| Psychic Pilgrim | |||||
| La Femme Nikita | |||||
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| Episode no. |
Season 2 Episode 11 |
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| Directed by | René Bonnière | ||||
| Written by | Michael Loceff | ||||
| Production code | 211 | ||||
| Original air date | April 19, 1998 | ||||
| Episode guide | |||||
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"Psychic Pilgrim" is the eleventh episode of the second season of La Femme Nikita.
Summary[]
Operations suspects that a lawyer for an imprisoned terrorist is delivering orders for an upcoming attack. Michael and Nikita pose as a suburban married couple in order to trick the lawyer into thinking that Nikita is a retired “medium” who can help him contact his supposedly deceased son, a boy that is very much alive…in Section.
Plot[]
[]
In a suburban home at night, Nikita, wearing a nightgown, finishes brushing her hair in the bathroom and makes her way into the bedroom. In the bed is Michael reading a book. Nikita circles around the bed towards the unoccupied side. Michael observes her. "Have I ever told you how beautiful you are?" he asks. Nikita settles into the bed with her back towards him and tosses an extra pillow towards the floor. "Not today," she answers, nonchalantly and settles in with her back towards Michael. Michael closes his book and turns off the bedside lamp. "Well you are, beautiful," he tells her as he curls his body around hers and starts kissing her ear. One of Michael's arms settles around her waist underneath the covers and Nikita playfully puts a stop to his advances by lacing her fingers through his hand and pulling it away from her body. She brings Michael's hand to her lips where she kisses it. She reminds him that "That's how you hurt your back in the first place," alluding to an unknown injury. She continues to kiss his hand before placing it back on the cover. "I should report you for that kind of cruelty," Michael tells. Amused, Nikita agrees and she turns her head to kiss him on the lips a few times before settling back into bed. Resigned, Michael moves back to his side of the bed while Nikita reaches up to turn off the lamp on her bedside table. Michael settles on his back and closes his eyes. Still awake but still facing away from him, Nikita calls his attention. "Michael...I love you," she tells him quietly. "I love you, too," he replies.
Act 1[]
During the course of the night Nikita has turned and has curled up against Michael. The two of them continue to sleep as they are shown on a video feed. The bedroom is under surveillance. Two men watch Michael and Nikita sleep on a monitor. One of the men speaks into an intercom requesting to speak to "Mr. Armel". Other monitors show live feeds of other empty rooms within the house.
In his home office, a man has a conversation on a telephone in Portuguese. His conversation is interrupted via intercom by the man from earlier, Toñio, who is reporting that it's the end of the fifth day and he sees no reason to wait. The man, Armel, is pleased and tells Toñio to set everything up.
In Section One during a mission briefing Operations informs those gathered that a few months ago Franz Guerin, the leader of the First Flag terrorist group, was sent to prison for an air disaster over the Bering Straits. Despite his imprisonment, First Flag continues to cause disruptions. All activity directions continue to come from Guerin via his attorney, Joaquim Armel, the only man allowed to visit him in prison. There is evidence of an upcoming attach but Section doesn't know when or where. Madeline adds that Armel has a vulnerability that they will exploit to help them to get to his highly protected files without him knowing about it.
In the morning, Michael, dressed in business attire unlike his own, is shown exiting the home under surveillance and driving away. A car carrying Joaquim Armel drives up the street. Michael's car and Armel's car pass each other by the house. Armel's car parks in the driveway and Armel exits. He walks to the front door and rings the doorbell. A robe clad Nikita answers the front door. Armel introduces himself to Nikita ands asks for her help. Nikita is confused and so Armel clarifies that he needs her to help contact his son. Nikita tries to close the door but Armel insists. He shows her a photograph of his son, a teenager, and explains that he was hit by a car ten months ago. They had had an argument the morning he died and in his grief Armel can't bare that his son died thinking his father was angry at him. He wants to apologize to his son and tell him that he loves him. Nikita is sympathetic and offers her condolences. She also suggests a grief counselor. Nikita closes the front door and retreats back into the house.
At Section One, Birkoff confirms to Operations that they've "made contact". Armel went to the house and Nikita followed the script by refusing his request. Operations concludes that Armel will use force and that Michael should prepare for that. When Operations asks if Madeline has been informed, Birkoff says no because he can't get through to her.
Madeline sits in her office contemplating her plants. Operations walks in but she doesn't acknowledge his presence. He asks if something is wrong. "My mother is dying," she tells him. He tells her that he wasn't aware that Madeline still followed her progress. "It started again last fall. There was something in the air. A scent...burning leaves. It took me back to when I was a child. I couldn't help it." Operations asks if she's being properly cared for and Madeline confirms that she is. He then asks if there's more that can be done for her. "Not for her," Madeline answers. "For me. I'd like to see her. She's senile and has no one. There's no risk." Operations is unable to agree to her request. "You know I would do anything to help you, Madeline. Even break policy, but not this one." Madeline acknowledges that it was wrong of her to ask. After assuring himself that there's nothing else he can do, Operations leaves Madeline to her thoughts.
Back at their undercover mission, Nikita takes a brioche out of the oven while Michael is on the telephone. She finishes setting the breakfast table and after Michael hangs up he takes a seat with Nikita. They playact at married domesticity. He complements the meal and she admires his tie. They both act confused when they hear someone enter the house. Michael gets up to investigate and he encounters two men, one of whom punches him and knocks him down. The third man grabs a hold of Nikita. Michael cowers and asks them not to shoot while Nikita becomes increasingly alarmed. With guns drawn on them, Michael raises his hands and begs that they not be hurt. Nikita cries out to him as she is led away from him.
At Section, Birkoff reports to Operations that Michael and Nikita have been taken.
Michael and Nikita are led into the living room of Joaquim Armel. He's there waiting for them and apologizes for the tactics used to get them there. Michael asks that the let them go. "After I speak with my son," he says, looking at Nikita. Armel immediately given Nikita her history as a young psychic who was exploited by her father and then ran away. He supposes that's why Nikita doesn't do it anymore. Playing the concerned husband, Michael tells Armel, "It nearly killed her, that's why she doesn't do it anymore." Armel appeals to Nikita for help but she doesn't want to do it. Armel shares with her the emptiness he feels after the loss of his son and how he'd rather be dead because of it. He once again asks Nikita to try. Nikita looks towards Michael for comfort before she tentatively asks Armel about his son. Michael immediately voices he concerns but Nikita tells him that she'll be careful. Armel tells her that his son lived in the house they're currently in. Michael and Nikita share a moment while she tries to muster up courage. She asks's Armel to show her where exactly Louis lived. Armel and Nikita walk out of the living room, leaving Michael behind.
They walk towards Louis' bedroom. Armel tells Nikita that he raised Louis alone after his mother died in childbirth. They enter the room of a teenage boy. Nikita takes in the room, familiarizing herself with the objects inside. She lays down on the bed and in a dreamy trance, tells Armel that Louis laid in bed afraid the first time he left him alone. When Armel came back, he brought Louis an art book. Nikita rises and finds the book on a shelf. Before opening it, she reads out an inscription about the "little artist" that Armel had written for his son. When she opens the book, inside is the same inscription.
At Section, Birkoff is feeding Nikita information through a comm unit about how Louis and Armel were going to wear matching Toulouse Lautrec costumes for Mardi Gras.
Nikita repeats the details and Armel elaborates on the story. He tells her that Louis died two weeks before the party. Nikita collapses on the floor claiming to be dizzy. Encouraged by the details Nikita revealed he aggressively urges her to continue. Exhausted, Nikita tells him that she'll need to prepare and gather her strength. Armel isn't happy and demands that she talk to Louis right there. "You broke into my home! You kidnapped me and my husband! I've given you more than I thought I had!," Nikita cries out while still on the floor and she pushes him back. When Armel rises and looks away from her, Nikita takes the opportunity to place a Section bug underneath a chair.
Birkoff confirms that the bug is transmitting and gives orders to others in Systems on how he wants the information gathered and triangulated in reference to their target room within the house..
Act 2[]
A car pulls up to Michael and Nikita's suburban home. They both exit from the rear seats. Armel's surveillance watches as they walk back into the house and into the kitchen. Once back in the kitchen, both Nikita and Michael start cleaning up the remnants of their interrupted breakfast. In Section, Birkoff watches them as well. He activates some pre-recorded footage of Michael and Nikita in the kitchen that is now being funneled into Army's surveillance people. Birkoff alerts Michael and Nikita that their feed is now being watched. He tells them to come in. Nikita questions Michael on how Section was able to get so much information about Armel's son. Michael tells her that it's from his intel. She then questions him about Mardi Gra, which Armel told Nikita was a secret between him and his son. Michael's answer is that it was from surveillance. "But how was Birkoff processing the answers so quickly? He was feeding me responses quicker than real time," She asks as they walk out of the room.
In Systems, Birkoff gives the team a rundown of what he's acquired from the bug Nikita placed in the former bedroom of Armel's son. He was able to pick up fragments from Armel's transmissions but the details are encoded. The encryption key is in a console in other room, where he needs Nikita to access. Operations mentions that the sensitivity in Section's scanners isn't good enough. It will be essential for Nikita to gain access. He wants Nikita to work it out with his mission profiler. They both go back in the following day. Michael asks how much time they have before they have to be back in the house. Birkoff tells him that the taped footage of Nikita doing housework will run for another five hours.
Nikita and Michael approach Walter in Munitions. "How's things in the suburbs?" Walter asks in greeting. "Normal," Nikita replies. "Oh, yeah. We all remember normal," he jokes. He explains that the gear they'll need for that night has already been compiled. "it's just Comm equipment. You can have your weapons now or you can pick it up onsite tomorrow." Michael asks about the quantity of the gear. While Walter heads to the back, Nikita asks Michael a question about the mission. "I've been meaning to ask you. Did you choose me for this assignment or was it Madeline?" Nikita asks. "I did. I thought it would be an opportunity to improve your field mechanics," Michael tells her. He looks at her intensely. "Is that the only reason?" She presses. "No," he replies, not really looking at her. "What's the other reason?" Nikita asks. From the back, Walter interrupts with a question about whether or not Michael wants silencers. "Yes," Michael answers him curtly. Nikita looks back at Michael. "As you were saying?" She leads. "We're convincing as two people in love," Michael tells her matter-of-fact. He looks at her intently while she takes in his words. Nikita turns away when Walter approaches but Michael continues to look at her. "There are seven pieces. Total weight, 47 kilograms," Walter informs Michael. He decides to get the gear the following day and walks away. Nikita thanks Walter and then she too heads out.
In her office, Madeline asks Nikita about Birkoff's feed. Nikita tells her that it's fine. "I know this is a difficult mission. After all, a man has lost his son and we're exploiting that." Nikita asks how Armel's son died. Madeline tells her that he got hit by a car. She asks if it was an accident. Madeline knows what Nikita is insinuating and she informs her that Section did not kill the boy. "Armel is still watching you. He has to remain convinced that you and Michael are husband and wife." Nikita ask if they're doing something wrong. "The average couple who have been married under five years have intimate relations at least twice a week." Nikita takes the unsolicited advice quietly. "Also, I would suggest a small argument. Perhaps about finances or in-laws." Nikita acknowledges the advice and leaves the office.
Later that evening, Nikita and Michael are back in the house. Birkoff preps Nikita as she waits in bed. The prerecorded footage has Nikita emerging from the bathroom and laying down. Birkoff switches to the live feed once the recording and the live Nikita sync up in the bed. "Okay, they're watching the live feed now," he informs her.
One of Armel's men rises and leaves the surveillance room and leaves his partner behind to continue monitoring Michael and Nikita's bedroom. Armel meets up with him and asks how things are going. "Nothing new," he tells his boss. Armel tells him that he was with Guerin that afternoon and he wants to know when they plan to hit the embassy. "They closed it down. It's empty right now," he tells Armel. "Then get them in their homes," Armel decides.
A robe clad Michael enters the bedroom and approaches the bed. Nikita waits for him, nude except for her underwear. Michael removes his robe and after slipping into bed, gives Nikita a brief kiss on the lips. They have a conversation is for the sake of Armel's cameras and they talk about Michael being unable to concentrate at work until everything involving Armel's requests of Nikita are finished. Nikita caresses Michael's chest. "Don't worry. It'll be okay. I promise." Michael kisses her and turns off the lamp by his bed. Nikita curls up closer to Michael with a smile. "As long as I've got you. I can make it," she tells him and she kisses him again. "You should get some rest. You must be exhausted," Michael tells her as he caresses her hair. Nikita coyly touches Michael's chest. "Not really," she replies. "I don't know if I'm going to be able to sleep unless..." Nikita glances towards him. Michael sweeps Nikita's hair aside gently. "If you need to relax tonight..." With a breathy replies, Nikita agrees. "Yeah." Michael brings her closer and they share a series of kiss. Michael slowly rolls on top her. Nikita removes Michael's tank top before he pins Nikita's hands by her head and continues to kiss her.
Act 3[]
In the morning, a robe clad Nikita walks into the kitchen holding a cup of coffee and the newspaper. She smiles when she encounters Michael already up and dressed for work at the kitchen table. Nikita comments on how early he's up. "I didn't sleep well," he tells her, partially distracted. Concerned, she asks if everything is okay. Michael unconvincingly tells her that it is. Nikita approaches him, perches herself on the edge of the table and lightly rubs Michael's stubbled chin. "Michael, what's wrong?" She asks softly. "It was a mistake," Michael blurts out. Surprised and a little hurt, Nikita retreats and fiddles with her robe. "What you're doing for Armel is going to hurt you," Michael elaborates as he rises and holds Nikita by her upper arms. "You can't expect me to support that," he continues and tenderly cups Nikita's face. Understanding what he's referring to, Nikita relaxes and plays with Michael's loosened tie. "Well I never expected your support," she tells him. Nikita leans towards Michael and gives him a soft kiss. He moves to continue their kiss but Nikita interrupts him. "But I do expect your love." Michael lovingly kisses Nikita's forehead and cradles her face as they reach an understanding.
In Systems, Operations approaches and asks Birkoff for their status. "They've just left the house," Birkoff tells him and adds that support is standing by. Operations looks out the glass enclosure of Systems and spots Madeline walking by looking contemplative. Birkoff notices her as well. "Is she okay?" He asks. "Why do you ask?" Operations replies. "She seems out of it lately. If I didn't know her better I'd say she was almost...sad." Birkoff continues to work and Operations takes in Birkoff's observation. He starts to leave but briefly turns back towards Birkoff. "Let me know when we're under way."
At Armel's house, the door to Louis' bedroom is opened and Nikita is led inside by two bodyguards. She's removing her wristwatch as she does so. Inside is Joaquim Armel, staring out the window. "Why didn't Michael come with you?" He asks. Nikita drops her watch into her handbag. "My connection with Michael is too strong." Nikita removes her wedding ring and places it in her handbag as well. "Before I can reach Louis, I must disengage from everything familiar." Armel turns to her and asks Nikita if he can get her anything. "No, let's start."
"As you know, sometime we make very hard choices," he adds before he leaves. Nikita glances at the monitor with the video feed of Louis looking bored.
Act 4[]
In her office, Madeline tells Operations that she's not going to be ready for an hour. "That's not why I came," he tells her as he walks further into her office. "I made decision. I'm not sure it's the right one."
Tag[]
Michael meets up with Nikita at the corridor that leads to the main floor of Section One. He asks her about her debrief and she informs him that it's done. Michael asks if "it was difficult" for her. Nikita misunderstands and thinks he's talking about the debrief. He clarifies by saying the was referring to the mission. Nikita tells him that at the time the mission wasn't difficult. "And now?" Michael asks. Nikita counters that it would depend on Michael feels about the mission. He answers that he's "conflicted". Nikita offers her help and that they can talk about it. Michael tells her that he'd love to take her up on her offer but what she needs "to hear I can't tell you yet" Nikita takes note of use of "yet". Michael points out that while she may know a lot about him, he must still hold things back from her. Those reasons have "nothing to do with how I feel about you," Michael tells her. After few more moments together, Michael walk away leaving Nikita to process what he's just told her. A look of slight amazement crosses her face.
Cast[]
Main Cast[] |
Special Guest Stars[] |
Episode Quotes[]
- Nikita: "I've been meaning to ask you. Did you choose me for this assignment or was it Madeline?"
Michael: "I did. I thought it would be an opportunity to improve your field mechanics."
Nikita: "Is that the only reason?"
Michael: "No."
Nikita: "What's the other reason?"
Walter: (interrupting) "Do you want silencers?"
Michael: "Yes."
Nikita: "As you were saying?"
Michael: "We're convincing as two people in love."
- Michael: "Was it difficult for you?"
Nikita: "The debrief?"
Michael: "No the mission."
Nikita: "At the time, no."
Michael: "And now?"
Nikita: "Well that sort of depends upon you. How do you feel about it?"
Michael: "Conflicted".
Nikita: "Well maybe I can help. We could 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, But it has nothing to do with how I feel about you."
Music[]
No licensed third party music as licensed for this episode.
- contacting the spirit world | SEAN CALLERY
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