Scene 1: Section One, White Room. Jan, a terrorist, is restrained in the
chair.
Jan: Hey! Let me go! Get me out of here!
(Madeline comes in, humming to herself…apparently to unnerve Jan)
Jan: I'm going to kick your ass, lady.
Madeline: Miss Baylin – you have a business relationship with a man
named Marco Ashe.
Jan: That's why you got me here? Marco Ashe? (laughs) Classic. Marco
Ashe.
(Madeline decides to shut her up. She grabs her by the throat and closes
off her windpipe. Go Maddy!)
Madeline: Now listen carefully. 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.
(Madeline releases her so she can respond)
Jan: Oooh. 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.
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.
Scene 2: City Street. Jan is driving an Alfa Romeo convertible, fast, with
Michael and Nikita following in a black Mercedes coupe. Great music
playing!
Nikita: She's going to take 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 runs a red light)
Nikita: What's she doing?
Michael: Lead vehicles, drop back and pick her up.
(Jan spins the car around, drives straight at Michael and Nikita in their
car. They dive from the car; she kamikazi crashes it into theirs and dies.)
Scene 3: Section One, War Room
Operations: Jan Baylin was a courier who ran material between a transient
tactical group called The Alliance and this man here, Marco Ashe. 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. (glares at Michael) 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. (screen changes to show a young woman) 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 ALL. 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 leaves, Nikita looks at Michael)
Nikita: They're going to make an innocent woman spend the last days of
her life working for us?
Michael: Yes.
Scene 4: Sarah's House. Sarah is painting a doll. Madeline shows up, as
if she's visualized there.
Madeline: Hello. (Sarah looks up)
Sarah: 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.
(time apparently passes)
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 unexpectedly.
Sarah: (starts coughing) Even if I wanted to, I'm too weak.
(Madeline picks up a miniature from a shelf, not too carefully. That gets
Sarah off the couch.)
Sarah: Oh, oh please, please don't touch that. My father made this one for
me.
Madeline: Not too weak. 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, save many lives – then you should come with me
now.
Sarah: Is there a chance I might be killed?
Madeline: It's likely.
Sarah: Okay.
Scene 5: Section One, Main Area. Sarah and Madeline enter. Interesting
visual. Sarah's in a tailored gray suit…looks very much like she ought to
be Madeline's daughter or younger sister.
Sarah: I'm going to live here?
Madeline: No, you'll be on level four.
Sarah: Level four, how many are there?
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: Shall I take her up now?
Madeline: Yes. We should get started.
Nikita: Come on.
Madeline: And thank you again for doing this. I know how difficult it is for
you.
Sarah: It won't be if everyone here is as nice as you.
(Nikita turns away, she can't watch…LOL)
Scene 6: Section One, White Room. They're practice-interrogating Sarah.
Female Torture Twin: Where would you rather be on a sunny day? A
museum or the zoo?
Sarah: The museum.
(Female TT shocks her)
Female TT: What color eyes do you prefer? Blue or green?
Sarah: (hesitates) Green?
(Nothing happens. Madeline watches from the observation area.)
Female TT: Where would you rather go on a sunny day? The museum –
Sarah: The zoo!
(She is shocked again)
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: 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. (to Female TT) Go on.
Female TT: If you had to hide money in a house, what room would you
choose?
Scene 7: Section One, Systems. Nikita comes up behind Sarah, who's
watching video of Jan.
Nikita: How are you doing?
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: 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 over)
Operations: Schedule has been changed. We're going to beta run this
afternoon.
Nikita: She's not ready. She just got here.
Operations: Can't be helped. Start your prep.
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.
Scene 8: Section One, Egress area. Sarah shows up, dressed exactly like
Jan Baylin. Leather, hair cut just like her.
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: Okay. Just - I never felt like this before.
Nikita: We'll go over the profile on the way in the van.
Scene 9: Mission Van, Mission. Birkoff hands Sarah sunglasses.
Birkoff: Here. Put these on.
Sarah: No, I don't really like to wear sunglasses.
Birkoff: (annoyed) They're not sunglasses.
Sarah: Yes, they are.
(Nikita gives them to Sarah)
Nikita: Here. Have a look.
Birkoff: There's a camera in them. We see what you see.
(Sarah looks at the monitor, sees how they work)
Sarah: Wow. These are kind of fun. (She starts to laugh but that makes
her cough)
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.
(They initiate a frantic search until they find it; Sarah is nearly
suffocating)
Nikita: Breathe.
Birkoff: Here it is!
(Nikita helps Sarah use the inhaler)
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 been – 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.
Scene 10: The Mission. Sarah goes down an alley filled with bums and
enters a room. It's decorated like a S&M dungeon, with mannequins
hanging from rafters by their necks. Corey works at a computer.
Corey: Hey Jan, what's going on?
Sarah: Hey.
Corey: You look different?
Sarah: I do?
Corey: Yeah, you look hot.
Sarah: Thanks.
Corey: Want to get high?
Sarah: I'm in a hurry. You got the papers?
Corey: Yeah. (he pulls them from a drawer, she coughs a bit but holds it
back) Take your pick.
Sarah: This one.
Corey: Just like that? You're not going to bust my chops today?
(She hands him the money)
Sarah: Like I said, I'm in a hurry.
Corey: (he rolls the cart up and traps her against the wall) I'll take it the
other way today.
Sarah: What do you mean?
Corey: Hop up. (He pats the cart. Sarah ignores him, confused)
Sarah: I have to go, I have to go.
Corey: What's wrong, bitch? You go, when we're done.
Sarah: Stop it. Stop it! Stop it! You're scaring me!
Corey: What? (now he knows it's not Jan) Who are you? (he grabs a gun,
points it to her head) I said, who are you?!
Sarah: Sarah. My name is Sarah. Jan's dead. Section One hired me.
(A shot - Michael just shot Corey dead. Sarah screams, she's covered with
blood.)
Michael: It's best if you don't mention Section One.
(Cathy in: That would be the understatement of the century, Michael!)
Scene 11: Section One, Madeline's office. Nikita enters.
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.
Scene 12: Unidentified Room. Is this off site? There's daylight coming
through a window so I guess so. Michael and Sarah sit facing each other,
casual atmosphere, but Sarah's nervous.
Michael: I make you nervous.
Sarah: It's just the way I am. This is all so strange.
Michael: It is. It usually takes two years to train an operative. And even
then, most don't make it. But you've already fit in. You're a remarkable
person, Sarah. (pauses, but she doesn't answer) I'm sorry. I frighten you
because of what happened today.
Sarah: That's not why.
Michael: It doesn't matter. We can use someone else. (he gets up)
Sarah: No, please. (he sits again)
Michael: What is it about me that scares you?
Sarah: (tearing up) I guess…I guess I find a different reason every time I
meet a man…not that I-I meet that many.
Michael: And what reason are you giving yourself this time?
Sarah: You're handsome. You probably get everything you want from
women. Which means you're not very nice.
Michael: (looks stricken; this hit home) You're right.
(Madeline and Nikita are watching from Madeline's office)
Sarah: Do you have a girlfriend?
Michael: No.
Sarah: But you love someone, don't you?
Michael: Why do you say that?
Sarah: I don't know. You seem like you're thinking about someone.
Michael: 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: Okay. I'll tell you about her.
Madeline: Good. She's warming up. (Madeline turns off the monitor)
Scene 13: Section One, Main Area. The Female TT is talking to someone
off camera.
Female TT: I didn't expect him to lose his hair. It must have been the extra
sodium.
(Michael comes downstairs, meets Nikita)
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.
Scene 14: Section One, Systems. Nikita is working on a computer and
sees something she doesn't like.
Scene 15: Section One, Munitions. Nikita and Walter.
Nikita: They set her up, didn't they?
Walter: What are you talking about?
Nikita: Sarah Gerard. You had Biotech engineer something to make her
sick.
Walter: No. No. What would make you say a thing like that?
Nikita: Jan died on the twenty-third. The next day, Sarah was diagnosed
with ALL.
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.
(Nikita walks off, looking up at Madeline and Operations in the loft as
she does so)
Scene 16: Section One, Hallway.
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: Redirect the files to me – I'll look into it.
Nikita: (looks down)
Michael: What?
Nikita: Nothing. It's just unusual. You sticking your neck out to help.
Michael: I like her.
Scene 17: Mission. Sarah gets out of an Alfa Romeo…guess we're keeping
that dealer in business this ep, LOL…and goes into a building. Nikita is
communicating with her over the comm set.
Nikita: Remember Sarah. We need Ashe to give us the location.
Sarah: Right, I know.
Nikita: 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.
(Sarah meets up with Ashe. He's a fox. She notices.)
Ashe: Jan, good to see you. Come in. Your timing's impeccable. I was just
finishing up.
Sarah: What a wonderful place. (she's admiring his apartment)
Nikita: Sarah, no. You've been here 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: Give him the money.
(Sarah gives him an envelope. He takes it and 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 you're slowing down?
(He turns to her)
Sarah: Maybe a little. (She grabs him and they start kissing! Too funny)
(flash to Section One, comm center)
Birkoff: What is she doing???
Nikita: She's making up for lost time.
Scene 18: Section One. Operations at a monitor, turns to a female
operative.
Operations: Thank you.
(The other op walks away, Madeline arrives)
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.
Scene 19: Section One, Egress. Sarah comes bouncing back into Section,
in a great mood.
Sarah: Walter! Where's Nikita?
Walter: I think she's in comm.
Sarah: Great. Oh, here. (She hands him Ashe's briefcase and starts to go,
then stops.) Which way's that again?
(Walter points)
Sarah: Oh, right. Right!
Scene 20: Section One, Main Area. Nikita's talking to Operations. He
walks away as Sarah arrives.
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. (giggling) 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: Why not?
Nikita: You don't know what you're dealing with. You should stop thinking
about him. It's over.
Sarah: (turns hard) You can't stop me. You need me, and if you want to
keep using me, this is what I want.
Nikita: Sarah. (Sarah pauses) Marco Ashe is dead.
Sarah: That's not true.
Nikita: He's been eliminated. That's how they do things here. I'm sorry.
(Sarah, stunned, walks away, starts coughing)
Nikita: Sarah?
Scene 21: Section One, Comm Center. Nikita walks in, Michael falls into
step behind her and they continue along, talking.
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.
Michael: Where are you going?
Nikita: Michael, this is over the line. Someone has to stand up for her.
Scene 22: Section One, Madeline's Office. Nikita enters.
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.
Scene 23: Section One, Munitions.
Walter: After she closes it, she'll enter a three digit combination on the lock.
416. That will arm it. She'll have three minutes to get out of there.
Nikita: I was right, you know. The Section did infect Sarah. They made
her think she was dying, she had nothing left 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's 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.
Scene 24: Section One, Hallway. Sarah sits in a chair.
Nikita: Sarah? It's time to go. Are you going to be able to do this?
Sarah: (Sarah is crying) 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: Like it matters.
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?
Scene 25: Mission. Sarah is driving along, Nikita is communicating with
her on the comm set.
Nikita: 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 Section One – Comm)
Birkoff: OK Nikita, exterior is clear – move in.
(Sarah enters the building, walks down the stairs. A guard passes a
scanner, must be a metal detector, over her and then grabs her hand for
a print.)
Sarah: What are you doing?
Guard: Running a print.
Sarah: Since when?
(flash to the Van)
Nikita: Michael, what do we do?
(flash to Section One)
Michael: Bring your team up a notch.
Guard: Just do it.
(Sarah grabs the guard, slams his head against the staircase)
Sarah: Take my print off your neck.
(Darius, watching, laughs – this is classic Jan)
Darius: Oh, Jan, you'll never change. (to the guard over the intercom)
Forget the print, send her down.
(flash to Section)
Birkoff: Wow.
Michael: (to headset) Everyone to first position.
(back at the site)
Darius: Hello, Jan. Lovely as ever.
Sarah: Let's just do this. (She opens the briefcase)
Darius: Looks fine. Give my regards to Marco. I presume he's well.
Sarah: He's fine.
Darius: Good. (Waiting for Sarah to leave; she doesn't) I thought you
were in a hurry?
Sarah: Actually, I could use a drink. (Sarah sits down on the briefcase
and activates it)
Darius: Sure.
(flash to Section One – Michael hears the alert that the briefcase has
been activated)
Michael: OK, it's armed. Three minutes. Prepare egress.
Nikita: (into comm set) All right Sarah, you're fine to exit.
(back on site)
Darius: This is a rare pleasure. So, tell me about Jan Baylin?
Sarah: What is it you want to know?
Darius: What's your goal, what do you want out of life?
Sarah: I'll be happy if I can finish my drink.
Birkoff: What is she doing?
Nikita: She's committing suicide.
(Nikita runs off to get her; meanwhile inside the building)
Birkoff: Fifty seconds.
(back in the room)
Darius: No, really … what do you want to do, besides schlep detonators
all around the country?
Sarah: That's a good question.
Darius: (She hears gunfire) What the hell was that?
Sarah: My people - killing your people. (very icy and Sectionlike)
(Nikita shoots Darius from above and 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.
Birkoff: You've got wenty seconds to get out of there.
Sarah: Don't do this Nikita, please.
Nikita: I'm not going to go without you.
Birkoff: Eight seconds.
(they both run; building explodes)
Scene 26: Section One, Private Dining Room. Operations and Madeline
are having breakfast. (Cathy in: and there are no Oversight 'ho's around.
Yippee. I love Peter Lenkov.)
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 a while.
Madeline: I'll pull her off Lebanon.
Scene 27: Section One, Med Lab. Nikita stands near Sarah's bed.
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?
(Intercom – Madeline's voice)
Madeline: Nikita, I need to see you right away.
Nikita: Sure. (to Sarah) I'll be right back and tell you then. It's good, it's
very good.
Sarah: I'll be here.
Scene 28: Section One, Hallway. Nikita runs into Michael on her way to
see Madeline.
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: They probably want me to help Sarah get back on her feet. Good.
Scene 29: Section One, Madeline's Office.
Nikita: Hi.
Madeline: Sit down, Nikita. It's about Sarah.
The End
