 |
|
413. Kiss the Past Goodbye
Guest starring: Samia Shoaib, Joseph Scoren, Chuck Shamata
Executive Consultant: Robert Cochran
Producer: Jamie Paul Rock
Written by: Frederick Rappaport
Directed by: Brad Turner
Transcribed by Jean
A PARK
Young children play street hockey, flashing and flickering around each other. From a distance, Michael watches from a car. He’s wearing the usual, severe suit and tee shirt.
VOICE: Go, Adam!
BOY: Adam! You can shoot! Go!
Michael raises binoculars to his eyes with a black-gloved hand. Through the lens, he captures a close-up image of Adam to a disc.
ELENA: Adam! Come on, Adam!
Michael shifts his sights on the woman behind Adam; it’s Elena. He tightens and focuses her image and saves it as well, then lowers the device from his face. He remembers planting a tree with Elena and Adam as they took home movies. In the present tableau before him, a man swoops into view and hoists a laughing Adam high in the air, echoing the same joyous lift Michael once did for his son in the past.
Michael stares at the three people: Elena, the man, Adam. His face is still, and sober.
MUNITIONS
Walter is seated, working. Michael approaches him, the binoculars in hand. Walter glances up at him.
WALTER: Michael. How was your down time?
Michael spares him a glance, no more, and says nothing. He strips the media chip from the device and gives it to Walter, then turns and walks away.
WALTER: (sarcastically) You're welcome. Nice chatting with you.
COMM
Birkoff sits at a computer. He wears a black sweater with a zipped collar; the zipper is open. He hands a disk to a young man.
BIRKOFF: Recycle this, then send it.
The tech leaves. Michael approaches from across the way and stops at Birkoff’s desk.
MICHAEL: Birkoff.
Birkoff’s eyes remain on his monitor. He raises his index finger, a signal to wit.
BIRKOFF: Just a sec. I just got to finish downloading this.
Michael waits one second and glances to the side: a mild betrayal of annoyance. He reaches down turns off Birkoff’s computer with a definitive stab of one finger. The graphics collapse and the monitor goes dark, yanking Birkoff’s attention out of his work. He looks up at Michael, puzzled and on the edge of anger.
MICHAEL: You’re finished.
Birkoff looks from Michael to the chip he holds out in his hand.
MICHAEL: I need a complete background on this guy.
Birkoff looks up at Michael once more, the question plain on his face.
MICHAEL: Just do it.
Michael leaves Birkoff to contemplate the small media chip balanced between his fingers.
BRIEFING
Michael, Nikita, Walter, Birkoff, and two operatives sit at the table while Operations explains the salient details of the mission. All are somber in mien and dress; Nikita and Walter wear black and gray just as everyone else.
OPERATIONS: This is Mierta Lupo, Daninsky’s replacement in the Vaduz Region. Some of her business associates include a number of high profile factions. Pan African Militia, Cobra Army and White Liberty. We believe the hardware being trafficked is coming from a reserve arsenal. The location of which has not yet been ascertained.
A new picture unfolds above the table.
OPERATIONS: Lupo's getaway retreat. A remote mountain chateau on the outskirts of Zermont. She's arriving tonight for a weekend tryst with her current companion. We need to extract her and return her for interrogation.
MICHAEL: Any encumbrance on site?
OPERATIONS: We've taken certain steps to make sure that she’s properly distracted.
NIKITA: Her companion's a plant.
OPERATIONS: Valentine Operative, deep cover. Been working her for months. We prep in six hours. That’s all.
COMM
MICHAEL: What have you got?
BIRKOFF: I'm running that photo through every disclosure program in the system and it still come up empty. I realize that this is taking longer than expected but the man is a complete cipher. It's almost as though he doesn't exist.
MICHAEL: Give me that chip.
Birkoff removes it from the reader and hands it Michael. Michael takes it, curling it into his palm with the tops of his fingers, and walks away. Birkoff resumes working.
Flash to Michael’s office. Michael begins his own investigation. He looks at image captures of Adam, and the unknown man.
Nikita enters. Michael continues as if still alone. Nikita waits, then interrupts.
NIKITA: Michael. We're in full prep.
Michael glances up.
MICHAEL: Thank you.
He returns his focus to the monitor. Nikita waits a moment, then backs out and closes the door behind her. Michael looks at one last image of Elena and the man, together, before he closes the program. The picture dissolves.
MISSION
A full moon sails low over the mountains, but it’s foggy under the trees. Michael runs through the misty gloom. He drops down from a low bridge, surprising two hostile guards. He breaks the neck of one, and shoots the other. He continues his pursuit of the mission, his gun out and ready. Up steps, down steps, and around the building, he encounters a third guard, shooting him dead. He comes to a door, and waits while it opens from the inside. He grabs the gun and hand of the hostile behind it, smashing the man’s own gun into his face, dropping him instantly. The door swings closed, but Michael is on the inside. A fifth guard investigates the door’s movement, and Michael slams the heel of his hand into his face. The hostile drops.
Flash to a room upstairs.
Lupo reclines in a bed. She’s naked, covered with a sheet of rich material, a metal goblet in her hand.
LUPO: Hurry. Champagne is getting warm.
A gun barrel touches her temple. She looks up and freezes; Michael looks down on her.
A man enters from the bathroom, a towel slung low on his hips; he’s damp, perhaps from a shower. As he steps into the light, Michael recognizes him as the man with Elena and Adam in the park. Michael hears Operations voice in memory: "Valentine op. Deep cover. He’s been working her for months."
The man is young, handsome, sure. He reads the situation instantly and a regretful smile unfurls on his face.
CORLISS: If only you could have given me another ten minutes.
VAN ACCESS
Michael issues through the open door, followed by Lupo in the custody of an operative; Corliss brings up the rear, wearing black leather. The operatives take Lupo down the corridor, passing Operations as he marches around the corner, past Access, past Michael. Michael waits a moment, then revolves to face Operations’ back.
MICHAEL: Why was Corliss assigned to Elena and Adam?
Operations stops, turns and faces Michael.
OPERATIONS: It's for their own protection. Ever since Elena's father was murdered, the remnants of his terrorist organization have been looking for his betrayer. Intel has it that suspicion has fallen on Elena. Corliss was laid into her life as our eyes and ears -- that's all you need to know.
Michael turns, his expression dismissive.
OPERATIONS: Stay out of it Michael.
Michael stops, his back to Operations.
OPERATION: If you care about the lives of Elena and Adam.
Michael faces the older man.
MICHAEL: And you do?
WHITE ROOM
Lupo sits slumped in the chair. Corliss and another operative stand watch as Madeline enters.
CORLISS: She's all yours.
MADELINE: Thank you.
The door squeals shut. Corliss finds Michael outside the White Room, waiting for him.
MICHAEL: We need to talk.
CORLISS: Okay.
Corliss is calm, open, confident.
MICHAEL: What is your profile?
CORLISS: My profile?
MICHAEL: With Elena and Adam.
CORLISS: Michael, you know better than to ask me that.
MICHAEL: I'm asking.
CORLISS: (earnestly) Look, I know how you must feel; pulling back from a seven-year blood cover can't be easy. Especially with a child involved. For me this is just a short termer -- nothing personal.
MICHAEL: I know. I've seen your work.
CORLISS: You've got to stay detached Michael. It's the only way to do this job. Michael I realize she's been through hell but I can tell you this much, I'll look out for them just like you did.
OPERATIONS’ PERCH
Scenes of devastation play on a wall monitor; people pick through the rubble of a bomb-ravaged building. Operations watches the carnage; behind him stand Madeline and Corliss. Madeline wears a pinstripe suit, Corliss wears the black leather and turtleneck.
OPERATIONS: Elena's father has been dead for a year yet his fingerprints are all over these embassy attacks. Whoever has rebuilt his organization has got to be flushed out before he strikes again. We're already with his brother Stefan Vacek.
MADELINE: I've worked up some numbers. There's a 78% chance he's our candidate.
OPERATIONS: How close are we to confirmation?
MADELINE: Given our preliminary intel, the information we leaked has been productively channeled.
OPERATIONS: So, as far as the terrorist world is concerned, Elena set up her father's death.
CORLISS: It's just a matter of time before someone comes out of the cold to pay her up in spades.
OPERATIONS: It's up to you to be there when it happens.
CORLISS: Sir, about Michael,
OPERATIONS: Yes?
CORLISS: He wanted to know about my profile.
MADELINE: What did you tell him?
CORLISS: That I have a job to do. Nothing to get emotional about.
OPERATIONS: Then do your job, Corliss. We'll attend to Michael.
He nods and leaves. Madeline and Operations share a look, silently acknowledging the possible complications.
ELENA’S HOUSE
Corliss kneels by Adam, a hockey stick behind his back. He’s dressed casually in brown pants and ribbed brown sweater. Adam is wearing a gray sweatshirt and light brown pants. He’s happy and bright-eyed.
CORLISS: I have something for you.
ADAM: What is it?
CORLISS: Cover your eyes. (Adam does) And… (he moves the stick in front of him) open them. It’s the same make the pros use.
Adam lights up at the sight of the hockey stick and immediately begins taking practice swings. From the breakfast bar where she sits on a stool, Elena calls out a motherly caution.
ELENA: Not in the house.
Adam runs toward the door.
ELENA: Adam? You forgot to say something.
ADAM: Thank you Robert.
The door shuts.
ELENA: You and your gifts. I think you're determined to spoil that boy.
Corliss joins her in the kitchen. She’s wearing a sleeveless blue blouse with a cowl neck.
CORLISS: They say the fastest way to a mother's heart is through their child. What do you say the three of us get away for the weekend? I know this spot by the lake --.
ELENA: I'm sorry Robert. Adam is staying at a friend’s house and I'm having company for dinner on Saturday night.
CORLISS: Company?
ELENA: My uncle Stefan is visiting from overseas.
CORLISS: Really? You never told me about him.
ELENA: I haven't seen him since I was a little girl. He was also estranged from my father.
CORLISS: And he just called you out of the blue?
ELENA: It was a nice surprise. My Uncle's a diplomat.
CORLISS: Diplomat? Sounds fascinating -- I'd love to meet him.
Elena looks down, her face concerned.
CORLISS: Elena, did I say something wrong? (she shakes her head no) Then what is it?
ELENA: I don’t know. I guess I'm just old fashioned.
CORLISS: And introducing someone to your family is a big step.
ELENA: Yes.
CORLISS: I'm sorry for being so bold. I only thought that…
ELENA: Please don’t be offended. I'm just not ready. (she pauses, then adds with a smile) Yet.
Corliss nods understandingly.
ACCESS
Operations and Madeline meet Corliss at the door. They wear the same clothes; he’s back in his black turtleneck and leather jacket.
MADELINE: It's imperative that he makes that dinner.
OPERATIONS: We have intel that suggest another bombing is imminent. This time into Trabzon. If Stefan Vacek has taken over the family business, I want hard confirmation now.
CORLISS: It's still two days off. I'm sure I can persuade her to change her mind.
OPERATIONS: Then see to it.
They part ways. Corliss goes one way, Operations and Madeline walk together the other.
MADELINE: It might be wise to tread delicately with Elena. Corliss presses any harder and she could grow suspicious.
OPERATIONS: If he doesn't we lose our inside track.
MADELINE: We may have to stimulate Elena's comfort level by introducing a third party to the scenario. Someone Elena trusts and acts as a bridge between her and Corliss.
OPERATIONS: Any suggestions?
ELENA’S HOUSE
Elena enters the room, a teacup in each hand. She hands one to Nikita. Nikita wears a brown leather jacket.
ELENA: I can't tell you how wonderful it is to see you again, Nikita.
NIKITA: I'm so sorry I haven't called sooner. I've been out of the country.
ELENA: It's best you didn't. For months I used to let the phone ring and ring, just staring at it, like it was a lifeline I couldn't bring myself to reach for.
NIKITA: Well, I'm glad you finally did.
They sit opposite each other on comfortable furniture.
ELENA: I had to. For Adam's sake. It took me a while to forgive myself. If I hadn't been so desperate to see my father, Michael would never have brought him to the hospital.
NIKITA: Elena you were so sick. None of us thought you were going to make it.
ELENA: (with faint bitterness) I made it all right. At least to see my husband and father murdered by an assassin.
Nikita projects a sympathetic look at Elena. Elena seems to gather herself and continues in a tone that seems full of a conscious effort to cope.
ELENA: But, um, things are better now. In fact, there is someone I've been seeing.
NIKITA: Really? Is it serious?
Nikita leans back and spreads her arms wide, resting them on the back of the couch.
ELENA: It could be.
NIKITA: So are you going to tell me all about him?
ELENA: (lights up with genuine happiness) His name is Robert. We met a few months ago at the market. He’s tender and thoughtful and patient with me and he loves children. He's been so good to Adam. So gentle and understanding. The perfect father figure.
NIKITA: That's wonderful.
Elena’s eyes drop to a framed photograph of her family as it used to be: her, Adam, and Michael.
ELENA: In so many ways, he reminds me of Michael.
MADELINE’S OFFICE
The door to Madeline’s office opens; Michael enters. Madeline stands by the lit alcove. Operations sits in a chair. As Michael descends the steps, Madeline greets him.
MADELINE: Thank you for coming, Michael.
OPERATIONS: We're bringing you in on Corliss's assignment as a consultant.
MADELINE: We need you to help him get closer to Elena.
OPERATIONS: We’re working on an accelerated clock, here. She's having this dinner tonight and he needs to attend. We need you to help him win Elena's trust so she'll invite him.
Michael’s eyes gently shift from speaker to speaker, showing no other movement or any emotion.
MADELINE: You have a history with her Michael. Maybe you can give him some advice on what to day or do to break down her resistance.
As the request hangs heavy in the air between them, Michael focuses on some nether point.
MICHAEL: (quietly) Send him to my office.
MADELINE: Thank you.
Michael leaves, and the door to Madeline’s office slides shut.
ELENA’S HOUSE
Nikita and Elena sit in Elena’s well-appointed living room once more. Elena wears a graceful, black top; Nikita wears the same brown leather jacket.
ELENA: I'm afraid I might have blown it with Robert.
NIKITA: What do you mean?
ELENA: A relative is coming to dinner and Robert seems so eager to join us.
NIKITA: You turned him down?
ELENA: Uncle Stefan is my father's brother. Outside of Adam, he's the only family I have left. Introducing him to Robert would mean that our relationship had moved to a deeper, more intimate relationship.
NIKITA: Sounds to me like it already has. (pause) Or at least that’s what you want.
Nikita takes a drink of tea from a small cup.
NIKITA: (feelingly) Elena, it's okay for you to get on with your life. It's okay to be in love again. (Elena looks down) It's what Michael would want.
MICHAEL’S OFFICE
Corliss enters Michael’s office and sits in the chair across the desk from Michael.
CORLISS: Madeline said you’d be okay with this. If it's any consolation to you, Elena and Adam mean nothing to me.
Michael looks away, the faintest shroud of antipathy on his face.
CORLISS: I've been working the kid angle. I just don't know if it's enough.
MICHAEL: How?
CORLISS: I've been playing surrogate. The new dad in his life,
and he thinks
I'm the greatest. Still, I don’t seem to be able to close the
deal with Mom. What's the trick Michael? You know her better than
anyone. How do I get around those walls? Inside her?
A cell phone rings – Corliss’.
CORLISS: (to Michael) Excuse me. (to the phone) Yes. (he smiles; his voice softens) Oh, hi. No, it's okay. In fact, I'm glad that you called. Yes, I'm still free tonight. Well, of course I would -- I'd be happy to have dinner with you and your uncle. See you then. Me, too. (to Michael) Looks like Nikita did the job.
As Corliss speaks, Michael taps a sequence on the keypad under his desk, dampening surveillance.
CORLISS: Thanks for your help Michael.
Corliss turns to leave the office.
MICHAEL: Corliss. (he turns back) If something happens to Elena and Adam on your watch…I'll kill you.
They stare, one at the other. Michael’s face is glacial, Corliss’ is unyielding. Corliss finally turns abruptly and leaves the office.
NIKITA’S APARTMENT
Nikita walks out of her bedroom, arms up, sliding a black overcoat over her black top and low-slung black pants. When she turns the corner, she slows.
NIKITA: I was just about to leave. I'm running surveillance on Elena's dinner.
Michael stands by Nikita’s door.
MICHAEL: They're using her as bait.
Nikita looks down and fastens her coat.
NIKITA: Until we have confirmation that Stefan is running his brother's business, yeah; she's in play. What did you expect? It’s the same way you put down her father.
Their eyes lock; their words stop. It seems a conversation flies between them in the silence.
NIKITA: For what it's worth, Elena and Adam's welfare is my primary concern.
MICHAEL: If our intel is correct and Stefan smells a trap, they'll be dead by dessert.
Nikita reaches out and rests her hand on his shoulder. Then she walks past him, pausing at her open door a moment until he turns and follows her.
ELENA’S HOUSE
Elena and Corliss sit on opposite couches, facing each other. Stephan stands behind Corliss’ couch, admiring the picture of Michael, Elena, and Adam. All three wear casual evening clothes: Stefan in a suit, and Elena glowing in a draped outfit.
STEFAN: Charming child, Elena. He reminds me of your father when he was Adam's age. It will be a joy to get to know my nephew.
Stefan walks over to Elena and sets down the picture, then sits on the couch next to her.
ELENA: I'd like that very much.
STEFAN: I know how close you were to your father. It must have been very difficult for you.
ELENA: Yes. If it weren't for Adam, I don't know how I would have gotten through it.
STEFAN: And financially? How are you doing?
ELENA: We're fine.
STEFAN: Yes, your father's estate was quite considerable. At least he left you something. A future for your son.
Nikita and Birkoff listen to the conversation in Comm. Birkoff is seated, Nikita stands behind him. They hear Elena’s voice.
ELENA: (via com) Actually, my husband invested well. Adam could have had his grandfather and a future.
Flash back to Elena’s.
STEFAN: Ah, well. Enough of the past.
All three stand as Stefan proposes a toast.
STEFAN: To a future filled with happiness, serenity and, ah, most of all, love.
ELENA: Thank you, Uncle Stefan.
They all clink their glasses and drink the blush wine before setting the goblets on the coffee table.
STEFAN: No. Thank you for a wonderful evening. I'm only sorry that I couldn't stay any longer.
Stefan hugs Elena.
CORLISS: Adam will be back tomorrow. Maybe we could visit you at the consulate?
Flash to Comm.
STEFAN: (via com) Ah, well, unfortunately, I have to leave the country tomorrow night.
Flash back to Elena’s.
CORLISS: Traveling home?
STEFAN: No, I - I have some business to attend to first.
The three go to the foyer. Flash to Comm; Birkoff continues working at his computer, facilitating the mission.
At Elena’s house, Corliss holds out Stefan’s overcoat. Keys fall to the floor; Corliss offers his help.
CORLISS: Here, let me.
Corliss bends to pick up the keys and lets drop a small, gray blob, right next to Stefan’s shoe. He returns the keys to Stefan.
STEFAN: Thank you. You take good care of my niece, young man.
CORLISS: Thank you sir. I will.
Stefan steps on the small blob; it sticks to the bottom of his shoe. He kisses Elena.
STEFAN: Good-bye.
Elena walks Stefan out her door.
ELENA: Bye-bye.
Stefan waves.
STEFAN: (to his aid) Let's go.
They climb into the car and drive away.
Flash to Section One. A target begins moving on Birkoff’s monitor.
BIRKOFF: Okay. We got a follow on Vacek.
NIKITA: Shadow teams move in.
Flash to Elena’s.
CORLISS: I think he gave us his blessing.
ELENA: I think he did.
They draw close and kiss, Corliss’ hand resting on her stomach.
SECTION
Michael walks across the heart of Section. Corliss sees him and walks toward him, intent on speaking with him. Michael spares him one disdainful glance, then focuses on his own path.
CORLISS: Michael?
Michael brushes past him as if he was another support beam.
Corliss makes a hissing sound of irritation.
MUNITIONS
Corliss sits across the workbench from Walter. As Walter talks, he works carefully on a rectangular box, his eyes on his job.
WALTER: Always figured I got what it takes to be a valentine op.
CORLISS: Why's that?
Walter carefully sets the top of the box to one side.
WALTER: Oh, well, you know: looks, brains, savoir faire -- the whole package.
CORLISS: So, what stopped you?
WALTER: My problem is I also have a heart.
Walter takes the box, turns and walks deeper into Munitions. Corliss smiles, then spies Nikita walking by. He calls out to her.
CORLISS: Nikita.
Nikita stops and changes her path, approaching Corliss. She’s wearing a leather blouse and leather skirt, black.
CORLISS: Any movement from Vacek last night?
NIKITA: We tracked him to the consulate. No phone calls, no visits. How's Elena?
CORLISS: When I left her this morning, she was fine.
He meets her challenging stare with a defiant look of his own. Before the moment becomes too burdened, his eyes shift. Birkoff hurries up.
BIRKOFF: You better come and hear this. I have Vacek on line.
COMM
Birkoff sits at his computer. Michael paces. Nikita and Corliss stand quietly. All listen to Vacek’s recorded voice issuing from the speaker.
STEFAN: Inform our people that the Trabzon project is to be aborted until further notice.
MAN: It will be done.
STEFAN: As to the woman and child, have the arrangements been made?
Michael stops pacing and looks at the speaker that’s broadcasting this conversation.
MAN: Yes.
STEFAN: Good. I will be there in one hour and see to things personally.
MICHAEL: He's going after Elena. When was this recorded?
BIRKOFF: Seven minutes ago.
NIKITA: (to Michael) We have a team on him. Let us handle this. (pause. Nikita directs the next question at Birkoff, but never takes her eyes from Michael) What's Vacek's position?
BIRKOFF: Vectoring steadily towards the northeast corridor. Any minute now I should have a final lock on the coordinates.
From the Perch, Operations’ voice invades through the intercom system.
OPERATIONS: (barks) Let's move! Hayes will be leading the on site team. Nikita will be handling the profiles. Birkoff has tactical command. I want Vacek stopped.
Nikita and Corliss walk past Michael, who remains standing still, back to Operations.
OPERATIONS: Michael! I still haven't received the Malabo Sim. I'd like to review it this afternoon.
Michael turns to look up at Operations, but says nothing. Then, he turns and walks away.
COMM
Birkoff sits at the heart of the com system; Nikita stands behind him. Both wear ear coms, both watch the various monitors as the mission plays.
BIRKOFF: Target has made a stop. He’s entered a non-hostile environment. All teams move to shadow.
OPERATIONS: Don't lose him.
MISSION
A black SUV stops in front of the building; three people disembark, enter the revolving door, and then walk across the lobby. Hayes is a black woman, Team Leader. Behind her are two young men: her team.
HAYES: Shadow team on premises. How are we doing on the reading?
In Comm, indicators on the overhead monitor show the target moving, stopping.
BIRKOFF: I got a lock. Target is straight ahead.
The three team members prepare their guns and separate.
HAYES: Perimeter is clear; exit points secure.
BIRKOFF: Advance and tighten.
In the building, Hayes enters the bathroom. She carefully checks each stall. Under one door, men’s shoes peep out; she shoots through the door and then kicks it open. Shoes: nothing else. It was a decoy. While she stares at the empty shoes, a different stall door opens.
Flash to Comm: Birkoff, Nikita, and Michael listen in to Hayes report.
HAYES: It's all been a diversion. There never was ---
The transmission is interrupted; nothing but static hiss issues from the speaker.
BIRKOFF: Team leader. Report.
OPERATIONS: All teams move in.
In the bathroom, the two men enter and see Hayes on the floor, blood leaking from her head.
OPERATIVE: (excited) Team leader is down. Target is on the move.
ELENA’S HOUSE
Michael walks to the door of Elena’s house, opens it, enters, and closes the door carefully behind him. He drifts through the house, populated only by the creaks and pops of an old house settling and a deep, resonate tick…tick…tick…. of an old clock somewhere. He glances at the photograph of himself and his family, then moves on. He ascends the stairs slowly; at the top he glances one way and then walks the other. He spies Elena, sleeping in her bed. He gazes at her, an unidentifiable emotion on his face.
Michael backs away and walks to Adam’s room. He opens the door. Adam’s covers are kicked off; his bear has fallen from his child’s embrace. A memory hits him suddenly, of he and Adam talking:
ADAM: I am a good boy.
MICHAEL: I know you are.
Michael covers Adam with the quilt, savoring the sight of his son. He pauses a moment, crouched down at his child’s level, and his eyes tear. After a few heartbeats, he stands, leaving his son’s room reluctantly. Outside the door he’s stopped by Adam’s cries.
ADAM: Mommy? Mommy?
Elena wakes in her bed.
ADAM: Where are you? Mommy! Mommy where are you?
Elena rises from bed and slips on a robe.
ELENA: I'm coming, sweetheart.
She hurries to Adam’s side, never noticing Michael’s shadowy form standing against the wall behind her.
ELENA: It's okay now. Mommy's here. Did you have a bad dream?
ADAM: I saw Dad right here in my room. He came to my bed and tucked me in just like he used to.
ELENA: I know sweetheart. Daddy often comes to me in my dreams.
ADAM: ‘Cause he still loves us?
ELENA: Yes, baby and always will.
Michael watches Elena comfort Adam. He glances down and noticed a red light in the heat register. He leans down and removes the grate; inside is a device with red LCD counting down numbers.
ELENA: Now, close your eyes and go back to sleep.
Elena begins to hum a haunting tune. Michael carefully removes the device from the vent and unplugs the wires, disarming it. He returns the grate and stands. He pauses, taking a last look at his son and descends the stairs, filled with the sight of his somnolent son and the sound of Elena’s humming.
OPERATIONS’S PERCH
Operations looks out over Section’s busy nexus. Michael sets the device he found in Elena’s heating vent on the ledge at Operations’ hand.
OPERATIONS: Yes?
MICHAEL: I found this in her home. From Stefan Vacek to his family.
Operations looks down at the object.
OPERATIONS: (tightly) You were told to stay out of it.
MICHAEL: I was told they were to be protected.
OPERATIONS: Because of Adam, I'm not going to let this pass as an anomaly on your performance record.
MICHAEL: What about Vacek?
OPERATIONS: His plane leaves tomorrow for Trabzon. The abort orders he gave were obviously meant to mislead us.
MICHAEL: Where is he now?
OPERATIONS: In his office at the Consulate. A terrorist leader enjoying his diplomatic immunity.
MICHAEL: I want him.
OPERATIONS: Good. I don’t want him on that plane.
Michael leaves. Madeline enters.
OPERATIONS: I'm sending Michael after Vacek.
MADELINE: Alone? Is that prudent?
OPERATIONS: I'll have a shadow team flank him just in case.
In the bowels of Section, Michael stalks purposefully down the hall, unstoppable. He enters Egress, and the door swings shut behind him.
CONSULATE
Vacek sits at his desk, speaking quickly to someone on the phone.
STEFAN: Whatever agency she is working with is of no concern to me. The only thing that is clear is that the bomb never went off. Now if you don't mind, I have a plane to catch. I will contact you as soon as we have finalized plans for the strike. In the meantime, I expect my orders to be carried out successfully. That is correct, the child as well.
He hangs up the phone, and presses the intercom button.
STEFAN: Milnoff, send for my car. (pause) Milnoff, did you hear me? (pause) Milnoff! Are you out there?
He slams something on the desk angrily, pushes himself up, and steps to the door with jerky strides. He opens the door.
STEFAN: Mil --!
He sees two dead men in the outer room. Michael enters from the hall opposite Vacek’s office, walking slowly into the room, his gun pointed at Stefan.
STEFAN: Who are you?
Horrified fascination and dawning realization draw an almost comical surprised expression on his face.
STEFAN: My God, you're Michael. Alive, and now I understand. I would think twice about using that gun.
MICHAEL: Give me a reason.
STEFAN: The lives of your wife and child. (he smiles slightly, meanly) Orders to execute are still in effect. If you kill me, there’ll be no one to rescind those orders. Allow me to leave, and I'll promise you no harm will come to them. Now that I know who my brother’s killer is. (smug) It's in your hands.
Michael seems to silently debate the issue. His arm lowers.
STEFAN: (chuckles) Wise choice.
Flash to Section.
BIRKOFF: Michael’s standing down.
Flash to Consulate
STEFAN: You must love them very much.
Corliss enters the room from where Michael did, earlier. His gun is up, bullets flying, aimed at Vacek. Michael spins around, shooting; he hits Corliss, but too late. Vacek is on the ground. Michael goes to him, checks his pulse. He’s dead.
MICHAEL: (softly desperate) No…
He leaves Vacek, and walks to Corliss. The unfortunate Valentine op lays on the floor, panting shallowly, and stares unblinkingly back at Michael’s loathing.
Michael leaves him there.
ELENA’S HOUSE
At Elena’s house, Michael enters as he had before. The door stands open; he walks in and finds the kitchen in disarray: food on the counters, the television on, a pot boiling over on the stove. He leaves, and finds the living room in similar condition but no sign of a living person, so he climbs the stairs. At the top, he finds his son’s teddy bear, and spots of blood. He picks it up and looks around. He walks forward quickly, his feet stepping quicker with each stride. Elena’s room – empty. The hall – empty. He nearly runs to Adam’s room, and that, too, is empty.
He stops. Looks around at all the emptiness. And then he merely stands there, bear in hand, his face almost bewildered.
OPERATIONS’ PERCH
Operations leans his weight on the railing, his back to the view. Michael stands quietly, facing him.
OPERATIONS: I thought you should know that Oversight was pleased at the handling of this mission. Despite Corliss being the primary operative, you were given full credit for its success.
MICHAEL: Thank you.
OPERATIONS: Birkoff has flushed out the remaining cells, and by tomorrow, Vacek's organization will no longer exist. In the meantime, Vacek's body will be…‘recovered’ in the wreckage of an air crash. His burial will be conducted with full diplomatic honors.
Michael glances away for a moment, then back.
MICHAEL: (expressionlessly) A happy ending for all concerned.
OPERATIONS: Even for Elena and Adam. Yes, Michael, we made them disappear so you needn’t worry about them any longer. In fact, it would be pointless. Out of your reach, out of your life for good.
Cut to the space beneath the perch. Michael walks, finds Nikita leaning against a steel support. He stops, stands by her. She wears a light, silvery dress; her hair is down and tamed. She looks at him, her eyes full of regret and guilt.
NIKITA: I…
MICHAEL: It's okay.
He gently clasps her upper arm before he turns and walks away to his office.
In the dim light, he watches the home movie of his once idyllic family, planting a tree. The light from the monitor washes his face; he reaches out and touches the screen. Adam’s face twists and smiles, all baby beauty and curiosity. Michael freezes the image. And then turns it off.
In darkness, he stares into the distance.
|
|