PRIVATE

I. Announcement

(WE ARE INSIDE A BEDROOM. THE LIGHTS ARE OUT AND WE CANNOT SEE CLEARLY. THERE IS A RADIO PLAYING IN THE BACKGROUND, TUNED TO AN EASY LISTENING MUSIC STATION. THERE IS A COUPLE ON THE BED APPARENTLY HAVING JUST HAD SEX, BUT THEY ARE NOW COLLAPSED IN POST-COITAL EXHAUSTION. THEY LAY QUIETLY UNTIL THE MAN FINALLY MOVES SLIGHTLY.)

HIM: Ooh.

HER: Umm.

(THERE IS SILENCE FOR A WHILE. WE PAN TO A CURTAIN BLOWING FROM AN OPEN WINDOW AND THEN ON AROUND THE ROOM. IT'S TOO DARK TO SEE CLEARLY, BUT WE ARE LEFT WITH THE IMPRESSION OF CLOTHING SCATTERED ON THE FLOOR. VOICES WAFTING IN FROM OUTDOORS ARE FAINT. THE RADIO ANNOUNCER COMES ON AND WE CAN HEAR THAT HE SPEAKS FRENCH.)

HER: Move.

HIM: Huh?

HER: (MORE FIRMLY) Move. Off.

(HE ROLLS OFF HER AND THEN BACK ONTO HIS FACE IN THE PILLOW AS SHE SHIFTS AWAY. THE COVERS MAKE RUSTLING SOUNDS AS SHE RISES. IT IS STILL TOO DARK TO SEE FACES.)

HIM: (MUFFLED) Going?

HER: (WHISPERING) Be right back.

(HE BEGINS SNORING SOFTLY. IN THE DARKNESS, WE CAN JUST MAKE OUT A WOMAN'S HAND PICKING UP ARTICLES OF CLOTHING, SOMETHING LIGHT COLORED, SMALL, PROBABLY UNDERWEAR. THE HAND MOVES TO QUIETLY PICK UP SOMETHING DARK, PERHAPS A SKIRT. WE HEAR CLOTHES RUSTLING. THEN WE CAN HEAR A ZIPPER BEING ZIPPED AND THE SOFT THUNK OF PUMPS BEING DROPPED ON THE CARPET. THE CAMERA PULLS IN FOR A CLOSE UP OF THE MAN'S FACE BURIED IN THE PILLOW. WE CANNOT MAKE OUT HIS FEATURES. WE HEAR THE "POP" OF A SILENCED GUN. HIS BODY JERKS ONCE. A DARK STAIN BEGINS GROWING ON THE PILLOW AND SHEETS AROUND HIS HEAD. WE HEAR SOFT FOOTFALLS, AND THEN THE RADIO IS TURNED OFF. THERE ARE MORE FOOTSTEPS, THEN THE SOUND OF A DOOR BEING OPENED AND CLOSED.)

II. The Calling Card PRIVATE

(OPS IS STANDING, PACING OCCASIONALLY ALONG THE SIDE OF THE CONFERENCE TABLE AS HE SPEAKS. MADELEINE IS AT THE FOOT OF THE TABLE. THE HEAD CHAIR, OPS', IS EMPTY. ALONG THE SIDE OF THE TABLE FACING OPS SIT MICHAEL, BIRKHOFF, NIKITA, AND WALTER. TWO UNNAMED OPS ARE SEATED OPPOSITE WALTER AND NIKITA. OPS POINTS HIS REMOTE AND THE BLUE RIMMED VIEWSCREEN APPEARS IN MID-AIR OVER THE CONFERENCE TABLE. ON IT ARE THE PICTURES OF THREE PEOPLE.)

OPS: Three top agents of different intelligence organizations have been assassinated in the last three weeks. The agencies involved have exhausted their leads, and have asked for our help.

(OPS CLICKS HIS REMOTE AND THE SCREEN ZOOMS IN ON THE WOMAN ON THE LEFT.)

OPS: The woman was CSIS. Janet Hue, age 36. Divorced. No children. No serious attachments. She's supposed to be foreign section ops only. Shot in the back of the head at close range in her hotel room in Vancouver two weeks ago, after an apparent covert entry.

(MICHAEL'S FACE REMAINS STOIC, BUT THERE IS A FLASH OF RECOGNITION AND HE LEANS SLIGHTLY FORWARD. NIKITA NOTICES AND GLANCES AT HIM. OPS CLICKS HIS REMOTE AGAIN AND THE SCREEN SWITCHES TO THE WOMAN IN THE MIDDLE.)

OPS: CIA. Same M.O. Margaret Bradley, age 33. Single. No children. Lesbian, not in the closet. No serious attachments. She was hit at her own apartment in D.C. last week. Forensic indicates probable sex with a woman just prior to death.

(MICHAEL TIGHTLY CONTROLS ANY REACTION BUT IS VERY ATTENTIVE. OPS CLICKS HIS REMOTE ONCE MORE AND THE SCREEN SWITCHES TO THE MAN ON THE RIGHT OF THE FIRST SCREEN.)

OPS: MI6. Roger Fourtenay, age 53. Married, 2 children. Senior British agent stationed in Paris. Same M.O. Had apparently been "entertaining" a guest in his hotel room.

(MICAHEL LEANS BACK AND LOOKS AT OPS. HIS FACE IS NOW TOTALLY EXPRESSIONLESS. OPS CLICKS THE REMOTE AND ALL THREE PICTURES ARE BACK ON THE SCREEN.)

NIKITA: Doesn't sound political.

OPS: Not on the surface. Hard to say until we know what they were each working on.

MICHAEL: How much information are we going to get from the agencies?

OPS: About what you'd expect. (OPS SNORTS IN DISGUST.) I have reports from all of them, there's even a few lines of type that aren't blacked out. Birkhoff, get me the originals and anything related.

BIRKHOFF: Fingerprints?

OPS: Anywhere you feel like leaving them. Just don't get our back doors shut. If they want our help, they'll learn to cooperate. Let's get the message across.

MADELEINE: Birkhoff, get into their personnel files while you're there. I need to put together profiles. Finding out who they would let get that close to them should help.

OPS: Anyone with contacts, pursue them cautiously until we get details. Emphasize "cautiously". We don't know what we're dealing with at this point. Everyone, this is a "heads up" until we have more. Watch your backs. Dismissed.

WALTER: (UNDER HIS BREATH) Sounds like our backs aren't what we should be watching.

(OPS GLARES AT WALTER AS THE ENTIRE GROUP DEPARTS.)

(NIKITA AND MICHAEL ARE HAVING COFFEE IN THE CAFETERIA. THEY ARE TALKING QUIETLY. THERE ARE VARYING NUMBERS OF COLD OPS AND OTHER PERSONNEL AT THE OTHER TABLES.)

NIKITA: That was a lot of nothing.

MICHAEL: Not political.

NIKITA: OK

MICHAEL: Apparently attractive

NIKITA: (SARCASTICALLY) That narrows it down.

MICHAEL: Operates in at least 3 countries.

NIKITA: (SPECULATIVELY) The victims were both men and women. Probably two killers, a man and a woman.

MICHAEL: Or not.

(NIKITA THINKS ABOUT THIS AND RAISES HER EYEBROWS, THEN NODS.)

NIKITA: Or not.

(NIKITA LEANS FORWARD. AND DROPS HER VOICE.)

NIKITA: Michael, you thought of something during the meeting. What was it?

MICHAEL: I knew all of them.

NIKITA: All of them?

MICHAEL: It could be coincidence.

NIKITA: Do you think you know who's doing it?

(MICHAEL LEANS CLOSER TO NIKITA, DROPPING HIS VOICE EVEN SOFTER.)

MICHAEL: What about Nefar?

NIKITA: (SURPRISED, BUT WHISPERING ALSO) Nefar is dead!

MICHAEL: We didn't find a body.

NIKITA: Michael, we didn't find ANYONE's body from the limo. We didn't even find a limo! That rocket of Walter's barely left molecules!

MICHAEL: The Maria parked outside the gate got away.

NIKITA: Those were just her guards.

MICHAEL: Maybe.

NIKITA: What is the problem, Michael? She's dead.

(MICHAEL LOOKS DOWN AT HIS COFFEE, AND THEN UP INTO NIKITA'S EYES.)

MICHAEL: The problem is I'VE killed her three times.

(MICHAEL SIPS HIS COFFEE, THOUGHTFULLY. NIKITA DRAWS BACK. ACROSS HER FACE RUN A RAPID SERIES OF REACTIONS: SURPRISE, CONFUSION, THEN CONCERN.)

NIKITA: Three times?

MICHAEL: Damn woman won't stay dead.

NIKITA: Does Ops know?

MICHAEL: (PAUSE) No.

NIKITA: I wouldn't mention her to Ops.

MICHAEL: I didn't plan to.

(NIKITA EYES MICHAEL.)

NIKITA: Especially not if there's any history there.

(MICHAEL DOES NOT RESPOND. HE TAKES ANOTHER SIP OF COFFEE.)

(OPS IS STANDING, PACING OCCASIONALLY ALONG THE SIDE OF THE CONFERENCE TABLE. EVERYONE IS IN THEIR NORMAL POSITIONS AROUND THE TABLE. THE HEAD CHAIR, OPS', IS EMPTY. THE SAME TWO UNNAMED OPS ARE SEATED OPPOSITE WALTER AND NIKITA. OPS POINTS HIS REMOTE AND THE BLUE RIMMED VIEWSCREEN APPEARS IN MID-AIR OVER THE CONFERENCE TABLE. ON IT ARE THE PICTURES OF TWO MEN. AS SOON AS THE TWO MEN'S FACES APPEAR ON THE SCREEN, MICHAEL'S FACE COMPLETELY FREEZES. HIS OVERT ACTIONS ARE PREDICTABLY CORRECT FOR THE MEETING, BUT IT APPEARS MECHANICAL, HIS MIND ELSEWHERE.)

OPS: It just keeps getting better. On the right, FSB. Same M.O. Hotel in Tel Aviv. Should have stayed in Moscow. The man on the left is top field agent for BND, found dead in his home in Bonn. Same M.O.'s as before. That's five. Birkhoff, what did you turn up? Anything on the new ones yet?

BIRKHOFF: Yes, sir. Full reports are in the folders in front of you on all five, but there's nothing too startling. Some were married, some not, some played, some didn't. They don't appear to have been involved in the same game, at least not any time recently. Other than being good at their job I can't find any common link except that they are all cold ops.

OPS: And the level of cooperation from the agencies?

BIRKHOFF: (GRINNING) Excellent. They're trainable.

OPS: BND? FSB?

BIRKHOFF: Apparently the word spread quickly.

OPS: Madeleine, profiles?

(MADELEINE POINTS HER REMOTE AND THE PICTURE CHANGES TO THE FOURTH DEAD OP, THE MAN FROM THE FSB.)

MADELEINE: Gregor GregorovichTrevlinsky. Age 47. Happily married, 2 children. Was with the old KGB before it was re-organized into the SVR and FSB. Forensics indicate drugs in his system, unlikely to have been self-induced. Forensics also indicate sex with a woman just prior to death.

(MADELEINE POINTS HER REMOTE AND THE PICTURE CHANGES TO THE LAST DEAD OP, THE MAN FROM BND.)

MADELEINE: Friedrich Schaeler. Age 41. Divorced twice. 2 children he does not maintain contact with, 1 from each marriage. Former Stasi agent, transitioned into the BND. Apparently will bed anything that doesn't move fast. He would have been an easy mark for anyone of either sex who is reasonably attractive and available. Forensics indicate sex with another man shortly before death.

(MADELEINE CLICKS THE REMOTE AND ALL FIVE PICTURES APPEAR TOGETHER ON THE VIEWSCREEN.)

OPS: Opinions?

MADELEINE: I would say they are being preyed on by a couple. The victim is seduced and/or drugged into it where possible. If seduction doesn't seem reasonable, they are gaining entry to the room by covert methods. The seduction scenario gives them more time to work, and less chance of discovery.

OPS: (FROWNING) Is there any chance these are unrelated assassinations?

(EVERYONE CONSIDERS THIS SERIOUSLY FOR A MINUTE. MICHAEL IS TOTALLY EXPRESSIONLESS BUT LEANS SLIGHTLY FORWARD.)

MICHAEL: No. If it were two, or even three. But not five. It's a calling card.

OPS: Calling card?

MICHAEL: Someone is making an announcement. That's why there is a different agency involved every time. Someone wants to tell us that there is a new player in town.

OPS: Us?

MICHAEL: Yes. And everyone else.

OPS: You're guessing.

(MICHAEL DOES NOT RESPOND.)

MADELEINE: Anything more than guesses, Michael?

MICHAEL: Whispers.

OPS: Like?

MICHAEL: Nothing solid. If it were a familiar group, the whispers would have been voices. There are just rumours of rumours, especially in eastern Europe. Therefore, a new group.

MADELEINE: And the part you're not saying?

(MICHAEL LOOKS WITHOUT EXPRESSION AT MADELEINE FOR A MOMENT. EVERYONE SEEMS TO BE HOLDING THEIR BREATH.)

MICHAEL: I knew them all.

MADELEINE: Personally?

MICHAEL: Or professionally.

MADELEINE: Do you think that's significant?

MICHAEL: If I did, others did too. They were all experienced people. It may be meaningless, but there should be some common acquaintances within the intelligence community.

MADELEINE: Are you suggesting a vendetta?

MICHAEL: No.

MADELEINE: Then what?

MICHAEL: Look for common acquaintances.

(OPS WAITS TO SEE IF ANYTHING FURTHER IS GOING TO DEVELOP FROM MADELEINE'S LINE OF QUESTIONING. SINCE MICHAEL APPEARS TO HAVE NOTHING FURTHER TO CONTRIBUTE, HE RESUMES.)

OPS: OK. Michael, put some people on it. And keep listening. If anything gets firmer, let me know immediately. (PAUSE.) Everyone, this is NOT an area I want to get into, but..

(HE GLANCES AT MADELEINE.)

MADELEINE: Let's keep our off-hour activities between known friends for the time being. This would not be a good time to start exploring new relationships.

OPS: Exactly. Dismissed.

III. The Invitation PRIVATE

(THE CAMERA IS IN TIGHT ON A SMALL MULTILINGUAL SIGN ON THE WALL. THE FIRST LANGUAGE IS SPANISH. THE CAMERA PULLS BACK AND WE CAN SEE A COUPLE IN A HOTEL ROOM. SHE IS SMALL, DARK-HAIRED, AND PRETTY. SHE HAS VERY LARGE SOFT DARK EYES. THE MAN IS ALSO DARK-HAIRED AND DARK EYED. HE HAS THE LOOK ABOUT HIM THAT WOMEN FREQUENTLY DESCRIBE AS "SENSITIVE", BUT IS STILL RATHER DASHING. THEY ARE AN EXTREMELY ATTRACTIVE COUPLE. THEY ARE PACKING SUITCASES, AND NOT WITH ANY SENSE OF URGENCY. HE IS TAKING DOWN A GUN. HE OPENS WHAT APPEARS TO BE SAMPLE CASE OF ELECTRONIC PARTS AND PUTS SOME OF THE GUN PIECES INTO PREPARED PLACES IN THE CASE. ONCE IN PLACE, THEY LOSE THEIR IDENTITY AND BECOME JUST MISCELLANEOUS COMPONENTS. SHE OPENS A COSMETIC BAG AND TAKES THE OTHER PIECES. SCATTERED AMONG THE OTHER ARTICLES IN THE BAG, THESE, TOO, ARE NOT EASILY IDENTIFIABLE AS GUN PARTS. SATISFIED WITH HIS PACKING, HE LOOKS AT HER.)

KARL: Are we sanitized, Marta?

MARTA: (SHE DOESN’T LOOK UP FROM THE SUITCASE.) Everything but the bathroom, Karl.

(HE FROWNS. SHE DOESN'T LOOK UP, BUT OBVIOUSLY EXPECTED HIS REACTION.)

MARTA: I shoot, you clean the bathroom. You shoot, I clean.

(KARL PULLS RUBBER GLOVES OUT OF THE SIDE POCKET OF THE SUITCASE AND WALKS TOWARD THE BATHROOM, PULLING THEM ON. SHE CONTINUES HER PACKING. SHE IS JUST FINISHING IT UP WHEN HE RETURNS AND PULLS OFF THE GLOVES, DROPPING THEM INTO THE HIS SUITCASE.)

KARL: Done. Let's set the stage and clear out.

(MARTA PULLS A PAGE FROM AN AIRLINE TICKET, CRUMPLES IT, AND PLACES IT BETWEEN THE WASTEBASKET AND WALL.)

MARTA: Next stop, Saigon.

KARL: Ho Chi Minh City.

MARTA: Whatever.

KARL: I hate Ho. Too many bugs.

(THEY PICK UP THEIR SUITCASES AND LEAVE, CAREFULLY MAKING SURE THERE ARE NO FINGERPRINTS LEFT BEHIND.)

(NIKITA, BIRKHOFF, AND MICHAEL ENTER THE CONFERENCE ROOM AND TAKE THEIR CUSTOMARY SEATS. OPS IS PROWLING ONE SIDE OF THE CONFERENCE ROOM TABLE. MADELEINE SITS AT THE FOOT OF THE TABLE. NIKITA GLANCES AT THE EMPTY SEATS AND LOOKS BACK OVER HER SHOULDER TOWARD THE DOOR.)

OPS: Just you today. Walter is on another project. Birkhoff has prepared a file on the sixth operative who was murdered yesterday morning. Madeleine?

MADELEINE: Richard Koestler. Age 49. Married, 3 children, all in college in different countries. Lives in Tel Aviv, murdered in Mexico City yesterday approximately 3AM, CM. Mossad has kindly volunteered that he was on assignment. Details are in the folder in front of you. He played. He apparently picked up an attractive woman and was seen leaving a bar with her around midnight. A composite sketch of her is also in the folder. We're looking for an attractive brunette, petite, approximately 30 years old, possibly Hispanic, possibly Mediterranean. Local sources inform us that the woman was seen at the bar engaged in prolonged conversation on previous evenings with an attractive male, same approximate age and ethnic background,

OPS: Since they appear to have spent several days in that area, we are going to plant someone in the bar in the hopes of turning up further information. Michael, have Nikita ready to drop into place as a waitress at the bar by evening.

MICHAEL: No.

(THERE IS A PRONOUNCED SILENCE WHILE THIS SINKS IN. OPS BLINKS. HE STARTS TO BRISTLE.)

OPS: No??

MICHAEL: Putting someone in place, certainly. But not Nikita.

OPS: And why not?

MICHAEL: She is 5'10" and blonde. Her Spanish is only passable. We could work up a cover, but it would take time. These people won't stay long, even if they are still there. Using a local is faster. And less obvious.

OPS: (CONSIDERING) Valid.

MICHAEL: And the sooner the better. Any bar and hotels will have regular day staff. No reason to wait for evening. Let's find out what we can quickly.

OPS: Do it. Dismissed.

(BIRKHOFF, MICHAEL, AND NIKITA DEPART LEAVING OPS AND MADELEINE ALONE.)

OPS: How can we have 6 hits and virtually no leads?

MADELEINE: Michael said HE knew all the targets, as might another top operative.

OPS: I'm listening.

MADELEINE: I wonder if they are fishing for someone in particular?

OPS: Surely there's an easier way to draw attention?

MADELEINE: Perhaps it depends on who you are fishing for.

(OPS THINKS ABOUT THIS WHILE HE SEATS HIMSELF NEXT TO MADELEINE.)

OPS: Us?

MADELEINE: When all the agencies get into trouble, whom do they call?

OPS: Us. A particular Section op?

MADELEINE: Our better ones are all very high on a lot of hit lists.

OPS: (RUNNING MENTALLY THROUGH A LIST) Michael and Nikita. Hillary and Trevor. Omar and Nice`. Kuo and Kim. Carlos and Estrella. It could be any of them.

MADELEINE: But some of them have already been drawn out, and nothing has happened to them.

OPS: If they wanted Kuo or Kim they would have started in Asia. The first hits were in North America. Michael elected to use local substations in the U.S. and Canada to gather data. That's Michael's call unless we override him, but it did keep he and Nikita out of direct line of fire. If what you are suggesting is true, that would explain why the next hits were all abroad.

MADELEINE: If so, the next hit will be in Asia, just to get the point across.

OPS: Someone saying, "Forget the locals, send in the big guns?"

MADELEINE: I think someone is trying to draw out Section. And IF Section, and IF an operative, then Michael.

OPS: Especially since, as usual, he isn't telling us everything he knows.

MADELEINE: I don't actually think he KNOWS anything. But his instincts are very good, or he wouldn't still be alive. I think his instincts are telling him that he's being hunted.

OPS: Nikita?

MADELEINE: Or she is. I think either would trigger that instinct in him. I think if SHE is being hunted, he would protect her. If HE is being hunted, then I think his instincts would still want her near at hand. He trusts her. She covers his back. Also, she would be very good bait to use against him if someone grabbed her. Either way..

OPS: Keep them in tight.

MADELEINE: Or use them intentionally. But know the risk. Your call.

(MICHAEL IS WORKING AT HIS COMPUTER WHEN NIKITA ENTERS HIS OFFICE. PULLS THE CHAIR OPPOSITE AROUND TO THE SIDE OF THE DESK AND DROPS INTO IT.)

NIKITA: A man and a woman. Therefore, not Nefar?

(MICHAEL QUITS TYPING AND LEANS BACK IN HIS CHAIR. THEY ARE VERY RELAXED AROUND ONE ANOTHER.)

MICHAEL: Apparently not.

(NIKITA LEANS FORWARD ONTO THE EDGE OF THE DESK,)

NIKITA: Why did you think it was Nefar?

(MICHAEL LEANS FORWARD, BOTH HIS ELBOWS ON THE DESK.)

MICHAEL: Instinct.

NIKITA: (THE CORNERS OF HER LIPS TURN UP) As opposed to intuition?

MICHAEL: (NOT QUITE A SMILE ACKNOWLEDGES THE HIT.) I honestly don't know. Perhaps simply because we never found a body.

NIKITA: That's happened before.

MICHAEL: But the only times it has happened with her, she was still alive.

NIKITA: Michael, I really don't want to push. (AS HE LOOKS UP) No. Really. There's a lot about life on the streets that (PAUSE) I don't want to tell you. I'm sure you feel the same way about your past. But there is something about Nefar that worries you. I'd like to know what it is. I'm your partner at least, right?

MICHAEL: (LOOKING HER IN THE EYES.) At the very least.

NIKITA: Then talk to me, Michael.

(MICHAEL LAYS HIS HAND ON THE BACK OF HER'S AND STROKES HER FOREARM FROM WRIST TO ELBOW. HE LEAVES HIS HAND LYING ON HER ARM. THERE IS A LONG SILENCE BEFORE HE SPEAKS.)

MICHAEL: I knew Nefar a long time ago. We were also (PAUSE) partners. We (PAUSE) worked together. Had a (PAUSE) business together.

NIKITA: Before Simone?

MICHAEL: Yes.

NIKITA: What happened?

MICHAEL: We parted ways. We had strong disagreements.

(NIKITA SITS WAITING FOR HIM TO GO ON. MICHAEL TAKES A DEEP BREATH AND LETS IT OUT.)

MICHAEL: I really don't want to ever have to go into details about any of that time with you, Nikita.

NIKITA: O. K.

MICHAEL: Disagreements in some lines of work turn into wars.

(NIKITA STILL SITS WAITING. NOT TRYING TO RUSH HIM, A LITTLE AFRAID TO SPEAK.)

MICHAEL: I thought I killed her. (LIGHTLY) She appears to have resented it.

(LEAVING HIS HAND STILL ON HER ARM, MICHAEL LEANS BACK. NIKITA FINALLY DECIDES HE HAS QUIT TALKING.)

NIKITA: Well, maybe not the first time or two.

(MICHAEL SMILES IN SPITE OF HIMSELF.)

MICHAEL: (SHAKING HIS HEAD.) Some people take everything personally.

(NIKITA SMILES IN APPRECIATION BUT BECOMES SERIOUS AGAIN.)

NIKITA: Is someone targeting you, Michael?

MICHAEL: Perhaps. Someone in Section headquarters. Me. You. The two most likely.

NIKITA: Is that why you didn't want me in Mexico City?

MICHAEL: (THINKING ABOUT IT.) Yes. It also wasn't the best move.

(THERE IS A KNOCK AT THE DOOR. MICHAEL REMOVES HIS HAND FROM NIKITA'S ARM AND THEY BOTH STRAIGHTEN AND LOOK AT THE DOOR.)

MICHAEL: Enter.

(THE DOOR OPENS. ONE OF THE COLD OPS FROM THE FIRST MEETING STEPS INSIDE.)

UNNAMED OP: Birkhoff saw me coming this way and asked that I tell you everyone is in place in Mexico.

MICHAEL: Thank you.

(THE OP LEAVES, CLOSING THE DOOR BEHIND HIM.)

NIKITA: So now we wait. Michael, if no one touches the Mexican ops, then what?

MICHAEL: Then we can be pretty sure that they want us, Nikita.

(NIKITA DROPS HER HEAD AND LOOKS UP AT HIM THROUGH HER LASHES.)

NIKITA: You watch my back, I'll watch yours.

MICHAEL: (LOOKING SIDEWAYS AT HER WITH A SLIGHT SMILE.) Deal.

The RSVP

(WE SEE THE SECTION PRIVATE JET TAKING OFF FROM AN AIRFIELD. THEN WE SEE INSIDE THE CRAFT, MICHAEL AND NIKITA SITTING ACROSS AN AISLE FROM ONE ANOTHER. IN THE WINDOW SEAT NEXT TO EACH IS AN ASSORTMENT OF PARAPHENALIA: CDS, FILES, PENS. THEY EACH HAVE A LAPTOP OPEN IN FRONT OF THEM. NIKITA LEANS BACK AND LOOKS OVER AT MICHAEL.)

NIKITA: Nothing here that wasn't here before.

(MICHAEL ALSO LEANS BACK, LOOKING OVER TO NIKITA. HE NODS SLIGHTLY, MOTIONING HER TO HIM. NIKITA UNHOOKS HER BELT AND RISES AS MICHAEL HANDS HER THE THINGS IN THE SEAT NEXT TO HIM. SHE PUTS THEM IN HER EMPTY SEAT AS HE CLOSES HIS COMPUTER AND SLIDES INTO THE WINDOW SEAT. SHE SITS NEXT TO HIM.)

NIKITA: One airline ticket stub to Stockholm in Mexico City. Another in Ho. Too obvious, Michael. I don't like it.

MICHAEL: Getting impatient. We were taking too long. I have a meeting with someone I know tonight.

NIKITA: Friend or foe?

MICHAEL: We'll find out.

NIKITA: But you're worried.

(HE GLANCES AROUND THE CABIN QUICKLY TO VERIFY THAT NO ONE IS NEAR.)

MICHAEL: Piotre is too easily bought. He worked for me. He worked for Nefar. Others.

NIKITA: How did he act when you contacted him?

MICHAEL: I think he was expecting me to call, but I can't be sure.

NIKITA: Luring us to Stockholm would make sense if he is part of a trap.

MICHAEL: Exactly. Put him in place, then point us there. If Piotre is part of a setup, I'll be doubly suspicious of Nefar being behind it just because of past association.

NIKITA: But still not sure?

MICHAEL: Piotre has no loyalty to anyone or anything. There is no way to be sure. He would work for anyone if the price were right.

NIKITA: I assume all guards up until you meet him.

MICHAEL: Yes. And assume the entire hotel is wired. Stay in character. We show ourselves and see what happens.

NIKITA: I really don't like walking into a trap with my eyes open.

(NIKITA AND MICHAEL ARE CHECKING IN A LARGE HOTEL, QUITE ELEGANT. THE HOTEL SIGNS ARE IN SWEDISH, WITH MULTILINGUAL TRANSLATION UNDERNEATH IN FRENCH, GERMAN, AND ENGLISH. THEY ARE BOTH WEARING BLACK. NIKITA IS WEARING THE BLACK COAT AND HAT SHE HAD ON IN VOICES. THEY MAKE A VERY STRIKING COUPLE. WHILE NIKITA IS SIGNING IN, MICHAEL TURNS AND LOOKS AROUND THE LOBBY. IT SHOULD BE OBVIOUS THAT THERE ARE A LOT OF TALL FAIR WOMEN AND MEN IN THE LOBBY. NIKITA SPEAKS SOFTLY AS SHE IS SIGNING.)

NIKITA: All the hairs on the back of my neck are standing up.

MICHAEL: (ALSO SOFTLY WITHOUT TAKING HIS EYES OFF THE LOBBY. THE CAMERA PANS FROM ONE TALL BLONDE TO ANOTHER.)

MICHAEL: I would have preferred the invitation not to have read, "And bring your tall blonde friend with you."

NIKITA: (SMILING BRIGHTLY, IN CHARACTER.) Where else should she be?

(MICHAEL SLIPS NIKITA'S HAND THROUGH HIS ARM AND GUIDES HER TOWARD THE STAIRS. THEY GIVE EVERY APPEARANCE OF BEING RELAXED. THE BELLHOPS ARE TRAILING THEM WITH THEIR LUGGAGE. IT SEEMS LIKE A PROCESSIONAL AS THEY WALK SLOWLY THROUGH THE LOBBY, GATHERING MANY STARES.)

(IT IS NIGHTTIME IN STOCKHOLM. WE SEE MICHAEL WALKING DOWN A DIMLY LIT STREET. HE STOPS AT AN ALLEY AND, AFTER CHECKING AROUND, STEPS INTO THE ALLEY. HE WALKS SLOWLY TO THE DEAD END OF THE ALLEY, STAYING ALERT. A MAN IS WAITING AT THE END OF THE ALLEY IN THE DARKNESS. MICHAEL STOPS WHEN HE REACHES THEM AND THEY STAND STARING AT ONE ANOTHER FOR A MOMENT.)

MICHAEL: Thank you for coming, Piotre.

PIOTRE: Good to see you again. One hears nothing of you anymore. A hint here and there.

MICHAEL: I prefer a low profile.

PIOTRE: One would think you had retired.

MICHAEL: When you don't hear. C'est moi.

(PIOTRE LAUGHS UNEASILY.)

MICHAEL: You said you had news.

(THE CAMERA PULLS BACK AND SEEMS TO BE VIEWING THEM FROM ABOUT THE SECOND FLOOR OF THE BUILDING DIRECTLY IN FRONT OF MICHAEL AND SITUATED ACROSS THE END OF THE ALLEY. SEVERAL FEET BEHIND MICHAEL IN ONE OF THE BUILDINGS ALONG THE RIGHT SIDE OF THE ALLEY, A DARK PATCH OF DOORWAY GROWS BLACKER STILL AS THE DOOR IS QUIETLY OPENED. IN THE PITCH IS A MOMENTARY GLINT OFF OF A GUN BARRELL. THERE IS A SOFT POP FROM A SILENCED GUN AND SOMEONE FALLS DEAD OUT OF THE DOORWAY. ANOTHER POP SOUNDS AND A BODY FALLS FROM THE SECOND FLOOR OF THE BUILDING OPPOSITE. BACK AT MICHAEL AND PIOTRE'S LEVEL, PIOTRE STARTS FOR HIS GUN, BUT MICHAEL IS QUICKER. HE SIMPLY REACHES OUT, GRABS PIOTRE, AND SNAPS HIS NECK. MICHAEL DROPS TO A CROUCH, GUN NOW DRAWN AND SCANS THE ALLEY BEHIND HIM. THERE IS NO FURTHER MOVEMENT. HE LEAVES.)

(WE SEE NIKITA SITTING IN HER PARKA AT THE TABLE OF A SMALL COFFEE SHOP. THERE IS COFFEE AND ROLL IN FRONT OF HER, AND ANOTHER COFFEE AND ROLL AT THE EMPTY PLACE NEXT TO HER. MICHAEL APPEARS AND SEATS HIMSELF NEXT TO HER, PICKS UP THE COFFEE AND TAKES A SIP, THEN LOOKS UP AT HER. HIS WORDS CARRY MORE DEPTH THAN THE COFFEE WARRANTS.)

MICHAEL: Thank you.

NIKITA: You're welcome.

MICHAEL: Foe.

NIKITA: Sure looked that way to me.

MICHAEL: It's time to go on the offensive.

NIKITA: What's the plan?

MICHAEL: Leave Stockholm for a start. Pick our own playing field. I want to get in touch with Teodorus. If there is a new player, he'll know something about it.

NIKITA: What if Nefar has gotten to him?

MICHAEL: Nefar never knew Teodorus, although he certainly knew who she was.

NIKITA: Are you setting yourself up to get shot at again?

MICHAEL: I really don't think so. I don't believe he would sell me out.

NIKITA: Madeleine says anyone can be bought if the price is right.

MICHAEL: A man with nothing left to lose can afford his principles.

NIKITA: He sounds like a sad man.

MICHAEL: Yes, but a good one. If he has information, it will be valid. We played it their way, now let's play it ours.

NIKITA: Set the traps, not walk into them.

MICHAEL: Exactly.

NIKITA: I like that.

MICHAEL: How do you feel about Athens?

NIKITA: I packed our bags before I left the hotel.

MICHAEL: (PULLING OUT A CELL PHONE.) I'll have them sent to the airport.

(NIKITA AND MICHAEL ARE WALKING THROUGH A STREET MARKET IN ATHENS. THE MARKET IS BRIGHT, COLORFUL, AND NOISY. THEY LOOK NOT UNLIKE THE HUNDREDS OF OTHER TOURISTS STROLLING THE AREA, RELAXED, ENJOYING THEMSELVES, POINTING AT THIS, THEN THAT. BOTH SIDES OF THE STREET ARE LINED WITH SMALL SHOPS WHO'S GOODS ARE FLOWING OUT ONTO THE SIDEWALK, NEARLY MINGLING WITH THE GOODS OF THE MARKET. MICHAEL LOOKS INTO A SHOP WINDOW, AND LEAVING NIKITA OUTSIDE, STEPS INSIDE. AN OLD MAN SITS IN A HIDE COVERED WHEELCHAIR IN THE SEMIDARKNESS OF THE TINY CROWDED STORE WHICH IS JAMMED WITH TOURIST LURES, SOME GENUINE ARTIFACTS, AND EDIBLES, ALL MIXED TOGETHER. IN HIS YOUTH HE MUST HAVE BEEN A BULL OF A MAN. HIS NECK, SHOULDERS, AND ARMS STILL HINT AT THE REMAINS OF INORDINATE STRENGTH. HIS HEAD IS THICK WITH WHITE BRISTLY HAIR. SCARS HIDE THEMSELVES AMONG THE DEEPLY ETCHED LINES OF A VERY LIVED-IN FACE WITH DARK HAUNTED EYES.)

MICHAEL: Teodorus.

TEODORUS: Michael.

(MICHAEL STEPS TOWARD THE OLD MAN AND HOLDS OUT HIS HAND. TEODORUS TAKES IT AND THEY SHAKE HANDS SOLEMLY. THEN TEODORUS LIFTS HIS ARMS TO MICHAEL AND MICHAEL BENDS TO EMBRACE HIM. THEY RELEASE ONE ANOTHER AND MICHAEL STRAIGHTENS.)

TEODORUS: It is good to see you are still of a piece.

MICHAEL: In some ways.

TEODORUS: In many ways.

(A WIDE BRIGHT SMILE APPEARS ON HIS FACE AND HIS EYES ALMOST BECOME ALIVE.)

TEODORUS: So who is the beautiful blonde you do not introduce me to?

(MICHAEL ACTUALLY SMILES A BIT IN RECOGNITION OF A DIRECT HIT.)

MICHAEL: Her name is Nikita. I assume you have a complete description from your street urchins by now?

TEODORUS: (LEANING FORWARD IN HIS CHAIR) I could tell you the color of her underpants if you don't all ready know. And if you don't, I'm ashamed of you.

MICHAEL: (STILL SMILING) I'll bring her in if you behave yourself.

TEODORUS: But of course.

MICHAEL: Keep us covered outside then.

TEODORUS: Always, Michael. No one approaches me without my knowing.

(MICHAEL STEPS BACK OUTSIDE THE SHOP WHERE NIKITA IS WAITING.)

MICHAEL: Come on in. He wants to meet you. And I'd like for you to know him.

(NIKITA NODS AND STEPS BACK INSIDE THE SHOP WITH HIM, GOING OVER TO THE OLD MAN.)

MICHAEL: Teodorus, may I present Nikita? Nikita, this is my friend, Teodorus.

(TEODORUS REACHES OUT AND TAKES NIKITA'S HAND AND KISSES IT IN A MOST COURTLY FASHION. NIKITA IS CHARMED.)

TEODORUS: It is a pleasure to make your acquaintance, Nikita.

NIKITA: And an honor to make yours, Teodorus.

TEODORUS: (LOOKING AT MICHAEL) For this alone I am glad you come. She is sunlight. But you never come without reason. The murder of the operatives of all those different agencies, perhaps?

MICHAEL: What do you hear? Is it a new group?

TEODORUS: It is a pair, a brother and a sister. I do not know last names. They are called Karl and Marta. They are from Istanbul. They think to make a big announcement. They think they are the best.

MICHAEL: Are they?

TEODORUS: No, but they are very good. They are also very young. They are overconfident.

(TEODORUS HESITATES, APPARENTLY HAS SOMETHING ELSE TO SAY BUT IS UNSURE HOW TO SAY IT.)

MICHAEL: There's more?

TEODORUS: Only the slightest of rumors. They may not be alone.

(THERE IS SILENCE AS THEY THINK ABOUT THIS.)

NIKITA: Teodorus, excuse me, but if you know anything else, or even suspect it, please tell us. Someone tried to kill Michael in Stockholm, and I don't think they're going to give up. I'll leave if you would be more comfortable talking to just Michael.

(TEODORUS LOOKS AT NIKITA FOR A LONG WHILE, THEN LOOKS AT MICHAEL.)

MICHAEL: Wait outside, Nikita.

TEODORUS: Stay, Nikita, stay.

(NIKITA LOOKS BACK AND FORTH BETWEEN THEM.)

MICHAEL: Stay.

TEODORUS: There are rumors that Nefar is still alive. There is speculation that Karl and Marta are her creatures. Their tastes (HE GRIMACES) are similar.

MICHAEL: Nothing solid?

TEODORUS: If there were, I would most certainly tell you.

MICHAEL: She should be dead.

TEODORUS: Yes, yes. The rocket. I heard.

MICHAEL: There is no real reason to believe she is still alive.

TEODORUS: And yet you believe, Michael.

MICHAEL: Yes.

TEODORUS: The devil does not die easily.

MICHAEL: No.

TEODORUS: I have nothing else for you. I am sorry. Take care, my young friend. And take care of your sunlight here.

MICHAEL: I will, and take care of yourself, Teodorus.

NIKITA: Good bye, Teodorus.

TEODORUS: Good bye, fair Nikita.

(MICHAEL AND NIKITA TURN TO GO. NIKITA STEPS OUTSIDE INTO THE SUNLIGHT, BUT AS MICHAEL STARTS TO, TEODORUS CALLS HIM BACK.)

TEODORUS: Michael?

MICHAEL: Yes?

TEODORUS: Blue.

MICHAEL: I know.

TEODORUS: Good.

(MICHAEL STEPS OUTSIDE AND JOINS NIKITA. THEY CONTINUE STROLLING DOWN THE MARKETPLACE, BLENDING IN WITH THE OTHER TOURISTS. NIKITA POPS INTO A SHOP. HE WAITS, LOOKING AT THE MERCHANDISE ON A CART. SHE RETURNS CARRYING A SMALL PACKAGE. LATER ON, THE SCENE REVERSES ITSELF WITH MICHAEL ENTERING A SHOP AND NIKITA PAWING THE MERCHANDISE ON A TABLE IN THE STREET. THEY STROLL ON DOWN THE STREET.)

(MICHAEL AND NIKITA ARE SITTING NEXT TO ONE ANOTHER ON THE END OF AN UNMADE BED IN A SMALL TAVERNA. IT IS CLEAN AND NEAT, ATMOSPHERIC IN A MEDITERRANEAN FASHION, BUT CERTAINLY NOT ELEGANT. THEY HAVE BEEN TALKING.)

NIKITA: Just Karl and Marta, but no last names?

MICHAEL: They would probably be false anyway. A brother and sister.

NIKITA: Can Section turn up anything with just that?

MICHAEL: That plus Istanbul and a few guesses I added.

(THERE IS A LONG SILENCE. NIKITA IS DEEP IN THOUGHT. MICHAEL IS LOOKING AT HER BUT SAYS NOTHING. HE REACHES OUT AND GENTLY TAKES A STRAND OF HER HAIR THAT HAS FALLEN IN FRONT AND PLACES IT BEHIND HER SHOULDER, THE LENGTH OF IT SLIPPING SLOWLY THROUGHT HIS FINGERS AS HE DOES.)

NIKITA: Did Nefar think you loved her?

MICHAEL: (NOT TOO INTERESTED, STILL PLAYING WITH HER HAIR.) Perhaps.

NIKITA: Did you?

MICHAEL: Ancient history, Nikita.

NIKITA: Maybe not to Nefar.

MICHAEL: (RESIGNED.) Yes. No.

NIKITA: Yes, she thought you did. No you didn't. Michael, did you TELL her you didn't love her?

MICHAEL: (GIVING UP.) In no uncertain terms. I tried to kill her, remember?

NIKITA: You told me what you did. I want to know what you SAID.

MICHAEL: Actions speak louder than words.

NIKITA: (THOUGHTFULLY) From you, certainly.

MICHAEL: From anyone.

NIKITA: Michael, do you remember what I said to you after we escaped from the Red Cell cages and I found out that I had been used?

MICHAEL: (DROPPING HIS HEAD) I understood.

NIKITA: And I didn't mean it, but you do still remember, don't you?

MICHAEL: That the real Michael would disgust you? Yes.

(HIS EYES SHOW HIM MOVING AWAY. NIKITA SEES IT AND GRABS HIS SHOULDERS AND SHAKES HIM GENTLY.)

NIKITA: I was hurt. I was angry. I didn't mean it.

(MICHAEL NODS AND SEEMS TO COME BACK.)

NIKITA: My point is, you still remember the words. Words are important, Michael. The wrong ones can play over and over in your head like a tape caught in a loop. You can come to understand that the words weren't true, but you still can't forget the words.

MICHAEL: She LIKED the bloodshed, it thrilled her. I accepted it as part of … what we did. After…(HE STOPS.) I finally couldn't stand the sight of her and told her so. Then open war.

NIKITA: Michael, we've got a problem. If she's still alive, and if she thought you loved her, she's playing that tape in her head. She needs to think you were lying or angry. Or at least begin to doubt. It may not stop her, but it may make her less decisive.

MICHAEL: I tried to kill her two other times.

NIKITA: I didn't say it would be easy.

(IT IS EARLY EVENING IN ISTANBUL. THE SUN IS SETTING ON THE GOLDERN HORN. THE WAIL OF DISTANT EVENING PRAYERS TO ALLAH, SUNG FROM THE MINARETS, FLOAT ON THE AIR. MICHAEL AND NIKITA ARE FINISHING DINNER AT A SMALL OPEN AIR CAFE. MOST OF THE PEOPLE AROUND THEM ARE SPEAKING FRENCH, BUT THERE IS A RICH MIXTURE OF OTHER LANGUAGES AS WELL. THE WAITRESS BRINGS THEIR DEMITASSES. SHE HAS VERY CURLY BLONDE HAIR AND DARK BROWN EYES. SHE EXCHANGES A FEW WORDS IN FRENCH WITH MICHAEL THEN LEAVES THEM ALONE. NIKITA HAS BEEN WATCHING HER CURIOUSLY AND HER EYES FOLLOW THE DEPARTING WAITRESS.)

NIKITA: I have never seen so many different nationalities in one city as I have today.

MICHAEL: No one looks out of place in Istanbul. That's why it is so popular for illegal business.

NIKITA: I wish there were a way to tell who works for the bad guys.

MICHAEL: By the time we get back to the hotel, Nice` says to assume their entire staff does.

NIKITA: Nice`? When do I meet her?

MICHAEL: You just did. She's the waitress.

NIKITA: And Omar?

MICHAEL: He's putting everything in place for the raid tonight.

(IT HAS SLOWLY BEEN GETTING DARKER. MICHAEL LOOKS AT HIS WRISTWATCH.)

MICHAEL: It's time.

(MICHAEL AND NIKITA LEAVE THE RESTAURANT. AS THEY GO, NIKITA SNEAKS A QUICK LOOK AGAIN AT NICE` WHO IS STACKING SOME PLATES. NICE` FLASHES HER A FRIENDLY SMILE WHICH NIKITA RECIPROCATES SHYLY. THE CAMERA PULLS IN TIGHT ON THE BACK OF MICHAEL'S BLACK JACKET.)

(WHEN THE CAMERA PULLS BACK, WE ARE LOOKING AT NIKITA'S JACKET. SHE HAS JUST FINISHED CHANGING INTO NIGHT SURVEILLANCE GEAR. THE DRESS SHE WORE AT THE RESTAURANT IS DRAPED OVER A CHAIR. SHE MESSES UP THE BED MAKING IT APPEAR SLEPT IN. AS SHE QUIETLY LEAVES THE ROOM THE CAMERA FOLLOWS HER. WE CAN SEE THAT HER ROOM IS SITUATED OFF A SITTING ROOM THAT SHE CROSSES. SHE APPROACHES ANOTHER DOOR THAT OPENS JUST AS SHE REACHES IT. MICHAEL HAS ALSO CHANGED AND THEY ARE READY TO PROWL. THEY SHUT OFF THE HOTEL ROOM LIGHTS AND IT BECOMES OBVIOUS THAT IT IS NOW FULLY NIGHT. THEY WAIT A FEW SECONDS UNTIL THEIR EYES ADJUST, AND THEN SLIP OUT ONTO THE BALCONY AND OVER THE RAILIING, DISAPPEARING INTO THE DARKNESS.)

(NIKITA AND MICHAEL ARE ON A ROOFTOP. THEY ARE LOOKING OVER A LOWER ADJACENT BUILDING INTO A LARGE ENCLOSED COURTYARD OF AN ENORMOUS TOWNHOUSE. THEY ARE USING NIGHT FIELD GLASSES. THE HOUSE HAS A CENTRAL DOOR AND LOOKS MORE OR LESS SYMETRICAL. THERE ARE TWO GUARDS IN THE COURTYARD. LIGHTS ARE ON IN THE WINDOWS OF THE UPPER ROOMS AT EACH END OF THE HOUSE. MICHAEL AND NIKITA EACH PICK A WINDOW TO WATCH. THOUGH NIKITA'S GLASSES WE CAN SEE A MAN AND A WOMAN MOVING AROUND THE ROOM.)

NIKITA: I've got a couple. Top left.

MICHAEL: Same. Top right. (MICHAEL SPEAKS INTO HIS COM UNIT.) Give me a read on the sides and rear.

(WE HEAR OTHERS REPORTING IN TO HIM THROUGH THE COM UNIT.)

UNIT ONE: No signs of guards, northeast side.

UNIT TWO: Same on the southwest.

UNIT THREE: Two guards in the rear courtyard.

MICHAEL: We have 4 guards, minimum, in the courtyards. There may be others in the house. Stay alert. I want the targets alive and able to answer questions if possible. Their partners are collateral. GO.

(WE CAN SEE DARK FIGURES MOVING AT CONSIDERABLE SPEED ACROSS THE ROOFTOPS. OTHER DARK FIGURES DROP FROM NOWHERE INTO THE COURTYARD. THE GUARDS THERE ARE TAKEN COMPLETELY BY SURPRISE AND THE FIGHT IS OVER ALMOST BEFORE IT BEGAN. THE LIGHTS GO ON ALL OVER THE TOP FLOOR. THERE ARE A COUPLE OF MUFFLED GUNSHOTS. THEN SILENCE.)

(WE NEXT SEE NIKITA LEANING OVER MICHAEL'S SHOULDER AT A COMPUTER. THEY ARE STILL IN NIGHT GEAR, FULLY ARMED. THERE IS A KNOCK AT THE DOOR.)

MICHAEL: Enter.

(ANOTHER SECTION OPERATIVE ENTERS AND THEY LOOK UP.)

UNNAMED OP: Perimeter secure, sir. Karl and Marta in custody.

MICHAEL: Damage?

UNNAMED OP: None.

MICHAEL: Collateral?

UNNAMED OP: Alive. Captured.

(NIKITA STROLLS TO A BULLETIN BOARD. AROUND THE SIDES, TOP, AND BOTTOM ARE POSTED PICTURES OF THE DEAD COLD OPS FROM THE 6 AGENCIES. DEAD CENTER ON THE BOARD IS A SURVEILLANCE PICTURE OF MICHAEL TAKEN IN THE HOTEL LOBBY IN STOCKHOLM. SLIGHTLY BELOW IT IS A SECOND PICTURE OF MICHAEL WITH NIKITA FROM A DIFFERENT ANGLE, ALSO FROM THE HOTEL LOBBY. NIKITA IS ONLY PARTIALLY IN THE PICTURE. NIKITA PULLS OUT A DIGITAL CAMERA AND SNAPS SEVERAL PICTURES OF THE BOARD. IN THE BACKGROUND WE CAN SEE MICHAEL PULLING OFF THE COMPUTER CASE. HE REMOVES THE HARD DRIVE AND EMPTIES ALL THE CDS, FLOPPIES, AND FINALLY, THE HARD DRIVE ITSELF INTO A KNAPSACK. MICHAEL HANDS THE UNNAMED OPERATIVE THE KNAPSACK.)

MICHAEL: Send them all to Madeleine, and get these to Birkhoff.

UNNAMED OP: Yes, sir.

(HE DEPARTS CARRYING THE KNAPSACK.)

(MICHAEL WALKS OVER TO NIKITA AND STANDS BEHIND HER LOOKING AT THE BOARD.)

MICHAEL: If there is a link to Nefar, I hope Madeleine uncovers it.

NIKITA: I think she is still alive. I don't know if it's just that paranoia is contagious or if it's true, but I believe.

MICHAEL: Omar and Nice` have everything set up. I don't think it will convince Nefar of anything, though.

NIKITA: I don't think we can "convince" her. We can just make her doubt. Make her suspect you haven't really gotten over her, that your words were spoken in anger.

MICHAEL: And trying to kill her?

NIKITA: OK. A lot of anger. Michael, it may not help, but it can't hurt.

(HE PLACES HIS HANDS ON HER SHOULDERS. HE TURNS HIS FACE SLIGHTLY AND KISSES HER HAIR. SHE TILTS HER HEAD BACK MOMENTARILY LEANING HER FACE AGAINST HIS.)

The Performance

(THROUGHOUT THE EPILOGUE, THE SOUNDTRACK IS PLAYING STING'S "I'LL BE WATCHING YOU" FROM THE CD "THE BEST OF STING &" IN THE BACKGROUND. MICHAEL AND NIKITA ARE STANDING ON THE FRONT STEPS OF THEIR HOTEL. IT IS MORNING AND A BRIGHT SUNNY DAY. THEY ARE DRESSED CASUALLY AS BEFITS WELL-HEELED TOURISTS. NIKITA HAS A CAMERA SLUNG AROUND HER NECK. A VERY HANDSOME, DARK-HAIRED YOUNG MAN APPROACHES. NIKITA ABSOLUTELY BEAMS. SHE RUNS TO HIM, THROWING HER ARMS AROUND HIS NECK. HE CATCHES HER SWINGING HER IN A CIRCLE SEVERAL TIMES. THEY KISS PASSIONATELY.)

OMAR: I have missed you so much.

NIKITA: (STOKING HIS FACE.) I missed you too.

(THEY KISS AGAIN AND START TO LEAVE, ARMS WRAPPED AROUND ONE ANOTHER. NIKITA LOOKS BACK AT MICHAEL, ALMOST AS AN AFTERTHOUGHT.)

NIKITA: See you tomorrow, Michael.

(MICHAEL NODS AND WAVES RATHER ABSENTMINDEDLY. HE IS PEERING DOWN THE STREET, LOOKING FOR SOMEONE. AFTER OMAR AND NIKITA LEAVE HE PACES THE FRONT WALK. A SLEEK ITALIAN SPORTSCAR CONVERTIBLE, THE TOP DOWN, PULLS UP TO THE CURB. BEHIND THE WHEEL IS AN ATTRACTIVE WOMAN WITH LONG STRAIGHT BLACK HAIR, WEARING SUNGLASSES. SHE WAVES AT MICHAEL. HE HURRIES TO THE CAR AND PULLS HER ALMOST OUT OF THE SEAT, KISSING HER.)

MICHAEL: (STROKING HER LONG BLACK HAIR) I like the blonde curls better.

NICE`: Me too. This wig itches.

(SHE GRABS HIS FACE IN HER HANDS AND KISSES HIM ENTHUSIASTICALLY.)

MICHAEL: What are we doing today to distract everyone?

(HE IS NUZZLING HER NECK.)

NICE`: I'm taking you to see the ruins they're digging at Tell Mir.

(MICHAEL RUNS HIS HANDS UP AND DOWN HER BACK.)

MICHAEL: Excellent. I wanted to see those.

(NICE` BEGINS UNBUTTONING HIS SHIRT.)

NICE`: And then, dinner and the night at a little place I know where we can take a breather from being watched.

(MICHAEL CATCHES HER HANDS AND PUSHES HER BACK INTO THE CAR.)

MICHAEL: But still obvious to our watchers?

NICE: Oh, absolutely.

(SHE MOVES OVER AND HE GETS INTO THE DRIVER'S SEAT. AS HE PULLS AWAY, SHE IS ALL OVER HIM.)

"Every step you take
Every vow you break
I'll be watching you."

(OMAR AND NIKITA ARE ON THE DECK OF A SMALL SAILING SHIP ON THE BOSPORUS.)

NIKITA: It would take us too long to get back if they have trouble, Omar.

OMAR: Nice` won't let anything happen to Michael. Relax. Enjoy the sail.

NIKITA: I really appreciate your doing this.

OMAR: No problem. It keeps the local bad guys guessing about Nice` and I too.

NIKITA: But some of them must know.

OMAR: You can make them doubt it's more than friendship and convenient sex. Do things like this every once in a while.

NIKITA: How do you keep the Section guessing?

OMAR: (SERIOUSLY) You can't. Not really. No matter what they say, they don't mind. It gives them an extra hold over you if you step out of line. The most you can do with Section is throw them off balance occasionally.

NIKITA: Lies. Always lies.

OMAR: Just don't lie to yourself, Nikita.

NIKITA: You've known Michael a long time, haven't you?

OMAR: Long enough not to tell you anything he hasn't.

(NIKITA LAUGHS. OMAR TIES DOWN A ROPE AND PULLS NIKITA TO HIM. SHE RESPONDS. THE FOLLOWING CONVERSATION TAKES PLACE DURING WHAT WOULD APPEAR FROM A DISTANCE TO BE A PASSIONATE EMBRACE.)

OMAR: What kind of sandwich do you want?

NIKITA: The turkey looked good. Do you have any Fosters?

OMAR: I stocked up. Michael told me you like it. I also have some very good retsina.

NIKITA: Good retsina is an oxymoron.

(THEY BOTH LAUGH AND WE NOW SEE THEM FROM A DISTANCE THROUGH BINOCULARS. OUR VIEWPOINT IS FROM ANOTHER SMALL SAILING BOAT ON THE BOSPORUS. OMAR SCOOPS NIKITA UP AND CARRIES HER BELOW DECK.)

(NIKITA AND MICHAEL ARE ON THE FRONT STEPS OF THE HOTEL. THEY ARE DRESSED FOR DEPARTURE. THE BELLHOPS ARE LOADING THEIR BAGS INTO A TAXI. WE ARE WATCHING THEM FROM A SLIGHT DISTANCE. THE CAMERA DRAWS BACK AND SEEMS TO BE LOOKING OVER THE SHOULDER OF A WOMAN WITH LONG STRAIGHT BLACK HAIR. SHE IS WEARING DARK GLASSES. HER SKIN COLOR IS A RICHLY BURNISHED GOLD. SHE HAS ON DEEP BURGUNDY SILK PANTSUIT. SHE WATCHES AS MICHAEL HANDS NIKITA INTO THE TAXI. MICHAEL HESITATES SUDDENLY BEFORE HE ENTERS AND GLANCES AROUND HIM AS IF HE HAS HEARD SOMETHING. THE WOMAN WATCHING STEPS BACK. MICHAEL ENTERS THE TAXI AND IT DEPARTS. SHORTLY THEREAFTER A BLACK MERCEDES LIMOSINE PULLS UP TO THE CURB IN FRONT OF THE WOMAN. THE DRIVER GETS OUT AND OPENS THE REAR DOOR. THE WOMAN SLINKS FORWARD WITH CATLIKE GRACE AND GETS INTO THE LIMO. THE DRIVER GETS BACK IN AND THE VEHICLE QUIETLY DRIVES AWAY.)

"Every move you make
Every breath you take
I'll be watching you."

FADE TO BLACK.

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