PSYCHIC PILGRIM
 

(Transcribed by Karen Hay)
 

    A = Joaquin Armel      B = Birkoff      M = Michael      MA = Madeline      MM = Madeline's Mother      N = Nikita
                          O = Operations      S = Stillman      T = Tonio      W = Walter
 

TEASER
EXTERIOR - PRIVATE HOME -- NIGHT

There is a brief shot of a house's snow-covered exterior.  You can tell it is part of an affluent neighborhood.  It's late, and a dog is
barking in the background.
 

INTERIOR - PRIVATE HOME / MASTER BEDROOM

Nikita leaves the bathroom, brushing her hair as she enters the connected bedroom.  She is dressed in a white, knee-length
nightgown.  Michael is sitting in bed, a book lying neglected in his lap, as he is too busy admiring Nikita's figure as she approaches.

     [M]     Have I ever told you how beautiful you are?

Nikita places her brush on the bedside table, gets into bed and makes herself comfortable.  It is obvious that Nikita, at least, is
preparing to go to sleep.

     [N]     Not today.

When Nikita throws the counterpane pillow on the floor, she accidentally knocks her brush off the table [I wonder if this was
deliberate or an accident that they just didn't catch or didn't have time to reshoot?].  She turns on her side with her back
to Michael, and closes her eyes.  Michael shuts and places his book on the bedside table, turns out his light and turns toward
Nikita it is equally obvious that Michael is not ready to sleep.  He lies pressed against her back, as he reaches over and
brushes her hair away so he can nuzzle her neck and ear.

     [M]     Well, you are ...

     [N]     Mmmm....

     [M]     .... beautiful.

While Michael continues to nibble on Nikita's ear, his hand starts to wander down her body under the bed's comforter.

     [N]     Ahhhh ..., ah, no you don't.

Nikita captures his hand, bringing it up and holding it outside the comforter against her chest.

     [N]     That's how you hurt your back in the first place.

[What were they doing, practicing positions out of the Karma Sutra?]  Nikita gives his hand a couple of quick kisses,
before firmly returning it to his side of the bed.  Michael doesn't move, but a rueful expression appears on his face as he gazes
down at Nikita.

     [M]     I should report you for that kind of cruelty.

Nikita turns her head slightly and squints up at Michael, returning his 'look' with one of her own a 'you know this is for your
own good' one.

     [N]     Mmmm. ... I know.

Nikita raises her head slightly so she can give Michael two light kisses on the lips.

     [N]     I know, I know.

But the decision is final.  Nikita reaches up and turns out her light.  Michael makes a slight sound of pain as he moves back to his
side of the bed.  Where Nikita is turned on her side, Michael lays on his back.  There is quiet for a moment as Michael gets
comfortable.  They had both settled in, when Nikita opens her eyes again.

     [N]     Michael ...?

Michael doesn't move or open his eyes.

     [M]     (SIGHS) Yes ...?

     [N]     (PAUSE) I love you.

Nikita's expression shows that this is no act, but a response to the roles they have been playing for the past five days.  [Can you
imagine how it would feel to realize that the only way you could experience the normal life you crave with this man
is as part of an undercover assignment?]  Michael briefly opens his eyes when he realizes what Nikita has said/declared, then
closes them again.

     [M]     I love you, too.

Michael's tone is that of a married man humoring his wife, but uncomfortable with saying the words.  However, it is apparent that
Nikita doesn't care why Michael said the words just that he said them.  Her expression as she falls asleep is one of
contentment.
 

PRIVATE HOME / MASTER BEDROOM - LATER

Michael and Nikita are asleep.  Michael hasn't changed his position in sleep, he is still on his back.  Nikita, however, has moved so
that she is snuggled against his side, her arms entwined around his left arm.  [I think this says a lot about their relationship!]
 

INTERIOR - ARMEL'S RESIDENCE / MONITORING ROOM

Screens mounted on a wall of what looks like a monitoring station, show:  Michael and Nikita asleep in their bedroom, the kitchen,
living room and exterior shot of their 'home.'  One of the men stationed in the room, Tonio, checks his watch, then picks up the
telephone.

     [T]     Get me Mr. Armel, please.

             (WOMAN'S VOICE) Yes, sir.
 

ARMEL'S RESIDENCE / STUDY

Armel is on the telephone.  He is speaking in Portuguese to the individual at the other end of the line.  [Thanks to my LFN
Translator, Sasha, we have a translation of the conversation.]

     [A]     ... There have been difficulties, as you can imagine, so we need more time to make the discovery.

His intercom beeps and Armel puts his call on hold and answers.

     [A]     Yes, Tonio?

     [T]     It's the end of the fifth day.  Everything checks out, I see no reason to wait.

     [A]     That's good news.  Set it up.

     [T]     Yes, sir.

Armel continues his interrupted telephone call.

     [A]     I'm sorry.  As I was saying, there's a certain urgency and we need to have another meeting ....
 

INTERIOR - SECTION / BRIEFING AREA

Operations is briefing Walter, Birkoff, Stillman, Madeline and one other Operative.

     [O]     Ten months ago ... Franz Gerrin, the leader of the First Flag Terrorist Group, was sent to prison for the air
     disaster in the Bering Straits.  Despite his imprisonment ..., First Flag continues to cause disruption.

     [W]     So their second level is filling in.

     [B]     There is no second level.  Every order comes from Gerrin.

     [O]     Which means he's operating from inside prison.  The only outsider allowed to visit him is this man here.

Operations pulls up a blue screen.

     [O]     Joaquin Armel.  Armel is Gerrin's attorney.  So far our Intel has turned up nothing hard on Armel ..., but he
     must be the conduit for Gerrin's ... directives.  There's evidence of an upcoming attack ..., we don't know where or
     when.  Our only lead is Armel.

     [S]     Is he exposed?

     [MA]   Yes.  But we can't risk a direct assault.  His files will be protected.  We have to get to them without his
     knowledge.

     [S]     How?

     [MA]   He has vulnerability.
 

EXTERIOR - MICHAEL & NIKITA'S HOUSE - DAY

Michael is leaving for work.  He is wearing normal businessman attire.  As he walks down the front steps he clicks a remote that
opens the garage door.  [Thought it was interesting that they supposedly have only one car.  Money obviously isn't a
factor, so unless Nikita's car is suppose to be in the shop, this might be a sign Section has planted for Armel's notice
that Nikita never leaves the house without Michael.]  He gets in his car and drives away.  As he pulls out of the driveway,
he passes "our goateed man" walking a dog.
 

INTERIOR - MERCEDES

Armel watches Michael pull out of the driveway from a monitor inside the car.  It is obvious that he wants to speak with Nikita
alone.
 

EXTERIOR - MICHAEL & NIKITA'S HOUSE

The two cars pass each other on the street.  The Mercedes pulls into M/N's driveway, Armel gets out, walks up to the front door
and rings the bell.
 

INTERIOR - MICHAEL & NIKITA'S HOUSE / HALLWAY

Nikita is dressed in a white terry robe sipping a cup of coffee as she reads the paper.  Hearing the doorbell, she moves to the top
the front stairway and looks down through the door's glass inserts.  Seeing Armel, she guardedly (almost timidly) opens the front
door, the security chain in place.  Nikita appears anxious, clutching the top of her robe together.

     [N]     Yes?

     [A]     My name is Joanquin Armel, and I'd like you to help me.

     [N]     Help you do what?

     [A]     (PAUSE) Contact my son.

     [N]     (PAUSE) Ah ...,

Nikita shakes her head and starts to close the door.  Armel puts out his hand and stops her.

     [A]     Please!  I've come a long way.

     [N]     (PAUSE) Just a moment.

Nikita shuts the door to release the security chain, then reopens the door just enough to speak with Armel, and she doesn't ask
him inside.  Armel pulls out a picture of his son and shows Nikita.

     [A]     He was hit by a car ten months ago.  He died instantly.

     [N]     I'm sorry.

     [A]     We had an argument that morning ... over what he wearing to school.  ... Do you understand what I'm
     saying?  We were best friends, he was my life ..., was everything I am.  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 studies Armel a moment, then shakes her head.

     [N]     I am very sorry, Mr. Armel, but there's nothing I can do.  Perhaps a grief counselor could help you with your
     lose.

Armel tries once more to reach Nikita.

     [A]     Please.

     [N]     I'm sorry.

     [A]     Maybe, we ....

Before Armel can continue his persuasion, Nikita gently closes the door in his face and walks away.  Armel stares at the door a
moment, before returning to his car.
 

INTERIOR - SECTION / BIRKOFF'S OFFICE

Operations walks up behind Birkoff to get a status report.

     [O]     What happened?

     [B]     We made contact.

     [O]     How?

     [B]     Armel came to the house.

     [O]     And?

     [B]     Nikita followed the script, she refused his request.

     [O]     What was his reaction?

     [B]     He just left.

Operations thinks a moment.

     [O]     He'll use force.  Tell Michael to prepare.  Does Madeline have this?

     [B]     No.

You can see that Operations was not prepared for, and is unhappy with, this answer.

     [O]     Why not?

     [B]     Can't get through to her.
 

SECTION / MADELINE'S OFFICE

Madeline is sitting next to her glassed in hot house studying her greenery when Operations enters.  Operations realizes at once
that something is troubling her.

     [O]     There's something wrong.

Madeline swivels in her chair so she can look up at Operations.

     [MA]   My mother is dying.

     [O]     (PAUSE) I didn't know you still followed her progress.

     [MA]   (PAUSE) It started again last fall.  There was something in the air ..., a scent ... burning leaves, took me back
     to when I was a child. ... I couldn't help it.

     [O]     Is she being properly cared for?

     [MA]   She's comfortable.

     [O]     Is there any more we can do for her?

     [MA]   No. ... Not for her ..., for me. ... I'd like to see her.

You can see Operations doesn't like the direction the conversation is heading.

     [MA]   She's senile and has no one, there's no risk.

Operations studies Madeline as he answers her (you realize he is trying to see behind Madeline's mask, but its firmly in place).

     [O]     You know I would do anything to help you, Madeline ..., even break policy.  ... But not this one.

Madeline accepts this decision without argument, almost like she's berating herself for showing a vulnerability by asking.

     [MA]   It was wrong of me to ask.

     [O]     Is there anything else?

     [MA]   (SLIGHT SMILE) No.

Operations leaves.  As the door shuts, Madeline swivels the chair back so she is, once again, staring at her well-ordered 'garden.'
 

INTERIOR - MICHAEL & NIKITA'S HOUSE / KITCHEN - DAY

Michael is standing holding a single tulip in a bud vase while speaking on the phone.  Nikita is removing two plates from the
microwave.  She appears to be somewhat awkward, as if this is unfamiliar to her.

     [M]     ... I'll be there in about ... let see ... three quarters of an hour?  Okay?  See you.

Michael hangs up the phone and follows Nikita to the table.  He stands behind her as she puts the plates down, wrapping an arm
around her waist and kissing her cheek.

     [M]     It smells wonderful.

Nikita smiles, then slips out of his hold to sit down.

     [N]     Just some brioche.

Michael first places the bud vase on the table, before joining her at the table.  He is taking a sip of orange juice when Nikita
reaches over and smoothes his tie [yup, it's the infamous 'tie' once more.]  This brings a questioning look from Michael.  Nikita
leans her cheek on one of her hands and smiles at him.

     [N]     I like that tie.

Michael gives her a gentle smile in response, but before he can say anything, they both hear a sound in the next room.  Michael
gets up to investigate

     [M]     Who's there?

Several men rush in from both kitchen entrances, knocking Michael to the floor and grabbing Nikita.  Both Michael and Nikita do
an excellent portrayal of a couple unable to deal with violence directed against them in their home.

     [M]     Who are you?

     [N]     What do you want?

Michael is cowering on the floor, his hands raised to protect his face.

     [M]     Don't shoot! ... Please don't shoot!

Nikita tries to make eye contact with Michael as Armel's men start to drag her down the hall.

     [N]     Michael?!

Michael tries to reason with Armel's men as they pull him to his feet.

     [M]     We'll give you anything you want ..., please don't hurt us!

Nikita is playing the part of a defenseless woman depending on her husband to 'save the day.'

     [N]     Michael?! ...  Where are you taking us?!

Both are dragged out of the kitchen.
 

INTERIOR - SECTION / BIRKOFF'S AREA

Birkoff contacts Operations in Systems.

     [B]     Sir, they've been taken.
 

INTERIOR - SECTION / SYSTEMS

     [O]     Good.

     [B]     (VOICE) They're at the house.
 

EXTERIOR - ARMEL'S RESIDENCE - LATER

Armel's house is large and circular, the exterior snow-covered like Michael and Nikita's home.  It seems to be surrounded by
grounds and forest, with no near neighbors.
 

INTERIOR - ARMEL'S RESIDENCE / FRONT STAIRWAY

Michael and Nikita (now both wearing coats) slowly climb the circular stairway [all architecture concerning Armel's house
seems to be circular in some way].  Nikita appears to be leaning on Michael for support.
 

ARMEL'S RESIDENCE / LIVING ROOM

[Kind of a continuity flaw here.  The last scene had Michael and Nikita ascending stairs.  This next scene have them
descending stairs], Michael has his arm wrapped around Nikita, who is almost clinging to Michael.  Armel approaches them as
they enter the living room.

     [A]     I am sorry it had to be done this way.  I have no intention of hurting either one of you.

     [M]     Then why don't you just let us go?

Armel stands and locks his gaze on Nikita, who is sheltering in Michael arms.

     [A]     After I speak to my son. ...

Armel continues to walk toward them as he begins to rattle off Nikita's 'credentials.'

     [A]     You were borne with certain abilities ..., but your father never respected this gift.  What it took out of you.
     (SIGHS) He sold it like a commodity ..., circuses, police departments ..., whoever paid.  That's why you ran away,
     that's why you don't do it anymore.

     [M]     It nearly killed her, that's why she doesn't do it any more!

Armel ignores Michael, and, once more, pleads with Nikita.

     [A]     Can you help me, Nikita?

     [N]     Please, don't ask me to do this.

Armel walks over and picks up a picture of his son.

     [A]     Have you ever lost someone you loved? ...  I can't bear it.  It's an emptiness so deep sometimes ... I think I'd
     rather be dead.  ...  Please, could you at least just try?

Nikita and Michael lock glances.

     [N]     Where did he live?

Michael doesn't want Nikita even to try.

     [W]     Nikita, no!

     [N]     I'll be careful.

     [A]     Here, in this house.

Nikita holds Michael's look, trying to put him at ease.

     [N]     I'll be all right, I promise.

Michael caresses her hair with his hand.  Nikita looks past Michael to Armel.

     [N]     Show me.

     [A]     Thank you.

As Nikita moves to follow Armel downstairs, Michael holds on to her hand as long as he can.  She follows Armel down to what
looks like the ground floor, she pulls up the collar of her coat as if she suddenly felt a chill.
 

ARMEL'S RESIDENCE / LOUIS' LIVING AREA

They enter what looks like a play room.  There is a bike parked in the corner next to a large screen TV.  Everything looks like
Louis just left the room.  As they walk through the room, Armel gives Nikita a brief background on his son.

     [A]     His mother died during childbirth.  I raised him alone.  He was borne December 28th.  Does that matter?

Nikita is looking around the room, and answers him almost absent-mindedly.  She is still wrapped in her coat.

     [N]     Oh, I don't know anything about astrology.

     [A]     Can I tell you something about him that can help?

     [N]     Nothing.

     [A]     That's his bedroom.
 

ARMEL'S RESIDENCE / LOUIS' LIVING AREA

They enter Louis' bedroom.  It, like the other room, has been carefully preserved.  Nikita moves around the room almost in a
daze.  She walks over and stares at some computer games lined up on a shelf.

     [A]     He had dozens of those games ..., until he lost interest a couple of years ago.

Nikita turns and you see tears slowly gliding down her face.  She wanders over and lies down on Louis' bed.  She is staring off
into space, almost in a trance.

     [N]     He had trouble sleeping when you went away.

     [A]     Went away?  Where?

     [N]     Lisbon.

     [A]     That's five years ago.

     [N]     It was the first time you'd left him alone ..., he never told you, he didn't want you to worry about him. ...

Nikita sits up, stares at the bookcase located over Louis' desk and stares at it.

     [N]     You brought him something back. ...

She gets up slowly and crosses to stand before it.  Nikita pulls a book from the shelf.  It is a large 'coffee table artist book' on
French impressionists.  She looks at it, then hands it to Armel.

     [N]     You gave him this.

She looks off into space as she seems to be reading something:

             To my little artist.  ...
             I love you with all my heart.
             Dad

Armel opens the cover jacket to see the same inscription on the inside cover.  He smiles as he remembers.

     [M]     We used to have this joke ..., about the 'real' little artist Toulouse-Lautrec.
 

INTERIOR - SECTION / BIRKOFF'S AREA

Birkoff is reading off information to Nikita via their Comm Link.

     [B]     They were going to wear matching Lautrec costumes. ...
 

ARMEL'S RESIDENCE / LOUIS' BEDROOM

Nikita smiles as she repeats Birkoff's information for Armel's benefit.

     [N]     ... Matching Lautrec costumes on Mardi Gras (GIVES SMALL LAUGH).

Tears fills Armel's eyes as he remembers and, he too, smiles

     [A]     That's right.  (SIGHS)  We were ..., we were planning a masquerade party.  (CATCH IN THROAT) He died two
     weeks before ....

Nikita starts to weave, obviously on the verge of passing out.

     [N]     I'm sorry ..., I'm sorry. ...

Nikita falls to the floor.

     [N]     I'm sorry, I'm just dizzy.  I'm sorry ...

Armel crouches down beside her and grabs her by her shoulders.

     [A]     You can do this, can't you?  You can talk to him!

     [N]     Yes!

     [A]     Then do it!

     [N]     Not now.

     [A]     WHEN?

     [N]     Soon. ... A day or two.

     [A]     No, do it now!  I want to talk to him Now!

     [N]     (SMALL LAUGH)  That's not how it works. ...  I, I need time to prepare. ...  It takes strength.

     [A]     Nonsense!  You can do it!

     [N]     You broke into my home!  Kidnapped me and my husband! ...  I've given you more than I thought I had!

Nikita pushes Armel off her.  He rises and turns away (obviously trying to put his emotions back under control).  Nikita take this
moment to quickly place a tracker/tracer on the bottom of a nearby chair.
 

SECTION / BIRKOFF'S AREA

Birkoff receives the tracking device's signal.  He turns around and gives orders to two of his Techs.

     [B]     She's transmitting. ...  Triangulate her position ..., give me a Delta to the Target Room.  Run infrared and
     microwave, I want to link this directly to the mainframe.

Operations walks up as Birkoff finishes directing his Techs, and he gives Operations a status report.

     [B]     We're in the house.
 

EXTERIOR - MICHAEL & NIKITA'S HOUSE - LATER

Michael and Nikita get out of Armel's car.
 

INTERIOR - ARMEL'S RESIDENCE / MONITORING ROOM

Tonio and his assistant are still monitoring Michael and Nikita's movements.  They watch on the monitor as Armel's car backs out
of their driveway, and the 'subjects' enter the house.
 

INTERIOR - MICHAEL & NIKITA'S HOUSE / KITCHEN

As soon as they enter the kitchen, they quickly pick up their abandoned breakfast.  Neither says a word as they clean.  When that
is finished they leave the kitchen.
 

SECTION / BIRKOFF'S OFFICE

Birkoff watches from his monitor and, as they leave the kitchen, he taps a key.  One of the monitor's screen show Nikita and
Michael in their family room.
 

INTERIOR - ARMEL'S RESIDENCE / MONITORING ROOM

Tonio is observing this same scene.

     [N]     (MONITOR)  Are you hungry?  May I fix you something to eat?

     [M]     (MONITOR)  No, I'm fine.
 

SECTION / BIRKOFF'S OFFICE

     [B]     Okay, we're rolling.
 

MICHAEL & NIKITA'S HOME / HALLWAY

Michael and Nikita are standing, both holding their coats, in the hallway connecting the kitchen and family room.

     [N]     Covered?
 

SECTION / BIRKOFF'S OFFICE

     [B]     Yeah, they're watching our feed, they think you're in the house.  Come back in.
 

MICHAEL & NIKITA'S HOME / KITCHEN

Michael and Nikita reenter the kitchen and put their coats back on, preparing to return to Section.

     [N]     Michael, how did Birkoff know so much about Armel's son?

     [M]     From his Intel.

     [N]     And, how about Marti Grai?  Armel said that nobody else about it ..., that it was their little secret.

     [M]     Surveillance.

Michael walks away, obviously wanting to drop the conversation.  Nikita, while following, refuses to let it drop.

     [N]     But how does Birkoff processing the answers so quickly?  He's feeding me responses ... quicker than real
     time.
 

INTERIOR - SECTION / SYSTEMS

Birkoff is briefing Michael, Operations, Nikita and the rest of the Mission Team on Armel's layout.  He is using the holograph
program to diagram Armel's house.

     [B]     Here's the picture we've been able to construct so far. ...  You were in Louis' bedroom, right here.
     (ROTATES DIAGRAM TO SHOW ROOM)  His router is right behind this wall.  (HOLOGRAPH TRACES ROUTER)  I was
     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 (INDICATES MICHAEL) to get in here.  The encryption key is in a
     console in this room (INDICATES THE CONSOLE WITH AN AMTRAK-LIKE SIGN).

     [O]     Sensitivity on our scanners 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.

Operations leaves.  Birkoff looks over at Birkoff.

     [M]     When do we have to get back into the house?

Everyone looks up at the monitor showing the tape Armel's men are watching.  Nikita is supposedly vacuuming their bedroom.

     [B]     The tape runs another five hours.
 

SECTION / WALTER'S AREA

Michael and Nikita wander over and join Walter in his work area.  He has just finished packing equipment bag for them.  Nikita
takes a seat on a stool as Walter greets both of them in his usual manner.

     [W]     Sooo ...  How's things in the suburbs?

     [N]     Normal.

     [W]     (CHUCKLE)  Yeah, we all remember 'normal.'

One look from Michael and Walter's all business.

     [W]     Okay, this is your gear for tonight.

Nikita pulls one of the bags towards her.

     [W]     Its just Comm equipment.  You can have your weapons now ..., or you can pick them on site tomorrow.

     [M]     How much is there?

     [W]     Let me check.

Walter leaves to check his back room.  Nikita takes this opportunity to quiz Michael.

     [N]     I've been meaning to ask you ..., did you chose me for this assignment, or was it Madeline?

     [M]     I did. ...  I thought it would be an opportunity for you to improve your ... field mechanics.

Nikita gives a small smile, thinks a minute, then holds his gaze while asking another question.

     [N]     Is that the only reason?

     [M]     No.

Nikita pretends to be studying the contents of the bag Walter has prepared for her.

     [N]     What's the other reason?

Walter head peeks out from behind one of his shelves.

     [W]     (YELLS)  Do you want silencers?

     [M]     Yes.

Nikita, however, won't be sidetracked.

     [N]     As you were saying?

     [M]     We're convincing as two people in love.

They trade looks for a minute, before Nikita gives him a slight smile and looks away.  Michael, however, continues to study
Nikita's profile, his look intense.  He breaks the look only when Walter rejoins them.

     [W]     There are seven pieces ..., total weight 47 kilograms.  What do you want to do?

     [M]     I'll get it tomorrow.

With that Michael walks back into the Common Area.

     [N]     Thanks.

Nikita gives Walter a small smile and follows Michael out into the Common Area.
 

SECTION / MADELINE'S OFFICE

Nikita is checking in with Madeline, giving her a progress report.

     [MA]   How is Birkoff's feed?  Is it clear?

     [N]     Its fine.

     [MA]   Good. ...  I know this is a difficult Mission.  After all, a man has lost his son and we're exploiting that.

     [N]     How did he die?

     [MA]   He got hit by a car.

     [N]     An accident?

     [MA]   (PAUSES)  The answer to the question you're really asking is ... no, Section didn't kill him.

Madeline stops further questions by changing the subject.

     [MA]   By the way, Armel is still watching you. ...  He has to remain convinced that you and Michael are husband
     and wife.

Nikita's face shows puzzlement.

     [N]     Is there something wrong?

     [MA]   The average couple who have been married under five years ... have intimate relations at least twice a
     week.

Nikita trades looks with Madeline as she realizes what she is 'inferring,' then gives her a small smile.

     [MA]   Also, I would suggest a small argument ... perhaps about ... finances ..., or in-laws (SMILES).

     [N]     (RETURNS SMILE)  Right.

Nikita is dismissed.  She gets up and leaves Madeline's office.
 

SECTION / BIRKOFF'S AREA - NIGHT

Birkoff is monitoring two screens.  One is showing the tape of Nikita in bed (that Armel's men are still watching).  The other
monitor shows the live feed view of Nikita entering the bedroom.

     [B]     Nikita, stand by.

Birkoff waits until Nikita is in bed in the same position as the tape, then taps a button on his keyboard.

     [B]     Okay, they're watching the live feed now.
 

INTERIOR - ARMEL'S RESIDENCE / MONIORING ROOM

Tonio hands the watch over to his assistant.

     [T]     It's all yours.

He meets Armel who is walking by the room.

     [A]     How is it going?

     [T]     Nothing new.

     [A]     I was with Gerrin this afternoon. ...  He wants to know when we are going to hit the Embassy.

     [T]     They closed it down.  It's empty right now.

     [A]     Then get them in their homes.

Tonio nods agreement and walks away.
 

INTERIOR - MICHAEL & NIKITA'S HOME / BEDROOM

Michael enters the bedroom, dressed in bathrobe, blue pajama bottoms and white sleeveless T-shirt.  As he removes the bathrobe
and gets into bed, Nikita starts asking 'wifey' questions.

     [N]     You never told me you had a meeting today.

     [M]     I postponed it.

     [N]     Why?  I thought it was your biggest account?

     [M]     I can't concentrate on anything until we're past all this.

While Michael gets under the covers, Nikita makes no move to join him.  She is still on top of the comforter lying on her stomach.
She's dressed only in white bikini briefs and hugging her pillow to her chest.

     [N]     Don't worry.  It'll be okay, I promise.

Michael leans over and gives her a soft kiss on the lips, before turning out his light and lying on his back, preparing to sleep.
Nikita, however, isn't finished.  She scooches over so she is lying next to him and starts to stroke his chest.  Michael responds by
lightly caressing her shoulder and back.

     [N]     As long as I've got you ..., I can make it.

Nikita leans down and gives Michael a couple of soft kisses.  Michael is not sure what 'vibes' Nikita is sending him, so he gives
her an 'out.'

     [M]     You should get some rest, you must be exhausted.

Nikita just gives a big sigh and continues to stroke his chest.

     [N]     Not really. ...

Michael is studying her closely, and Nikita tries to cue Michael she wants to do "the wild thing" with him without making it
apparent to the 'viewing public' that he has to be nudged.

     [N]     (SIGHS)  I mean, I ..., I don't know if I'm going to be able to sleep, unless ....

Nikita stops here and trades looks with him.  Michael slightly raises his eyebrows as he picks up his cue.  He moves his other hand
to softly brush her hair back over her ear.

     [M]     You need to relax tonight?

     [N]     (SMILES)  Yeah.

Michael and Nikita start trading soft kisses.  As the kisses get more intense Michael gently rolls himself and Nikita over so that he
is now on top, shielding Nikita from the camera.  Nikita takes this opportunity to remove Michael's T-shirt.  Michael captures and
holds each of Nikita's hands in his own as he starts to slowly kiss his way down her neck .... FADE OUT.  [I would just like to
take this opportunity to state that USA picks some LOUSY places to put commercials!  I mean, why couldn't they have
cut directly to the next morning?  I really didn't want to see a cell phone commercial showing an expectant couple
spending a bizillion dollars to speak to each other for fix hours on a cell phone when she goes into labor.]
 

INTERIOR - MICHAEL & NIKITA'S HOME / KITCHEN - MORNING

When Nikita wanders into the kitchen the next morning, she finds Michael already dressed and drinking a cup of coffee.

     [N]     You're up early.

     [M]     (SIGHS)  I ... didn't sleep well.

Whereas Nikita looks rested and happy, Michael looks tired and troubled.  Nikita notices this immediately.  She puts her coffee
mug down.

     [N]     Is everything okay?

     [M]     Yeah ... (UNDERTONE)  yeah.

Michael brushes his fingers briefly over his upper lip.  [Displaying one of the 'tells' Roy gives Michael when he's worried.]
He is obviously lying through his teeth.  Nikita sits on the edge of the breakfast table, reaches out and caresses Michael cheek.
[This is one of the major differences I've noticed in Season Two's M/N relationship.  In Season One, Nikita only
touched Michael when she had to.  Now, she never seems to miss an opportunity!]

     [N]     Michael ...

     [M]     What?

     [N]     What's wrong?

Michael studies Nikita's face for a minute, then looks away.

     [M]     It was a mistake.

Nikita immediately pulls back her hand, drawing it up to clutch the top of her robe.  Michael stands and lightly brushes her hair
away from her face.

     [M]     What you're doing for Arnel is going to hurt you.  You can't expect me to support that.

Nikita remains perched on the side of the table.  She relaxes and smiles, as she reaches up and tightens the knot of Michael's tie.

     [N]     Oh ..., I never expected your support.

Nikita uses Michael's tie to pull him down so she can kiss him.  Michael caresses the side of her face and moves to return the kiss,
but Nikita moves her head just enough to check him.

     [N]     But I do expect your love.

Make no mistake Nikita is drawing a line in the sand, and Michael realizes this.  They gaze at each other for a moment, then
Michael draws her close, cupping her face in his hands and gently kissing her forehead once, then twice.  He draws back and,
once more, they study each other as Michael strokes her hair and face.
 

INTERIOR - SECTION / SYSTEMS

Operations joins Birkoff for an update.

     [O]     What's our status?

     [B]     They just left the house.

     [O]     Profile?

     [B]     Support is standing by.

They both look up as Madeline walks by the Systems Room.  It is apparent she is lost in thought.

     [B]     Is she okay?

     [O]     Why do you ask?

     [B]     Seems out of it lately.  If I didn't know her better I'd think she was almost ...

     [O]     What?

     [B]     ... sad.

Operations seems to come to a decision, and starts to leave Systems.  He gets to the door before turning back to Birkoff.

     [O]     Let me know when we're underway.
 

INTERIOR - ARMEL'S RESIDENCE / LOUIS' BEDROOM

Nikita is escorted into the room by two of Armel's men.  Armel is waiting for her.

     [A]     Why didn't Michael come with you?

     [N]     My connection with Michael is too strong.  Before I can reach Louis, I must disengage from everything
     familiar.

     [A]     May I get you anything?

     [N]     No.  Let's start.

While Nikita is speaking she removes all her jewelry and places them in her purse.  Armel motions for the men who escorted
Nikita to leave.

     [N]     Wait.  ...  Did they know Louis?

     [A]     Yes.

     [N]     Have them stay.

Armel motions for his men to remain.  Nikita removes her coat and lays it down next to her purse.

     [N]     Close the blinds.  Turn out the lights.

Armel moves to turn off the overhead light.

     [N]     ...  All of them.

     [A]     Throughout the house?

     [N]     Yes. ...  Any EMF will interfere.

Nikita starts to take deep breaths as Armel gets in touch with Tonio.
 

ARMEL'S RESIDENCE / MONITORING ROOM

     [T]     Yes, Sir?
 

LOUIS' ROOM

     [A]     Tonio ..., shut off all the primary circuits.
 

MONITORING ROOM

Tonio hits a button and all the power is shut off.
 

LOUIS' ROOM

     [N]     Give me your hand.

Armel holds out his hands.  Nikita clasps his hands, then sits on a chair placed in the middle of the room.  Her eyes closed,
continues to breath deeply ..., then seems to fall into a kind of trance, first whispering unintelligible words under her breath, then
breathing shakily.  After a few seconds she appears to return to partial conscienceless, her eyes open and she speaks in a low,
throaty voice.

     [N]     What's on Park Hill?

     [A]     Oak Park Hill?  ...  Louis and I went sledding there once. ...  It ... was ... many years ago.

     [N]     What happened ... there?

Armel thinks for a moment, but appears stumped.

     [A]     I ... I don't know.

Nikita's voice changes.  It is now higher, more childish.

     [N]     (SMILES)  Here, boy! ...  Over here!

This jogs Armel's memory.

     [A]     That's right.  T'was a Terrier ..., Louis called him from across the street and ... when he came ... a car hit
     him.

Nikita's voice changes once again.  It is now that of a frightened and sad child.  Tears are also falling from Nikita's eyes.

     [N]     Where are they taking him, Daddy? ...  Where are they taking him?

     [A]     Louis?

     [N]     He's dead!  It's my fault, isn't it?

Nikita is almost sobbing now.  Armel tries to soothe what he thinks is his son.

     [A]     No ..., no.

Nikita stops crying, and her voice changes, yet again, to that of a child's tone.

     [N]     I'm all right now, Daddy. ...  I'm all right now.

     [A]     Louis, are you there?

     [N]     Yes, I'm here.

     [A]     In this room?  Can you see me?

     [N]     I .. know .. where .. you are.

     [A]     How can I know that its really you?

     [N]     When we visited Mom ..., last year in the cemetery, we did something different.
 

INTERIOR - SECTION / BIRKOFF'S AREA

     [B]     ...  After you put flowers on her gravesite, you found three rocks ...
 

LOUIS' ROOM

     [N]     ... and put them on too.  (SIGHS)  You said that ... that was us.

Armel starts to cry when he hears this.

     [N]     ... and we'd be together always ... like rocks.

     [A]     Oh, Louis, I miss you so much!  (CRYING)  Please forgive me.
 

BIRKOFF'S AREA

     [B]     Nikita, we can't get it yet.  His security system is still on.  You've got to get him to turn it off.
 

LOUIS' ROOM

Nikita makes a sudden gasping sound, and appears to fall out of the trance.

     [A]     What's wrong?!

     [N]     He's gone.

     [A]     What do you mean, "he's gone"?

     [N]     I don't know ..., something's interfering.

     [A]     What?

     [N]     There's a power source still switched on.  Its causing a electromagnetic force which is ... drowning him out.

Nikita looks around the room and spies the small red light indicating Armel's security system.  She points to it.

     [N]     There.

Armel looks over and sees what she is pointing at.

     [A]     I ..., I can't shut that down. ...  Can you do this somewhere else?

     [N]     (SHAKES HEAD)  No.

He thinks for a moment.  Nikita remains seated, breathing deeply.  He makes a decision, rises and goes to the phone.

     [A]     Tonio, shut down the security system.
 

MONITORING ROOM

You can see Tonio is surprised by this command.

     [T]     The security system?
 

LOUIS' ROOM

     [A]     Just do it.

The red light in Louis' room goes off.
 

BIRKOFF'S AREA

     Birkoff taps some codes into his keyboard and watches his monitor.

     [B]     You've got it, Nikita.  Keep him busy for another 12 minutes.  ...  Michael, you're clear.  Go.
 

ARMEL'S RESIDENCE / ENTRANCEWAY

Michael enters the house, knowing Armel's security men are with Armel and Nikita.
 

LOUIS' ROOM

Back at the ranch, Nikita continues with the charade.

     [N]     It's all right, Daddy.  It's all right.  I don't want you to worry about me.

     [A]     I have so many things I want you to know.  (SOBS)  So many things left to say.  ...  Oh, God.

     [N]     Don't cry, Daddy.

Nikita cradles Armel in her arms, rocking him gently.  Nikita's expression shows how much she hates what she is doing.
 

INTERIOR - SECTION / VAN ACCESS

Birkoff meets Michael as he enters the portal.

     [M]     I didn't have time to get everything, but I think the critical files are there.

     [B]     I'll check them out.

Nikita has followed Michael into Section.

     [M]     Did you upload your panel?

     [N]     Not yet.

     [M]     Let's do it now, and then debrief.

     [N]     All right, I'll meet you up there.

Nikita walks down the hallway, her expression hints that she has something she needs to do first.
 

SECTION / WALTER'S AREA

Nikita approaches Walter in his work area.

     [N]     Hey, Walter.

     [W]     Hey!  How you doing, Sugar?

     [N]     Good.  Do you know where they keep the buffered hostiles?

     [W]     Level Five ..., why?  Who you looking for?

     [N]     No one in particular, just curious.

Walter watches Nikita as she leaves, his expression seeming to say "yeah, right!"  But he makes no move to stop her.
 

SECTION / SYSTEMS

Nikita enters Systems, logs on and enters some codes into the computer.  She types in some parameters and has the system
search its databases.  The monitor shows the computer scrolling through its 'mug shots.'  It finds Louis' profile and accesses first
the data, then the surveillance camera in Louis' room at Section.  Louis is listlessly throwing a ball against the wall.  Unnoticed by
Nikita, Operations has walked up behind her.

     [O]     He's been treated fairly.

Nikita doesn't bother to turn around.

     [N]     Fairly?  ...  He's done nothing.  You faked an innocent boy's death to get to his father.

     [O]     ... Who is not ... innocent.

     [N]     What are you going to do with him when you're done?

     [O]     That hasn't been decided, but if I have to sacrifice him, I will. ...  Armel is now the de facto leader of a
     terrorist network.  He's been responsible for bombings and assassinations ...  One incident alone claimed the lives of
     over 200 civilians!

Operations walks around so he can see Nikita's face.

     [O]     As you know ..., sometimes we make very hard choices.

Operations exits, and Nikita is left staring at the view of a lonely, homesick boy.
 

SECTION / MADELINE'S OFFICE

Madeline is working at her computer.  When Operations enters her office, she gets up and walks around her desk to the other
computer on the other end of the room.

     [MA]   I'm not going to have this ready for an hour.

     [O]     That's not why I came. ...  I made a decision.

     [O]     I'm not sure it's the right one.

     [MA]   What are you talking about?

Madeline finishes and returns to her desk computer.  Operations follows her over, leans down and keys something in on her
keyboard.

     [O]     You can go see her any time.

Operations leaves Madeline staring at the screen.
 

SECTION / WHITE ROOM

The door opens to show an elderly woman in a wheelchair.  Her expression is blank and she obviously is not cognizant to her
whereabouts.  Her appearance shows she has been well cared for.  When Madeline enters the woman attendant leaves.

     [MA]   Hello, Mother. ...  I've been thinking a lot about you lately ..., about us.

Madeline crouches down and gazes into her Mother's face.  The face doesn't change, the eyes do not meet hers.  Her Mother has
no idea who Madeline is.

     [MA]   You don't know who I am, do you? ...  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. ...

Madeline looks briefly down at her hands, then returns her gaze to her Mother's face.

     [MA]   I still can't say for sure what happened on the landing that day.  ...  Maybe it was an accident ..., maybe it
     wasn't. ...  When I heard you were dying ... it occurred to me that maybe you never blamed me for Sarah's death ...,
     that you loved me all along. ...  If that's true ..., then I created my own Hell and have lived in it every since.

Madeline stops for a minute to study her Mother's face, but she is still unresponsive.  Madeline rises and stands beside her
Mother's wheelchair.  She gently smoothes her Mother's hair.

     [MA]   I hope its true.

Madeline leans down and lightly brushes her lips across the top of her Mother's head.

     [MA]   Good-bye, Mother.

Madeline starts to walk away.  Suddenly, her Mother seems to become aware of who Madeline might be.

     [MM]   Sarah?

This stops Madeline in her tracks, but she doesn't turn around.

     [MM]   Sarah, is that you?

A wall falls back over Madeline's face.

     [MA]   Yes, Mother. ...  Its me.

Madeline walks out, leaving her Mother smiling in happiness.

     [MM]   Sarah ....
 

INTERIOR - SECTION / SYSTEMS

Birkoff is briefing Operations, Michael and the rest of the Mission Team on the Intel Michael pulled from Armel's system.

     [B]     The Intel we got from the house checks out.  They were going after Embassy members in Panama.

     [O]     Have you intercepted?

     [B]     Yes.

     [M]     Does Armel know this?

     [A]     Not yet.

     [O]     (TO MICHAEL)  Take him out.

Michael nods his assent and leaves the room.
 

EXTERIOR - ARMEL'S RESIDENCE

Armel has guards posted around the outside parameter of his house.
 

INTERIOR - ARMEL'S RESIDENCE / BRIEFING ROOM

Armel is addressing a group of men gathered around a conference table, discussing strategies.

     [A]     Gerrin wants to step up the frequency of the bombings.  We are still not on the front pages.  So, gentlemen
     ....
 

INTERIOR - SECTION / BIRKOFF'S AREA

Birkoff is monitoring Armel's meeting.

     [A]     (MONITOR)  ... the red circles represent where the hits where ...
 

EXTERIOR - ARMEL'S RESIDENCE

Operatives have surrounded the outside parameter of Armel's house.  At a signal, Section Operatives take out Armel's outside
guards, and attach an explosive on the front door.
 

SECTION / BIRKOFF'S AREA

Birkoff waits until everyone is in position, then triggers the explosive.  A moment later the explosion blows the front door off its
hinges.
 

INTERIOR - ARMEL'S RESIDENCE / MONITORING ROOM

Everything in the room shuts off, including the electricity.
 

ARMEL'S RESIDENCE / BRIEFING ROOM

Several of the men seated the table are knocked to the floor by the blast.  Before anyone can do anything, however, they are
surrounded by Section Operatives.  Armel is enraged that he has been taken unawares.

     [A]     What the Hell is this?

He looks up to see Michael standing on the overhead gallery surrounding the meeting room.  He is, once more, dressed in black.
His gloved hands are crossed in front of him, and one is holding a gun.

     [A]     You!

     [M]     Yes, me.

Armel is led away.
 

INTERIOR - SECTION / WHITE ROOM

Armel's is leaning back against the metal chair's back.  It is apparent that he has had Madeline's undivided attention for quite a
while.

     [A]     (EXHAUSED GASP FOR AIR)  That's everything ... that's all I know.

Madeline is standing in front of him.  [I'd like to interject a note here.  I'd sure hate to be questioned by Madeline after the
day she just had!]

     [MA]   Good. ...  Then, we're done.

Madeline exits the room and gives orders to the Operatives standing guard outside.

     [MA]   Take him to Disposal.

Nikita is leaning against the wall outside, and she joins Madeline.

     [N]     What about Louis?

     [MA]   What about him?

     [N]     Can't Armel see him?

     [MA]   What purpose would that serve?

Nikita's gaze studies the floor.

     [N]     Probably none.

     [MA]   Armel's peace of mind means nothing to us.

Nikita raises her gaze to meet Madeline's.

     [N]     It would help mine.

Madeline thinks for a second, then

     [MA]   Fine.
 

SECTION HALLWAY NEAR DISPOSAL

Nikita is leading two Operatives escorting a bound and gagged Armel to Disposal.  They come to an intersection of the catwalk.
Nikita turns to Armel, defeated and just waiting for death.

     [N]     You deserve what you're about to get.  But, I thought you should know ... your son was never harmed.

Armel lifts his head at this, a disbelieving look in his eyes.

     [N]     You were a good enough Father to spare him from knowing you were really are. ...  That's why I'm giving
     you this.

Nikita pulls out a remote and points it toward a blank screen on the wall.  When she clicks it, Armel sees Louis playing a game on
the floor of his Section room.  Armel is in shock seeing the son he thought had died.  He tries to speak, but can't get anything
past the gag in his mouth.  She motions the Operatives to release Armel.  He slowly walks toward the monitor, staring as if it were
a hallucination.

     [N]     I wanted you to know he'll be okay.

Armel turns and gives Nikita an anguished look, making Nikita realize that she has not given him any release, just brought Hell a
little closer.  [I wonder if she will ever realize that Madeline probably knew this would happen when she requested it.]
Nikita can't look at his face and walks away as Armel's escorts start to drag Armel away.  As he is pulled away, he continues to
try and turn to see one more glimpse of his son.
 

INTERIOR - SECTION / DINING ROOM

Madeline and Operations are eating breakfast while viewing incoming information on their monitors.  [These scenes really tickle
me.  They look like Ozzie and Harriet from Bizzaro world!]

     [O]     I see I have a meeting with Section Four this afternoon.

     [MA]   They want to go over the Recruitment numbers with you.

     [O]     Has Birkoff prepared the file?

     [MA]   He'll have it in an hour. ...  What do you want to do with Louis Armel?

     [O]     Louis Armel?  ...  Oh, yes, the young boy.  What's our exposure if we release him?

     [MA]   If you want to do that I'd recommend some memory modification.

A sudden thought comes to Operations, and he gives a small smile.

     [O]     Is he of any use to us?

     [MA]   We considered that, but it wouldn't work.

     [O]     (PAUSE)  Let's do the modification ..., and let him go, but ... keep him monitored.

Madeline nods her agreement, then changes the subject.

     [MA]   By the way, I never thanked you.

     [O]     Did it help seeing her?

     [MA]   No ..., you were right.

     [O]     I think you should take some time off.

     [MA]   (SMILES)  Maybe a couple of days.

Madeline notices something on her screen.

     [MA]   I see we had a nice result in Hong Kong.

Operations scrolls down his monitor.

     [O]     Yes.
 

TAG
INTERIOR - SECTION / COMMON AREA

Nikita and Michael meet at the head of one of the hallways bisecting the Common Area.  Michael, as usual, is dressed in black.
Nikita is dressed all in white..

     [M]     Did you finish your debrief?

     [N]     Yes, it's done.

     [M]     Was it difficult for you?

     [N]     The debrief?

     [M]     No, the Mission.

     [N]     At the time, no.

     [M]     And now?

Nikita studies Michael face, while she thinks about his question, and realizes her answer is important to Michael.

     [N]     Well, that sort of depends upon you.  How do you feel about it?

     [M]     Conflicted.

     [N]     Well, maybe I can help.  We could talk about it.

     [M]     I'd love to, but what you need to hear I can't tell you yet.

Nikita gives a small smile, and briefly drops her gaze to the floor before returning to meet his gaze.

     [N]     ... Yet?

Michael looks away from Nikita.

     [M]     You know a lot about me, Nikita, but not everything. ...  There are things that have to remain hidden. ...

Michael once more meets Nikita's gaze.

     [M]     ... And it has nothing to do with how I feel about you.

They stand a moment staring at one another, before Michael walks away.  As the scene fades you see Nikita standing alone ...,
with a small smile on her face.
 

END
 

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