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107. Mother
Directed by Guy Magar
Written by Naomi Janzen
Guest Starring: Sherry Miller
Transcribed by Christine
VAN ACCESS
Operatives enter Van Access, preparing to embark on a mission. Michael comes up and speaks to one of the operatives, an amiable guy with short-clipped hair.
MICHAEL: Hey, Chuck. What’s with the hair?
CHUCK: I had to do something, I was starting to look like you.
Chuck enters the tunnel; Michael smiles. Nikita comes running up, a case in her hand, which she extends to Chuck.
NIKITA: Chuck! Here’s your pack. Walter fixed your headset so you won’t get any more dropouts.
It’s obvious that Chuck and Nikita are friendly with each other.
CHUCK: We’re gonna miss you out there.
NIKITA: Guess they thought we had too much fun together last time.
MICHAEL: Remember, our priority here is the trigger. We have to get it off the street. If that’s under control, then we can go for Wicke. When the deal goes down, you’ll receive your signal. Bring me that trigger.
Chuck winks at Nikita; she smiles. The operatives load into the van. The elevator doors close, and Michael and Nikita turn away.
WICKE HOME
A man sits beside a blazing fireplace, speaking on the phone.
MAN: Did you make the delivery?
VOICE: Yeah, I just handed it to him.
MAN: Good.
He hangs up the phone.
MISSION
It is night. We see Chuck walking, the case in hand.
Flash to Section
Birkoff sits at his desk in Comm. Madeline, Michael, and Nikita are also there. They are watching Chuck and the operatives on their mission via an overhead monitor.
CHUCK (via com): He’s in.
MICHAEL: With the trigger?
CHUCK (via com): With the trigger. We’re checking it out now.
On the monitor, Chuck and the ops work on the trigger.
CHUCK (via com): It’s all here. Hold on a minute, Michael.
MICHAEL: What’s wrong?
CHUCK: It’s not the real trigger.
MICHAEL: What is it?
The monitor shows intricate bomb layout.
CHUCK: It’s a bomb.
MICHAEL: Can you defuse it?
CHUCK: We’re on it now.
An operative begins cutting wires.
VOICE: It’s not reading. These are dummy wires.
WICKE HOME
A woman sits on a sofa located next to the blazing fireplace. She looks at the man, who had been on the phone.
WOMAN: How did it go?
MAN: We’re almost done.
He pulls out his phone again, and hits 1-0, then Send. This activates the bomb
MISSION
The monitor in Section shows Chuck and the operatives still trying to diffuse the bomb. A beep suddenly sounds.
CHUCK: It’s been activated.
The bomb’s counter reads: 06 seconds.
MICHAEL: Evacuate now.
CHUCK: There’s no time.
Nikita watches the monitor worriedly. We see the counter at 2 seconds, then Chuck and the other operatives, and suddenly the screen turns to static. Nikita stands, looking at the monitor with disbelief. Birkoff sits, his expression shocked.
MICHAEL: Chuck? Chuck, are you there?
From his loft, Operations had been watching. He turns away.
WICKE HOME
The woman tosses a magazine aside, and takes up a teacup.
WOMAN: Who were they?
MAN: We may never know.
COMM
Madeline removes her comm piece. She is angry.
MADELINE: Bring in everyone. This is now priority one.
She walks off. Michael and Birkoff also move off, but in different directions. Nikita moves numbly up to the monitor, where she’d last seen Chuck. She is right up to it, but it only shows static. She doesn’t want to believe that Chuck is dead.
WAR ROOM
At the long conference table, Operations sits on one side in the center, while on the other side are Michael, Nikita, Birkoff, and another operative.
OPERATIONS: The people who are responsible for the loss of life two days ago are John and Helen Wicke.
He activates the holo-screen, which shows images of the Wickes.
OPERATIONS: They’ve been selling arms internationally since 1984. Their activity was mostly limited to Class Two or Three explosives. We believe now, however, that they’re in possession of a nuclear trigger. It’s a classified device. It’s just as valuable as a warhead itself.
He clicks off the holo-screen and stands.
OPERATIONS: These people trust no one, but each other. Until now, they seemed invincible.
He looks pointedly at Nikita.
OPERATIONS: But, we believe we’ve found a weakness.
Nikita looks at him warily.
SHELTER
We see a stone building with large lettering: Bureau of Social Services. Outside, several homeless people mill about. There is a barrel with a fire burning inside it. A few of the individuals stand around it warming their hands.
Nikita walks up and stands a few moments, warming herself, then heads up the steps to go inside the building. The front door has a sign: Shelter, Hospice General. Inside, she sits before a one of the workers, who does registry.
WORKER: Name?
NIKITA: Nikita.
He writes this down.
WORKER: Nikita…?
NIKITA: Just Nikita.
WORKER: Look, to qualify for food and shelter, you gotta answer me a few questions, okay? Place of birth?
WICKE HOME
A man, Mark, sits in a wingback chair, holding a wineglass. On the couch are the man and woman, John and Helen Wicke.
MARK: It was easy, John. After I left Uzbekistan, I flew to Greece. Faginson printed me up a new passport, and here I am.
JOHN: The trigger was with you the whole time?
MARK: Never left my sight, John. There’s no way anyone can put me there.
HELEN: Mark, can I get you another drink?
MARK: No, I’m fine, Helen. I have to catch a flight. Thanks.
Helen stands and goes to the mini-bar.
JOHN: Do you… have the key?
Helen turns to see Mark’s response.
MARK: Right here. Locker at the airport, like you said.
Mark hands a small, gold case to John, who takes it eagerly.
JOHN: Great. I’ll wire the money into your account, as usual.
OUTSIDE WICKE HOUSE
Mark exits the house, John and Helen right behind him, holding their wineglasses, seeing him off. In the distance a driver and limousine wait to take Mark to the airport. Mark turns to Helen.
MARK: Well, goodbye, Gorgeous.
Helen laughs and Mark kisses first one cheek then the other.
HELEN: My best to Eve.
MARK: I will.
John steps forward. They shake hands.
MARK: Thanks again, John.
JOHN: Mark. Take care.
MARK: You, too. Bye-bye.
Mark moves to the limousine. John and Helen ting their wineglasses together. Helen goes back inside. The driver opens the door for Mark, then looks to John standing at the front door. John nods. As Mark bends to get in the back of the limousine, the driver shoots him in the back. He falls inside, and the driver closes the door on him, then drives off.
INSIDE WICKE HOUSE
John enters the living room, moving to the mini-bar. Helen sits at a laptop.
JOHN: Okay. Contact Wallen and have him start negotiating right away. And, um… cancel Paris for now. We can see them in London next month. And, have Randy double security until this deal is over.
She continues typing at the laptop.
HELEN: Did it. All.
The phone rings. She picks it up.
HELEN: Hello?
CHARLIE: Helen, Charlie Ross here.
HELEN: Oh, yes, Charlie.
CHARLIE: Helen, I think we may have something. I’m pretty sure I’ve found her, if it is her.
Helen’s expression turns to shocked disbelief.
CHARLIE: She’s at a shelter downtown.
HELEN: I see.
CHARLIE: How do you want to proceed with this? Do you want me to pick her up?
HELEN: Yes, of course.
CHARLIE: Would you like to meet me down at the shelter?
HELEN: No, here.
CHARLIE: Okay. When do you want to do it?
HELEN: As soon as possible.
CHARLIE: Okay, I’ll get her as soon as I can.
Helen doesn’t quite hang up the phone. She is in shock.
JOHN: What’s wrong?
She sets the phone down.
HELEN: That was Charlie Ross.
JOHN: We haven’t heard from him in months.
HELEN: He thinks he’s found her.
SHELTER
Nikita holds a tray of food and follows the line into a cafeteria. She takes a seat and begins eating her spaghetti. A shelter worker and Charlie Ross stand in the distance; the worker points to Nikita. She catches this, and turns to the person sitting next to her.
NIKITA: Want some coffee?
She goes to the large coffee urn, and pours a cup, glancing back to the worker and Charlie Ross. Instead of returning to her seat, she moves out a door, heading outside through the back of the building.
Charlie sees her leave and immediately takes off after her.
Outside, Nikita scales a high deck railing and jumps to the grass below. She tries to run off, but is headed off by men, who tackle her and shove her kicking and screaming into a waiting black Mercedes.
NIKITA: What do you want?
Charlie gets in the front passenger seat, and the car drives off.
WICKE HOUSE
The Mercedes pulls up to the long lightly snow-covered driveway of the Wicke Compound. The two guards pull Nikita out of the car, and lead her toward the house. She shrugs out of their grasp.
NIKITA: I can walk by myself.
They each grab an arm anyway, and proceed to the front door. Charlie Ross follows.
Inside, a maid allows them inside. They stand inside the foyer.
NIKITA: Come on, leave me alone. What the hell is this place?
She looks around the large interior.
NIKITA: Let me go.
Helen slowly descends a spiral staircase, dressed in a riding habit, her hat tucked in her arm. She stands before Nikita, looking to Charlie.
HELEN: I didn’t expect you to bring her this morning.
NIKITA: Let me go. Please.
Helen moves to nearby round table, her back to Nikita.
HELEN: Who gave you the name ‘Nikita’?
NIKITA: (surly) Who said that’s my name?
HELEN: Do you have family?
Helen goes back to stand in front of Nikita.
HELEN: Are you a prostitute?
NIKITA: No.
Nikita glances about the large and richly decorated interior and smirks.
NIKITA: Are you?
HELEN: Drug addict?
NIKITA: Look, I haven’t done anything wrong. What do you want?
HELEN: I just want to ask you a few questions. If you promise to cooperate, I’ll send them away.
She looks at the men and jerks her chin up, indicating they can leave.
HELEN: Would you like to come in and sit down?
WICKE LIVING ROOM
Nikita sits on the couch, while Helen remains standing, her back to Nikita.
HELEN: What year were you born?
NIKITA: (still surly) What year were you born?
Helen spins and slaps Nikita across the face, hard enough to knock her backward. Nikita sits up and looks at Helen with a lot less attitude.
HELEN: What year?
NIKITA: ’75.
HELEN: The date?
NIKITA: October 17.
HELEN: Who were your parents?
NIKITA: I don’t know. I lost count after the fifth foster home.
HELEN: Where were you born?
NIKITA: Halifax.
HELEN: Where in Halifax?
NIKITA: (raises voice) I don’t know where!
HELEN: I think you do. Nikita. Say it!
Nikita looks up at Helen uncomfortably, then stands and gets in her face.
NIKITA: Jail. I was born in jail!
Nikita sits back down and looks miserable, while Helen slowly sinks to the couch, her expression registering shock that she has finally found her daughter. She closes her eyes and sighs.
HELEN: My poor girl.
NIKITA: (defensively) What?
She looks over to Helen, who still wears an open mouthed, dazed expression.
NIKITA: Crazy!
HELEN: I maybe, but I’m also your mother.
WICKE KITCHEN
Nikita sits at a table. Helen places a silver service laden with tea makings and scones, cream and jam before Nikita. Nikita looks at it.
HELEN: I know this all seems unreal to you.
NIKITA: I’ve never seen food like this. What is it?
HELEN: Scones.
She says it like it’s unusual that Nikita doesn’t know what scones are. Nikita shoves up her sweatshirt sleeves as if to dig in and breaks one of the very dry scones open. She takes a bite.
HELEN: They’re better with cream and jam.
Nikita slaps a spoonful of jam on top of the scones, while Helen looks appalled at her lack of manners. Helen removes the collar of her riding habit.
HELEN: What did they tell you about me?
NIKITA: That you were dead.
HELEN: Anything else?
NIKITA: Not really.
She dollops a heap of cream on the scone and takes a lick.
HELEN: I didn’t give up…
Helen begins removing pins from her hair, letting it loose.
HELEN: … They took you. I was… I was in jail, unmarried. It was the law. When I got out, no one would tell me anything. I’ve been looking for you ever since. Adoption agencies… foster homes…
NIKITA: How’d you find me?
HELEN: I hired a detective.
She pours some tea into a porcelain teacup.
HELEN: Charlie would… call every couple of months to check in and tell me there was no leads. And, then, yesterday he called, and here you are.
Nikita accepts the teacup from Helen, smiling but unaffected by Helen’s long search.
NIKITA: Cool.
HELEN: You don’t believe me?
NIKITA: What difference does it make?
HELEN: To me it does and I hope that one day it will to you, too.
JOHN (from other room): Helen?
He enters the kitchen, stopping abruptly when he sees Nikita at the table.
JOHN: Oh! Sorry to interrupt.
Nikita looks over at him, as you might any stranger – no interest, and drinks her tea. Helen rises and moves over to her husband.
HELEN: John, this is Nikita. Nikita, my husband - John Wicke.
He isn’t as easily accepting of her as Helen, his demeanor distant.
JOHN: Hello, Nikita.
NIKITA: Is he my father?
HELEN: No, your real father’s dead.
JOHN: Nikita? What were you doing before you walked into that shelter?
NIKITA: (vaguely) Stuff. Hangin’ out.
She takes a bite of the scone, obviously not feeling the need to explain to him.
JOHN: And, all of a sudden you just needed some help.
NIKITA: (matter-of-factly) I got cold.
HELEN: She got… cold.
JOHN: We should go… now.
Helen turns to Nikita and gesture with her hand.
HELEN: Just… just wait right there. I’ll be… I’ll be right back.
She leads her husband out of the kitchen into a hallway.
HELEN: John, could you do this without me?
JOHN: I can; I’d rather not.
HELEN: This is so important to me.
JOHN: I know it is. That’s why you can’t commit yourself to this until you know it’s real.
HELEN: (sure) It’s her, I know. It’s her.
JOHN: I want this for you, darling, I do. And, if it’s really her, I’ll drop everything to…
They hear the back door close loudly. Helen looks out a window and see Nikita trying to run off. Helen has a hand-held radio that she speaks into.
HELEN: Stop her. She’s running away.
OUTSIDE WICKE HOUSE
Nikita runs for the driveway, sees two guards and a dog heading toward her, and changes her course, running to her right. Helen runs out the front door. Nikita runs for cover to John’s parked car, where she crouches and quickly pulls a tracker out of her ring and sticks it under the car. The guards and dog get to her just as she sits on the ground as if she’d only been hiding there.
NIKITA: Hi.
Helen calls out to the guards.
HELEN: Don’t hurt her!
When Helen runs up, Nikita looks to her.
NIKITA: You can’t keep me here.
HELEN: You’re free to go, just give me a chance first.
NIKITA: If I’m free, why are they here?
Helen looks at the guards.
HELEN: Go.
The guards move off, and Helen helps Nikita stand. She keeps Nikita’s hand a moment, until Nikita pulls away. As they head to the front door, we see John standing at open French doors on the second floor, watching suspiciously.
COMM
Birkoff sits at his desk, Michael beside him. A monitor shows the schematics of the Wicke compound.
MICHAEL: Has the package been delivered?
BIRKOFF: They’re approaching the target now. It’ll be dropped in three minutes.
WICKE HOUSE
In an upstairs open hall, Helen lead Nikita on a tour of the house. Nikita looks all around.
HELEN: These are the guest bedrooms. The one that faces the gardens has the nicest deck, but it’s the one I was saving for you.
NIKITA: Did I say I was staying?
HELEN: I see you’ve inherited my lack of trust.
NIKITA: (defiantly) Look, lady, you don’t seem to get it. I’m okay with my life. I don’t need anything from you or anyone else.
HELEN: That’s what I thought when I was your age, too. Then I met John, and he made me realize I needed someone.
They enter the guestroom. It is very pretty and feminine; Nikita looks around appreciatively.
HELEN: I hope you like it.
Nikita wanders about the room, looking at the various dolls and knick-knacks.
NIKITA: What do you and John do anyway? How’d you get all this?
HELEN: Johns’ been very successful in business.
NIKITA: What kind of business?
HELEN: (vaguely) Oh… different things. So… can I tell Louise to put new linens on the bed?
Nikita is holding a doll. She looks around the nice room as if it is the deciding factor for her.
NIKITA: I’ll stay a couple of days. No promises.
HELEN: (smiles) No promises. Come on, I want to show you the garden.
COMM
On the monitor we see the schematic of the plane dropping something on the Wicke grounds.
BIRKOFF: There it goes.
BIRKOFF: Oh no.
MICHAEL: What?
BIRKOFF: It’s landed about 100 feet from the target. It’s exposed.
WICKE HOUSE
Bundled in their coats, Helen and Nikita descend a spiral stone stairway.
HELEN: Beyond that ridge is a river. John likes to go down and battle the trout. I’m sure he’d love to take you along with him some time.
Nikita sees the dropped package directly ahead of them, and needs keep Helen from seeing it. She looks to their left.
NIKITA: Is that the guesthouse?
HELEN: No. That’s where John works.
Helen moves forward in the direction of the package. Nikita slips an arm through Helen’s and tugs her to the left.
NIKITA: Oh, it’s getting cold. Tell me how you and John met.
HELEN: It was uh, it was about eleven years ago…
WHITE ROOM
A man gasping in pain sits in the chair in the center of the room. Two operatives stand guard at either side of the steel door. Madeline enters the room, and moves before the man. His face is cut and bloody from a beating.
MAN: What is this place, huh? Who are you people?
MADELINE: We already know there are people inside Baghdad who want the nuclear trigger. We just don’t know what group.
MAN: I don’t know what you’re talking about.
MADELINE: John Wicke, the man who has the trigger - the man you spoke with on the street this afternoon killed four of my employees.
MAN: Never heard of the guy.
MADELINE: We tracked Wicke’s car to you meet and saw the money exchange. Do you think there’s anything I won’t do to get this information from you?
MAN: I can’t tell you what I don’t know. You can torture me all day and that won’t change.
MADELINE: It’s a deal.
Madeline exits the room. The operative moves to the man, one grabbing him by the hair. As the door closes, we hear the man scream in agony.
OPERATIONS’ LOFT
Michael stands rubbing his chin absently.
MICHAEL: Comm picked up intel from our friends at Mossad. They’ve narrowed it down to three potential groups.
OPERATIONS: Are there any other specifics? Time? Location?
MICHAEL: Nothing.
Madeline enters the room, standing beside Michael.
OPERATIONS: What have you got from him?
MADELINE: So far, nothing.
OPERATIONS: (yelling) Nothing? I’m getting tired of hearing that word. I mean, has everyone in this place suddenly become incompetent?
They don’t respond.
OPERATIONS: What do you hear from Nikita?
MICHAEL: No reports for the last six hours, which is probably a good thing.
MADELINE: If she can form some kind of bond with Helen Wicke, we’ll have the leverage we need.
OPERATIONS: (angrier) If? If?
Madeline gives him a look and turns on her heel, walking out. Michael starts to follow her.
OPERATIONS: Michael.
Michael turns back to face Operations.
OPERATIONS: I have not intention on failing on this one. Nikita may have to sacrifice.
MICHAEL: Meaning what?
OPERATIONS: If Helen Wicke believes she’s Nikita’s mother, she may not be able to tolerate the pain we inflict on her daughter.
Michael glances away, then leaves the loft.
WICKE OFFICE
It is night. A guard with a dog patrols the grounds with a flashlight. Nikita waits for them to pass by, then runs to the dropped package, opens it and pulls out a canvas bag.
The guard checks Wicke’s office door, then moves off. Nikita sneaks to the door, attaching a device to the alarm that scrolls through number combinations. When it stops, she passes a key card through the card slot, enters the combination. The red locked light changes to green – unlocked.
Entering the office, Nikita shines a flashlight about the interior. She puts on a pair of infrared glasses and sees that the office is laser-secured. On a wall, she sees the alarm panel, and uses a power screwdriver to remove the cover. She clips off the correct sensors, then put the glasses back on and sees the laser security has been disconnected.
She moves into the office, going to a bookcase and feeling atop the books. Finding nothing, the looks to the desk and looks under some papers. An unusual-looking device sits on the desk. She takes out a small camera and snaps some shots of it.
She hears a car drive up; and immediately puts the device where she found it; then hurries to tidy the room as she found it. She looks out the window and sees John Wicke.
She rushes to the alarm panel, removes the clips, then hurriedly replaces the panel and fastens the screws back in place. John sounds at the front door, leaving Nikita no time to fasten the last screw. She leaves it on the table beneath the alarm panel.
John Wicke enters and turns on the light. He goes to the alarm panel and enters the code, shutting off the lasers. Going into his office, he slides open a panel behind which is a safe. He pulls a manila envelope stuffed with money and the gold case containing the key and sets them on the desk, while he opens the safe.
In the foyer, Nikita hides beneath a round table draped with a floor length tablecloth. She parts the tablecloth panels and snaps pictures of John’s actions. John places the key and money in the safe and locks it up. He turns around, looking about the office suspiciously, as if something is not quite right, but finds nothing out of the order.
Shutting off the office light, he moves to reactivate the alarm panel. He notices the screw on the table, then the hole on the panel where it belongs. He picks up the screw, then tosses it into an ashtray on the table. He exits the office.
WICKE HOUSE
John enters the front door, entering the foyer, as Helen descends the staircase, wearing a satin robe.
HELEN: Hi, darling. You look exhausted. How’d it go?
JOHN: Were you in my office earlier?
HELEN: No. Why?
JOHN: Nothing. It… it went fine.
She senses he is uptight about something.
HELEN: Should I call Emil?
JOHN: No, I don’t need a massage. I’m, uh… just going to take a hot bath and go to bed.
He begins to go up the stairs, then stops short.
JOHN: Oh, um… how did it go with Nikita?
HELEN: It was a good day, John.
JOHN: Where is she?
HELEN: She’s upstairs in the guest bedroom.
JOHN: I’ll see you in bed.
She kisses him.
HELEN: I’ll be up soon.
GUEST BEDROOM
John quietly opens the bedroom door.
JOHN: Nikita?
He slips inside and makes his way stealthily further into the room, tiptoeing to the bed. At the bedside, he pulls the covers away. Nikita is there, appearing to be sound asleep. He glances around the room then leaves.
MADELINE’S OFFICE
Michael enters the office. Madeline sits in her loft, talking on the phone.
MADELINE: All right.
She hangs up the phone.
MICHAEL: We’re making progress.
MADELINE: I’m listening.
MICHAEL: The trigger is due to arrive in Tripoli in 52 hours.
She looks at him, her expression reads: Big deal.
MADELINE: That’s it?
MICHAEL: We’re working backwards. There’s enough time left.
She stands and takes the stairs down to the lower level.
MADELINE: To do what? We can’t trace it from the buyers; they don’t know where it is. And, Wicke won’t give them a rendezvous point until the very last possible moment.
MICHAEL: We’ll tap into something.
MADELINE: Are you trying to convince? Me? Or, yourself? Wicke and his wife are the only ones that know the location of the trigger. He’s not going to crack, she might.
Michael turns and begins to leave.
MADELINE: We’re going to have to use Nikita.
He stops at the open doors, inclining his head to listen.
MADELINE: There’s no way to avoid it. Prepare yourself, Michael.
He walks out.
WICKE GUESTROOM
Nikita stands before a dressing mirror looking at her reflection. She is wearing a pretty pale dress with a wide pink sash. She looks very prim and proper. Helen stands, leaning against the mirror and admiring Nikita.
HELEN: You like it?
NIKITA: I feel very different in these clothes.
HELEN: You are different. You have a mother now.
NIKITA: Helen, you’re a very nice woman, but I’m just not able to…
HELEN: You can’t call me ‘mother’?
NIKITA: (apologetic) No. Not yet. As I was trying to say, I’m not quite as ready for this as you are.
HELEN: I understand. It’s just that I’ve been waiting for this for years, and now here you are…
Helen holds a navy blazer and coordinating sweater up to Nikita. Obviously, she’s been shopping for Nikita.
HELEN: … more beautiful and wonderful than I ever could have imagined.
NIKITA: (smiling) Helen, please.
HELEN: One look in your eyes and I knew I’d never be the same. Listen to me, the typical mom.
There is a knock, and a maid enters carrying a tea service.
HELEN: I’ll take that.
HELEN: Now, tea, we take very seriously.
She sets the service on a table.
NIKITA: I see.
Nikita tosses the blazer and sweater aside, then goes and sits at the table, where Helen is pouring tea.
HELEN: This is one of my favorites. It’s… sort of like a Darjeerling, only a little sweeter. Try it.
Nikita reaches for the teacup, grabbing it indelicately.
HELEN: Ahhh…. This way’s better.
Helen shows Nikita how to correctly take the handle, and Nikita takes the teacup properly in hand.
NIKITA: Thank you.
Nikita sips the tea, and Helen waits for her reaction.
HELEN: Yes?
NIKITA: I like it.
Behind Helen is a hanging picture.
NIKITA: Is that my grandmother?
Helen goes to retrieve the picture from the wall.
HELEN: This was one of the last times she was able to take me out.
Nikita removes a vial from her slipper and quickly enters its contents into Helen’s tea. She barely has time to stuff the empty vial down her dress front, when Helen turns back, the picture in hand.
HELEN: She died two months later. She never had a break in her life, but she was never bitter.
Nikita studies the picture.
NIKITA: Look at you.
HELEN: I think there’s some of her in both of us.
WICKE’S OFFICE
John is on the phone.
JOHN: This is Wicke. Is he in? What do you mean he didn’t come back? No. I met with him yesterday. No, you listen to me. You find out what’s going on, where he is, and if he’s not running his own show, who is? I’ve gotta get this thing out of the country in the next 24 hours.
WICKE GUESTROOM
Nikita helps a drugged and listless Helen to the bed, situates her head on a pillow and covers her with a blanket. Nikita looks down at Helen regretfully, brushing her hair from her forehead gently.
NIKITA: I’m sorry, Helen.
WICKE OFFICE
John sits at a desk working on a computer. He tries to connect online, but the screen reads: CONNECTION FAILED. MODEM CURRENTLY IN USE.
WICKE LIVING ROOM
Nikita sits at a laptop, downloading images from the camera to Section.
Flash to Section
The monitor shows the key they’ve been trying to get.
BIRKOFF: Looks like one of those new carbon fiber jobs. Whatever it opens was made in the last two years.
Operations, Madeline and Michael stand behind him, watching the monitor. Michael rubs his chin worriedly.
MICHAEL: Can it be private?
BIRKOFF: No. They’re mass-produced for hotels… airports…
Operations turns with irritation and leaves.
MADELINE: Work it up.
Back at the Wicke Living Room
John enters the living room very quietly sneaking up and watching Nikita work the computer competently. She is downloading more images to Section. He sides at the mini-bar to her side, but she doesn’t hear or notice him.
JOHN: What are you doing?
Nikita jerks her head toward him caught off guard.
NIKITA: Oh!
She closes the laptop.
NIKITA: Helen said I could use the computer. I hope that’s not a problem.
She removes the camera, calmly unhooking the connector cable.
JOHN: What’s that?
NIKITA: This? It’s a digital camera.
She gives him kittenish smile, holding up the camera and taking his picture. He blinks, disconcerted.
JOHN: You’re, um, you’re not Helen’s daughter.
NIKITA: No, I’m not.
JOHN: What did you do to her?
NIKITA: Helen?
She turns in her chair and rests her arms over the back of it.
NIKITA: I put her to sleep for a couple of hours. She’ll be fine.
JOHN: Who are you?
NIKITA: I’m a friend of Chucks.
He laughs shortly, turning to pour himself a drink.
JOHN: Aha. I’m afraid, um… I don’t know him.
NIKITA: Oh, yes, you do. You killed him a couple of days ago, along with a couple of friends of mine.
JOHN: I see.
NIKITA: Where’s the trigger?
Now he knows what is going on. He looks at her.
JOHN: You know I’ll never tell you that.
NIKITA: If you love Helen, you will.
She stands to face him.
JOHN: I don’t love anyone that much.
He reaches to his side to grab a gun lying in a case.
NIKITA: That’s too bad.
He tries to go for the gun, but Nikita gets hers first and shoots him. He falls back on the couch – dead.
NIKITA: That’s for Chuck.
WICKE GUESTROOM
Nikita hurriedly puts on the sweater and blazer Helen bought her, then goes and sits on the side of the bed where Helen lies.
NIKITA: Helen?
Helen groggily opens her eyes.
NIKITA: Hi.
HELEN: Oh… I don’t know… I don’t know what happened. I just got groggy. How long was I out?
NIKITA: Couple of hours.
HELEN: Did you see John?
NIKITA: He left awhile ago.
Helen frowns and sits up, reaching for the phone.
NIKITA: Is something wrong?
HELEN: We… we had a very important meeting. This isn’t like him. Did he say where he was going?
NIKITA: No. He did seem in a hurry.
They hear the doorbell ring. Helen gets out of the bed and smoothes her hair and clothes before going to answer it. Nikita is stone-face, knowing what’s to come.
WICKE FRONT DOOR
Helen opens the door, Nikita behind her. Michael stands, dressed as a detective.
MICHAEL: Mrs. Wicke.
HELEN: Yes?
MICHAEL: I’m Detective Louis.
He shows her his badge.
MICHAEL: There’s been an accident.
HELEN: What are you talking about?
MICHAEL: Your husband was driving on Highway 116 and apparently lost control of his vehicle.
Helen opens her mouth with shock.
MICHAEL: He’s dead.
HELEN: No!
She starts crying, turning and grabbing Nikita, who holds her comfortingly.
MICHAEL: I’m sorry, ma’am. We’re going to need you to come down, to identify the body.
OUTSIDE WICKE HOME
Michael waits for Helen and Nikita. They come out, wearing their coats, purses in tow, and walk to the waiting police car. Michael follows.
HELEN: There’s so many things. I don’t know what to think. I… I… He did every… every…
Her voice breaks and she can’t continue.
NIKITA: Don’t worry about any of that now. I’ll take care of you.
They are at the police car. Helen turns with shock and looks at Nikita.
HELEN: You will?
NIKITA: Of course. You’re my mother, aren’t you?
Helen gets into car. Before Nikita does, she shoot Michael an angry look.
OBSCURE COUNTRYSIDE
The car drives along a lone road. It suddenly comes to a stop. Helen and Nikita in the back seat are confused.
NIKITA: Why are we stopping?
Michael glances back at them.
MICHAEL: Get out of the car.
HELEN: What are you doing?
The side door opens and two operatives yank Helen out and drag her off, while two other operatives pull Nikita out of the car. As they lead her into a treed area, she kicks and wiggles wildly and struggles to break free of their hold. She keeps trying to look back to Michael, but can’t.
HELEN: Leave her alone! She hasn’t hurt anyone.
Nikita is taken and tied to a tree, her arms behind her back. The operatives hold Helen, standing a small distance to the side of Nikita. Michael stands before them a small distance away.
HELEN: Stop!
NIKITA: Why are you doing this?
Helen and Nikita both watch Michael with puzzled expressions. Helen doesn’t know what they want, and Nikita isn’t aware of Section’s decision to use her in this way.
Michael nods to a big bruiser operative, who goes to Nikita and beats her in the face. Helen looks on with mortification, while Michael can’t bear to watch it and looks away. Nikita slumps forward in pain.
HELEN: What do you want?
MICHAEL: The trigger.
Now everything becomes clear to Helen.
HELEN: Ahhh! You killed John because he wouldn’t tell you. You think I will?
Helen and Michael lock gazes. Michael gives her a moment to change her mind, but she resists. He looks the operative who punched Nikita.
MICHAEL: Continue.
This time the operative punches Nikita in the gut. She keels forward, falling to her knees, her head hanging and gasping for breath.
MICHAEL: Where is it?
Helen resists, staring at Michael stubbornly. Michael looks at Nikita, who coughs painfully. He turns away, looking to the bruiser operative.
MICHAEL: Kill the girl.
The operative takes out his gun and aims it to Nikita’s head, while the operative’s holding Helen begin to lead her off. The bruiser operative cocks the gun, and Nikita lifts her head, closing her eyes and waiting to be shot. The operative leading Helen only take a few steps before Helen digs her feet and tries to stop them from proceeding.
HELEN: No! No!
Michael turns to Helen. She is crying.
HELEN: I’ll tell you. She’s all I’ve got.
When she says this, Michael looks over to Nikita, as if to say she is all he has too. Nikita looks at him crying; her face battered.
MEDICAL
Madeline stands at the foot of Nikita’s bed watching her. Michael enters, taking a stand beside Madeline.
MICHAEL: How is she?
MADELINE: She’ll be fine. Do we have closure?
MICHAEL: The trigger was where she said it was, and we picked up the buyers.
Nikita opens her eyes. Her face is bruised, cut, and clearly took a good beating.
MADELINE: (smiles) Hello.
NIKITA: (groggy) What happened?
MADELINE: You did your job. Thank you.
Madeline leaves. Michael goes to the bedside. Nikita tries to lift a hand to her face, but groans with the effort and gives up. She slowly turns her head toward Michael.
MICHAEL: I’m sorry it had to come to that.
NIKITA: (exhales) Don’t be. I’m getting used to how things are.
Michael looks at her sadly. He couldn’t protect her from the beating.
NIKITA: Is Helen still alive?
MICHAEL: For now.
NIKITA: Does she know… that I’m not her daughter.
MICHAEL: We haven’t told her.
NIKITA: You know, my real mother would have let them keep beating me. She would have let me die.
She turns her head away, contemplating that. Michael reach out and gently traces her brow with his thumb.
MICHAEL: Get some rest.
He moves to the door.
NIKITA: Michael?
Michael turns back to look at her.
NIKITA: However long she’s got… let her believe.
Michael looks at her a moment, then turns and leaves. Nikita lies beaten and hurt on the bed. The doors to the room slide shut.
The End
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