> Leeds now shows his ability to stay alive in 'Section infested waters'
> by keeping his mouth shut.  Operations lets Madeline win this round by
> withdrawing his suggestion.
>
>       [O]     Okay.  We can do Systems later this week.
>
> Operations exits, leaving Madeline and Leeds sitting on opposite sides
> of Madeline's desk studying each other.
>
>
> SECTION / BRIEFING AREA
>
> Operations is briefing everyone on Central Africa.  While Leeds is
> present, both Nikita and Madeline are noticeably absent.  [Matter of
> fact, I've noticed that where Nikita used to be a part of all Mission
> Briefings, the last four or five episodes has her missing quite a few.
> As to Madeline, thought it curious that, even though she made of point
> of saying she would man this Mission during her small conference with
> Leeds and Operations, she is nowhere to be seen.]
>
>       [O]     Since the beginning of this century ..., Central Africa
> has been the theater .. of several covert wars engaged in by various
> Western interests.  Currently, secret cells .. inside one of the
> French Ministries are planning retaliations .. in areas where they
> have recently lost influence.  This man here ...
>
> Operations pulls up a Blue Screen on Henri Sauvage.
>
>       [O]     ... Henri Sauvage, is leading the raids.  We have been
> asked to take him and his encampment out.
>
>       [M]     This looks like a straight military operation.  Why are
> we involved?
>
>       [O]     He's not static, and the government hasn't been able to
> tag him.
>
>       [B]     (TO OPERATIVES)  An advance team is standing by in
> Rwanda, collecting data for the profile, which should be completed by
> this afternoon.
>
>       [O]     We're on Standby until we go out.
>
> Operations disengages the Blue Screen and leaves, followed by the
> others, each to attend to their part of the Mission.
>
>
> RWANDA LOCATION
> EXTERIOR - NEAR SAUVAGE POST  -  NIGHT
>
> A large military-type truck pulls up near, but out of sight of,
> Sauvage's post.  The back canvas flap opens and Operatives spill out.
> Michael and Nikita are the last to exit.  Before Michael can move
> away, Nikita stops him, nervous over possible tampering by Adrian.
>
>       [N]     Wait.
>
> Michael turns back and notices Nikita is carefully looking around the
> area.
>
>       [M]     What is it?
>
>       [N]     Are we sure there's no other variables?
>
>       [M]     Why?
>
> Nikita can't tell him any more without giving away the whole show.
>
>       [N]     No reason.  I'm just - just being careful.
>
>       [M]     Everything's covered.  Get to your position.
>
> Michael moves to join the other Operatives who have taken positions
> around a brick building.  Nikita climbs onto the top of the truck
> holding a sniper rifle equipped with a high-powered scope.  Once on
> top of the truck, she positions herself so she has a clear shot of
> anyone exiting the building.
>
>
> INTEROR - SECTION / COMM
>
> Birkoff is manning the Mission from Comm.
>
>       [B]     Tell me your time.
>
>       [M]     (VOICE)  Two minutes ten seconds.
>
> Birkoff studies an infrared scan of the building.
>
>       [B]     Looks like there are six bodies in there. ...  I can't
> tell which one's Sauvage.
>
>
> EXTERIOR - SAUVAGE BUILDING
>
>       [B]     (VOICE)  Better flush them all.
>
>       [M]     Going to second mark.
>
>
> SAUVAGE POST / MAIN BUILDING
>
> Michael and two other Operatives use drainpipes to climb onto the
> building's roof.  Once there, the other Operatives position themselves
> next to ventilation ducts, while Michael watches for signs of
> Sauvage's men.
>
>
> OUTSIDE SAUVAGE POST
>
> While the other Team members are going to their second mark, Nikita
> arms her rifle with a tranq dart and takes aim at the front exit.
>
>
> SAUVAGE POST / ROOF OF BUILDING
>
> Michael looks back at the ground to make sure none of Sauvage's men
> have appeared to surprise them, then gives the go-ahead.
>
>       [M]     Flush him.
>
> The other Team members that accompanied Michael to the roof drop smoke
> bombs into the vents.
>
>
> OUTSIDE SAUVAGE POST
>
> Nikita watches through her scope as men begin to pour out of the
> building.
>
>
> SAUVAGE POST / MAIN BUILDING
>
> Sauvage is heard giving orders to his men before he appears.
>
>       [HS]    Get out!
>
>
> OUTSIDE SAUVAGE POST
>
> As soon as Sauvage leaves the cover of the building, Nikita shoots him
> with a dart, dropping him.  Michael sees Sauvage is down and sets the
> next part of the Mission in motion.
>
>       [M]     Sauvage is down with a tranq.  Clean the area.
>
> Operatives immediately begin firing from their covered positions,
> killing all of Sauvage's men.  Michael also fires as he rappels down
> the side wall with a rope.  Once on the ground, he stands and moves
> over to Sauvage.  He picks the mercenary up, fireman style, and starts
> to carry him back to the truck while issuing orders to the other Team
> members.
>
>       [M]     Go back to first mark.
>
>
> SAUVAGE POST / NIKITA'S POSITION
>
> Nikita has not left her position, but is covering everyone's retreat,
> when she hears the sound of a plane engine.
>
>
> OUTSIDE SAUVAGE'S POST / PERIMETER FENCE
>
> Meanwhile, the other Operatives have started initiating Michael's last
> order.
>
>       [TO]    (VOICE)  Moving to first mark.
>
> As the Operatives pass the perimeter fence, bullets start raining down
> on the Team.  All Operatives are killed - except Michael.  He is still
> carrying Sauvage and, at the sound of the bullets, stops running and
> kneels on the ground.  [Intrigued how he uses Sauvage as a shield.]
> Dirt flies up as bullets cut a close circle around him.
>
>
> SECTION / COMM
>
> Operations hears the sound of gunfire and joins Birkoff in Comm.
>
>       [O]     What's going on?
>
>       [B]     Someone's shooting at us.
>
>       [O]     Sauvage's people?
>
>       [B]     No.  They've been contained.
>
>
> OUTSIDE SAUVAGE'S POST / PERIMETOR FENCE
>
> The firing stops and the plane moves off.  As soon as Michael realizes
> they are no longer being targeted, he rises and quickly returns to the
> truck with Sauvage.  Nikita can only scan the skies in disbelief at
> what has just happened.
>
>
> INTERIOR - SECTION / VAN ACCESS
>
> Nikita and Michael enter half carrying a still groggy Sauvage.  They
> are met at the Portal by two other Operatives.  Michael and Nikita are
> the only Team members returning ..., alive.
>
>       [M]     Take him to Containment.
>
> As they continue down the corridor, Operations calls to them from the
> catwalk above.
>
>       [O]     Where's our losses?
>
> They both stop and look up at Operations.
>
>       [M]     In the van.
>
>       [O]     What happened?
>
>       [M]     The shots came from above.
>
>       [O]     Building?
>
>       [N]     A plane.
>
>       [O]     Did you see it?
>
>       [N]     I heard it.
>
>       [O]     We're lucky the entire Team wasn't lost.
>
>       [M]     It wasn't luck. ...  Rounds were grounded within
> centimeters of me.  Whoever did this could have killed me if they
> wanted to.
>
> Nikita eyes grow wide as she starts to realize that Michael could, and
> should, have been shot.  He had been saved for a reason.
>
>       [O]     Alright, begin with Sauvage ..., then let's start
> putting this thing together.
>
>
> SECTION / WALTER'S AREA
>
> Nikita, still wearing her Mission fatigues, stands for a minute
> watching Walter work, before joining him.
>
>       [N]     Hey, Walter.
>
>       [W]     Hi, Sugar.  ...  I really hate it when we lose Ops.
>
> Nikita stands and stares through the closed gate into Walter's
> storeroom.
>
>       [N]     Yeah ..., pretty scary.
>
>       [W]     Mmmm.
>
> Walter briefly looks up to check on Nikita.
>
>       [W]     You okay?
>
>       [N]     Yeah.  (SIGHS)  ...  I don't think Sauvage did this.
>
>       [W]     Yeah. ...  Analysis shows it doesn't have his signature.
>
>       [N]     What did it show?
>
>       [W]     Firstly, the ammo's way off.  Also .., we pulled audio
> on the aircraft ..., and it doesn't match anything Sauvage could put
> his hands on.
>
> Nikita turns to look at Walter.
>
>       [N]     Tell me about the ammo.
>
> Walter holds up large tweezers holding a spent bullet and shows it to
> Nikita.
>
>       [W]     A very strange thing.
>
> Nikita takes the tweezers and studies the bullet inside it's prongs.
>
>       [W]     I haven't seen rounds like that in years.  We used to
> use it here.  Used mostly for distance.
>
> When he sees how closely Nikita is studying it, he adds one more
> tidbit.
>
>       [W]     ... It's gold.
>
> While studying the bullet, Nikita has been sneaking glances at
> Walter's face.  What she sees there has her asking him a entirely
> different question.
>
>       [N]     Tell me about Adrian.
>
> Walter immediately looks up at Nikita, his face stunned.
>
>       [W]     What?
>
> Nikita tries to convey that she asking just because she heard
> something and is curious.
>
>       [N]     You know.  Adrian .., English, mid-sixties. ...
>
> [I think Nikita made a big mistake here.  If Walter had really been
> listening, he would have realized that Nikita has obviously recently
> been in touch with Adrian.  Adrian is mid-sixties now, but she wasn't
> when she left Section.  It could have raised more alarm flags then
> just bringing up the woman's name.  And we know that when Walter
> thinks Nikita is getting in over her head, he goes straight to -
> Michael.]
>
>       [W]     Who told you about her?
>
>       [N]     Is she in the Community?
>
>       [W]     Adrian founded this place.  She's the mother of Section
> One.
>
> Nikita thinks this new piece of her 'Adrian puzzle' over for a moment.
>
>       [N]     Is she alive?
>
>       [W]     I don't know.  If she is, she's invisible.
>
> Walter stares off into the distance.
>
>       [W]     Adrian's the only one who ever ... got away from here.
>
>       [N]     What was she like?
>
> A small smile cracks Walter's face, as he thinks back.
>
>       [W]     Let's just say that .. Adrian ... is the only person
> Madeline has ever been afraid of.
>
>       [N]     Mmmmm.  ...  So she choose Operations.
>
> Walter was rising when Nikita makes this statement, but her
> supposition momentarily stops him cold.  He corrects Nikita as he
> moves over to his supply room gate.
>
>       [W]     Choose him?  Huh!  No, Operations took control himself.
> And it was a bitter struggle.  Left Operations with ... a whole of
> enemies ... and a whole lot of power.
>
> Walter raises the gate, walks into the room, then drops the gate back
> down.  But Nikita hasn't finished picking his brain and asks one last
> question.
>
>       [N]     (RAISED VOICE)  And her?
>
>       [W]     (SHRUGS)  She got what we all want ..., freedom.
>
> Walter ends Nikita's cross-examination by disappearing into his supply
> room.  Nikita stands there a moment, staring after Walter as she
> digests this new information.
>
>
> INTERIOR - NIKITA'S APARTMENT
>
> Nikita shuts the door, leaning against it a moment, thinking.  She
> then slowly moves over to her hall closet.  As she starts to remove
> her coat a voice from the other side of the living room stops her.
> [Another CPD:  why didn't Nikita see the 'Where's Waldo' twins when
> she entered her apartment?  What were they doing, hiding behind her
> chairs?  How about behind her refrigerator?]
>
>       [S]     (VOICE)  Keep your coat on.  Let's go.
>
> Steven, and his twin brother, have come to escort Nikita back to
> Adrian.  She says nothing, merely picks her keys back up from where
> she dropped them on the kitchen counter and walks out the door.  The
> view from her security camera shows the three of them leaving.  [I
> wonder if Nikita had seen Steven's twin before?  She had in the
> script, but the aired version doesn't indicate.  Also ..., I wonder if
> the camera is just a viewing device ..., or if it is loaded with film?
> Have Adrian or anyone in her group thought about the fact that, if
> that camera has film, they really shouldn't keep it available for
> anyone (i.e., Michael) to find?  Yeah, I know, another CPD.]
>
>
> INTERIOR - ADRIAN'S HOUSE / SITTING ROOM
>
> Adrian is sitting at her desk puffing on a pipe when Nikita enters.
> She motions with her hand a chair across from her.
>
>       [A]     Sit down, please.
>
> Nikita doesn't 'sit,' but gets right down to business.
>
>       [N]     (ANNOYED TONE)  Why don't you just quit with the English
> gentility and tell me what you want from me?!
>
> The two women briefly study each other, then Adrian drops her bomb.
>
>       [A]     Together, my dear, you and I are going to destroy
> Section One.
>
> Nikita can only stare at the woman, stunned, as Adrian calls one of
> her assistants on the phone.
>
>       [A]     (INTO PHONE)  Malcolm, will you bring us in some tea and
> scones, please?
>
> As Nikita listens to Adrian, she leans her hands on the desk, almost
> too stunned to stand.
>
>
> EXTERIOR - ADRIAN'S HOUSE / GARDEN/POOL AREA
>
> Adrian is showing Nikita around her back garden and pool area.  As
> they descend stairs leading from her back porch to the pool, she gives
> the young Operative a short history lesson on Section birth.
>
>       [A]     It started almost by accident.  After the engagement in
> Korea, in the early fifties, there were several factions in the West
> who were frustrated by the failures of Communism in Asia.  They
> conspired to take down the Capitalist Regimes they saw as impeding
> their .. ideology. ...  They targeted .. civilian populations in many
> metropolitan areas.  It was the aborted birth of modern terrorism.
> CIA, MI6, Mossad, NATO and a handful of other worked together to
> prevent the calamity.
>
> A blossoming tree Adrian is passing draws her attention for a moment.
>
>       [A]     This is flowering so late this year.
>
> As Adrian continues to study the tree's blossoms, she proceeds with
> the lesson.
>
>       [A]     It was this federation that gave me the idea to start
> the Sections.
>
>       [N]     Sections?
>
>       [A]     The others don't matter.  Section One is where the power
> resides.
>
>       [N]     What did you do exactly?
>
>       [A]     I analyzed intelligence ..., utilized game theory,
> produced scenarios.  I performed the function that would today be
> served by a Cray supercomputer.
>
> [The mere fact that it took a Cray supercomputer to replace Adrian
> would scare the heck out of me.]
>
>       [N]     How did you ....?
>
> Before Nikita can finish her question, Adrian holds a finger up to
> stop her, hearing a plane's engines in the distance.  She immediately
> calls Steven.
>
>       [A]     Steven, why do I hear aircraft?
>
>       [S]     (VOICE)  It's a commercial airliner.  They've been
> rerouted for weather.
>
>       [A]     Is this confirmed?
>
>       [S]     (VOICE)  Yes, ma'am.
>
> Adrian closes the phone back up and turns back to Nikita, even through
> a part of her attention is still focused on the plane, as if she were
> still listening to make sure it leaves the area.
>
>       [A]     You can't be too careful.
>
> Adrian begins to slowly walk away from Nikita, seemingly focused on
> the past.  Nikita brings her back to the present by completing the
> question she started to ask before.
>
>       [N]     You said you wanted to destroy Section.  Why?
>
>       [A]     I'm certain you've heard .. many times .. the rhetoric
> of sacrifice for the greater good.  It's may have even assuaged your
> guilt over killing all those people.
>
> Nikita briefly looks down at the ground, almost as if she feels
> guilty, and makes a confession to Adrian.
>
>       [N]     Actually, it hasn't.
>
>       [A]     Of course, my dear.  You're different, aren't you?
> (SMILES)  That's one of the reasons you were chosen.
>
>       [N]     Chosen?  To do what?
>
> Adrian doesn't answer for a moment, but continues to walk deeper into
> her garden.  Nikita follows, studying Adrian as she waits for the
> woman to speak.
>
>       [A]     Know your history, my dear.  It's important. ...  When
> .. Operations .. took over ..., the original ideals of the Section
> were being preserved.  Then, gradually, almost imperceptibly, things
> changed. ...  Section began to serve itself.
>
> Nikita is puzzled by this last statement.
>
>       [N]     I don't understand.  What is there to serve?
>
>       [A]     When you have the kind of capability, the kind of power,
> that Section wields ..., you're not content to do the bidding of
> faceless bureaucrats.  At least, Operations isn't.
>
>       [N]     What would he gain?
>
> Adrian pulls out a linen handkerchief and wipes her hands.
>
>       [A]     He wants to draw the map of the world in his own image.
> He already owns the heads of state of many Eastern and Middle-Eastern
> countries.  What he doesn't have is critical mass.  And when he has
> that ..., he can do what he wants.
>
>       [N]     What would he do?
>
>       [A]     It doesn't matter.  No one man should be allowed to
> wield that kind of influence.
>
> [What I noticed here is that Adrian never states that Operations wants
> to 'rule the world' or anything.  She just doesn't want him to have
> the power.  I think Adrian has seen too many times how total power
> corrupts totally - no matter how good the initial intentions were.]
> Nikita thinks what Adrian has told her over for a moment.
>
>       [N]     What do you want me to do?
>
> Adrian seems to take a deep breath, before telling Nikita why she's
> been selected.  [I think it took a lot for Adrian to admit there is
> something she couldn't accomplish without help.  It shows the strength
> of this woman to recognize this and put her pride aside to find
> someone who could get the job done.  Makes me wonder if her fall from
> power started as we saw start to happen with Operations in "New
> Regime."  In that episode he admitted to Petrozian that he was "over
> extended."  It sounds that's how he wrestled power from Adrian.]
>
>       [A]     I need someone on the inside. ...  Someone to help me
> stop Operations.
>
> The camera pulls back to show both women are standing in what looks
> like some type of kitchen garden.  The women just stand and stare are
> each other - each taking the measure of the other.
>
>
> INTERIOR - SECTION / 'GAMBIT' ROOM
>
> Ray Leeds is interrogating Sauvage.  He's taken a page from Michael's
> and Madeline's technique by circling Sauvage as he questions him.
>
>
> SECTION / 'Gambit's OBSERVATION ROOM
>
> Madeline carefully watches Leeds perform the interrogation.
>
>
> SECTION / 'GAMBIT' ROOM
>
> Sauvage makes the first move, throwing the 'interrogation' gauntlet
> down.
>
>       [HS]    I'm not afraid to die.
>
> Leeds is standing behind Sauvage.  He leans down and speaks in the
> man's right ear.
>
>       [RL]    You're not going to die. ...
>
> Leeds moves to stand in front of Sauvage, his back to the Observation
> Room's window.
>
>       [RL]    I want every detail of your supply lines:
>
>
> SECTION / GAMBIT's OBSERVATION ROOM
>
> Operations joins Madeline, and also studies Leeds' technique.
>
>       [RL]    (VOICE)  ... country of origin ..., names of purveyors
> ..., destinations.
>
>       [HS]    (VOICE)  I have no idea what you are talking about.
>
>
> SECTION / 'GAMBIT' ROOM
>
> Ray Leeds stands studying Sauvage, hands laced in front of him.
> [Reminds me of an undertaker mentally sizing someone up for the right
> size of coffin.]
>
>       [RL]    You're a very handsome man. ...  You take pride in your
> appearance. ...  Fresh manicure .., well-groomed .., you're ... trim
> .., well-appointed.
>
> Sauvage almost looks bored as he listens to Leeds.
>
>       [HS]    Is that why I'm here?  To give you fashion tips?
>
> While Leeds speaks, he turns and picks something up on a table next to
> the Observation Room's window.  His back hides what he is holding from
> Sauvage's view.
>
>
> SECTION / GAMBIT'S OBSERVATION ROOM
>
> Operations, however, can see what it is ..., and it peaks his
> interest.  He watches as Leeds opens a smallish case [size and shape
> of a foundation makeup compact] and removes an object from it.
> Madeline, too, sees it, but keeps her face blank as she watches what
> Leeds' next move will be.
>
>
> SECTION / GAMBIT ROOM
>
> Before Sauvage can prepare himself, Leeds swiftly turns and cuts the
> man's face with a small scalpel.
>
>       [HS]    (YELLS)  OW!
>
> Sauvage is almost in shock at the suddenness of the attack.
>
>
> SECTION / GAMBIT'S OBSERVATION ROOM
>
> Operations glances over, curious how Madeline is taking Leeds'
> approach.  Madeline, however, gives nothing away.
>
>
> SECTION / GAMBIT ROOM
>
> Leeds removes a handkerchief from his pocket and places it in
> Sauvage's left hand.  He then releases the chair's shackle so Sauvage
> can put the handkerchief up to staunch the blood trickling down his
> face.  Leeds then leans down and gently pulls the corner of the
> handkerchief up to inspect the wound.  Sauvage is mute, tensing up as
> if he expects Leeds to attack again as soon as his guard is down.
>
>       [RL]    We have someone here who can close that up without
> leaving much of a scar. ...
>
> Leeds meets Sauvage's gaze as he gives the man one last chance to talk
> to him.
>
>       [RL]    That is the last warning .. you will get. ...  You will
> give me the information I have requested ... or I will disfigure your
> face beyond the repair of the most skilled plastic surgeon.
>
>
> SECTION / GAMBIT'S OBSERVATION ROOM
>
> Operations once more turns and looks at Madeline as Sauvage begins to
> tell Leeds everything he knows.  [I got the impression that if Sauvage
> hadn't known anything, he would have made it up!]
>
>       [HS]    (VOICE)  They have a group from Turkey ...
>
>       [O]     He's good.
>
>       [HS]    (VOICE)  I've never met them. ...
>
> Leeds has once more turned his back on Sauvage.  As he listens to the
> Intel the mercenary is spilling, he very carefully replaces the
> scalpel back in its case.  [This really creeped me out!  He put the
> scalpel away the same a child would with a favorite toy!]
>
>       [RL]    (VOICE)  From Turkey ..., hmmm.  Please ..., continue.
>
> Operations leaves as Leeds continues to pull information from Sauvage.
>
>
> SECTION / COMM
>
> Nikita enters the Common Area and wanders over to Birkoff in Comm.
>
>       [N]     Hey, Birkoff.
>
> Birkoff doesn't bother to look up, just brusquely tries to brush
> Nikita off.
>
>       [B]     Busy.
>
> Nikita is not fazed.  She leans her arms on the back of his chair as
> she tells him why she's there.
>
>       [N]     I need the access code to Level Two.
>
>       [B]     You're not cleared for that.
>
>
> INTERIOR - ADRIAN'S HOUSE / SITTING ROOM
>
> Adrian has Nikita wired so she can listen to everything going on
> around the young woman.  She now prompts Nikita with the answer that
> will get the needed clearance.
>
>       [A]     Tell him to check the Vickers log file.
>
>
> SECTION / COMM
>
>       [N]     Check the Vickers log file.
>
> Birkoff stares up at Nikita a moment, momentarily surprised she knows
> about such a file, before accessing it.  The data takes Birkoff by
> surprise.
>
>
> ADRIAN'S HOUSE / SITTING ROOM
>
>       [B]     (VOICE)  When did that happen?
>
>       [A]     Shane and Elston are tied up in South ....
>
>
> SECTION / COMM
>
>       [N]     ... America.  Madeline upgraded me this morning.
>
> Nikita hands her panel to Birkoff, who attaches some kind of gadget to
> it and downloads the needed security codes.  That done, he hands it
> back to Nikita.
>
>       [N]     Thanks, Birkoff.
>
> Nikita leaves Birkoff, who gets back to his work, unsuspecting.
>
>
> SECTION / CORRIDOR OUTSIDE ELEVATOR
>
> Nikita walks down several corridors until she is standing in front of
> elevator doors.  As she waits for the elevator to arrive, she looks
> around to make sure no one is watching her.  When the elevator arrives
> she enters and checks in with Adrian.
>
>       [N]     (TO ADRIAN)  I'm in the elevator.
>
>
> ADRIAN'S HOUSE / SITTING ROOM
>
>       [A]     Enter this code ...,  two-two-one-seven-one.
>
>
> SECTION / ELEVATOR
>
> Nikita punches the code into the elevator keypad, and it begins to
> descend.  It continues down several levels, then stops.  Nikita tries
> punching in the code several more times, but nothing happens.
>
>       [N]     It stopped on seven.
>
>
> ADRIAN'S HOUSE / SITTING ROOM
>
>       [A]     Use your pad.  There's a port on the right.
>
>
> SECTION / ELEVATOR
>
> Nikita finds the port and plugs her pad into it, which immediately
> lights up.
>
>       [A]     (VOICE)  Try it now.
>
> Nikita tries keying in the code once more.  This time the elevator
> continues its descent.
>
>
> SECTION / LEVEL TWO
>
> The elevator comes to a halt, and the doors open to a deserted small
> antechamber.
>
>       [N]     I'm here.
>
> Nikita steps out of the elevator and carefully looks around as the
> doors shut behind her.
>
>       [A]     (VOICE)  You're in an undocumented area.  There
> shouldn't be anyone there.
>
>       [N]     There isn't.
>
>
> ADRIAN'S HOUSE / SITTING ROOM
>
>       [A]     Turn right and start walking.
>
>
> SECTION / LEVEL TWO
>
> Nikita turns and begins walking down a tight corridor partially lit
> with eerie green and pink lights.  As she walks, she studies the
> various panels lining both sides.
>
>       [N]     What's stored here?
>
>       [A]     (VOICE)  Each segment is a Mission.  When you see one
> that's lit, that means it's active.
>
>
> SECTION / COMM
>
> Michael crosses the Common Area, enters Comm and stands behind
> Birkoff.  Like with Nikita, Birkoff ignores Michael and keeps working.
>
>       [M]     I just saw you talking to Nikita. ...  Why is she here?
>
>       [B]     She needed something on Level Two.
>
>       [M]     Level Two?
>
>       [N]     Yeah.  She had clearance.
>
>
> SECTION / LEVEL TWO
>
>       [A]     (VOICE)  Can you see the end yet?
>
>       [N]     Yes.  It's about fifty meters away.
>
>       [A]     (VOICE)  Then start looking for lit panels.  Find K314.
>
> Nikita searches until she finds the panel.
>
>       [N]     Got it.
>
>       [A]     (VOICE)  Good.  Open it.
>
>       [N]     How?
>
>
> ADRIAN'S HOUSE / SITTING ROOM
>
>       [A]     There's a handle at the bottom.  It rolls up.
>
>
> SECTION / LEVEL TWO
>
> Nikita finds the handle and presses it.  The shield immediately rolls
> up to reveal a screen and port opening.
>
>       [A]     (VOICE)  There should be a docking port for your panel
> somewhere about waist high.  Can you see it?
>
>       [N]     Yes.
>
>       [A]     (VOICE)  Plug in your panel.
>
> Nikita takes her panel and plugs it into the port.
>
>       [N]     Now what?
>
>       [A]     (VOICE)  Nothing.  Just wait.
>
>
> ADRIAN'S HOUSE / SITTING ROOM
>
> Adrian reaches over to the laptop sitting on her desk and taps in
> instructions.  Several windows appear, the last one showing:
>
>               DOWNLOADING DIRECTORY
>
> Under this command a bars shows the information being downloaded onto
> her computer.  While this is happening, Nikita nervously paces in
> front of the panel and looks around to make sure no one is watching.
>
>       [A]     (UNDERTONE)  Excellent.  (TO NIKITA)  Alright, dear.
> You're done.  Fold it up and go.
>
> Nikita pulls her panel out of the port, lowers the shield and returns
> to the elevator.  She nervously punches the elevator button several
> times, in a hurry to leave before she's discovered.  Unfortunately,
> when the elevator arrives, its already occupied.  Michael is standing
> at the door with it opens.  Nikita can't think of anything to say,
> just stares at him.
>
>       [M]     Hi.
>
>       [N]     Hi.
>
>       [M]     What are you doing here?
>
>
> SECTION / ELEVATOR
>
> As they both ride up in the elevator, Michael grills Nikita.
>
>       [M]     How did you get access to this level?
>
>       [N]     I had clearance.
>
>       [M]     From whom?
>
>
> ADRIAN'S HOUSE / SITTING ROOM
>
> Adrian has been listening to Michael questions, and starts prompting
> Nikita.
>
>       [A]     You can't tell him that.  Just say it.
>
>
> SECTION / ELEVATOR
>
>       [N]     I can't tell you that.
>
>       [M]     Why not?
>
>
> ADRIAN'S HOUSE / SITTING ROOM
>
>       [A]     Tell him you're tracing ...
>
>
> SECTION / ELEVATOR
>
>       [N]     ... a linkage factor.
>
>       [M]     For whom?
>
>       [N]     Section Four, Northern Europe.
>
>       [M]     Why would they use you?
>
> Nikita looks at Michael and tries to blank her expression out.  [i.e.,
> do a "Michael."]
>
>       [N]     That's all I can tell you.
>
> The elevator opens and they both get out.
>
>
> SECTION / CORRIDOR
>
> When she gets off the elevator, Nikita turns to face Michael and
> throws down a gauntlet of her own.
>
>       [N]     If you want to know more, you could ask Operations.  ...
> If you do, he'll want to know what you were doing down there.
>
>       [M]     Which Bureau Op?
>
>
> ADRIAN'S HOUSE / SITTING ROOM
>
>       [A]     Don't answer him, Nikita.  He knows you can't tell him
> that.
>
>
> SECTION / CORRIDOR
>
> As per Adrian's directive, Nikita says nothing more, just walks away
> leaving Michael staring after her.
>
>
> ADRIAN'S HOUSE / SITTING ROOM
>
> Adrian almost wearily removes the Comm Link she has been using to
> listen in, studies it a moment, then lays it on top of her closed
> laptop.
>
>
> SECTION / BRIEFING TABLE
>
> Operations is briefing for another Mission.  Michael, Birkoff and
> Leeds are present.  Once again, Madeline and Nikita are nowhere to be
> seen.
>
>       [O]     One of South America's most powerful leaders, President
> Ricardo Arou, is stepping down next month. ...
>
> Operations pulls up a Blue Screen of a Renzo Marin.
>
>       [O]     This man here, Renzo Marin, is to succeed him.  The
> opposing parties see Marin as a puppet of the West. ... They want to
> stop his succession.
>
>       [RL]    We've uncovered an assassination plot.  Marin will be
> making his first public appearance at the palace tomorrow.
>
>       [O]     Birkoff has the appropriate .. Intel to configure a
> counter .. against the attempt on Marin's life.  Leeds will be
> managing the operation in place of Madeline, and will supply tactical
> .. oversight.  He's taking full responsibility for this Mission.
> Michael, you'll be taking four Teams in.  Any questions?
>
> No one has any.  Operations disengages the Blue Screen.
>
>       [O]     Let's get started.
>
>
> INTERIOR - SALARIUM
>
> When Nikita enters, the first person she sees is Carla, but she has
> nothing to say to her.  The two ex-friends simply trade looks as
> Nikita walks by, and Carla leaves the room.  [Have to note that this
> is the first time I've ever seen Carla dressed completely in black.]
> In the background you hear the sounds of various birds among the
> plants and trees.  Adrian is sitting on a garden bench under a large
> palm.  This time it is Adrian wearing the sunglasses.  Once again,
> Nikita remains standing.
>
>       [A]     (CONGRATULATORY TONE)  I commend you.  We've got off to
> an excellent start.
>
>       [N]     No. ... I can't do this anymore.
>
> Nikita steps up to Adrian and lays the equipment given her on the
> bench.  Adrian immediately removes her sunglasses as she tries to talk
> Nikita out of withdrawing her help.
>
>       [A]     (INSISTENT TONE)  But you must!
>
> Nikita steps away from Adrian before turning and meeting her gaze, her
> own showing how torn she has been helping Adrian.
>
>       [N]     Look, I got you what you wanted so that you wouldn't
> hurt Michael.  Now leave me out of the rest ..., please.
>
>       [A]     The Mission you've just been called in for ..., the
> protection of Renzo Marin ..., will fail.  Marin .. will die.
>
>       [N]     Why?  Are you going to kill him?
>
>       [A]     No.  Section will.  The Mission is a cover.  Operations
> couldn't buy Marin's allegiance, so he's having him killed.
>
>       [N]     Why would he bother going through the motions of
> pretending to intervene?
>
>       [A]     Oversight ordered the intervention.  Operations will
> take some of the flak .. for the failure, but it won't matter.  He'll
> get what he wants.
>
>       [N]     Which is what?
>
>       [A]     The next in line to succeed the President is owned .. by
> Operations.  The country is an important part of the puzzle for him.
>
> Nikita refuses to meet Adrian's eyes, refusing to believe what she's
> just heard.
>
>       [N]     I don't believe you.
>
> Adrian's tone now seems almost tired or resigned to the inevitable.
>
>       [A]     No, I don't suppose you would.  After all, the only
> coping mechanism you have intact is your belief that Section protects
> the innocent.  If you didn't believe that, you'd have been gone long
> ago .., one way .. or another.
>
> Nikita's tone turns impatient.  It is obvious she just wants to forget
> she ever met Adrian - and everything the older woman has been telling
> her.
>
>       [N]     Fine. ...  whatever.  You got what you want.  Bring the
> whole thing down, I really don't care.
>
> Nikita turns to leave, but Adrian's next sentence stops her.
>
>       [A]     I can't.  Only you can.
>
> Nikita turns back, ready to argue this point.
>
>       [N]     This is you show, not mine.
>
>       [A]     On the contrary.  From this point on, nothing can happen
> without you.
>
> Adrian rises to stand next to Nikita.  She meets the younger woman's
> troubled gaze as she tries to reason with her.
>
>       [A]     I know you have grave doubts about all this, and
> obviously I can't force you to do something you don't want to do. ...
> We'll speak after the Mission.  You tell me then what you've decided.
>
> Adrian departs, leaving Nikita torn, conflicted and now burdened with
> the knowledge of a possible additional innocent death.
>
>
> SOUTH AMERICAN CITY
> EXTERIOR - STREET IN FRONT OF PALACE  -  DAY
>
> It is a bright and sunny day as Marin's limo, accompanied a security
> sedan in front, slowly moves down a main street.  [A LFNer informed me
> that the flags being waved are Argentinean.]  The street is lined with
> police, and a large group of supporters are standing along the
> thoroughfare and in front of the palace waving small replicas of their
> country's flag.  The procession turns and pulls into the palace's
> courtyard, which also is packed with security personnel.
>
>
> INTERIOR - SECTION / COMM
>
> Birkoff is seated at his computer, with Nikita standing behind him.
>
>       [B]     Okay, Teams One and Three, move to your next mark.
>
>
> PALACE / COURTYARD
>
> As the procession passes under the gatekeeper's residence, an outline
> of a man is seen through a second floor window.  The window is raised,
> to show Michael positioning himself to oversee Section's protection of
> Marin.
>
>
> INTERIOR - SECTION / COMM
>
> [N]   Limo's pulling up to the Palace.
>
> One of the overhead monitors shows the limo pulling up next to the
> palace's front staircase, which is covered with a red carpet.
>
>       [B]     On approach.  Open up the east-west.
>
>       [N]     Shouldn't we keep those sides protected?
>
>       [B]     Our Intel says nothing's coming in that way.
>
>       [N]     Our Intel's over two hours old, Birkoff.
>
> Nikita sits at the computer next to Birkoff and initiates an update of
> the Intel.
>
>
> PALACE / GATEKEEPER'S WINDOW
>
> Michael is still waiting for the okay to send up Marin.
>
>       [W]     We're waiting, Birkoff.  What's going on?
>
>
> SECTION / COMM
>
>       [B]     Hold, Michael.  We need to check something out.
>
> Leeds appears behind Birkoff.  [You know, this guy stands just like
> Homer's boss in "The Simpsons"!]
>
>       [RL]    What's the problem?
>
>       [B]     Nothing.  Nikita's refreshing the exposure map.
>
> Nikita has finished the update and pulls it up for Birkoff to view.
>
>       [N]     Birkoff!
>
> Birkoff notices the Intel has changed, just like Nikita had feared.
>
>       [B]     Good catch.  Okay, West Team, pull back.  Hold your
> previous position.
>
>
> PALACE - COURTYARD
>
>       [N]     (VOICE)  He's pulling in front.  We just need to get him
> up the steps and we're secure.
>
> The Limo comes to a stop in front of the staircase.  But Marin isn't
> allowed to exit, waiting for Michael to check for possible snipers.
>
>       [B]     (VOICE)  Michael, status?
>
> Michael is checking for snipers with binoculars.
>
>       [M]     One-fifty to two-twenty is clean.  Still scanning. ...
>
> Michael is checking all windows facing the courtyard.  He finds one
> that shows an outline of a man who seems to be wearing black
> camouflage.  [Okay, I'm a sniper and I need to blend in.  What should
> I wear.  Gee, why not my all back ensemble with the matching hood?]
>
>       [M]     I've got something.
>
>
> SECTION / COMM
>
>       [B]     Where?
>
>       [M]     (VOICE)  Building D, Third Floor.
>
> Birkoff switches the cams to search the area Michael has isolated.
>
>       [B]     You're right, Michael.  He's hot.
>
> Nikita warns the other Teams not to let Marin exit the limo.
>
>       [N]     We're not cleared.  Keep him sealed.
>
>
> PALACE / COURTYARD
>
> Michael raises a sniper rifle.  He aims at the window in question and
> shoots, killing the sniper.
>
>
> SECTION / COMM
>
>       [B]     That's it.  Send him up.
>
>
> PALACE / COURTYARD
>
> The security personnel exit the sedan in front of the Limo and
> approach to help escort Marin up the stairs.
>
>
> SECTION / COMM
>
> Nikita is remembering Adrian's warning and isn't ready to give the
> okay, certain they might have missed something.
>
>       [N]     Sure we covered everything?
>
> Birkoff is scanning the various cams of the courtyard, trying to find
> out what is making Nikita so jumpy.
>
>       [B]     What do you mean?
>
> Nikita continues to study the various monitors, trying to find another
> possible trap.
>
>       [N]     I don't know.  I've just got a feeling that we're
> missing something.
>
> However, Leeds is sure everything has been covered and is impatient to
> get on with the Mission.
>
>       [RL]    (CUTTING TONE)  We don't operate on hunches.  Stick to
> the Profile.
>
> Operations appears at his office window, watching them as he demands a
> status report.
>
>       [O]     (VOICE)  What's going on down there?
>
> Leeds looks up at Operations as he responds.
>
>       [RL]    We .. took out a shooter.  Marin's ready to go up.
>
>       [O]     (VOICE)  Good.  Get it done.
>
> Leeds turns back to Nikita and gives her a direct order.
>
>       [RL]    Send .. him .. up.
>
> Nikita is still reluctant, but is given no choice but to give the okay
> for Marin to leave the Limo.
>
>       [N]     Team One, go.
>
>
> PALACE / COURTYARD
>
> Security arrives at the Limo, opens the door and Marin exits.
> However, before he can move away, the Limo and security sedan blow up,
> killing or maiming everyone within 50 feet of the explosion.
>
>
> SECTION / COMM
>
> Chaos erupts in Comm when the monitor shows the explosion.  Leeds'
> expression shows he doesn't believe what he's just seen.
>
>       [RL]    What happened?
>
>       [B]     I don't know.  (TO MICHAEL)  Is Marin clear?
>
>
> PALACE / COURTYARD
>
> Michael looks down at the destroyed cars and dead bodies.  His face
> remains blank [how surprising] as he answers Birkoff.
>
>       [M]     No.
>
>
> SECTION / COMM
>
> Birkoff is the only Operative who leaps into action.  Nikita remains
> seated.  She and Leeds can only watch the monitor in disbelief.
>
>       [B]     Send Containment in now.
>
> Birkoff pushes Leeds out of the way as he starts issuing commands to
> his Techs.
>
>       [B]     Lock up the perimeter. ...  Make sure every circuit is
> recording.
>
>
> PALACE / COURTYARD
>
> The few remaining alive are trying to find the living among bodies
> strewn around the courtyard from the blast.
>
>
> SECTION / COMM
>
> Leeds can't seem to look away, and slumps into Birkoff's chair as he
> continues to watch.  Up in his office, you see Operations watch the
> chaos in Comm, then walk away - strangely quiet about the Mission's
> failure.
>
>
> SECTION / MADELINE's OFFICE
>
> Madeline is sitting at her desk doing nothing, just staring off into
> space.  The door opens and Operations enters.  She watches as he walks
> over and stands in front of her desk.
>
>       [MA]    How did it go?
>
>       [O]     Not well.  Oversight's not going to let this one go.
> Marin was important to them. ... They're going to make us pay.
>
>       [MA]    How?
>
>       [O]     They're rescinding Leeds.
>
>       [MA]    Are they going to take him back?
>
>       [O]     No.
>
> Madeline looks down a moment, then meets Operations' glance.  You
> realize she knew what Operations was going to say.
>
>       [MA]    If you hadn't brought in Leeds ..., I'd be the one
> facing cancellation now.  Instead, its him.
>
>       [O]     Yes, that true.
>
>       [MA]    I thought you did it out of hurt feelings.  But it had
> nothing to do with that, did it?
>
> And, now, Operations is the one who has the upper hand.  He uses it to
> put his 'take' on their relationship back on kneel.
>
>       [O]     You were right when you said not to dwell on the past.
>
> Operations leaves, with a "he who laughs last" air about him ..., and
> Madeline with nothing to say.
>
>
> INTERIOR - NIKITA's APARTMENT
>
> Nikita slowly enters her apartment, drops her purse and keys on the
> kitchen counter, and walks over to the chair next to her telephone.
> In the foreground, unnoticed by Nikita, you see a small cellular
> phone.  Nikita has just taken off her jacket and is pulling her hair
> down from its top knot, when the cell phone starts ringing.  She
> slowly walks toward it as it continues to ring.  She finally reaches
> out and picks it up.
>
>       [N]     Hello?
>
>
> INTERIOR - ADRIAN'S HOUSE / SITTING ROOM
>
> Adrian is sitting with her back to a roaring fire.
>
>       [A]     I need to know, dear. ..  Can I count on your support?
>
>
> NIKITA's APARTMENT
>
>       [A]     (VOICE)  I can't promise it's going to be easy, there's
> a lot at stake.  You know that now, don't you? ...  Nikita?
>
> It takes a few tries for Nikita to respond.  It's almost as if she is
> unconsciously fighting from saying the words.  But, they finally come out.
 
>      [N]     Okay.
> >
 ADRIAN'S HOUSE / SITTING ROOM
>
> You see Adrian breath a sigh of relief at Nikita's answer.>
 
>NIKITA's APARTMENT

> >      [N]     What do I do next?
 
> END OF EPISODE

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