Old Habits

#216 "Old Habits"
Written by: Maurice Hurley
Directed by: Terry Ingram
Edited by: Richard Wells
Transcript by: Karen H


co-starring:
Gregory Formitz: Chris Leavins
Belinda: Jill Dyck
Halir: Cas Anvar
Danielle: Donna Christo
Erica: T.L. Forsberg
Omar: Eric Fink
Kara: Stavroula Logothettis
pimp: Cassel Miles
Assassin: Valerie Sing Turner
Mentz: Neno Vojinovit


A = Assassin B = Birkoff BL = Belinda C = Craig D = Danielle E = Erica GF = Gregory Formitz H = Halir K = Kara L = Lowlife M = Michael MA = Madeline N = Nikita O = Operations OM = Omar P = Pimp W = Walter


TEASER EXTERIOR - MIDDLE EAST / BLACK SEA BEACH - NIGHT

It's dark enough that the beach and ocean appear black. Just past the water line a small disk-like object has been uncovered in the sand and sounds of shovels moving sand are heard. A pair of boots with a machine gun hanging next to them approach the sounds. Two men are crouched around a shallow hole. The leader, Halir, is watching while one of his men carefully continues to enlarge the hole. Lying next to the men is a metal detector.

[H] (MOTIONS WITH HAND) Carefully.


INTERIOR - SECTION / COMM

Birkoff is seated at his station, while Operations stands behind them. They both are looking at the monitor mounted overhead. The monitor shows a view of the man digging in the sand.

[O] Can you get a better view?

[B] Omar, a meter to your left.


MIDDLE EAST / BLACK SEA BEACH

Omar, the man holding the gun, slowly moves to the left. It is the view from the camera hidden in his glasses that Operations and Birkoff are watching. Halir stands and they both watch the man still kneeling take out a medium-sized paint brush and sweep away sand from another disk. Halir notices Omar's movement and cautions him.

[H] Be careful where you step. You might kill us all.

Omar says nothing, just continues watching as another land mine is uncovered.


SECTION / COMM

Omar's camera shows that the man crouched next to the hole now inserts the tip of a knife under the mine. Walter joins Operations and Birkoff and watches the scene on the monitor.

[W] Land mines.

Birkoff briefly glances over his shoulder at Walter.

[B] In the Middle East they're everywhere. Just walk into a field and help yourself.

The monitor shows the land mine has been extracted from the hole and is now sitting on the sand. Halir's man gently picks it up and hands the mine to Halir. The camera stays on the mine, not the person holding it.

[H] (VOICE) We will use these to strike terror into the hearts of our enemies. For a man who is willing to die for his cause cannot be stopped.


MIDDLE EAST / BLACK SEA BEACH

Where Halir seemed to be talking to everyone in the group before, he now focuses his attention on Halir.

[H] (TO OMAR) Don't you agree, my friend?

[OM] Of course.


SECTION / COMM

Halir hands the mine back to his man. The monitor shows Halir studying Omar as he speaks to him.

[H] (MONITOR) But first we must kill all the frauds ..., all the imposters. And ..., all the double agents.

The monitor displays Halir raising a gun and aiming it at Omar - and the camera.

[H] (TO OMAR) You understand.

There is no warning. Halir fires the gun - and the video is lot. The monitor shows only static. Walter's head jerks in surprise, but Operations' expression indicates he was expecting this action.

[O] Excellent. So far everything's going as planned.


SECTION - BRIEFING TABLE

Operations is briefing a Team for an upcoming Mission. Seated at the table are Nikita, Michael, Birkoff and two other Operatives. For once, Operations is pacing behind the Team members. Nikita is seated next to Michael. She appears tense and is slumped in the seat, her arms crossed across her chest. Even though Michael is listening to Operations speak, he spends a good part of the briefing studying Nikita. [I put this episode after "Soul Sacrifice." It is apparent that there are still unresolved between the two (I mean other than their usual unresolved issues).]

[O] Halir's group is called "Bright Star." Their goal is to destroy all symbols of modern decadence. Their weapon of choice - suicide bombings. The bombs are constructed from land mines so the materials can't be traced. Last night we sacrificed a mole in order to protect a more important contact.

Operations pulls up a Blue Screen of the individual under discussion.

[O] Gregory Formitz, a dealer in forged documents - passports, visas, press credentials.

The screen shows a surveillance video of Formitz walking down a street. Next to his head a profile of the man scrolls down the screen.

[O] He supplies Bright Star with fake I.D.'s. If we control Formitz, we have a chance to stop Bright Star.

Operations turns off the Blue Screen.

[O] We've been brought into this one a little late, so we have to play catch-up. We need any Intel we can get. Michael, it's all yours.

Operations passes the Mission to Michael and leaves. The briefing breaks up, but when Nikita tries to stand, Michael reaches out a hand and holds her chair under the table.

[M] You'll be our liaison with Formitz. Madeline has prepared a profile, you may find it useful.

Nikita says nothing, just nods her agreement and gives Michael a veiled stare as she gets up and leaves. [The vibes I'm getting from Michael and Nikita leave the impression that "... there's trouble in River City." Nikita is looking at Michael like she's expecting him to mutate in front of her.]


SECTION - MADELINE'S OFFICE

Madeline is seated at her desk, Nikita seated across from her. She has turned her monitor so they can both view the screen. It shows Section's profile on Formitz.

[MA] Formitz is from a wealthy family. Intelligent, well educated. ... He ranked first in his class at medical school.

Nikita looks at Madeline in surprise.

[N] (SURPRISED) Medical school.

[MA] Dropped out three days before graduation.

[N] Because?

[MA] He was a younger son .., a rebel. He wanted to cause his family .. the maximum amount of disappointment.

[N] Did it work?

[MA] Yes. They never spoke to him again. ... His alliance with terrorists arose partly as a way of continuing to rebel, partly because danger appeals to him.

[N] So betraying Bright Star to us makes it even more dangerous.

[MA] (NODS) Exactly.

[N] So ..., betraying us to Bright Star in turn ..., might up the ante even further.

[MA] Very good. Our analysis indicates there's little chance of that happening soon. But as time goes on, the chance will increase ..., so be alert.

Nikita nods in understanding.


INTERIOR - SECTION / COMM

Birkoff is sitting hunched over his computer involved in a project. Walter and Belinda enter, holding hands, radiating with happiness. They pause at the edge of Comm and Walter tries to get Birkoff's attention.

[W] Birkoff, you got a minute?

Birkoff absentmindedly dismisses Walter - without bothering to look around.

[B] No, not really.

However, Walter won't take no for an answer. He quickly looks around to see who's in Comm before walking over to stand next to Birkoff, Belinda still beside him. Both lean down slightly as Walter speaks to Birkoff.

[W] We want to tell you something.

[B] It'll have to wait.

However, the couple are too excited to wait, so Walter forges ahead.

[W] We're getting married.

This gets Birkoff's attention. He stops working and swivels around to look at Walter and Belinda, a slightly stunned expression on his face.

[W] I asked her last night. She accepted right away.

The couple aren't exactly trying to hold it in. They repeatedly share small secret smiles with each other. Birkoff doesn't say anything, just continues to stare up at them. Walter has to prompt him to come out of his trance.

[W] Oh, okay ..., yeah, don't congratulate us or anything .., its all right

[B] (LAUGHS) Congratulations.

The three people now share quiet laughs together.

[B] I'm sorry. I'm just surprised.

[W] Yeah, well, me too. But you've got to get lucky sometimes, right?

[B] When's the big day?

[BL] Tomorrow.

[W] Yeah, I have to hurry, you see ..., because she might come back to her senses.

Belinda can't stop looking at Walter, her happiness apparent to all.

[BL] That'll never happen.

The couple briefly share a look, before glancing back down at Birkoff.

[W] We just wanted you to know.

[B] Thanks. Congratulations.

[W] See you later.

Birkoff watches them walk away, then returns his gaze back to his monitor. However, work is the last thing on his mind. He looks worried, almost fearful, as he rubs his forehead. Birkoff knows Belinda has little time left and doesn't know whether to tell Walter or not.


INTERIOR - SEEDY NEIGHBORHOOD BAR

The bar has a typical seedy look to it. It is dark and hazy with smoke. A techno beat is playing, more as a background than for dancing. Here and there a neon light stick glows through the haze. Besides the bar, there is a small section to sit at tables, and next to that a couple of pool tables. [As the camera pans through the bar we see our 'Where's Waldo' Murrin twin seated at the bar nursing a drink.] Nikita walks through the room, alternatively searching for Formitz and looking at her wristwatch. Formitz is late and Nikita is now drawing attention - and come-ons from a patron. He walks up and lightly grabs her arm to get Nikita's attention.

[L] Hey, buy you a drink?

Nikita tries to brush him off, just shaking her head and walking away, but the guy follows her and presses, this time touching her shoulder.

[L] Ah, come on. ...

Irritated by Formitz's absence, Nikita takes it out on the man, shaking his hand off and swinging around to glare.

[N] (THREAT) Back Off!

The bar patron immediately backs away, holding his arms out in surrender. [Our WW Murrin twin was discreetly watching this small confrontation from the bar.]

[L] Okay.

Nikita continues to scan the bar, impatiently removing her jacket, when a commotion near the pool tables grabs her attention.

[P] (VOICE) You go out when I tell you!

A pimp is having a discussion with one of his girls (Erica) about her work schedule. He has her jammed against a column.

[E] I was sick!

[P] I decide when you're sick.

The pimp escalates the violence by smacking Erica across the face.

[E] No! ... No! Don't!

No one, besides Nikita, is paying any attention to the fight. This obviously is a common occurrence in the bar. Unfortunately, for the pimp, his smack has turned Nikita's protective mode on full. The man has Erica by her hair, getting ready to land another blow while Erica's friend and co-worker, Danielle, tries to pull him off her friend.

[P] (THREAT) I've been soft on you, huh? But that'll change now.

Nikita stalks up to them, slinging her jacket on a nearby pool table. She puts a hand on the pimp's shoulder to get his attention.

[N] (QUIET) Excuse me.

The second the pimp turns, Nikita hits him in the face hard enough to knock the man against the pool table. Nikita is standing in a ready stance when the pimp reaches down, pulls a knife from his boot and attacks her. Nikita grabs the arm wielding the knife and you hear bones crunch as she twists it in a position the human arm wasn't formed to move. The pimp collapses on the pool table in pain. However, Nikita isn't finished. She grabs the man by his coat lapels, dragging him to his feet.

[P] You get out ..., and don't come back.

With that, Nikita reaches down and grabs his hat, knocked off in the fracas, and jams it back on his head. She then shoves him in the direction of the door. After making sure the pimp has left, Nikita turns back to Danielle and Erica.

[N] You two all right?

Even though it was Erica that was hit, it is Danielle who is cowering behind her friend. Erica isn't grateful for Nikita's intervention. She has been on the streets long enough that she doesn't see that Nikita has helped her - only that she will probably pay for her pimp's embarrassment later.

[E] It's just gonna be worse when he comes back.

Nikita retrieves her jacket and pulls it on, looking in the direction of the now departed pimp as she does so.

[N] He won't come back.

Erica's expression seems to say "yeah, right." The only thanks Nikita gets for her help is the view of Erica's back as she walks away. Her young friend, Danielle, however, doesn't see Nikita's actions in the same light. She briefly looks at Erica's departing figure, embarrassed at her attitude, before turning and shyly thanking Nikita.

[D] Thanks.

That said, she scurries to catch up with her friend. All the commotion has drawn no one's attention - except for Formitz, who entered in time to see the short confrontation. Nikita sees him and waits for him to join her. As he approaches, Formitz continually looks around the room, as if fearing he is being watched.

[N] Formitz?

[GF] (DISBELIEF) You're my contact?

[N] That's right.

[Formitz obviously didn't learn anything from Nikita's confrontation with the pimp, because he immediately starts berating her.]

[GF] You just took out that pimp? Well, idiot, the idea is to maintain a low profile. This is not going to work. ... I'm outta here.

Formitz turns to leave, but Nikita reaches out, grabs him by the arm and yanks him back to face her.

[N] Sit down.

They now stand glaring at each other.

[GF] Let go of me.

Nikita immediately releases him, but then throws down a warning.

[N] If you don't sit down, I'm gonna make a scene that's gonna give you the highest profile in this neighborhood. (THREAT) Sit Down!

That said, Nikita walks over and sits at a nearby table. Formitz postures a little before giving in.

[GF] Fine. But from now on we tend to our business and we let other people tend to theirs. All right?

Formitz takes a seat across from Nikita. Nikita looks around the room as she questions Formitz.

[N] You do business with Bright Star.

[GF] Yeah.

[N] We want copies of all I.D.'s and credentials you provide them with.

[GF] (SHAKES HEAD) That's not the way it works. Halir, their main man, calls me, tells me where to meet. I bring the blanks, he brings the pictures. He watches me make the I.D.'s, takes them when I'm done. There are no copies.

Formitz motions to his head.

[GF] Except up here.

A man's laugh catches Formitz's attention. He looks over and sees Erica and Danielle talking with a potential customer at the bar. Formitz seems to go into a light trance as he watches the tableau. Nikita hasn't noticed she no longer has his full attention and continues questioning him.

[N] I need names ..., and descriptions.

Formitz takes off his glasses, his eyes still on the scene across the room, but asks a question of his own.

[GF] What would I need?

[N] Give me your bank account information, you'll have the money within an hour.

This gets Formitz's full attention.

[GF] Huh, just like that, huh? ...

Formitz briefly looks back at the small group around the bar, then thinks of something and turns his gaze back to Nikita.

[GF] Oh, of course. If I'm lying I never get the chance to spend it, do I? (SIGHS)

Formitz replaces his glasses, takes one more look at the now departing trio, before turning back to Nikita.

[N] Names.

[GF] I only have one so far. "Ahmed Mujani." Posing as a journalist.

Formitz takes a piece of paper and pen out of his pocket and writes the name down.

[N] Going where?

[GF] First stop, Beirut. After that I don't know.

[N] When?

Formitz hands Nikita the piece of paper.

[GF] Halir didn't say. But I got the impression ... very soon.

Nikita studies Formitz a moment, then realizing she has gotten all the information she can, simply gets up and exits, leaving Formitz sitting at the table. Formitz turns his head in the direction of Nikita's departing figure and tosses out a dry good-bye.

[GF] See you again.


INTERIOR - SECTION / SYSTEMS

Birkoff is bringing Operations up to date on the information Nikita retrieved. He is sitting at his station, with Operations pacing behind him.

[B] Ahmed Mujani. Formitz says he's the bomber.

[O] Where is he?

Birkoff's monitor shows Mujani's travel arrangements.

[B] From Beirut, he went to Berlin, then to Hamburg. He checked into the Milo Hotel last night.

[O] Cross-ref the hotel with potential targets.

Birkoff's monitor now shows a map of the city as the System scans for variables.

[B] It's three blocks from the International Trade Centre.

[O] I'll assemble a Team. You prepare the Tactical.

Operations exits, leaving Birkoff to initiate his part of the Mission.


HAMBURG, GERMANY
EXTERIOR - INTERNATIONAL TRADE CENTRE - DAY

The Centre is in the middle of Hamburg's business district. All the buildings are skyscrapers or transit stations. Michael takes a position at the top of an outside staircase across from the Centre, overseeing the other Operatives from its balcony. Once in position, Michael contacts Nikita.

[M] Nikita, status.


INTERIOR - INTERNATIONAL TRADE CENTRE

Nikita is in the lobby of the Centre.

[N] The delegates are all inside. There's over a hundred in one room.


INTERNATIONAL TRADE CENTRE

[M] They've been screened. He'll come from out here.

Michael quickly inspects the people around the Centre, looking for their target.

[B] (VOICE) Michael, report.

[M] The Security Team hasn't seen him.

[B] (VOICE) He could be disguised.

[M] We're aware of that.

[I think I also brought this up in "Inside Out." Even though Michael's face is blank, his tone seems to say "... no, really? You mean he's not going to appear in a jacket that has 'bomber' written on it"? Every once in a while, Birkoff does treat Cold Ops as if they're intelligence-challenged.]


INTERIOR - INTERNATIONAL TRADE CENTRE

Nikita also is scanning the passing pedestrians. From the corner of her eye she sees a stooped figure. It appears to be an elderly woman pulling a two-wheeled shopping cart in the direction of a nearby metro concourse.

[N] Craig. Check out the, ah, elderly lady with the shopping bag.

[C] (VOICE) I'm on it.


EXTERIOR - INTERNATIONAL TRADE CENTRE

Michael turns his attention to the figure as Craig checks out the woman. He walks over, holding his hands out to get the woman's attention.

[C] Excuse me, Ma'am?

The figure straightens up to show its the bomber. As Mujani straightens he pulls out a gun and shoots Craig without hesitation. He now abandons his cart and takes off across the pedestrian square.


INTERIOR - INTERNATIONAL TRADE CENTRE

[N] Got the target.


EXTERIOR - INTERNATIONAL TRADE CENTRE

Michael and Nikita take out after Mujani. As Michael rushes down the stairs he sweeps people aside as he pulls out his gun. Nikita races out of the lobby, slightly nearer to the bomber than Michael. [I don't know about anyone else, but two good-looking people running holding weapons would grab my attention a lot faster than a man dressed like a kerchiefed old woman. I must say, I love Section's idea of keeping a "low profile."] Mujani races across the street, ignoring oncoming traffic and ends up bouncing off the hood of a car that is unable to stop in time. However, he immediately jumps back up and continues running. Mujani runs into what looks like a 24-hour teller, which has a line of people waiting inside. As Michael and Nikita turn the corner, they see Mujani pull the door shut and lock it with a kind of security lock with attached wire (like the type used to secure bikes). Mujani then throws open his coat, showing his horrified hostages that he has explosives strapped to his chest. [Okay, Michael later states that this was the bomber's original target, and that it is a bus depot. First, how could Michael know it was the bomber's original target if Michael and Nikita had to cross a street and round a corner while following him? Also, it didn't look like forty people inside, just five or six, and the small building didn't look like it could hold forty. After reading the script, I've decided the bomber was just to target a bus depot in that location.] Michael and Nikita can only watch as the people locked inside beat against the glass door trying get out. A second later everyone is dead as the bomb goes off. Michael's face remains blank but, even wearing sunglasses, you can see the horror Nikita feels at what she's just witnessed. Michael turns away, nudging Nikita to follow.

[M] Let's go.

They turn and walk away from the burning building.


INTERIOR - COMM

Nikita is on her way to meet with Formitz. However, Birkoff stops her as she walks past Comm.

[B] Walter and Belinda are getting married.

Nikita sees nothing but happiness for the couple.

[N] That's great.

Birkoff takes Nikita gently by the arm, forcing her to stop and face him.

[B] (WORRIED) No, its not great. ... Belinda's in abeyance. She's scheduled for the Rio Mission. There's no way she'll be coming back.

Nikita's only solution is using Birkoff.

[N] Well, is there anything you can do?

[B] I took her out of abeyance once before. Operations found out. (WORRIED) Do you think I should tell Walter?

[N] (SHAKES HEAD) There's no point. Just let them be as happy as long as they can.

Nikita hates to do it, but she needs his help with Formitz, so she gently prods him back to Section business.

[N] Look, I gotta go meet Formitz. You're going to be on Comm and take down the names. Okay? ... Okay?

Birkoff gathers himself for a moment, then refocuses.

[B] Yeah ..., okay.

Birkoff watches Nikita leave for a minute, then walks back to his station.


INTERIOR - SECTION / SYSTEMS

[W] (MONITOR) The bomb came from cannibalized land mines (NODS), as we expected.

Walter is giving Operations and Michael a rundown on the remains found at the scene of the recent attack. It is spread out over his work table.

[O] What about the detonator?

[W] (MONITOR) It's, ah, another dead end. Garden variety; could have come from a thousand sources.

Operations switches off the monitor and pulls off his glasses, thinking. He turns to speak to Michael.

[O] Did the bomber go into the bus depot as an evasive maneuver ..., or was that his intended destination?

Michael turns to face Operations.

[M] It was his intended destination.

[O] You're sure.

[M] It was my impression during the Mission .., and the tapes confirmed it.

This corroborates Operations' suspicions. He looks away from Michael, thinking what this conclusion means.

[O] (SIGHS) Then we're facing an extreme situation. They're targeting innocent people in public places .., anywhere .., any time.

Operations turns his gaze back to Michael.

[O] Formitz is the key, more than ever. He and Nikita are getting along?

Michael briefly looks away as he answers.

[M] Well enough. She's meeting him again this afternoon.

[O] Good. Keep me informed.

Michael nods and leaves Systems.


INTERIOR - SEEDY NEIGHBORHOOD BAR - DAY

Nikita is impatiently waiting for a very late Formitz to arrive. She's sitting on a bench facing the pool tables. Once more she glances down at her watch, then checks in with Birkoff.

[N] (IMPATIENT) Birkoff, he's not here.

[B] (VOICE) He'll show. He was late last time, too. Remember?

Nikita checks the time once more, then stands, fed up with waiting.

[N] Okay, its over now. This guy needs to learn some manners. What's his address?

[B] (VOICE) We agreed to stay clear of his house.

[N] (DEMANDING) Birkoff ..., give me his address.


INTERIOR - SYSTEMS / COMM

Birkoff rolls his chair over to a nearby computer and pulls up Formitz's Profile.


SEEDY BAR

As Nikita waits for Birkoff to give her the information, she notices Danielle has just entered the bar. She appears edgy and seems to be looking for someone.

[B] (VOICE) Thirty-three oh one, Van der Weil.

Nikita walks over to Danielle to speak with her before she leaves the bar.

[N] Hey.

Danielle hadn't noticed Nikita till she spoke, and seems preoccupied when she answers Nikita's greeting.

[D] Oh, hey.

Nikita realizes Danielle is worried about something.

[N] What's up?

[D] Nothing. ...

Nikita doesn't move away, just continues to study Danielle. The younger girl hesitates a moment, looking around the bar once more, before speaking. She obviously is used to Erica making most of the decisions and seems lost without her.

[D] (WORRIED) Ah .., Erica, the girl I was with before? Ah ..., I can't find her. She never stays with a trick. That's one of her rules. And she won't break it. Especially with what's been happening.

Nikita is puzzled, not aware of any problems in the area.

[N] What's been happening?

A scared look appears in Danielle's face as she answers Nikita.

[D] Girls have been disappearing. And they ... find them ... um

Danielle can't finish the sentence, and looks down at the floor, leaving Nikita to fish for further details.

[N] What, murdered?

Danielle now seems close to tears.

[D] Mutilated. I mean, she should have been home hours ago. Umm, she's my friend.

Nikita puts her hand on Danielle's shoulder, noticing Danielle is worried sick over her friend's plight.

[N] What's your name?

[D] Umm, Danielle .., yeah.

Nikita doesn't mean to sound patronizing, but she doesn't have the time to help Danielle look for her friend, but doesn't want to leave her in this agitated state without trying to give some comfort.

[N] Listen, Danielle, I'm sure that Erica's going to turn up.

Nikita briefly moves her hand from Danielle's shoulder to touch her face in comfort.

[N] Hey ..., it's going to be all right.

Danielle shakes her head, mutely agreeing with Nikita, but still close to tears. Nikita gives her another brief pat on the shoulder, then leaves.


INTERIOR - FORMITZ'S APARTMENT

Formitz is sitting at his kitchen table calmly eating a bowl of soup or cereal. When he hears someone knocking at his door, he listens a minute, then ignores it. However, the knocking is repeated, now sounding more like pounding. He sets his spoon down and leans back in his chair to get a better view of the front door. He sits chewing for a minute, then slowly gets up and cautiously approaches his door. The knocking repeats once more. He studies the door, then walks past it into the other room. He has stopped, seeming to see if his visitor is still there, when someone shoots the lock off his door. Formitz immediately ducks around the corner for cover. He peers around the corner when he hears his door open to see Nikita enter, gun drawn. When she sees Formitz, she lowers her gun. Formitz unintentionally steps out in plain view as he looks at Nikita in stunned surprise.

[GF] (SHOCKED) What the hell is this?

[N] Where have you been?

[GF] (ANGRY) Occupied! You're not suppose to come to my house.

Nikita walks toward Formitz. It is very similar in feeling to a large cat stalking its prey. Formitz feels the menace and backs away.

[N] Yesterday ..., I saw forty people die ...,

Nikita reaches out, grabs Formitz and throws him against the wall.

[N] ... Some of them were children. ... I don't want to see that again. Understand?

[GF] Maybe, ahh ... I lost track of time.

[N] Well, don't be late next time.

[GF] Who pays for my lock?

Nikita lets him go and steps away. Formitz immediately starts posturing, trying to prove he wasn't scared out of his wits a moment before.

[N] You do.

Nikita puts some distance between her and Formitz, briefly glancing around his room as she starts questioning him.

[N] You had a meeting with Halir last night?

Formitz obviously doesn't like her presence in his place, but says nothing. He walks over to retrieve the paper with the information, realizing the sooner she gets the information she came for, the sooner she will leave.

[GF] Yeah.

[N] Names?

[GF] Three. I wrote 'em down .. yesterday.

As soon as Formitz hands Nikita the paper, he steps back (out of reach) and stands with his hands on his hip. [What I thought was a real gruesome touch - on the wall behind Formitz are pictures of eyes, faces, mouths, hands, feet. They are all framed in simple black frames, and give an eerie feeling to the room. Did Formitz photograph his victims before torturing and killing them? After? Talk about a trophy wall! Major kudos to the LFN person who thought up this idea!]

[N] When's your next meeting?

[GF] He'll call.

[N] You'll let me know.

Formitz nods agreement. Nikita turns to leave, when she spies a crimson scarf draped over a nearby lamp. She picks it up and studies it. Without turning around, Nikita questions Formitz.

[N] Where did you find this?

[GF] It's my sister's.

Two things immediately hit Nikita. One, Formitz has no contact with his family, and two, Nikita remembers Erica the last time she saw her and she was wearing the scarf like a stole. Nikita closes her eyes briefly, not wanting to admit Formitz's possible role in the recent murders.

[N] You're lying. It belongs to a girl called 'Erica.' She was at the bar last night.

Nikita turns to glare at Formitz, who seems unconcerned.

[GF] So what?

Nikita, once again, approaches Formitz in a stalk-like manner.

[N] So, she's missing.

[GF] Missing ..., what does that mean?

[N] Why don't you tell me?

They stand staring at each other.

[N] Where is she?

Formitz realizes Nikita is dangerous and immediately starts throwing up barriers to stop her from attacking him.

[GF] I'm the only contact you have with Bright Star. Without me, you can't stop them.

Nikita grabs Formitz's lapels and jerks him closer until she's in his face. She repeats her question between clinched teeth.

[N] (DEMANDING) Where's .. Erica?

Formitz gives a quick little smile.

[GF] You want to see her?

[N] (NODS) (WHISPER) Yes.

[GF] Sure. Why not? ...

Nikita lets Formitz go, unsure what to make of his swift assent.

[GF] Come on, you can say 'hi.'

Formitz's unconcerned manner throws Nikita. He walks over to a door half hidden behind a row of film strung out to dry on a line. As Nikita follows, she bats them out of her way. Formitz unlocks the door, then looks back at Nikita and smiles before he enters.


INTERIOR - FORMITZ'S APARTMENT / LOCKED ROOM

The room is dark except for a lighted screen used to view negatives ..., and x-rays. The screen shows x-rays of a hand, skull, ribcage and pelvis. Formitz walks over to a lamp on a table at the other end of the room. Nikita's attention is on the x-rays, so he waits for her to look back at him before turning on the lamp. Nikita finds herself standing before what is left of Erica. The small glimpse of the prostitute's back indicates she is hanging by her hands, naked. Formitz proudly turns the light so Nikita can get a clear picture. His handiwork is never shown, but Nikita's face exhibits the horror of the butchery performed on the young woman. To make matters worse, Formitz now starts boasting.

[GF] (VOICE) Oh, its not cheap or casual. I spend a long time ... selecting them.

Formitz walks over to stand next to Nikita, better to view his 'work.'

[GF] It's like I know them. It means something, you know?

Nikita hears the tone in Formitz's voice and drags her eyes away from Erica to look at Formitz. As insane as it sounds, he is standing there waiting for Nikita to compliment him on his artistry. This is too much. Nikita lets out an animal-like roar, grabs Formitz by the throat and drags him away from the body. [Nothing is seen, but the sounds pretty much indicate Nikita beats the "ever livin' tar" out of the man.] The last view of the room as you hear the beating continue is a metal cart standing next to Erica. Laid out in a precise row are various surgical tools, including at least four scalpels.


INTERIOR - SECTION / MADELINE'S OFFICE

Nikita goes straight from Formitz to Madeline's office. She is furious that, once more, she has not been told the whole truth. As soon as she walks into the office, she demands an answer.

[N] Why didn't you tell me?

Madeline is seated at her desk. She looks up, neither surprised nor confounded by Nikita's question.

[MA] He's a very frightened man. ... Murder gives him a feeling of being in control.

Nikita doesn't bother to sit, just stands in front of Madeline demanding answers.

[N] (DISBELIEF) I know Section makes compromises ..., but he's Jack the Ripper!

[MS] We need him.

Nikita leans down so her head is almost level with Madeline's.

[N] Shall I tell you what he does?

[I think Nikita should have shared all the gory details with Madeline here. Heck, I think she should have taken pictures! It's one thing to tell someone they have to overlook this 'habit,' another if you are looking at photographic evidence of his work. I don't think Madeline would have been moved by them, but I think it would have done Nikita some good to share the horror she had just witnessed with someone else - even if that person is too emotionally numb to care.]

[MA] That won't be necessary. ...

Nothing shows on Madeline's face. It's obvious she sees the murdered prostitutes as 'acceptable collateral.'

[MA] It's simple arithmetic. We sacrifice a few lives to save hundreds. Stay focussed on the Mission.

Now Madeline leans forward as she makes her point.

[MA] Try remembering the faces of the people at the bus depot just before the explosion.

Nikita straightens back up. She trades looks with Madeline for a moment ..., then looks down, unable to deny what the older woman is saying. Nikita says nothing more, just leaves. Madeline watches her leave, adding this new factor to the Mission equation.


INTERIOR - SECTION / CORRIDOR

Nikita sees Michael coming down some stairs and gets his attention. She's mad, hurt and needs someone to blame. Madeline's no fun, so, as usual, she tries to zero in on Michael.

[And, as usual, instead, Michael succeeds in blowing Nikita out of water.]

[N] (CALLS) Michael.

Michael stops, waiting for Nikita to join him. [Nikita approaches Michael the same way she approached Formitz at his apartment. Now, however, the stalk is ineffectual because this man is not intimidated as Formitz was. Matter of fact, this is the man who taught it to her.]

[N] Did you know about Formitz?

Michael doesn't bother to deny or answer her question. Just shares a telephone conversation he just had with Formitz.

[M] He just contacted us. You beat the hell out of him.

[N] (SLIGHT HEAD SHAKE) I can't go back there. If I do ..., I'll kill him.

Michael now does what he is so good at with Nikita. He turns her attempt to intimidate around and uses it on her. He slowly approaches till he is standing shoulder to shoulder with her. As Michael speaks he locks gazes with Nikita. Even though his tone is low and even, his very stance and manner carry more menace then Nikita could ever hope to convey.

[M] You will go back. You will not kill him. That said, Michael departs, leaving Nikita - again - staring at his back with nothing to say.


INTERIOR - FORMITZ'S APARTMENT HOUSE / STAIRS OUTSIDE APARTMENT

Nikita is slowly climbing the stairway to Formitz's apartment. Her body language and air show how much she hates what she is about to do. She stops for a moment to marshal herself before continuing up. [Probably wasn't intentional symbolism, but I liked how, as she climbed the stairs to Formitz's apartment, she's consumed in darkness.] When Nikita reaches his door, she knocks, then immediately turns and looks away so she won't have to look at Formitz's face when he answers the door. She also is wearing sunglasses to help hide her expression. [I'm always impressed with people who wear sunglasses, even when they're walking at night or in a dark or shadowy place. I usually walk into walls, myself.] After a moment, the door opens a crack, then wider to show Formitz. His face bears the marks of Nikita's last visit. She refuses to look at him, just stares at the wall opposite as she gives her apology.

[N] I want to apologize for what I did. I'm sorry, the body was just a little bit of a shock. I believe you collect stamps.

Nikita's tone has all the warmth of an ice cube. She holds her hand out to Formitz, holding a small envelope. Formitz studies Nikita a moment, then takes and opens the envelope. Formitz's tone is as warm as Nikita's.

[GF] A Belgian Jubilee, very nice.

Formitz steps away from the door so Nikita can enter.

[GF] Come in.

Nikita, hesitates a moment (as if to gather strength), then follows him in. Formitz enters his 'trophy' room, fingering his bruised face and holds the stamp under a mounted lit magnifying glass to study it. Nikita stands in the hallway, unwilling to enter the room, but as Formitz continues to study the stamp she slowly enters and looks around - seeing the room, and its decorations, in a new light. Formitz doesn't bother to look up, but let's Nikita know he realizes she's not here willingly.

[GF] I was right, wasn't I? It doesn't matter what I do. ... You need me.

Formitz gives a small laugh as he straightens and turns to face Nikita. It is obvious he knows she hates what Section is forcing her to overlook and its giving him an added thrill.

[GF] I can't believe how great it feels, having someone you tell. It makes it even better.

Nikita refuses to look at Formitz.

[N] I don't want to hear it.

Formitz decides to dig the spur in deeper, needing to get a reaction from Nikita.

[GF] I've already picked the next girl. It's that friend of Erica's ..., the young one.

This does gets Nikita's attention. She turns her head around and stares at him.

[N] (THREAT) You leave her alone.

[GF] (UNCARING) No. I've already decided. See, I've dreamt about it from the first time I saw them together. ... Now, I'm doing it.

Formitz is really pushing, counting on the fact that Section will keep Nikita in check. Formitz now goes back to studying his gift.

[N] (SHAKES HEAD) Don't you touch her!

Formitz doesn't even bother to look up at the stamp, confident he has her where he wants her.

[GF] Or what?

When Nikita says nothing else, Formitz looks up and gives her a "you're not going to do anything" look. [You realize that this is the tone and manner he uses with his victims after he has trapped them.]


INTERIOR - SECTION / COMM

Belinda walks into Comm and approaches Birkoff (who is busy working off several computers), dressed in Mission gear. Her manner is somber and serious. When Birkoff looks up and sees her, he reminds her of the time.

[B] The Rio Team leaves in a couple of minutes.

[BL] I'd like you to give Walter a message for me.

Birkoff is trying very hard to appear unconcerned. He briefly looks up at Belinda, then back down at the keyboard.

[B] Give it to him yourself when you get back.

Belinda continues to study him as she quietly answers him.

[BL] You know I'm not coming back.

Birkoff looks up, the fact Belinda knows how little time she has left surprising him. There is no anger or hurt in her eyes. All her concern is for her new husband - and how he will react to her death.

[BL] Tell him he's the best man I've ever known. ... I love him ..., and its not such a bad thing to die on the happiest day of your life. Will you tell him that for me?

Birkoff realizes Belinda can't say these things to Walter, because he would put his own life in jeopardy trying to save her.

[B] Sure.

They share a look ..., and concern for a man who has become very important in their lives.

[BL] Thanks.

Belinda says nothing more, just turns and leaves to join the Rio Team. Birkoff stares after her a moment, then returns to his work. [I think Birkoff also understands the compliment Belinda is giving him. She needs someone Walter trusts and likes - and knows Birkoff will deliver the message. I did think it was interesting that Walter and Belinda didn't also confide in Nikita about their marriage.]


INTERIOR - SEEDY NEIGHBORHOOD BAR - NIGHT

Danielle enters the bar, dressed for work. She still looks worried, but realizes she needs to work. She idly scans for possible 'customers' around the bar, then takes a seat at one of the tables. [I wonder if this is one of the few times she's worked without Erica on hand to help and protect her?] She doesn't see Formitz as he enters and approaches her from behind. He stands looking at Danielle a moment, before walking around where she can see him. There is no foreplay of laughter or chatter with Formitz, just straight to business.

[GF] Two hundred bucks for one hour. You ever made that much before?

The answer is an obvious "no," but Danielle tries to bluff.

[D] Sure.

[GF] (SMALL LAUGH) Liar. ... Let's go.

[I don't know if it was meant as symbolism or not, but did y'all notice that on the wall behind Danielle and Formitz is a painting of a winged skeleton? It actually looks something like a moniker used by a Naval F-18 flyer squadron.] Danielle has just stood up when Nikita appears like an avenging angel. She walks up and grabs the hand Formitz used to take Danielle's arm and twists it behind his back. She is applying enough pressure that she has Formitz almost standing on his toes.

[GF] Hey, hey, hey, hey ...

Nikita gets behind him and starts pushing Formitz away from Danielle, keeping a lock on his arm.

[N] Get lost, right now!

Formitz holds up his other hand, questioning Nikita if this is wise.

[GF] Hey, you sure about this? ... Hmmm? Hmmm?

Nikita leans so her mouth is right next to Formitz's ear.

[N] Put your hands on her again ..., and I'll kill you. ... Get ... Lost!

[GF] Okay, okay, okay, okay.

Nikita gives him a shove toward the exit. Formitz starts toward the exit, then turns and looks back at Nikita, almost as if he thought she would change her mind. However, she doesn't, and he leaves. Nikita now turns to Danielle who is furious at having lost what she thought was a great offer.

[D] (ANGRY) (TO NIKITA) What do you think you're doing? Nikita takes a seat across the table from where Danielle is standing, her face somber. Danielle is irritated at what she thinks is Nikita's highhandedness and doesn't pick up the other woman's concerned and sad manner.

[D] He was going to pay me $200 ....

Nikita stops Danielle's complaining by informing her about Erica.

[N] Eric's dead.

Danielle stops, in shock, before slowly sinking back into the seat.

[D] No. ... Was she ...?

For a minute Nikita can't speak, just nod her head.

[N] She was murdered by - by the man that you were just talking to.

Danielle takes a deep breath as she realizes how close she came to being "next body found."

[D] No. ... You're a cop?

[N] (SHAKES HEAD) No, I'm not.

[D] But you'll go to the cops.

[N] No, I can't.

[D] Why not?

[N] Because ..., I just can't. Let's just get your things and go.

Nikita stands up and tries to get Danielle to go with her.

[D] Where?

[N] Some place safe. Let's just get your things and we'll go. ...

[D] No, I need to work.

[N] Not tonight you don't.

[D] Yeah, I'll stay away from him .., I'll ...

Nikita grabs Danielle by the shoulders, desperately trying to shake some sense into her.

[N] He'll find you. He'll track you down, he'll torture you and then he's going to kill you. Do you understand?

Nikita's face is just inches from Danielle and the younger woman is completely cowed.

[D] You're scaring me.

[N] Good! Get your things.

[D] I don't even know your name.

[N] Nikita. Let's go.

Nikita grabs Danielle's coat and helps her on with it, continually looking over her shoulder making sure Formitz isn't watching them. As soon as Danielle is ready, Nikita gently nudges her toward the exit, following close behind.


EXTERIOR - DRUG STORE - NIGHT

The street is deserted. At the corner is a drug store, its neon light glowing in the night. The apartment Nikita hides Danielle in is above the drug store.


INTERIOR - ROOM ABOVE STORE

Nikita opens the door and waits for Danielle to enter first. Nikita takes a last look around the hallway to make sure they are alone before following Danielle in and closing the door. Danielle doesn't bother to look around or even take her coat off. She just sits on the bed, over her fear and now mainly irritated at being boxed up. Nikita locks the door, before crossing to the other side of the room and checking to make sure all the windows are fastened. The drug store's sign glows just outside the window. Nikita next checks the bathroom, before rejoining Danielle.

[N] You'll be okay here.

[D] (PETULENT) How long am I supposed to stay here?

Nikita checks the closet, then crosses to the bed and crouches down beside Danielle.

[N] I don't know. Until I say you can go out again. If you need money, I'll get you some.

[D] You are you?!

Nikita ignores the question, just asks one of her own.

[N] Do you have someplace to go?

[D] No, I don't.

[N] Parents?

Danielle gives a small bitter smile, briefly looking away from Nikita.

[D] (SHAKES HEAD) I'd rather die than go back to them, okay?

Danielle turns her gaze back to Nikita, needing her to understand how strongly she feels about this.

[D] I mean that.

[N] All right. No lectures. (EARNEST) But Danielle ..., if you leave this room, you will die. Do you understand that?

Danielle doesn't answer, but nods her head that she understands.

[N] I'll get back as soon as I can. Promise me you won't leave until then.

[D] Yeah, I promise.

[N] Lock the door after I'm gone.

[D] (LOW TONE) Yeah.

It is apparent that Danielle doesn't believe she's in such grave danger, but is willing to have Nikita call the shots - for now. Nikita stares at her a moment more, before rising and walking to the door. Before opening the door, however, she turns and studies the room one more time, as if trying to see possible slip ups on security before walking out and closing the door behind her. Danielle is left sitting on the bed, wearing a "what have I agreed to" expression on her face.


INTERIOR - SECTION / MICHAEL'S OFFICE

Nikita enters Michael's office, wearing the same outfit as when she was with Danielle. Michael, for once, is not working at his computer but standing looking out his window.

[N] No Mission?

Michael doesn't bother to look at Nikita as he answers her. [Something's wrong here. When Michael is questioning Nikita, he always maintains eye contact with her. Its how he gages what she is telling him. Here, he's not even looking at her. Michael already knows where she's been. I think either Formitz called and let Section know about his most recent disagreement with Nikita ..., or he had her tailed. Watch Michael's body language during this scene. He knows he's about to do something he knows will come back to further damage his relationship with Nikita.]

[M] No.

[N] What'd you call me in for?

[M] Where were you?

[N] No place in particular.

Michael now turns and slowly walks toward Nikita.

[M] Formitz's last Intel was accurate. One of our Teams in Prague was able to prevent a bombing.

[N] (SMILES) Good.

Michael briefly looks out the doorway as he passes on this next Intel.

[M] They took the bomber alive. It's a woman.

Nikita straightens as she hears this news.

[N] She might lead us directly to Halir ..., we wouldn't need Formitz any more.

[Notice Michael doesn't answer this question. You know, Nikita would have better luck reading Michael if she listened to what he doesn't say.]

[M] I thought you'd like to know.

[N] Thanks.

Nikita leaves to get an update on the bomber and Michael goes back to his desk.


INTERIOR - SECTION / OUTSIDE WHITE ROOM

Nikita catches up with Madeline as she is exiting the White Room.

[N] She broke?

[MA] No. ... And she won't.

[N] It hasn't been that long ..., how can you be sure?

[MA] I'm sure.

[N] Well, perhaps if we just held off for a little while, and, ah, let her remember what its like not to feel pain. ... Then, suddenly, hit her with it.

[MA] It won't work.

[N] Can I at least try?

Madeline doesn't bother to speak, just gives one of her Mona Lisa smiles and nods before walking away. Nikita stands next to the door to the White Room, planning her strategy, before entering.


INTERIOR - SECTION / WHITE ROOM

Inside, the bomber, Kara, is shackled into "The Chair." Her manner is calm, almost passive. She doesn't even bother to look up and see who has entered the room. Nikita stands studying Kara for a moment, before walking behind the chair and releasing the braces holding Kara's hands to the chair's arms. The sound of metal seems to wake Kara up from her trance-like state.

[N] We're finished. Let's go.

Kara doesn't move, except to flex her hands as if they had fallen asleep.

[K] Where?

Nikita has returned to the door and, realizing Kara is not following her, turns to look down at the still seated woman.

[N] To a cell.

Kara makes a tisking sound with her mouth.

[K] I'll stay here.

Nikita thinks Kara just doesn't understand what is happening, and leans down so Kara can hear her more clearly.

[N] I said we're finished.

Nikita straightens back up. However, Kara still doesn't move, just shares a bit of her personal history with her.

[K] I had a son. He was three when they came to my house and murdered him and my husband. I no longer feel pain and I do not fear death. (SPITS) You'll give me comfort, then begin again, worse then before. What will you do, break every bone in my body?

Kara gives a small bitter laugh, then with her gaze never leaving Nikita's face, she reaches over and deliberately breaks her forefinger, snapping it like a twig. She repeats the process with her middle finger, then ring finger while Nikita looks on helplessly. Not even a ripple of pain appears in Kara's eyes. [Did anyone else notice that, as you get a close look at Kara's face you see the infamous slits under her eyes? It would seem that they need to change the formula or instrument on this ... whatever it is that creates the slits.]

[K] What else do you wish to break? I'll save you the trouble.

Nikita can only stand and stare at Kara, now understanding Madeline's opinion that the woman can't be broken.


SECTION / SYSTEMS

Madeline enters Systems as Operations is briefing Michael on Bright Star's latest actions. He has used the holograph program to pull up a global revolving view of the world. As he lists the various bombings, the corresponding cities light up on the holograph. [I say bombing, but Operations doesn't state whether they were just attempted or achieved endeavors.]

[O] An embassy in Vienna. An airport in Istanbul, another in Bucharest. All within the last four days.

Madeline joins the briefing.

[MA] Bright Star?

[O] (NODS) They're picking up the pace. We can't just intercept the bombers. We have to get to Halir, himself. (TO MADELINE) What about the prisoner?

[MA] She very unlikely to crack.

[O] If we have to use Formitz, we'll have to do it quickly. ... They're starting to use other forgers. They may not need him much longer.

[MA] We'll have him set up a meeting with Halir ..., some place we can access.

[M] Formitz will be extremely reluctant to take that kind of risk.

[O] Nikita will have to persuade him.

Michael's expression remains blank, but his body language alerts Operations of a possible problem.

[O] Is that a problem?

As Operations speaks he moves closer to Michael.

[M] The relationship between Formitz and Nikita is not without difficulties.

[O] Why is that?

[MA] She's become aware of his ... habit.

[O] (IMPATIENT) She has a job to do. (TO MICHAEL) I would hate to feel that she's regressing ..., becoming sentimental again.

[M] She's not.

[O] Then can she or can she not persuade Formitz to meet with Halir?

Michael knows two things: One, Nikita will refuse to do what is necessary to convince Formitz to stick his neck out ..., and, two, he can't tell Operations about the degree of disintegration in Nikita's relationship with Formitz.

[M] I'll go along.

Operations, however, has read between the lines and is not convinced Michael will be able to convince Formitz without help. He shares this belief with Madeline as they both watch Michael leave the room.

[O] We need a contingency.

[MA] I agree.

Operations turns to look at Madeline.

[O] Any ideas?

Madeline's expression infers she has already given this some thought.

[MA] One or two.


INTERIOR - NEIGHBORHOOD BAR - NIGHT

Formitz, for once, has arrived early. He is busy writing in his notebook when he sees Nikita enter - with Michael. He watches as, first Michael, then Nikita take a seat on either side of him. Nikita turns the chair around so she can rest her arms on its back. [I'm also wondering if she just wanted something between her and Formitz.] Formitz tries to make a joke, but it is apparent he's not happy about the addition to their little group.

[GF] (TO NIKITA) (DRY) Your boyfriend?

[N] A colleague.

[GF] Three's a crowd.

It is also apparent that Nikita has no problem with Michael assuming control.

[N] Deal with it.

[M] When's your next contact with Halir?

Formitz remains focused on Nikita, only glancing at Michael now and then. You can see he enjoys pitting himself against her, and somewhat resentful of Michael intruding in their time 'together.'

[GF] Like I told her, he calls me. Tells me what to bring, where to meet.

[M] Next time will be different. You'll set the terms.

Formitz rolls his eyes when he hears Michael's reply.

[GF] It'll never happen.

[M] You tell him you know the name of a traitor inside his organization.

This has Formitz finally focusing his attention entirely on Michael.

[GF] (DRY) Do I?

[M] One will be provided.

Formitz now takes turns looking at both Operatives.

[GF] It's too risky. He'll be heavily guarded.

[M] We can deal with that. ... You set the Meeting. We'll triple your fee.

Formitz is back on familiar territory. He puts his pen and notebook away as he adds to his list of needs.

[GF] And provide sanctuary afterwards.

[M] Of course.

Formitz is wearing his cocky expression again as he glances over at Nikita, knowing how she will take his next request.

[GF] Now, I will need certain other things as well.

[M] Such as?

[GF] She knows.

Nikita shakes her head, making it apparent this is not something she will even discuss.

[N] Forget it.

Formitz just smiles and looks over at Michael.

[GF] I'll give you an hour to think it over.

That said, Formitz gets up and walks away.


INTERIOR - SECTION / CORRIDOR

Michael and Nikita are arguing about Formitz's demand that he be given Danielle for his part in setting up Halir.

[M] He wants the girl. He won't cooperate unless he gets her. Where is she?

Nikita stops walking and lets Michael walk around her till they are facing each other.

[N] (SHRUGS) I don't know. ... Michael, find another way. Pay him more money ..., threaten him.

[M] He's unstable as it is. Threats might spin him out of control.

Nikita slowly edges closer to Michael, making sure he understands her refusal to sell out Danielle.

[N] Even if I knew where Danielle is ..., I wouldn't give her to that monster.

[M] I haven't said you should.

[N] But that's what you're thinking. You're going to tell me to remember those people at the bus depot.

[Nikita leaves herself wide open here.] Michael turns and looks at her as he zeros in on her weak spot.

[M] Do you?

With that Michael walks away. Before Nikita can follow and continue the argument, she hears her name called.

[MA] (VOICE) Nikita.

She looks over, see Operations and Madeline standing together, and joins them.

[MA] Good news. The prisoner cooperated after all. Gave us a way to Halir.

[N] (SURPRISED) When I left her she was breaking her own bones.

[MA] (SMILE) You should have had more faith in your own suggestion. We let her rest ..., then brought her back in. (NODS) It worked.

[N] So there's no need for Formitz?

[MA] Apparently not.

[Y'all realize that Madeline never said they no longer needed Formitz, just that it appeared that they didn't.] Operations now breaks into the conversation.

[O] Halir will be meeting a courier at sixteen hundred, in an Arab market in Berlin. We'll tag the courier, follow him to Halir. (TO NIKITA) You'll remain in Section to assist Birkoff with tactical overview. ... Any other questions?

Nikita seems puzzled over Operations' order to assist Birkoff, but just shakes it off, nodding her head in agreement. Both her superiors now walk away, effectively breaking up the 'briefing.'


SECTION - COMM

Nikita is in Comm, waiting for the courier to arrive, when Birkoff comes rushing up.

[B] Nikita, come with me.

Birkoff grabs Nikita's arm and starts to pull her after him. Nikita balks, her mind on the Mission.

[N] Birkoff, the Mission ....

Birkoff doesn't stop, but keeps moving as he answers Nikita.

[B] Walter just found out Belinda's dead.

Nikita immediately takes off after Birkoff, still unsure she heard him correctly.

[N] What ...?


SECTION / WALTER'S AREA

Walter slams a ammo cartridge into a gun and moves to leave his area. Birkoff steps in front of him, trying to stop the angry and grieving man.

[B] Walter, you're scaring me!

Walter shoves Birkoff out of his way so hard Birkoff bounces off a nearby wall. Nikita stops Walter before he can leave Munitions (a/k/a 'Walter's Area').

[N] Walter, what are you doing?

Walter tries to shove Nikita out of his way the same as he did to Birkoff, but she's not as easy as Birkoff. Nikita fights him to a standstill, at the same time grabbing the hand holding the gun.

[W] (WILD) He asked for it ..., and he's gonna get it.

Walter won't give up, fighting Nikita to keep the gun and go after Operations.

[N] (SHOCK) You're going to shoot Operations!

[W] (WILD) Right between the eyes!

Nikita manages to push him deeper into Munitions - and out of sight of anyone passing by.

[W] Get out of my way!

Nikita manages to push Walter up against a far wall. As soon as she has him relatively still, Nikita tries reasoning with him.

[N] (CONCERN) Walter, I'm sorry .. Belinda's .. dead.

This just infuriates Walter more and has him renewing his efforts to free himself.

[W] (WILD) You're not ....

Nikita manages to keep Walter pinned to the wall as she continues talking to him.

[N] (CONCERN) I'm sorrier than I can say ..., but how many times have you told me not to take the Section personally?

Walter is in pain, and almost seems like he's speaking to Nikita through clinched teeth.

[W] (WILD) I don't care what I told you!

Nikita is also trying to keep their conversation low - again, so as not to attract unwanted attention.

[N] It's pointless ..., (UNDERTONE) they'll kill you, too!

Walter is almost yelling this next sentence.

[W] I .. DON'T .. CARE!!

Nikita slaps her hand over Walter's mouth to keep him quiet. However, her answer is almost as loud as his last statement.

[N] Well, I do! And so does Birkoff, and so do a lot of other people here!

Walter shakes his head trying not to hear what Nikita is saying.

[N] We need you, Walter. ... I need you.

They lock gazes for a minute, then Walter quiets down. When Nikita sees this, she immediately removes her hand from his mouth. However, she doesn't move away or stop talking.

[N] What would Belinda tell you to do?

Walter clinches his mouth shut and tries to look away from Nikita. She realizes she's beginning to reach the grieving man and continues.

[N] Would she tell you to throw your life away ..., or stay here for the people who need you?

Walter is now almost in tears, his sense of loss painful to watch.

[W] It's not fair! (SOBS) It's not fair!

Nikita is now more holding up Walter, then fighting to keep him still. All the fight seems to have left him.

[N] I know, Walter. You have to go on.

Walter doesn't answer, the only sounds you hear him make are sobs.

[N] (WHISPER) That's what she would want.

[O] (VOICE) Walter?

Birkoff turns in time to see Operations enter Munitions. He sees the three Operatives standing together and demands an answer, pulling off his glasses at the same time.

[O] (DEMANDS) What's happening here?

Nikita takes the gun out of Walter's hand and conceals it under her coat as Walter hurriedly wipes the tears out of his eyes.

[N] Nothing. We were just talking.

Before she turns around, she gives Walter a encouraging smile that Operations can't see.

[O] You and Birkoff should be at your terminals.

[N] I know. We're going now.

Nikita takes a quick look at Operations as she follows Birkoff back to Comm. She has Walter calmed down, but doesn't know how long it will last if Operations keeps talking to him.

[O] Walter. ...

Operations waits for the others to leave before turning back to Walter. He has no idea how to tell Walter he's sorry about Belinda, but feels he needs to say something.

[O] I'm sorry about Belinda.

Walter doesn't say a word, but the expression on his face is chilling and Operations feels the older man's hatred roll over him in waves. He nods his head slightly, noting Walter's silent condemnation, then turns and leaves. [Operations' expression is priceless here! It seems to say "... see what happens when I try to be a caring and compassionate employer? I told him I was sorry I used his wife as cannon fodder"!] As soon as Operations leaves, Walter starts pulling back on his emotions, gathering strength to live with only short memories.


SECTION - COMM

Birkoff and Nikita are back in Comm at their usual positions - Birkoff manning the computers, while Nikita paces behind him, orchestrating the Tactical with Michael, who is in the field. As she passes Birkoff, she gives his shoulder a comforting squeeze.

[B] Courier should arrive in a gray sedan.


BERLIN, GERMANY
EXTERIOR - MARKETPLACE IN ARAB SECTION - DAY

Michael is keeping watch in a nearby doorway. He is wearing Section sunglasses (which have a built-in camera) so Nikita and Birkoff are able to see everything he sees.

[M] Here he is.

A gray car pulls up and a man wearing a long coat over a hooded sweatshirt alights and quickly walks through a nearby iron gateway.

[M] He's on foot. Entering the square.

[B] (VOICE) Team One, tag him.


SECTION / COMM

Nikita carefully studies the different view she is receiving from various Operatives cameras. The monitor shows a busy marketplace.


MARKETPLACE

The courier descends a stairway and walks into the marketplace itself. As he does this an Operative, Mentz, walks by him, briefly knocking shoulders as they pass.


SECTION / COMM

Nikita notes and checks in with Michael at the same time she reaches up and adjusts the monitor she's watching.

[N] Courier's been tagged.

Birkoff is now tracking him on his computer. The monitor shows a grid of the marketplace, with the Courier shown as a glowing dot.

[B] He's heading toward the Northeast corner.

Michael is following, but out of sight, using Birkoff to track the courier's movements. As the Courier nears the meet, Michael starts to shorten the distance between them.


SECTION / COMM

Michael now has the Courier in sight and his cam sends the picture for Nikita to see.


MARKETPLACE

The Courier passes stalls of food, flowers and china, with Michael still in pursuit. The Courier finally enters a small courtyard furnished with outdoor cafe tables and chairs. Halir is seated at one of the tables, two bodyguards standing nearby in case of trouble. He has been sipping coffee while waiting. When the Courier appears in front of him, Halir doesn't bother to get up (obviously not threatened by the man), simply looks up and greets him.

[H] Hello, my friend. What do you have for me today?

Before the Courier can answer, Michael enters and stops at the edge of the courtyard. Halir looks over the top of his sunglasses at Michael, but before his bodyguards can react, Michael brings his hands up (both holding guns) and takes out both men. [Michael Move, Michael Move!] Halir jumps to his feet, but before he can escape, two Operatives (one being Mentz) appear and grab him by the arms. Michael moves out of the way as Halir is hustled out of the courtyard. Michael stands a moment, making sure there are no more of Halir's men lurking around, then follows the others back to the Van.


SECTION / COMM

Michael now checks in with Nikita.

[M] (VOICE) We've got Halir.


MARKETPLACE

The people in the marketplace have ignored the gun play and go about their business as Halir is escorted out, Michael following (guns still drawn).


SECTION / COMM

One of Comm's overhead monitors show Michael's cam view of the back of Halir and the other Operatives. It also picks up the courier as he watches Halir being taken away, his face still obscured by the hood.

[M] (VOICE) Perimeter status?

Nikita quickly checks the cam views of all Team Operatives, before giving the "all clear."

[N] Perimeter's clear.

The Courier now turns to look at Michael, and the cam shows it is - Formitz. A frozen expression appears on Nikita's face as she realizes who is the Courier.


MARKETPLACE

Michael watches as Halir passes from his view, then turns to Formitz.

[M] You can go.


SECTION / COMM

His cam picks up Formitz nodding okay and moves out of Michael's view.


MARKETPLACE

As they pass, Michael holsters both guns as he moves to join the other Team members holding Halir.


SECTION / COMM

Nikita pulls out her Comm Link and throws it down on the table next to Birkoff and stalks out of Comm. Birkoff looks up, genuinely confused at Nikita's reaction to a successful Mission, and watches her leave. [I think Birkoff's concern for Walter kept him from picking up on Formitz's ... habit.]


EXTERIOR - HIDEOUT

Nikita rushes back to the room she left Danielle in.


INTERIOR - HIDEOUT / HALLWAY OUTSIDE ROOM

As Nikita walks down the hallway toward the room, she notices the its door is ajar. She stands for a minute looking at the door, then back down the hallway.


INTERIOR - HIDEOUT / ROOM

Nikita pushes the door open and looks into an empty room. She has drawn her gun, but it is almost as if she's forgotten she has pulled it. You can see it move, as the hand holding it starts to tremble. Nikita seems to gather herself, then slowly enters and looks around. From her position in the room Nikita is able to see into the bathroom. The entire place has an air of being empty for some time. Even the bed looks only slightly mussed, as if someone had sat on it, but never pulled the covers down. As Nikita looks into the bathroom, her lonely reflects stares back at her from the mirror over the sink.


INTERIOR - SECTION / MICHAEL'S OFFICE

Nikita enters Michael's office, walking immediately over to his window, where she runs her hand noisily up and down the blinds. She then turns and stares down at Michael working at his computer, saying nothing, but Michael immediately reaches out and screens his office. Nikita waits until the screen is up before talking. Michael doesn't return to his work, again making no attempt to pretend he doesn't know why Nikita is here. Neither Michael nor Nikita look at the other, both just stare off in the other's general direction. [Again, probably unintended symbolism in their body language. Both Michael and Nikita are looking in the general area, but not at the other. Its almost as if they don't want to know what the other is thinking. Nikita doesn't want to admit that Michael would help in handing over an innocent (crime-wise) over to a serial killer, and Michael doesn't want to see the betrayal he knows she is feeling.]

[N] Why was Formitz at the meet?

[M] The original Courier was detained. We substituted Formitz ..., a face Halir would trust.

[N] Why did he agree to help?

[M] More money.

This garners a swift look by Nikita, before glancing away again.

[N] No. ... Section found Danielle and gave her to him.

[M] He knows his way around, perhaps he found her himself.

Nikita is not buying it. She tells him what she thinks his part in this was.

[N] You called me in, told me about the prisoner. Let me interrogate her. Meanwhile, Section was out looking for Danielle.

Again, Nikita stares directly at Michael.

[N] Isn't that right?

[M] No.

Michael still isn't looking at Nikita. Seeing this, she now pulls Madeline into the equation.

[N] Madeline lied when she told me the prisoner broke.

Nikita turns her back on Michael to look out the window.

[M] Madeline wouldn't bother to lie.

A slightly sick expression shows on Nikita's face as she continues staring out the window.

[N] She might ..., to keep that Mission running smoothly. ... I want the truth, Michael. Did the Section give Danielle to Formitz?

Nikita knows what happened, but she needs Michael to confirm it. [Once again, Nikita is almost begging Michael to tell her the truth. She already knows, she just needs him to tell her the truth. She is at a crossroad here on how she will deal with Section sacrificing Danielle, and his answer will show her which way to turn. Surprisingly, Michael misreads her and gives the wrong answer.] Without realizing it, they both turn at look at each other at the same time. Michael doesn't hesitate in answering.

[M] No.

Nikita says nothing, but her face shows faint disappointment ..., and resolve. [I think Michael realized he had made a mistake the minute he lied to Nikita. He knows she is too strong-minded to let this go unchallenged.]


INTERIOR - FORMITZ'S APARTMENT

Formitz enters his place to find he has a visitor, a small Asian woman. He never calls the visitor by her name, but it is obvious they know each other. The stranger is sitting behind his desk, her feet crossed on the desk's top.

[GF] What are you doing here?

[A] Halir was taken.

Formitz continues to take off his coat, acting as if this was news to him.

[GF] (SURPRISE) My God, who took him?

The woman slowly pulls her feet off his desk and starts to rise.

[GF] You know.

Formitz drapes his coat over a nearby chair, continuing to act innocent.

[GF] I don't. How would I know?

The woman starts walking toward Formitz, pulling on leather gloves at the same time. Her tone is very matter-of-fact. They could be discussing the weather.

[A] Because you betrayed him.

[GF] Are you crazy?

[A] We have names ..., dates ....

The woman stop a few feet from Formitz. Her gloves now on, she pulls a gun out and aims it Formitz. It has a silencer attached. Formitz realizes he's run out of time. For a minute he stands there, shaking his head, before trying one more excuse.

[GF] They made me do it.

That's all the woman was waiting for. There is a small, satisfied expression on her face as she pulls the trigger. She shoots Formitz in the chest twice, then stands looking at his body lying on the floor.


INTERIOR - SECTION / COMM

Nikita is seated in Comm reviewing something on a monitor, her feet propped up next to the screen. She sees movement in the corner of her eye, and sees Michael take a stand in front of her, on the other side of the computer table. She gives him one brief look, before turning back to the screen. Nikita nonchalantly crosses her hands and rests them on her stomach, a picture of studied innocence.

[M] Formitz is dead.

This garners only a brief look up from Nikita, who is slowly manually scrolling down the screen.

[N] Can's say I'm too sorry about that.

[M] You don't seem to be surprised.

This time Nikita doesn't even bother to look up.

[N] Dangerous line of work he's in.

[M] His death compromises our ability to deal with the remnants of Halir's organization.

[N] We'll just have to find some other way.

Nikita gives him a brief, "isn't that too bad" look before dropping it back down to continue reading. [It's almost comical how Michael is taking being on the other side of a conversation like this. It is usually he who has a hidden agenda and Nikita who is dmanding answers.]

[M] This is important, Nikita. I want the truth. Did you give him up?

Nikita doesn't hesitate. She looks straight in Michael's eyes - and lies.

[N] (SHAKES HEAD) No. Of course, Michael knows she's lying, but, like Nikita before, there is nothing he can do. They share stares for a moment, then Michael walks away. As soon as his back is turned, Nikita slowly and methodically wipes her hands and shakes them.


END OF EPISODE