG Who the hell are you?

MICHAEL Don't do anything stupid.

ARMSTRONG You want the cash? Take it.

Armstrong reaches for the sack; Sherman reaches for the gun in his pocket. He pulls it out and points it. Michael shoots him in the hand, and he falls down, yelling in pain.

MICHAEL We aren't here for the money.

He pulls out handcuffs and puts them on Armstrong. Nikita advances to Sherman, pointing the gun at him as he cowers in pain on the floor.

NIKITA Where is he?

Jason runs past the office door.

NIKITA Michael!

MICHAEL (cuffing Sherman) Go.

Nikita runs out. A moment later, Michael follows. He runs for the stairwell in time to see the door closing.

Shots of Jason, Nikita, and then Michael bounding down the stairs.

"There's people walking through my head

One of them's got a gun

To shoot the other one--

A shot of Jason bursting through a door off a stairwell landing. Nikita, just above him sees, and she follows, as does Michael.

"And yet together they were friends at school

for they were there when we first took the pill--

Baby, oh baby oh baby oh baby--

Miracles will happen as we speak--"

CUT to inside office cafeteria. Jason bursts through the door and runs for the kitchen.

Nikita bursts in.

NIKITA Jason! You'll never get out of here alive, Jason.

"But we're never gonna survive

Unless we get a little crazy--"

She moves into the room, gun drawn, looking around. The door behind her opens, and she whirls. It's Michael. She lowers the gun and turns to continue her search.

NIKITA Your only chance is to turn yourself in.

Slowly, Jason raises himself up from behind the counter. He moves around, his hands up. Nikita and Michael lower their guns as he walks toward them.

"No, we're never gonna survive

Unless we get a little crazy--"

JASON (smirking) All right, bitch. You got me.

Michael looks at Nikita. She is rigid with anger. He takes the gun from her hand.

"No, no, never survive, unless we get a little bit--"

Nikita looks at Michael.

MICHAEL Do it.

Percussion begins with Nikita's first punch. Jason goes sprawling. He jumps up with a roar, and she kicks him. He doubles over, and she balls both hands with one fist and brings them down hard on the back of his head. He collapses to the ground.

Softer percussion takes over. Nikita looks at Michael. He nods.

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

SCENE NIKITA'S APARTMENT. A quick cut, and music continues, a softer guitar riff. Nikita is standing by the window, looking out. There is a knock on the door. She goes to open it. It's Michael. He steps in and closes the door.

"In a sky full of people

Only some want to fly

Isn't that crazy--"

He reaches out and takes her face in his hands, pulling her to him gently but firmly. He kisses her, a sensual tasting of her lips becoming a deeper exploration of her mouth. Her hands cover his.

"In a world full of people

Only some want to fly

Isn't that crazy--crazy--"

He pulls away and looks at her, running his thumbs over her eyebrows, across her cheeks, her lips.

NIKITA Michael--

"In a hell full of people

Only some want to fly

Isn't that crazy--"

MICHAEL (softly) You are the strongest, most beautiful woman I have ever known.

"In a world full of people

Only some want to fly

Isn't that crazy?"

NIKITA Oh, Michael--

He leans over to lift her smoothly off her feet. She wraps her arms around his neck.

"Am I crazy--

Am I crazy---"

She smiles--laughs a little.

NIKITA You do have some good moves, Michael.

MICHAEL You haven't seen anything yet.

Carrying her, he starts turning around the room. The camera pans the opposite direction as they turn and turn toward the bed, smiling, kissing, reveling.

"But we're never gonna survive

Unless we get a little crazy--

No, we're never gonna survive

Unless we are a little crazy--"

Cut to the bed. Nikita falls back on it and Michael leans over her. They kiss hungrily, pulling off clothes with frantic impatience. Finally free of the encumbrance of cloth, Michael sits up and pulls her to him. They wrap their arms around each other and kiss deeply.

"But we're never gonna survive

Unless we get a little crazy--

No, we're never gonna survive

Unless we are a little crazy--"

Michael moves his lips down Nikita's neck. She arches her head back and smiles joyfully.

"No, no, nver survive, unless we get a little bit--"

The camera pans from Nikita's smile to the window.

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

SCENE NIKITA'S BEDROOM, EARLY MORNING. Music stops. There are the sounds of a few birds outside. Nikita is seated at the window, looking out. Her expression is still, unreadable. Michael, asleep in the bed, stirs and wakes. He sees her.

MICHAEL (sitting up) Nikita--

NIKITA (without looking at him) The sun is coming up.

He rubs his eyes awake, and then crosses to stand behind her. His hands rest on her shoulders. She leans her head against one of his hands.

NIKITA You should go.

He leans down and kisses the top of her head.

MICHAEL Nikita, if there is any way--

NIKITA But there isn't, is there? You were right.

She lifts her head to look out the window.

NIKITA If we want to stay alive, we have stay apart.

MICHAEL You never know. Things might change--

He stops. They both stare out the window.

Nikita's phone rings.

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

EPILOGUE

SCENE SECTION OBSERVATION DECK. Operations is in his usual spot, looking down at the scene below Birkoff and Madeline are consulting about something at Birkoff's station, and Michael is conferring with Walter at Walter's area.

Nikita enters the observation deck.

NIKITA You wanted to see me?

Operations smiles and turns to her.

OPERATIONS Yes. I thought you'd like to know we managed to retrieve all the files Sherman sold.

NIKITA Good.

She stands, waiting for more, but Operations just looks at her, still smiling.

NIKITA What?

OPERATIONS At the risk of sounding immodest, I have to say that probably my best talent is my ability to read people. I am very rarely wrong.

NIKITA Oh?

OPERATIONS You are one of the exceptions. I was wrong about you.

Nikita crosses her arms and leans against the window ledge.

NIKITA In what way?

OPERATIONS You have turned out to be a good operative, Nikita. Damn good.

NIKITA (suspiciously) Thank you.

Operations looks back down at the floor below--over toward Michael.

OPERATIONS You know, life in the Section isn't so different from life outside. The very nature of existence is change. Out with the old, and in with the new.

Nikita looks down and sees that he is looking at Michael. When she looks back, Operations is once again smiling at her.

OPERATIONS Wouldn't you agree?

After a moment, Nikita smiles.

NIKITA Oh, I would most definitely agree.

CUT to floor below. Michael walks away from Walter, looking up at the observation deck. Madeline notices him and looks up as well. They see Operations and Nikita smiling at each other, and see Nikita nod and walk away. Michael stops in the middle of the floor, and Madeline joins him.

MADELINE Is something wrong, Michael?

MICHAEL No.

Madeline reaches over and touches his shoulder.

MADELINE You know, they don't stay dependent forever.

MICHAEL (looking at her) Who?

Madeline just smiles and walks away. A moment later Nikita enters. Michael watches as she walks briskly and confidently over to Birkoff's station. She points to something and asks for it. He hands her a computer notepad. She looks at it, smiles her thanks, and then starts walking toward Michael, reading as she goes.

She looks up as she approaches Michael.

NIKITA Good morning, Michael. Beautiful day, isn't it?

She walks past him. He turns slowly. Just as she reaches the door, she turns to look back at him.

She winks. And leaves.

THE END

ROLL CREDITS

Send suggestions and comments to ranma.
OR
If you would like to send a comment to Mln click HERE.