Psychic Pilgrim Transcript
By Baoqin and Dana

TEASER

Nikita comes out the bathroom, wearing a short night gown, she is preparing for bed. The camera switches, and you see Michael wearing a white tank top lying on bed. Nikita climbs in.
Michael: Have I ever told you how beautiful you are?
Nikita: Not today.
Michael turns off the lamp next to him, and cuddles up to Nikita. (You know, spooning.)
Michael: Well, you are beautiful. (He moves closer, if that is possible, and kisses her on the cheek. His hand caressing Nikita. It is obvious he is intent on pursuing a intimate moment with her.)
Nikita removes his roving hand.
Nikita: Oh, no, you don't. That's how you hurt your back in the first place.
Michael: I should report you for that kind of cruelty.
Nikita: I know, I know, I know . . . Michael?
Michael: Yes?
Nikita: I love you. (You can tell this was not part of the role she is playing, she meant what she said.)
Michael: I love you, too.

ARMEL'S QUARTERS

Tonio: Send in Mr. Armel, please.
Voice: Yes, sir.
They are monitoring the house where Nikita and Michael were before.
Armel is alone in a room, watching something on his laptop and talking on the phone in Portuguese. He switches channels.
Armel: Yes, Tonio.
Tonio: It's the end of the fifth day. Everything checks out, I see no reason to wait.
Armel: That's good news. Set it up.
He resumes his earlier conversation in Portuguese.

BRIEFING

Operations: Ten months ago, Franz Garen, leader of the First Flag terrorist group was to sent to prison for an air disaster in the Barren Straits. Despite his imprisonment, First Flag continues to cause disruption.
Walter: So, their second level is filling in.
Birkoff: There is no second level, every order comes from Garen.
Operations: Which means he's operating from inside prison. The only outsider allowed to visit him is this man here. Joaquin Armel. Armel is Garen's attorney. So far out intel has turned out nothing hard on Armel but he must be the conduit for Garen's directives. There's evidence of an upcoming attack, we don't know where or when. Our only lead is Armel.
Stillman: Is he exposed?
Madeline: Yes, but we can't risk a direct assault. His files will be protected, we have to get to them without his knowing.
Stillman: How?
Madeline: He has vulnerability.

SUBURBAN HOUSE

Michael leaves the house the drive to work. One of the mystery twins passes by walking a dog (watch for them till Adrian's Garden). Just as he leaves, Armel drives up the driveway.
Armel knocks on the door, Nikita, wearing a bathrobe, answers the door.
Nikita: Yes?
Armel: My name is Joaquin Armel. I'd like you to help me.
Nikita: Help you do what?
Armel: Contact my son. (Nikita makes a move to go inside) Please, I've come a long way.
Nikita: Just a moment.
She removes the chain and lets him in. Armel shows her a photograph of a boy, about 10 years old.
Armel: He was hit by a car 10 months ago. He died instantly.
Nikita: I'm sorry.
Armel: I was late in that morning. I woke when he was leaving for school. Do you understand what I'm saying? We were best friends, he was my life, he was everything I had. And he died thinking I was mad at him. I need to let him know how sorry I am, how much I love him.
Nikita: I'm very sorry, Mr. Armel, but there's nothing that I can do. Perhaps a grief counsel can help you with your loss.
Armel: Please.
Nikita: I'm sorry.
Armel: Maybe we can ...
She cuts him by closing the door.

SECTION

Operations: What happened?
Birkoff: We made contact.
Operations: How?
Birkoff: Armel came to the house.
Operations: And?
Birkoff: Nikita followed the scripture, she refused his request.
Operations: What was his reaction?
Birkoff: He just left.
Operations: He'll use force. Tell Michael to prepare. Does Madeline have this?
Birkoff: No.
Operations: Why NOT?
Birkoff: Can't get through to her.

MADELINE'S OFFICE

Madeline is sitting in front of her bonsai plants, just staring at them.
Operations: Is there something wrong?
Madeline: My mother is dying.
Operations: Didn't know you still followed her progress.
Madeline: Started again last fall . . . there was something in the air . . . a scent, burning leaves, that brought me back when I was a child. I couldn't help it.
Operations: Is she been properly cared for?
Madeline: She's comfortable.
Operations: Is there anything more we can do for her?
Madeline: No, not for her, for me. I'd like to see her. She's senile, and has no one. There's no risk.
Operations: You know I will do anything to help you, Madeline, even break policy, but not this one.
Madeline: . . . It was wrong of me to ask.
Operations: Is there anything else?
Madeline: No.

Nikita is preparing breakfast. Michael is talking on the phone.
Michael: I'll be there is say, a quarter of an hour. Ok, see you.
Michael wraps his arm around her waist, one hand holding a vase containing a rose.
Michael: Umm, it smells wonderful.
Nikita breaks away, obviously uncomfortable.
Nikita: It's just brioche.
They sit down for dinner. Nikita fixes Michael's tie.
Nikita: I like that tie.
He smiles at her like a loving husband.
They hear a noise coming from the hallway. Michael stands up, playing his role.
Michael: Who's there?
Two men dressed in black comes toward Michael, one punches Michael in the face. Both are holding their guns at Michael.
Michael: Don't shoot! Please, don't shoot.
Another man grabs Nikita.
Nikita: Michael?
Michael: We will give you anything you want, please don't hurt her!
Nikita: Michael! Where are you taking us?
The five of them leaves the house.

SECTION

Birkoff is watching all of this from the video cameras they probably installed before the mission.
Birkoff: Sir, they been taken.
Operations: Good.
Birkoff: They're at the house.

Nikita and Michael arrive at Armel's house. Michael is holding her by the shoulders, protective.
Armel: I'm sorry it had to be done this way. I have no intention of hurting either one of you.
Michael: Then why don't you just let us go?
Armel: I have to speak to my son. (to Nikita) You were born with these abilities, but your father never expected this gift. Wanted to account of you, he sold you like a commodity. Circuses, police departments, whoever paid. That's why you ran away, that's why you don't do it anymore.
Michael: It nearly killed her, that's why she doesn't do it anymore.
Armel: Can you help me, Nikita?
Nikita: Please, don't ask me to do this.
Armel: Have you ever lost someone you loved? (looks at his son's photo) I can't bear it. It's an emptiness too deep, sometimes I think I'd rather be dead. Please, can you at least just try?
Nikita: Where did he live?
Michael: (worried) Nikita, no!
Nikita: I'll be careful.
Armel: Here, in this house.
Nikita: (to Michael) I'll be all right, I promise. (to Armel) Show me.
Armel takes her to the boy's room.
Armel: Thank you. His mother died in childbirth. I raised him alone. He was born on December 28th. Does that matter?
Nikita: I don't do things by astrology.
Armel: Can I tell you something about him that can help?
Nikita: Nothing.
Armel: That's his bedroom.
Nikita wonders around looking as if she senses something. She touches the collection of video games.
Armel: He had dosens of those video games. He lost interest a couple of years ago.
Nikita has tears down her cheeks. She lays down on the boy's bed.
Nikita: He had trouble sleeping when you went away.
Armel: Went away? Where?
Nikita: Lisbon.
Armel: That was five years ago.
Nikita: It was the first time that you left him alone. He never told you, he didn't want you to worry about him. (she comes up to look at his face) You brought him something back. (she searches the room, picks up a book) Gave him this. “To my little artist. I love you with all my heart” (she recites the dedication on the book without looking inside).
They open the book and the text inside is exactly what she said.
Armel: We used to make this joke, about the little artist. Toulouse Lautrec (probably what the book is about).
Birkoff: They were going to wear matching Lautrec costumes.
Nikita: Matching Lautrec costume, on Mardi Gras. (she laughs as to a good memory)
Armel: Yes, we were planning a masquerade party, the night two weeks before.
Nikita: Sorry. I'm sorry, I have to ...
She pretends she's dizzy and falls to the ground. Armel comes closer, alarmed.
Nikita: I'm sorry, I was dizzy. I'm sorry.
Armel: You can do this, can't you? You can talk to him.
Nikita: Yes.
Armel: Then do it.
Nikita: Not now.
Armel: When?
Nikita: Soon. A day or two.
Armel: No, do it now, I want to talk to him now.
Nikita: (laughs slowly) That's not how it works. I need time to prepare, it takes strength.
Armel: (shouts) Nonsense! You can do it!
Nikita: You broke into my home, kidnapped me and my husband. I've given you more than I thought I had.
While Armel goes away, disappointed, Nikita quickly plants a scanner under the bed.

Birkoff: She's transmitting. (the screen shows a map and the message "SIGNAL INITIATED") Triangulate her position, give me a delta to the target room. Bring it through the microwave, I want this directly to the mainframe. We're in the house.

Armel's men watches via video cameras as Nikita and Michael return to their 'home'. Nikita and Michael enter a hallway where Armel's men cannot see them. Birkoff hits the return button on his keyboard once Nikita and Michael are out of the view of the cameras. A tape takes over, so it seems like Nikita and Michael are still in the house, doing everyday chores.
Nikita: Are you hungry? Can I fix you something to eat?
Michael: No, I'm fine.
Birkoff: Ok, we're rolling.
Nikita: Covered?
Birkoff: Yeah, they're watching our feed. They think you're in the house. Come back in.
Nikita: Michael, how does Birkoff know so much about Armel's son?
Michael: From his intel.
Nikita: And how about Mardi Gras? I thought nobody else knew, it was their secret.
Michael: Surveillance.
Nikita: But how is Birkoff process the answers so quickly? HHe was feeding the responses, quickly, in no time.
Michael ignores the question. Nikita knows something is not right.

SECTION

Birkoff: Here's the picture we've been able to construct so far. You were in Louis's bedroom, right here. His router is right behind this wall. I've been able to pick up fragments of his transmissions. There's definitely something in the works but the details are encoded. In order to break the code we need you to get in here. The encryption key is in a console in this room.
Operations: The sensitivity in our scanner isn't good enough. We're going to have to get in there. Michael, work it out with the mission profiler. You and Nikita go back in tomorrow.
Michael: (to Birkoff) When do we have to get back in the house?
Birkoff: Tape runs for another five hours.
Nikita and Michael go to Walter to pick the gear they need for the mission.
Walter: So, how's the things in the suburbs?
Nikita: Normal.
Walter: Yeah, we all remember normal. (sarcastically) Ok, this is you gear for tonight. It's just comm. equipment. You can have your weapons now, or you can pick them up on site tomorrow.
Michael: How much is there?
Walter: Let me check.
Walter leaves to check on their gear.
Nikita: I meant to ask you, did you choose me for this assignment or was it Madeline?
Michael: I did. I thought it would be an opportunity for you to improve your field mechanics. (Hmm, field mechanics. wonder what type of mechanics he means...)
Nikita: Is that the only reason?
Michael: No.
Nikita: What's the other reason?
Walter: (yells from another room) You want silencers?
Michael: (yells back) Yes.
Nikita: You were saying. . .
Michael: We are convincing as two people in love.
Nikita nods, satisfied with the answer and with a hint of irony too. Michael examines her, not very innocently. Walter comes back.
Walter: There are seven pieces. Total weight 47 kilograms. What you wanna do?
Michael: We'll get it tomorrow.
Nikita: Thanks.
She looks with a muffled smile after Michael leaving. She looks cheerful.

MADELINE'S OFFICE

The following scene is quite frankly hilarious!!
Madeline: How's Birkoff's feed? Is it clear?
Nikita: It's fine.
Madeline: Good. I know this is a difficult mission. After all, a man has lost his son, and we are exploiting that. (So what else is new??)
Nikita: How did he die?
Madeline: He got hit by a car.
Nikita: An accident?
Madeline: The answer to the question you're really asking is no. Section didn't kill him. By the way, Armel is still watching you. He has to remain convinced you and Michael are husband and wife.
Nikita: Is there something wrong? (She is clearly worried.)
Madeline: The average couple who have been married under five years, have intimate relations at least twice a week. Also, I would suggest a small argument, perhaps about finances or in-laws.
Madeline can hardly keep a straight face while she's saying this. Nikita looks at Madeline as if she's grown a second head.
Nikita: Right.

Nikita and Michael are back in their 'home'. Nikita is getting ready for bed.
Birkoff: Nikita, stand by. (He hits the return key again.) Ok, they're watching a live feed now.

ARMEL'S HOUSE

Tonio gets up and leaves another flunkie to watch them.
Tonio: Ok, it's all yours.
The other one nods.
Armel: How is it going?
Tonio: Nothing new.
Armel: I was with Garen all afternoon. He wants to know when we are going to hit the embassy.
Tonio: It's empty right now.
Armel: Then get them in their homes.

SUBURBAN HOUSE

Michael drops his bathrobe and climbs in bed with Nikita. Nikita in lying on top of the covers on her stomach, naked from waist up.
Nikita: Didn't you tell me you had a meeting today?
Michael: I postponed it.
Nikita: Why, I thought it was you biggest account?
Michael: I can't concentrate on anything until we pass all this.
Nikita: Don't worry, we'll be ok, I promise.
Michael kisses her and turns off the light.
Nikita: As long as I got you. (She practically climbs on top of Michael and kisses him. She is obviously taking Madeline's advice at heart.) I can make it.
Michael: We should really get some rest. You must be exhausted.
Nikita: Not really, (Michael goes very still, he understands what she means to do) I mean . . . I don't know if I'll be able to sleep . . . unless . . .
Michael: If you need to relax tonight . . .
Nikita: Yeah.
What followed must have given Birkoff *quite* an education!!

NEXT MORNING

Michael is sitting at the dinner table. Nikita walks in, wearing a white bathrobe.
Nikita: You are up early.
Michael: I didn't sleep well.
Nikita: Is everything ok?
Michael: Yeah, yeah.
Nikita: Michael? (Nikita places her hand beneath Michael's chin.)
Michael: What?
Nikita: What's wrong?
Michael: It was a mistake. (It sounds like he's talking about Armel, but he's making reference to the night before and Nikita understands it and looks anxious that he regrets it)
Michael: What you are doing for Armel is going to hurt you. You can't expect me to support you for that. (i.e. what they did is going to hurt her because she'll want more, a relationship, and it's not possible)
Nikita: I never expected you support. (She kisses him, relieved that this is all he's concerned about; he looks at her as if he tries to read her mind – glad that she's not afraid to get hurt, but still worried for her. Nikita draws back.) But I *do* expect your love. (Another double message.)
Michael kisses her on the forehead tenderly.
So, there you have it. Michael and Nikita talking in riddles, thereby avoiding Armel or Section picking up clues about what they were *really* talking about.

SECTION

Operations: What's our status?
Birkoff: They just left the house.
Operations: Profile?
Birk: Support is standing by.
Birkoff looks up from his computer screen, and see Madeline walking past him.
Birkoff: Is she ok?
Operations: Why do you ask?
Birkoff: She seems out of it lately. If I didn't know her better, I'd think she's almost. . .
Operations: What?
Birkoff: Sad.
Operations: Let me know when we are under way.

ARMEL'S HOUSE

Nikita comes in, they go into Louis's bedroom again.
Armel: Why didn't Michael come with you?
Nikita is removing her jewelry.
Nikita: My connection with Michael is too strong. I must disengage from everything familiar.
Armel: Can I get you anything?
Nikita: No, let's start. (Two guys are getting out) Wait. Did they know Louis?
Armel: Yes.
Nikita: Have them stay. Close the blinds. Turn off the lights. All of them. Yes. Anything unnatural will interfere.
Armel calls Tonio.
Tonio: Yes, sir?
Armel: Set d efault off primary light. Switch it.
Tonio turns the lights off.
Nikita: Give me your hand.
She kneels and closes her eyes, whispering something, breathing as if she's cold, then gasps.
Nikita: (in a strange voice) What's O'Parquiel?
Armel: O'Parquiel? It was an island, I led him there once. It was many years ago.
Nikita: What happened there?
Armel: I don't know.
Nikita: (in a child voice) Here, boy. Over here.
Armel: That's right. It was a terrier. Louis called him from across the street and when he came ... a car hit him.
Nikita: (in tears) Where are you taking him, daddy? Where are you taking him?
Armel: Louis?
Nikita: He's dead, it's my fault, isn't it?
Armel: No, no.
Nikita: I'm all right now, daddy. I'm all right now.
Armel: Louis, are you there?
Nikita: Yes, I'm here.
Armel: In this room? Can you hear me?
Nikita: (smiles childishly) I know where you are.
Armel: How can I know it's really you?
Nikita: When we were visiting mom last year in the cemetery we did something different.
Birkoff: After you put flowers on her graveside you found three rocks.
Nikita: We put them onto, said that it was us, that we'd be together always.
Armel: (breaks into tears) Louis, I miss you so much. Please, forgive me.
Birkoff: Nikita, we can't get it yet. The security system is still armed. You've gotta get him to turn it off.
Nikita cries as if in pain.
Armel: What's wrong?
Nikita: (back to her own voice) He's gone.
Armel: What'you mean he's gone?
Nikita: I don't know.
Armel: Why?
Nikita: Something's interfering.
Armel: What?
Nikita: A power source still switched on, it's causing an electromagnetic force which it's drawing him out. (she looks up, a red light is on; she points at it) There.
Armel: I can't shut that down. Can we do this somewhere else?
Nikita: No.
She breathes heavily, as if she's exhausted. Armel calls Tonio.
Armel: Tonio, shut down the security system.
Tonio: The security system?
Armel: Just do it.
The red light is off.
Brikoff: You got it Nikita. Keep him busy another 12 minutes. Michael, you're clear. Go.
Michael goes in.
Nikita: (smiles, child voice back) All right, daddy, all right. I don't want you to worry about me.
Armel: There's so many things I want you to know. So many things left to say.
Nikita: Don't cry, daddy. (I'm almost crying, how can he not?)
Nikita hugs Armel who cries, and she nods, apparently touched and unhappy she has to do this to him.

SECTION - Loading Dock

Michael is back into his old personae, dressed all in black. He hands Birkoff the files.
Michael: I didn't have time to get everything, but I think the critical files are all there.
Birkoff: I will check them out.
Michael: (to Nikita) Did you upload your panel?
Nikita: Not yet.
Michael: Do it now, then debrief.
Nikita: All right, I will meet you up there.
Nikita stops by Walter's little weapon arsenal room.
Nikita: Hey, Walter.
Walter: Hey! How you doing, sugar?
Nikita: Good. Do you know where they keep the buffered hostiles?
Walter: Level-5. Why, who you're looking for?
Nikita: No one in particular, just curious.
Walter nods with a smile, he did not believe her for a second.

Nikita does an eye scan, then stops by one of the computer stations. She looks for Louis Armel in the computer. She finds him, alive, kept in one of the white rooms.
Operations: He's being treated fairly.
Nikita: Fairly? He's done nothing. You faked an innocent boy's death to get to his father.
Operations: Well, he's not innocent.
Nikita: What are you going to do with him when you are done?
Operations: It hasn't been decided, but if I have to sacrifice him, I will. Armel is now de facto the leader of a network who is responsible for bombings and assassinations. One incident alone claimed the lives of over 200 civilians. As you know, sometimes you make very hard choices.

MADELINE'S OFFICE

Madeline: I'll have this ready within an hour.
Operations: That's not why I came. I made a decision. I'm not sure that it's the right one.
Madeline: What are you talking about.
He punches some keys on her workstation. Madeline's face goes very still.
Operations: You can go see her anytime.

WHITE ROOM

A frail old lady is sitting in the middle of the room in a wheel chair. Madeline goes in.
Madeline: Hello, mother. I been thinking a lot about you lately . . . about us. You don't know who I am, do you?
No response.
Madeline: (continues) I didn't think so. After Sarah died, I made a choice. Of course, I didn't realize it was a choice at the time, but it was. I chose to be the person you saw, the girl who killed her sister. I still can't say for sure what happened in the landing on that day. Maybe it was an accident, maybe it wasn't. But I heard you were dying, it occurred to me perhaps you never blamed me for her death, that you loved me all along. If that's true, then I have created my own hell, and I lived in it ever since.
Her mother looks at her attentively. Madeline stands up and kisses her mother on the forehead.
Madeline: I hope it is true. Goodbye, mother.
Madeline starts to leave the room.
Mother: Sarah? Sarah, is that you?
Madeline pauses with her back to her mother.
Madeline: Yes, mother, it's me.
Mother: Sarah . . .
Apparently the mother preferred Sarah to Madeline and by seeing her, Madeline understands that. It won't make her feel any better, because what she wished to hear from her mother, is just not true.

Birkoff: The intel we got from the house checked out. They were going after embassy in Panama.
Operations: Have they intercepted?
Birkoff: Yes.
Operations: Does Armel know this?
Birkoff: Not yet.
Operations: Pick him up.

ARMEL'S HOUSE

Armel is having a meeting with his ‘business' associates, planning the bombing on the embassy. Many people are around a big table.
Armel: Garen wants to step up the frequency of the bombings. Just two logs on the front pages. So, gentlemen, the red circles represent where the heat will go.
Section operatives surround the house and take out the guards before bombing the door open with plastique.
They capture Armel and his associates with no problem.
Armel: What the hell is this? (He's got no clue what is going on.)
Armel looks up to the second floor, and there he is, the dark angle. Dressed all in black, standing with legs apart, hands folded in front of him, holding a gun. Complete contrast to the character he played.
Armel: YOU!
Michael: Yes, me.

WHITE ROOM

Armel is tied to a chair, he looks like he just being through one of Madeline's welcome treatments.
Armel: That's everything. That's all I know.
Madeline: Good, then we are done.
Madeline comes out of the white room.
Madeline: (to a guard) Take him to disposal.
Nikita is waiting for her around the corner.
Nikita: What about Louis?
Madeline: What about him?
Nikita: Can Armel see him?
Madeline: What purpose would that serve?
Nikita: Probably none.
Madeline: Armel's peace of mind means nothing to us.
Nikita nods.
Nikita: It would help mine.
Madeline: (gives her a very cold smile) Fine.
Madeline has been reluctant to let Nikita do that because she can't have any compassion for a parent right now. She also looks like she's in a bad mood, even for her. This episode will probably turn her even more bitter and cold in the future.
Nikita joins Armel who is being taken by two operatives to be killed. His mouth is covered.
Nikita: You deserve what you're about to get, but I thought you should know, your son was never harmed. You were a good enough father to spare him from knowing who you really are. That's why I'm giving you this.
She turns on the door monitor showing the boy playing with a ball in his room. She motions the guard to let him go, and Armel approaches the door to look at Louis.
Nikita: I wanted you to know he'll be Ok.
She gives Armel one compassionate look before she leaves. Armel is taken away by the operatives.

OPERATIONS' DINING ROOM

Madeline and Operations is having a 'business' lunch.
Operations: I see you have a meeting with section four this afternoon.
Madeline: They want to go over the recruitment numbers with you.
Operations: Has Birkoff prepare the file?.
Madeline: He'll have it in an hour. What do you want to do about Louis Armel?
Operations: Louis Armel. Oh, yes, the young boy. What's our exposure if we release him?
Madeline: If you wanna do that I'd recommend some memory modification.
Operations: Is he of any use to us?
Madeline: We considered that but it wouldn't work.
Operations: Let's do the modifications and let him go but keep him monitored.
Madeline nods.
Madeline: By the way, I never thanked you.
Operations: Did it help seeing her?
Madeline: No, you were right.
Operations: I think you should take sometime off.
Madeline: Maybe a couple of days. I see we've had a nice result in Hong Kong.
Operations: Yes.

Michael: Did you finish the debrief?
Nikita: Yes, it's done.
Michael: Good. (pauses) Was it difficult for you?
Nikita: The debrief?
Michael: No, the mission.
Nikita: At the time, no.
Michael: And now? (that's what he was concerned about)
Nikita: Well, that all depends on you . . . how do you feel about it?
Michael: Conflicted.
Nikita: Well, maybe I can help . . . we can talk about it.
Michael: I'd love to . . . but what you need to hear, I can't tell you yet.
Nikita: Yet?
Michael: You know a lot about me, Nikita, but not everything. There are things that have to remain hidden. It has nothing to do with how I feel about you.
This is the most open Michael has been with her since Hard Landing and it's clear that he feel something for her but can't do anything about it for other reasons. Michael leaves.
The camera focuses on Nikita's face, who is thoughtful and has a sort of disbelieving look going on. Before the screen goes black though, a tiny smile appears on her face. (If you don't believe me, watch it again, closely!) Things are looking good for her.

THE END

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