In timeline, this one fits between Cold Cold Ops and The Hunters, but is not part of the Nefar series.

I. Outbreak

(THE SOUND TRACK IS CARRYING THE VOICES OF VARIOUS MEDICAL PERSONNEL BUT THEY ARE NOT IMMEDIATELY SHOWN. WE ALSO HEAR THE MOANS, GROANS AND CRYING OF GRIEVIOUSLY ILL PATIENTS. UNDERNEATH THESE CROSSED CONVERSATIONS PLAYS THE MUSIC "EULOGY" BY TOOL ON AENIMA. THE FIRST TWO MINUTES IS PRIMARILY QUIET PERCUSSIVE CLICKS FINALLY JOINED BY A DISTANT SOUNDING VOICE.)

MALE DOCTOR: CDC Central isn't buying off on it yet.

FEMALE DOCTOR: But they are picking up the samples?

MALE DOCTOR: A possible Ebola variant? They can't afford not to. They'll have a chopper here by 0800, but we can't expect any relief for several days.

UNNAMED MAN: Doctor? Over here.

FEMALE DOCTOR: Coming.

(THE CAMERA IS PANNING SLOWLY ACROSS A FEW STRAGGLY BUSHES STICKING HALF-HEARTEDLY OUT OF DARK BROWN DIRT ALONG A DIRTY BROWN SLUGGISH RIVER SHORE. FOGS OF INSECTS HANG OVER THE WATER. AS THE CAMERA CONTINUES PANNING, THE BROWN EARTH GROWS LIGHTER AND BUSHES PETER OUT. THE LAND WITHERS INTO A DUSTY WASTELAND. THERE ARE ROCKY LEDGES AND PILES OF BOULDERS. EVERTHING IN SIGHT IS BEIGE, BEIGE DUST, BEIGE ROCKS. A BEIGE LIZARD SHOOTS ACROSS THE SCREEN AND UP AND OVER A BOULDER. THERE ARE CLOUDS OF FLIES SWIRLING IN THE DUST. THE CAMERA ROAMS OVER A LARGE TENT MADE OF KHAKI NETTING. IT IS A MOBILE HOSPITAL AND THROUGH THE NET SIDES WE CAN SEE FIVE MEDICAL PERSONNEL WALKING BETWEEN COTS CONTAINING PATIENTS IN VARIOUS STAGES OF SERIOUS ILLNESS. BACK BEHIND THE TENT WE SEE A ROW OF BODY BAGS.)

"He had a lot to say.
He had a lot of nothing to say.
We'll miss him.

He had a lot to say.
He had a lot of nothing to say.
We'll miss him."

(WE CAN SEE MOON BOOT CLAD FEET AT THE BOTTOM OF THE SCREEN AND REALIZE THE CAMERA HAS BECOME THE VIEWPOINT OF SOMEONE APPROACHING THE MEDICAL TENT ON FOOT. THE ACTIVITY IN THE TENT HAS INCREASED.)

FEMALE DOCTOR: Can I get some muscle over here?

(THE OTHER MEDICAL WORKERS IN THE TENT RUSH TO ASSIST HER IN LIFTING A LARGE MAN BACK ONTO A COT. THE MEDICAL WORKERS ARE ALL CLUSTERED TOGETHER IN ONE SPOT. THE CAMERA IS NOW IMMEDIATELY OUTSIDE THE TENT. THE MUSIC ON THE SOUNDTRACK BECOMES SUDDENLY LOUDER AND MORE STRIDENT.)

"So long.
We wish you well.
You told us how you weren't afraid to die.
Well then, so long.
Don't cry.
Not all martyrs see divinity,
But at least you tried."

(A LONG BURST OF AUTOMATIC GUNFIRE ERUPTS AS THE GROUP OF MEDICAL WORKERS IS MOWED DOWN INSIDE THE TENT. WE HEAR THE SCREAMS, THE FEAR OF THE PATIENTS, AND THE PAIN OF THE DYING. THE CAMERA VIEW CONTINUES INTO THE TENT, AND THE SHOOTER STANDS OVER THEIR BODIES, SHOOTING AGAIN AND AGAIN UNTIL ALL ARE CERTAINLY DEAD.)

"We'll miss him.
No way to recall
What it was that you had said to me,
Like I care at all."

(THE CAMERA BACKS OFF TO A NEUTRAL POSITION AND WE CAN SEE THAT THE SHOOTER IS WEARING HEAVY BIOCONTAINMENT GEAR. HE LAYS DOWN HIS GUN ON A SMALL REFRIGERATION UNIT ON WHEELS BEARING LARGE BIOHAZARD LABELS AND PULLS IT OUTSIDE THE TENT AND A SHORT DISTANCE AWAY. HE TURNS AND WALKS BEHIND BOULDERS, AND QUICKLY RETURNS DRIVING A JEEP. HE PUTS THE REFRIGERATION UNIT IN THE BACK OF THE JEEP AND GETS OUT A FLAMETHROWER. HE WALKS TO THE TENT AND THE FLAMETHROWER HURLS ITS NAPALM DESTRUCTION OVER THE ENTIRE TENT, BODIES, AND PATIENTS. WE CAN HEAR SCREAMS IN THE BACKGROUND AS HE GETS INTO THE JEEP AND DRIVES AWAY.)

"Would you die for me?
Don't you f*****g lie.
Don't you step out of line.
Don't you f*****g lie.
You've claimed all this time that you would die for me.
Why then are you so surprised to hear your own eulogy?
You had a lot to say.
You had a lot of nothing to say."

II. Diagnosis

(OPS IS PACING ONE SIDE OF THE CONFERENCE ROOM TABLE. HIS CHAIR AT THE HEAD OF THE TABLE IS EMPTY. ALONG THE SIDE OF THE TABLE OPPOSITE OPS SIT MICHAEL, NIKITA, AND BIRKHOFF, NEXT TO MADELEINE WHO IS AT THE FOOT OF THE TABLE. THE BLUE-RIMMED VIEWSCREEN ABOVE THE TABLE IS SHOWING VIDEO FOOTAGE OF THE DEVASTATED MEDICAL SITE, THE TENT BURNED TO THE GROUND, CHARRED BODIES STREWN AROUND. OPS CLICKS HIS REMOTE. THE VIDEO FOOTAGE DISAPPEARS.)

OP: That is all that is left of a medical field team from CDC which thought it had run into a new strain of Ebola. They were gunned down, and the area torched.

(OPS CLICKS HIS REMOTE AGAIN THE PHOTOS OF SIX MEN APPEAR ON THE VIEWSCREEN.)

OPS: These were the first suspects. It's an unstable country, and these six men are leaders of half dozen guerilla groups active in the area.

NIKITA: So what's the UN doing these days?

OPS (GLARING): Enough to have certified that none of these men are involved. The CDC has also determined something very disturbing. There was a refrigerated box containing virus samples on the site, ready to be choppered out. It has disappeared. Taken. Stolen. Gone.

(THERE IS A LONG UNEASY SILENCE AROUND THE TABLE AS THIS PIECE OF INFORMATION SINKS IN.)

NIKITA: There is no doubt the container was taken by whoever attacked the medical unit?

OPS: No doubt at all. The tracks were pretty obvious. There was only one assailant.

MICHAEL: Have the major governments cleared themselves?

OPS: I don't think this is a government intervention to obtain a new bioweapon. The levels I've heard from make me believe they're scared. They don't know who is responsible.

BIRKHOFF: No way is Section equipped to deal with biocontainment.

OPS: They're not expecting us to. CDC has several teams on standby around the world, waiting for us to tell them where to go.

NIKITA: So we determine who snatched it, and let them clean it up?

OPS: That's right. Under no circumstances are our people to get even close to an active Ebola variant. That's not our job. But we do have the contacts to establish which groups would have an interest in developing a new bioweapon.

BIRKHOFF: Not just interest. You'd have to have pretty impressive facilities to do the development. Places that could handle it are governmental, or a few big pharmaceuticals.

MICHAEL: Clavier? The pharmaceuticals giant?

OPS: He's my first choice, we've been trying to pin something on him for years. I KNOW he's behind a lot of the bioweapons we've run into before. The man is unapproachable. We haven't been able to get an operative onto his staff yet undetected.

MADELEINE: Maybe we should quit trying for the staff.

OPS: Meaning?

MADELEINE: The staff is tightly screened. But he entertains a great deal at his estate. In fact, he never leaves the estate. His associates go there, take their friends with them. Clavier chooses his playmates from them. Let's go for someone scheduled for a party at the estate and plant someone with them.

OPS: Clavier prefer men or women?

MADELEINE: Women.

OPS: Michael, find someone scheduled for the next party. Get Nikita planted with him. We can't waste time moving on this. If it is Clavier he has the means and the facilities to develop the virus into a terrifying weapon. Dismissed.

(A VERY SOMBER GROUP GETS UP AND LEAVES THE CONFERENCE ROOM. NIKITA LOOKS PARTICULARLY UNHAPPY, AND MICHAEL MOVES WITH UNUSUAL STIFFNESS.)

(MICHAEL AND BIRKHOFF ARE TOGETHER AT BIRKHOFF'S STATION. THEY ARE QUIET AND SERIOUS. BIRKHOFF IS POINTING AT A MONITOR.)

BIRKHOFF: I figure this guy or (CLICKING THE MOUSE) this one. Either would be fairly easy for Nikita to pick up. They're both scheduled for the next party.

MICHAEL: Download their files for me.

BIRKHOFF: (HANDING HIM 2 CDS.) All ready done.

(MICHAEL TAKES THE DISCS AND STARTS BACK TO HIS OFFICE, BUT BIRKHOFF CATCHES HIS ARM AND STOPS HIM. BIRKHOFF LOOKS AROUND QUICKLY AND SPOTS NIKITA TALKING TO WALTER, OUT OF EARSHOT. MICHAEL LOOKS OVER TO NIKITA ALSO, AND, UNDERSTANDING, HE LEANS IN CLOSER TO BIRKHOFF.)

BIRKHOFF: How are we going to cover Nikita at the estate if we can't get anyone onto staff?

MICHAEL: We can't.

(THEY LOOK AT ONE ANOTHER FOR A LONG MOMENT. NEITHER OF THEM ARE HAPPY MEN.)

(NIKITA IS TALKING WITH WALTER IN HIS WORK AREA. THEY ARE LOOKING AT AN ARRAY OF VERY TINY "GADGETS" ON THE DESK. WALTER PICKS ONE UP TO SHOW NIKITA.)

WALTER: Something like this one, I think.

NIKITA: Detectable?

WALTER: As far as I know, only with the equipment I've developed myself. Nothing comes with a guarantee, of course. But it's not detectable by anything on the market. The trade off is that it's short range.

NIKITA: How short?

WALTER: It drops right off at a 1/4 mile.

NIKITA: It's a big estate, that's too short.

WALTER: Michael going in with you?

NIKITA: No.

WALTER: Who?

NIKITA: No one.

WALTER: I'll see what I can do. I'll let you know.

NIKITA: Thanks, Walter.

(AS NIKITA LEAVES, BIRKHOFF PULLS SIMON IN TO TAKE HIS PLACE IN THE BACKGROUND, AND WALKS OVER TO WALTER'S AREA.)

BIRKHOFF: Did you get Nikita some good equipment?

WALTER: Yeah, it's a little short range, though. No one is going in with her. Did you know that?

BIRHOFF: I just found out from Michael.

WALTER: How far is the house from the perimeter?

BIRHOFF: It varies. The closest point we can put some backup at is a little over a 1/4 mile. The optimum site is about 1/2 mile.

WALTER: Damn. Come and take a look at this with me, OK?

BIRHOFF: Sure.

(MICHAEL IS SITTING AT THE COMPUTER IN HIS OFFICE, STUDYING THE FILES THAT BIRKHOFF GAVE HIM. NIKITA COMES IN, SHUTTING THE DOOR BEHIND HER. SHE PULLS THE GUEST CHAIR AROUND TO THE SIDE OF THE DESK WHERE SHE CAN SEE THE SCREEN AND SITS.)

NIKITA: Found me a mark yet?

MICHAEL: Two possibles. I don't like the looks of this one guy, though.

NIKITA: Other than being a slime, what's wrong with him?

MICHAEL: He's a slime whose girlfriends all have black eyes and broken ribs.

NIKITA: I can handle that.

MICHAEL: Yes. But not and still have him willing to take you to the party.

NIKITA: Not and still have him willing to walk upright. OK. What about slime number two?

MICHAEL: Maybe. (LOOKING UP AT HER AT LAST.)

MICHAEL: Trevor and Hillary are putting you in place. There's only 2 days before the party. Apparently a short acquaintance before taking someone to the estate isn't uncommon.

NIKITA: Where will you be?

MICHAEL: Trying to set things up at the estate so you'll have some backup nearby. (PAUSING) You'll be going in pretty much on your own.

NIKITA: I figured that out. Walter is working on something for me.

MICHAEL: Good.

NIKITA: So what's my slime like?

MICHAEL: Here. Read for yourself.

(MICHAEL AND NIKITA SWITCH SEATS AND AS SHE POURS OVER THE FILE, MICHAEL STUDIES HER FACE. NIKITA LEANS BACK AT LAST AND LOOKS AT MICHAEL.)

NIKITA: And this is the "nice" one, right?

MICHAEL: Right.

NIKITA: (THOUGHTFULLY) I can handle him.

MICHAEL: I think so. Clavier will be another matter.

(THEY SIT AND STUDY ONE ANOTHER FOR A WHILE. THEN NIKITA LEANS ON HER ELBOWS ON THE DESK, PUTS HER FACE IN HER HANDS, AND LETS OUT A BIG BREATH. WHEN SHE LOOKS UP AGAIN, MICHAEL IS STILL WATCHING HER.)

NIKITA: The range on the bugs is 1/4 mile.

MICHAEL: I'll be in range.

NIKITA: The estate is bigger than that.

MICHAEL: One way or the other, I'll be in range.

(THERE IS A LONG SILENCE WHILE NIKITA STUDIES MICHAEL.)

NIKITA: I don't want you in range, Michael.

(NIKITA RISES AND LEAVES HIS OFFICE.)

III. Preparation

(A COUPLE IS SITTING IN A HOTEL ROOM SUITE. HE IS READING THE LONDON TIMES. HE IS VERY TALL, SLENDER, AND HAS SANDY HAIR AND LIGHT GRAY EYES. THERE IS JUST A HINT OF FRECKLES ACROSS HIS NOSE. HE LOOKS LIKE THE LONG-FACED HANDSOME TYPE OF MAN YOU EXPECT TO STEP OUT OF THE BRITISH UPPER CLASS AND SO SELDOM DOES. A WOMAN ENTERS THE ROOM CARRYING A LAPTOP. SHE SETS IT UP ON THE DESK AND BEGINS A SEQUENCE. SHE COULD ALMOST BE THE MAN'S SISTER UNTIL YOU LOOK AT HER MORE CLOSELY. SHE HAS SIMPLY-STYLED SHOULDER LENGTH HONEY BLONDE HAIR AND LIGHT BLUE-GRAY EYES. SHE DOES NOT HAVE THAT SAME LONG-FACED LOOK AS THE MAN, HOWEVER, AND HER NOSE IS SLIGHTLY PUGGED. THE MAN LOOKS OVER HIS NEWSPAPER.)

TREVOR: Are we ready, Hillary?

HILLARY: Ready and holding. Nikita should arrive any minute.

(TREVOR CAREFULLY FOLDS THE NEWSPAPER AND PLACES IT ON A SIDETABLE. HE PUTS ON HIS SUIT JACKET AND STARTS TO WALK OVER TO HILLARY. THERE IS A SOFT KNOCK AT THE DOOR, AND HE TURNS TO ANSWER IT. NIKITA IS AT THE DOOR, DRESSED IN TRASHY CHIC, AND WEARING SUNGLASSES. SHE MOVES SLOWLY.)

TREVOR: Nikita, come in.

NIKITA: Good morning, Trevor.

(HILLARY HAS TURNED IN HER CHAIR AND IS STUDYING NIKITA. SHE RISES TO MEET HER.)

HILLARY: So you're Nikita. I'm pleased to meet you at last. Sorry I couldn't be along last night.

NIKITA: (QUIETLY) Hello, Hillary.

(HILLARY GUIDES HER TO THE SOFA. TREVOR IS STILL STANDING.)

TREVOR: May I offer you a drink, Nikita?

(NIKITA MOANS. SHE SLOWLY PULLS OFF HER SUNGLASSES AND LOOKS AT HILLARY.)

HILLARY: Make us some tea, would you, Trevor?

(TREVOR LOOKS AT THE TWO WOMEN FOR A HEARTBEAT.)

TREVOR: Of course. I'll be back shortly.

HILLARY: Hangover?

NIKITA: Oh, Lord.

(HILLARY LAUGHS AND RUBS NIKITA'S SHOULDER, GENTLY.)

HILLARY: Work related disability. We've all been there. How did it go with Rolf, other than the hangover?

NIKITA: Good. Bad. Indifferent. Good, I can drink him under the table. I told him this morning that he was great last night. Since he passed out cold and can't remember a thing, he believes me. Bad, I think my stomach is somewhere else. I wish my stomach were somewhere else. Indifferent… (SHE STOPS.)

HILLARY: Yes?

NIKITA: Better save it until Trevor gets back, that's the report part.

(HILLARY EYES NIKITA AGAIN AND RISES TO GO JOIN TREVOR.)

HILLARY: Rest. We’ll bring you something to fix the head and stomach both.

(HILLARY LEAVES AS NIKITA PUTS THE SUNGLASSES BACK ON AND LEANS BACK ON THE SOFA, SITTING UP AGAIN ABRUPTLY AND CLUTCHING ONE HAND TO HER STOMACH.)

(TREVOR AND HILLARY ARE PREPARING A TRAY IN THE KITCHENETTE ATTACHED TO THE SUITE.)

TREVOR: So what do you think of Michael's Nikita, eh?

HILLARY: Don't be so sodding judgmental. She's suffering from a frightfully bad hangover. Drank Rolf under so she didn't have to sleep with the bastard.

TREVOR: I wasn't being judgmental, my dear. I've seen you do the same.

HILLARY: So you think she's MICHAEL'S Nikita, eh?

TREVOR: Never known him to issue so many "care and feeding" instructions along with his ops before. It's usually, "Here's the file. Here's the Op. Handle it." Everything you need. Nothing extra.

HILLARY: Practically chatty, wasn't he?

TREVOR: For Michael.

(TREVOR AND HILLARY RE-ENTER CARRYING A TRAYS. NIKITA PLASTERS A STRAINED SMILE ON HER FACE AND ATTEMPTS TO BE SOCIABLE.)

NIKITA: You really needn't have gone to so much trouble. Just the tea will be fine.

TREVOR: Absolutely not. You must eat, just do it in the right sequence.

HILLARY: Trust him, Trevor has a secret family recipe.

(NIKITA LOOKS DUBIOUSLY AT THE ASSORTMENT ON THE TRAY AS TREVOR POINTS TO FIRST ONE THING, THEN THE OTHER.)

TREVOR: First drink this. Then eat one of those. Then drink a cup of tea. Then eat this, dipped in that.

NIKITA: You're sure about this?

TREVOR: How do you think my family got through Oxford?

HILLARY: On their titles.

(IT IS OBVIOUSLY LATER. THE TRAY IS CLEARED OF FOOD, NAPKINS ARE LYING REFOLDED ALONG SIDE THE PLATES. NIKITA HAS LEANED BACK AND IS LOOKING RELAXED AND NO LONGER SUFFERING.)

NIKITA: Bless you both. You must write that down for me.

TREVOR: If you're feeling up to it now, how about a report? Or should we log on with Michael and you can do it all at once?

HILLARY: Let's log on.

(SHE WALKS TO THE COMPUTER AND THE OTHERS JOIN HER AS SHE COMPLETES THE CONNECTION. WE SEE MICHAEL ON THE COMPUTER SCREEN VIA VIDEO LINK.)

MICHAEL: Nikita? Are you all right?

NIKITA: Fine now, Michael. Trevor has an amazing hangover remedy.

MICHAEL: I know. I've had it.

(NIKITA IS SUDDENLY ALL BUSINESS AS SHE GLANCES AT HER WATCH.)

NIKITA: Here's the story. Rolf knows about bioweapons and smuggling. I had a nice long look at his files while he was sleeping it off. But, Michael, there's nothing there about the attack on the med unit.

MICHAEL: Hints? Anything related?

NIKITA: Not a thing, Michael. Plenty about Clavier. Probably not enough to convict him, though. I'll leave all the info I got with Trevor and Hillary.

MICHAEL: Have them transmit it all to Birkhoff for analysis.

NIKITA: All right. What about Walter's bugs?

MICHAEL: Hillary?

HILLARY: Got them this morning, Michael. We'll give her Walter's VERY detailed instructions too.

MICHAEL: What is the range?

HILLARY: About a 1/3 mile. He said to tell you that the range on the bug is the same, but he and Birkhoff built better "ears". Birkhoff will bring them with him when he meets you on site.

(THERE IS A LONG SILENCE. EVERYTHING APPEARS TO BE COVERED, BUT MICHAEL SEEMS HESITANT TO CUT THE CONNECTION. HILLARY RISES AND PLUCKING TREVOR'S SLEEVE POINTS TOWARD THE TRAYS.)

HILLARY: Do you have anything else for Trevor and I, Michael? I need his help on something here.

MICHAEL: No. That's all for you and Trevor. Thank you both.

TREVOR: Not at all.

(HE RISES AND HE AND HILLARY RETREAT TO THE KITCHENETTE WITH THE TRAYS.)

MICHAEL: Nikita?

NIKITA: Yes, Michael?

MICHAEL: Are you all right, really?

NIKITA: Yes, really.

MICHAEL: I want to see you before you go in.

NIKITA: How about shortly after? Apparently we arrive just after dark. The women all go to their rooms to rest up and get ready for the night. The men meet downstairs to watch a soccer game in Clavier's film room. The women are NOT invited.

MICHAEL: Good, but be careful. There are a lot of guards. Remember the map?

NIKITA: I will. Yes.

MICHAEL: Checkpoint J. I'll be there.

(MICHAEL APPEARS TO GLANCE OVER HIS SHOULDER AT SOMETHING.)

MICHAEL: That is all. Over and out.

(THE CONNECTION BREAKS.)

IV. Isolation

(MICHAEL IS LEANING AGAINST A TREE, WAITING. HE IS IN THE MIDST OF A HEAVILY WOODED AREA. MOST OF THE LEAVES ARE OFF THE TREES, LEAVING ONLY THOSE LAST DIEHARD BROWN LEAVES OF LATE FALL. A CHILL WIND IS BLOWING, EVIDENCED BY HIS WINDBLOWN HAIR AND SLIGHTLY REDDENED CHEEKS. THE UNDERBRUSH IS FAIRLY THICK. THERE IS A SOFT RUSTLE AND HE TURNS TOWARD THE SOUND AS NIKITA STEPS THROUGH THE GROWTH TO MEET HIM. AS SHE APPROACHES HIM, HE REMOVES HIS COM UNIT AND TURNS IT OFF, PUTTING IT IN HIS JACKET POCKET. THEY STAND CLOSE TO ONE ANOTHER IN THE DARKNESS. NEITHER SPEAKS FOR QUITE SOME TIME AS THEY LOOK INTO EACH OTHER'S EYES.)

NIKITA: You wanted to tell me something?

MICHAEL: Yes.

(HE IS STILL SILENT FOR A TIME, THEN HE REACHES OUT AND PULLS HER TO HIM. THEY STAND IN ONE ANOTHER'S ARMS FOR A WHILE. MICHAEL FINALLY STARTS SPEAKING SOFTLY INTO HER HAIR.)

MICHAEL: Remember you are Josephine. Whatever happens, happens to Josephine.

(NIKITA BURIES HER FACE IN HIS SHOULDER, THEN TURNS HER FACE AND SPEAKS SOFTLY INTO HIS EAR.)

NIKITA: Is that how you manage it, Michael?

MICHAEL: Separate her from yourself. Send Josephine back to Clavier. Nothing can happen to Nikita.

NIKITA: And where will Nikita be, Michael?

(MICHAEL TAKES HER HAND AND PLACES HER PALM FIRMLY OVER HIS HEART AND HOLDS IT THERE. THEY STAND THAT WAY FOR A TIME, THEN NIKITA PULLS HER HEAD BACK TO LOOK UP AT HIM.)

NIKITA: You're going back to the van, right?

(MICHAEL LOOKS OFF TO THE SIDE.)

MICHAEL: Yes.

(THEY ARE SILENT. SHE AT LAST BACKS AWAY. HE LOOKS DIRECTLY AT HER.)

NIKITA: Take care of Nikita for me, Michael.

MICHAEL: I will.

(NIKITA TURNS AND LEAVES MICHAEL, STANDING IN THE DARKNESS. AT LAST HE TAKES THE COM UNIT OUT OF HIS POCKET, TURNS IT ON, AND PUTS IT IN PLACE.)

MICHAEL: Birkhoff, are you receiving?

BIRKHOFF (OVER THE COM LINK): I hear you now, Michael.

MICHAEL: I think the link dropped out there for a minute. Seems OK now.

BIRKHOFF: Right. Are you coming back to the van?

MICHAEL: No. I will be moving to point Q.

BIRKHOFF: Watch yourself, that's not the best cover.

MICHAEL: It's the best reception. If she needs to be bailed out, it puts me in the best position to intervene.

BIRKHOFF: Ops' orders are to not intervene.

MICHAEL: This com unit seems to be acting up again. I didn't get that.

BIRKHOFF: I understand. We needed longer to test the receiver than we had. I'll let Ops know we're having some equipment problems.

(MICHAEL MOVES OFF INTO THE DARKNESS.)

(A TALL SILVER HAIRED MAN IS STANDING LOOKING AT NIKITA, SITTING ON THE END OF A BED. HE IS LEAN, ANGULAR, AND HIS FACE IS HEAVILY LINED, BUT HE EXUDES POWER IN A WAY THAT MAKES HIM NOT UNATTRACTIVE UNTIL YOU LOOK CLOSELY AT HIS EYES. THEY ARE COMPLETELY COLD WITH A HINT OF CRUELTY IN THEM. NIKITA SMILES UP AT HIM PROVOCATIVELY AND RISES TO MEET HIM MORE THAN HALFWAY. THE SOUNDTRACK BEGINS PLAYING "JOSEPHINE" FROM WALLFLOWERS "BRINGING DOWN THE HORSE". HE SMILES AND BRUSHES HER HAIR BACK BEHIND HER SHOULDERS WITH BOTH HANDS. THEN, WITHOUT WARNING, TAKES THE SHOULDER STRAPS OF HER EVENING GOWN AND SIMPLY RIPS IT OFF HER, LEAVING IT IN TATTERS ON THE FLOOR AROUND HER ANKLES. NIKITA BRACES FOR A MOMENT AND THEN MOVES INTO HIS ARMS. THE CAMERA MOVES TO A SHOT OF THE NIGHTSTAND, THEN OVER ITS EDGE TO REVEAL A TINY SILVER DOT ADHERED TO THE BACK OF THE NIGHTSTAND. IT IS ONE OF WALTER'S BUGS.)

"I feel pretty good
I feel all right
And I've been thinkin' maybe
I could spend the night…
Josephine…"

(MICHAEL IN SITTING BETWEEN A BUSH AND A TREE ON THE GROUNDS OF THE ESTATE. THE TREES HERE ARE FAIRLY SPARSE WITH EXPANSES OF LAWN BETWEEN THEM. AT A DISTANCE IS DIMLY SEEN A LARGE MANSION, LURKING LIKE A MENACING PRESENCE, BLACKER THAN THE DARKNESS THAT SURROUNDS IT. THERE ARE MANY WINDOWS LIT UP, LOOKING LIKE MANY EYES ON A GARGANTUAN MONSTER. IT IS TOO FAR AWAY TO HEAR ANY SOUNDS EMMINATING FROM HOUSE. THERE ARE GUARDS STROLLING THE LAWNS. MICHAEL'S FACE IS SEEN IN CLOSE UP. HE IS PINCHING THE BRIDGE OF HIS NOSE AS IF IN PAIN. HE IS COMPLETELY SILENT.)

"I know I've been bad…
Josephine
You're so good to me
And I know
It ain't easy…"

(THE BEDROOM IS DARK AND THE CAMERA IS FOCUSED IN FOR A TIGHT CLOSE UP OF NIKITA'S FACE. WE HEAR THE SOUNDS OF A COUPLE HAVING SEX AND REALIZE THAT NIKITA IS PART OF THE COUPLE. HER FACE IS SET IN GRIM DETERMINATION. AS THE MAN OBVIOUSLY CLIMAXES, SHE MAKES THE APPROPRIATE NOISES. HE COLLAPSES ONTO HER, HIS FACE NOW BURIED IN THE PILLOW. SHE TURNS HER HEAD TO THE SIDE, BLINKLY RAPIDLY. HER MOUTH SILENTLY FORMS THE WORD "JOSEPHINE".)

"I won't make a sound
Sleep on the ground…
But I never had much fun
Maybe the very first mile…"

(MICHAEL IS STILL SITTING ON THE GROUND IN THE DARKNESS. HIS ARMS ARE WRAPPED TIGHTLY AROUND HIS KNEES, HIS FACE IS STONY, HIS JAW IS CLENCHED, HIS EYES ARE AS LIGHTLESS AS A CORPSE'S.)

"Won't you come and help me with these cuts of mine?
I've disconnected my heart
And cut myself on the wires
Josephine
I know I was wrong
I knew all along
But I got so far from my home
I never thought I'd be so lonesome…"

(THE MAN BESIDE HER IN THE BED IS SNORING LOUDLY. NIKITA SLIPS QUIETLY OUT OF BED, CHECKS THE TORN GOWN. IT CLEARLY SEPARATES INTO TWO LONG PIECES. SHE THEN GOES TO HER EVENING BAG, ALSO ON THE FLOOR, AND TAKES OUT A PENLIGHT. WALKING TO THE CLOSET, SHE SHINES THE PENLIGHT AROUND INSIDE THE CLOSET, AND PULLS OUT A MAN'S DRESSING GOWN AND PUTS IT ON. SHE RETURNS TO THE BAG, AND SELECTS A SMALL PERFUME BOTTLE AND UNSCREWS THE CAP, DUMPING A HANDFULL OF WALTER'S TINY BUGS INTO HER PALM. TURNING OFF THE PENLIGHT, SHE CHECKS THE MAN AGAIN, AND PAUSES TO STARE OUT THE WINDOW AT THE SILENT LAWN.)

"You're so good to me
And I know
It ain't easy…
But I never had much fun
Maybe the very first mile…
Josephine…"

(NIKITA SILENTLY LEAVES THE ROOM CARRYING THE BUGS.)

V. Treatment

(THE SOUNDTRACK IS PLAYING "THE MESSENGER" BY DANIEL LANOIS ON "FOR THE BEAUTY OF WYNONA". IT IS BLUESY, GUTSY SOUNDING MUSIC. MICHAEL IS STANDING BY THE STAGING AREA, WAITING.)

"Got a letter from a messenger.
I read it when it came.
It said that you were wounded,
You were bound and chained,"

(THE DOOR OPENS AND NIKITA ENTERS, CLOSING THE DOOR BEHIND HER. SHE AND MICHAEL STAND ABOUT TEN FEET APART LOOKING WARILY AT ONE ANOTHER.)

"You had loved and you were handled.
You were poison.
You were pain.
Oh no. Oh no.
You were naked, you were shamed."

(HE MOVES TO HER AND STANDS CLOSE, LOOKING INTO HER EYES. SHE LIFTS HER HEAD AND LOOKS INTO HIS.)

"You could almost touch heaven,
Right there in front of you.
Liberty just slipped away on us,
Now there's so much work to do.
Oh the door that closes tightly
Is the door that can swing wide.
Oh no. Oh no."

MICHAEL: Are you all right?

NIKITA: I'll be fine.

(SHE REACHES OUT AND LAYS THE PALM OF HER HAND ON HIS CHEST.)

NIKITA: How's Nikita?

(MICHAEL PLACES HIS HAND OVER HERS.)

MICHAEL: Nikita is always fine.

(THEY STAND LOOKING AT ONE ANOTHER. HE TAKES HER HAND AND RAISES IT TO HIS LIPS.)

"Not expecting to collide,
for a minute I let my guard down
not afraid to be found out.
Completely forgotten
what our fears were all about.
Oh no. Oh no.
There's no need to be without."

(SOMEWHERE BEHIND MICHAEL WE CAN HEAR PEOPLE APPROACHING. MICHAEL LETS HER HAND GO AND TURNS.)

.

"There's a chance,
and I will take it,
this desire I can't kill.
Take my heart,
Please don't break it.
I will crawl to your foothill
I'm frightened but I'm coming.
Please baby, please lay still."

(THEY ENTER THE BUILDING TOGETHER, WALKING SIDE BY SIDE.)

"Oh no. Oh no,
Not coming for the kill.
Oh no. Oh no,
Not coming for the kill.
Oh no. Oh no,
Not coming for the kill."

(THE BLUE GUITAR FADES INTO SILENCE.)

(BIRKHOFF IS SITTING AT A SOUNDBOARD IN A ROOM AT SECTION WITH BANKS OF EQUIPMENT AROUND HIM. HE HAS ON HEADPHONES AND IS CHEWING ON A RED VINE. FROM TIME TO TIME HE LOOKS MORE ATTENTIVE AND FLIPS THE SWITCHES ON A PIECE OR TWO OF EQUIPMENT. HE LEANS BACK, AND AS HE DOES SO, MICHAEL SITTING AT THE SOUNDBOARD, IS SUPERIMPOSED OVER HIM AND BIRKHOFF FADES. MICHAEL LISTENS, ALSO OCCASIONALLY FLIPPING SWITCHES AS HE SIPS FROM A CUP OF COFFEE. THIS CONTINUES UNTIL MICHAEL STARTS FADING AND NIKITA IS SUPERIMPOSED OVER HIM, SITTING AT THE SAME CONSOLE. SHE IS MUNCHING ON A SUBMARINE SANDWICH. SHE SITS FORWARD QUICKLY, HER MOUTH FULL AND FLIPS SWITCHES ON THE CONSOLE AS SHE SWALLOWS. SHE LEANS BACK AND PICKS UP THE SANDWICH AGAIN. AS SHE BITES INTO IT, SHE FADES TO BE REPLACED BY BIRKHOFF IN THE SAME POSITION. BIRKHOFF IS LISTENING AS HE FISHES INTO A BAG OF CHIPS. WALTER ENTERS THE ROOM. BIRKHOFF MOTIONS FOR HIM TO WAIT A MINUTE, AND FLIPS ANOTHER SWITCH, TAKES OFF THE HEADPHONES, THEN HANDS THEM TO WALTER WHO PUTS THEM ON.)

BIRKHOFF: Nothing much going on right now.

(BIRKHOFF STANDS AS WALTER PREPARES TO TAKE HIS PLACE.)

BIRKHOFF: Your turn.

WALTER: Super.

(OPS ENTERS THE ROOM. THEY BOTH TURN TO LOOK AT HIM.)

OPS: The relay is still working?

BIRKHOFF: Clear as a bell.

OPS: Why were the receivers cutting out at the estate?

WALTER: Just needed a little field adjustment.

BIRKHOFF: They worked fine by the time we were ready to leave and connected the relays.

OPS: Meeting in 30. The last set of tapes should do it.

(OPS TURNS AND LEAVES ABRUPTLY.)

BIRKHOFF: (TO EMPTY SPACE.) Yes, sir.

WALTER: (ALSO TO THE EMPTY DOORWAY.) You're welcome.

(OPS IS AGAIN PACING ONE SIDE OF THE CONFERENCE ROOM TABLE. ON THE OPPOSITE SIDE ARE MICHAEL, NEXT TO OP'S EMPTY CHAIR, THEN NIKITA, BIRKHOFF, AND WALTER. MADELEINE SITS IN HER CUSTOMARY PLACE AT THE FOOT OF THE TABLE.)

OPS: You all have pieces from your listening post. Here's the whole picture.

(OPS POINTS THE REMOTE AND THE FAMILIAR BLUE-RIMMED SCREEN APPEARS ABOVE THE TABLETOP. ON IT IS THE PICTURE OF MAN, ABOUT 50, GREY HAIRED, WEARING GLASSES.)

OPS: Dr. Charles Latterby. Head of CDC, London section. It seems the good doctor's wife, Natalie, another CDC doctor, was having an affair with yet a third CDC doctor, Morris Hansen. She was preparing to divorce Latterby to marry Hansen.

(AS HE SPEAKS, OPS CLICKS THE REMOTE TWICE MORE AND PICTURES OF THE OTHER TWO DOCTORS JOIN THE FIRST.)

WALTER: (UNDER HIS BREATH) I'm working in the wrong place.

OPS: (GLARING) Latterby killed the whole medical team to cover the murder of his wife and her lover.

NIKITA: This is all on tape from Clavier's house?

OPS: Yes, it seems Clavier is a very unhappy man. His bio contacts stumbled onto Latterby. Clavier assumed Latterby was willing to deal for the samples.

NIKITA: He wasn't?

OPS: The good doctor is a CDC man. He swears he destroyed the samples. Didn't want the virus to get loose. Says that's why he torched the whole site.

MICHAEL: Do you believe him?

OPS: Actually, I do. Clavier doesn't. Clavier is trying to blackmail Latterby into handing over the samples. Latterby sounds frantic.

MADELEINE: He would if the samples no longer exist.

OPS: MI5 will pick up Latterby. The CDC mobile unit will go with them. Between them they should be able to verify what Latterby is saying and handle the situation.

MADELEINE: Clavier?

OPS: (GRINNING) That's the good news. We literally have enough on tape to hang the man.

MICHAEL: So we can hit him now? I'll assemble a team with Trevor and Hillary.

(MICHAEL STARTS TO RISE, BUT OPS STOPS HIM.)

OPS: Not so fast. Hitting the estate won't be easy, make sure your bases are covered. Now, this is important. I want Clavier brought back here for questioning.

(OPS NODS AT MADELEINE WHO SMILES.)

OPS: Clavier should be able to spill enough information, with a little persuasion, to give us leads to most of the bio thefts going on in Europe.

MICHAEL: If we capture his data center, that should give us all the information we need.

OPS: (STARING STRAIGHT AT MICHAEL) I want him brought back alive.

(MICHAEL DOES NOT RESPOND.)

OPS: (STILL LOOKING AT MICHAEL) Do you understand?

MICHAEL: Of course.

OPS: Good. Dismissed. You all have work to do.

NIKITA: (UNDER HER BREATH) You're welcome.

(THEY ALL RISE AND LEAVE EXCEPT OPS AND MADELEINE. OPS SITS DOWN NEXT TO MADELEINE.)

MADELEINE: Actually, the data center will have a lot. Everything I've seen about him indicates a personality that would keep elaborate data on all his transactions.

OPS: There's always a little more you can find out.

MADELEINE: Yes. That would be best. (PAUSE) Still, it's a field situation. Anything can happen when the shooting starts.

OPS: Michael damn well better do as he's told.

MADELEINE: Of course he will.

VI. Containment

(MICHAEL, NIKITA, TREVOR, AND HILLARY ARE SITTING IN A MOBILE COM UNIT. THEY ARE DRESSED IN FULL COMBAT GEAR, AND HEAVILY ARMED. BIRKHOFF IS AT THE COMPUTER CONTROL CONSOLE LISTENING INTENTLY TO COM TRAFFIC.)

MICHAEL: (LOOKING AT TREVOR) As soon as the extreme perimeter guards are taken out, start moving your people in on the west side. Hillary, bring your people in from the north. Nikita will take the east; I'll take the north.

TREVOR: Even taking out the perimeter leaves a lot. (HE LOOKS AT HILLARY) Stay sharp.

HILLARY: Always am, eh?

NIKITA: (LOOKING AT HILLARY) Meet you in the middle, Hill. You bring the tea; I'll bring the crumpets. HILLARY: (GRIM SMILE) You're on, Nik.

MICHAEL: Be doubly careful inside the house. It's big. You've all got the floor plans memorized?

(THEY ALL NOD.)

MICHAEL: That's it then. Get into position. First to reach the data center, hold it and notify me.

(THEY ALL RISE AND MICHAEL HOLDS OUT HIS HAND TO TREVOR WHO SHAKES IT.)

MICHAEL: Thank you.

TREVOR: Any time, old chap.

(MICHAEL AND HILLARY KISS ONE ANOTHER ON THE CHEEK AS TREVOR AND NIKITA DO THE SAME. THEN HILLARY AND TREVOR EXIT THE MOBILE COM UNIT. NIKITA CALLS AFTER THEM.)

NIKITA: Head down, Hill.

(HILLARY CALLS BACK TO HER.)

HILLARY: Balls up, Nik.

NIKITA: (LOOKING BACK AT MICHAEL.) I like them.

(MICHAEL NODS IN AGREEMENT AND TURNS TO BIRKHOFF.)

BIRKHOFF: We're almost there.

MICHAEL: Nikita, get your people in position.

(MICHAEL AND NIKITA EXCHANGE A LONG LOOK. SHE NODS, THEN LEAVES THE VAN.)

(MICHAEL TURNS AGAIN TO BIRKHOFF.)

MICHAEL: Time?

BIRKHOFF: 10, tops.

(MICHAEL RISES AND LEAVES THE VAN, THE CAMERA FOLLOWING HIM. AROUND THE VAN IS A PLATOON OF HEAVILY ARMED TROOPS. THEY GATHER AROUND MICHAEL WHO GIVES THEM BRIEF INSTRUCTIONS. THEY NOD AND FOLLOW HIM AS HE WALKS INTO THE NEARBY WOODS. THE LINE OF TROOPS BEGINS SPREADING AND SILENTLY DISAPPEARS LIKE A MEMORY INTO THE UNDERGROWTH.)

(IN THE LIGHT OF LATE AFTERNOON, THE CAMERA SHOWS A LARGE OPEN EXPANSE OF LAWN DOTTED WITH TREES AND BUSHES. IN THE FAR BACKGROUND IS A BRANCH OF THE RHINE, SLICING THROUGH THE OLD ALSACE-LORRAINE REGION OF FRANCE, WHICH HOVERS NEAR THE GERMAN BORDER. IN THE MIDGROUND SITS THE HULKING MANOR HOUSE, A MEGLOMANIAC'S DELIGHT, FRENCH AND GERMAN OCCUPATIONS WARRING ACROSS ITS ECLECTIC FAÇADE. IT IS A PEACEFULL SCENE, MAKING A LIE OF THE AREA'S HISTORY. A FEW GARDENER'S ARE PRUNING BACK BUSHES FOR THE WINTER'S ONSLAUGHT. GUARDS STOLL HERE AND THERE AROUND THE LAWN. THE CAMERA DRAWS BACK AND WE SEE NIKITA, AND FROM MINUTE MOVEMENTS DETERMINE THAT THERE ARE MANY OTHER PEOPLE IN THE WOODS WITH HER. THEY ARE ALL LOOKING AT THE MANSION.)

BIRKHOFF: (VIA COM LINK) That's the last of the perimeter guards. You're on.

MICHAEL: (VIA COM LINK) All units. GO.

(SUDDENLY OBJECTS FLY THROUGH THE AIR AND EXPLODE ON CONTACT, BECOMING A HEAVY FILTER OF SMOKE BOMBS. THE ENTIRE LAWN EXPLODES WITH TROOPS COMING IN FROM FOUR DIFFERENT DIRECTIONS, DISAPPEARING IN AND OUT OF THE RAPIDLY SPREADING SMOKE. GUARDS NEAR THE HOUSE FIRE ALL AROUND THEMSELVES, TOTALLY CONFUSED, AFFECTING LITTLE, ADDING TO THE CONFUSION. THE MEN WORKING ON THE YARD RUN TOWARD THE HOUSE. THERE ARE BRIEF CLOSE UPS OF THEM.)

OLD GARDENER: (RUNNING) Gott im Himmel!!

YOUNG GARDENER: (ALSO RUNNING) Merde!!!

(THE VIEWPOINT IS THAT OF A PERSON ON THE ATTACKING GROUP WHO IS RUNNING WHILE SHOOTING. ALONG THE PERIPHERAL OTHER ATTACKERS APPEAR AND DISAPPEAR IN THE SMOKE. A GUARD APPEARS FRONT LEFT, THE ATTACKER FIRES. THE GUARD GOES DOWN. ANOTHER APPEARS TO THE RIGHT, ALREADY FIRING, OUT OF THE FOG. THE CAMERA JERKS AS IF SHOT AND TILTS TOWARD THE GROUND. ANOTHER ATTACKER APPEARS ON THE RIGHT PERIPHERAL AND FIRES. THE GUARD FALLS. THE CAMERA ANGLE CHANGES TO THE PERSPECTIVE OF THE NEW ATTACKER, WHO CONTINUES FIRING AND MOVING TOWARD THE HOUSE. THERE IS GUNFIRE ON EVERY SIDE, SCREAMS, PEOPLE YELLING ORDERS, OTHERS SIMPLY YELLING. THE GUNFIRE GRADUALLY GROWS MORE SPORADIC. THE CAMERA FOCUSES ON A PUFF OF SMOKE WHICH DISOLVES INTO SMOKE BEHIND NIKITA AS SHE ENTERS FRENCH WINDOWS OPENING ONTO A LIBRARY. MICHAEL HAS JUST BURST INTO THE ROOM WITH GUN DRAWN, AIMED AT CLAVIER. WE SEE CLAVIER BEHIND A DESK, HIS HANDS RAISED IN SURRENDER. KEEPING A BEAD ON HIM, MICHAEL REACHES BACK AND PULLS A SECOND HAND GUN OUT FROM WHERE IT WAS CONCEALED IN HIS WAISTBAND. JUST THEN, A GUARD STEPS BACKWARD INTO THE ROOM THROUGH ANOTHER DOOR. HE IS CARRYING TWO AUTOMATICS, FIRING WITH EACH AT SOMEONE PURSUING HIM. NIKITA FIRES, AND THE GUARD FALLS. CLAVIER TURNS TO LOOK AT NIKITA, AND OBVIOUSLY RECOGNIZES HER. HE TURNS BACK TO LOOK AT MICHAEL. HE AND MICHAEL LOOK ONE ANOTHER IN THE EYES. MICHAEL'S EYES ARE COMPLETELY TOTALLY ABSOLUTELY COLD; THEY CONTAIN NOT EVEN A HINT OF HUMANITY. A LOOK OF RESIGNATION CROSSES CLAVIER'S FACE AS HE SLOWLY LOWERS HIS HANDS AND STANDS, WAITING. MICHAEL FIRES. CLAVIER FALLS DEAD. MICHAEL TURNS AND FACES NIKITA. THE CAMERA DRAWS BACK. HER FACE REGISTERS SHOCK. AS THEY STAND SILENTLY FACING ONE ANOTHER, TREVOR ENTERS THE DOOR THE GUARD HAD BACKED THROUGH, WITH HIS GUN DRAWN. HE LOOKS OVER THE ROOM, THE BODIES, AND MICHAEL AND NIKITA.)

TREVOR: Nikita, Hillary needs some help in the data center. She's got a handful of holdouts.

(NIKITA NODS MUTELY AND CROSSES THE ROOM, LEAVING THROUGH THE DOOR TREVOR ENTERED. TREVOR STROLLS ACROSS THE ROOM, STEPPING OVER THE DEAD GUARD'S BODY. HE PAUSES, AND KICKS THE GUARD'S EXTRA GUN OVER TO LIE NEXT TO CLAVIER'S BODY.)

TREVOR: Obliging chap, what? Won't need that unregistered back up gun I brought after all.

(MICHAEL REPLACES HIS EXTRA HANDGUN INTO HIS WAISTBAND.)

MICHAEL: Damned decent.

VII. Survivors

(OPS, MADELEINE, AND MICHAEL ARE IN A MEETING IN MADELEINE'S OFFICE. OPS AND MICHAEL ARE STANDING FACING ONE ANOTHER. IT SHOULD BE OBVIOUS THAT OPS IS ANGRY AND HAS BEEN TEARING INTO MICHAEL. MADELEINE IS SEATED AT HER DESK. MICHAEL IS IN MACHINE MODE.)

OPS: I wanted him ALIVE!

MICHAEL: It couldn't be avoided.

(OPS STANDS GLARING AT MICHAEL FROM ONLY ABOUT A FOOT DISTANCE. MICHAEL REMAINS IMPLACID. THE SILENCE THAT FOLLOWS IS LONG AND STRAINED, THOUGH APPARENTLY NOT FOR MICHAEL.)

OPS: Dismissed, damn it! Dismissed!

MICHAEL: Yes sir.

(MICHAEL TURNS AND LEAVES. AFTER HE IS GONE OPS DROPS INTO THE CHAIR NEXT TO MADELEINE'S DESK.)

OPS: I don't believe him.

MADELEINE: It was a combat situation. You can't be sure.

OPS: Do YOU believe him?

(MADELEINE DOES NOT RESPOND.)

(NIKITA IS STANDING IN HER APARTMENT LOOKING OUT THE TERRACE WINDOWS. HER ARMS FOLDED ACROSS HER CHEST. THERE IS A KNOCK AT THE DOOR. SHE HEARS, BUT DOES NOT TURN. THERE IS ANOTHER KNOCK. FINALLY, THERE IS THE SOUND OF A KEY TURNING IN THE DOOR, AND IT OPENS. MICHAEL IS STANDING IN THE DOORWAY. NIKITA TURNS AND THEY FACE ONE ANOTHER ACROSS THE ROOM. AS THEY STAND LOOKING AT ONE ANOTHER, THE SOUNDTRACK BEGINS PLAYING "THE BRIDGE" BY GRANT LEE BUFFALO ON "COPPEROPOLIS.")

"Crossing the bridge where many lean to see over the rail
to glance the trembling stream,
others stay to the center,
fearful it might sway,
and those who would chose to turn back the other way,
but you and me have our own bridge to cross."

MICHAEL: May I come in?

(NIKITA NODS, AND MICHAEL ENTERS MORE HESITANTLY THAN USUAL. HE DOES NOT DO HIS PANTHER PROWL THROUGH HER APARTMENT, BUT STANDS, WAITING FOR A RESPONSE FROM HER. SHE UNFOLDS HER ARMS AND DROPS THEM TO HER SIDES. HE THEN STEPS FORWARD, PAST THE KITCHEN AREA TO STAND OPPOSITE HER AT THE FAR SIDE OF THE LIVING ROOM.)

"Weather worn and sea tossed.
we've our own bridge to cross.
Let's not make any excuses."

(NIKITA SLOWLY CROSSES TO HALFWAY INTO THE ROOM AND STOPS. THEY ARE STILL LOOKING SEARCHINGLY AT ONE ANOTHER.)

"I came upon someone's used and yellowed paperback,
a collection of dreams and their meaning all conveyed,
seems to dream of a bridge denotes a thousand different things,"

(MICHAEL COMES FORWARD AND THEY ARE NOW ONLY A FOOT APART. THERE IS A LONG TIME DURING WHICH NOTHING HAPPENS, THEN NIKITA LAYS HER PALMS ON HIS CHEST.)

"if the planks are secure, or the rope is broke or frayed,
but you and me have our own bridge to cross."

(MICHAEL PUTS HIS ARMS AROUND HER AND PULLS HER CLOSE. THEY ARE LOOKING OVER ONE ANOTHER'S SHOULDERS. THEIR EYES ARE OPEN.)

"Weather worn, sea tossed,
we've our own bridge to cross.
Let's not make any excuses."

FADE TO BLACK

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