PART I: A TERRIBLE PLACE

SCENE: Little League baseball field. CU of a the young boy at the plate, staring intensely at the pitcher. The camera pulls back to show the game. The pitcher looks at the runner on third, a young blond girl, and then goes into his wind-up and throws the ball.

UMPIRE: Ball one!

The hitter steps back, looks over at his coach. The coach gives him a sign. The hitter nods, steps back into the batter's box. Medium shot of the hitter from the pitcher's side, and then a slight pan to the left, change in focus, and we see Nikita in the stands behind him. She is alone. She is all in black, with black sunglasses, and beside her is a black book bag. She is expressionless.

Back to the game. The pitcher winds. The runner from third starts running. Boys and girls in both dugouts start yelling. The hitter squares his bat, puts down a perfect bunt. The runner scores. Cheers and boos.

Nikita looks at her watch, then shoulders the book bag, and gets up to leave. Just as she reaches the end of the stands, a woman in the crowd jumps up--

WOMAN: Heu, Michael!

Close up: Nikita freezes, whirls, grabs her book bag (the communicator?). Realizes her mistake. She lowers her head, takes a breath, then turns her head to the right to leave....

****

SCENE: Section One. Begin with a dissolve into a CU of Michael, facing left and turning his head forward (for a brief moment, their two faces will be as one on the screen, something we'll see on only a subliminal level). Michael is, if possible, more blank than ever--a veritable robot, with less humanity than the computer he's working on. The camera pulls back and we see that he is sitting at a workstation in center area. To one side is Birkoff, sitting at right angles from him, so his back is to Michael. Birkoff lifts his head, having heard something in his headset.

BIRKOFF: They're here.

Michael logs off and stands up, as Operations strides through the room, past the central station.

OPS: (to Birkoff, as he passes) Notify Madeline.

Michael falls in step behind Operations. The camera pans, then tracks with them as they cross the room, past Walter's area.

OPS: (without breaking stride) I need you, Walter--

Walter grabs a case and joins the procession. They head for the hallway leading to Mission Arrival. The camera tracks from behind them, as if walking with them, a feeling of motion, of urgency. Madeline joins them just as they enter the corridor.

MADELINE: Do we know--

OPS: Nothing yet.

Cut to Mission Arrival port. Our favorite spies arrive, and from the other direction comes a Section medical team with stretchers. The two groups converge at the entrance just as the door slides open. Men in camouflage exit, many of them injured and being helped by others. They all give Ops black looks as they pass him.

OPS: (clenched) Damn.

Finally, an uninjured man exits. This is Alejandro--Alex for short. He is young, late 20s, and Latino handsome (think Antonio Banderas, but without Banderas's lithe sensuality). Alex has a raw edge, an explosive passionate temper, a flair for the dramatic, but he can also surprise with a boyish, disingenuous charm. He wears his heart on his face, his sleeve, his whole everything--the complete antithesis of Michael, on the outside, that is.

Alex stops in front of Operations and Madeline, balancing his long-range rifle on his hip. Although unhurt, he has clearly been in a very bad battle. He looks at Ops and Mad, then behind them to Michael, and behind Michael to Walter.

OPS: How was it?

ALEX: It sucked, man. It sucked big time. It was the suckiest mission in the history of sucky missions.

OPS: (stifling a smirk--he likes this kid for a lot of reasons, not the least of which is how easy he is to read). Yes, but how did it go?

ALEX: We got our butts kicked, that's how. After three months in the jungle, fighting off snakes and other things I don't ever wanna think about again, Berez nails us with Exocet missiles.

OPS: Exocets? Where'd he get Exocets?

ALEX: I don't know. I don't know. They were just there--Boom--Boom--

OPS: You were supposed to be watching him.

ALEX: (sarcastically) No shi--I mean, we did. Every day, twenty-four hours a day. Never saw a shipment of Exocets. Only shipments we witnessed were of the--uh--nonmilitary variety. Women and weed.

OPS: (impatient) All right. Get unloaded. Debriefing in fifteen minutes. Madeline--

Ops heads back toward Section. Madeline, after a brief smile, a touch of Alex's arm, follows him. Michael, the good soldier, about faces and comes face-to-face with Walter.

MICHAEL: Excuse me.

Walter doesn't move--just looks at Michael with an "I dare ya" gleam in his eyes. After a second, Michael steps around him with absolute indifference and walks away with a measured step. Walter looks back at him briefly, disgusted, and then turns to greet Alex with an affectionate smile.

WALTER: Hey, kid, welcome home. You look like hell.

ALEX: Yeah, thanks--you're a pal.

WALTER: Whatcha got for me?

ALEX: Not much. (He steps aside to let Walter past him, into the van, and while doing so looks down the hallway). Hey, Walter--what was that all about?

WALTER: What?

ALEX: You and Michael. (He grins.) Don't tell me you finally got Nikita to swap sunglasses with you--

Walter, about to get into the van, stops. He turns slowly to look at Alex.

*****

SCENE: Section main area. Open with a profile shot of Michael in front of Birkoff's station, leaning over to see the monitor Birkoff has swiveled around.

BIRKOFF: Latest intel is that Berez and his men are moving north toward the capital city of L'Escondite.

MICHAEL: Has Montegna been warned?

BIRKOFF: Yes. And teams from our Central American stations have been dispatched with additional arms and manpower. They should be able to hold them off for now.

MICHAEL: But not for good. Contact the Agency--

A yell, and suddenly Michael is grabbed from behind and thrown across the room by an enraged Alex. Michael lands on the floor but rolls and is up quickly. Alex starts shoving him hard, over and over.

ALEX: (with each shove) YOU-----STONE-------COLD-------------BASTARD!

Michael lets himself be shoved until he hits the wall. Then he just stands there while Alex whips out a gun and shoves it in his face.

ALEX: You sonova--you killed her!

MICHAEL: Yes.

Operations and Madeline enter.

ALEX: I oughta just blow your brains out right here--

MICHAEL: (a low, intense whisper) Do it. Pull the trigger.

Operations looks at a Section guard and gestures. The guard approaches Alex from behind cautiously. Alex lifts his arm--wanting to shoot so very, very badly--

MICHAEL: (almost hissing) Do it--

The guard grabs Alex from behind in a head lock and shoves his arm upwards. The gun discharges into the air. Alex struggles, but he is exhausted and soon gives in, hanging in the arms of the guard. He stares at Michael with a tragic, operatic expression of pain and grief.

ALEX: She was the only beautiful thing in this godforsaken place--

CU Michael, looking away, the smallest quiver of pain passing over his face.

Operations approaches, sets himself in front of Alex, and points his finger in the young man's face.

OPS: YOU GO HOME. NOW. Clear your head. I need you back here by 0800 hours. You got it?

ALEX: (still glowering at Michael) Yeah. I got it.

He jerks himself free from the guard, gathers his dignity, and walks off. Operations turns to Michael.

OPS: Can we get back to work now?

Michael, without a word, turns on his heel to head for his office. Madeline joins Operations and the two of them watch Michael leave.

MADELINE: It's getting worse. We'll have to make a move soon.

OPS: I agree.

*****

SCENE: Hallway, Section One, immediately after. A front view of Michael, walking down the corridor.

MUSIC begins: Jewel's "Who Will Save Your Soul?"

"People living their lives for you on TV
They say they're better than you and you agree--"

Michael enters his office, closes the door, and sits at his desk.

"He says hold my calls for me and I must go
the boss says come here, boy, there ain't nothin' for free--."

Michael logs onto his computer, types in another cry into the darkness for Nikita: "ARE YOU ALIVE?" He sits back. Waits.

"Another doctor's bill another lawyer's bill
Another cute cheap thrill
You know you love him if you put him in your will."

The screen flashes: RESPONDENT DISCONNECTED. Michael logs off.

An extreme CU of Michael. He closes his eyes. FLASHBACK: the Mercy explosion, his face superimposed.

"Who will save your soul when it comes to the flower
Who will save your soul after all the lies that you told, boy--"

Back to Michael, in the present. He puts his elbows on his desk and his head sinks into his hands, a rare moment of vulnerability.

"Who will save your soul if you won't save your own?--"

CUT to city street, night. Music continues. Alex walks along, his head down like Michael's, looking morose, tormented. He passes hookers and junkies without seeing them.

"We try to hustle them, try to bustle them, try to cuss them
The cops want someone to bust down on Orleans Avenue--"

Alex stops to stare into a store window: a women's clothing store, with a blond mannequin wearing garish sunglasses. He closes his eyes. FLASHBACK: Alex in the jungle with the other ops, being bombarded, trying to get away

"Another day, another dollar, another war, another tower
Went up where the homeless had their homes--"

Back to the present. Alex opens his eyes, starts walking fast, then running, as if from demons. Cross cut from him to Michael walking down the Section hallway, then back to Alex running down the street, to Michael pulling out a chair in the debriefing room and sitting down, to Alex coming to a halt, bending over, trying to catch his breath.

"So we pray to as many different gods as there are flowers
But we call religion our friend
We're so worried about saving our souls
Afraid that God will take his toll that we forget to begin
Who will save your soul when it comes to the flower
Who will save your soul after all the lies that you told, boy
Who will save your soul if you won't save your own?--"

Alex, regaining his wind, looks up. He's in front of another store--an electronics store. Row after row of TV sets are on display, all on.

*****

SCENE: TV news station, during a news broadcast. We watch this scene as if we're watching the actual broadcast (no cuts to camera operators or anything). There is the usual set of reporters: a male and female anchor, a weather person, and a sports person.

MALE ANCHOR: And now, with the sports, here's our Lyle McPhale. Lyle?

SPORTS GUY: Thanks, Darrin. Well, in the baseball world today, the playoffs began with a--

In the distance, gunfire. The reporters look at each other, uncertain what's going on, what to to. Then suddenly Alex is there, on the set, draped in weapons and pointing a gun at the anchors.

MALE ANCHOR: What do you think you're doing--

ALEX: I'm sorry to bother you, but I have a story to tell and all of you are going to listen.

The anchors shift around, protest, motion to the director to cut the transmission. Alex points a gun to the ceiling and fires it. Everybody freezes.

ALEX: It's a story about a beautiful woman and a terrible place. A place called Section One.

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

PART II: Clear and Cold

SCENE: A living room, decorated with a sort of New-York artiness, a room for a Woody Allen film: lots of books, paintings, objets d'art, and a sort of planned casualness to the furniture; one wall is lined by a deep window seat.. Seated around the room are young people, early twenties, all with open notebooks in their laps and books at their sides. They are gathered around one man, Dr. Henry Richards, their professor. This is his house. He half-reclines in the largest chair with the ankle of one leg resting on the knee of the other. Tall and lean in blue jeans, he is in his late forties, an attractive, charismatic man, a king holding court or a guru doling insight, all with glib ease and beautiful blue eyes. He asks his students to call him Rich.

Nikita sits on the outer edge of the group, on the window seat. Older than the other students, she seems aloof and standoffish, the only student not gazing at Rich with awe and the only one not taking notes as he expounds on philosophy. Somewhere in the middle of his opening speech, she looks away from him, out the window.

RICH: For Nietzsche, the Ubermensch went beyond mere self-destruction--it was more self-immolation, the descent into the dark underworld of self, of the self's materiality, the sacrifice of self to chaos and irrationality and insanity. Only then could the Ubermensch arise from the darkness and teach men how to live.

STUDENT #1: The Dionysian principle: much madness is divinest sense.

RICH: (indulgently) In madness is no sense. That's what makes it madness. (The acolytes laugh dutifully; Rich glances at Nikita, but sees no response.) And as for divinity, well, Nietzsche would have bolted his lunch. (They laugh again. Nikita remains immobile.)

STUDENT #2: Yes but his definition of darkness sounds a lot like the traditional Western concept of evil.

RICH: Nietzsche denied the notions of good and evil. He saw them as outmoded, prejudicial descriptors, divorced from a modern reality in which nothing is absolute. If God is dead, then so is evil. (Again, he looks at Nikita, and this time he notes a small narrowing of her eyes--a response at last. He turns to the class and smiles.) Well, I think that's enough food for thought. What say we indulge in some food of more epicurean value?

The class breaks up, chattering. Notebooks are closed, legs are stretched, and the students wander toward the dining area on the far side of the room, where is set out catered food. Rich plays host by leading the way and loading up the first plate. Nikita stays at the window, as if absorbed in thought. Rich brings the plate of food to her.

RICH: (holding out plate) Nikita?

NIKITA: (startled back to the present) What?

RICH: I hate to interrupt your meditations, but class is over for the day.

NIKITA: (staring at the food as if not quite grasping what it is) Oh. OK. (Instead of taking the food, she begins gathering her books and notebook and putting them in her book bag.)

RICH: Where are you going?

NIKITA: You said class was over--

RICH: Well, that doesn't mean you have to run off. (He sits beside her on the window seat and helping himself to some food on the plate.) After all, the whole point of holding class here today instead of at school was for us to get to know each other in a less formal setting. (pause) And I must confess I was especially hoping to get to know you better.

NIKITA: (bluntly) Why?

RICH: (smoothly) Oh, I don't know. Let's just say I am intrigued by cool blonds who audit my class from the back of the room, who never miss a class and yet never say a word--

STUDENT #3: (from other side of room, having found the TV) Hey, Rich, mind if I check the scores?

RICH: (waving at him without looking) Sure, go ahead. (to Nikita) Well?

NIKITA: (closing her book bag and setting it on her lap, ready to sprint) Well, what?

RICH: Well, anything. What do you think of Nietzsche?

She shrugs and looks away--toward the TV.

RICH: All right, I'll be more straightforward. What do you think of me?

NIKITA: I think you speak of evil much too easily for a man who has never been face to face with it in your life.

On the television is a live Special News Report, already underway. Nikita watches it idly.

REPORTER: All communication with the television station has been cut off--

RICH: What an intriguing comment. You sound like a woman of experience.

REPORTER: A hostage negotiator has been called in, but so far the only communication with the terrorist has been his initial broadcast, which was terminated before he was able to complete his demands.

RICH: Are you?

NIKITA: What?

RICH: A woman of experience.

NIKITA: (bitterly) Scads.

On the television, they show the tape of Alex's disruption of the broadcast. Nikita bolts upright.

ALEX (ON TV): -- a beautiful woman and a terrible place. A place called Section One. A place so secret that no government in the world knows of its existence, but its influence can be found--

RICH: Even more intriguing. Care to share--

NIKITA: Be quiet--

ALEX: in the halls of power all over the globe. It is a ruthless secret police, and in their name a terrible man has committed a terrible crime. That man's name is Mi--

The screen goes blank, and the TV reporter returns.

REPORTER: So far police have been unable to identify the terrorist, although there have been reports that he is an escaped mental patient suffering from paranoid schizophrenia--

STUDENT #3: Oh, c'mon, give us the scores--

Nikita bolts for the door.

RICH: Nikita? (He follows her, but she closes the door in his face. He stares at it a moment, then back to the television, where they have freeze-framed Alex's picture.)

REPORTER: Police are asking people to please call with any information about the identity of this obviously very disturbed young man.

*****

SCENE: Section One, main area. On a monitor is the same shot of Alex. The camera pulls back to show Ops, Michael, and Birkoff watching it. Birkoff as always wears a headset.

OPS: Good, they got our tip. We may be able to contain this with a minimum of collateral. Michael, I want you--

BIRKOFF: Sir--

OPS: What?

BIRKOFF: We just got confirmation. The source for the Exocets was Bauer.

MICHAEL: (surprised) Bauer?

OPS: Yes, our old friend Perry Bauer (the JOTW from "Love"). This is how he repays us for cutting him a deal--he supplies arms to an ousted dictator. (to Birkoff) Do we have a location?

BIRKOFF: Not on Bauer. We were able to shut off his supply route. Berez won't be receiving any more shipments of missiles.

OPS: Good. And put the word out: amnesty is over. I want Bauer's head on a plate in my office before the day is done. Michael--I want you at that TV station. Find a way in and a way to get Alex out with a minimum of exposure.

MICHAEL: (slowly, not quite believing the order) You want me to get him out. You don't want him canceled--

OPS: Cancellation is a final option. We need his intel on Berez and his army.

Michael lowers his head a bit and exchanges a look with Birkoff, who also seems surprised.

OPS: There's far too much media for a full team, so I'm sending just you, Birkoff, and Walter. Any questions?

MICHAEL: How much time?

OPS: Twelve hours. Birkoff, start working on the sequence.

BIRKOFF: Uh, yes, sir.

Operations walks away without looking at either one. Michael watches as Ops crosses the room to Walter's area, and then watches as Ops gives instructions to Walter. Walter glances over at Michael, then looks back at Ops and nods.

*****

SCENE: Michael's office. He enters and crosses to the desk, opens a drawer, and takes out a communicator like the one he gave Nikita. He slips it in his pocket, and then stands there and looks around. Madeline enters and stand in the doorway.

MADELINE: Birkoff reports that the sequence is set and the van is ready.

MICHAEL: All right. (He heads for the door, but she doesn't move out of his way to let him pass.) Was there something else?

MADELINE: (after a moment, taking a breath) No (She reaches over, adjusts his collar, and then lets her hands rest against him) Alex Alex is a very passionate young man. He feels things very deeply.

Michael looks at her, completely blank.

MADELINE: Unfortunately, this isn't a job that one can do when blinded by emotions. Our judgment has to be clear and cold at all times.

Michael continues to look at her, right in the eyes, without flinching. After a moment, she reaches up and kisses him gently on the cheek.

MADELINE: Take care, Michael. (She walks away. He stands as still as a stone statue. Then he methodically steps into the hall and closes his office door....)

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

PART III: OFF THE STICK

SCENE: A luxurious hotel suite. The scene opens with a low angle shot of a man's hand on a remote control. The angle is behind him, so we see the length of his arm, the remote, and beyond that the TV, where Alex is once again saying "A terrible place called Section One--"

To the left of the TV is a door. A man enters (generic bad guy type), stands beside the television. The hand on the remote pushes "Mute."

GENERIC BAD GUY: It's no go. Section One has operatives at the houses in Malibu, Long Island, and New Orleans.

THE MAN WITH THE REMOTE: Berez talks too much. (His finger taps the remote control.) Well, I guess we'll just have to make another deal, won't we? (The hand points the remote control at the TV). Find me a way to get in there.

The generic bad guy looks at the TV, nods, and leaves the room. The camera pans slowly to reveal that the man with the remote is Perry Bauer. He takes a strawberry from a table of food beside him, bites into it, and smiles at the picture of Alex on the TV.

BAUER: Not a bad looking one...

*****

SCENE: Inside the van. Begin with a CU of Michael (also not a bad-looking one!) staring ahead. The camera pulls back and reveals that he is staring at Walter, seated across from him. Walter stares back, unblinking. Birkoff, at his terminal, is clearly nervous, sensing the tension in the air.

BIRKOFF: Uh, so, OK the best way in is through the rear door. The police have set up SWAT sharpshooters, but we can break into their comm system, send them on a wild goose chase to the south. You'll have about three minutes before they catch on.

MICHAEL: (still staring down Walter) Do we know the layout of the station?

BIRKOFF: Uh, yes. Not much to it, it's a small local--(becoming increasingly unnerved) a small local station. The rear entrance will lead you down a hallway past storage rooms to the main studio. On the north side of the studio is the sound booth and to the east are adminsitrative offices. We have no intel on Alex's location, or where he's keeping the uh, the uh, hostages.

MICHAEL: That's all right. I can improvise when I have to. Right, Walter?

Walter doesn't respond.

*****

SCENE: Nikita's new apartment--a small, one room affair. Unlike her previous apartment, there are no bright colors or big windows: this one feels dark, walled-in. It is less a place to live than a place to hide. When the scene opens, she is curled up in a chair, her knees pulled to her chest, her arms wrapped tightly around her legs. She is staring at the TV. On the screen is the TV reporter.

TV REPORTER: Police have still not identified the young man who took control of this television station--

A knock on Nikita's door. She freezes. Another knock. Slowly, she unwinds, gets up, moves to the door. She looks through the peephole. It's Rich. Grimacing, she opens the door.

NIKITA: What are you doing here?

RICH: Looking for you. It wasn't easy--did you know the school has no records on you? Luckily, one of your classmates lives across the street--

NIKITA: What do you want?

RICH: I wanted to make sure you were all right. You seemed upset when you left the house.

NIKITA: I'm fine.

RICH: Nikita, I realize you're a very private person, but sometimes it helps to open up--

In the background, the TV reporter's voice becomes clear.

TV REPORTER: Something's happening here--

Nikita leaves Rich and returns to the TV. She kneels in front of it, her face almost glued to the set. Rich lets himself inside and closes the door.

TV REPORTER: It looks like the police negotiator has arrived--

On the screen, we see a police car arriving and a woman getting out. This is Maria, the police negotiator. She doesn't look like a cop: she is small, with waist-length brown hair pulled back away from her face. She wears loose, Earth-mother type clothes, with a flowing jacket to hide her gun. She looks warm, likeable, Native American. We watch her approach the detectives in charge and confer with them.

Beyond them (a little zoom here), we see the Section van arriving. It is far away, but we think we see a man in black clothes getting out. Nikita drops her head into her hands.

RICH: What's wrong?

She jumps--she'd forgotten he was there.

NIKITA: Look, I don't want to be rude, but it's none of your damn business.

RICH: I just want to help.

NIKITA: (bleakly) You can't. No one can.

RICH: You know, it's pretty clear you recognize the young man who's holding those people. Why don't you call the police and--

She grabs him and slams him against the wall, holding him there with her forearm.

NIKITA: You don't know what the hell you're talking about, so do me a favor and stick to your Nietzsche and your philosophical evils. Leave the real evil to the rest of us.

RICH: (showing some unexpected guts) Can I ask you a question?

NIKITA: (rolling her eyes) Sure, why not?

RICH: Why did you take my class?

Nikita pauses--it wasn't the question she expected. She relents, letting him down and walking back toward the TV (a commercial is on).

NIKITA: I was trying to figure some things out, and I thought it might help.

RICH: And did it?

NIKITA: Actually---no.

Rich, after a long pause in which he takes in the dark, tragic look on her face, makes his way to the door. Once there, he stops.

RICH: You're right, you know. I have no real experience of evil. But I do know a woman who's paralyzed when I see one. (pause) It's time to get off the stick, Nikita. Do something.

He leaves. She stands there a moment, then suddenly turns off the TV, pulls on jacket, grabs her book bag, and heads for the door.

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

PART IV: THRESHOLD

SCENE: Inside the TV studio. We begin with a shot of the front door. Carefully, Maria (the police negotiator) opens it and steps inside. She slowly walks forward slowly, her hands held up in the air.

MARIA: Hello?

She passes the sound booth and looks inside. The hostages are bound and gagged on the floor. She looks around, and then continues to walk into the studio. A bright light shines in her face, blinding her.

ALEX: That's far enough. Take off your jacket. (She complies, and we see an empty holster.) Turn around. (She does so.) Lift your skirt.

MARIA: What?

ALEX: Lift your skirt. Show me you have no weapons under your skirt.

MARIA: (to herself) Knew I should have shaved my legs this morning. (She lifts her skirt and proves she has no weapons.) OK?

ALEX: All right. (He turns the light off and steps out to face her, holding up his gun almost half-heartedly. He looks totally exhausted.) I'm sorry about that, but I had to be sure.

MARIA: It's all right. I understand. I'M sorry we couldn't establish a phone link, although I'm at a loss to understand why--

ALEX: (taking a seat in a director's chair) Section One doesn't want me talking to anyone on the outside.

MARIA: Section One.

ALEX: Yep.

MARIA: That's the secret police you were talking about--

ALEX: You don't believe me.

MARIA: I didn't say that--

ALEX: (with a sad, tired smile) It's good you don't believe me. You'll be safer if you don't believe me.

MARIA: What's your name?

ALEX: (with a little oomph) Alejandro Manuel Diego Pena. Alex, they call me.

MARIA: Alex, I'm Maria. May I (she indicates another chair)

ALEX: Sure.

MARIA: (taking a seat, speaking in gentle tones) What is it you want, Alex? What can we give you to let those people free?

ALEX: I want people to listen--I want them to know--I--I want to tell my story.

MARIA: OK. I can go along with that. Why don't you tell me your story?

MUSIC begins: Bob Dylan's "Standing in the Doorway." (I am cutting and splicing the lyrics a bit--sorry, Bob!--it's a long song). We watch as Alex slowly, agonizingly begins to talk, although we don't hear the words. Maria looks sympathetic.

"I'm walking through the summer nights
the jukebox playing low--"

CUT to a shot of Nikita, paying and waiting impatiently for a plane ticket.

"Yesterday everything was going too fast
Today it's going too slow--"

She gets the ticket and runs for the plane (a small prop plane, used for commuter flights. She isn't far away.)

CUT to a shot of Michael, getting out of the van, walking around the crowd of police, reporters, and onlookers, to the back of the building. He stands at the corner, watching the sharpshooters on the roof next door.

"I got no place left to turn
I got nothin' left to burn
Don't know if I saw you
if I would kiss you or kill you
probably wouldn't matter to you anyhow--"

The sharpshooters move to the other side of the roof. Michael moves quickly to the rear door and goes inside.

CUT to a shot of Nikita, seating herself on the plane. She buckles her seat belt and looks out the window.

"You left me standin'
in the doorway cryin'
I got nothing to go back to now--"

CUT to a shot of Michael, moving past the storage rooms in the rear hallway. He reaches the door to the studio, opens it a bit, and stands there listening. He closes his eyes, as if it pains him to hear what Alex is saying.

"The light in this place is so bad
making me sick in the head
All the laughter is just makin' me sad
the stars have turned cherry red--"

CUT to a shot of Alex and Maria. Alex is talking, Maria is listening--listening hard.

"Maybe they'll get me
and maybe they won't
But not tonight and it won't be here
There are things I could say but I don't
I know the mercy of God must be near--"

CUT to a shot of Nikita on the plane. She takes out the communicator, and mentally debates.

"I've been riding a midnight train
Ice water in my veins
I would be crazy if I took you back--"

CUT to a shot of Michael, taking off his comm unit and dropping it on the floor. He then slips into the studio and walks straight on toward Alex and Maria. Maria has her back to him and doesn't see his approach.

"It would go up against every rule.
You left me standin'
in the doorway cryin'
under the midnight moon--"

Alex sees Michael and jumps up, pointing the gun.

ALEX: There he is.

MARIA: (assuming he's having a delusion, she doesn't turn around) Who--

ALEX: Michael. The man I told you about.

MICHAEL: Hello, Alex.

Maria turns and is stunned to see Michael walking toward them. Instinctively, she moves to Alex's side. Alex cocks the gun as Michael approaches, and then he gestures and says something to Maria. She looks from one to the other.

"I eat when I'm hungry
Drink when I'm dry
and live my life on the square--"

Maria frisks Michael, taking his gun and the communicator. She puts both on the anchor desk and the three of them move away.

"And even if the flesh falls off of my face
I know someone will be there to care
Even the softest touch--"

CUT to a shot of Nikita on the plane, looking at the message she has typed: "I'M ALIVE. I'M ON THE WAY."

"I see nothing' to be gained
by any explanation
There's no words that need to be said--"

Nikita pushes "SEND."

CUT to the studio, a close up of Michael's communicator. Her words appear. The camera pans up, and we see Alex and Michael, with Maria in the middle, halfway across the room. No one sees the message.

"You left me standin'
in the doorway cryin'
Blues wrapped around my head--"

******

SCENE: Inside the Section Van. The music stops abruptly. Birkoff is watching as Walter pulls out C4 devices from a case.

BIRKOFF: There's nothing in the sequence about explosives. It's low profile surgical--

WALTER: No, that's not the mission profile.

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

PART V: IN PLACE

SCENE: Inside a police van. Two detectives sit in the center of surveillance equipment.

DETECTIVE #1 (into a headset): Maria, what's happening in there? Talk to us--

********

SCENE: Inside the TV studio. Alex and Michael are in a Mexican stand-off. Maria stands between them, looking from one to the other.

ALEX: I expect Section One to treat people like things, but I expected more from you. So did Walter, and a lot of us. We were counting on you. You were supposed to watch out for her.

Michael looks away, glances to Maria.

DETECTIVE'S VOICE OVER MARIA'S COMM UNIT: Come on, Maria, we're sittin' on damn nails here--

A small quiver on Maria's face alerts Michael to the possibility she is wired. He reaches over to her, but stops when Alex cocks his rifle.

ALEX: Uh-uh, no you don't--

MICHAEL: I'm not going to hurt her.

Gently, Michael lifts the collar of her shirt to show the wire.

******

SCENE: The door to the sound booth. Michael opens it for Maria, who goes inside the booth reluctantly.

MICHAEL: I'm sorry. I need to speak to Alex privately for a few minutes. (He looks from her to the hostages.) This will all be over soon, I promise.

He closes and locks the door. Maria turns immediately to check the hostages.

MARIA: Everyone all right? OK? (She undoes some of their restraints, and then leaves them to untie each other. She steps to the window in the booth, from which she has a view of the studio. She sees Michael approaching Alex again.)

MARIA: (to her fellow cops) Prepare for assault. (To the hostages) Is there any way I can hear what they're saying in there?

One of the hostages, apparently the "sound" guy, points out a headset. Maria puts it on, pushes the button, and listens to Alex and Michael.

ALEX (OVER THE HEADSET): She was different, you know? She cared about people, she cared about their feelings--

MICHAEL (OVER THE HEADSET): I know.

******

SCENE: An immediate cut inside the studio for the rest of their conversation. Alex is on the edge, exhausted, rambling. Michael watches him with sympathy.

ALEX: She treated me like a kid brother. Teased me like my own sister used to. And she'd get on my case when I screwed up, when I let me temper get the best of me. That's what got me in trouble in the first place, you know, that's how I ended up in prison--

MICHAEL: I know.

ALEX: I used to worry about her, too, but I always thought--I thought YOU'D take care of her. (He slaps his gun) I thought you cared about her--

MICHAEL: (barely a whisper) I did. I tried--

ALEX: (shouldering the gun, grabbing Michael by the lapel, and screaming in his face) YOU TRIED?! You sent her on a suicide mission!

MICHAEL: I warned her. I sent her a message, told her to run--

ALEX: A message? What message? You mean--do you mean she's alive?

MICHAEL: I don't know--I don't know if she got out in time. (For the first time, he starts letting his feelings show. His voice gets tight, strangled.) She was the only person who made me feel I was still a human being, I could still feel alive-- (He grabs Alex now, the two of them in a fierce battle of wits). She made me think that there was still a small corner of my soul that hadn't been destroyed by all this--. (With a sudden move, he shoves Alex away, sending him sprawling as Alex had done to him before) Do you really think I could ever (bitterly spits the word out) CANCEL her?

Alex, on the floor, shakes his head as if to clear it.

ALEX: I--I'm sorry, man. (Slowly, he stands.) I didn't know.

They stand and look at each other, understanding the other's pain and grief.

MICHAEL: We're dead men. Section One won't let either of us out of here alive. (He looks toward the sound booth.) But we don't have to take the lives of innocents with us.

Cut to inside sound booth. Maria steps back a bit.

MARIA: Hold assault.

*******

SCENE: The street outside--bedlam with cops, media, onlookers. The TV station has been cordoned off with yellow tape, and cops line the area, keeping everyone at bay. A pan down the street to the Section van. The door opens, and Walter steps out, holding something in each hand.

WALTER: Second team, report.

Two cops slip away from the crowd and walk casually toward Walter. He slips them the devices in his hand: C4 charges. The Section "cops" look around and walk away. Walter gets back into the van.

CUT to inside the van. A grim Birkoff is working on his computer.

BIRKOFF: (after Walter sits down, heavily) What about the hostages?

WALTER: (looking sick, dejected) The word is--they're collateral.

BIRKOFF: And the cop?

WALTER: What cop?

Birkoff's fingers fly over his computer. The next thing we hear is Maria talking to her fellow police officers.

MARIA (OVER COMM UNIT): They're still talking, but I think we might get out of here without a firefight.

WALTER: "They"? Does she mean Alex and Michael? If they're talking, why didn't we hear any of it?

BIRKOFF: Maybe Michael's comm unit failed--

WALTER: Yeah, right. (narrow his eyes, thinks) What could Michael be saying that he doesn't want us to hear?

SECOND TEAM OP (OVER COMM UNIT): We're in place. Moving in to set the devices now.

******

SCENE: Rear of building. The two Section "cops" come up to the rear door. They give a small wave to the sharpshooters on the next roof, and then sneak inside.

CUT to the roof next door. One of the sharpshooters lifts his head.

SHARPSHOOTER: What the hell--who are those guys?

A shot, and he falls over, dead. Four more shots, and the other four SWAT sharpshooters are also killed. The camera pans to reveal Bauer's generic bad guy. He puts away his nine-millimeter and helps himself to one of the SWAT team's long-range rifles. He leans over the roof, pointing the gun at the rear door. The two Section "cops" leave the building. The Generic Bad Guy shoots them. He puts down the gun and takes out a cell phone, speed dialing a number.

GENERIC BAD GUY: (over cell phone) All clear.

We watch over the roof as a long car pulls up to the rear of the building. Bauer and a large group of his goons get out. Bauer carries a large case of some kind of equipment. They go in through the rear door.

******

SCENE: Inside the TV studio. Alex and Michael stand near the anchor desk.

ALEX: (looking over at sound booth, where he can see just a shadowy image of Maria through the glass) Section One would really kill those people--

MICHAEL: (walking to the anchor desk to retrieve his things) They heard your story. Some of them might have believed you, or might come to--

He sees the communicator, grabs it. He sees Nikita's message.

The door bursts open and Bauer and his men enter. Michael hits the "off" button on the communicator, drops it, and grabs his gun. Alex grabs his gun as well.

BAUER: Easy, boys, easy. I've come to join the party.

Alex and Michael, outnumbered, are quickly surrounded and have to surrender their weapons. Bauer looks at Michael and recognizes him.

BAUER: Well, well, if it isn't my old employee, Peter. Only, that's not your real name is it? What was it again--Mark? Matt? No, of course, it's Michael. So how's that beautiful partner of yours, Michael?

Michael doesn't answer, and he carefully avoids looking at the communicator on the desk.

BAUER: Still the big talker. (He looks over at Alex) And speaking of big talkers, you young man have the biggest mouth in the hemisphere. You've made a lot of people very nervous, and I really must thank you for that.

Bauer puts his case on anchor desk, shoving aside the communicator. He opens the case and takes out a laptop and cellular phone.

BAUER: (indicating Michael) Put him in one of the store rooms. I'll deal with him later.

Two goons drag Michael away. Bauer types in a message on the laptop. There is a connection, and suddenly a man appears.

BAUER: George--you're looking well. Perry Bauer here.

CU Michael, reacting, just as the two men take him out of the room.

CUT to rear hallway. While one of the goons opens the storage door, Michael suddenly resists and "tries" to make a break. There is a struggle, and Michael ends up on the floor, where he retrieves his ear comm unit. The goons grab him and shove him in a store room, locking the door.

*****

SCENE: Inside the dark store room. Michael paces back and forth.

MICHAEL: Birkoff--are you there?

BIRKOFF: Michael, where've you been?

MICHAEL: Bauer's here.

BIRKOFF: We know.

MICHAEL: How?

BIRKOFF: We're tapped into the cops.

MICHAEL: Can you hear what's happening?

BIRKOFF: Just what the lady cop reports back.

MICHAEL: Good. Have the charges been set?

A pause.

BIRKOFF: (uncomfortable) Uh--what charges?

MICHAEL: Walter--she's alive. She's on her way here now.

*****

SCENE: Street outside. A cab pulls up on the edges of the crowd. A slow-motion shot of Nikita getting out, looking around, and moving toward the rear of the building.

MUSIC: The final chorus of Jewel's "Who Will Save Your Soul":

"Some are walking, some are talking, some are stalking their kill--"

A shot of Nikita slipping around the rear of the building. She sees the two dead ops, checks them, recognizes them, drops her head as if to say "Oh, God, nothing's changed," takes one of their guns, and slips into the building.

"You got social security, but that don't pay your bills
There are addictions to feed and there are mouths to pay
So you bargain with the devil, say you're OK for today
You say that you love them, take their money and run
So get out on the streets, girls, and bust your butts--"

CUT to the rear hallway. Nikita moves forward to the door to the studio and leans against it as if trying to listen. Then, she hears something from the store room. Slowly, she walks over to it, and puts her hand on the doorknob.

"Who will save your soul when it comes to the flower
Who will save your soul after all the lies that you told boy
Who will save your soul if you won't save your own?"

Nikita opens the door.

A shot of Michael in the dark storeroom, blinking at the sudden light of the hall.

A shot of Nikita, the light illuminating her bright hair.

MICHAEL: Nikita--

A shot Nikita, the light from the hall illuminating her bright hair.

NIKITA: Michael--

They move together suddenly, simultaneously, and clasp each other hard, her arms around his neck, his arms around her waist. They hold onto each other fiercely, tightly, joyously.....

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

PART VI: THE SQUEEZE IS ON

SCENE: Inside the store room. We come back from a commercial to find our favorite couple pulling back from their clench, but keeping close still. Michael stares at Nikita in wonder.

MICHAEL: You're here--you're really here--

NIKITA: (with a little laugh) Yes, I'm here--

MICHAEL: But why? You were free (He winces suddenly and reaches for his ear, as if he's being yelled at) Sorry, there's some people who want to say hello. (He hands her the ear comm piece.) Walter and Birkoff.

NIKITA: Hi, guys. (She listens and laughs at their reaction. While she talks to them, Michael fingers her hair and runs his fingers down her cheek, as if savoring her presence.) Yes, it's really me......It's a long story ......Uh huh, yes, I will........Look, guys, I'd love to chat, but we've got a bit of a situation here .......I will, I promise. (She hands the comm piece back to Michael.)

NIKITA: Michael, what are we going to do about Alex?

MICHAEL: Alex can wait a few minutes--

He leans over and kisses her, a soft, deep, satisfying kiss.

*****

SCENE: The TV studio. Open with a shot of Alex, standing in front of the sound booth window, staring soulfully at Maria through the tinted glass. She looks back at him. We pan the room, and see that Bauer's goons are positioned all around. Bauer is at the computer, talking to the mysterious George, the man who gives orders to Operations.

BAUER: So, you see, George, this is the deal. I'm connected to a satellite, and with the push of this button (indicates it) I can put this young man's face and voice on every television in the civilized world. By the time you figure out how to stop it, he will have told everyone about Section One. Now, I know most people won't take him seriously, but there are always Woodward and Bernsteins out there, and the story of Section One would make Watergate look like a footnote on a back page.

GEORGE: What do you want?

BAUER: Oh, I'm not asking for much. I just want to be left alone to run my business without interference from Section One.

GEORGE: It just so happens that your business is Section One's business.

BAUER: No, not necessarily. All I do is sell the weapons. You guys are the ones who use them.

GEORGE (grimly) I'll see what I can do.

BAUER: Oh, and George, in case you're thinking of--I don't know--blowing this place up or something, you should know that my computer has a failsafe. If for any reason it is powered down, it will first send a message I pretaped, telling the world about your little band of extralegal warriors. (He pauses and touches his face) And if I say so myself, I look pretty good on camera. (He gets serious) You have ten minutes. (He shuts the connection off. The screen reads: Satellite Transmission Open or some such thing. Bauer turns to look around, and he sees Alex and Maria. Maria is talking, although we can't hear what she's saying. Alex reaches out to put a hand on the glass. Rolling his eyes, Bauer turns away.) Oh, great, more lovebirds...

*******

SCENE: Store room. Michael and Nikita pull back from the kiss, but Michael leans in again immediately, rubbing his face against hers, smelling her hair.

MICHAEL: Why did you come back? For Alex? He isn't your responsibility. You were free--

NIKITA: But I wasn't. Not really. You were right. People on the outside--they can't understand us. They can't understand what we do--

MICHAEL: (pulling back to look at her) We? (She doesn't answer, just looks at him.) What does that mean? Do you want to come back?

NIKITA: Want to? No--but-- (sighing) but it's where I belong. I don't think I could ever just "do the job," Michael, but at least with Section One I could do something. That is, if Operations would ever let me come back---

MICHAEL: Are you sure? Are you absolutely sure? Because-- (taking a deep breath) because I might know a way--

She looks at him and doesn't answer, but he sees the "yes" in her eyes.

MICHAEL: (to the van) Walter, are you there?

*****

SCENE: Section One. Operations, wearing a headset, paces around the central station while Madeline watches.

OPS: (very angry) Yes, yes, I understand, George.....No, it WILL be taken care of, you have my word. (He takes the headset off and throws it down.) Damn Bauer! (He turns to the extra op, who is seated at Birkoff's station) Get me the team.

MADELINE: What's wrong?

OPS: We're being squeezed, that's what's wrong.

EXTRA OP: Sir, the team--

Operations grabs his headset and puts it back on. He turns to a monitor and sees Walter's face appearing.

OPS: Walter, abort the charge. We've got an extra party on board--

WALTER: I know. Bauer.

OPS: You know? And you didn't inform me IMMEDIATELY?

WALTER: We can get Bauer, but there's a catch--

OPS: A catch? A CATCH? Since when do I have to bargain for my operatives to do their jobs?

WALTER: Since we found out Nikita's alive.

OPS: (about to burst a blood vessel) WHAT? (He looks at Madeline, who raises her hands as if to say "news to me.")

WALTER: Here's the deal. We'll get you Bauer, if you let Nikita come home safe and sound.

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

PART VII: Breaking for Home

SCENE: Rear hallway of TV studio. Michael and Nikita stand at the door to the studio. Michael has his gun drawn, and Nikita holds her communicator.

MICHAEL: Ready?

NIKITA: Ready.

MICHAEL: Alpha team, go.

CUT to inside the van. Birkoff and Walter exchange looks. Birkhoff starts typing on his computer.

CUT to inside the sound booth. Maria suddenly jumps, startled..

MARIA: (holding her comm unit) Who is this? ....What?.....Where?....Yes, but how......Uh-huh.......Where? (She looks at Alex, still mooning at her through the window. She narrows her eyes, as if debating mentally, and then makes a decision.) All right, I'll do it.

She points toward the anchor desk and makes a gesture. Alex glances at the desk and back to her. She makes the gesture again, and he understands. Slowly, he makes his way across the room, seemingly casual, under the watchful eye of Bauer's goons. Bauer ignores him. Alex reaches the anchor desk and looks down at the communicator.

CUT to rear hallway. Michael nods to Nikita.

MICHAEL: Go.

Nikita starts sending a message on the communicator.

CUT to inside TV studio. Alex looks up from the communicator and nods at Maria. He starts walking around the room, this time headed for the sound booth door, near one of Bauer's goons.

CUT to inside sound booth. Maria sees Alex arriving in place.

MARIA: We're set.

Michael and Nikita burst in from the rear door, shooting and taking out Bauer goons. Bauer drops behind the anchor desk. The goon next to Alex shoots toward Michael and Nikita, forgetting Alex, who jumps him and takes his gun. Alex shoots the lock off the sound booth door, and Maria and the hostages come out. The hostages run for the outer door, Maria shooing them past quickly with a "go, go!" When the last one is by her, she starts backing toward the door. Alex stays in front of her, providing cover and also backing up.

CUT to inside the van. Birkoff looks up at Walter.

BIRKOFF: Hostages are clear.

Walter hits the detonator.

CUT to inside the TV studio. A firefight rages between Michael, Nikita, and the remaining goons. Maria is at the outer door, pulling Alex back, but he stays put, still shooting. Michael makes his way to the anchor desk, staying low, and retrieves the computer. . Bauer, who has inched to the other end of the anchor desk, suddenly rises up and points a gun at Michael over the desk. Nikita, having taken out the last goon, hits the ground and shoots Bauer in the leg, injuring but not killing him. Michael and Nikita begin moving to the rear door.

BAUER: Hey, you can't leave me here--

NIKITA: Door's open. Catch us if you can.

She and Michael hightail out the back door. Bauer begins hobbling toward the door.

CUT to the street outside. Maria is leaving the building, running toward the hostages, who have been corralled by the cops. She hurries over and sees that her fellow cops have their guns raised. She turns: Alex is at the front door, just standing there, gun in hand.

MARIA: NO! DON'T SHOOT!

CUT to a shot of Michael and Nikita, a slow-motion shot of them running out of the rear of the building and spotting the van pulling up--

CUT back to the front of the building. A slow motion shot of Alex waving and going back into the building--

CUT to the back of the building: a shot of Michael and Nikita running in slow motion as suddenly the building erupts in an EXPLOSION!!!!!!!!

Superimposed over the image of Michael and Nikita running is a close up of Maria crying out "NO!!!!!!!!!!!!"

*******

SCENE: The Section One Van. Michael and Nikita sit side by side. Across from them are Walter and Birkoff. All are quiet, subdued. The van comes to a stop.

WALTER: Well, here we are, sugar. You sure you want to do this?

NIKITA: I'm sure.

Walter gets up as the door slides open. He pats Nikita's hand awkwardly, and then gets out of the van.

BIRKOFF: Nikita--

NIKITA: I know, Seymour.

Birkoff looks at Michael.

MICHAEL: Give us a minute.

Birkoff nods and exits. Michael and Nikita sit for a moment, not looking at each other. When Michael speaks, he sound more like the old Michael.

MICHAEL: I don't know what you're expecting anymore. From the job--or from me--

NIKITA: Is there a difference?

MICHAEL: (slowly) Yes--

NIKITA: Oh, don't worry, Michael. I don't expect much of anything anymore. Except--

MICHAEL: Except what?

Nikita smiles enigmatically, and then stands up, brushing off her clothes.

NIKITA: Come on. We've got work to do.

CUT to outside the van, Mission Arrival port. Walter and Birkoff stand on either side of the doors, like guards. Ops, and beside him Madeline, are waiting. Michael gets out of the van first, followed by Nikita. There is a small, spontaneous smile on Madeline's face on seeing Nikita. Ops is not smiling, but he doesn't seem angry. He steps forward as Nikita does. She eyes him warily.

OPS: Oh, don't worry. Contrary to popular opinion, I am a man of my word. You're safe, Nikita. For now.

He turns and walks away.

******

SCENE: Police station. Maria sits at her desk, staring at Alex's police file. She looks sad. Suddenly, someone puts a box of red roses down across the file. She looks up.

MARIA: What's this?

COP: Guess you got a secret admirer.

Maria looks into the box and sees a note. Slowly, she takes it out. It reads: "Be safe. Don't believe."

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

PART VII: PLAYTIME.....

SCENE: Michael's office. He sits at his desk, typing on his computer. Nikita comes to the door and stands in the threshold, leaning with her shoulder against the door jamb. She has her hands behind her, holding something. She is wearing a loose, dark blue sweater with a deep V-neck and a short pleated skirt. Her hair is loose, shining, wavy. She has a strange gleam in her eyes. She looks delicious--a sex kitten ready to start purring.

Michael looks up. Engrossed in business, he doesn't do much more than note her presence before returning his attention to the computer.

MICHAEL: The briefing is in 15 minutes.

NIKITA: I know.

She comes into the room, closing the door. She crosses slowly, then sets a tape player on his desk. Michael looks up and stops typing. With just a hint of a smile, Nikita pushes the "Play" button. Out pours that smoky, sultry, sexy tune by Fiona Apple: "Slow Like Honey."

MICHAEL: Nikita--

"You moved like honey in my dream last night
Yeah, some old fires were burning--"

Still oh-so-barely smiling, Nikita moves back to the door. Locks it. She steps over to the window--slowly turns the cord until the blinds are closed. Dims the lights.

"Does that scare you? I'll let you run away
But your heart will not oblige you
You'll remember me like a melody
Yeah, I'll haunt the world inside you--"

She moves toward him and, easing his chair from the desk, slides in between his chair and the desk. She plants her legs on either side of him, bracing herself against his desk.

"I and my big secret--Gonna win you over
Slow like honey, heavy with mood--"

MICHAEL: We can't--not here--

She leans over, runs her hands from his shoulders down his arm to his hands. She takes his hands and places them on her thighs, right at the edge of her short skirt.

"I'll let you see me, I'll covet your regard
I'll invade your demeanor
And you'll yield to me like a scent in the breeze
And you'll wonder what it is about me--"

Michael is speechless as she runs her hands back up his arms, up his face, into his hair. Gently, she pulls him forward, and his chair slides toward her. She leans over, kisses the top of his forehead. She runs kisses and little flicks of her tongue down the side of his face, his eyes, his cheek, across his chin, to his lips. Michael's eyes flicker--

"It's my big secret--Keeping you coming
Slow like honey, heavy with mood--"

A small groan escapes Michael. He runs his hands up her thighs, across her hips, and under her sweater. He sits up straighter, reaching for her--

"Though dreams can be deceiving
Like faces are to hearts
They serve for sweet relieving
when fantasy and reality lie too far apart--"

She is teasing his mouth now, running her tongue along his lips. He strains upward for a deeper kiss--she won't let him, just keeps teasing, teasing--

"So I stretch myself across like a bridge

And I pull you to the edge--"

Her hands inch down to his shirt. She unbuttons it, still teasing him with her tongue, and now he's teasing her back--

"And I stand there waiting
Trying to attain
The end to satisfy the story--"

The shirt opened, she pushes it to the side and begins "tickling" her fingers down his neck, his chest. He responds by running his hands down her hips, her thighs, under her skirt....

A soft "oh" escapes her....

"Shall I release you?
Must I release you?
As I rise to meet my glory--"

He can't stand it. He stands up, kicking the chair away, and he pulls her to him, hard against him. A wet, deep, long kiss. His hands are under her shirt, down her hips, under her skirt...

"But my big secret
Gonna hover over your life
Gonna keep you reaching
When I'm gone like yesterday
When I'm high like heaven
When I'm strong like music
`Cuz I'm slow like honey, heavy with mood--"

Her hands are inside his shirt, her nails running down his back. Her palms flatten against him, run down the rest of the way, and then begin inching around to the front of his hips--

MICHAEL: Oh, Nikita--

She stops. Pulls away. Looks at her watch.

NIKITA: Oops. Time for the briefing.

Cheerfully, she reaches behind her, turns off the tape, picks up the tape player, excuses herself past him, trips lightly to the door, opens it, and smiles at him.

NIKITA: All work and no play, Michael--

She leaves. He stands there. Wasted.

THE END.......................
ROLL CREDITS.....................................

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