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316. Before I Sleep
Guest Starring: Juliet Jandau
Transcribed by Christine
WHITE ROOM
A woman is strapped in the chair in the center of the room. Her name is Jan Baylin. She is dressed in black leather, her hair a chic page cut. She fights against her restraints.
JAN: Hey! Let me go! Get me out of here!
Madeline enters, calmly humming, in an attempt to disconcert Jan, pacing behind the chair and around to the other side. Jan’s eyes follow Madeline’s movements. Madeline stops and looks at her.
JAN: I’m going to kick your ass, lady.
MADELINE: Miss Baylin, you have a business relationship with a man named Marco Ashe.
Madeline begins pacing again.
JAN: That’s why you got me here? Marco Ashe?
Jan laughs, amused.
JAN: Classic. Marco Ashe.
Madeline suddenly lunges forward, grabbing Jan by the throat and squeezing so she can’t breathe.
MADELINE: Now listen carefully.
She releases Jan’s throat and steps back, having grabbed Jan to show her that she means business.
MADELINE: We have our reasons for wanting Mr. Ashe, and you will help us. Usually, I’d extract what I want and you’d be disposed of.
JAN: Ooooh…. I’m afraid.
MADELINE: I think there’s an opportunity here for someone with your skill set.
JAN: I don’t want to work in your organization.
Jan looks away, shaking her head with disinterest.
MADELINE: I disagree. I think the work here will appeal to you. But, we’re getting ahead of ourselves. First things first.
JAN: What do you want me to do?
MADELINE: Complete your transaction with Marco Ashe.
MARCO ASHE MEET
Jan, wearing dark sunglasses, is driving a light blue Alfa Romeo convertible down the streets, weaving in and out of traffic at high speeds. Behind her are Michael and Nikita in a black Mercedes.
NIKITA: She’s going to us to Ashe?
MICHAEL: Yes.
NIKITA: Why didn’t we brief this?
MICHAEL: No time. Ashe will only be at the location for another hour.
NIKITA: And we trust this girl?
MICHAEL: We trust her enough.
Jan stops at a stoplight. Michael and Nikita stop behind her. Suddenly Jan accelerates forward, barely missing cars as she speeds through the intersection. She watches Michael and Nikita from her review mirror.
NIKITA: What’s she doing?
MICHAEL: Lead vehicles, drop back and pick her up.
Jan suddenly tears down the street, breaks and birdies her car around, and stops, so that she now faces Michael and Nikita’s car, though they are still in the distance. Removing her sunglasses, she eyes Michael and Nikita across the expanse that separates them. She races her car forward at a deathly speed, hurtling toward Michael and Nikita’s Mercedes still stopped at the red light. At the last minute, they realize she is going to crash headfirst into them. They both lunge out of their respective doors, just as Jan slams into Mercedes front end. She is dead.
BRIEFING TABLE
Michael, Nikita, Birkoff and two other operatives sit at the briefing table. Operations arrives, and clicks his remote to activate the holograph screen. We see Jan Baylin’s image.
OPERATIONS: Jan Baylin was a courier who ran material between a transient tactical group call The Alliance and this man here, Marco Ashe.
He clicks the remote again, and the screen shows Marco Ashe’s image.
OPERATIONS: At regular intervals, Ashe connected with Baylin, gave her a package and a location to The Alliance. Unfortunately, she died three weeks ago in transit to the meeting.
He looks pointedly at Michael, glaring.
OPERATIONS: The offset team was apparently unable to protect her. Birkoff?
BIRKOFF: So far, no one outside Section knows Baylin’s dead. We’ll exploit that by using a wet duplicate.
OPERATIONS: We got lucky.
The holograph screen shows an image of woman who looks like Jan Baylin, except a much more docile version.
OPERATIONS: This is Sarah Gerard. Twenty-five, no immediate family, and on medical disability from her administrative job at a community college.
NIKITA: What’s wrong with her?
BIRKOFF: She has what’s known as A.L.L. Acute Lymphocytic Leukemia. Her case is terminal.
NIKITA: How long has she got to live?
BIRKOFF: No more than a few months.
OPERATIONS: We have to run this on an accelerated clock. Bring her in, train her, and send her to Ashe.
Operations moves off. Birkoff and the two operatives follow suit. Nikita turns to Michael.
NIKITA: They’re going to make an innocent woman spend the last days of her life working for us?
MICHAEL: Yes.
He stands and walks away. Nikita remains in her seat, her face set with disbelief. She rises and follows.
SARAH’S HOUSE
Sarah sits in her home, painting a porcelain doll.
MADELINE: Hello.
SARAH: (gasps and looks up) Who are you?
MADELINE: Don’t be afraid, Sarah.
SARAH: You know my name?
MADELINE: I work for the government. I apologize for my unorthodox entrance, but this is a covert matter and there are certain protocols that we must follow.
SARAH: What do you want?
MADELINE: I’ll explain everything.
Still at Sarah’s house, but sometime later…
Madeline stands beside the fireplace mantle, Sarah sits on her couch, a blanket clutched about her, and looking wan and sickly.
SARAH: I still don’t understand what you want me to do.
MADELINE: You have to become another person.
SARAH: Another person? Who?
MADELINE: Her name was Jan. She was a terrorist.
SARAH: (coughs) Was?
MADELINE: She died unexpectantly.
At this news, Sarah begins coughing and wheezing uncontrollably. She has to use her inhaler to stop her coughing.
SARAH: Even if I wanted to, I’m too weak.
Madeline looks at the mantle and picks up a porcelain piece. Sarah gets up from the couch.
SARAH: Oh, please don’t touch that. My father made this one for me.
Observing that Sarah has gotten to her feet to defend the object, Madeline points out what she had wanted to prove to Sarah in the first place.
MADELINE: Not too weak.
Sarah looks at her, knowing Madeline made her point.
MADELINE: Sarah, I know you’re more comfortable here alone. Being with other people has always been difficult for you. And if you choose to stay here, I’ll leave. But, if you want to do something that will help many people…
Sarah returns to the couch and sits.
MADELINE: … save many lives, then you should come with me now.
SARAH: Is there a chance I might be killed?
MADELINE: It’s likely.
SARAH: (ponders this) Okay.
SECTION – MAIN AREA
Madeline and Sarah enter main area of Section. Sarah looks around with something like wonder.
SARAH: I’m going to live here?
MADELINE: No. You’ll be on Level Four.
SARAH: Level Four. How many are there?
Nikita approaches them. Madeline never answers Sarah's question.
MADELINE: Sarah, this is Nikita.
NIKITA: Hello.
SARAH: Hi.
MADELINE: Nikita will be working with you. She’s here to help you.
SARAH: Thanks.
Nikita reaches down and takes Sarah’s bag.
NIKITA: Shall I take her up now?
MADELINE: Yes. We should get started.
NIKITA: Come on.
MADELINE: And thank you for doing this. I know how difficult it is for you.
SARAH: It won’t be if everyone here is as nice as you.
Hearing this, Nikita has to turn away. Her expression seems to say, “Now I’ve heard it all!”
WHITE ROOM
Sarah is strapped into the chair, her head wired with a shock cap. Through a window in an adjacent room, Madeline and the Female Torture Twin question Sarah.
FEMALE TT: Where would you rather be on a sunny day? A museum or the zoo?
SARAH: The museum.
The TT shocks her. Sarah cries out in pain.
FEMALE TT: What color eyes do you prefer? Blue or green?
SARAH: (pauses) Green.
FEMALE TT: Where would you rather go on a sunny day? The museum…
SARAH: The zoo!
The TT shocks her again. Sarah cries out.
SARAH: Why did you do that? It’s the zoo!
MADELINE: It’s neither. Jan Baylin isn’t interested in right answers, and she doesn’t care about pain.
Sarah looks drained and forlorn.
SARAH: What does she care about?
MADELINE: That’s the wrong question. It’s how does she behave. Independently. She makes her decisions quickly and without regard to consequences. Go on.
Sarah looks ready to cry.
FEMALE TT: If you had to hide money in a house, what room would you choose?
SECTION-SYSTEMS
Sarah sits before a monitor watching footage of Jan as she beats up a man. Nikita approaches from behind.
NIKITA: How are you doing?
Sarah spins her chair to face Nikita.
SARAH: I can’t become that person. It’s… it’s just not in me.
NIKITA: It’s just acting, Sarah.
SARAH: She’s so horrible. I don’t understand what’s in her mind.
Nikita sits at the edge of the table.
NIKITA: Why are you doing this?
SARAH: What do you mean?
NIKITA: Why did you let Madeline convince you to come here? You’d rather be home, wouldn’t you?
SARAH: I guess.
NIKITA: You want to go home now?
SARAH: But then I wouldn’t be helping anybody. Madeline said…
NIKITA: Forget Madeline. She says whatever she needs to.
Operations walks up to them.
OPERATIONS: Schedule has been changed. We’re going to beta run this afternoon.
Nikita jumps up and faces him.
NIKITA: She’s not ready. She just got here.
OPERATIONS: Can’t be helped. Start your prep.
Nikita steps up to him, getting closer.
NIKITA: She will fail, and she’ll get hurt.
SARAH: It’s all right. I’ll do my best. No one expects more than that, right?
OPERATIONS: See? She’ll be fine.
VAN ACCESS
Sarah approaches the access hall, dressed like Jan. Her outfit is provocative, black, leather. Her hair now cut like Jan’s.
NIKITA: Well, you look just like her.
SARAH: I know. It’s exciting!
NIKITA: No. It’s dangerous. Not just for you, for everyone around you. You stay focused.
SARAH: (nods) Okay. Just… I never felt like this before. (She shimmies, feeling good.)
NIKITA: We’ll go over the profile on the way in the van.
MISSION VAN
The mission van drives along the street. Inside, Birkoff reaches into a case and pulls out a pair of sunglasses. He hands them to Sarah.
BIRKOFF: Here. Put these on.
SARAH: No. I don’t really like to wear sunglasses.
BIRKOFF: They’re not sunglasses.
SARAH: Yes, they are.
Nikita takes them and hands them to Sarah.
NIKITA: Here. Have a look.
BIRKOFF: There’s a camera in them. We see what you see.
Sarah sees that they are indeed camera-equipped, watching the monitors, which show her perspective.
SARAH: Wow! These are kind of fun.
She laughs, which triggers a coughing attack. She is wheezing and gasping for air.
NIKITA: Sarah? Sarah, breathe. Breathe.
SARAH: I can’t.
NIKITA: Where’s her inhaler?
BIRKOFF: I thought you had it.
NIKITA: No. Mobile loaded it.
Nikita and Birkoff begin to search frantically for the inhaler, opening drawers.
NIKITA: Breathe.
BIRKOFF: Here it is.
Nikita helps Sarah use the inhaler, as Birkoff watches on.
NIKITA: It’s okay. Stay calm. It’s okay. Breathe.
SARAH: I don’t know if I can do this.
NIKITA: (to Birkoff) Abort.
BIRKOFF: We can’t. We’re in full phase.
NIKITA: I don’t care where we are. She can’t do it; we don’t go. Abort.
SARAH: Maybe it’s my fault.
NIKITA: Sarah, it’s not your fault.
SARAH: All my life I’ve … I’ve been afraid, you know. Afraid of people. Afraid of doing things. The leukemia just gives me a better excuse.
NIKITA: Sarah…
SARAH: I want to do this.
TEST MISSION
Sarah walks down an alley that is lined with seedy looking characters. She makes her way past them, clearly uncomfortable. She comes to a door and enters an area that looks like a S & M establishment. There are dummies with leather masks hanging by their necks, eerily from the ceiling. The place has a dark feel to it, with steel grates and wire barrier walls. As Sarah walks along a catwalk of sorts, a man below works on a computer. She stops at a wire door, it buzzes and slides open. She descends a set of steps, coming fully into the area, walking a bit more confidently.
COREY: Hey Jan! What’s going on?
SARAH: Hey.
Corey eyes her up and down.
COREY: You look different.
SARAH: I do?
COREY: Yeah, you look hot.
SARAH: Thanks.
COREY: Want to get high?
He holds a lighter to pipe bong.
SARAH: (approaches) I’m in a hurry. You got the papers?
COREY: Yeah.
He stands and goes to a table, opens a drawer and throws three passports on top the top.
COREY: Take your pick.
Sarah walks over and flips through them, while Corey ogles her.
SARAH: This one.
COREY: Just like that? You’re not going to bust my chops today?
She holds out some money to him.
SARAH: Like I said, I’m in a hurry.
He rolls the table forward so that she is pinned against the wall.
COREY: I’ll take it the other way today.
SARAH: What do you mean?
COREY: Hop up.
He pats the top of the table.
SARAH: I have to go. I have to go.
He suddenly jumps on the table, and gets in her face.
COREY: What’s wrong, bitch? Give it up! You go when we’re done.
SARAH: (panicking) Stop it Stop it! Stop it! You’re scaring me!
COREY: What!?
Now he KNOWS she is not Jan.
COREY: Who are you?
He holds a gun to her head.
COREY: I said, who are you?
She is terrified. When she speaks, she stutters over each word.
SARAH: Sarah. My name is Sarah. Jan’s dead. Section One hired me.
A shot rings out, and Corey collapses against her, dead. She is covered with his blood, and begins screaming. Michael steps into the room.
MICHAEL: It’s best if you don’t mention Section One.
MADELINE’S OFFICE
Nikita enters the office. Madeline turns from what she is working on.
MADELINE: Where’s Sarah?
NIKITA: She’s resting. You saw the playback. It was a total failure. She can’t do it.
MADELINE: Just the opposite. She took it much better than we expected. Right now, she’s post-processing it internally.
NIKITA: Really. What’s she thinking?
MADELINE: She’s horrified by how much she enjoyed it.
NIKITA: That’s absurd.
MADELINE: When Sarah wakes up, take her to Voice. She needs more modulation in her tone. Then have Michael work with her. She needs to get more comfortable with men.
NIKITA: Fine.
AN EMPTY ROOM
Michael and Sarah sit along in an empty room. They sit on plain chairs, separated by a small, round table. Michael’s chair is positioned so that he faces the table, and he is clearly at ease. Sarah’s chair is positioned at a forty-five degree angle. Her posture shows her discomfort. She can barely look at him.
MICHAEL: I make you nervous.
SARAH: It’s just the way I am. This is all so strange.
MICHAEL: It is.
He watches her patiently.
MICHAEL: It usually takes two years to train an operative.
He pours water into two glasses.
MICHAEL: And then, most don’t make it. But, you’ve already fit in. You’re a remarkable person, Sarah.
He takes a drink of water, and sees she is teary and afraid.
MICHAEL: I’m sorry. I frighten you because of what happened yesterday.
SARAH: That’s not why.
MICHAEL: It doesn’t matter. We can use someone else.
He stands to end their session. She looks up at him.
SARAH: No, please.
He sits back down.
MICHAEL: What is it about me that scares you?
SARAH: (tearing up) I guess… I guess I, um, find a different reason every time I meet a man. Not that I… I meet that many.
Her tears fall and she swipes them away.
MICHAEL: And what reason are you giving yourself this time?
She can’t look at him.
SARAH: You’re handsome. You probably get everything you want from women, which means you’re not very nice.
MICHAEL: (thinks about this a moment) You’re right.
SARAH: (smiles) Do you have a girlfriend?
Madeline and Nikita are in another area watching their exchange via monitor.
MICHAEL VOICE: No.
SARAH VOICE: But, you love someone. Don’t you?
Madeline is paying close attention, while beside her Nikita is all ears, wearing a wimpy smile.
MICHAEL VOICE: Why do you say that?
SARAH: I don’t know. You seem like you’re thinking about someone.
MICHAEL: (trying to deflect the question) We’re not here to talk about me.
SARAH: I thought that you were here to make me feel comfortable.
MICHAEL: I am.
SARAH: Talking about you does make me feel comfortable.
MICHAEL: (smiles and nods) Okay, I’ll tell you about her.
MADELINE: Good. She’s warming up.
Madeline clicks off the monitor and leaves. Nikita gives her a sidelong glance.
SECTION – MAIN AREA
The female Torture Twin is standing beside a stairway drinking coffee, and talking to her partner, who handles a device.
FEMALE TT: I didn’t expect that last one to lose his hair. It must have been the extra sodium.
Michael descends the stairway, as Nikita emerges from a side door.
NIKITA: Seemed to go well with Sarah.
MICHAEL: I haven’t seen the output yet.
NIKITA: Well, Madeline thinks she’ll be fine.
MICHAEL: Then she probably will.
NIKITA: Do you think it’s right? What they’re doing to her?
MICHAEL: She doesn’t seem to mind.
NIKITA: It bothers me.
MICHAEL: She was told three weeks ago she was terminal. We gave her an opportunity to do something important. She agreed.
NIKITA: Three weeks ago?
MICHAEL: Yes. What’s wrong?
NIKITA: Nothing.
She sidles past him, attitude in tow. He turns and looks after her.
SYSTEMS
Nikita is working on a computer. We seem images of Jan and Sarah. Nikita’s face is superimposed on the images on the screen. Her expression is one of unhappiness.
MUNITIONS
NIKITA: They set her up, didn’t they?
WALTER: What are you talking about, Sugar?
NIKITA: Sarah Gerard. You had biotech engineer something to make her sick.
WALTER: No. Now what would make you say a thing like that?
NIKITA: Jan died on the twenty-third. The next day, Sarah was diagnosed with A.L.L.
WALTER: Well that doesn’t mean they induced her. I don’t even know if that’s possible.
NIKITA: I didn’t think a lot of things were possible until I came to Section.
As she walks out of Munitions, she sees Madeline talking with Operations in his loft. Madeline glances down at Nikita.
SECTION – REMOTE HALL
Michael approaches Nikita where she is waiting in a remote hallway for him.
MICHAEL: What did you want to tell me?
NIKITA: Did Section induce Sarah’s illness?
MICHAEL: Not that I know of.
NIKITA: Could they not have told you?
MICHAEL: Possibly. Maybe not. What do you know?
NIKITA: I know that it’s all too convenient - Jan’s death, Sarah’s illness.
MICHAEL: So, what?
NIKITA: So I don’t believe in coincidences. Not in Section.
MICHAEL: When do you take her to meet Ashe?
NIKITA: This afternoon.
MICHAEL: Re-direct her files to me. I’ll look into it.
Nikita looks down, getting quiet.
MICHAEL: What?
NIKITA: Nothing. (Looks up at him) It’s just unusual… you sticking your neck out to help.
Michael doesn’t like what she had said. His expression is unhappy.
MICHAEL: I like her.
He walks off, leaving her there alone.
MARCO ASHE MEETING
Sarah gets out an Alfa Romeo like the one Jan Baylin crashed. She walks up a step of concrete steps to a townhouse.
NIKITA VOICE: Remember, Sarah, we need Ashe to give us the location.
SARAH: Right. I know.
NIKITA VOICE: He’s only going to do that when you leave, so wind it up and get out of there as quickly as you can.
SARAH: Got it.
She knocks on the door and Ashe gestures her inside.
ASHE: Jan, good to see you. Come in. Your timing’s impeccable. I was just finishing up.
They walk down a spiral stairwell. Sarah looks around.
SARAH: What a wonderful place.
NIKITA VOICE: Sarah, no. You’ve been there before.
ASHE: That’s odd. I always thought you didn’t like it.
SARAH: Guess I never took it all in.
ASHE: Well, in that case, I’m glad you approve.
NIKITA VOICE: Give him the money.
Sarah hands him an envelope, which he takes. He looks at her.
ASHE: You’ve changed somehow.
SARAH: Yeah?
ASHE: Yeah. You’re softer. I always thought you had an inner grace beneath that tough veneer of yours.
SARAH: Inner grace?
ASHE: Yeah. I’m glad to see you’re letting some of it shine through.
SARAH: Thanks, Marco.
ASHE: You’re quite welcome. You know, Jan… I always thought there could be something between us.
SARAH: You did?
ASHE: You’ve always been just… just a little bit too fast for me.
SARAH: Oh.
ASHE: Could it be that you’re slowing down?
SARAH: Maybe a little.
She reaches out and grabs him and begins kissing him.
Flash to Section
BIRKOFF: (incredulous) What is she doing?
NIKITA: She’s making up for lost time.
SECTION
Operations is at a monitor; he turns to an operative.
OPERATIONS: Thank you.
The operative leaves, Madeline approaches.
MADELINE: We just got the location of the Alliance compound.
OPERATIONS: What took so long? She went in over three hours ago!
MADELINE: Sarah let Ashe seduce her.
OPERATIONS: Why?
MADELINE: No matter. We’re still on schedule.
OPERATIONS: And Ashe?
MADELINE: It’s been taken care of.
OPERATIONS: Good.
VAN ACCESS
Sarah exits Van Access, briefcase in hand, fairly jumping with excitement.
SARAH: Walter! Where’s Nikita?
WALTER: I think she’s in Comm.
SARAH: Great. Oh, here.
She hands him the briefcase, and moves in search of Nikita, but stops.
SARAH: Which way’s that again?
Walter points.
SARAH: Oh, right. Right!
SECTION – MAIN AREA
Nikita and Operations are talking. As Sarah hurries toward them, Operations walks off. She approaches Nikita, clearly happy and excited.
SARAH: Nikita! I’m sorry it took so long, but it worked out, right?
NIKITA: Yeah.
SARAH: Oh God! It was… it was amazing! I’ve never felt like that in my whole life. You know, I don’t think Marco Ashe is as bad as you guys think he is.
NIKITA: Sarah…
SARAH: Anyway, I don’t care. (She giggles happily) I’m going to see him again. If you can work that into one of your missions, great. If not, I’ll go on my own.
NIKITA: Sarah, you can’t.
SARAH: (confused) Why not?
NIKITA: You don’t know what you’re dealing with. You should stop thinking about him. It’s over.
SARAH: (turns defiant) You can’t stop me. You need me, and if you want to keep using me, this is what I want.
She turns and storms off.
NIKITA: Sarah… Marco Ashe is dead.
Sarah stops in her tracks, turning back to Nikita.
SARAH: That’s not true.
NIKITA: He’s been eliminated. That’s how they do things here. I’m sorry.
Sarah backs up, her feet heavy with disappointment, then turns and walks slowly away.
NIKITA: Sarah?
COMM
Nikita walks toward Comm, Michael sees her and joins up with her. They walk side by side.
NIKITA: What did you find?
MICHAEL: Sarah was being monitored before Baylin died.
NIKITA: So I was right.
MICHAEL: Not necessarily. Sometimes we begin contingency before a situation goes critical.
NIKITA: I don’t buy it.
She storms off.
MICHAEL: Where are you going?
NIKITA: (tosses back) Michael, this is over the line. Someone has to stand up for her.
MADELINE’S OFFICE
Nikita stands before Madeline desk, who is seated.
MADELINE: What is it, Nikita?
NIKITA: You induced Sarah’s illness, didn’t you?
MADELINE: Yes, we did. She has one more task to perform. If she succeeds, we’ll let her live.
NIKITA: Live? How?
MADELINE: We have the antidote. We’ll give it to her and let her go home. She’s of no security risk to us. Just get her through this, Nikita.
NIKITA: Of course.
MUNITIONS
Walter is packing a briefcase with the material to be traded at the Alliance meet. He snaps the case closed. Nikita watches on.
WALTER: After she closes it, she’ll enter a three-digit combination on the lock. 4-1-6. That will arm it. She’ll have three minutes to get out of there.
NIKITA: (not listening) I was right, you know. The Section did infect Sarah. They made her think she was dying… she had nothing to lose.
WALTER: What are you going to do about it?
NIKITA: I’m going to tell her.
WALTER: No. Not before the mission you can’t.
NIKITA: She despondent. I have to give her a reason to get through this.
WALTER: No, no, no. Just think about it. You tell her now… she’ll freak. She won’t trust anyone. Not even you.
SECTION
Sarah sits on a chair, sad and crying. Nikita approaches, carrying the briefcase.
NIKITA: Sarah? It’s time to go. Are you going to be able to do this?
SARAH: Yeah.
NIKITA: This isn’t a difficult profile, but you have to pick yourself up and do it right. The timing’s critical. You have to stay on top of things. If you don’t, you’re going to end up hurt.
SARAH: It doesn’t matter.
NIKITA: Yes, it does matter.
SARAH: Why?
NIKITA: Because there’s hope.
SARAH: No.
NIKITA: The Section has resources that the outside world doesn’t. I’ve seen them work miracles.
SARAH: What do they want me to do?
ALLIANCE MISSION
Sarah is driving along a tree-lined road en route to the Alliance mission. As she drives, Nikita coaches her via a comm set.
NIKITA VOICE: We have to destroy Alliance headquarters, but we need a visual confirmation that Darius is on site. Darius knows Jan; she’ll let her in.
Flash to Comm
BIRKOFF: Okay, Nikita, exterior is clear. Move in.
Back to Mission
Sarah enters a building and walks down a flight of wooden stairs. She is met by a guard who passes a scanner over her body. Darius watches from another location via a monitor. Sarah picks up the briefcase, and tries to move past the guard. He grabs her wrist, and she jerks away.
SARAH: What are you doing?
GUARD: Running a print.
Flash to Nikita’s Position
NIKITA: Michael, what do we do?
Flash to Comm
MICHAEL: Bring your team up a notch.
Back to Mission
GUARD: Just do it.
Sarah reaches out, grabs the guard behind the neck and slams his head hard against the staircase. He is dazed.
SARAH: Take my print off your neck.
Darius is watching the exchange on a monitor. She laughs.
DARIUS: Oh, Jan, you’ll never change. (To the guard via intercom) Forget the print. Send her in.
Sarah stomps nonchalantly down the stairs, continuing on to Darius.
Flash to Comm
Birkoff is impressed by how Sarah handled the guard.
BIRKOFF: Wow.
MICHAEL: Everyone to first position.
Back to Mission
Darius closes her laptop and carries it to a table, just as Jan enters, escorted by guard.
DARIUS: Hello, Jan. Lovely as ever.
SARAH: Let’s just do this.
She places the briefcase on the table and opens it, while Darius looks over the material.
DARIUS: Looks fine. (closes the case) Give my regards to Marco. I presume he’s well.
SARAH: He’s fine.
DARIUS: Good.
Sarah doesn’t leave.
DARIUS: I thought you were in a hurry.
SARAH: Actually, I could use a drink.
Sarah hops up and sits on the briefcase, her fingers pass over the combination, activating it.
DARIUS: Sure.
Flash to Comm
Michael hears the signal that the briefcase has been activated.
MICHAEL: Okay, it’s armed. Three minutes. Prepare egress.
NIKITA: All right, Sarah, you’re fine to exit.
Back to Mission
DARIUS: (hands Sarah a drink) This is a rare pleasure. So, tell me about Jan Baylin?
SARAH: What is it you want to know?
Flash to Nikita
NIKITA: Sarah, get out of there now!
Back to Mission
DARIUS: What’s your goal? What do you want out of life?
SARAH: (leans back) I’ll be happy if I can finish my drink.
Flash to Comm
BIRKOFF: What’s she doing?
Flash to Nikita
NIKITA: She’s committing suicide.
Flash to Comm
BIRKOFF: Fifty seconds.
Back to Mission
DARIUS: No, really… What do you want to do besides schlep detonators all around the country?
Flash to Nikita
Nikita begins making her way along the rafters, trying to get to Sarah.
SARAH VOICE: That’s a good question.
Back to Mission
Gunfire erupts in the background. Darius rushes to monitor to see what’s happening.
DARIUS: What the hell was that?
SARAH: My people… killing your people.
Darius turns, gun in hand to shoot Sarah. Nikita appears overhead and takes out Darius, then jumps down into the room.
NIKITA: Come on, Sarah. Let’s go.
SARAH: No.
NIKITA: Sarah, please!
SARAH: I’m staying! I can’t. I don’t want to live anymore.
NIKITA: Fine, then I’m not going either. You die; I die.
Nikita sits down.
BIRKOFF VOICE: You’ve got twenty seconds to get out of there.
SARAH: Don’t do this, Nikita. Please, go.
NIKITA: I’m not going without you.
BIRKOFF VOICE: Eight seconds.
Sarah closes her eyes, and decides to go. Nikita grabs her by the hand, and they take off down a hallway. Behind them, the building explodes.
SECTION – DINING AREA
Operations and Madeline are having breakfast together.
OPERATIONS: Looks like we’re going to have point eight surplus in personnel this month.
MADELINE: Yes.
OPERATIONS: Where would you like to allocate?
MADELINE: Housekeeping. The attrition has been high there.
OPERATIONS: Done.
MADELINE: I’d like your advice on a matter.
OPERATIONS: What’s that?
MADELINE: I had to lie to Nikita before the Alliance mission.
OPERATIONS: What’s the problem?
MADELINE: She accused us of creating Sarah’s medical condition.
OPERATIONS: We didn’t do that, did we?
MADELINE: No, but I didn’t think Nikita would believe me, and there wasn’t time… so I created an incentive scenario.
OPERATIONS: So she thinks there’s an antidote. I see your problem. Did she share any of this with Sarah?
MADELINE: I don’t think so.
OPERATIONS: Let Sarah convalesce here. Give Nikita some down time. Let her play nurse for awhile.
MADELINE: I’ll pull her off Lebanon.
MEDICAL
Sarah lies in a bed, looking very weak and sickly, with dark circle under her eyes. Nikita stands at the bedside.
NIKITA: How are you doing?
SARAH: Great, for someone who’s dying.
NIKITA: Maybe not.
SARAH: It’s okay, Nikita. I’ve lived an entire lifetime in the last week. I’ve made a friend. Not too bad, huh?
NIKITA: There’s something that I haven’t told you yet.
SARAH: What is it?
Madeline’s voice over intercom: Nikita, I need to see you right away.
NIKITA: Sure. (Turns to Sarah) I’ll be right back and tell you then. It’s good. It’s very good.
SARAH: I’ll be here.
EN ROUTE TO MADELINE’S OFFICE
Nikita meets up with Michael as she heads toward Madeline’s office.
MICHAEL: How’s Sarah?
NIKITA: She’s going to be fine.
MICHAEL: Did you check your protocols?
NIKITA: No, not yet. As soon as I’m done, I’ll start prepping.
MICHAEL: You don’t have to. You’re off Lebanon.
NIKITA: Why?
MICHAEL: I don’t know.
Nikita thinks about this, jumping to a conclusion, and thinking she’s got it figured out.
NIKITA: They probably want me to help Sarah get back on her feet. Good.
MADELINE’S OFFICE
NIKITA: Hi.
MADELINE: Sit down, Nikita. It’s about Sarah.
We see a close-up of Nikita’s face, as she waits for Madeline to speak.
The End
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