TEASER

MUSIC BEGINS: Sheryl Crowe's "A Change." During opening instrumental, we see a close up of Nikita's lips while she rolls on lipstick, Nikita's eyes while she brushes on mascara, and Nikita's hair as she swirls an elaborate curl onto her head.

SCENE: BOAT DOCK, NIGHT. After a long pan of the water and the dock, the camera stops on Michael and O'Brien (from Voices) at the end of a dock. Michael, in formal clothes, stands stiff and straight beside O'Brien, who leans, relaxed, against a post in casual clothes. Tied to the post is a small power boat. "Ten years living in a paper bag / Feedback baby, he's a flipped out cat / He's a platinum canary, drinkin' falstaff beer Mercedes rule and a rented lear--

Michael looks at his watch and then up toward the end of the dock.

O'BRIEN: So what's the job?

MICHAEL: Weren't you briefed?

O'BRIEN: (shrugging) I'm still a worker bee around here.

"Bottom feeder insincere / Prophet lo-fi pioneer / Sell the house and go to school / Get a young girlfriend, daddy's jewel--"

MICHAEL: It's a cold mission. We're taking an inventory of the guest list. (He looks at his watch again.)

O'BRIEN: We? Who are we waiting for?

MICHAEL: (drily) My date.

A cab pulls up at the end of the dock, and Nikita gets out, paying the driver without hurrying. Michael looks at his watch again. She turns and, smiling, walks down the dock toward them. She looks stunning--all decked out in something gorgeous and glittery, with an elaborate hairstyle. It's a new look for her.

"A change (a change) would do you good / A change (a change) would do you good--"

MICHAEL: (stepping forward to meet her) You're late.

NIKITA: Sorry. Wardrobe problems. (She preens just a bit, looking for a compliment)

Michael gives her the once over, and then steps back, indicating for her to go ahead. A little put out, she walks forward and then sees O'Brien.

NIKITA: (surprised, disconcerted) O'Brien--

O'BRIEN: (admiringly) Nikita. Wow--you always dress this hot for a cold mission?

NIKITA: Aren't you still in training?

O'BRIEN: I was a cop, remember? They let me skip a few classes.

She looks at him, not quite sure what to say.

"God's little gift is on the rag / Poster girl posing in a fashion mag--"

NIKITA: So you're--uh--

O'BRIEN: An average ordinary spook, just like you.

NIKITA: Listen, I, uh--

O'BRIEN: Hey, don't sweat it. I've learned how things work around here.

She reaches over and touches his arm.

"Canine feline Jekyll and Hyde? / Wear your fake fur on the inside--"

MICHAEL: You can have your reunion later. Let's go.

O'Brien hops into a small power boat.

NIKITA: In that thing?

MICHAEL: Yes. What's wrong?

NIKITA: You obviously know nothing about the inadequacies of hair spray.

She gets in carefully (high heels) and takes a seat. Michael drops in easily and joins O'Brien at the front of the boat. O'Brien starts the engine.

"Queen of south beach, aging blues / Dinners at six, wear your cement shoes / I thought you were singing your heart out to me / Your lips were syncing and now I see--"

O'BRIEN: (loudly, over the engine) So, who's the host?!

MICHAEL: Arms dealer! Chemical weapons!

O'BRIEN: (nodding) And you want to know who he's selling to!

MICHAEL: Something like that!

O'Brien puts the boat in gear and it leaps out over the water. Nikita grimaces, and then drops down to the floor of the boat, trying to stay out of the wind. Michael looks back at her, but stays beside O'Brien. He looks at his watch again. Nikita glowers at the boys in the front of the boat.

"A change (a change) would do you good / A change (a change) would do you good--"

CUT to yacht. O'Brien is tying the boat to the yacht while Michael and Nikita get out.

MICHAEL: (to O'Brien) Stay on the perimeter and record any OTHER late arrivals.

NIKITA: You're in a mood. {She stalks off.)

O'BRIEN: (with a small smile) Have fun.

MICHAEL: Yeah.

Michael follows Nikita. O'Brien boards the yacht, but stays near the railing. He settles back to watch for any latecomers.

"Chasing dragons with plastic swords / Jack off Jimmy everybody wants more--"

CUT to interior of yacht--the party scene: It is a small, luxurious yacht. Guests in formal attire are scattered about, talking and drinking. Nikita stops at the door and surveys the scene; Michael comes up behind her.

NIKITA: I thought there'd be more people.

MICHAEL: So did I. I'll take the bow, you take the stern.

NIKITA: Aye aye captain.

They split up and begin canvassing the room: each taking pictures with hidden cameras.

"Scully and angel on the kitchen floor / And I'm calling Buddy on the ouija board--"

CUT to O'Brien outside. He watches as a group of men round the side of the boat and head inside. He stands up straight, recognizing one of them.

O'BRIEN: Michael.

CUT to party inside--Michael turns away from watching Nikita across the room, surrounded by men.

MICHAEL: Yes.

O'BRIEN: We got feds.

MICHAEL: What do you mean?

O'BRIEN: One of the men who just joined you is an FBI agent.

Michael turns to see the same group of men entering the party.

MICHAEL: Did he make you?

O'BRIEN: He doesn't know me. I was one of a hundred cops at a seminar he gave a few years ago. But I'd be willing to bet the guys with him are Feds, too. They have that buttoned-down look.

Michael freezes suddenly and then looks around the room. A slow-motion point of view shot of the guests, all of whom are supposedly having a good time but are actually looking around the room at the other guests.

"I've been thinking `bout catching a train / Leave my phone machine by the radar range / Hello it's me, I'm not at home / If you'd like to reach me, leave me alone--"

MICHAEL: O'Brien, get the boat ready. (making eye contact with Nikita across the room) Nikita, we have to get out of here.

NIKITA: (nodding slightly, and then smiling at her companions) If you gentlemen will excuse me, I need to find the ladies' room.

She smiles and makes her way to the door, where she meets Michael at the door.

NIKITA: What's up?

MICHAEL: No time to explain.

CUT TO outside. O'Brien is untying the boat, struggling with the knot. Nikita and Michael hurry out. Nikita jumps into the boat, followed by Michael, who immediately heads to the front and starts the engine.

"A change (a change) would do you good / A change (a change) would do you good--"

MICHAEL: Let's go, O'Brien!

O'BRIEN: All right, all right. What's the rush?

O'Brien gets the rope untied and jumps in. Michael puts the boat in gear and they take off.

"A change (a change) would do you good / A change (a change) would do you good--"

MUSIC stops. Long shot view of the yacht, and the power just leaving its side. All of a sudden the yacht EXPLODES--and the small power boat goes flying through the air.

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

SCENE: SECTION ONE. Michael and Nikita, both with bandages, stand together near Birkoff's station. O'Brien enters, wearing a cast and other bandages. Nikita hurries over to him.

NIKITA: How are you feeling?

O'BRIEN: I'd feel a lot better if I knew what the hell happened.

NIKITA: (after a long pause and a glance over at Michael) It was a booby trap. All the guests were federal agents from one agency or another. Lehman wasn't even on the boat.

O'BRIEN: Lehman was the chemical weapons dealer.

NIKITA: Yes.

Michael joins them.

O'BRIEN: (accusingly) You knew, didn't you? And you didn't warn them--

MICHAEL: There wasn't time.

O'BRIEN: You didn't know that. Chrissakes, whose side are we on, anyway?

MICHAEL: Ours.

Michael looks over at Nikita, who looks at the ground and then at O'Brien.

MICHAEL: We're ready for the debriefing.

He walks away. After a moment, Nikita follows him. Close-up O'Brien, looking sick.

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

SCENE: STREET, DAY.. O'Brien, still in a cast, stands beside a mailbox. He looks at a thick envelope in his hands. Close-up the address: JACK SHAW, CENTRAL INTELLIGENCE AGENCY.

O'Brien drops the letter in the mailbox.

ROLL CREDITS

ACT I

SCENE: CONFERENCE ROOM. Operations, Birkoff, O'Brien, and an Extra Op sit around the conference table. O'Brien no longer has a cast or bandages.

OPS: Three months ago, (looks at O'Brien) as I'm sure some of you will remember, our attempt to identify the customers of a prominent chemical weapons dealer was, shall we say, abruptly disrupted. Intel on this dealer, one Terence Lehman, has since then--

Michael enters.

OPS: Glad you could join us, Michael.

Michael takes a seat without a word.

OPS: As I was saying, intel on Lehman has been extremely scarce, but we were finally able to put a man inside his organization and now have something to work with. It seems Lehman has become the exclusive supplier of chemical weapons to just one man: he calls himself Son of Szu.

O'BRIEN: (skeptically) Son of Szu?

OPS: Well, his name at birth was Leonard Fishstein, but he had it legally changed several years ago after a experiencing a vision during a three-week tour of China. In this vision, he claims to have seen the whole history of the world, which he proposes has been an ongoing war between the East and the West. The good news is that the end of the war is in sight. The bad news is that this Szu or Fishstein or whatever believes the East will win, and he has of course aligned himself with the winning team.

O'BRIEN: Are we supposed to take this nutcase seriously?

OPS: We'd better. Szu also claims that it is his group that will act as the catalyst for the final great battle that will end the conflict, and he is determined to get the show on the road with one ultimate act of terrorism.

Michael looks at his watch. Ops notices, and his voice gets an edge.

OPS: So far his ultimate acts have consisted of fertilizer bomb attacks on a VA hospital, a Wall Street firm, and a fast food restaurant. Symbolic, yes, but not exactly of global import. BUT--now he has access to chemical weapons, and that means he has become a threat at a whole new level.

MICHAEL: Do we have a location?

OPS: Not yet. We expect further intel from our man inside within the next twenty-four hours.

O'BRIEN: Do we know what his next target is?

OPS: Oh, yes. A school. An elementary school in the metro area.

O'BRIEN: A school?

OPS: He wants to hit the West where it really hurts. (He leans forward on the table.) We are not going to just sit on our hands and wait on this one. I want ideas, people, I want theories and speculations and wild guesses. I want to know Szu's target before he does. Study the file on him and his group until your eyeballs fall out. That's all.

Everyone gets up and starts filing out.

OPS: Michael. A word.

After everyone is gone, Ops approaches Michael.

OPS: I hope that this little briefing didn't interfere with your busy schedule.

MICHAEL: I'm sorry. Madeline asked me to oversee an interrogation, and I have two training evals and a recruit orientation scheduled for this afternoon.

OPS: Priorities, Michael. You are not the indispensable man, you know.

Ops walks out of the room, past O'Brien, who is hovering near the door, waiting for Michael.

O'BRIEN: (to Michael) Was all that about this Fishstein character on the level?

MICHAEL: Operations is always on the level.

**********

SCENE: SECTION HALLWAY. Michael is about to open the door to one of the torture room when Nikita rounds the corner, reading a file as she walks.

MICHAEL: What are you doing here?

NIKITA: I was assigned the orientation for a new recruit. (She looks at the file, reading from it.) A Gary Bell. Murder One. Aggravated assault and battery. Weapons charges. (She looks up) A real go-getter.

MICHAEL: I was scheduled to do that orientation.

NIKITA: I guess Madeline thought it was time I had a try.

Michael, after a moment, starts to walk away.

NIKITA: Michael? (He stops.) What's wrong?

MICHAEL: Nothing.

NIKITA: (not convinced) Well, do you have any advice? I've never done this before--

MICHAEL: Watch your back.

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

SCENE: TORTURE ROOM (or whatever it's called). Nikita sits in a chair beside a gurney. A man (Bell, the new recruit) is asleep on the gurney. The Boy Torture Geek injects him and unlocks the restraints.

BOY GEEK: Anything else?

NIKITA: No.

The Boy Geek turns to leave.

NIKITA: Thank you.

He looks at her as if she's speaking a foreign language, and then he leaves. While Nikita waits for the recruit to awaken, she looks around the room. She closes her eyes as if remembering.

BELL: (awake and blinking at the glare) What's going on?

NIKITA: (opening her eyes and sitting up) How are you feeling?

BELL: Like I got hit by a truck.

NIKITA: You were injected with a heavy tranquilizer. It will take a few moments for your head to clear.

BELL: Who the hell are you?

NIKITA: My name is Nikita. (Pause) You're not in prison anymore.

BELL: (looking around and sitting up) I figured that. Where am I?

NIKITA: You were scheduled for execution next month.

BELL: Yeah, so?

NIKITA: That execution will not take place.

BELL: (narrowing his eyes) Why not?

NIKITA: As far as the world is concerned, you are already dead. (She opens the file and takes out a photo of a cemetery.) This is your grave.

BELL: (taking the picture slowly) I don't understand--

NIKITA: (standing and walking around the gurney) We've decided to give you another chance. (She swallows a bit, as if the words are difficult to get out.) This place is called Section One. This is where you will train, where you will learn. After two years, if you are successful, you will work for us.

BELL: Work for you? Doing what?

NIKITA: (stopping near the door) Training will begin at 5 a.m.

She pauses, and then turns slowly toward the door. She raises her head a bit, as if anticipating a move, but none comes. She opens the door and looks back at him. He is studying the picture.

NIKITA: I will return shortly to take you to your room.

BELL: (still looking at the picture) Yeah. All right. OK.

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

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

SCENE: SECTION ONE MAIN AREA. Ops, O'Brien, and Birkoff are huddled around Birkoff's computer. From across the room, Michael enters. He is joined by Madeline from a nearby entrance.

MICHAEL: (as they walk) You gave Nikita the Bell orientation.

MADELINE: Yes. It came to my attention that your plate was too full. (She looks at him.) I really should have heard that from you, Michael.

They reach the center station. Michael looks at Operations, who acknowledges only Madeline's arrival.

BIRKOFF: Processing now, sir.

OPS: (to Birkoff) Good. (to others) O'Brien came across something very interesting in Szu's portfolio. Seems that in every one of his targets, there has been at least one distant relative of a particular Supreme Court judge. And it turns out that Fishstein himself is very distantly related to this same judge. Birkoff has pulled up the rosters of all schools in the target area to see if any fit the profile.

BIRKOFF: We've found four possibilities--seven if we count third cousins.

OPS: All right. Send teams to cover all seven, and in the meantime prepare a team to take Szu if our intel on his location comes through. (He looks around and gives O'Brien an approving nod and smile.) Good work.

Ops and Madeline leave together. Michael looks over at O'Brien, but O'Brien is staring across the room. Michael glances over, and sees Nikita passing through with Bell, showing him around. Michael looks back at O'Brien, and then turns to walk away.

Nikita and Bell reach the outer door. Bell turns around and makes eye contact with O'Brien. Then Bell does something very strange with his mouth, as if he is pushing a tooth around. He turns and follows Nikita through the doors.

Birkoff's computer suddenly beeps.

BIRKOFF: What the--

Michael returns.

MICHAEL: What's wrong?

BIRKOFF: I'm getting a report on a transmission.

MICHAEL: From where?

BIRKOFF: From somewhere inside the Section.

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

ACT II

SCENE: SECTION MAIN AREA Operations, Madeline, and Michael stand around Birkoff. O'Brien hovers in the background. Birkoff is working furiously on his computer.

OPS: What's going on, Birkoff?

BIRKOFF: (shaking his head) Looks like--I can't find anything. It might have just been a computer anomaly.

OPS: Nothing happens without a reason.

BIRKOFF: We've been making some upgrades of various systems. My guess is this was just a glitch from one of those.

OPS: I don't want guesses. Find the problem and fix it.

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

[SIDE NOTE: I am resurrecting some characters I invented for my first RR board story: I called them the Bugs. They are MIT rejects who work in Section One's basement doing nothing but reading newspapers, watching TV, and listening to the radio--one of Section One's Media Surveillance Teams. They are very buggy kinda guys...]

SCENE: SECTION BASEMENT. Nikita and Bell exit the elevator and Nikita stops. The elevator closes behind them. The hall runs in three directions away from the elevator. The hall to the right has a locked door preventing entry.

NIKITA: (pointing to the right) In that direction are the MST rooms--Media Surveillance Teams.

BELL: Media? You mean I can get the Knicks games down here?

NIKITA: Access is prohibited to all but cleared personnel. Down that hall (pointing to her left) are supply rooms, workout rooms, and study rooms. Straight ahead are the residences.

She starts in the direction of the residences, but stops when the elevator behind them opens, and Bug #3 exits.

BUG #3: Nikita!

NIKITA: (trying to remember his name) Hi--

BUG #3: (quivering with delight) What are you doing down here? Are you coming to see us?

NIKITA: I'm playing tour guide. Gary Bell, this is--uh--Bobby--

BUG #3: (still smiling) Billy.

NIKITA: Billy. Yes, of course. Billy is a member of one our MST teams. Is it television?

BUG #3: Newspapers.

NIKITA: Of course. Uh, Gary is a new recruit.

BUG #3: (holding out his hand) Welcome to hell.

BELL: (shaking his hand) Thanks. I think.

BUG #3: (holding his hand a moment too long) Oh, sorry. You reminded me of someone for a moment.

BELL: I get that a lot. (To Nikita) Can I see my room now?

NIKITA: (holding out her arm) This way.

Bell walks away. Nikita gives Bug #3 a look, and then turns to follow Bell. Bug #3 narrows his eyes, and then lets himself into the MST door.

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

SCENE: MICHAEL'S OFFICE. Michael is working on his computer as Nikita comes to the door.

NIKITA: Michael, do you have a minute?

MICHAEL: (without looking up) Actually, no.

NIKITA: It's about Bell. The new recruit.

MICHAEL: What about him?

NIKITA: There's something not right there.

MICHAEL: (sighing a little impatiently) He's a convicted murderer, Nikita. There's a lot that's not right there. (He looks up at her finally.) Was that all?

NIKITA: No, that's not all.

She comes inside, crosses around his desk, and then leans against it, looking down at him. His hands are still on the keyboard, and she reaches over and takes one in hers.

NIKITA: I want to know why you're angry with me.

MICHAEL: (surprised) I'm not angry with you.

NIKITA: Then what's with the attitude? You haven't said a civil word to me in weeks.

MICHAEL: I don't know what you're talking about. Now, can I get back to work?

NIKITA: (after a long moment) You work too much, Michael. You should think about taking some time off.

MICHAEL: We don't get paid vacations, Nikita.

NIKITA: Then maybe you take an unpaid one.

The phone rings, and Michael answers it.

MICHAEL: Yes.....I'll be right there.

NIKITA: What's up?

MICHAEL: There's been another transmission.

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

SCENE: SECTION MAIN AREA. Ops is pacing behind Birkoff. O'Brien is still hanging around near the outer edges. Michael and Nikita approach.

OPS: Once is an anomaly, Birkoff. Twice is a transmission.

BIRKOFF: We haven't been compromised. There's no way a transmission this weak could make it five hundred feet up.

MICHAEL: Are we closing quarters?

OPS: (thinking) Not yet. Not with Szu about to move. (To Madeline) Initiate a sweep. Let's see if we can find out whoever is trying to make a long-distance call without shutting the place down.

Madeline nods, and she follows Operations out. O'Brien sidles up to Nikita.

O'BRIEN: What's a sweep?

NIKITA: It's better than you don't know beforehand.

She and O'Brien walk away. Michael watches them.

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

SCENE: SECTION HALLWAY. Operatives are lined up along the wall, looking as glum and resentful as people at the DMV. Nikita is at the head of the line, beside an ominous door. Behind her is a big, beefy Extra Op--a bodybuilder type. O'Brien approaches from the other direction, and stops on reaching Nikita.

O'BRIEN: So how long does this usually take?

NIKITA: Too long.

O'Brien, unsatisfied, heads to the back of the line. The door opens. Nikita takes a deep breath, and goes inside.

CUT to inside. It is a small white room, similar to the torture rooms except this one contains a second door leading to an inner room. Over the second door is a light. Also in the room is a conveyor-belt contraption leading to parts unknown. The Girl Geek stands beside the conveyor belt, looking as starchy and intimidating as a matron at an all-girls' school.

GIRL GEEK: Strip and place all clothing on the belt.

NIKITA: I know the drill.

She undresses quickly, shivering when her bare feet hit the floor.

NIKITA: Cripes, does it have to be so cold in here? You could at least serve some hot chocolate or something.

She sets her clothing on the conveyor belt, and the Girl Geek pushes a button. The clothing disappears. A buzzer goes off, and the light over the second door comes on.

GIRL GEEK: Go inside.

Arms crossed, a naked Nikita enters the inner room.

CUT to inner room. A man stands beside a small table with equipment. In the center of the room, overhead, is a fluorescent light beaming a small circle on the floor.

The man turns. It's Michael. He is holding a thin, needle-like electronic probe. He is completely expressionless.

NIKITA: Michael! Since when do you do sweeps?

MICHAEL: I'm just helping out. Will you step under the light please?

After a moment, she does. The light makes her skin glow softly pink. She uncrosses her arms and stands perfectly straight, at military attention. Michael steps forward with the probe.

CUT to outer room. The bodybuilder Extra Op has entered and is unbuttoning his shirt. He is all macho swagger, all "wait-till-you-see-this" strut. The Girl Geek watches him, uninterested.

CUT to inner room.

Michael has moved to behind Nikita and is beginning the sweep. He runs the probe lightly over the hair on the back of her head, and then with his other hand slides her hair to the side, over her shoulder. Softly, he runs the probe along the back of her neck, gently touching the skin, and then begins sweeping down the curve of her back.

A CU of Nikita, a little half-smile, a gleam in her eye.

Back to a shot of Michael, now running the probe down the back of her legs to her feet.

MICHAEL: (holding one ankle with his free hand) Lift, please.

Head down, eyes up, Nikita lifts her left foot back toward him. He runs the probe along it. She shivers a bit, as if it tickles. He puts the foot down, letting his hand slide up her calf just a bit.

MICHAEL: Other foot.

He repeats the procedure with the other foot. When finished, he moves around to the front of her. He kneels again, facing her knees, and begins running the probe along her legs--outer side, then inside. He looks completely, totally absorbed in his task.

A shot of Nikita, looking down at him.

He stands up. He is very close to her, almost nose to nose, but without any actual contact, and with no expression.

MICHAEL: Your left arm, please.

She lifts her arm. A shot of Michael from behind Nikita as he runs the probe along the inside of her arm, her armpit, her side.

MICHAEL: (once again, nose to nose) Right arm.

A shot of Nikita from behind Michael as he checks under her right arm. She looks to the ceiling at first, but as he moves the probe down, she looks toward his hands.

A profile shot of the two of them, face to face. Michael looks down. He begins the probe search down the front of her. A close up of Nikita's eyes fluttering and her head falling slightly back. Her mouth opens, and her breathing ...

Then, her face. Michael, still completely absorbed, runs the probe along her forehead, her cheeks, her neck.

MICHAEL: Open.

She opens her mouth. He runs the tip of the probe along her teeth and gums, and then down her tongue.

He slides the probe out.

MICHAEL: You're clean.

NIKITA: Really.

He turns away, toward the lab table, and begins removing the probe needle. Nikita stands where she is, hands on hips.

NIKITA: So, Michael, who gets to sweep you?

He continues working: replacing the probe needle.

NIKITA: The twins?

He turns and hands her the probe. She takes it, surprised.

Then, without a word, he starts unbuttoning his shirt.....

CUT to outer room. The bodybuilder Extra Op now stands, arms crossed and shivering. He looks cold and scared. The Girl Geek looks up at the light over the inner door--and then at her watch. The Extra Op shifts from foot to foot. The Girl Geek ignores him.

CUT to inner room. Now Michael is also naked, and he is the one standing under the light. Nikita contemplates him, head to the side, her hand wiggling the probe in the air. She looks him over from top to bottom.

NIKITA: You are a man of amazing self-control, Michael.

She walks around behind him, as if examining a statue in a museum. He stands perfectly still. When she reaches his back, she begins the sweep--only she uses her fingers to precede the path of the probe. First her fingernails comb his hair in the back, and then the tips of her fingers running down his back.

CU Michael, his jaw working.

A shot of Nikita running her hands and then the probe down the sides of his legs, and then back up again.

A shot from in front of Michael, Nikita still behind him. She runs a hand and then the probe up his outer arms to his shoulders, and then up his neck. She sweeps slowly down his shoulder blades and then she steps back.

The probe falls from her hands. She steps in very close behind him, pressing herself against him, and she moves her hands under his arms to the front of his chest.

Michael closes his eyes and lets his head fall back as her hands slide along and then down his chest.

Her lips against his shoulder, Nikita smiles. She reaches up on tiptoe and puts her mouth against his ear. She gives the outer rim a small lick and then murmurs.

NIKITA: Maybe not so much self-control after all.

CUT to outer room. The bodybuilder Extra Op is almost blue with cold. Finally, the buzzer and the light go off.

GIRL GEEK: Go inside.

The bodybuilder Extra Op hustles inside.

CUT to inner room. A man in a lab coat stands at the table. He turns. It's the Boy Geek. He holds a probe. Michael and Nikita are nowhere to be seen.

CUT to hallway. O'Brien stands in line, looking at his watch. Finally, he gives up and walks away.

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

SCENE: BELL'S ROOM. Bell sits on the bed, staring at the photograph of his grave. The door opens, and he looks up. O'Brien steps in and closes the door.

O'BRIEN: What the hell are you doing here, Jack?

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

ACT III

SCENE: "BELL'S" ROOM. "Bell" is actually Jack Shaw, O'Brien's friend in the CIA, the one he sent the letter to. From this point on he will be referred to as Shaw. The scene opens just after O'Brien's entry into the room. The room is Section spartan: a bed, a chair, a desk, and not much more. Shaw, on O'Brien's entry, leans back on the bed, his hands behind his desk, surprisingly at ease.

SHAW: What do you mean what am I doing here? You're the one who sent the SOS.

O'BRIEN: Yeah, but how? And who else knows about this?

SHAW: Well, you made it clear in your letter that this was not the sort of thing to take to the top brass, so I called some of my former colleagues--

O'BRIEN: Former?

SHAW: Yeah--didn't you know? The Agency gave me the boot right after you disappeared. Never did get a good explanation, but fortunately, I was able to call in a few markers and sign on with the FBI. And, fortunately, there's a dimwitted secretary at the Agency who still forwards my mail.

O'Brien sits down heavily into the room's only chair.

SHAW: Don't worry, Marco. We've kept this a strictly low-level investigation. Only five of us are in on it: my partner at the Bureau and some other guys I know I can trust from the Agency. (He grins.) Sort of our own little interagency task force, investigating extralegal government activity.

O'BRIEN: What about Bell?

SHAW: (shrugging) We got him stashed away. After reading your letter, I checked the bios of the death row inmates in several states and decided that Bell was the best candidate for "recruitment." (airily confident) From there it was a simple matter of exchanging his pictures for my pictures, his prints for my prints, and of course him for me.

O'BRIEN: You sent the transmission.

SHAW: (opening his mouth) Homing device, to let the guys know where I was. As soon as they zero in on it, we call in the cavalry. (He sits up and swings his legs over the side of the bed.) Cheer up, Mark, you're about to become a national hero.

O'BRIEN: (slowly, meaningfully) We're five hundred feet underground, Jack. Your homing signal disappeared a hundred feet up.

SHAW: We're THAT far down?

O'BRIEN: Yes. And any minute now a Section operative is going to come through that door and give you the most thorough physical you've had since the army. They'll find your homing device, and then they'll cancel you. You won't see the sun set today, Jack, and the cavalry will be left holding their horses.

SHAW: (confidence gone) So what do we do?

CU O'Brien, frowning.

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

SCENE: MICHAEL'S OFFICE. Michael and Nikita sit across from each other. They are drinking coffee, cupping their mugs with both hands and watching each other over the rims. They exude satisfaction and repletion. If this were a 1940s movie, they'd be smoking cigarettes. As is, they are enjoying just looking at each other, and remembering.

After a few moments of just gazing, Nikita finally speaks in a low murmur.

NIKITA: (with a small smile) We should take vacations more often.

MICHAEL: (smiling with his eyes) Yes. I think you're right.

Nikita hides her smile in her coffee cup. Michael watches her take a sip, and then glances out his window. He sees Bug #3 standing there, looking at Nikita.

MICHAEL: I wonder what he wants.

Nikita looks out the window. Bug #3 frantically waves at her.

NIKITA: (sighing) I'll go see.

She gets up and sets her cup down on his desk.

NIKITA: Thanks for the coffee.

Michael reaches over to take the cup, letting his hand caress hers as he does so.

MICHAEL: Any time.

She smiles and leaves. We watch through the window with Michael as she goes up to the Bug. He starts telling her something, obviously very nervous and excited. Nikita frowns. She says something to him like "wait here" and then returns to Michael's door.

NIKITA: We've got a problem.

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

SCENE: BUG ROOM. The room is small, cramped, and littered. The Playboy centerfolds and the picture of the X-Files Lone Gunman are still tacked up, along with a huge picture of Xena. Michael and Nikita stand behind Bug #3 at his computer terminal, while Bugs #1 and #2 cower in the corner, awed by their visitors and a little embarrassed by the condition of their room.

BUG #3: (excited) It took me a while to put it together. I remembered seeing his picture with a group of CIA agents after the Noriega operation, but I wasn't sure if it was the Miami Herald or the Tampa Tribune.

MICHAEL: That was years ago.

NIKITA: Bobby has a photographic memory.

BUG #3: Billy. Anyway, I finally tracked it down.

He hits a button and, sure enough, there's a picture of Shaw with other agents in the background behind Noriega. Bug #3 looks up at Nikita for approval. She gives him a half-smile back and looks at Michael.

NIKITA: Our new recruit works for the CIA.

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

SCENE: SHAW'S ROOM. Shaw is still seated on the bed when the door opens and Michael and Nikita enter. The door closes behind them.

MICHAEL: Mr. Bell, I believe we have some things to discuss before you begin your training tomorrow.

O'Brien steps out from behind the door, where he was hiding.

O'BRIEN: There won't be any training.

Michael and Nikita turn. O'Brien has a nine-millimeter trained on them. Shaw rises from the bed and joins him at the door.

NIKITA: O'Brien, what are you doing?

O'BRIEN: I'm just doing my job, Nikita. Being a good cop.

NIKITA: Don't do this--

MICHAEL: You'll never get out of here alive.

O'BRIEN: Maybe not. But when I get to the other side, I'll be able to look into the eyes of all those cops who died on that boat and not feel as if I lit the fuse.

MICHAEL: And what about the children?

O'BRIEN: What children?

MICHAEL: The ones who are going to die from a chemical weapons attack because of what you're doing.

O'BRIEN: Nice try, Michael.

NIKITA: Listen to him, O'Brien.

O'Brien's gun wavers a moment.

SHAW: Don't let her sweet talk you, Marco. Let's get out of here.

O'Brien's points the gun at a point over the bed--a small hole in the wall. He shoots.

O'BRIEN: Sorry, Nikita. By the time they realize surveillance on this room has been disconnected, we will have finished what we need to do.

Shaw and O'Brien leave the room. There's the sound of a lock. Nikita rushes the door, but she's too late. Frustrated, she pounds her palm against the door.

NIKITA: Damn it! (She turns to Michael and starts venting on him.) I told you something was wrong with that guy! Didn't I? Didn't I?

MICHAEL: (gritting his teeth a little) Yes, you told me.

He climbs onto the bed to examine the former peephole.

NIKITA: (impatiently) Well?

MICHAEL: (stepping off the bed) Nothing. The camera's destroyed.

NIKITA: So what do we do?

MICHAEL: (annoyed) I guess we wait until bedcheck.

Aggravated, Nikita starts pounding on the door.

NIKITA: HEY! Anybody! Get us out of here!

Michael comes over and stops her hand.

MICHAEL: Soundproof, Nikita. Remember?

With a useless gesture of frustration, Nikita jerks away and plops down on the chair.

NIKITA: (steamed) Yeah, I remember.

Michael crosses his arms and leans against the door, watching her.

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

SCENE: BASEMENT HALLWAY. Shaw and O'Brien stare at the door to the MST rooms.

SHAW: Do you have clearance?

O'BRIEN: I'm not sure.

SHAW: You're not sure?

O'BRIEN: What can I tell you? This is definitely a need-to-know operation.

O'Brien approaches the key pad on the door and types in a number. The door lock opens.

O'BRIEN: Guess I do.

They enter the MST hallway. It's a long, dark corridor, lined with closed doors that have only the smallest of windows. Shaw and O'Brien make their way down the hall, peeking surreptitiously into windows, occasionally ducking. Finally, O'Brien makes a "here" movement to Shaw. Shaw joins him. O'Brien opens a door slowly. They go inside.

Just as that door closes, another one further down opens. It's Bug #3. He's smiling, happy, humming some cheesy tune like "Feelings." He smooths down his hair and breathes into his hand to check his breath--on his way to look for Nikita. He passes the door O'Brien and Shaw entered and never gives it a look.

CUT to inside the room O'Brien and Shaw entered. It's another MST surveillance room, only this one is clean and neat. It is also empty. O'Brien and Shaw look around.

O'BRIEN: We need a--yes, here. (He sits down at a terminal.)

SHAW: What is it?

O'BRIEN: It has a cable TV connection. We should be able to patch into it--(his voice trails off as he concentrates on what he's typing.)

SHAW: (surprised, admiring) Jeez, Marco, when did you get to be a cybergeek?

O'BRIEN: (grimly) Section One is very thorough with its training.

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

SCENE: SECTION ONE MAIN AREA. Ops is consulting with an Extra Op while Birkoff mans his computer.

OPS: No, he's still got a few more hours before his check-in is overdue--

Suddenly, an alarm sounds.

BIRKOFF: Damn it!

OPS: What is it, Birkoff?!

BIRKOFF: Trouble. Looks like our long-distance caller found a way to reach out and touch someone.

OPS: How?

BIRKOFF: Hard to trace. The transmission was terminated almost immediately.

OPS: (narrowing his eyes) Someone is sending up a beacon.

BIRKOFF: sir?

OPS: That's it. We're at closed quarters. Call in all teams and activate the duck blind.

BIRKOFF: (with dread) Uh, sir, the, uh, the duck blind is inoperative at the moment.

OPS: WHAT?!

BIRKOFF: (hurriedly) It's being upgraded. One of the systems we're upgrading--

OPS: You know what this means, Birkoff?

BIRKOFF: Yes, sir.

OPS: It means Section One is exposed.

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

ACT IV

SCENE: SHAW'S ROOM. The furniture has been moved around. The desk and chair are in the center of the room, and the bed has been pulled away from the wall, obviously the result of Michael and Nikita's efforts to find a way out of the locked room

When the scene opens, Michael is kneeling down examining a vent that was behind the desk. Nikita is walking around the room, restless. Finally she falls back on the bed and stares darkly at the ceiling.

Michael stands up and looks over at her. There is something in her expression that disturbs him. He goes over and sits on the bed beside her.

MICHAEL: What are you thinking about?

NIKITA: (shrugging) This and that.

He reaches out and rubs her shoulder with the back of his index finger.

NIKITA: (looking around the room with just her eyes) This room.

MICHAEL: What about it?

NIKITA: I spent two years in a room very much like this. Two years--

Michael hesitantly takes her hand in his, holding it between his palms and stroking it lightly. It is an invitation to open up.

NIKITA: Two years of being--angry. And afraid--

MICHAEL: Of what?

NIKITA: Of everything. (a pause, and then a look at him) Of you.

His hand stops moving.

MICHAEL: Are you still?

NIKITA: Afraid? No. (then, a weak smile) As for angry, well...

MICHAEL: (his voice thick and serious) You know, don't you, that if I had a choice--

She sits up. They are face to face.

NIKITA: I know, Michael.

She reaches up and runs her free hand lightly down the side of his face, and then threads her fingers into his hair, clutching it. He stares at her, wide-eyed and searching.

NIKITA: (fiercely) I know.

He leans forward, as does she, and their foreheads slowly rub against each other. MUSIC begins: Katell Keineg's "Smile." During the opening instrumental part, the camera goes from an extremely tight close up to a full shot from across the room, giving the sense that they feel as if they are completely alone in the world, on a solitary island in the middle of chaos.

Back to a closer shot. His hands slide up and around her waist, palms flattened as if to gather in all the warmth he can. Keeping her fingers locked in his hair, she turns her head so her lips are a fraction from his. For a moment they just breathe, and then, in sync, their lips move together, and Nikita is falling back onto the bed, pulling Michael down with her.

"Holy Moses--can't recall it / Too far from the field / Holy magazine / unengenderable fate / is pushing through us to procrastinate--"

CUT TO SECTION MAIN AREA. (Keineg's song continues over this whole sequence) Birkoff is working frantically with other ops at his computer station; Ops is consulting with other ops. The scene is controlled chaos, with operatives coming and going. Madeline stands near Birkoff, watching the proceedings with her arms crossed.

O'Brien enters, looking edgy and nervous. He spots Madeline, the only one who doesn't look busy, and he crosses to her.

"Surely I am known / oh lordy Romeo--"

O'BRIEN: What's going on?

MADELINE: Birkoff is trying to get the duck blind back on line.

O'BRIEN: Duck blind?

MADELINE: It's a hologram of a brick wall that covers our entrances when we close quarters.

O'Brien looks over at Ops, who has dismissed the extra ops and is now approaching Birkoff for a report.

"I've got everything I need now / I've got everything I can deal with--"

Ops has approached Birkoff's station and stands looking up at the monitors over Birkoff's head. O'Brien and Madeline are within listening distance.

OPS: (to Birkoff) Anything?

BIRKOFF: (glancing up at the monitors) No. Video surveillance of the entrances shows no penetration of the first level.

"I've got everything I / I've got everything I / I've got everything I / Got it all--"

OPS: No penetration yet. They'll come, count on it. (He looks around at Madeline.) Where the hell is Michael?

CUT TO SHAW'S ROOM. What was gentle and comforting has turned edgy, urgent, and a little desperate. Michael is pulling Nikita's shirt off her shoulders, impatiently getting it out of the way of his lips as they run down her neck. Her head falls back, her face contracting with a mixture of pain and pleasure.

"Smile--oh everything looks all right / Smile--oh, everything looks all right / Smile--oh, everything looks all right / Smile---Smile---Smile--"

CUT TO SECTION MAIN AREA. Ops, Madeline, Birkoff, and O'Brien are all frozen, watching the monitors. A shot of the monitor screens shows Section's entrances: a warehouse, an alley, a parking garage, and others. The surveillance cameras are panning the area.

BIRKOFF: There. The Plaza Street entrance.

A shot of the warehouse monitor: there are four men, all carrying guns, two carrying small cases, walking around the warehouse, checking it out.

OPS: (his eyes never leaving the monitor) Are all teams in?

BIRKOFF: Not yet. Two teams from the Szu stakeouts have yet to report in.

OPS: We'll have to leave them out in the cold. Cut off the elevators and lock down all stairwell entrances.

BIRKOFF: Yes, sir. (He starts typing on his computer.)

Birkoff types furiously on his terminal. Behind him, we can see that Bug #3 has entered the area and is looking around.

"Shattered off the brink / Tell me what you think / Why take this long / Holy (something)--"

O'BRIEN: (stepping up to Ops) You pulled ALL the teams in?

OPS: (impatiently) That's what closed quarters means, O'Brien.

O'BRIEN: But the schools are unprotected. If that lunatic makes a move--

OPS: (grimly) Then we hope it's during recess.

O'BRIEN: How can you say that?

OPS: (turning and giving O'Brien his full attention) I say that because I have to. I hate this as much as you, O'Brien, but the fact remains that the only way we can do our jobs is to maintain secrecy. At all costs. Do you understand?

The two men stare each other down.

"Therein written on your face / (something) and the line that I won't forsake--"

Bug #3 has slithered up to Birkoff's station.

BUG #3 (whispering) Birkoff--have you seen Nikita?

BIRKOFF: (really busy) No, I haven't.

"Cuz I've got everything I need now / I've got everything I could possibly deal with--"

Birkoff looks up at the monitors. A shot of the warehouse monitor. The men have found the entrance: a pair of double doors without doorknobs in a recess in the wall. One of the men is opening a small case.

BIRKOFF: Sir, they've found the entrance. It looks like they're going to try to blast through.

CUT TO SHAW'S ROOM. A sudden flip, and Nikita is leaning over Michael, running her lips and tongue quickly, hungrily, down his chest. He is watching her with an almost painful longing, as if wanting it to go on and on but knowing that time is short and the place dangerous.

"I've got everything I / I've got everything I / I've got everything I--"

He grabs her head and pulls it up to him. Another flip, and he is kissing her hard, all teeth and tongue, pressing her down into the bed.

"I've got everything I / Got it all--"

He raises his head, and they stare into each other's eyes...and then both of their heads rear back slightly, their mouths opening, a sharp, keening intake of breath, of pleasure....

"Smile--oh everything looks all right / Smile--oh everything looks all right / Smile--oh everything looks all right / Smile---Smile----Smile--"

CUT TO SECTION MAIN AREA. O'Brien is running his hands through his hair, looking desperate. Ops, Madeline, and Birkoff are watching the federal agents on the monitor. The agents on the monitor back away from the entrance door. There is a small explosion, and the door swings open.

BIRKOFF: They're in.

They all watch, as if mesmerized. Two of the agents pull out cell phones and dial numbers.

OPS: Tap into those calls, Birkoff. We need to know who we're dealing with here.

O'Brien steps forward.

O'BRIEN: They're federal agents. Probably calling for back up.

Ops turns slowly, menacingly, toward O'Brien. (Instrumental part of song here)

OPS: Run that by me again.

O'BRIEN: I helped call them in.

OPS: Helped who?

O'BRIEN: His name is Jack Shaw. He's a federal agent, undercover here as a new recruit.

A shot of Bug #3, his eyes narrowing. He heads for the outer door.

OPS: Let's start at the beginning.

"Smile--oh, everything is all right--"

CUT TO SHAW'S ROOM. Michael and Nikita are twisting and turning, rocking to and fro, in the throes of passion.

"Smile--oh, everything is all right--"

CUT TO BASEMENT ELEVATOR. Bug #3 gets off the elevator and heads for the residence hall.

"Smile--oh, everything is all right--"

CUT TO SHAW's ROOM. Nikita and Michael holding still, quivering, at the peak...

"Smile----smile----smile---"

CUT TO BASEMENT HALLWAY. Bug #3 arrives at Shaw's door and reaches for the doorknob.

MUSIC stops. A point of view shot from Bug #3: he sees Nikita and Michael standing behind the desk in the center of the room. They are a little red-faced and tousled, breathing a little hard, but their shirts are neatly buttoned up.

NIKITA: Bobby. Great. We've--uh--we've been locked in here.

BUG #3: (a bit uncertain of what he walked in on) Uh--Billy. Uh--you better get upstairs. They need you.

NIKITA: OK. Sure. We'll be right there.

A little confused, Bug #3 steps back.

A shot from behind Michael and Nikita. They are wearing their shirts but nothing else.

Bug #3 looks back at them, and then he walks away, leaving the door ajar.

Michael reaches over to take Nikita's hand. He holds it tight.

A head and shoulders profile shot: they look at each other.

MICHAEL: Let's go.

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

SCENE: SECTION MAIN AREA. Ops, Birkoff, and Madeline are still grouped around the monitors. O'Brien is standing back away from it all, his head down.

BIRKOFF: They're about to breach the second level, sir.

OPS: If they make it to the fifth level--

From the hallway, a Section guard brings in Shaw. O'Brien looks up, and he and Shaw make eye contact. O'Brien looks away first.

OPS: (as guard and Shaw reach him) So this is our mole, is it? Well, you're in time to watch a suicide mission. (He is not being cruel so much as being angry at being put in this position.)

O'Brien looks away from the central area and sees Michael and Nikita hurrying in. They stride quickly to Birkoff's station.

MICHAEL: (to Birkoff) How far have they gotten?

BIRKOFF: They just broke through the second level lockdown.

MICHAEL: The garage.

BIRKOFF: Yes.

MICHAEL: Good. It'll take them a while to check it out, and there's nothing for them to find but empty vans.

OPS: You have an idea, Michael?

MICHAEL: (abruptly) Yes. (then, to Birkoff) Is the emergency infirmary on the fifth level still operational?

BIRKOFF: Operational? You mean, do we have equipment and stuff there? Sure--

MICHAEL: (looking up and seeing O'Brien) Good.

Michael starts walking toward O'Brien, issuing orders to Birkoff.

MICHAEL: We're going to need lab coats, I Ds, charts--oh, and a sign.

He stops in front of O'Brien and looks him straight in the eye.

BIRKOFF: What do you want the sign to say?

MICHAEL: Section One, of course.

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

SCENE: EMERGENCY INFIRMARY. It looks like an emergency room or medical clinic, complete with a reception area and a hallway leading to patient rooms. Section One uses this area in case of extensive casualties.

An Extra Op dressed as a nurse sits at the reception desk. Directly across from her desk is a door.

Suddenly, the door bursts open, and the four federal agents jump in, weapons drawn. The "nurse" looks at them, open-mouthed.

Nikita appears from their left. She wears a white lab coat with a stethoscope around her neck. In her hands is a medical chart. With dark-rimmed glasses and a severe hairstyle, she looks like a doctor.

NIKITA: (with authority) Can I help you gentlemen?

The agents stop, confused. They lower their guns, look at each other, and then look back at Nikita.

AGENT #1: Uh--what is this place?

NIKITA: (drily) It's a hospital.

AGENT #2: A hospital? Down here?

NIKITA: (sternly) Could I see some identification, please?

Again, they exchange looks, and then Agent #1 pulls out his badge.

AGENT #1: FBI.

Nikita takes the badge and pretends to give it the once over. Out of the corner of her eye, she sees the "nurse" give her an all-clear sign. She hands the badge back.

NIKITA: And what business does the FBI have here?

AGENT #1: We're looking for a man named Jack Shaw.

NIKITA: (obliquely) Jack Shaw.

AGENT #2: Lady, we know he's here, so don't try and snow us.

NIKITA: (after a pause, as if she is debating) All right. Yes. Mr. Shaw is here. He's one of our patients.

AGENT #1: What do you mean, one of your patients?

Nikita purses her lips and looks at the chart she's holding. She sighs.

NIKITA: Come. I'll show you.

She heads down the hallway without looking to see if they follow. They do.

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

SCENE: "HOSPITAL" ROOM. Shaw is strapped to a hospital bed. Michael, dressed as an orderly, sits beside him, reading a magazine. Shaw is moving his head around, as if he is drugged.

Nikita enters with the four agents.

NIKITA: Michael, Mr. Shaw has visitors.

Michael stands and puts the magazine down.

NIKITA: How's he doing?

MICHAEL: (shrugging) In and out. He thought I was J Edgar there for a while. I told him I was J Elvis.

AGENT #1: (moving to stand next to Shaw's bed) What's wrong with him?

Shaw moves, as if recognizing a voice.

NIKITA: Mr. Shaw suffers from paranoid schizophrenia.

AGENT #2: Oh, come on, that's nuts--

NIKITA: (icily) We don't use that term here.

Agent #1 leans down and talks to Shaw directly.

AGENT #1: Jack--Jack. It's me. Can you hear me, Jack?

A point of view shot from Shaw. The drugs make everything looks hazy and wobbly.

O'BRIEN'S VOICE: Hey, Jack, they're coming to get you--

SHAW: (jerking) Marco, where are you? Marco--

AGENT #1: Where is Marco, Jack?

A close up of the wild-eyed Shaw. Then, a small pan, and we see a comm piece behind his ear.

CUT to Section Main area. A miserable O'Brien, sitting next to Birkoff, whispers into a microphone.

O'BRIEN: They cancelled me, Jack. I'm gone. And they're coming to get you now--

CUT back to "hospital room." Shaw is jerking around, trying to get off his restraints.

SHAW: (looking at Agent #1) Marco, no, don't let them--don't let them take me--

MICHAEL: Hey, any of you guys know who this "Marco" is?

AGENT #1: (standing up straight, looking sad) A friend of his. He disappeared a few years ago-- presumed dead. Jack told us he'd heard from him. Told us this crazy story-- He breaks off, obviously upset.

AGENT #1: (patting Shaw's arm) You take it easy, Jack.

SHAW: (thrashing against his restraints) NO! DON'T! I WON'T LET YOU--

NIKITA: I think we should leave now and let Mr. Shaw get some rest.

Reluctantly, the agents head for the door. Nikita exchanges a look with Michael and follows them out. Michael sits back down and looks at Shaw with regret.

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

SCENE: RECEPTION AREA. The agents and Nikita arrive back at the reception desk. Nikita hands the chart to the "nurse." Agent #1 walks to the door, while the others hang back a bit. Agent #1 stops to read a sign by the door.

AGENT #2: I still don't understand what the hell a mental hospital is doing way down here. And why it takes a damn tank to get in.

AGENT #1: I think I do.

They all turn, and he points to the sign. A close up of the sign: CENTRAL INTELLIGENCE AGENCY PSYCHIATRIC SECTION ONE.

NIKITA: As you all well know, we take care of our own.

The agents exchange defeated looks. They exit.

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

EPILOGUE

SCENE: SECTION HOLDING CELL. Not a torture room, but not a pleasant room either. It is small and dark, with just a cot. O'Brien sits on the cot, knees drawn up, head against the wall.

The sound of a key in a lock, and the door opens. Nikita enters.

O'BRIEN: Deja vu.

Nikita enters slowly and sits beside him on the cot.

O'BRIEN: So is this it? Do I get the big "C" on my forehead?

NIKITA: (slowly) Operations isn't convinced you can do this job.

O'BRIEN: A smart man.

NIKITA: He's afraid you're too good a cop to make a good operative.

O'BRIEN: You know, that's almost funny. When I was a cop, mostly what I felt was frustrated. All the rules and regulations....What got me through training was the thought maybe here I could do the things I always wanted to do as a cop. I wouldn't need evidence and search warrants and probable cause, all that legal crap. If I knew a guy was dirty, I could just -- (makes a small sweeping gesture with his hand) take him out. No questions asked.

They sit in silence for a few moments.

NIKITA: Operations has agreed to give you a second chance. If you successfully complete a particular job, you will be reinstated as an operative. On probation.

O'BRIEN: Bet you had to do some fast talking to get him to agree to that.

Nikita doesn't answer. She just looks at him.

O'BRIEN: Why are you bothering with this?

NIKITA: We all need someone to watch our backs.

O'Brien thinks, and then sighs and sits forward.

O'BRIEN: What's the job?

*********

SCENE: SECTION MAIN AREA. Nikita watches as O'Brien, carrying and reading a file, heads out of the main area, down one of the halls. She looks up at the shadowy figure of Operations, watching her from above.

Operations looks away first.

She turns away and finds that Michael has come up behind her.

NIKITA: Did we get Szu?

MICHAEL: Yes. And his chemical weapons supplier. Everyone's safe.

NIKITA: (sadly) Good.

MICHAEL: What's wrong?

She looks at him, her eyes filling with tears.

NIKITA: Nothing, I--

He leans forward, touching her arm.

NIKITA: (whispering in a pained, almost plaintive voice) I just--I just could really use a little vacation tonight.

He squeezes her arm tighter, an "I understand" gesture. He steps aside for her to precede him. With a look over her shoulder at the hallway O'Brien entered, Nikita walks away. Michael follows.

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

SCENE: TORTURE ROOM. Shaw is asleep on a gurney. The Boy Geek is injecting him and unlocking the restraints.

The Boy Geek leaves. Shaw's eyes flutter open. He looks around.

He sees O'Brien in the chair beside him.

O'BRIEN: This is Section One. This is where you will train, where you will learn...

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