OPENING TEASER

SCENE: Courtroom. A hearing is in progress. The defendant is Joey Barrow, a skinny, whiny weakling, the son of a mobster. His attorney is arguing to have the case dropped.

DEFENSE COUNSEL: Clearly, your honor, the state had insufficient grounds for its search warrant, and therefore all evidence accrued as the result of that warrant is fruit of the poisonous tree. This case should be thrown out.

PROSECUTOR: (angrily) Your honor--

JUDGE: Save it, Mr. Prosecutor. Defense is right. All evidence resulting from the search warrant is out. Do you have anything else?

PROSECUTOR: (angry, but resigned) Not at this time, your honor.

JUDGE: Then all charges are dropped. (He bangs the gavel.)

JOEY: (strutting a bit) Yeah, you tell him, Judge.

The judge gives him a mean look, and then leaves the courtroom. Joey turns to his attorney with a grin.

JOEY: All right. A Barrow beat the system again, huh, Dave?

DEFENSE COUNSEL: Your father beat the system. He put in a call to the judge. (He packs up his briefcase and closes it with an impatient snap.) But he's not paying off your bookie. THAT system you'll have to beat yourself. (He exits.)

Joey rolls his eyes and follows the attorney out. The camera follows him, but then pauses to show Michael, in a corner of the courtroom.

******

SCENE: STREET, DAY. Joey is swaggering down street. As he passes an alley, though, he is suddenly grabbed by two thugs. They drag him into an alley and throw him against a wall, near a row of garbage cans.

JOEY: Hey, easy on the suit, man--

THUG #1: If I were you, Joey, I wouldn't be worryin' about no suit. (He punches Joey in the gut.)

JOEY: (bent over, coughing) I'm gonna get the money, I swear! My old man--

THUG #2: (hitting him across the jaw) We heard your old man cut you off, Joey.

JOEY: That's not true--(he is hit again)--OK, OK, so he's pissed right now. But he always gets over it--

He is smacked again. Then, suddenly, someone grabs Thug #1 and throws him over to the garbage cans. It's Nikita. She then punches Thug #2, sending him sprawling. Thug #1 is up, and she kicks him in a "sensitive" spot. Thug #2 is up and she high kicks him in the chest and then low kicks him for good measure. The two thugs beat it, and Nikita turns to Joey, who has slumped to the ground.

NIKITA: (kneeling beside him) You all right?

JOEY: (trying to straighten up) Uh, yeah, sure. Hey, didn't even break a sweat--

A cough interrupts his sentence. Nikita takes his arm and helps him up, then half carries him toward the street.

JOEY: Hey, lady, I can walk just fine.

NIKITA: Yeah, but can you duck?

JOEY: Duck?

The van pulls up and the door opens. Michael is in the doorway. Nikita pushes Joey into the van (using her hand to help him duck his head). Michael grabs him and pulls him in, and then closes the door. The van drives away.

Nikita straightens her clothes and looks around. The two thugs approach her from behind. She hears them and turns quickly.

THUG #1: Need a ride back to Section, Nikita?

NIKITA: Yeah, sure, thanks Alan.

ROLL OPENING CREDITS

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

ACT I

SCENE: Torture Room. Joey is strapped to a chair and blindfolded. The Torture Geeks stand perfectly still on either side, yellow briefcases at the ready.

JOEY: All right, I know you're there--I know it! I can hear you breathing! Look, I want my phone call and my lawyer NOW! You hear me? I got rights, you know! My father is gonna--

The door creaks open. Madeline enters and stands in front of him.

JOEY: (still blindfolded) All right, who's that? I heard someone come in! What's with you people?! Are you all deaf or something? Can't you hear me?! TAKE THESE DAMN THINGS OFF!

Joey nearly goes into a lather straining against his restraints. Madeline tilts her head and watches, like a scientist examining a specimen. Finally, Joey collapses.

JOEY: (nearly whimpering) What do you want from me?

MADELINE: (to the Torture Geeks) I don't think I'll be needing you after all.

GIRL GEEK: Are you sure?

MADELINE: (looking at Joey again) Yes.

The Geeks pack up and leave. Madeline reaches over and delicately pulls off Joey's blindfold.

MADELINE: Hello.

Joey squints at the sudden light.

JOEY: What do you want?

Madeline smiles.

**********

SCENE: Conference room. Ops is giving a briefing to Madeline, Michael, Nikita, and Extra Ops.

OPS: (hitting the video screen button) Sergei Federov is an up-and-comer in the Russian Mafia, with ties to a Columbian drug cartel and assorted terrorist groups in Eastern Europe. Currently, he is trying to broaden his power base by allying himself with the U.S. Mafia, specifically a man named (click of the video screen) George Barrow, one of the biggest crime bosses in the west. Barrow's power base is his casino in Las Vegas, La Cigna, where next week he plans to meet with Federov and work out the details of their alliance.

MICHAEL: What kind of alliance?

OPS: Federov hopes to build Russian Las Vegas and needs Barrow's manpower and expertise, not to mention his equipment.

MICHAEL: And our job is to break up the alliance.

OPS: In a manner of speaking. Federov would prove a valuable link to the Russian underworld. We need him alive and well--and working. (small smile) Only we want him working with US and not the mob. (To Madeline) Is our guest ready to assist us?

MADELINE: Oh, yes. Quite ready.

OPS: Good. Then let's get to it.

The meeting breaks up.

NIKITA: (under her breath) Oh, great.

MICHAEL: (hearing her) What's wrong?

NIKITA: Nothing. I just hate Las Vegas.

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

SCENE: (LA CIGNA HOTEL/CASINO). The scene opens with a slo-mo pan of the casino slot machines and tourists. MUSIC begins (Natalie Merchant's "San Andreas Fault"):

"Go west
paradise is there
you'll have all you can eat
of milk and honey over there--"

Cut to a shot of a woman's feet in spiked gold heels. Slowly, the camera pans up, and we see tight, shiny red stretch pants and a gaudy red and gold shirt with a large gold pendant hanging from the woman's neck.

"You'll be the brightest star
the world has ever seen
sun-baked slender heroine
of film and magazine--"

When the camera reaches the woman's face, she is turning--slow motion--away from the casino area behind her toward the bar in front of her.

"Go west
paradise is there
you'll have all that you can eat
of milk and honey over there--"

Behind the bar is a mirror, and the woman examines her reflection with a cold, calculating eye. She is early 50s, with stiff bleached-blond hair. The clothes are too loud and too young for her, but this woman is not going into middle age gracefully. She wears strong make-up (bright red lipstick, boldly lined eyes) and dangly earrings; her fingernails are sharp, red, and long. This is a a woman with experience, a hard edge--cold, predatory, self-absorbed. She's had a "life" and is pretty bitter about it.

"You'll be the brightest light
the world has ever seen
the dizzy height of a jet-set life
you could never dream--"

Her name is Beverly, Bev for short. She is Nikita's mother.

She lights a cigarette with a practiced hand, blows the smoke up into the air, and (still looking in the mirror) lets her eyes wander to the room behind her.

"Your pale blue eyes
strawberry hair
lips so sweet
skin so fair
your future bright
beyond compare
it's rags to riches over there--".

And then, suddenly, in the mirror, Nikita appears in slo-mo. Bev, her cigarette halfway to her lips, freezes and stares.

"San Andreas Fault
moved its fingers through the ground
earth divided
plates collided
such an awful sound--"

Nikita is walking beside Michael, her hand in his bent arm, and behind Joey, who is leading them through the casino. She is wearing a simple, elegant white suit, looking as rich and ethereal as she did in Verdict. Bev turns slowly and watches as they reach the last row of slot machines and pass into the elevator hallway. They get onto one of the elevators.

"San Andreas Fault
moved its fingers
through the ground
terra cotta shattered
and the walls came tumbling down--"

Bev pushes away from the bar and heads for the elevators. The elevator door closes, still slo mo, on a smiling Nikita just before Bev reaches it.

"O promised land
O wicked ground
build a dream
tear it down--"

Bev stands there, watching the floor numbers light up. The elevator stops at the top floor.

"O promised land
what a wicked ground
build a dream
watch it fall down--"

********

SCENE: PENTHOUSE NIGHTCLUB. A softly lit, much more understated venue: the customers are the casino's more elite clientele, the rich and the classy, enjoying quiet private conversations. A piano plays softly. There is a small dance floor, currently unoccupied, and a space for a small band, which is apparently on a break.

From the elevators, Joey, Michael and Nikita enter. A man sitting at a large table in the very back of the club looks up: this is George Barrow, the mob boss, a virile, gray-haired man, nothing like his son. Behind him stands his bodyguard and beside him his lawyer. On seeing Joey, Barrow says something to his lawyer, who nods and reaches for a cell phone.

Joey confers briefly with Michael and Nikita, and then crosses the room to his father.

BARROW (to Joey as he arrives): Well, the prodigal returns. Again. How much this time?

JOEY: (smugly) I didn't come for money, Pop. I'm free and clear. All paid up.

BARROW: Paid up? I guess there's a first time for everything. How'd you manage it?

JOEY: Oh, I met some people--

The lawyer interrupts.

LAWYER: The plane has landed.

BARROW: Good. (to Joey) I don't like my son letting complete strangers pay his tab.

JOEY: (smirking) You'll like these people, Dad.

He looks back at Michael and Nikita, and Barrow follows his gaze.

BARROW: (to lawyer) Tell the driver to take the long way. I got a little family business to dispose of first.

*******

SCENE: AIRPORT. A limousine waits by the curb. The driver is standing beside it, talking on a cell phone.

DRIVER: Got it.

He hangs up just as Sergei Federov and two of his men exit the building. One man is thin and older--an attorney--and the other is big and burly--a bodyguard. Behind them, an airport baggage hop (actually, one of Section's Extra Ops) carries their bags. The limo driver goes up to Federov.

DRIVER: Mr. Federov?

FEDEROV: Yes.

DRIVER: Mr. Barrow welcomes you to Las Vegas.

The driver opens the back door and Federov gets inside, followed by his attorney. The bodyguard stays with the Extra Op to see that the luggage is stowed carefully in the trunk. The Extra Op manages to slip something surreptitiously into the bodyguard's pocket while accepting a tip. The bodyguard gets into the limo, as does the driver, and they leave. Close up of Extra Op's face.

EXTRA OP: All set, Michael.

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

SCENE: NIGHTCLUB: Michael and Nikita stand in front of Barrow's table. A twitchy Joey has just made the introductions.

BARROW: So you took care of my son's debts.

MICHAEL: That's right.

BARROW: Why?

MICHAEL: To get an introduction to you.

BARROW: And what's so special about me?

NIKITA: Sergei Federov.

BARROW: (after a pause) Have a seat.

Michael holds out Nikita's chair and she slips into it with a smile at him. She has her back to the elevators and the bar. Michael sits beside her. Joey starts to pull out a chair but stops when his father speaks.

BARROW: Joey, go play in the sandbox for awhile.

Resentfully, Joey heads to the bar, where he plops down and orders a drink. He looks over his shoulder at the far table, where Barrow, Michael, and Nikita are talking.

Back to the table.

MICHAEL: Nikita and I specialize in--uh--special assignments. Recently, we were contacted by an associate of Mr. Federov. He offered us (disdainfully) an adequate sum of money to eliminate Mr. Federov from the organizational chart. We turned him down, of course.

BARROW: Oh? And why of course?

NIKITA: (playing the bottom liner of the two, while Michael is the smooth talker) Because we thought our interests would be better served if Mr. Federov remained among the living.

MICHAEL: (smiling indulgently and taking her hand) You see, Nikita and I are growing rather tired of our itinerant existence, and are seeking a means to a comfortable retirement.

BARROW: And you expect me to pay for that retirement just because you claim to have a piece of unsubstantiated gossip?

MICHAEL: (smiling) Oh, of course not. We are, after all, professionals. No, we simply wish to offer our services during your negotiations with Mr. Federov. The first twenty-four hours will be a trial period, in which you are welcome to verify our references and judge our work firsthand. At the end of that period, we can discuss compensation for future employment.

BARROW: And how do you know about these alleged negotiations?

MICHAEL (speaking in fluent Russian) Because we have many contacts in the former Soviet Union.

BARROW: And what does that mean?

NIKITA: It means we're not stupid. (She smiles.) We're here, aren't we?

Barrow looks toward the elevators and sees Federov and his men arriving.

Cut to Joey at the bar. He also sees Federov arrive and then head across the room. Joey turns and his father meet Federov halfway. The men shake hands, and they head for the back table. Barrow never once looks at Joey, who sinks back into his drink.

A small commotion at the entrance draws his attention. He looks up and sees Bev, who apparently arrived on the same elevator as Federov. She has been detained by the maitre d' (she's not exactly their type of clientele) and is fuming. Finally, she gives in and heads for a seat at the bar, one at the farthest end, in shadow near the door. The maitre d' looks at her--and then shrugs and goes away. Bev looks around the room and spots Nikita, whose back is to her. Bev sits back, lights a cigarette, and then watches and waits.

During this scene, the band has returned and begins playing. A few couples wander to the dance floor.

Back at the table, the introductions have taken place. Federov has taken the seat beside Barrow. Federov's bodyguard stands against the wall, next to Barrow's bodyguard and near Nikita. Federov's attorney sits on the other side of Federov. Michael and Nikita retain their seats opposite Barrow.

BARROW: I trust you had a pleasant flight.

FEDEROV: (a big, hearty Russian) Oh, yes, most enjoyable. The caviar was much appreciated.

BARROW: (hand up to call for a waiter) And what are you drinking?

FEDEROV: Alexei can see to it. (to bodyguard) Vodka.

The bodyguard nods and heads for the bar.

FEDEROV: (to Nikita) Ah, but nothing could be as pleasant as to arrive in this country to such beauty. (Nikita smiles and inclines her head at the compliment.) And your name--it is Nikita? Such a Russian name, a name for Tolstoy--

MICHAEL: (in Russian)Which is much more preferable than a name from Dostoevsky.

Federov throws back his head and laughs, a big bear laugh. The bodyguard arrives with the vodka. He sets it down in front of Federov, then moves around the table, passing behind Michael and then Nikita. She looks up as he passes, reaching for her purse.

NIKITA: Uh, excuse me, do you have a light?

The bodyguard reaches into his pocket and a strange look crosses his face. He pulls out a small vial and looks at it mystified.

BODYGUARD: What--

Nikita pulls out a small gun from her purse and holds it on him, waist level, so the other nightclub patrons won't see it.

NIKITA: I'll take that.

She takes the vial and hands it to Michael, who opens it and sniffs the contents.

MICHAEL: Arsenic.

BODYGUARD: What!

MICHAEL: (to Federov) I wouldn't drink that if I were you.

He takes the glass of vodka, his palm over the top, and manages to slip something into it. -

BODYGUARD: I didn't do anything--I didn't put anything in that--

FEDEROV: (heartiness gone) Then you won't mind drinking it yourself.

The bodyguard looks at the faces around the table, and then down at Nikita's gun. He is a man torn--he knows he didn't do anything, but he also knows he being set up.

BODYGUARD: Give it to me.

Defiantly, he takes the glass and downs the vodka in one gulp. A moment later, he is choking and falling to the ground. Barrow's bodyguard catches him.

BARROW: Take him away.

FEDEROV: And do not bring him back.

Barrow looks over at Michael and Nikita and raises his glass in a small toast. Michael bends his head slightly in an "acceptance" gesture. The band begins playing "It Had To Be You." Michael then turns to Nikita.

MICHAEL: Would you care to dance, my love?

NIKITA: I thought you'd never ask.

Michael stands and pulls her chair out, planting a listening device on the chair as he does so.

MICHAEL: (taking Nikita's hand) We'll leave you gentlemen to discuss business.

They head for the dance floor, which has gotten much more crowded. With a bit of flourish, Michael pulls Nikita into his arms and they start slowly moving around the dance floor.

NIKITA: What are they saying?

MICHAEL: Federov is apologizing for his bodyguard.

NIKITA: So they bought it.

MICHAEL: (smiling) Yes, they bought it.

NIKITA: What?

MICHAEL: (enjoying the dance) Nothing.

She smiles and moves in closer, looking over his shoulder.

She sees Bev. Their eyes lock.

Bev stands up and stubs out her cigarette.

NIKITA: Oh, my God--

Stunned, dazed, Nikita breaks from Michael and starts walking across the room. The dance crowd blocks the view of her from Barrow and Federov and prevents Michael from immediately following her.

She keeps walking, step by step, in slow motion. From the bar, Joey looks up and sees her approach Bev. He is near enough to hear them.

Nikita arrives in front of Bev.

NIKITA: Mama--

Bev slaps her. Hard.

BEV: (a low, furious voice) How dare you make me think you were dead!

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

ACT II

SCENE: NIGHTCLUB. The scene opens just seconds after Bev has slapped Nikita. Nikita has her head down and her fists clenched, a red-faced little girl being unfairly punished. Then, Michael arrives behind her.

MICHAEL: Nikita, what's going on?

Nikita's head snaps up, as if she remembers who and what she now is. Quickly, before Michael can react, she grabs Bev by the shoulders and whirls her around, pushing her hard toward the elevators. She pushes Bev hard into an open elevator and follows quickly. A surprised Michael arrives just as the doors are closing.

NIKITA: Not now, Michael--

The doors close. Inside the elevator, Nikita pushes every floor button.

NIKITA: (not looking at Bev) What floor is your room on?

BEV: What?

NIKITA: (grimly) What floor?

BEV: (angrily) The third.

The two of them stand apart, both silent and angry.

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

SCENE: NIGHTCLUB. Michael stands at the entrance to the club, as if debating what to do. An inebriated Joey comes up to him.

JOEY: Some scene, huh?

MICHAEL: (impatiently) What.

JOEY: If MY mother ever dressed like that, my old man would have cut her out of the family--

MICHAEL: (looking at him blankly) Your mother. (His head raises up, and then he turns and walks away.)

JOEY: Well, to hell with you--

He heads for the bar.

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

SCENE: HOTEL SUITE. Michael enters, tosses card key on a table, and heads over to a laptop set up on the desk. He turns it on and puts on an ear comm piece.

MICHAEL: Birkoff, you there?

BIRKOFF'S VOICE: Right here.

MICHAEL: I need a list of hotel guests and room numbers.

BIRKOFF'S VOICE: You got it.

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

SCENE: BEV'S ROOM. This is just a single room, very different from the suite Michael was in. Bev enters, followed by Nikita. Nikita closes the door and leans against it. Bev crosses to the other side of the room to a small table, where she takes out her cigarettes, lights one, and turns to face her daughter.

BEV: So how'd you do it? Sleep with a guard? No, not a guard. It would have to be the warden. A guard couldn't have broken you out of prison and faked your death. That was it, wasn't it? You slept your way out of jail and now you're all set up with a nice sugar daddy who keeps you in fancy clothes and jewelry.

Nikita doesn't answer.

BEV: (taking a drag from her cigarette) I gotta admit you clean up real good. I almost didn't recognize you.

NIKITA: (almost malevolently) Where's Wayne?

BEV: Wayne? (a short, humorless laugh) Wayne took off for parts unknown ages ago. Thanks to you.

Nikita comes into the room slowly, stopping at the foot of the bed. On the bed is a bathrobe with a long sash. She fingers the sash, pulling on it slightly.

NIKITA: Thanks to me.

BEV: If you hadn't thrown yourself at him--

NIKITA: (through clenched teeth) He tried to rape me!

BEV: Says you. Wayne wasn't like that. He had all the woman he needed in me--

NIKITA: Apparently he didn't think so.

Bev quickly steps up and raises her hand to slap her again. This time Nikita is ready for it. She grabs her mother's arm and they stand there, face to face.

NIKITA: (low, intense) Oh, no you don't. You don't get to hit me anymore. Ever. You got it?

Bev, after a moment, backs down. She goes back to the table and flicks the ashes off her cigarette.

BEV: Not bad, Nikki. You found a backbone.

NIKITA: No thanks to you.

BEV: Oh, I think I should get all the thanks. You got my hair, my eyes, and now it seems you got my taste in bad boys in basic black. (smiling coldly) So, who is he, huh? A gangster? A hit man, maybe? (drawing on the cigarette and blowing the smoke out slowly) Or is he your pimp?

NIKITA: (pulling out the sash on the bathrobe) I don't have time for this. I have to get back.

BEV: (stubbing out her cigarette and stepping forward) Fine. Let's go. It's about time Mama met her dead daughter's boyfriend.

Nikita grabs her, twists her arm behind her back, and starts pushing her toward the bathroom.

NIKITA: You're not going anywhere.

She pushes her into the bathroom, onto the floor, and uses the sash to tie her mother's hands behind her back.

BEV: What the hell are you doing?

NIKITA: (turning her face up) You won't believe this, but I'm saving your life. (She uses a towel to gag her mother). If you get involved in this, Mama, you will DIE. You got that? (She looks around, grabs a larger towel, and ties her mother's feet.) These people--they're not a bunch of big talkers like Wayne. These people are for real. If they find out you're my mother-- (she stops, catches her breath, and looks her mother in the eye) If they find out, THEY WILL KILL YOU.

BEV: (muffled) Nii--ii--aa--

NIKITA: (standing) I'll be back as soon as I can.

At the door of the bathroom, she stops and looks down at her mother.

NIKITA: You could've at least come to my funeral.

Bev stops struggling. Mother and daughter look at each other. Nikita leaves, closing and locking the door behind her.

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

SCENE: HOTEL HALLWAY. Nikita exits her mother's room and pockets the room key. She looks down the hall. Michael stands there, leaning against a wall, his hands in his pockets.

NIKITA: (startled) Michael--

Michael straightens up and walks over to her. He takes one hand out of his pocket and reaches over to gently stroke her shoulder.

MICHAEL: You still can't trust me.

NIKITA: (trying to bluff) What--what do you mean?

MICHAEL: I deleted her name from the hotel register. No one will know she's been here.

NIKITA: (after a long pause) Thank you.

MICHAEL: Let's go.

He starts walking down the hall, but doesn't follow right away.

NIKITA: (questioningly) Michael--um--(She looks back at the door to her mother's room.)

Michael looks at the ground and then back up to her.

MICHAEL: It's OK. You only need to be there for the preliminaries. I can handle the rest.

He holds out his hand, and she takes it slowly. They head down the hall.

NIKITA: Thank you.

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

SCENE: CASINO--THE POKER TABLE. Joey, Barrow, and Federov are among the players, but Barrow is rising as Michael and Nikita approach.

MICHAEL: Are we too late?

FEDEROV: There you are. I was wondering where you'd taken this beautiful creature. Come, join us. Join ME, my dear.

NIKITA: (smiling) Thank you, but poker's not my game, I'm afraid.

FEDEROV: (laughing) And why do I not believe that? After the way you handled that traitor, Alexei--who, I am told, tried to hire you to get rid of me?

NIKITA: (shrugging) Not a smart man.

FEDEROV: True.

BARROW: Well, if you'll excuse me, I have some shipping arrangements to make (He looks at his son, who is staring morosely at his cards.) Joey? Never mind. Michael, you're welcome to my seat.

MICHAEL: Thank you.

Michael takes the chair. Nikita stands behind him, her hands on his shoulders in a proprietary manner. Occasionally over the following exchange, she plays with his hair.

BARROW: (holding out his hand) Sergei, I will see you at breakfast in the morning.

FEDEROV: (shaking it) Good night.

Barrow leaves, and Federov watches him go.

FEDEROV: A most impressive operation he has here.

MICHAEL: (obliquely, in Russian) Perhaps not as impressive as he'd like you to think.

FEDEROV: (also in Russian) Oh? In what way?

MICHAEL: (shrugging as he looks at his cards) Oh, some problems with his competition.

A shot of Joey, watching them and getting increasingly suspicious.

FEDEROV: What sort of problems?

MICHAEL: (still in Russian) As I understand it, the dispute is mainly about territory--

JOEY: (interrupting) Hey, what the hell you talkin' about?

MICHAEL: (staring Joey down) -- and family problems.

FEDEROV: (to Joey, in English) Just sharing some memories, boy, about some very long cold Russian winters. (to Michael, in Russian, with a pretend heartiness) And who is this competitor?

MICHAEL: A very discreet and powerful organization. With considerable international ties.

FEDEROV: And I assume you have some influence with this organization.

MICHAEL: (in English) You could say that. (He smiles over his shoulder at Nikita.)

NIKITA: Darling, I just remembered that fax from Monte Carlo we are expecting.

MICHAEL: That's right. Love, would you mind.

NIKITA: Of course not. (She leans over and gives him a quick kiss.) Enjoy your game. (She turns to Federov) I look forward to working with you, Mr. Federov.

FEDEROV: Sergei. And (kissing her hand) I know that working with you will bring nothing but unending delight. Good night, my dear. And thank you.

NIKITA: (smiling, then glancing over at Joey) `Night, Joey.

Joey glowers at her. She leaves. Michael looks across at Joey, and then down at his cards. Queen of hearts, Queen of diamonds, and an Ace of clubs.

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

SCENE: BEV'S BATHROOM. Nikita enters and unties her mother. Bev watches her, but Nikita refuses to make eye contact. As soon as Bev is untied, Nikita goes back into the room. Bev follows slowly.

In the bedroom, she finds Nikita seated near the window. On a table is a room-service dinner: a steak, baked potato, salad, and apple pie for dessert.

NIKITA: (staring out the window) I brought you something to eat.

Bev approaches it warily. She sits at the table, leans over, and sniffs.

BEV: Looks good. Is it safe?

Nikita looks at her and then back out the window. After a second, Bev picks up a knife and starts cutting the steak.

BEV: I would have come to your funeral, Nikki. They didn't tell me you were dead until after they'd buried you.

There is a small quiver on Nikita's face. Bev takes a bite of the steak.

BEV: Medium rare. You remembered.

NIKITA: I remember everything.

Bev sighs and drops the knife.

BEV: Yeah, I'm sure you do. I'm sure you remember all about what a lousy mother I was. (She picks up the knife again and starts cutting.) Some women aren't cut out for motherhood.

NIKITA: That's it? That's the great excuse? You weren't cut out for motherhood?

BEV: It's not an excuse. It's an explanation.

NIKITA: (rolling her eyes) Oh, well--

Bev takes another bit and chews slowly, watching her daughter.

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

SCENE: CASINO OFFICE. Barrow, wearing reading glasses, is at his computer, working. Joey comes to the door, weaving slightly.

BARROW: (without looking up) What do you want?

JOEY: Jus' wanted to--

BARROW: Wanted to what?

Joey comes further into the room, tripping and almost falling.

JOEY: Damn carpet--

Barrow stops typing and stares at his son.

BARROW: You are the most pathetic excuse for a son a man could have.

JOEY: Pop, don't say things like that--

BARROW: (shaking his head and turning back to the computer) When I think of what you're going to do to this business after I die--

JOEY: You might be surprised. I know things, you know.

BARROW: Yeah, like who's running in the fifth at Belmont.

JOEY: You jus' wait. You'll see. I know things, and you're gonna fine out--

He stumbles to the door, where he stops, draws himself up, and tries to speak with dignity.

JOEY: People aren't always what they seem, Dad.

BARROW: (looking at him over his glasses) Brilliant insight, son.

JOEY: I'm gonna save this bizness, an' I'm gonna save your ass, too.

(He leaves. Barrow shakes his head and goes back to work.)

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

SCENE: BEV'S ROOM. Bev has finished the dinner, and is sitting back in her chair. She eyes the apple pie.

BEV: Stuffed. (She picks up the pie plate and holds it out to Nikita.) You want this?

NIKITA: No.

BEV: That's right. You always liked chocolate pie.

NIKTA: Lemon meringue.

BEV: Ah. (She puts the plate down and reaches for her cigarettes. She lights one with an "after dinner" satisfaction.) So who are these people who are so dangerous?

NIKITA: No one you need to know.

BEV: (slowly) If it's so dangerous--

NIKITA: What?

BEV: Are you sure you can handle it?

NIKITA: (looking her in the eye) I can handle it just fine, Mom.

Bev looks away and nods, a short quick gesture.

NIKITA: You have to leave first thing in the morning.

BEV: What?

NIKITA: I'll take care of the bill. You won't even have to check out. Just take your bags and walk out the door. And don't look back.

BEV: What about you?

NIKITA: What about me?

BEV: What happens to you after I leave?

Nikita stares out the window, her breathing becoming quick and shallow. When she speaks, her voice is tight with pain.

NIKITA: What do you care?

Bev stubs out her cigarette, and then leans forward, her elbows on her spreadagled knees, and stares at the floor. Her resemblance to Nikita becomes very apparent. After a moment, she looks up.

BEV: I do care, Nikki.

With a strangled sob, Nikita lunges forward, off her chair and onto the floor at her mother's feet. She grabs her around the waist and holds on tightly.

NIKITA: Mama--

Bev is startled at first, but then she lets her hand fall on her daughter's bright hair, patting it awkwardly.

BEV: Yes, Nikita--

Nikita hugs her more tightly, burying her face in her mother's lap. Bev strokes her hair, but looking up across the room, she finds that her image is reflected in the television. She turns her face this way and that, examining her reflection.

BEV: (crooning almost absently) Nikita, Nikita, my sweet-a Nikita--

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

ACT III

SCENE: BEV'S ROOM. Bev opens the door and finds Michael standing there. He is wearing his black combat gear and his standard ice-man expression.

MICHAEL: Where's Nikita?

BEV: (with an attitude) And you are--?

MICHAEL: Looking for Nikita.

He pushes his way past her and finds Nikita, curled up and sleeping on the bed.

BEV: She fell asleep.

Michael, ignoring the obvious, walks over to the side of the bed. He kneels beside it and looks at Nikita.

BEV: (watching him) Looks like a kid, doesn't she?

MICHAEL: No. (a pause) What did she tell you?

BEV: Not much. Said she was involved in something dangerous and that I better get the hell out of Dodge.

MICHAEL: (reaches out to brush Nikita's hair back) She's right.

BEV: She didn't tell me squat about you, though. So what are you? Boyfriend? Husband? Prince Charming? (a long pause) Or just the guy that puts my daughter's life in danger?

MICHAEL: She's been crying.

BEV: She was upset. So was I.

MICHAEL: (leaning forward and whispering) Nikita--

Nikita stirs. He runs a finger down her cheek, and then leans over to kiss her.

MICHAEL: (whispering even more quietly, so Bev won't hear) Josephine--

She opens her eyes and sits up, awake.

NIKITA: All right.

Michael stands. Nikita looks at him, and then over to her mother.

NIKITA: Give me a minute.

She goes into the bathroom. Inside, she leans against the counter, and then looks at herself in the mirror. Her eyes fall down to the counter, where Bev has arranged a wide variety of make-up. Slowly, she reaches out and picks up a lipstick. She opens it, and then returns her gaze to the mirror. She turns her head this way and that, much like Bev had earlier, but she is looking for a different answer.

In the room, Michael walks slowly around, pausing to brush a hand against Bev's purse (leaving a tracker behind). Bev is sitting and smoking, watching him with narrowed eyes, enjoying the view. She looks away when Nikita exits the bathroom, wearing her mother's bright lipstick.

NIKITA: I'm ready. (She looks at her mother and shifts awkwardly.) Take care, Mom.

BEV: You, too, Nikki.

Nikita abruptly turns and leaves the room.

BEV: (archly, to Michael) Watch out for my little girl.

Michael looks at her, one of his killer blank looks, and then leaves without saying a word. Bev takes a drag of her cigarette.

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

SCENE: HOTEL SUITE. Nikita enters hurriedly, and passes through the living room into the bedroom, leaving the door open. Michael enters more slowly. In the bedroom, Nikita begins changing into her combat gear.

NIKITA: (calling out) So how'd it go with Federov?

MICHAEL: Fine.

NIKITA: Did you make a deal?

MICHAEL: (coming to the door of the bedroom) He won't commit without proof that Barrow is vulnerable.

NIKITA: Well, he get that proof tonight.

She gives Michael a fake cheery smile and finishes dressing.

NIKITA: (babbling) You know, that Joey is a real weasel. I wouldn't put it past him to try something really stupid.

MICHAEL: Nikita.

NIKITA: (finishing up the last button of her gear) What?

Michael looks at her.

NIKITA: I'm fine, Michael. Really. I'm "focused"--

He walks over to her and lifts her chin with his finger.

MICHAEL: How was it?

NIKITA: (slowly) It was...hard. I'd like more time to--...There's a lot of things....She seems different.

MICHAEL: Different how?

NIKITA: I don't know. More--open. More human.

MICHAEL: Maybe you're the one who's different.

NIKITA: Maybe. (she looks a little sick) Maybe not.

Michael takes out a handkerchief (black of course), from one of the many pockets of his combat gear. He deliberately wipes off the lipstick.

MICHAEL: Let's go to work.

MUSIC begins: the Sneaker Pimps' "Low Place Like Home." The opening twangs start here, and the song continues over the next scene.

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

SCENE: Section Van. A slow pan of Birkoff, Michael, Nikita, and two Extra Ops.

BIRKOFF: Approaching alpha point. First team reports the site is clear.

MICHAEL: Good. (To others) Let's make this quick and clean. The security cameras run on a cycle, so we'll have only a three-minute window.

EXTRA OP #1: Got it.

They gather their belongings as the van stops. They begin filing out.

"You walked all over in your blunderstones
In your own road movie with your one-armed man
Gonna make it to the problem page
troubleshoot your life
Gonna make it to the problem page
need some time and space--"

Close-up Nikita, her expression stiff, nodding as Michael gestures for her to move out.

"Just to find yourself
I hope you find yourself
in a low place like home
a low place like home--"

CUT TO CASINO. Bev enters from the elevator hallway, carrying her luggage. She walks past the slot machines. A woman wins as she passes. Bev watches, then looks around and shrugs. She sits down at a slot machine and begins playing.

"You talked it over from your bedroom throne
Making sense of nothing with your one-armed man
Read your future in a magazine
search the stars for clues
Read your future in the magazine
tells you what to lose--

CUT TO MISSION. Michael, Nikita, and the Extra Ops move through a dark parking lot along a line of delivery trucks. They come to a stop at the end of the line, just shy of a large warehouse.

MICHAEL: Nikita and I will take the south entrance, you two (the Extra Ops) the north.

Everyone nods.

MICHAEL: Birkoff, we're at Point A.

BIRKOFF'S VOICE: Check. Security.....cameras....cycling.....OFF!

MICHAEL: Go.

They move toward the building and break in.

"Just to find yourself
I hope you find yourself
in a low place like home
low place like home
I hope you find yourself
in a low place like home--"

CUT TO CASINO. Joey enters and spots Bev playing the slots. He hurries over to a security guy and points Bev out, giving him instructions. The security man nods. Joey heads for the elevators, while the security man approaches Bev. She looks up at him, irritated by the interruption.

"You fall all over in your small town heels
catching hold of nothing, like your one-armed man
Treat your life like a tragedy, self-inflict abuse
Treat your life like a tragedy, precious else to choose--"

CUT TO MISSION. Inside the warehouse, Michael and Nikita shine flashlights around: row upon row of slot machines and other casino equipment.

MICHAEL: Point B, Birkoff.

BIRKOFF'S VOICE: Got it. We're still clear.

Michael and Nikita begin setting out C4 charges.

"Crucify yourself
I hope you find yourself
in a low place like home
a low place like home--"

CUT TO CASINO OFFICE. Bev, clutching her purse and luggage, is shoved into the room by the security man.

BEV: Hey, watch it!

She sees Joey, sitting with his feet on his father's desk, drink in hand.

BEV: What the hell is going on here?

JOEY: (holding up his glass) Would you like a drink?

Bev, after a moment, shrugs a "why not."

"Low place like home
low place like home
Crucify yourself
low place like home--"

CUT TO MISSION. Michael, Nikita, and the Extra Ops break out of the building and run for the van just as the building EXPLODES!!!!

"I hope you find yourself
I hope you find yourself
I hope you find yourself
Low place like home
low place like home
Crucify yourself--"

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

SCENE: BEV'S HOTEL ROOM. Nikita bursts in, out of breath and still in combat gear.

NIKITA: Mom?

She looks around and sees that the room is empty. She goes into the bathroom and finds it has been cleared out. When she returns to the bedroom, she finds Michael standing in the doorway.

NIKITA: She's gone.

Dispirited, she moves past Michael, out of the room. He stands there a moment, and then takes out a tracking monitor from his pocket. He turns it on. It beeps. He looks up.

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

ACT IV

SCENE: RECEPTION AREA OUTSIDE BARROW'S OFFICE, MORNING. Barrow, waving a newspaper over his head, bursts into the outer office followed by his lawyer and other flunkeys. It's very early in the morning, so the receptionist has not arrived yet. Barrow sees that and angrily slaps the newspaper down on her desk. The headlines read: "LA CIGNA WAREHOUSE DESTROYED IN EXPLOSION."

BARROW: Where the hell is she? (turns to flunkeys) I want every newspaper in this damn hotel carted off the premises right now! I want televisions and radios shut off! Federov is not to hear a word of this--you understand me?

LAWYER: It's going to be difficult, George.

BARROW: I don't give a damn how difficult it is--just do it! (He heads for his office door.) Oh, and while you're at it, maybe you can find out who the hell did this to me!

He goes into the office and slams the door.

CUT to inside the office. Barrow stares, unbelieving, at the sight of his hungover son at his desk. Joey, awakened by the slam, is sitting up and holding his head.

BARROW: What the--

He looks around and sees Bev, sprawled out on a sofa along the windows. On the table beside her is a glass and a half-empty bottle of bourbon. Barrow strides over to Joey and, with one move, dumps his son out of the chair.

JOEY: Ow--Pop!

BARROW: Get out! Get out now!

Bev stirs.

JOEY: Wait a second, Pop--

BARROW: My business is under attack, I'm this close to losing the biggest deal of my life, and you're partying with hookers in my office!

JOEY: She's not a hooker, Pop.

BEV: (drunkenly) Damn straight.

BARROW: Who gives a damn what she is--

JOEY: She's what's gonna save OUR business.

Barrow, surprised, looks over at Bev, who is clumsily reaching for the bourbon bottle.

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

SCENE: HOTEL SUITE. Nikita stands at the window with her arms crossed, looking out over the city. She is in a power suit, her hair neatly combed back, her make-up understated. She looks cool, controlled, and elegant, the antithesis of the shot of her mother in Barrow's office.

She turns as Michael enters. He carries a newspaper and heads immediately for the laptop

MICHAEL: (logging onto the computer) Change of plans. We have to accelerate the move on Federov. Barrow has him isolated, won't let him near a newspaper or television. I had to go four blocks to find this (gestures to the newspaper with his head while his fingers fly over the keyboard).

NIKITA: (joining him at the computer) What about--

MICHAEL: He's on the way. (A particular screen pops up on his computer.) Good. We've got Federov. He's in a private dining room on the penthouse floor. Looks like three entrances, one from the kitchen, another from the guest elevators, and another from Barrow's private elevator.

He logs off and hands the newspaper to Nikita.

MICHAEL: Your best bet is the private elevator. They won't expect you to use that.

NIKITA: Guards?

MICHAEL: (rising and beginning to gather his gear) Don't know. And we don't know if Barrow is onto us, or if he's just being very cautious. You must get to Federov and make sure he sees this newspaper within the hour.

He takes out a small case and tosses it to her. She catches it deftly, and opens it, taking out an ear comm piece.

NIKITA: What about you?

MICHAEL: I've got something I need to take care of first. I'll join you there, but don't wait for me.

He leaves. Nikita is left with her mouth hanging open and a million questions.

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

SCENE: BARROW'S OUTER OFFICE. The receptionist is now at work, busily typing. Nikita approaches from the hall, then backs around the corner. She looks down the hall and sees an office delivery boy pushing a mail cart. He takes out a batch of mail and goes into another office, leaving the cart behind. Nikita hurries over, grabs a large parcel, and heads back to the outer office. She breezes in as if she knows exactly what she's doing.

NIKITA: (brusquely) Emergency delivery for Mr. Barrow.

She walks past the receptionist and into the office, ignoring the receptionist's calls for her to wait.

CUT to inside Barrow's office. Nikita locks the door, drops the parcel, and looks around. She sees a strangely placed door on the right side of the room. She goes over and opens it: it's a secret elevator. She pushes the button and the doors open. She steps inside and pushes another button. The doors close.

The camera pans around the room. In one corner, shoved against the wall, is Bev

CUT to outer office. The receptionist is on the phone.

RECEPTIONIST: I'll be right there.

She gets up and leaves. A second later Joey enters with two cups of coffee. He goes into his father's office door. He's surprised to find it locked, but shrugs and uses a key to open it.

CUT to inside office. Joey sets the coffee down, and then goes to a door on the left side of the room. He unlocks and opens it: another bathroom, with Bev once again on the floor.

BEV: (still drunk) I really hate the bathrooms in this place.

JOEY: Come on.

He helps her up and into the office. They are almost across the room when the door opens. It's Michael, with a gun.

BEV: Well, if it isn't pretty boy--

Joey lets go of her and fumbles for his gun. Before he can get it out, Michael shoots him.

BEV: Ooh, nice shot, pretty boy.

She smiles at him and shakes her hair out.

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

SCENE: PRIVATE ELEVATOR. The door opens, and Nikita takes a quick look out. She finds a small hallway, with a door at the other end. No sign of guards. She gets out of the elevator and walks to the door. Gently, she opens it through the small opening, she sees a private dining room. Federov and others, including Federov's attorney, are at a table at the far end, enjoying breakfast. Several men with guns are stationed around the room. Nikita closes the door.

NIKITA: Birkoff--you with me?

CUT to inside the van. Birkoff sits alone.

BIRKOFF: Right here, Nikita. What have you got?

NIKITA'S VOICE: I'm at the entrance to the dining room. No sign of Barrow, but there are a couple of big guns standing around and a lot of suits.

BIRKOFF: Can you get to Federov?

NIKITA'S VOICE: I think so. Are we set up at your end?

The van door opens, and Birkoff looks up.

BIRKOFF: We are now.

CUT to hallway outside private dining room.

NIKITA: All right, then, I'm on.

She straightens up, shoves the newspaper under her arm, opens the door, and walks in. Barrow, who had been out of her line of vision, immediately steps in front of her.

BARROW: Show him that newspaper and your mother is a dead woman.

CUT to inside the van. Birkoff looks up and over at someone.

BIRKOFF: Her mother?!

A shot of Birkoff's companion: it's Operations. He doesn't look pleased at this new development.

CUT to Nikita, frozen. She looks across the room at Federov, and then at Barrow.

Federov sees her.

FEDEROV: Nikita! Oh, how wonderful. I was hoping you would join us for breakfast. Please, come, sit with me!

Nikita looks at Barrow. He looks back at her coldly, and then steps aside for her to enter. She crosses the room and takes a seat slowly, keeping the newspaper folded in her lap.

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

SCENE: HOTEL SUITE. Michael half-carries Bev into the room and dumps her unceremoniously on the suite sofa.

BEV: (her head falling back) So that's how you like it, huh, pretty boy? A little rough.

Michael looks down at her. He reaches over--she smiles--and then he tears her pendant off her neck.

MICHAEL: If you leave this room, you will die.

He walks out.

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

SCENE: PRIVATE DINING ROOM. Nikita clutches the newspaper in her lap. Federov is seated beside her, and Barrow has taken a seat on the other side of the table. Barrow opens a napkin, watching Nikita closely.

FEDEROV: So where is that charming young man of yours, Nikita? Is he joining us this morning as well?

NIKITA: He's running a little late.

FEDEROV: Well, for myself I would wish him to be very late, but for you I hope he arrives soon.

Michael enters from the entrance leading to Barrow's private elevator. He stands there, with his arms crossed.

FEDEROV: And there he is!

Barrow turns. Nikita looks at Michael: dangling from his hands is her mother's pendant. She smiles as Barrow turns back to look at her. Slowly, she takes the newspaper and opens it.

NIKITA: (to Barrow) I was so sorry to hear of the trouble at your warehouse. I hope there wasn't too much damage.

She spreads the newspaper in front of her, and thus in front of Federov. The Russian looks at the headline, and then up at Barrow.

BARROW: (coolly) Very little, actually. Nothing we can't handle.

He looks over at one of his goons. The man nods and leaves the room. Michael watches him, and then he moves to sit beside Nikita at the table.

MICHAEL: Breakfast looks wonderful. Your chef must be one of the best, Mr. Barrow. (Then, to Federov, around Nikita) Wouldn't you agree, Sergei?

FEDEROV: (with a small, cold smile) Oh, absolutely, Mikhail.

Under the table, Michael slips Nikita the pendant.

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

SCENE: HOTEL SUITE. Cigarette in one hand and a fresh drink in the other, Bev stands looking into the box of jewelry Nikita brought for the mission: delicate things--pearls, small diamond earrings, and so on.

She then wanders over to the closet and opens it. There, lined up, are Nikita's clothes for the mission: really nice, expensive things. Bev reaches out to touch the white suit Nikita was wearing when she first saw her. She smudges the suit with ashes.

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

SCENE: BARROW'S OFFICE. Barrow's goon enters from the private elevator. He draws a gun and looks around. No one is there. He goes over to the bathroom door and opens it. There, dead, is Joey.

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

SCENE: PRIVATE DINING ROOM. The goon re-enters. Barrow looks over at him and the goon shakes his head.

BARROW: Excuse me a moment.

He gets up and goes over to the goon, who reports what he found.

Michael's hand reaches over to Nikita to warn her. Both of them reach for their weapons under their jackets.

Barrow, infuriated, pulls a gun and points it at Michael.

BARROW: YOU KILLED MY SON!!

Michael ducks under the table, and Nikita grabs Federov and knocks him to the ground. The shot shatters the window.

A firefight ensues. Michael, Nikita, and Federov use the table for cover. Federov's attorney is shot and killed. One by one Barrow's men are taken out, and finally Barrow himself is shot by Federov.

The three of them stand up and look around, catching their breath.

FEDEROV: Well, I guess that solves my partnership problem. (He looks at Michael and Nikita.) So when can I meet with your people?

MICHAEL: Right now if you want.

FEDEROV: (nodding) Efficiency. That's good. (He sees his attorney's body and goes over to it.) Oh, dear. I'm going to need a new lawyer.

NIKITA: (in a low voice) Michael--

Michael reaches over and covers her ear comm piece.

MICHAEL: She's in the suite. I'll get her out. You finish here--

NIKITA: Michael, they know--Operations--

MICHAEL: Right now he has other things on his mind.

He takes his hand away.

NIKITA: (staring into Michael's eyes) Birkoff, we're ready.

BIRKOFF'S VOICE: Let's do it.

CUT to van. Birkoff turns Operations, who has donned a dark jacket and a flashy silk tie.

OPS: (adjusting his tie) So, you think I can pass for a mob boss, Birkoff?

BIRKOFF: No problem. (pause) Sir.

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

SCENE: CASINO. LFN music over the scene--no dialogue. Nikita and Federov exit the elevators. From the other end of the casino, Ops and an Extra Op enter. The two groups meet in the middle of the casino, and Nikita performs the introductions. Ops and Federov shake hands, and then Ops gestures for Federov to precede him to the casino exit. Federov does so. Ops gives Nikita a look, and then he follows Federov. Nikita backs toward the elevators.

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

SCENE: HOTEL SUITE. Michael enters. No one is in the living room. He moves quickly to the bedroom.

CUT to bedroom. Bev, wearing Nikita's white suit, has draped herself across the bed. She looks, if anything, older and cheaper: the shirt is unbuttoned beyond the decency range, and the skirt hiked up to show as much as a TV-14 rating will allow. She is also still quite drunk, and has a freshly opened bottle on the nightstand beside her.

BEV: So you came back for me, did you? Mister Pretty Boy in Black.

CUT TO Nikita in the elevator, watching the floors pass impatiently, checking her watch, squeezing the pendant.

CUT TO hotel suite bedroom. Michael, looking as cold as he as ever looked, steps toward the bed.

MICHAEL: You have to leave. Now.

BEV: (looking up at him) Oh, but I don't want to leave. I like it here. And I like you--

She reaches up for his shirt, her fingernails like red claws.

CUT to suite living room. Nikita enters, looks around, and crosses to the bedroom door. She stops there suddenly...and listens.

CUT to inside bedroom.

BEV: You know, Nikki's just a little girl. She's got no idea what it takes to satisfy a man. You gotta be a woman to do that--

MICHAEL: Let go.

BEV: She's not smart, you know. Goody two-shoes loser. I always knew she'd end up in prison Or pregnant. (laughs) Or dead!

MICHAEL: I said let go.

NIKITA: (behind him) You heard him, Mother.

Bev lets go and sits up. Michael steps back. Nikita has her gun drawn and trained on her mother.

BEV: (closing the shirt, trying to look respectable) Nikki--we were just--oh, baby, you didn't think--Nikki, I'm your mother--

Nikita narrows her eyes, disgust filling her face.

NIKITA: You're nothing to me.

She lowers the gun and looks at Michael.

MICHAEL: Section knows, Nikita.

NIKITA: (after a long, agonizing moment) Do what you will.

She drops the pendant on the floor and walks out. Bev, confused, looks at Michael. He looks back.

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

SCENE: MADELINE'S OFFICE. Madeline works at her computer. Nikita enters, head down and hands in pocket, and slowly makes her way over to Madeline's sofa. She sits down heavily. MUSIC: Indigo Girls' "Kid Fears":

"Pain from pearls--hey little girl
how much have you grown?
Pain from pearls
hey little girl
flowers from the ones you've known--"

MADELINE: Yes, Nikita?

NIKITA: (diffidently) Have you heard from Operations?

MADELINE: Yes. The arrangements are set. By the time Federov realizes that is new partner is not an organized crime syndicate, we will have enough on him to ensure his cooperation.

"Are you on fire
from the years?
What would you give for your kid fears?"

Nikita draws her knees up and wraps her arms around them. Madeline watches her.

MADELINE: You did the right thing, Nikita.

Nikita grimaces in pain and buries her head in her knees. Madeline, after a moment, gets up and crosses to her, sitting on the arm of the sofa next to her.

"Secret staircase, running high
you had a hiding place.
Secret staircase, running low,
but they all know, now you're inside--"

MADELINE: You did the only thing, Nikita.

"Are you on fire
from the years?
What would you give for your kid fears?"

NIKITA: (muffled) Did Mi--

MADELINE: What?

NIKITA: (looking at Madeline, stricken) Did Michael--

MADELINE: (after a moment) No. Michael did not cancel your mother.

Nikita looks at her. She doesn't dare ask the obvious follow-up question.

"Skipping stones, we know the price now
any sin will do
How much further, if you can spin
How much further if you are smooth--"

NIKITA: How do I live with this, Madeline?

MADELINE: You just do, Nikita.

Awkwardly, wanting for once to give comfort for its own sake, Madeline reaches out to smooth back Nikita's hair.

"Are you on fire
from the years?"

Nikita, taking what comfort she can find, lets her head fall softly into Madeline's lap. Madeline strokes her hair.

MADELINE: You just do.

"What would you give for your kid fears?"

THE END----ROLL CREDITS---

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