LA FEMME NIKITA
Darkness Visible


#208 "Darkness Visible"
Written by: David Ehrman
Directed by: Ken Girotti
Edited by: Richard Wells
Transcript Archived at TWIZ TV.COM
Originally posted at Flash Mission
Transcribed by: Karen H


A = Anna      B = Birkoff      G = Gail      GR = Gregory      L = Radovan Luca      M = Michael      MA = Madeline     
N = Nikita      O = Operations      P = Peter      RS = Rebel Soldier      S = Sasha      V = Vincent Vukovich      W = Walter



TEASER
NEWS REEL FOOTAGE

The footage is showing a country being torn apart.  Fighting is going on in the cities and countryside.  In the cities, the fighting is street to street.
 

INTERIOR - SECTION / BRIEFING AREA

Operations is pacing as he briefs Michael, Birkoff, Nikita and two other Operatives.

     [O]     The situation in the Balkans is deteriorating rapidly.  The loss of life is staggering.  A destabilized Rebel Force is in the process of a violent and comprehensive ethnic cleansing.  Now, we have been given the task of cutting off ... one of their pipe lines in the international arms community.  The man you picked up at the warehouse has given us the identity of the primary buyer inside the rebel faction.
Operations pulls up a blue screen.
     [O]     Radovan Luca.  (INDICATES BLUE SCREEN)  Luca was once the head of his government's secret police.  He is now awaiting the arrival of a significant cache of weapons.  If the deal is consummated ..., it will be nearly impossible to prevent the government from falling.

     [M]     How much reconnaissance has been done so far?

     [B]     Not enough.  The country's in chaos.  Half of our contacts have been killed ..., the CIA is evacuating their people.

     [O]     Take out Luca ..., stop the deal.

The Briefing breaks up, with everyone separating to initiate their part of the Mission.
 

BALKANS
INTERIOR - SECTION LAND ROVER -  DAY

Michael and Nikita are driving down a road in the Balkans.
 

EXTERIOR - COUNTRY ROAD

In the background you hear the explosions of mortar fire.  Everywhere Michael and Nikita look, they see corpses lying beside the road and in the surrounding fields.  People are passing them, traveling in the other direction.  All are on foot and they have loaded down shopping carts, wheel barrels and the like with their possessions, trying to flee the country.
 

INTERIOR - SECTION LAND ROVER

Michael and Nikita are dressed as FSN relief workers and their cover is they are bringing in needed medical supplies.

     [N]     Why does Birkoff think Luca is going to be at this place?

     [M]     An in-country source.  Luca's been leading raids through the villages in that area.

     [N]     So, we're just going to show up and look around?

     [M]     If he's there, people will know.

Nikita looks down and studies the map she is holding.
     [N]     The next crossing, take a right.


ROAD CROSSING

When they come to the crossing, they find that rebel soldiers have erected a road block and are stopping refugees.  The soldiers halt the Rover and demand to see ID.

     [RS]   (ORDER)  Identification.
While the [I assume] senior soldier looks through their papers, Michael and Nikita watch as other soldiers shove several male refugees into a nearby field and cold bloodedly kill them in front of their families.  Others are lined up to meet the same fate.
     [RS]   We have no need for medical relief workers.

     [M]     Some people need attention.

     [RS]   (ORDER)  Get out of the truck.

As he issues the order, the soldier opens Michael's door.  Michael and Nikita trade looks before getting out of the Rover.  The soldier in charge motions for another to search their vehicle.  Michael and Nikita are forced to watch as other soldiers take an assembly-line approach to killing refugees.  Women are kneeling over their dead, wailing.  The soldier examining their papers looks over at the one searching their Land Rover, who holds up two packages of morphine.  A silent message passes between them.
     [RS]   Your papers are not in order.  (ORDER)  We're taking the jeep.

     [M]     (MATTER OF FACT)  I can't let you do that.

     [RS]   Really?

Michael looks over and sees that they are being watched by a group of women and children refugees.  Several soldiers silently move behind them.  The minute one shoves Michael, he moves into action, taking the soldier out with a back-whack [what the heck do you call it when Michael uses the back of his hand to take out a SOTW who is standing behind him??] and grabbing his gun.  At the same time, Nikita pulls out her gun and shoots, first the soldier interrogating them, then another soldier standing back next to the rebel's truck.  Michael takes out the soldiers standing in the nearby field.  When it's over, all the soldiers are dead.
     [M]     (TO NIKITA)  Let's go.
Michael and Nikita get back into the Rover and take off, leaving the remaining refugees to hurridly strip the soldiers and scatter or take care of their dead.
 

INTERIOR - SECTION / SYSTEMS

Madeline enters and approaches Birkoff.

     [MA]   What's our configuration?

     [B]     We have five two-man cells approaching possible locations on Luca.  None have reported back yet.

     [MA]   Let me know.

Madeline departs.  One of Birkoff's system analysts, Gail, is overseeing something another Operative is working on the system.  She watches Birkoff for a moment, then straightens and walks over to him.
     [G]     How late to you think we'll be working tonight?
Birkoff stops what he is doing and looks up at Gail.
     [B]     Depends on what comes in.
Gail walks behind Birkoff and swings his chair around.  She leans down till her head is level with Birkoff's.
     [G]     (SUGGESTIVE)  I don't care ... how tired you are.  I am not taking a raincheck.
Gail slowly runs her hand over his inner thigh, and gives him a 'I mean it' look before walking away.  Birkoff quickly looks around to see if anyone noticed their repartee, before turning back to his computer, a small smile on his face.  Birkoff is obviously forward to this future encounter.
 

INTERIOR - BIRKOFF'S AREA

A computer screen shows a printout of Michael's audio status report.

     [M]     (VOICE)  We have an unconfirmed report that Luca was seen near a farmhouse in the area.  We're checking it out.


BALKANS
EXTERIOR - FARMHOUSE IN COUNTRYSIDE

As Michael and Nikita drive up to the farmhouse, gunfire is heard in the distance.
 

INTERIOR - FARMHOUSE IN COUNTRYSIDE

Michael kicks the door in and they enter, weapons drawn, checking for possible occupants.  As they pass in front of a rear window, Michael barely misses being hit by a sudden spray of bullets.  They both dive for cover, then look to see who is shooting at them.  Nikita sees the shooter first.

     [N]     (RAISED VOICE)  Michael, its just a boy!


EXTERIOR - FARMHOUSE

The boy (Peter) had been shooting at them from outside, but his gun jammed.  He throws it down and flees to the nearby barn located behind the house.  Michael and Nikita follow at a run.  Before they can get to him, Peter manages to slide through a small broken section of the barn's door.
 

EXTERIOR - BARN

The door is bared from the inside.  Nikita tries to put Peter at ease by speaking to him through the door.

     [N]     (REASSURE)  It's okay, we're not going to hurt you, we can help you.
There is only silence behind the door.
     [N]     We're looking for someone ..., maybe you can help us.
Again, silence.
     [N]     (REASSURE)  Please ....  look, we can help you. ...  We can give you a ride somewhere. ...  You hungry?  We've got some food.
Peter still says nothing, but Michael and Nikita hear the bolt fastening the door sliding open.
 

INTERIOR - BARN

When Nikita and Michael enter, Peter slowly backs away, still afraid of what they could do to him.

     [P]     (AFRAID)  Are you with the others?

     [N]     No, we're not.

     [P]     (AFRAID)  You're soldiers.

     [M]     No. ...  We're fighting the soldiers.

Nikita hears a rustling sound coming from a far corner of the barn.  A little girl emerges from behind a bale of hay and takes hold of her big brother's arm.  She is petite, big-eyed and dressed in a red cap and mittens.  Nikita's expression melts as soon as she sees her.  Michael, too, seems affected but quickly hides it.
     [N]     (ORDER)  What's your name?
A gentle smile appears on Peter's face.
     [P]     (SOFTLY)  Sasha.
Nikita continues to talk to Sasha.
     [N]     (ORDER)  You cold, Sasha?
Peter leans down and asks Sasha the question in sign language.  Sasha looks over at Nikita, then signs a reply to her brother, who translates for Nikita.
     [P]     Yes.
Nikita immediately removes her parka, crouches down and folds it around Sasha.
     [N]     (GENTLE)  Is that better?
While Nikita is concentrating on Sasha, Michael and Peter trade guarded looks.  You can tell neither trusts the other.  [I hate to be flippant here, but I thought Michael's expression as good as said "... don't tell me you're cold, kid, because you are not getting my parka!]  Nikita soon has Sasha sitting in her lap, feeding her some type of crackers.  Peter is sitting on a bale of hay being questioned by Michael.
     [M]     What did they do after they grabbed your parents?

     [P]     (GRIEF)  They just left.

     [M]     Where were you and Sasha?

     [P]     We were hiding.

Michael pulls one of Section's electronic notepads out of his pocket.
     [M]     Have you ever seen one of these?
Peter seems unsure.  Michael pulls up data on Luca and shows Peter the man's picture.
     [M]     Is this the man who took your parents?
Peter studies the picture, then nods.
     [M]     Do you know where they went?

     [P]     (GRIEF)  To the train yards ..., that's where they take everyone.

     [M]     Where are the train yards?

Peter just shakes his head.
     [P]     I've just heard about them.
Michael replaces the notepad back in his pocket and walks toward Nikita.  He has already mentally dismissed the children.
     [M]     Nikita, let's go.  We have a location.
Nikita, however, has not forgotten the children.
     [N]     (CONCERN)  What about Peter and Sasha?

     [M]     They've told us everything they know.

Michael passes Nikita, toward the barn's door.  Nikita doesn't move.
     [N]     (PLEA)  We can't leave them here alone.  We have to take them somewhere, Michael.
Michael turns.
     [M]     (COLD)  No.
Nikita says nothing, just stares at him.  Peter and Sasha are also staring at him.  Michael looks at each face briefly, before looking up into space, realizing he's lost this argument.  [Sorry, but this is another instance where I think Michael's expression seemed to say "... why didn't I just leave her in the car"?]  [On a serious note, Michael's choices in this episode (so different from his usual stone-hearted decisions regarding any concerns other than Nikita) to me relate directly to the fact that this Mission comes so close (at least I assume it's relatively close in the time-line) to "Half Life."  When Michael looks at Peter and Sasha, does he see himself and his sister?]
 

EXTERIOR - COUNTRY ROAD

The Rover drives away from the farm house.
 

INTERIOR - LAND ROVER

Michael looks over at Nikita with a "I can't believe I let you talk me into this" expression.  [Sorry about all these 'phrased' expressions, but everyone's face seems to make a statement in this episode.  In fact, if truth be known, Michael's expression above really looks like - for 2 cents he'd push Nikita out the door!]  You realize why he's wearing this expression when you see ... Peter and Sasha huddled together in the back seat.  Nikita meets his look with an unrepentant expression, before turning and staring straight ahead.
 

EXTERIOR - COUNTRY ROAD

Michael is driving down a deserted road.  This road seems to be less traveled, as there are no refugees or bodies to be seen.
 

INTERIOR - LAND ROVER

Michael checks in with Birkoff.

     [M]     He said Luca took them to the train yards.

     [B]     (VOICE)  That's all he said?  Train yards?

     [M]     That's it.


INTERIOR - SECTION / BIRKOFF'S AREA

Birkoff types the parameters into the system.

     [B]     (SIGHS)  I've got dozens of locations that could be classified as 'train yards' in that region.
[I noticed that Michael doesn't share the fact with Birkoff that the 'informant' is riding along in the back seat of this car!]
 

INTERIOR - LAND ROVER

     [M]     It's probably a detention camp.

     [B]     (VOICE)  Check out a man named Vincent Vukovich.  You're not far from him.  He's CIA ..., If he's alive and in the country he'll be able to help you.  I'm attaching the address.

     [M]     Good.


INTERIOR - SECTION / BIRKOFF'S AREA

Gail approaches Birkoff's station, and leans down next to him.

     [G]     How's it going?

     [B]     (TIRED)  I'm not getting out of here tonight, most of the Teams haven't even checked in.

     [G]     Hmmmm.  (POUT)  You're no fun.

Gail makes a face as she straightens.  She walks around to Birkoff's other side, leans over and starts nibbling on his ear.
     [B]     (STARTLED)  Gail!

     [G]     Come on, let's go to the White Room, there's no one around.

Birkoff quickly covers his Comm Link mike so outside Teams can't hear Gail.
     [B]     (TENSE WHISPER)  They can hear you!
Someone checks in, and Birkoff quickly answers them.
     [B]     Team Six, you're getting close to the border.  Move to 'B' channel.
Gail moves a step back, and Birkoff turns and watches her.  She gives him a mischievous smirk.
     [G]     All right, be that way.  I'll just be that much harder on you when we get together.
Birkoff breaks into a big grin as he watches her leave Comm.  When he starts to turn back to his computer he notices her computer screen is still active, and turns back to tell her.
     [B]     (RAISED VOICE)  Gail, you're still on-line.
Gail has already left.  Birkoff gets up to close her out, but notices something strange with the program running on her screen.  Frowning, he sits down to investigate.
 

BALKANS
EXTERIOR - CITY STREET -  DAY

Michael stops the Rover in front of the address Birkoff sent them.

     [M]     This is it ..., Vukovich's office.

     [N]     I'll stay here with them.

     [M]     (ORDER)  No, there's a refugee camp a block back.  Take them there.  We'll meet back here.

Michael gets out, ignoring the look Nikita gives him and enters the building.  Nikita doesn't move, just turns and looks at the children.
 

INTERIOR - VUKOVICH'S OFFICE

Vukovich is busy shredding all official papers in his office.  It is obvious that the building has been hit with artillery fire, and Vukovich is preparing to evacuate.  A CB is set up on a nearby table and it's clogged with people desperately trying to contact someone to help them.  Michael enters, gun drawn, but drops it when he sees Vukovich hasn't even noticed his entrance.

     [M]     Clearance code K-3-5-7. ...  I'm Section One.
Vukovich looks up, a relieved look on his face.
     [V]     (HOPE)  Did you bring transport?
Michael approaches Vukovich.
     [M]     I'm not here for the evacuation.
Vukovich's expression changes to one of despair.
     [V]     (DISPAIR)  These people helped us for years.  They fed us information ..., risked their lives.  We promised them that if the day ever came, we would get them out. ...  Listen.
Vukovich walks over to the table and turns up the volume on the CB.
          (WOMAN'S VOICE)  Why isn't anyone answering?  If you can hear my voice, send someone to Kasova sector ....
In the background you can hear gunfire and people screaming.  Michael moves away from the table.  He is affected, but has already labeled the 'voices' as dead and mentally shuts them out.  Vukovich is unable to do the same, having lived among them for so long.
     [V]     (DISPAIR)  It's been like this for three days.  Everyone else is gone.
Michael ignores the plea for help, just tells him the information he needs - Luca's whereabouts.
     [V]     I'm looking for Luca.
Michael and Vukovich lock glances.  In the background the CB continues to blare.
          (MAN'S VOICE)  Please, is there anybody there?  Can anybody hear ...?

     [M]     Where are the train yards?

Vukovich breaks eye contact with Michael and turns away.
     [V]     (BITTER)  Train yards?  Just north of the mines ..., you can't miss it.  Just follow the smell.
Once more you hear a cry for help from the CB.
          (MAN'S VOICE)  Hello.  Is anyone there?  Come help us!  Please!  If you do not come, we're going to die!  Please ...!
Vukovich turns back to his previous task, shredding papers.  Michael stares at Vukovich's back for a minute (listening to the CB in spite of himself), before turning to leave.  Vukovich thinks of something and faces Michael again.
     [V]     Listen ...
Michael stops and looks back at Vukovich.
     [V]     (HOPEFUL)  There's a family in that area.  Do you have room?

     [M]     I'm sorry.

Michael walks out, leaving Vukovich alone with the CB, forced to listen helplessly to people he's worked with, that are now abandoned and almost certain to be murdered.
          (MAN'S VOICE)  Hello!  Hello!  Hello!  We have children here.  Please ..., Please ..., we have children ....
CB turns static.  Vukovich listlessly continues to shred papers.
 

EXTERIOR - VUKOVICH'S OFFICE.

Michael walks out of the building, around to the driver's side and gets in.  His face turns bleak when he realizes the children are still sitting in the back.
 

INTERIOR - LAND ROVER

     [M]     (COLD)  What is this?
Michael turns and looks at Nikita, but she refuses to meet his gaze, just stares out the window.
     [M]     I couldn't leave them there ..., it wasn't safe.

     [M]     (ORDER)  This is not a game, we are not playing house. ...  Get rid of them ... now.

At this, Nikita does meet his gaze.  They stare at each other a minute, then Nikita throws down the gauntlet.
     [N]     (DEFIANT)  You get rid of them.
Michael and Nikita trade glances for a second, then Michael silently gets out of the Rover and opens up the back door.
     [M]     (TO CHILDREN)  Come on, let's go.
Peter looks at his sister for a second, then slides out of the Rover.  Sasha doesn't move, just looks at Nikita.  Nikita stares straight ahead, refusing to look at the little girl.  Michael leans in, picks up Sasha and stands her next to her big brother.  They stand huddled together staring at him.  Michael refuses to return their look, just quickly shuts the back door and gets back in the front.  Nikita doesn't look at either Michael or the children, just forces herself to stare ahead.  Michael turns on the engine and starts to drive away.  Before he can go more than a couple of feet, however, people moving in front of the Rover force him to stop.  In spite of himself, he glances in the car's side mirror.  Peter and Sasha haven't moved, just remain huddled together.  Against his will Michael looks across at Nikita.
     [M]     It was a mistake to bring them.
Nikita looks back at Peter and Sasha, then faces front ... refusing to say anything to Michael.  She realizes if she says anything it will make it easier for him to abandon the children.  Michael continues to stare at Nikita, just as obviously needing her to say something so he can explain why he has to abandon them.  During the entire scene the gunfire heard in the background never stops, so you know the fighting is coming closer.
 

EXTERIOR - LAND ROVER

Peter tries to use his thin body to cover and protect his sister, while he gazes around him, trying to figure out what to do.  Suddenly you see the Rover reverse until it is parallel to the children.  Once again, it is Michael's past that makes the choice, not Nikita's arguments.
 

INTERIOR - SECTION / WALTER'S AREA

Birkoff leaves his area and walks over to Walter, who is busy at his work table.  As Birkoff approaches Walter, he looks around to see who is nearby.  Walter greets him with a smile.

     [W]     Hey, what'd you need?

     [B]     (TENSE)  I wanted to get the encrypt files on that filter simulator.

     [W]     Sure.

Walter's face briefly shows a puzzled expression before he goes to retrieve the information.  While Walter gets the CD, Birkoff looks like he is mentally trying to work out something he needs to say.  Walter returns and hands him the CD.
     [W]     Why didn't you just download them?
Birkoff hesitates, then confides in Walter.
     [B]     (CONFLICTED)  Walter, I need your help. ...  I don't know what to do.

     [W]     About what?

     [B]     (CONFLICTED)  Gail.

Walter leers and assumes his "dirty old man" demeanor as he leans against his work bench, getting ready to hear something juicy.
     [W]     (SUGGESTIVE)  Oh, you've come to the right place.
However, Birkoff's soul-baring is not what Walter was anticipating.
     [B]     She's using the Section computer to steal.

     [W]     (STARTLED)  What?

     [B]     She walked away ....

Walter hears someone walking by and stops Birkoff, pulling him further into his work area so they can't be accidentally overheard.
     [B]     (UNDERTONE)  ... She walked away from her system without logging off last night.  The modification dates on some files didn't look right, so I checked it out.  She's funneling money out of terrorist accounts that we're monitoring.  ...  What do I do?
Walter can only vocalize what Birkoff already knows.
     [W]     (SIGHS)  You think you have options?
Birkoff stares at Walter for a moment, silently pleading for him to come up with a better idea.
     [B]     (CONFLICTED)  You know what they'll do to her.
Walter can only shake his head.
     [W]     (REGRET)  I'm sorry, Birkoff.
Birkoff realizes Walter's can't help him, hands his friend back the obviously redundant CD he had just asked for and wanders back to his area.  Walter watches his go, wanting to help him, but unable to add to what Birkoff already knows.  [My impression is that Walter has already 'walked in Birkoff's shoes' about this dilemma.]
 

SECTION - BIRKOFF'S AREA

Birkoff returns to his area and sits down.  He is still left with a decision that he doesn't want to make.  He takes off his glasses and briefly looks at Gail's computer.  As he turns back to stare straight ahead, footsteps are heard approaching.  Birkoff seems oblivious, lost in his thoughts.  Gail appears, leans down and gives Birkoff a kiss on the cheek.  She leans her head on his shoulder when she sees his expression.

     [G]     (CONCERN)  Oh, poor baby!  Have you been up all night?

     [B]     Yeah.

Gail gives him a sympathetic look and she briefly rubs his neck, before straightening and walking over to her computer.  Birkoff waits a moment, before turning and looking at her.  Gail looks up, sees him staring at her and smiles.  Birkoff returns the smile and turns back to his computer, even more at an impasse than before.
 

BALKANS
EXTERIOR - STREET OUTSIDE DETENTION YARDS

Trucks are rolling down a street up to a guarded entrance.
 

INTERIOR - BUILDING ACROSS FROM DETENTION YARDS

Michael watches as trucks loaded with prisoners roll through the guarded entrance to the Detention Yards.  Michael and Nikita have set up shop in an abandoned building across from the yard's entrance.  From this position they have a clear view of anyone entering or leaving.  Nikita joins Michael at the window.

     [N]     What now?

     [M]     We wait.

Nikita looks at Michael's face a second, then turns and joins the children who are standing together nearby.  Nikita crouches down to give them some instruction.
     [N]     (GENTLE)  I want you guys to lay down in the other room, okay?
While Michael and Nikita wait, they open the padded packets labeled "FSN" and remove disassembled rifles, which they start to reassemble.  One of their cell phones rings and Nikita answers.
     [N]     Yeah?  (LISTENS)  Okay, thanks.
She walks over to Michael to give him the information.
     [N]     Birkoff just heard from Team Two.  Luca's vehicle was spotted heading this way.
Michael continues to assemble his rifle.
     [M]     Why didn't they take him out?

     [N]     Transmission went dead.  Birkoff thinks it was a land mine.

     [M]     How far?

     [N]     Two kilometers.

Michael finishes assembling his weapon.
     [N]     Let's get into position.
Nikita nods and retrieves her gun.  She then walks over and crouches down next to where Peter and Sasha have lain, to talk to Peter.
     [N]     (WHISPER)  Peter, listen to me carefully.  This is very important. ...  If you want to see your parents again, you have to stay here and take care of your sister.  Do you understand?

     [P]     (NODS)  Yeah.

Nikita reaches over and gently strokes his chin.  After studying his face a moment more, she gets up and joins Michael outside.
 

EXTERIOR - STREET OUTSIDE DETENTION YARDS

Trucks are still rolling up to and through the entrance.  Each one is loaded with civilian prisoners.  Michael and Nikita are crouched behind debris across the street waiting for Luca to appear.  Michael contacts Birkoff on his cell phone.

     [M]     Birkoff, we're here.


INTERIOR - SECTION / BIRKOFF'S AREA

     [B]     Any sign of Luca?

     [M]     (VOICE)  Not yet.  Did you patch this location to the other Teams?

     [B]     Yeah.  They're on their way.


STREET OUTSIDE DETENTION YARDS' ENTRANCE

Michael hangs up.  He and Nikita watch as another truck pulls up to the entrance.  A couple are leaning against the bars in the truck, looking listlessly out.  The woman looks up and sees ... Peter, who has ventured outside against Nikita's orders.  A look of excited recognition flies across her face and, not thinking of the consequences, she calls out -

     [A]     (YELLS)  Peter!
Peter's father grabs her and hushes her, knowing the call could get their son arrested.
     [GR]   (WHISPERS)  No!
Anna struggles for a moment, then leans sobbing against his shoulder.
     [A]     (CRYING SOFTLY)  Peter!
Peter looks up, sees his parents and calls out, starting to run toward them.
     [P]     (YELLS)  Mama. ...  Mama ..., Papa ..., Mama ...!
As Peter runs toward the truck, Michael leaps up, grabs and pulls the boy back down behind the barrier, his hand over Peter's mouth.  Michael talks to Peter, leaving his hand over the boy's mouth, while Nikita looks on.
     [M]     (WHISPER)  I know you want to see your parents.  You'll have to be smart, Peter. ...  Okay?
Peter nods, and Michael removes his hand from over Peter's mouth.  Peter's parents look on tormentedly as the truck in which they are imprisoned accelerates through the gateway.
 

EXTERIOR - OUTSIDE DETENTION YARDS' ENTRANCE -  NIGHT

It looks to be quite late in the evening.  A car approaches the gate.  Michael and Nikita are still at their posts, waiting for Luca.

     [M]     This must be Luca.  Stay alert.
Nikita moves so she can see the approaching car.  Michael and Nikita have split up.  Michael is on the far side, Nikita next to the building where the children are hiding.
     [N]     I'm in position.

     [M]     If you get a shot, wait till they're stopped at the gate.  It will give me time to back you up.

     [N]     Got it.

Nikita watches as two guards talk to each other, pointing to the building where the children are hiding.  As she watches, they walk across the street and enter the building.
     [N]     Michael, there are two guards heading towards Peter and Sasha.
Nikita watches as they kick open the door and enter the building.
     [N]     (CONFLICTED)  What should I do?
Michael spies Luca's car.
     [M]     Forget it, Nikita.  He's here.
Luca's car reaches the gate and stops while he speaks to the guards.  Michael takes aim, but finds he is out of reach.  Luca is sitting in the front passenger's seat.
     [M]     (ORDER)  He's on your side, take him.
Nikita aims, then hears Peter and Sasha cries as they are dragged from the building.
     [P]     (YELLS)  Sasha! ...  Leave us alone!
Michael only sees that Nikita has not fired her gun.
     [M]     Nikita, what are you waiting for?  (ORDER)  Shoot now!
Peter's voice keeps cutting into Nikita's concentration, and she is unable to prevent her eyes from straying over to where the guards have yanked the children in the street.  She makes a decision, retargets ..., and shoots the guards who have captured the children.  As soon as they are down she turns back to Luca ..., but its too late.  His car has driven through the barrier and is out of reach.  They now have another problem, as the other guards have heard the gun shots and are coming to investigate.  Michael watches as Nikita runs to the children.  Before the other guards can reach them, Michael has gotten in and driven the Rover in front of them.  Nikita piles the children and herself in, and Michael careens away before the guards can get off any good shots.
 

INTERIOR - ANOTHER ABANDONED BUILDING NEARBY -  NIGHT

Peter has joined Michael, wishing to speak to him.  Michael holds up his hands for silence, while he watches several patrolling soldiers walk past their building.  Nikita is with Sasha, and is helping her light some candles with a long taper.  She holds Sasha's hand steady as the child lights each candle. [I wonder, does Nikita carry her own supply of candles around with her?  Also, where did she get the taper?  You would think an Operative's supply kit would include a flashlight and lighter.  I guess Nikita's has candles and tapers.]

     [N]     Here. ...  That's for your Mama ..., and that is for your Papa.
The candles lit, Nikita holds the taper up for Sasha to blow out.  Meanwhile, Peter asks Michael questions, which Michael seems to answer absent-mindedly, as if he is only giving brief attention to the boy's questions.  He never meets Peter's gaze, but continues to look out the window, on guard.
     [P]     When are we going back to the detention yards?

     [M]     We have to wait.

     [P]     For what?

     [M]     Others are coming to help us.

     [P]     (CYNICAL)  Help us ..., or help you?

     [M]     We'll do what we can, Peter.

     [P]     (DISBELIEF)  I don't believe you!  As soon as you get what you want, you'll get out of here.  Why would anyone want to stick around here a second longer then they had to?

This statement gets Michael's attention, and he looks over at Peter.  Peter briefly meets his look before walking away.  Michael looks over to Nikita, who is still holding Sasha.  Nikita meets his look.  They lock glances a moment, before Michael goes back to staring out the window.
 

INTERIOR - SECTION / MADELINE'S OFFICE

When Birkoff enters, Madeline is reviewing something on a portable lap top.  She is obviously busy, and shows it in her curt greeting to Birkoff.

     [MA]   What is it, I'm busy.
Birkoff quickly has second thoughts about 'sharing.'  [I can see why.  This is a subject I would want to broach with Madeline only when she's in a good mood - you know, after she's questioned a SOTW, cancelled someone for improper posture, etc.  That way you know she's probably already hit her 'body count' for the day.]
     [B]     I'm sorry.  I'll come back.
Birkoff turns and starts to retrace his steps out of the office, when Madeline stops him.
     [MA]   (ORDER)  Birkoff. ...  Sit down.
Birkoff comes back and takes a seat in front of Madeline's desk.  [His body language in this scene makes it appear he's preparing for Madeline to start beating him around the shoulders.]
     [B]     (STALL)  The new keyboards are really ergonomic.  Thanks for getting them approved.

     [MA]   (WASPISH)  I've got a coup attempt in the Balkans ..., a missing warhead in Eastern Europe, and a hostage situation in the Azores. ...  Is there something about these keyboards you feel will assist me in ... any way in these operations?

Birkoff pauses, then blurts out the reason for his visit.
     [B]     Gail is stealing money.

     [MA]   How do you know?

     [B]     She's using our encryption programs to do it.  (CHAMPION)  I think ... if you just confronted her with it, she'd stop doing it.  ...  She's one of my best analysts ..., not one of my best, my best. ...  We don't have to make a big deal of this.

     [N]     But it is a big deal.  Otherwise, why would you turn in a woman you're having intimate relations with?

This line of questioning catches Birkoff off-guard and he says nothing for a moment.
     [B]     (FEARFUL)  What are you going to do with her?

     [MA]   I'm going to take care of it.

     [B]     I'm sure if you spoke to her, she would not do it again.

     [MA]   This must have been a difficult decision for you.

This is clearly a sign that the 'talk' is over.  They trade a look, then Birkoff gets up and leaves Madeline's office.
 

BALKANS
INTERIOR - ABANDONED BUILDING

Michael is still on watch.  Nikita joins him.

     [N]     How long before we move?

     [M]     As soon as they're done with the Tactical.  The Teams are in place.

     [N]     When does Luca's arm's deal go down?

     [M]     Eight hours.

Again, you hear gunfire in the distance.  Nikita turns and looks at the children sleeping in the next room.
     [N]     So, what about them? ...  Do you think we can get them across the border?

     [M]     Probably. ...  But they won't want to leave their parents.

     [N]     (REQUEST)  Well ..., I mean ..., if there's time we should try and get them all out.

Michael refuses to look at Nikita.
     [M]     (COLD)  There won't be time.
Nikita doesn't push the issue, just leaves Michael and joins the children.  Michael is left to his thoughts, staring out the window.
 

INTERIOR - ABANDONED BUILDING -  DAY

Michael's cell phone rings.  As he picks it up, Nikita joins him.

     [M]     Yeah.  (LISTENS)  Okay.
Michael hangs up and moves away from the window.  As he passes Nikita, he gives her the update.
     [M]     They're ready.


EXTERIOR - STREET IN FRONT OF DETENTION YARDS' ENTRANCE

Another truck filled with prisoners approaches the entrance.  Michael and Nikita are hiding at opposite sides of the street.  When Michael sees the truck he contacts Birkoff.

     [M]     Birkoff, we have visual.


INTERIOR - SECTION / BIRKOFF'S AREA

Operations is standing behind Birkoff, as he cues the other Teams.

     [B]     Teams Three and Four ..., you're on.


STREET IN FRONT OF DETENTION YARDS' ENTRANCE

At the cue, a car and van move into position.  A moment later, the van backs into the car - right in front of the truck.  The two drivers get out and start arguing, attracting the attention of the guards at the entrance.  The truck stops, its way blocked by the accident.  As soon as the truck comes to a halt, Nikita and Michael quickly move to its rear.  Michael hands Nikita up so she can jimmy the lock.  Once opened, both Nikita and Michael join the other prisoners in the truck.  As she climbs in, Nikita reassures the other prisoners.

     [N]     (REASSURE)  It's okay.  We're not here to hurt you.
[I must say, if I were one of the prisoners, I'd be saying "... that's all right, this is my stop anyway," and jump out before they could stop me.]  Michael closes and locks the rear gate just in time.  The guards have forced the other Team Operatives to get in their vehicles and drive away.  Once the way is clear, the truck enters the Yards.
 

SECTION / BIRKOFF'S AREA

Birkoff confirms to Operations that Michael and Nikita have succeeded in infiltrating the prison camp.

     [B]     They're in.


EXTERIOR - DETENTION YARDS' ENTRANCE

The truck carrying Michael and Nikita enter the prison.
 

INTERIOR - SECTION / BIRKOFF'S AREA

Birkoff is trying to work, but he keeps looking behind him - at Gail's empty seat.  Footsteps rapidly approach, which Birkoff doesn't seem to hear.  Gail is seated and accessing her computer by the time Birkoff has turned and noticed her.  A disbelieving expression appears on his face.

     [B]     Gail?

     [G]     Oh ..., I didn't have a chance to finish that program last night, so I thought I'd do it now.  Is that okay?

Birkoff gets up and takes a step toward Gail, his expression first one of disbelief, then delight.  Gail notices Birkoff's strange behavior, and gets a 'what is going on' look on her face.
     [G]     What's wrong?

     [B]     (BAFFLED)  Nothing. ...  That's fine. ...  Everything okay?

     [G]     Sure.  Why shouldn't it be?

     [B]     No reason. ...  I'll be right back.

Birkoff quickly walks off, leaving Gail to amusedly wonder about his actions.
 

SECTION - MADELINE'S OFFICE

Birkoff stands in Madeline's open doorway for a moment, before entering.  Madeline turns away from the wall-mounted computer to look at him.

     [MA]   I've been expecting you.

     [B]     (MYSTIFIED)  I don't understand.

     [MA]   We're not going to cancel Gail.

A relieved expression breaks out on Birkoff's face.
     [B]     You're not?

     [MA]   We've known about her ... extra-curricular activities for some time now.  It's what brought her to our attention in the first place.

     [B]     What about the money?

     [MA]   Those accounts don't exist.  We create them for the sole purpose of satisfying her habit.

     [B]     (MYSTIFIED)  Her habit?

     [MA]   After an extensive profile, we came to the conclusion that ... stealing is something she'll never be able to give up.  So we allow it. ...  user productive.

     [B]     But how long can this go on?

     [MA]   Indefinitely.  She doesn't want to spend the money, she just wants to steal it. ...  Anything else, Birkoff?

Birkoff thinks for a minute, then just shakes his head and turns to leave.  Madeline, however, has something else to 'share.'
     [MA]   By the way ..., it took you longer to discover this than we expected. ...  (WARNING)  Keep your people closer.
[I got the definite impression that if Birkoff were any closer to Gail they could both wear the same T-shirt!]  Birkoff seems beyond speech.  He just nods his head and leaves.  Madeline cracks a smile as the door closes behind him, before returning to her work.
 

EXTERIOR - DETENTION YARDS

Michael and Nikita have joined the other prisoners from their truck walking in disorganized lines around the detention camp.  As they walk, they search for Luca.  They observe more trucks unloading prisoners.  Michael watches as a guard pulls a prisoner from a group and makes him kneel on the ground, showing that the guards feel free to kill randomly and for no reason.  Nikita is looking in the other direction and thinks she spies their target.

     [N]     Is that Luca?
Michael looks where Nikita is indicating and sees Luca smoking a cigarette and speaking with two other men.
     [M]     Luca.
They start to drift toward him.  Luca, in the meantime, pulls a man from a group of prisoners, shoves the man to the ground, pulls out a gun ..., and shoots him.  He then matter-of-factly motions for a nearby guard to do something with the body, and walks away.  Michael and Nikita quickly pull away from the group they were with and follow Luca.  When they get to a jeep they take cover behind it and draw their weapons.  Nikita brings to Michael's attention a guard standing watch on a building Luca passed.  Michael gets up, hiding his gun, and walks towards the building.  As soon as the guard spies Michael, Michael raises his gun and shoots him.  They then race across a cement-covered yard and take shelter between two long cargo vans.
     [N]     Michael.
Nikita motions Michael to look across the yard.  A soldier/guard is sorting out a loading bay full of clothing and other belongings.  They watch a moment, before working their way behind the docking bays to a hill located behind in which prisoners are being marched up a steep flight of cement stairs.  Before the guards can do more than notice that they are approaching, Michael and Nikita quickly take them out.  At the sound of gun shots, the prisoners panic and escape back through the yards.  Michael and Nikita race up the stairs.  Michael meets a guard at the top, and throws him down the stairs so he tumbles past Nikita as she follows Michael to the top.  They enter a building at the top of the stairs.
 

INTERIOR - BUILDING / TRAIN YARD

A guard descending a staircase shoots at them, but Michael quickly takes him out.  They retrace the guard's movements up the stairs to find Luca kneeling in front of a desk.  When Luca sees Michael holding a gun on him, he quickly stands and raises his hands in the air.  Nikita moves behind Luca to look out the window.

     [L]     (PLEA)  Don't shoot me.  I give you information, hmmm?  Troop movements; locations of weapons stockpiled ..., identities of our informers ... anything you want.
Michael's face shows no emotion through this tirade [I know, what a surprise], but Nikita shows one of disgust.
     [N]     You're not even prepared to die for what you believe in.

     [L]     (MATTER-OF-FACT)  Who says I believe?  I do what I have to do to survive.  Like everyone in this country.

Michael's expression doesn't change, but you can tell he has reached the end of his forbearance, as he slowly moves nearer to Luca.  Luca realizes no one is interested or listening to his bargaining, and tries to up the ante.
     [L]     (PLEA)  I can help you.  I know ... things ...
Nikita is watching Michael, and she notices the change in his demeanor.  Luca starts babbling in fear.
     [L]     (PLEA)  You have nothing to lose by bringing me in. ...  You can always kill me later!
Michael says nothing, just stares at Luca for a moment - before shooting him.  Michael now gives Nikita new directives.
     [M]     Let's find the parents.
You can tell this was not something Nikita was expecting, but she quickly follows Michael out of the building.
 

EXTERIOR - DETENTION YARDS

Outside mass chaos is reigning.  The rebel guards seemed to have disappeared and the detained civilians are panicking.  Everyone seems more concerned about finding loved ones than escaping.  Michael and Nikita decide to split up.  Michael indicates a nearby building.

     [M]     I'll go in there.
Nikita continues to sweep through the panicked people running around in the open.  Nikita finally finds the children's parents in a long open-ended building.
     [N]     (RECOGNIZE)  It's you.  I have Peter and Sasha.

     [A]     (RELIEF)  My God!

     [GR]   (RELIEF)  Take us!

     [A]     (CONCERN)  Are they all right?

     [N]     Come with me.

Nikita leads them out of the building, toward Michael and their children.
 

INTERIOR - ABANDONED BUILDING -  LATER

Peter is sitting on the floor with Sasha when he hears approaching footsteps.  He turns to see Michael and Nikita enter ..., quickly followed by his parents.  His mother rushes to embrace Sasha as their father sweeps Peter up in his arms.

     [GR]   (JOY)  My God! ...  Peter! ...  My God!
Peter is too overcome to speak.  His father looks him over carefully, as if taking a quick inventory to make sure Peter is healthy and unharmed.
     [GR]   Are you okay?
As the family joyfully greet each other, Michael quietly walks past them, pulls out his cell phone and contacts Section.  Nikita joins him.
     [M]     We're ready to evacuate.
Unfortunately, Michael is not told the information he wants to hear.  Nikita studies his face, knowing something is wrong.
     [W]     What?  (LISTENS)  Yeah.
Michael looks at Nikita's face as he hangs up.
     [N]     What's the matter?

     [M]     We can't get an airlift.

     [N]     Why not?

     [M]     Our priority's been downgraded.  We'll have to cross the border ourselves.

Michael walks away from the window.  Nikita is unable to watch the happy reunion, knowing this information has made it almost impossible to successfully get this small family out of the country intact.
 

BORDER CROSSING

Michael, Nikita, the children and their parents approach the country's border check point.  They are in the middle of a mass exodus of the populace leaving the country, loaded down with all their worldly possessions.  Everyone is being checked at the cross-roads by guards.

     [N]     Let us take them.

     [A]     No!

     [N]     We have a better chance of getting through.

As they near the border guards, Nikita is now holding Sasha and Peter is walking next to Michael.  Their parents are walking behind.  They see that a guard is manning a machine gun mounted on a truck.  [Crossing the border just ahead of our little group you can see - the "Where's Waldo" guy - one of the Murrin twins.]  When they reach the barrier, Michael hands a guard their papers.  As the guard looks them over, Nikita looks straight ahead, refusing to display any emotion.  Michael maintains eye contact with the guard.  After looking over the 'family,' he hands Michael back his papers and waves them through.  [Smart move on the guard's part.  The guard probably took one look at Michael's face and decided this man was the last person he wanted to detain!]  As they follow the other refugees through the barrier, Sasha, still in Nikita's arms, turns to look at her parents.  When it is time for Anna and Gregory to show their papers, it is evident that it is a different situation.  They are obviously nervous and show it.  They switch between looking worriedly at the guard and watching their children traveling further and further away from them.  Ann's and Gregory's passport, plus their furtive-like behavior has the guard motioning for the barrier to come down and for other guards to take them into custody.  When the couple see their way blocked, they lose what little composure they had.  As they argue with the border authorities, the hysteria in their voices become more apparent.
     [GR]   No?!

     [A]     This is a mistake!

     [GR]   You must let us pass!

     [N]     No!  Its a mistake!

Peter hears the commotion and starts to turn his head.  Michael stops him, placing his arm around the boy's shoulders.
     [M]     (QUIETLY)  Don't look back, just keep walking.
Sasha looks over Nikita's shoulder to see her parents being driven away from the barrier, still pleading to be let through.
     [A]     (HYSTERICAL)  No, you must let us go!

     [GR]   (PLEA)  Let us go!

     [A]     (HYSTERICAL)  Let me go!

     [GR]   This is crazy!

     [A]     (HYSTERICAL)  Papa.  You must let us go.  You cannot take us now.

     [GR]   (PLEA)  I beg you ..., let us go!

     [A]     (HYSTERICAL)  Do not take us away now!

The last things the children see and hear are their parents begging to be let go as they are propelled away from the barrier.
 

INTERIOR - SECTION / VAN ACCESS PORTAL

Michael and Nikita are among other returning Operatives.  They are met in the hallway by Madeline.

     [MA]   Congratulations.  We succeeded. ...  The arms deal fell through, once word of Luca's death got out.
Nikita throws Michael a quick look, before asking a question.
     [N]     What about Peter and Sasha?

     [MA]   We found a family from their country who just immigrated.  They'll have a good home.

     [N]     Any chance of getting their parents out?

Madeline says nothing, just trades looks with Michael, before turning and walking away.  Michael turns to study Nikita's face.  Nikita doesn't meet his gaze at first, just looks down at the floor .., then steels herself to look him in the eye.  Michael doesn't say anything either, just holds her glance for a second, before following Madeline down the hall.  Nikita is left standing alone in the hallway with her thoughts.  Then she, too, walks down the hall ... but in the opposite direction.
 

INTERIOR - CHURCH

Peter and Sasha are kneeling in front of an alter lighting candles for their parents.  Peter places a photograph of the family in happier times next to the candles.  Suddenly, a side door opens and their parents enter.  The children turn and see their parents.

     [P]     Mama!  Papa!

     [GR]   Thank God!

Gregory swings Sasha up in his arms while Anna hugs Peter close.  A white light briefly blots out this tableau, then ...
 

INTERIOR - NIKITA'S APARTMENT / BEDROOM

... Nikita wakes up.  The scene at the church had been a dream.  Nikita stares around her with only the glow from a single candle for light.  It was a dream ..., only a dream.
 
 

END OF EPISODE