 |
|
220. In Between
Written by: Michael Loceff
Directed by: J. Scanlon
Guest Cast: Anais Granofsky, Stephen Berkoff, Alan Peterson, Damon
D'Oliveira, Geoff Murrin, Barna Moricz
Transcribed by Athena4
VAN ACCESS
Door to Van Access Opens to reveal Michael, Nikita, several operatives, and a terrorist. The terrorist (Marzio) yells as he is taken away.
MARZIO: You didn’t have to kill him. I’ll kill you. You hear me? You’re dead. You’re dead.
Madeline is waiting outside of Van Access. Michael stops to speak to her.
MADELINE: What happened?
MICHAEL: In order to get to him we had to kill his brother.
MADELINE: Really? Who did it?
MICHAEL: Cirrus. Tell him to stay close; we don’t have much time.
Michael walks away.
Door to the White Room opens. The operatives drag Marzio in the room, and strap him into the chair. Madeline enters.
MARZIO: You’re wasting your time. Why don’t you kill me now cause I’m not giving you anything. You hear me?
MADELINE: You’ve had several conversations with Abel Goellner in the past month. Tell me about them
MARZIO: You didn’t have to kill my brother. You didn’t have to kill him
MADELINE: But we did. And I’m afraid you’re going to die as well.
MARZIO: So why would I give you anything?
MADELINE: Cause I’m going to give you something in return.
Scene changes to Michael and Cirrus coming down the stairway.
CIRRUS: I don’t understand. How can I help?
MICHAEL: Madeline will fill you in.
Cirrus meets Madeline outside the White Room.
CIRRUS: What do you need?
MADELINE: Just talk to him. Apologize for shooting his brother
CIRRUS: Apologize?
MADELINE: Yes.
Cirrus sighs and enters the White Room.
CIRRUS: Hey. Look, it was nothing personal I was just trying to do my job.
Marzio’s hand, still restrained, rises slightly to reveal a gun. He shoots and kills Cirrus. Madeline enters.
MADELINE: Abel Goellner. Tell me about him.
NIKITA’S APARTMENT
Nikita comes out of the shower, closing the bathroom door behind her. She walks down into the living area, turns on some music, and places her legs up on the staircase, while laying on her back on the floor. Someone knocks and she stands to open the door. It's Carla.
NIKITA: Hey.
CARLA: Hey stranger.
Carla enters; the two women hug.
NIKITA: Carla
Time passes. Nikita is in her kitchen, Carla seated by the staircase.
CARLA: Yeah I couldn’t believe it I’m turning onto the Coolridge and there you are crossing the street.
NIKITA: You should have stopped
CARLA: I tried. I yelled out the window and everyone but you turned around
NIKITA: Oh, yeah yeah yeah…
Nikita crosses the room, hands Carla a plate of food.
CARLA: Where’d you go? I thought something horrible had happened.
NIKITA: No. I had to go home. My family had an emergency.
CARLA: Is everything ok?
NIKITA: Uh huh, its fine. (pause) Carla, I wanted to say sorry that I haven’t keep in contact with you. I just… I couldn’t.
Nikita sits next to Carla on the couch.
CARLA: It’s no problem. I’m happy to see you. So when did you get back?
NIKITA: About three or four months. So what about you? Why did you move out?
CARLA: I met someone.
NIKITA: Oh… good.
CARLA: His name’s Stephen and he’s a commodities broker and we live in this great loft downtown.
NIKITA: Nothing wrong with that.
CARLA: He’s a good guy. You’ll meet him.
NIKITA: It’s great to see you.
CARLA: Yeah, you too.
NIKITA: Do you want a refill?
Nikita gets up to refill Carla’s glass.
CARLA: Okay. So, what about you? What have you been doing since you been back?
NIKITA: What have I been doing?
CARLA: Yeah. Did you get a job, are you seeing anyone? What’s going on?
NIKITA: Umm….. (phone rings) Not a lot. (to phone) Hello.
MICHAEL (via phone): Josephine.
NIKITA: Yeah.
SECTION ONE
Nikita, Birkoff, Michael, Walter sit around the table. Operations paces before it.
OPERATIONS: Yesterday in Kuala Lumpur, we picked up Marzio Ellis, a well-connected dealmaker who works the Pacific Rim. Lately, he’s been in touch with Abel Goellner, a man we’ve been after for some time.
The view screen in the centre of the table lights up to reveal photos of Abel Goellner.
OPERATIONS: Goellner has been destabilizing friendly third world counties through the use of his massive financial resources. He’s about to use those resources to fund terrorist strikes against civilian populations. We need to get in with him, discover his financial pipeline, and shut him down. Michael will be leading the mission. He’ll update you as soon as the mission profile has been set
Operations leaves the table, Birkoff, Walter and Michael stand to leave.
NIKITA: Michael? Are we on standby?
MICHAEL: Yes.
They all exit.
MISSION
Scene shifts to the exterior of a townhouse complex. Flash to interior. Michael and Nikita enter, guided by another woman. It is clear from their clothing they are playing a role. They enter a living area, smoke filled, with several men seated on several couches about the room. They are guided through this room, and into another; this one empty save one man, standing behind a chair.
ABEL’S ASSISTANT: Sit.
They sit.
Another man enters, with two bodyguards. He speaks as he approaches them.
GOELLNER: Ahh.. I see the party has already begun. (he extends a hand to Michael, who stands and takes it) Abel Goellner. Pleased to meet you. (he extends a hand to Nikita) Pleased to meet you too. Would either of you like something to drink or eat?
MICHAEL: No.
GOELLNER: Okay. Marzio had very good things to say about you. And you’re..? (indicating Nikita)
MICHAEL: Nikita. My attaché.
GOELLNER: How nice. Well, you know what it is that I need.
MICHAEL: Marzio said you wish to transfer funds without drawing attention.
GOELLNER: Yes. That’s right. We don’t want to draw any attention
MICHAEL: If you choose to use my services your money will be funneled into segregated off shore accounts. I stay away from the Caribbean and other more visible hubs. I’ve had success in east Africa. They’re desperate for hard currency.
GOELLNER: What about the rate?
MICHAEL: You could do better if you’re willing to take the risk. I’m not. Interference is minimal, almost non-existent.
GOELLNER: I’m curious how did you two meet?
NIKITA: Sorry?
GOELLNER: Is your relationship social, professional?
MICHAEL: What does that have to do with our business here.
GOELLNER: Everything. I’m about to make a decision where I’m going to place the bulk of my assets in your hands. I want to know who I’m dealing with. What do you think of him?
NIKITA: He’s a fair employer.
GOELLNER: Are you attracted to him?
MICHAEL: I’m sorry. It was a mistake for us to come here.
Michael stands to leave and finds a gun pointed at his head.
GOELLNER: One final question. If you employer were to suddenly cease to exist, would you be able to get up to speed quickly enough to do this for me?
NIKITA: Depends on what you mean by quickly enough.
GOELLNER: By next Tuesday.
NIKITA: Can you give me one minute?
Nikita gets out a day book, works figures on a calculator.
NIKITA: Not quite. But if you can give me two more days. Then yes.
GOELLNER: No. No. I need it done sooner. That’s fine. Your assistant is very good. But don’t train her too well.
MICHAEL: Yeah. (beat) So, do we have a deal?
GOELLNER: Yes, we do.
GOELLNER: If you’ll join me in the other room, I’ll show you what we’re up against. (slaps Michael on shoulder)
All stand to enter the other room.
Goellner’s assistant stops Nikita.
GOELLNER’S ASSISTANT: Just him.
GOELLNER: Oh, nothing sinister. Just the fewer the better at this point.
Nikita nods.
Nikita and Goellner’s assistant are left alone.
GOELLNER’S ASSISTANT: You’re an attractive woman.
NIKITA: Thank you.
ASSISTANT: I like your tie. I like a woman who knots her own tie. Shows an independent nature.
Nikita sits. Charles stands before her. Hands her a card; on the front of which is the name Karel; on the back of which it says Section One.
KAREL: I’ve been waiting a long time for you.
NIKITA: I don’t know what this means
KAREL: Take it to Operations. He’ll know what to do. Tell know one else.
Nikita takes the card. The door opens and Abel calls his assistant in.
ABEL: (from the other room) Karel.
VAN ACCESS
Michael enters Section through Van Access. Operations meets him.
OPERATIONS: Did he open the books?
MICHAEL: No. He presented a theoretical scenario. If he likes my response, he’ll use me.
OPERATIONS: Get the data to analysis. Have them work up a projection. Tell them not to be too precise. We want it to look real.
MICHAEL: Of course
Michael walks away.
Nikita enters. Pauses by Operations.
OPERATIONS: Is there something else?
NIKITA: Yes.
OPERATIONS: What?
NIKITA: This.
She hands him the card and walks away.
SECTION
Operations scans the card, then walks to a computer terminal. The card analyses the finger prints on the card and reveals the digital image of Karel. The name next to the photo reads: Charles Sand.
OPERATIONS: Send Nikita up here right away.
Flash to Nikita walking down the corridors. She meets Michael.
MICHAEL: You’ll have to study the number analysis gives us.
NIKITA: Sure
MICHAEL: Where are you going?
NIKITA: To see Operations.
MICHAEL: Why?
NIKITA: Some questions about Algiers.
MICHAEL: That was two weeks ago.
NIKITA: I guess he’s still reviewing it.
Scene shifts to Operations and Nikita inside the Perch. First through the windows, then interior. Operations is seated on the ledge along the window.
OPERATIONS: Does Michael know about this?
NIKITA: No. In fact, I just lied to him. I told him I was up here to talk about Algiers
OPERATIONS: Good. Don’t mention this to anyone.
NIKITA: Who is he?
OPERATIONS: Every once in a while, someone turns up where they shouldn’t.
NIKITA: Why does he know so much about Section One?
OPERATIONS: I don’t know yet. What else did he say to you?
NIKITA: That he was waiting for us and I should speak only to you.
OPERATIONS: Okay. Report to duty. The only adjustment you need to make is to treat anything he says as unreliable.
NIKITA: Don’t you think we should tell Michael about this?
OPERATIONS: Not yet.
NIKITA: What about what the integrity of our cover?
OPERATIONS: I told you what to do. Don’t worry. Both you and Michael will be protected.
Nikita leaves the Perch. In the next scene she’s wandering the corridors again, this time, she runs into Walter.
WALTER: Hey.
NIKITA: Hey!
WALTER: Heading out?
NIKITA: Yep.
WALTER: You okay?
NIKITA: I’m fine.
WALTER: You don’t seem so fine. I’m worried about you.
They stop in the corridor.
NIKITA: Walter, it’s just this place. It just gets to me sometimes, that all.
Walter grunts in agreement
NIKITA: I was in pretty bad shape this time last year. I don’t want to feel that way again.
WALTER: Look Sugar, you can’t change the way they treat you. The only thing you can change is the way you treat yourself. Why don’t you go out. Have a good time. Find a man.
Nikita smiles.
WALTER: See? See, just thinking about it makes you feel better, right?
NIKITA: Good night, Walter.
She reaches out and touchs his face.
WALTER: Good night, Sugar.
NIKITA’S APARTMENT
Carla is there, tossing salad.
CARLA: I don’t care what you say, buying a dog is a big step. It’s like having a kid together.
NIKITA: It’s sounding very serious.
CARLA: Yeah, it feels serious. (Carla takes the salad to the table) He’s late. I thought he would be.
NIKITA: Why?
CARLA: I don’t know. He’s shy. I’m surprised he didn’t call and cancel last minute.
NIKITA: I’m sure he’s just stuck in traffic. He’ll be here.
CARLA: Hey, thanks for calling. I love doing something in the middle of the week.
NIKITA: Me too. (phone rings) Hello. Great, come on up. (to Carla) He’s here.
CARLA: Great
Carla runs to the door to meet Stephen. She speaks to him in the hall.
CARLA: It’s about time, fella. Look at you, all dressed up.
They enter, revealing Stephen to be one of the goatee twins we’ve seen throughout the season.
NIKITA: Hi.
STEPHEN: Hi.
NIKITA: Nice to meet you.
STEPHEN: Nice to meet you.
NIKITA: Hope you’re hungry, there’s plenty of food.
STEPHEN: Yeah, sure.
NIKITA: Want some wine?
STEPHEN: Yeah, that would be good.
NIKITA: Help yourself.
Stephen goes over to the table to pour wine.
CARLA: I don’t know about you two, but I’m starved. (to Nikita) Hey, let me get that.
GOELLNER’S OFFICE
Goellner, Karel/Charles, Michael and Nikita are seated around a table. Karel and Nikita are both using laptops.
GOELLNER: I’m going to need those funds in position by the thirteenth. I have a client who’s going to need them to make a fairly large purchase.
MICHAEL: I’d like to get them in place sooner. I’ve already talked to the CFO of that bank. The rates are coming down.
GOELLNER: Oh, good good. What about those bearer bonds?
MICHAEL: I don’t think you should touch those right now.
GOELLNER: Really? What do you think, Karel?
CHARLES: Let’s take a look. What’s your opinion on this, Michael?
MICHAEL: The accounts would be too visible.
CHARLES: Why?
MICHAEL: Last spring the European banks networked into the Asian markets. That exposed all continental accounts to routine surveillance. We’d probably get away with it but I don’t think you want to take that chance
GOELLNER: You’re a bright boy. He’s a bright boy, Karel.
CHARLES: Oh yes, he’s a very bright boy.
MICHAEL: All right, we’ll keep those in place and start staggering the other accounts.
CHARLES: (to Nikita) Well, I’ve arranged the schedule, would you like to see it?
NIKITA: Yes, please.
Charles shifts his laptop so only Nikita can see it. On it is a message: Meet me back here tonight at 11:30.
NIKITA: Fine. Make a hard copy.
Michael and Goellner stare at each other across the table, oblivious to what their attaches are doing.
Scene shifts. Goellner’s establishment. Night. Nikita enters and walks through the house in darkness, looking for Charles. A light flips on. It’s Charles. He’s seated at a table on the other side of the room.
CHARLES: Did you speak to Operations about me?
NIKITA: Who are you?
CHARLES: You know damned well who I am. Why aren’t they bringing me in?
NIKITA: I have no idea what you’re talking about.
CHARLES: He didn’t tell you. Which means either he’s worried that I’ve been turned and he’s trying to be cautious, or he never intended to bring me back in.
NIKITA: What are you saying?
CHARLES: Why do you think you and Michael are here?
NIKITA: To move Goellner’s money.
CHARLES: Goellner asked me to check you out before meeting you. As I began checking into your histories, something started to gnaw at me, a vaguely familiar pattern. It reminded me of the background I was given before I was put into place. (chuckles)That’s why I cleared you.
He stands and walks towards Nikita.
CHARLES: Charles Sand. First tier operative. I’ve been out for nine years, waiting for someone to bring me back in. I’m Section One.
GOELLNER’S
Charles is standing against a railing. Nikita is seated in a chair.
CHARLES: I was grabbed in mid-mission by Red Cell. To this day, I don’t know how I was made.
NIKITA: What about the rest of the team?
CHARLES: Killed. During egress.
NIKITA: How did you survive all these years?
CHARLES: I kept myself alive by feeding Red Cell disposable Section intel. They wanted to kill me, when I formed a relationship with one of the soldiers, who eventually went out on his own.
NIKITA: Goellner.
CHARLES: Yes.
NIKITA: If what you’re telling me is true, why did you never contact the Section
CHARLES: I tried; they must have closed down my channel.
NIKITA: And now you want me to bring you back in.
Charles sits next to Nikita.
CHARLES: You’ve got to bring me back in.
NIKITA: I was told not to trust anything you said. So, unless you have something hard on Goellner, there’s nothing more to discuss
CHARLES: Here. Take this
He hands Nikita a CD.
NIKITA: What is it?
CHARLES: Take it to com, they’ll pull off the specifics. It’s the only chance of bringing Goellner down. You and Michael can’t do it alone. Trust me.
Nikita gets up to leave. She pauses as Charles speaks.
CHARLES: And if Operations still doesn’t believe me. Speak to Madeline.
NIKITA: Madeline?
CHARLES: She’ll want to know that I’m still alive.
NIKITA’S APARTMENT
Nikita enters, finds Operations there, smoking.
OPERATIONS: You met him?
NIKITA: You could have let me know he was a Section operative.
OPERATIONS: What did he tell you?
NIKITA: He gave me this. He claims it’s the only way to get to Goellner.
Nikita hands Operations the disk.
OPERATIONS: He doesn’t think our approach will work.
NIKITA: (shaking her head) No.
OPERATIONS: That’s interesting.
Nikita walks towards her fridge, retrieves a bottle of water.
NIKITA: I don’t understand. Do we trust this guy or don’t we?
OPERATIONS: Nothing’s changed. I’ll look at this, and let Michael know how we’re going to proceed.
NIKITA: And what do I tell Michael when he asks me where I got the disk?
OPERATIONS: Nothing. (he stands and heads towards the door) If there’s anything useful on it, I’ll funnel it to Michael myself. You were never involved.
NIKITA: It just seems strange. If he’s one of ours, why we’re not protecting him?
OPERATIONS: Just do what I tell you, Nikita.
NIKITA: He claims he’s been waiting for nine years.
OPERATIONS: This is how it has to be handled.
Operations opens the door and leaves.
SECTION ONE
Michael is running a briefing.
MICHAEL: We’re going to be out of range. Use the tri-field pickups, we can’t risk the chance of a dropout. Goellner will have his eyes on the file the entire time.
OPERATIONS: (approaches from behind) How’s it going?
MICHAEL: We should be able to access all his accounts before the takedown
OPERATIONS: Good.
MICHAEL: We’ll have a complete profile ready in an hour.
OPERATIONS: I need to speak to Michael alone.
All leave, save Michael.
OPERATIONS: I’ve upgraded Nikita’s status for this mission. She’ll be reporting to me directly.
MICHAEL: Why?
OPERATIONS: I have a variable I’d like to isolate. I need you to handle all the primaries.
MICHAEL: Is this a singularity, or is it a permanent upgrade?
OPERATIONS: We’ll see how it goes. Do you have a problem with any of this?
MICHAEL: Nikita performs best when she’s scripted. I don’t think she’s ready.
OPERATIONS: I disagree. It’s never easy, but you’re going to have to let go of her sometime, Michael.
Operations walks away.
MICHAEL’S OFFICE
Michael types at his keyboard. We see Nikita through the windows before she enters.
NIKITA: Michael, do you have a minute?
MICHAEL: Come in.
Nikita sits in the chair on the other side of the desk. She waits as Michael secures the room.
NIKITA: Has Operations ever asked you to do something outside mission parameters?
MICHAEL: Yes.
NIKITA: What did you do?
MICHAEL: What do you want to know, Nikita? What will happen to you if you don’t obey him?
NIKITA: I don’t know why I came here. (she plays with his lamp) I don’t have a choice. I got to do what he wants.
MICHAEL: Think it through. But more importantly, you’ll have to stop coming to me.
Nikita looks at him in confusion.
MICHAEL: I’m no longer your mentor.
Nikita leans back in her chair, looking at him.
COMM
Nikita is alone. Birkoff enters. We hear him before we see him.
BIRKOFF: This had better be priority three or higher.
NIKITA: Sorry to wake you. But it’s important
Birkoff enters, and sits.
BIRKOFF: What are we looking for?
NIKITA: Incoming communications, on dormant channels.
BIRKOFF: Friendly or hostile.
NIKITA: Friendly. An operative believed dead. He’s trying to get back in.
BIRKOFF: Okay. Over here.
He slides his chair over to another computer.
BIRKOFF: Alias or real name?
NIKITA: Charles Sand.
Birkoff types in the name; computer returns No match found.
BIRKOFF: No. Nothing.
NIKITA: What about Giraldi?
Again, Birkoff enters the name; computer returns the same message.
BIRKOFF: Nope. Can I go back to bed now?
NIKITA: What if someone from the inside was trying to reroute it.
BIRKOFF: I need to know who
NIKITA: Operations. (Birkoff gives her a look) Just try it.
Birkoff enters new criteria: the variable that any communication was rerouted by Operations. Computer loads an archived file.
BIRKOFF: Wow.
NIKITA: What is it?
BIRKOFF: (reading from the screen) Charles Sand. First tier operative. Went dark on the Parsifal mission, nine years ago.
NIKITA: “Went dark”, what’s that mean?
BIRKOFF: Someone pushed a button on this guy in the middle of the operation. It was like he was hung out to dry, for no particular reason. Had a perfect record.
NIKITA: What’s his status?
BIRKOFF: That’s the weird thing. He’s listed as dead, but there’s com from him. Every month.
NIKITA: Who received it?
BIRKOFF: Had to be Operations. He rerouted the communiqués to a sink file than trashed them. What’s going on?
SYSTEMS
Michael is present. Nikita enters; seats herself on the edge of the table Michael is working at.
MICHAEL: Did you check in with Walter?
NIKITA: Yeah, he said four teams. Seems pretty heavy. What’s going on?
MICHAEL: We’ve got new intel on Goellner.
NIKITA: Really? What kind?
MICHAEL: It’s on your panel
Nikita picks up a panel off the table.
NIKITA: Where did we get the information?
MICHAEL: Operations. He sourced it from Eastern Europe. We leave in two hours.
Nikita notices something strange on the panel
NIKITA: Michael? We’re going to kill Giraldi?
MICHAEL: He’s collateral.
NIKITA: Why?
MICHAEL: Operations only wants Goellner alive. (beat) What’s the problem, you have work to do.
NIKITA: Yeah, right
She takes the panel, and leaves.
MADELINE’S OFFICE
Nikita enters Madeline’s office. Madeline looks up from her computer.
MADELINE: What are doing here? I thought you were prepping a mission
Nikita places the panel on Madeline’s desk, with Charles picture called up.
MADELINE: Where did you get this?
NIKITA: He’s an incidental on my current mission. I’d like to know who he is, and why Operations wants him dead.
MADELINE: Tell me what you know.
NIKITA: Charles Sand. First tier operative. Been out over nine years. Waiting for us to bring him back in.
MADELINE: And why are you here?
NIKITA: Operations claims he’s lying and wants him to be killed on today’s mission. I think that’s extreme. Especially if he’s one of ours.
MADELINE: Has the mission profile been set?
NIKITA: Yes. Madeline, he said if there was a problem to speak to you. Who is he and why does Operations want him dead?
MADELINE: Doesn’t look good if we can’t keep track of our own people.
NIKITA: He didn’t lose track.
MADELINE: What do you mean?
NIKITA: He’s been trying to contact the Section ever since he’s been out. Operations has been intercepting his communiqués.
MADELINE: I want you to bring him in.
NIKITA: How? The profile’s already been set.
MADELINE: Just do it. I’ll deal with Operations.
NIKITA: And Michael?
MADELINE: Find something on site. Use it to create doubt. Tell Michael we need to bring in Sand, before we kill him
NIKITA: Madeline, who is he?
MADELINE: My husband.
SYSTEMS
Michael is briefing a team.
MICHAEL: ….to quietly acquire controlling interest in the banks of several central African economies. He’s meeting with the leaders of rebel armies today, to dispense funds for a large arms transaction
BIRKOFF: He’ll be particularly vulnerable at this meeting. To close this deal he’ll have to move funds on three continents in real time.
MICHAEL: The primary team will be responsible for getting control of the computer while he’s online. Secondary team will bring down the terrorists.
MUNITIONS
Michael talks to Walter as Nikita approaches.
MICHAEL: Put some scopes for the outside team and another set of P-6’s for the ops on point.
Walter nods, then notices Nikita.
WALTER: Hey. Hi Sugar.
NIKITA: Hi . (to Michael) Profile’s been locked.
MICHAEL: Good, get your gear and meet me in Van Access
He leaves.
WALTER: They changed the optics on your scope; it’ll give you an extra five degrees of slop.
Nikita walks around to the far end of the table, closest to Walter. She chambers a gun as she speaks.
NIKITA: Did you know Charles Sand?
Walter doesn’t meet her gaze.
WALTER: Who told you about him?
NIKITA: He’s Madeline’s husband isn’t he?
WALTER: Was. He’s dead. He was killed during a mission.
NIKITA: He’s alive.
WALTER: What are you talking about?
NIKITA: He works with Goellner. Operations wants him dead. Madeline wants me to bring him back in alive.
WALTER: Are you telling me you have separate confidences with both of them?
Nikita puts her head in her hands
NIKITA: Yes.
WALTER: Oh boy.
Operations approaches.
OPERATIONS: Nikita. I’d like to talk to you a moment.
NIKITA: (to Walter) Thanks.
WALTER: You’re welcome, sugar.
Nikita leaves Munitions, and meets Operations just outside.
OPERATIONS: Have you studied the profile?
NIKITA: Yes, I have.
OPERATIONS: I expect everything will go according to plan?
NIKITA: Sure.
OPERATIONS: Good.
VAN ACCESS
Everyone is boarding the van. Michael is waiting by the door. Nikita arrives, and is looking off camera.
MICHAEL: What’s the problem?
NIKITA: (putting on sunglasses) No problem.
Nikita enters van access. Michael looks in the direction she was looking. He sees Madeline standing at the far end of the corridor.
GOELLNER’S ESTABLISHMENT
Black clad operatives are all over the building. Several run up the stairs. Scene reveals Goellner at a table on the upper level with several others.
GOELLNER: Even though your cause is just, I know you can’t expect the full support of an army whose bare necessities need to be met. I’ll provide that, as well as the munitions and material.
The scene cuts to Nikita coming up the staircase, then back to the table
GOELLNER: Once you’re in power I’ll expect reciprocity After you’ve naturalized the banks, Mr. Giraldi will organize the governing boards. All financial decisions from that point on will be initiated by us.
Scene cuts to Com. Operations stands behind Birkoff.
BIRKOFF: All right, Michael, they’re all in. I’ll give you the signal when he gets online.
Scene shifts back to Michael and teams.
MICHAEL: All teams to final mark.
We see the teams moving to their final positions.
Scene shifts back to Goellner and group.
CHARLES: Now these are your operating accounts for the next two weeks. I’ve put in what I believe to be sufficient amounts. Contact me if there are overruns, and I’ll deal with it personally.
Flash to Com.
BIRKOFF: Okay, he’s plugged in. You’re clear Michael
Flash to Michael and teams:
MICHAEL: First team go.
We see Nikita proceeding down a corridor, followed by others, armed. The others enter the room ahead of her; she delays, then enters herself. Gunfire breaks out. Terrorists are taken down one by one by Section operatives. Charles hides beneath the table and from there is signaled by Nikita to leave the room.
NIKITA: I got him!
She follows him into an anteroom. The rest of the terrorists are dispatched. Michael enters and takes Goellner.
Scene shifts to a room on the lower level. Charles is there waiting. Nikita enters from the staircase.
CHARLES: Goellner’s laptop is loaded with hot files. Get it. I’ll decode it in Section.
Nikita approaches him. Cocks her gun.
CHARLES: What are you doing?
NIKITA: I’ve been ordered to kill you.
CHARLES: Did you speak to Madeline?
NIKITA: Yes. I did.
She points the gun at him.
CHARLES: Well, what did she say?
Nikita’s answer is cut short by Madeline’s entrance.
MADELINE: That will be all Nikita, I can take it from here.
Nikita lowers her gun as Madeline enters behind her.
MADELINE: Watch the door. I’ll need a minute.
Nikita turns to leave.
CHARLES: Madeline.
MADELINE: Hello Charles.
Charles shakes his head in disbelief. Madeline approaches him.
Scene shifts to outside the door. Through the stained glass, we see Madeline get closer to Charles. She speaks; the words are unclear. They hug. Nikita looks away. She hears two gunshots. Madeline exits the room. Charles is lying on the floor.
MADELINE: It was wrong of me to put you in this position. Operations was right.
NIKITA: (sobbing, facing away from Madeline) He was your husband.
MADELINE: Yes. He was.
NIKITA: How could you kill him?
MADELINE: There was no way to bring him back. His presence outside the Section for so many years would undermine our credibility. And letting him go wasn’t an option. He understood that.
Madeline turns and walks away.
MADELINE’S OFFICE
Operations enters Madeline’s office. He stands on the far side of the room; she remains seated at her desk.
OPERATIONS: I just read the debrief. Quite a shock. Charles never tried to contact you over the years?
MADELINE: No.
OPERATIONS: Yet it’s hard to believe he switched his allegiance to the other side.
MADELINE: Yes, it is.
OPERATIONS: It must be hard on you.
MADELINE: I’ll get over it.
OPERATIONS: Well at least the mission was a success. We stopped the deal. We got control of Goellner’s accounts.
MADELINE: Good.
Operations turns to leave, he’s almost at the door when Madeline speaks.
MADELINE: Congratulations.
OPERATIONS: Thank you.
NIKITA’S APARTMENT
Carla is crying. Nikita is seated on the floor before her.
NIKITA: Want to tell me what happened?
CARLA: I went out with a few people. I got home late, but…only about half an hour and he went crazy. I’ve never seen him like that before.
NIKITA: Did he hit you?
CARLA: I can’t go back there.
NIKITA: It’s all right. You’ll stay with me.
CARLA: Oh, I can’t. I can find a place..
NIKITA: You’ve been through a lot right now. It’s no problem.
CARLA: Oh…My life is such a mess.
Phone rings. Nikita picks it up.
MICHAEL: (via phone) Josephine.
NIKITA: Yeah. Thanks.
She hangs up.
CARLA: Do you have to go?
NIKITA: Yeah.
CARLA: When are you going to be back?
NIKITA: I don’t know, but you just stay here and relax. Make yourself at home.
Nikita grabs her coat and purse.
NIKITA: Carla. Don’t call him.
Nikita leaves.
Carla takes out a cell phone and dials. She is no longer crying.
CARLA: I’m in.
Scene cuts to an exterior shot. Stephen is on the other end of
the phone.
|
|