In time line this is after Disease, I guess, and before The Hunters. It started out as a quasi-serious Christmas piece. Unfortunately, part way in I had to go on some heavy pain killers and the entire tone warped.

Pop quiz: See if you can tell when the pain killers went into effect?

I. Silent Night

(THE SOUND TRACK IS PLAYING MUZAK CHRISTMAS MUSIC, "JOY TO THE WORLD". WE ARE LOOKING AT A BUSY TWO-STORY SHOPPING MALL, HEAVILY DECORATED, LESS THAN TWO WEEKS BEFORE CHRISTMAS. IT IS A BRIGHT CLEAR DAY BUT COLD. THERE IS SNOW ON THE GROUND AND WHERE THE PARKING LOT HAS BEEN PLOWED, GREAT DIRTY PILES OF IT STAND AROUND THE EDGES OF THE LOT . THE PLOWED PARKING LOT IS PACKED WITH CARS. THERE ARE INDIVIDUALS, FAMILIES, GROUPS OF FRIENDS GOING IN AND OUT. ALL ARE HEAVILY DRESSED, WEARING OVERCOATS, MUFFLERS, AND MITTENS. THOSE COMING OUT OF THE MALL HAVE THEIR ARMS LADEN WITH PACKAGES. IT IS A VERY TYPICAL SCENE FOR A LARGE CITY MALL DURING THE HOLIDAY SEASON. THE CAMERA FOCUSES BRIEFLY ON ONE FAMILY INCLUDING A LITTLE GIRL IN A BRIGHT BLUE COAT. THEY ENTER THE MALL. THE CAMERA DRAWS BACK AND EXAMINES THE WHOLE MALL, CRAWLING WITH ACTIVITY AND WEIGHED DOWN WITH CHRISTMAS DECORATIONS. SUDDENLY THERE IS A MASSIVE EXPLOSION. THE CENTER OF THE MALL BLOWS OUT, THEN COLLAPSES IN ON ITSELF. THERE IS STUNNED DISBELIEF FOLLOWED BY SCREAMS, THEN SHORTLY THEREAFTER, BY SIRENS. THE CAMERA ZOOMS IN ON THE FIRST ARRIVING AMBULANCE, THEN ON TO ITS LIGHTS, THEN FURTHER IN TO ONLY ONE RED FLASHING LIGHT.)

(THE CAMERA IS ZOOMED IN ON A FLASHING RED LIGHT, AS IT DRAWS BACK WE SEE IT IS ONE OF THE LIGHTS IN THE RED LIGHT MESSAGE BOARD BEHIND BIRKHOFF. THE CAMERA CONTINUES DRAWING BACK. WE ARE AT SECTION HEADQUARTERS AT BIRKHOFF'S STATION. HE BECOMES ALERT AND TENSE FROM SOMETHING HE SEES ON HIS MONITOR. HE SPEAKS INTO THE MIC NEAR HIS DESK AND WE SEE OPS REACT UP IN HIS NEST. OPS SHOUTS SOMETHING INTO HIS MIC AND THERE IMMEDIATELY APPEARS TO BE A GENERAL ALARM AND A GREAT DEAL OF ACTIVITY. WE SEE OPS RUSHING FROM HIS NEST, MADELEINE APPEARS HURRIEDLY HEADING TOWARD THE STAIRS. FROM DIFFERENT DIRECTIONS, BUT IMMEDIATELY BEHIND HER, APPEAR MICHAEL, NIKITA, AND WALTER. EVERYONE IS RUSHING TOWARD THE CONFERENCE AREA AND LOOKS CONCERNED. WE DO NOT HEAR ANY SOUNDS FROM SECTION. THE BACKGROUND TRACK IS STILL PLAYING THE SOUNDS OF THE AFTERMATH OF THE EXPLOSION: SCREAMS, CRYING, SIRENS OF DIFFERENT VARIETIES, THE CRASH AND SPLINTER OF SALVAGE OPERATIONS. UNDERNEATH THESE SOUNDS WE CAN STILL HEAR THE FAINT MUZAK MUSIC OF "HAVE YOURSELF A MERRY LITTLE CHRISTMAS". THIS CONTINUES AS WE SEE THEM ALL IN THE CONFERENCE ROOM, SOME HAVE NOT EVEN SEATED THEMSELVES. OPS IS TALKING, THEN BIRKHOFF, THEN OPS AGAIN. EVERYONE TURNS AND HURRIES FROM THE ROOM. MICHAEL, NIKITA, AND WALTER HEAD FOR THE STAGING AREA. THE CAMERA FOLLOWS THEM AS THEY REACH THE MOBILE COM VAN. THE CAMERA PULLS BACK AND WE CAN SEE THE RED LIGHT MESSAGE BOARD TO THE LEFT OF THE STAGING AREA. IT READS, "MISSION DEPARTING". THE CAMERA PULLS IN TO A CLOSE UP ON THE MESSAGE BOARD, THEN ONTO ONE RED LIGHT.)

(THE CAMERA BEGINS BACKING OFF FROM A RED LIGHT AND WE SEE IT IS THE FLASHING LIGHT ON TOP OF THE POLICE CHIEF'S CAR. IT IS NIGHTTIME BACK AT THE DEVASTATED SHOPPING MALL. THE MUZAK HAS SEGUED INTO A VERY BLUE JAZZ VERSION OF "LITTLE DRUMMER BOY" BY WYNTON MARSALIS ON "CRESCENT CITY CHRISTMAS CARD", CHRISTMAS RENDERED IN A MINOR KEY. WE CAN STILL HEAR THE SOUNDS OF THE RESCUE ATTEMPTS AROUND US WITH THE MUSIC IN THE BACKGROUND. THERE ARE MASSES OF EMERGENCY VEHICLES: POLICE, FIRE TRUCKS, AMBULANCES, TOW TRUCKS, AND CONSTRUCTION VEHICLES. LITERALLY HUNDREDS OF PEOPLE ARE INVOLVED IN EXCAVATING THE RUINED STRUCTURE SEARCHING FOR SURVIVORS. AREAS ARE ROPED OFF WITH BRIGHT YELLOW POLICE LINE TAPE. THERE ARE ROWS OF BODY BAGS IN ONE AREA. THE PRIMARY FOCUS IS A GROUP AROUND THE POLICE CHIEF'S AND FIRE CHIEF'S VEHICLES. THEIR AUTOMOBILES ARE SURROUNDED BY A SMALL SEA OF UNMARKED CARS. MANY PEOPLE ARE IN CONFERENCE, SOME UNIFORMED, SOME NOT, BUT ALL CLEARLY "PROFESSIONALS". IN THE BACKGROUND BEYOND THE BODY BAGS WE CAN SEE THE BLACK MOBILE COM VAN. WALTER IS JUST RE-ENTERING THE VAN, A SMALL BLACK DUFFEL BAG, OBVIOUSLY PACKED FULL, IS SLUNG OVER HIS SHOULDER. HE IS CARRYING A COUPLE OF PIECES OF RUBBLE IN HANDS. WE SEE NIKITA AND MICHAEL FROM THE BACK AS THEY WALK AWAY FROM THE GROUP AROUND THE CHIEFS, HEADING TOWARD THE MOBILE COM. AS THEY PASS THE BODY BAGS, WE SEE A FLASH OF BRIGHT BLUE COAT AS A BODY BAG IS ZIPPED CLOSED. NIKITA'S HEAD DROPS WHILE SHE WALKS, LOOKING DOWN. MICHAEL IS LOOKING STRAIGHT AHEAD. AFTER A FEW MORE STEPS, WITHOUT LOOKING AT HER, OR WITHOUT EITHER OF THEM PAUSING IN THEIR STRIDES, HE REACHES OUT AND TAKES HER HAND. HE HOLDS IT AS THEY WALK FOR A FEW STEPS. HER HEAD FINALLY COMES UP UNTIL THEY ARE BOTH LOOKING STRAIGHT AHEAD. HE DROPS HER HAND AS THEY NEAR THE VAN. THE MUSIC GROWS FAINTER AS THE SCENE FADES TO BLACK, LEAVING ONLY THE TAT, TAT, TAT OF A LONE DRUMMER REVERBERATING IN THE DARKNESS.)

II. God Rest Ye Merry Gentlemen

(WE SEE THE COFFEE ROOM AT SECTION HEADQUARTERS. THERE IS NO HINT OF THE IMPENDING HOLIDAY SEASON, NO DECORATIONS, AND NO MUSIC. THERE ARE ABOUT A DOZEN MEDIUM SIZED ROUND TABLES. VARYING NUMBERS OF OFF DUTY PERSONNEL OCCUPY FOUR OF THE TABLES. FOUR BUGS SIT AT ONE TABLE SCRIBBLING ON NAPKINS AND EYEING NIKITA. NIKITA IS AT A TABLE WITH WALTER, BIRKHOFF, AND CARL (ANOTHER COLD OP). CARL'S CHAIR IS PULLED A LITTLE CLOSER TO NIKITA THAN IS ABSOLUTELY NECESSARY. WE SEE HIM FROM THE BACK, NIKITA TO HIS LEFT, BIRKHOFF TO HIS RIGHT, WALTER ACROSS FROM HIM NEXT TO NIKITA'S OTHER SIDE. SHE IS FRIENDLY, HE SEEMS A BIT MORE THAN THAT. HE LEANS INTO HER WHEN HE SPEAKS TO HER AND TOUCHES HER ARM OCCASIONALLY AS HE TALKS. IN THE BACK OF THE ROOM WE CAN SEE MICHAEL APPROACHING, CARRYING A COFFEE. CARL LOOKS UP AND SEES HIM. MICHAEL LOOKS AT CARL WITHOUT EXPRESSION. CARL STRAIGHTENS IN HIS CHAIR, NODS TO EVERYONE AND STARTS TO RISE. MICHAEL HAS REACHED THE TABLE AND STANDS, WAITING.)

CARL: Uh, here, Michael. Take my chair. I was just leaving.

(CARL RISES. MICHAEL TAKES HIS CHAIR NEXT TO NIKITA.)

MICHAEL: Thanks.

CARL: Yeah. Well .....I'll see you guys later.

(CARL LEAVES QUICKLY.)

NIKITA: How do you do that?

MICHAEL: Do what?

(WALTER AND BIRKHOFF EXCHANGE GRINS. NIKITA SHRUGS AND FLASHES A GRIN AT WALTER AND BIRKHOFF.)

NIKITA: He does know, right? (TO WALTER)

WALTER: Of course he does, Sugar. (TO NIKITA)

MICHAEL: Does anyone mind if I join the conversation?

BIRKHOFF: (SUPPRESSING A GRIN, BUT TRYING TO REDIRECT THE CONVERSATION) Anything new, Michael? We couldn't talk much with Carl here.

MICHAEL: Most of the news is Walter's at this point.

BIRKHOFF: (TURNING TO WALTER) Spill.

WALTER: I was about to tell them when Carl showed up. It looks a lot like Shay's halide polymer formula.

MICHAEL: (FROWNING) No. Not possible. There were no survivors from the blast.

(THEY ALL TURN TO LOOK AT NIKITA)

NIKITA: Other than me.

(NOW SHE LOOKS CONCERNED.)

NIKITA: Michael, could they have gotten the Stanley's formula out to someone else before the attack? Christ! I should have shot him. I really....

MICHAEL: Let it go, Nikita. We had a close watch on the place. No one got out with the formula. There were no transmissions. No. It can't be the Shay's formula. (TO WALTER) Something similar?

WALTER: A few more tests, maybe we'll know.

MICHAEL: When?

WALTER: Give me another 3 hours. Actually, (GLANCING AT HIS WATCH) that last test series I ran should be done about now.

(WALTER RISES TO LEAVE.)

WALTER: I'll let you know as soon as I've got anything. Birkhoff, I need your help on the test analysis.

(BIRKHOFF RISES ALSO.)

BIRKHOFF: OK. (TO MICHAEL AND NIKITA) See you.

(THEY BOTH LEAVE THE COFFEE ROOM. MICHAEL AND NIKITA SIT SILENTLY AT THE TABLE. NIKITA IS STARING DOWN AT HER HANDS.)

MICHAEL: Nikita, it's not the same formula.

NIKITA: Michael, it's not that. The shopping center. Last night was......

MICHAEL: Yes it was.

(HIS FACE IS COMPLETELY EXPRESSIONLESS. NIKITA LOOKS AT HIM CLOSELY, READING HIS UNREADABLE FACE..)

NIKITA: I'm starting to understand. I just can't shut myself off that completely.

MICHAEL: Good.

(NIKITA LOOKS AT HIM A WHILE LONGER, HIS EXPRESSION NEVER CHANGES.)

NIKITA: Michael, you've helped me get through a lot. How can I help you?

MICHAEL: (SOFTLY) Be here.

(THEY SIT STARING INTO ONE ANOTHER'S EYES, UNAWARE OF THE CLOSE ATTENTION THEY ARE RECEIVING FROM THE OTHER TABLES.)

(WE ARE LOOKING AT THE CONFERENCE ROOM. EVERYONE HAS JUST ASSEMBLED. OP'S CHAIR AT THE HEAD OF THE TABLE IS EMPTY. HE IS STANDING ALONG ONE SIDE OF THE TABLE WAITING FOR EVERYONE TO SETTLE IN. MADELEINE IS AT THE FOOT OF THE TABLE. ALONG THE SIDE OPPOSITE FROM OPS SIT MICHAEL, NIKITA, BIRKHOFF AND WALTER IN THEIR CUSTOMARY PLACES. MADELEINE IS WATCHING OPS INTENTLY.)

OPS: OK, everyone. Here's what we have, and what we don't have.

(EVERYONE COMES TO ATTENTION. OPS BEGINS HIS BRIEFING.)

OPS: What we DO have: it's not Shay's halide polymer formula. It IS a halide polymer, something so close to Shay's that's it's taken almost a full day to be sure. It's not quite as powerful as Shay's, but very near it. Apparently an independent invention. What we DON'T have is a clue.

(OPS SNORTS IN DISGUST.)

OPS: Walter, do we know anything helpful about the polymer?

WALTER: It's highly unstable. With even minute particles of it reproduced in the lab, there were 3 incidents.

OPS: Incidents?

WALTER: They were only trace amounts. The explosions were small.

OPS: Explosions??

WALTER: A few minor burns, a little equipment damage.

OPS: Equipment?

WALTER: Nothing that can't be replaced.

OPS: Replaced? You're trying my patience here.

WALTER: For about $50,000. The point is the compound, unlike Shay's, is so unstable that I don't see how you could plant it without it detonating. I think we lost the bomber in the explosion.

MICHAEL: The bomber is not important. We need the manufacturer.

OPS: Exactly. And about the manufacturer, we don't have any leads. One of our substations picked up a rumor of a rumor of a rumor. That's it. They are checking it out and will get back with anything they find. About a dozen groups have claimed responsibility. Michael?

MICHAEL: I've checked them all out. None are likely.

OPS: Wannabees?

MICHAEL: Yes. I'm going through it again, but I'm not hopeful. None of them match up. Wrong place, wrong time, wrong agenda...

OPS: I want everyone on this, all the time. An explosive, this powerful and undetectable, could rewrite the terrorist handbook. Over 1,000 people died in that explosion. The body count will go up. Casualties are too damn many to count. Whatever else you are working on, forget it. Turn over every contact, every rumor. I want a lead. I want it yesterday. That is all. Dismissed.

(EVERYONE RISES AND SOBERLY DEPARTS EXCEPT MADELEINE. OPS LEANS SLIGHTLY ON THE BACK OF A CHAIR IN FRONT OF HIM. HE IS QUIET AND LOOKS A LITTLE TIRED. HE PULLS THE CHAIR OUT NEXT TO MADELEINE AND DROPS INTO IT. SHE SITS QUIETLY WATCHING HIM, WAITING FOR HIM TO SPEAK. HE SIMPLY SITS THERE STARING AT NOTHING, HANDS CLASPED ON THE TABLE IN FRONT OF HIM. FINALLY HE LOOKS AT HER.)

OPS: Am I getting too old for this?

(MADELEINE REACHES OVER AND LAYS A HAND OVER HIS.)

MADELEINE: Everyone is too old for this, Marcus.

(HE UNCLASPS HIS HANDS AND LAYS ONE OF HIS OVER HERS. THEY CONTINUE SITTING THERE, THINKING FOR A TIME.)

OPS: Independent invention. My second worst nightmare.

MADELEINE: We worked all night. No sleep. Did you eat?

(OPS ATTEMPTS TO SMILE.)

OPS: That's not it.

MADELEINE: But a good place to start. I know I didn't eat. Buy me breakfast.

OPS: (BRIEFLY SQUEEZING HER HAND.) Of course.

(THEY BOTH RISE SLOWLY, LEAVING THE EMPTY CONFERENCE ROOM BEHIND.)

III. I Wonder as I Wander

(THE SNOW IS DEEP. WE SEE MICHAEL BUNDLED UP, GLOVED, GOING INTO BAR. INSIDE THE BAR IT IS DARK, SMOKY, A FEW DESULTORY DECORATIONS HANG HALF-HEARTEDLY IN THE WINDOWS. ELVIS PRESLEY SINGS "BLUE CHRISTMAS" FROM THE JUKEBOX IN THE CORNER. HE GOES TO A BACK TABLE AND IS SOON JOINED BY A MAN FROM THE BAR. THE MAN IS DIRTY AND DISREPUTABLE LOOKING, HIS CLOTHES UNKEMPT. THEY ARE AN UNLIKELY LOOKING PAIR AT BEST. MICHAEL AS ALWAYS IS IMMACULATE IN BASIC BLACK, BUT THERE ARE SHADOWS UNDER HIS EYES. WE CANNOT HEAR THEM, JUST THE GENERAL NOISE OF A CROWDED BAR. MICHAEL ORDERS A DRINK FOR THE MAN. MONEY CHANGES HANDS. MICHAEL LEAVES.)

(THE MUSIC CONTINUES. THERE IS A SHOT HERE OF THE CENTRAL AREA OF SECTION HEADQUARTERS. IT IS AN OVERLAY SHOT WITH OPS COMING AND GOING THROUGH THE AREA AND THROUGH ONE ANOTHER LIKE GHOSTS. WE SEE NIKITA, MICHAEL, WALTER, BIRKHOFF SEVERAL TIMES GOING DIFFERENT DIRECTIONS.)

(WE SEE NIKITA COMING OUT OF A MISSION. THERE IS A LONG LINE OF HOMELESS WAITING FOR THEIR MEALS. THE LINE SHUFFLES SLOWLY IN. WE CAN HEAR THE NUNS AND THE HOMELESS TALKING IN A QUIET MURMUR, DISHES RINGING TOGETHER, SILVERWARE CLINKING. A SCRATCHY TAPE MACHINE INSIDE IS PLAYING "OH COME ALL YE FAITHFUL". NIKITA STANDS AT THE CORNER FOR A WHILE LOOKING AT THE LINE OF MEN, WOMEN, CHILDREN VERY THOUGHTFULLY. SHE FINALLY TURNS AND WALKS AWAY.)

(THE MUSIC CONTINUES. ONCE AGAIN THE PREVIOUS OVERLAY SHOT PLAYS OF THE CENTRAL AREA OF SECTION HEADQUARTERS. AGAIN OPS COME AND GO THROUGH THE AREA AND THROUGH ONE ANOTHER LIKE GHOSTS. WE AGAIN SEE NIKITA, MICHAEL, WALTER, BIRKHOFF SEVERAL TIMES GOING DIFFERENT DIRECTIONS.)

(MICHAEL IS STANDING ON THE STEPS OF A HOUSE TALKING TO A RABBI. THE MENORAH IS IN THE WINDOW. THE RABBI IS NODDING NEGATIVELY. THEY TALK A WHILE LONGER, THEN SHAKE HANDS. MICHAEL WALKS SLOWLY AWAY THROUGH THE SNOW.)

(ONCE AGAIN THE PREVIOUS OVERLAY SHOT PLAYS OF THE CENTRAL AREA OF SECTION HEADQUARTERS. AGAIN OPS COME AND GO THROUGH THE AREA AND THROUGH ONE ANOTHER LIKE GHOSTS. WE AGAIN SEE NIKITA, MICHAEL, WALTER, BIRKHOFF SEVERAL TIMES GOING DIFFERENT DIRECTIONS.)

(NIKITA IS ENTERING AN OFFICE BUILDING. THE LOBBY IS STRUNG WITH HOLIDAY DECORATIONS. MUZAK IS PLAYING "JINGLE BELLS" OVER THE INTERCOM. SHE GOES TO THE ELEVATOR AND ENTERS. THERE IS AN OVERLAY SHOT OF HER COMING BACK OUT OF THE ELEVATOR AND LEAVING THE BUILDING. HER FEET ARE DRAGGING.)

(THE MUSIC CONTINUES. ONCE LAST TIME THE PREVIOUS OVERLAY SHOT PLAYS OF THE CENTRAL AREA OF SECTION HEADQUARTERS. AGAIN OPS COME AND GO THROUGH THE AREA AND THROUGH ONE ANOTHER LIKE GHOSTS. WE AGAIN SEE NIKITA, MICHAEL, WALTER, BIRKHOFF SEVERAL TIMES GOING DIFFERENT DIRECTIONS.)

(WE SEE WALTER LEAVING A BAR. "JINGLE BELL ROCK" BLASTS OUT FROM THE DOOR BEHIND HIM. A ROW OF MOTORCYCLES IS PARKED IN FRONT. ONE OF THE HARLEY'S HAS A SMALL CHRISTMAS TREE ATTACHED TO THE REAR, COMPLETELY DECORATED. WALTER LOOKS TIRED AND DISGUSTED. HE STANDS AND STARES AT THE LITTLE TREE, REACHES DOWN AND SCOOPS UP A HANDFUL OF SNOW, MAKES A SNOWBALL, AND THROWS IT, PLASTERING THE LITTLE TREE.)

IV. What Child Is This?

(A VERY QUIET GROUP IS GATHERED AROUND THE CONFERENCE ROOM TABLE, ALL IN THEIR USUAL POSITIONS.)

OPS: Michael?

MICHAEL: Nothing.

OPS: Nikita?

NIKITA: Nothing.

OPS: Walter?

(WALTER JUST SHAKES HIS HEAD "NO".)

OPS: (SOMEWHAT WEARILY) Birkhoff?

BIRKHOFF: Not a whisper.

(THERE IS A FAIRLY LONG SILENCE. OPS LOOKING FROM ONE TO THE OTHER.)

OPS: Michael, is there any point to going back over our contacts?

MICHAEL: No. They're dry. If I had to guess, I'd say it was not a professional job. If it were, we would have heard something.

OPS: Someone cooked it up in their bathtub?

(MICHAEL DOES NOT RESPOND.)

OPS: Some pimpled teenage chemistry student?

MICHAEL: An amateur at any rate.

OPS: Walter, considering the volatility of the compound, it is probable that the bomber went up with the bomb?

WALTER: Strong probability. No way to be sure, of course.

(THERE IS ANOTHER LONG SILENCE. OPS TURNS TO MADELEINE AND RAISES ONE EYEBROW INQUIRINGLY. SHE NODS IN AGREEMENT.)

OPS: This operation is shut down. We will reopen if anything new arises. Dismissed.

(NO ONE GETS UP.)

NIKITA: That's it?

OPS: That's it. I will contact the FBI and advise them to review the victim list for their bomber. It's their problem now.

NIKITA: There's nothing else we can do? 1,000 people died!

OPS: We don't win them all, Nikita.

(MICHAEL RISES TO LEAVE AND THE OTHERS FOLLOW SUIT, LEAVING MADELEINE AND OPS BEHIND. AFTER THEY HAVE DEPARTED OPS SITS DOWN NEXT TO MADELEINE.)

OPS: The only thing worse than independent invention -- an amateur.

MADELEINE: This one has been hard for everyone. I think a little morale boost is in order.

OPS: What do you suggest?

MADELEINE: We could acknowledge the holidays this year. That would make a change.

OPS: OK, Madeleine. Skeleton crew. Christmas Eve and Christmas Day off for all non-essential personnel.

MADELEINE: And comp time for the skeleton crew.

OPS: Whatever you think appropriate.

MADELEINE: I'll let everyone know.

(MADELEINE LEAVES, OPS FOLLOWS SHORTLY BEHIND HER.)

V. I Saw Mommy Kissing Santa Claus

(NIKITA IS SITTING AT BIRKHOFF'S STATION ALONG WITH WALTER. THE THREE ARE TALKING QUIETLY, ALL ARE WEARING THEIR COATS. WE SEE MADELEINE AND OPS COMING THROUGH IN THEIR OVERCOATS. THEY PAUSE AT THE GROUP.)

MADELEINE: Good night. Merry Christmas.

OPS: Go home.

BIRKHOFF: I am.

(WALTER JUST NODS AND SLOWLY RISES TO LEAVE.)

NIKITA: What, no Christmas bonus this year?

OPS: Of course there is, Nikita. The same one I give out every year.

NIKITA: What?

OPS: (GRINNING WICKEDLY) No one gets canceled on Christmas!

(MADELEINE SIGHS AND LEAVES. OPS FOLLOWS STILL SMILING TO HIMSELF.)

NIKITA: (AFTER THEY'VE LEFT, SARCASTICALLY) Ha. Ha.

(BIRKHOFF GETS UP AS HIS REPLACEMENT ARRIVES.)

BIRKHOFF: Merry Christmas, Nikita. I have to pick up Gail.

NIKITA: Merry Christmas, Semour.

(NIKITA RISES AS HE LEAVES AND WANDERS AIMLESSLY, FINALLY STARTING TOWARD THE EXIT. MICHAEL ENTERS THE AREA.)

MICHAEL: Nikita.

NIKITA: Yes, Michael?

MICHAEL: Drop you at home?

NIKITA: Sure. I thought you were finishing your report.

MICHAEL: Done. It was almost finished.

(THEY LEAVE TOGETHER AND WE NEXT SEE THEM EXITING THE ELEVATOR AT THE SECTION GARAGE. SUDDENLY MICHAEL CATCHES NIKITA'S ARM AND PULLS HER BEHIND A SUPPORT BEAM. SHE IS INSTANTLY ALERT, LOOKING AROUND.)

NIKITA: (WHISPERING) What?

(MICHAEL PEEKS AROUND THE BEAM, LOOKS AT NIKITA, AND NODS, INDICATING SHE SHOULD ALSO LOOK. SHE DOES. ACROSS THE GARAGE WE SEE OPS LEANING BACK AGAINST A CAR'S DRIVER DOOR, WITH HIM IS MADELEINE. OPS HAS HIS HANDS ON MADELEINE'S SHOULDERS, SHE HAS HER PALMS LYING ON HIS CHEST. THEY ARE TALKING, QUIETLY AND SERIOUSLY. MADELEINE SLIDES HER ARMS AROUND OPS' WAIST AS HE WRAPS HIS ARMS AROUND HER SHOULDERS. THEY STAND THERE HUGGING EACH OTHER FOR A WHILE. FINALLY MADELEINE TILTS HER HEAD UP AND OPS KISSES HER. THIS IS ALL A LITTLE AMBIGUOUS. THIS COULD BE A KISS BETWEEN LONGTIME LOVERS, OR AFFECTION BETWEEN CLOSE FRIENDS COMFORTING ONE ANOTHER. THEY SEPARATE AND OPS OPENS THE CAR DOOR FOR MADELEINE WHO GETS IN THE CAR AND STARTS IT. OPS CLOSES THE CAR DOOR FOR HER AND GOES TO HIS OWN CAR. AS MADELEINE'S CAR DEPARTS THE GARAGE, OPS ALSO LEAVES. NIKITA AND MICHAEL LOOK AT ONE ANOTHER. MICHAEL LIFTS HIS EYEBROWS.)

NIKITA: Whoa !! You saw what I saw, right?

MICHAEL: I'm not sure what I saw.

(THEY WALK TO MICHAEL'S CAR.)

NIKITA: Hello? Michael, Ops and Madeleine were lip locked.

MICHAEL: It could be read a number of different ways.

(MICHAEL OPENS THE PASSENGER DOOR AND NIKITA SLIDES IN)

NIKITA: (GRUDGINGLY) Yeah, maybe. It doesn't say somewhere in the handbook that you always have to be neutral, does it?

MICHAEL: Chapter 17.

(NIKITA LAUGHS RAUCOUSLY AS MICHAEL CLOSES HER DOOR AND GETS IN THE DRIVER'S SEAT. THE CAR LEAVES THE NOW NEARLY EMPTY GARAGE.)

VI. My Favorite Things

(THE REMAINS OF A CHRISTMAS EVE DINNER ARE ON NIKITA'S TABLE. THE CD PLAYER IS PLAYING "A MERRIER CHRISTMAS" BY BENNY GREEN IN AN INSTRUMENTAL ADAPTATION OF THELONIUS MONK'S PIECE ON "YULE STRUTTIN': A BLUE NOTE CHRISTMAS". THERE IS A SMALL CHRISTMAS TREE IN THE WINDOW. UNDER THE TREE ARE TWO PACKAGES, ONE BRIGHTLY DECORATED, THE OTHER QUIETLY ELEGANT. MICHAEL IS SITTING IN THE CORNER OF THE SOFA, ONE ARM AROUND NIKITA WHO IS SNUGGLED UP AGAINST HIM, HER FEET CURLED UP UNDER HER. HER HAIR IS DOWN AND SHE IS WEARING A LONG, WIDELY V-NECKED ROYAL BLUE VELVET HOSTESS GOWN WITH A BRIGHT RED RIBBON TIED IN A BOW AROUND HER NECK. SHE IS EYEING THE PRESENTS UNDER THE TREE.)

NIKITA: Just tell me it's not a gun.

MICHAEL: It's not a gun.

NIKITA: Knife?

MICHAEL: No.

NIKITA: Garrote?

MICHAEL: No.

NIKITA: Poison?

MICHAEL: Ni - ki - ta.

NIKITA: OK, OK

(THEY SIT QUIETLY. MICHAEL IS RUNNING HIS FOREFINGER SLOWLY DOWN HER ARM. SHE IS ENJOYING IT, AND TILTS HER HEAD BACK TO NIBBLE HIS CHIN. HE LIKES IT AND SIGHS HEAVILY INTO HER HAIR. SHE TURNS INTO HIS ARMS. AS THEY JOIN IN A LONG DEEP KISS, MICHAEL'S HAND PEELS THE WIDE V-NECK OFF ONE SHOULDER. HIS HAND WANDERS SLOWLY DOWN HER BREAST TO HER THIGH. HER HANDS ARE CARESSING HIS CHEST AND EASING HIS SHIRTTAIL OUT.)

MICHAEL: (HIS LIPS AGAINST HER EAR) May I unwrap my present now?

(NIKITA IS A LITTLE SURPRISED. SHE DEFINITELY HAD SOMETHING ELSE IN MIND BY NOW.)

NIKITA: Of course. I'll get it.

(SHE STARTS TO RISE, BUT MICHAEL CATCHES HER AND PULLS HER BACK DOWN. WITH ONE HAND HE PICKS UP THE END OF THE RIBBON AROUND HER NECK AND PULLS IT, THE BOW COMING UNDONE.)

NIKITA: Merry Christmas, Michael.

(MICHAEL IS OTHERWISE OCCUPIED AND DOES NOT RESPOND.)

THE MUSIC CONTINUES.

FADE TO BLACK

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