(Transcribed by Karen Hay)
B = Birkoff H = Harry
J = Jeanine M = Michael
MA = Madeline N = Nikita
O = Operations R = Rene
Dian RC = Rene's Comrades T = Teacher W = Walter
EXTERIOR - MUSEUM GARDEN -- DAY
The episode opens to a picture of children with accompanying adults
playing in what is later described as a sculpture
courtyard/garden outside a museum. A teacher is busy showing her class of young pupils the sculptures.
[T] Can anyone tell me what this might be? ... All right, gather 'round. ... Please stay together.
Everything looks normal — until Michael approaches the garden via the
museum's sidewalk built to run just above the garden.
Nikita enters at the same time from the opposite side.
[B] (VOICE) What have you got, Nikita?
Nikita looks down at her gloved wrist, opens a flap on the glove to
reveal a small circular scanner. The top has small lights set
equal distances apart. These lights are blinking and you realize she is scanning for something.
[N] So far nothing.
INTERIOR - SECTION VAN
[B] What about you,
Michael also is wearing sunglasses. He, too, has a scanning device that he is studying.
[M] Hold on.
As he studies it, the blinking pattern changes. Michael enters the garden and nears one of the sculptures.
[M] It's here.
Get everybody out.
[B] All Teams, evacuate
As Michael kneels down and studies something stuffed behind a statue,
Nikita and the other Operatives hustle everyone out of the
park. Nikita starts with the teacher.
[N] Excuse me, there's a bomb in the yard. Please get the children inside.
[T] Come on, children. Come on. Inside. Come on ..., quickly everyone, inside. Quickly ..., run ..., quickly.
Nikita turns to the remainder of the people in the garden that the other
Operatives have not had a chance to move away, and yells
[N] GET OUT OF THE PARK! THERE'S A BOMB. GET BACK!
Of course, a slight panic ensues as people hurry to leave the area.
Nikita turns and sees, standing in the shadow of the museum, a
man with long blond hair. He doesn't act afraid, just interested in the drama being played out.
[N] PLEASE ..., RUN ..., GET OUT OF THE PARK! ... RUN!
Nikita notices a little girl lagging behind and hurries her after her classmates.
[N] Come on, sweetheart, let's go inside with the other kids.
Nikita nudges the child toward one of the older students helping the teacher with her class.
[N] Get her inside.
When Nikita sees everyone is being evacuated, she turns back to Michael,
who has kneeled down and slowly pulled out what
looks like a dark blue gym bag from behind a sculpture. Michael describes the contents of the bag without opening it.
[M] The bomb's in the bag. 250 grams of Semtex wrapped in aluminum surrounded by nails.
Nikita looks down and realizes Michael has described the contents — without opening the bag.
[N] How do you know its Semtex wrapped in aluminum?
Michael ignores her question, just tells her to "go" as he carefully unzips the bag.
[N] Michael! Just wait for containment.
Michael continues to ignore Nikita, and proceeds to uncover the bomb.
In the distance you see the Section van pull up.
[B] Containment's on
[M] There's no time.
He gently works the bomb free of the bag, revealing an exact replica
of his description. He straightens, holding it in his hands,
walks over to a nearby fountain and tosses it into the water. Michael immediately turns, grabs Nikita (who had ignored his
command to evacuate) and sprints to safety. When the bomb goes off it knocks both Michael and Nikita to the ground. As they
fall, Michael pulls Nikita under him to protect her from any debris. They raise their heads and study each other — Michael's face
a blank, Nikita's one of confusion.
INTERIOR - SECTION / BRIEFING AREA
Operations is discussing the bomb at the museum with Nikita, Michael, Birkoff, Walter and Madeline.
[O] An anonymous transmission
two hours before the bombing. The message warned of further attacks
there were no accompanying demands.
Operations turns and studies Michael and Nikita.
[O] Was there anything on site that would help identify the group?
Nikita turns and gives Michael a somewhat perplexed look as she realizes
he's not going to reveal how much he knew about the
[O] Walter, what do we have?
[W] The bomb was put
together ... piecemeal. Japanese timer, Czech plastique .., some
of the other parts were
[MA] Patchwork acquisition. Obviously, they have limited resources.
[O] They're buying
off the world market ..., that means commerce, which causes ripples.
Find them. ...
[N] This may not be anything, but there was a man on site. There was something not quite right about him.
[O] Meaning what?
As Operations questions Nikita, a quick flash of consternation appears on Michael's face.
[N] He seemed a little too interested and wasn't panicking while everyone else was.
Operations thinks a moment, then makes a decision.
[O] Get with Birkoff. ... Hopefully, he's on file somewhere.
Operations walks away, terminating the briefing. Everyone rises
to leave, but Michael, remaining seated, reaches out and turns
Nikita's chair back to the table when she tries to push her chair away and stand.
[M] Why didn't you mention this to me earlier?
[N] I don't know. ... What difference does it make?
Michael doesn't answer her question, just asks another question.
[M] What does he look like?
[N] Long hair, thirties ..., why?
[M] No reason.
Michael refuses to tell her more, just gets up to leave, but this time
Nikita reaches out as she stands and stops Michael from
[N] Michael. ... What's going on?
[M] What do you mean?
[N] You knew exactly what was in that bag ..., before you looked.
[M] It's a common configuration.
[N] I don't believe that. I think you knew who these people are. ... What are you holding back?
Nikita realizes she will get nothing more out of Michael. They
trade looks for a moment before walking away — Michael to his
office, Nikita to Birkoff's area.
INTERIOR - SECTION / BIRKOFF'S AREA
Birkoff is pulling up all individuals on file who fit Nikita's description
for her to study. Nikita is looking at all the faces, but you can
see her thoughts are somewhere else.
[B] Any of these here?
Birkoff pulls up another screen.
[N] Uh-uh. ... How many more are there?
[B] Based on what you
gave me, I've got sixty-five with a high correlation. None of them
work out, we'll have to
loosen it up.
[N] The bomb in the courtyard ..., was it a typical explosive?
[B] Semtex? Sort of. There's about six or seven plastiques that in common use.
Birkoff pulls up another string of pictures.
[B] How about these?
SECTION - OUTSIDE MADELINE'S OFFICE
Operations stands in front of Madeline's door, smiling, as he keys in
the entrance code. When the door opens he steps down the
office's stairs and greets Madeline, who is working at her desk. [Has anyone thought that the coded lock may not be to
keep everyone out — but to keep Madeline in? Has anyone seen her key in the code to the door?]
Madeline ignores Operations and continues to study her screen as he
moves to stand behind her. Madeline keys something in,
before asking --
[MA] Is there something you need?
Operations looks down at the back of Madeline's head and gives a small smile.
Madeline waits a moment, and then, without turning --
[MA] If you came by to see if I got 'it,' the answer is yes.
Operations waits for Madeline to continue. When she doesn't, he prompts her.
[O] Did you like it?
[MA] Oh, the necklace is lovely.
Madeline picks up a long slender jewelry case next to her computer, hands it to Operations and turns back to her computer.
Operations briefly studies the spurned gift.
[O] You don't want it.
[MA] Let's not open things up again. ... We're both much too busy.
With that Madeline again starts keying information into the computer.
[O] I wasn't trying to 'open anything up.'
Operations decides to broach another subject for discussion [the man does know when to cut his losses].
[O] So! ... How are the numbers coming?
[MA] I'll have them on time.
Operations leans over and gently places the jewelry case on Madeline's
desk, before turning and slowly leaving Madeline's office.
When Madeline realizes this, she sighs and gives him a "you're not listening" side glance, before getting back to work. [Talk
about an unstoppable force meeting an immovable object! My money's still on Madeline. Operations will only take so
much before taking a gun out and shooting you. Madeline has to have the last word, even if its her last one — ever.]
EXTERIOR - CITY STREET
[I haven't seen the script to this episode, so I can't be sure about
the location (Europe). But the address noted in this
scene and Metro map shown look European.] Nikita pulls up in a car, watching as Michael crosses the street. She gets out
and tails him down the street (wearing a dark parka with a fur-rimed hood that she pulls down to hide her face). Nikita hides
behind a stone pillar with an iron gate and observes Michael walk up and study a metro map posted outside a metro entrance. As
she watches she slips on night-sight goggles formed to look like sunglass shields. She notices him looking behind him, using the
glass door as a mirror, and pulls back. Michael turns and walks around the corner of the building, out of her sight. Nikita hurries
back to her car and follows. Michael walks down a nearby outside corridor that is covered by a vaulted ceiling. He stops in front
of one of the buildings lining the street (and the only one with its lights on), walks up to the door, knocks and enters. As Nikita
observes from a distance she, once more, puts on the glasses. This time you see her fiddle with dials on a transmitter strapped to
her wrist and connected to the glasses. This enables her to hear Michael's conversation with his 'contact.'
[M] (VOICE) Hello, Harry.
[H] (VOICE) Look, I've changed my mind. ... I can't do this. I've got a family now. ...
[M] (VOICE) Take the money, Harry. Where is he?
[H] (VOICE) 221 Impasse de L'Arsenal. What are you going to do with him?
Michael doesn't answer, just leaves. Nikita follows Michael to
this new address (this time both are driving) and watches as
Michael is met at the door by a women holding a gun. Once again, she is able to hear the conversation.
[M] I'd like to speak to Rene.
The women says nothing, just continues to point the gun. Michael
suddenly grabs the gun and pushes her inside. Nikita hears two
shots, then another. She runs across and enters in a crouched position (still wearing the goggles). There are two bodies lying next
to the door. Nikita stands up and gently touches one of the bodies with the toe of her boot to check for signs of life. She then
looks up and sees Michael chasing a man up a flight of stairs. Michael stops when he reaches the top floor and calls out to the
[M] RENE, Arrete!
Rene turns and points his gun at Michael, but Michael makes no move
to draw his own weapon, just gradually approaches Rene,
who has now stopped cold. Nikita takes this opportunity to hide inside an old wooden freight elevator parked on the ground floor.
She watches as Michael stops, and now Rene slowly draws closer to Michael, looking as if he cannot believe his eyes.
[R] Is it really you?
[M] It is.
Rene walks up to Michael and tearfully hugs him. Nikita observes
that Michael does not respond ..., but he doesn't pull away
either. [Rene's speech starts in French and abruptly switches to English — i.e., the show could not afford subtitles!
Rene says the same line — first in French, then in English.]
[R] Why didn't you let me know you're still alive?
[M] I couldn't.
[R] Why not?
[M] I can't explain it ..., and if I could I'm afraid you wouldn't understand.
[R] Why are you here?
[M] The bomb at the museum ..., I recognized your work.
[R] How did you find me?
[M] The details are not important. I have access to ... people ... in the ... community ...
Rene turns and steps away from Michael.
[R] You're on the other side.
[M] (PAUSE) Yes.
[R] And you've come here to, what? Arrest me?
[M] (PAUSE) No, I'm not here to hurt you, Rene.
[R] Then please ...,
tell me what is so important. ... Why did you have to kill two or my friends?
Huh? ... To tell
[M] To ask you to stop.
[R] (SMALL CAUSTIC
LAUGH) To stop. ... It's ironic, isn't it? We always talked
them, the 'oppressors.' And
now ..., you are what I fight against ..., the policeman.
[M] Not exactly.
[R] I see little difference.
[M] A policeman has rules.
[R] (PAUSE) So (SIGH), what now, my old friend?
[M] Go back home.
[R] My home is wherever people are oppressed.
Michael slowly approaches Rene, obviously trying to reason with him.
[M] They don't know who you are yet. ... I can protect you, but you have to do exactly as I say.
Rene gives a bitter smile.
[R] You mean sell out
everything I believe in so I can save myself? Please ..., Michel!
You know me better than
[M] (PAUSE) Don't make me come after you, Rene. ... If you strike again I will find you.
As Michael turns to leave, Rene starts singing a song.
Les bourgeois c'est comme les cochons
Plus ça devient vieux plus ça devient bête
Les bourgeois c'est comme les cochons
Plus ça devient vieux plus ça devient c...
It is obviously familiar to Michael and meant as an insult, but he ignores
it and walks down the stairs. Rene follows Michael
partway down the steps. When Michael nears the door, Rene shouts one last retort.
[R] The greedy bourgeois are just like pigs! The older they are, the dumber they get!!
Nikita watches as Michael walks past her and out the door. Rene
hurries down the remainder of the steps and bends over his
dead comrades. As he does this Nikita captures his image so she can later download it into Section's data files.
INTERIOR - SECTION / WAR ROOM
Nikita enters and logs into Section's database. To do this she
has both her hand and eye retina scanned for identification. Before
sitting down, she quickly looks around and greets the only Operative in the Room.
Nikita pulls out the miniature CD containing Rene's picture and uploads
it into the computer. She watches as the computer
searches with no luck, reaccesses the picture, searches for identifying marks (finding a mole on Rene's neck) and searches again.
This time it pulls up a photo and data on — Rene Dian. Nikita accesses the file. Before accessing the audio data she once more
quickly looks around to see if anyone is watching her. The files first access a video of a 1984 student protest in Paris. As the
video plays you hear British announcers describing the action:
The protest didn't
start until everyone had had lunch. But then, the niceties were over.
and their teachers, hit Paris in waves, the largest in the month-long series of demonstrations. ...
Officially, nearly 3,000 extra riot police turned out to meet them, but some said the number was
double. At any rate, they and the students have played this game before. They both knew the rules.
Nikita is carefully scrutinizing the crowds of demonstrators filmed during the march. A second announcer picks up the audio:
was the biggest so far of the recent student demonstrations, a national
one called to protest
against government plans to reform the universities. But the government has handled it so clumsily
that, although the plans are deliberately vague, everyone — left and right — feels threatened. It was
mostly the right who turned out today ....
Nikita pauses the video, clicks and pulls a profile from a group of
students of — Michael.
INTERIOR - SECTION / SMALL, PRIVATE DINING AREA
Operations and Madeline are sitting across from each other at a small
table eating breakfast. On the wall next to the table is a
screen projecting forests scenes. Each has their own computer screen on which information is scrolling down. Madeline stops at
[MA] Josephson requested a back-up team.
Operations looks up from his screen.
[O] I thought it was a Cold Op?
[MA] So did he. They found land mines in the area. Someone's been there recently.
[O] We need that Intel. Give him what he needs.
Operations notes an item on his screen.
[O] I see I'm scheduled to go on-line with the Agency this afternoon.
[MA] They want to know about Brussels.
[O] Has anything changed in the last twenty-four hours?
[O] See if you can put them off. There's no point until we know something.
[MA] I disagree. ...
This, again, draws Operations' attention from his screen.
[MA] You need to show your presence.
... This thing will get bloody and when it does, whoever has an attendance
problem will pay.
Operations gives a small nod, accepting — and agreeing to — her reasoning,
and goes back to reviewing his screen. Madeline
seems contemplative for a moment, before opening a new line of conversation.
[MA] I was a little direct yesterday. I hope you didn't take it the wrong way.
Operations looks up.
[O] Of course not.
[MA] Where are we on the museum bombing?
[O] I don't have anything
on my screen. If nothing comes up in a couple of hours ..., call
down to Comm.
SECTION / MICHAEL'S OFFICE
Michael is working in his office with the door shut, when Nikita enters,
closes the door after her and approaches his desk.
Michael looks up.
[N] We need to talk.
[M] I'm busy.
[N] I followed you last night.
Michael immediately pulls out the Comm device he uses for confidential
meetings and taps in a code. That done, he looks back up
Nikita holds up a small screen notepad so he can see what she has pulled up, while she reads him the text.
[N] Rene Dian. ...
In 1984, along with some other extremist students of Paris University,
he formed a radical
activist group called "L'Heure Sanguine" (the "Bloody Hour"). ...
[I'm sorry, but I still prefer Scorpio's translation of "Bloody Owls"!]
Nikita perches on the side of Michael's desk as she
[N] ... There was a
bombing, people died. ... Everyone escaped ..., except for you. You
(SIGHS) Of course you died in prison ..., just like I did. And now ..., after all this time ..., Rene's resurfaced ..., and
you two have crossed paths.
[Interesting note: I was able to read what Nikita's notepad had on its
screen, and it just said "Michael," with no last
name. And it really did end with 'Michael' dying in prison. My first thought when I noted this was that it should have
mentioned something about joining Section. But, then I thought about it and it made sense that it did not. Otherwise,
someone could scan their historical data to find out the origins of all Section's Operatives.]
[M] Yes, I knew him.
[N] Now you're protecting him.
[M] Up to a certain point.
[N] Why would you protect
him at all? ... After all the lectures to me about "sacrificing feelings
... for the greater
[M] I'll take care of it, Nikita.
Nikita looks at the notebook's screen, running her finger across the print as she studies it.
[N] There's something you're not telling me.
Nikita looks up and meets Michael's gaze, but he refuses to tell her any more.
[M] Just stay out of it.
They study each other a moment, before Nikita gets up and walks to the
door. She turns and looks at Michael one more time
before leaving his office.
SECTION / BIRKOFF'S OFFICE
Nikita approaches Birkoff's area, watching him work as she considers
something. Making up her mind, she quickly walks up
[N] Hey, Birkoff. I just remembered something.
[N] This guy from the museum ..., might have had a mole on his neck ..., and he could be French.
[B] What do you mean, "could have been French"?
[N] Just check it.
[B] All right, I'll add the two constraints.
Birkoff accesses the database and adds in the new information.
[B] And ..., mole; ... and ..., French ....
The database searches for a moment before bringing up Rene Dian's name and photo.
[N] That's him.
[B] Rene Dian.
L'Heure Sanguine. Small student radical group from the '80's.
Inactive. No wonder it didn't
[N] Do you know where to find him?
[B] I can try.
Birkoff starts coding in search parameters as Nikita impatiently paces
behind him. Birkoff briefly looks up in thought, before
looking back down at the keyboard. A small smile appears on his face — the hunt is on! [I loved how Matthew Ferguson
played this scene. You could tell it wasn't finding the answer that was important to him — but the search itself!]
Unfortunately, Nikita doesn't want to wait that long, and she slaps down the computer notepad on his desk and turns to leave.
[N] He's here. There's a tracker on him.
[It appears that the scene's sequence where Nikita placed the tracker
on Rene was edited out.] Birkoff looks at the
notepad and a puzzled expression shows on his face.
[B] What are you ....
Nikita stops him before he can get his question out.
[N] Don't ask questions ..., just take the credit.
Nikita walks away as Birkoff looks down at the notepad in confusion.
SECTION / MADELINE'S OFFICE
Michael enters to see Operations standing watching Madeline as she prunes
her bonsai trees. [I don't know about y'all, but it
would definitely make me nervous standing this close to Madeline when she's holding anything sharp in her hands!]
[O] Rene Dian. ... You were close with him.
[M] Yes. Why?
[MA] He's responsible for the museum bombing.
[M] How do we know?
[O] Nikita remembered a few details which pointed Mr. Birkoff in the right direction.
[M] I see.
[MA] We'd like you to bring him in. ... Is that a problem?
[M] Of course not.
Michael leaves. As the door shuts behind him Operations turns
back to Madeline and they trade looks.
SECTION / VAN ACCESSWAY PORTAL
Michael is standing at the head of the Van Access Portal as his Team
files past him. Nikita gives him one quick glance as she
passes. He watches as she enters the Section Van, before following. The Van Access inner door swings shut as he joins his
EXTERIOR - ENTRANCE TO CITY BUILDING
Michael and Nikita separate from the other Team members, exiting a building
and walking down an alleyway lined with metal
[M] I asked you to stay out of it.
Nikita refuses to look at him, just gives a succinct reply.
[N] Yes, you did. You should try talking to me the next time, Michael. Maybe you'll get better results.
Michael looks down at the scanner he's holding in his hand.
[M] He's moving position.
EXTERIOR - BACK OF BRICK BUILDING
A window opens on one of the top floors and Rene pulls himself out and
onto the nearby metal fire escape, quickly descending to
EXTERIOR - ALLEYWAY NEXT TO BRICK BUILDING
[M] All Teams converge to the South exit. He's leaving the building.
The stairs do not reach the ground, so Rene tries to jump down.
He hits the roof of a nearby parked car and rolls off. Two
Operatives rush out of the building's back entrance. Before Rene can regain his feet he is surrounded and held by the Operatives.
[OP] Get up!
As they pull him to his feet he looks up and sees Michael. Nikita
moves to stand behind the Operatives holding Rene, and studies
Michael's face as Rene confronts him.
[R] Shame on you! ... After what I've done for you ... eh? I was mistaken when I said you were still alive. ...!
Nikita's face hardens and she curtly gives a command to the Operatives holding Rene.
[N] Get him out of here!
As the other Team members lead Rene away, Nikita tries to read what
Michael is thinking, but his "blank expression" is firmly in
place. He just follows the others back to the Van.
INTERIOR - SECTION / OPERATION'S OFFICE
[MA] Michael's Team just picked up Rene Dian. They're on their way.
[O] It was only a matter
of time before Michael crossed paths with someone from his past.
Can we 'use' that
relationship to our advantage?
[MA] We're exploring that now.
[O] Good. ... You need
to find out if the bombing are the work of the resurrected L'Heure Sanguine
..., or if they
represent a new association of Dian.
[MA] Are you going to be here late?
[O] Most likely, why?
[MA] I'll have Christopher bring up some dinner for you.
[O] Well, that will be nice.
Madeline gives him a small smile, then leaves. Operations' expression
seems to say "what is she up to"?
SECTION - WHITE ROOM
Rene is strapped into the 'chair.' The Room's lights are dimmed.
The door opens and Madeline enters. As she enters the lights
are turned back up.
[R] The mind is an amazing thing.
[R] While I sat here
waiting ..., knowing what's to come ..., the strangest thoughts came to
me. ... Did it rain last
Thursday? Suddenly, knowing that was critical. (GIVES SMALL LAUGH) Why would that concern me ..., here
..., now? ... Strange.
Madeline approaches Rene at a leisurely pace. They each study each other for a moment.
[MA] Perhaps its your fear looking for a place to hide.
[R] Hmmm. ... Perhaps.
[MA] What group ... has contracted you to do these bombings?
[R] Hmmm. ... I see my 'charm' is insufficient to distract you at the business at hand.
[MA} (SMILES) I'm afraid so.
[R] (SMALL LAUGH)
Too bad. (PAUSES) What was your question?
SECTION / MICHAEL'S OFFICE
Michael is watching the questioning from the office computer.
[MA] (ON SCREEN) The group you are working for.
[R] Red Cell.
[MA] Red Cell?
[R] You don't believe
[MA] Well ..., Red Cell is ... sophisticated, global. ... Your record suggests more ... provincial activity.
[R] One must face the realities of a modern world. Mergers, takeovers ... even in the resistance movement.
[MA] What are their targets?
We planted devices in every major city in the world. We'll begin
detonating them one .. at .. a ..
[MA] I see.
Madeline studies him another moment, before turning and exiting, leaving
Rene with a perplexed expression on his face that she
didn't follow up on this boasts. As the door shuts, the lights dim once more.
Michael studies Rene sigh and look around the room after Madeline departs.
When Madeline enters Michael's office he quickly
clicks off his screen. It is apparent, though, that Madeline knew he was listening in.
[MA] He claims he's no longer affiliated
with L'Heure Sanguine. That he's been commissioned to set off these
bombs on behalf of Red Cell. Is that likely?
[MA] I agree. ... What's he's doing, Michael?
Michael deliberately rises from his chair and moves to stand next to
Madeline. [Interesting note: Michael does NOT button
his coat when he stands and approaches Madeline; instead, he puts his hands in his pants' pockets which pull the sides
of the jacket back. Hmmmmm. You know Madeline noticed and interpreted this body language. Once again, I'm
amazed how well Roy showed Michael's emotions with a simple change in his stance.]
[M] Trying to regain
his importance. ... Rene's living in another time. ... His causes are obsolete
..., most of his
comrades are dead. ...
[MA] So you think he's on his own?
[M] Perhaps. ... But, Rene's a leader. His strength is recruitment. There may be a few others, not many.
Madeline studies Michael a moment before broaching the subject.
[MA] We have to clean this up. ... Would you like me to take care of it?
[M] No, I'll do it.
Madeline gives Michael an affirmative smile — she had expected that
answer — and leaves. Michael walks back over to his
desk (brushing his fingers briefly over his upper lip as he does so). [Again, showing one of the few 'tells' Roy gives Michael
when he's worried.] He reaccesses the camera taping Rene and studies him.
INTERIOR - NIKITA'S APARTMENT
Nikita is sitting on her kitchen counter, holding her fingers over a
lit candle, only pulling them back when she feels the flame. It is
obvious she is waiting for someone. There is a knock on her door. [I'm sorry, but if I were Nikita I would invest in a door
with a peephole. I mean, you never know when Red Cell, Bauer, Petrosian, etc. might decide to call. A girl can't be
too careful — especially if she shoots people for a living.] She gets down and opens the door to — Michael.
[N] Come in.
Michael enters, removing his gloves as he does so. Nikita closes the door and follows him into her living room.
[N] I was surprised to get your call.
[M] Did you finish the Debrief?
[N] Yes. ... Why?
Michael turns and studies her.
[M] You did the right thing, Nikita.
[N] It's how you trained me, Michael.
Michael is obviously ill at ease. He turns and walks into her
living room, looking around briefly before crouching down next to her
glass coffee table to stare into a candle's flame. While he does this he continues to run his gloves through his hands.
[M] Rene and I were
students together at the University. We shared similar beliefs ...,
mostly that a change was
needed. ... We organized demonstrations ..., shouted slogans, made speeches ....
[N] Made bombs?
Michael briefly looks in Nikita's direction before glancing back off into space.
[M] Yes. I don't
even remember how it started. ... I was angry at everything ..., at the
world around me. ...
When I met Rene, everything he said seemed so true. ...
[N] Why are you in his debt?
Michael stands, pauses, then turns to look at Nikita.
[M] My sister.
A look of surprise shows on Nikita's face.
[N] Your sister?
Michael walks toward Nikita.
[M] After my parents
died, I ... took care of her. ... She was still very young. ... When I
was arrested there was
no one to help her. Rene took her in. ... Even after he thought I was dead he kept providing for her. ...
Nikita moves to sit on her couch.
[M] He had no reasons to do it, except out of kindness.
[N] Didn't you tell me once ..., that you can't separate the man from his actions?
Michael joins her on the couch. He sits awkwardly, obviously uncomfortable with the conversation.
[N] He's still a terrorist.
[M] To me, his actions are ... that of a friend.
Nikita realizes Michael is near his breaking point, and a look of concern appears on her face. Michael just stares off into space.
[N] Michael ..., disengage. ... Let the Section sort this out.
[M] It's too late. A profile's been set. ... I'm not sure I can do it.
Michael's voice almost breaks as he tells Nikita this. Nikita's
expression changes to foreboding as she realizes where this
conversation may be heading.
[N] Why are you telling me this?
[M] (SIGHS) I wanted you to know.
At he says this he looks up and meets Nikita's gaze. There is a look of weary defeat and sorrow in his eyes.
[M] ... In case something happens to me.
Nikita briefly shakes her head at what she is hearing — Michael telling
her good-by. She reaches out and gently rests her hand on
his knee. Michael lightly clasps her hand with one of his.
INTERIOR - SECTION / BIRKOFF'S AREA
Alarms are going off all over Section. Operatives are arriving
and taking their stations. Operations strides over and stands behind
Birkoff who is busily keying something into his computer.
[O] What's going on?
[B] We're getting a Delta Alarm.
[O] Nuclear detonation?
[B] Two of them! Thirty seconds apart, one in the Ukraine and one in the Atlantic.
[O] Is doesn't make sense. How long ago?
[B] Two minutes.
[O] Have you confirmed?
[B] No. All of our internal systems are consistent.
Michael quickly crosses the Common Area. No one notices that he
doesn't stop and join Operations and Birkoff, but just enters
one of the corridors intersecting the Common Area.
[O] Initiate a Lock-Up, then go to Level 4 and bring everybody in!
Birkoff starts calling out orders to Operatives manning the computers around him.
[B] Link with the DOD
satellite. See what data it has.
SECTION / WHITE ROOM
Michael enters the Room, holding Rene's coat. Rene has heard the
alarms and looks on in surprise as Michael drops his coat in
his lap and moves behind the chair.
[M] Do exactly as I say.
Michael releases the chair bracelets that held Rene manacled to the chair.
[R] Where are we going? What's happening?
Michael walks around to face Rene. As he does so he taps a device
he is holding, which releases the magnets holding Rene's
[M] I'm getting you
out of here.
SECTION / BIRKOFF'S AREA
Birkoff is on the phone, receiving Intel concerning the Delta Alarm.
[B] Are you sure? Nothing? ... What about seismic? ... All right, thanks.
Birkoff hangs up and turns to Operations.
[B] There was no 'Event.' Whatever we're seeing is internal.
[O] How could that be?
[B] I don't know ...,
SECTION / SECTION EXIT (NOT VAN ACCESS)
Michael quickly leads Rene out of Section. [My impression was
that this exit was a one-way emergency exit. If you look,
you'll see that the inner door to this exit has no handle to open it from the other side.]
EXTERIOR - AUTOBAHN
[Once again, I am noting that they are in Europe just by the inferences
I got from the aired version.] Michael and Rene
are in a Citroën driving down an autobahn.
[R] Are we safe?
[M] Not yet. We have to get out of local radius.
[R] How did you do this?
[M] I uploaded a pseudo
alarm. They've discovered it by now, but it'll give us time to reach
a blind spot. ... From
there we can get out of the country.
[R] They'll track you down.
[M] ... Doesn't matter.
[R] They'll kill you. (SIGHS) Join us, Michael. Give your life some meaning again ..., or death some purpose.
[M] (IN ALMOST A WHISPER) It's not possible.
[R] Why not? It will be what we always wanted. We're older, smarter ..., we can do it right this time.
[M] Once we're out of the country, I'll ... take you somewhere safe. ... You know a place?
[R] I do. I'll
have the other join us there. ... Meet them ..., listen to them.
... Then, if you're not convinced ..., I'll
help you disappear where no one can ever find you. ... Huh?
Michael says nothing. The Citroën continues down the autobahn.
INTERIOR - SECTION / BIRKOFF'S AREA
[O] Are we fully operational?
[B] I've deleted the virus Michael planted in the system.
[O] Are we tracking?
[B] Yeah, I've got them.
[O] All right, mobilize the Team.
[B] Everyone's on their way in.
Nikita enters and walks over to Birkoff's area as Operations turns to leave.
[N] I just got the call. Where's Michael?
[O] Birkoff will fill you in.
Operations walks off and Nikita turns to Birkoff.
[B] The Profile will be downloaded by now.
Nikita leans down to read off Birkoff's screen.
EXTERIOR - CITY STREET
The Citroën pulls into an alleyway and stops.
INTERIOR - OLD BUILDING / ANTIQUATED ELEVATOR
Michael and Rene are riding up in a rickety sounding elevator. Michael notices that Rene is smiling.
[R] I was remembering
'84, the transportation strike. ... We all dreaming of the 'great
cause' and the role we
might play. ... We spent most of our time delivering fresh underwear and toilet paper to the strikers (SMALL
[M] We rode those beat-up Lambrettas.
[R] (SMILES) Those were the good times. You must agree on that, no?
Michael looks away.
[M] (QUIET TONE) We were young. Everything seemed good then.
The elevator stops. The doors open to show Rene's comrades.
They crowd around and greet Rene, Michael ignored for the
[RC] Hey, hey, Rene.
[RC] (Woman) Salut.
[RC] It's good to see you.
Michael hangs back in the elevator, but Rene urges him out. Michael
is about to be shown off as a victory snatched from the jaws
of defeat. He motions Michael to follow him down the hall.
[R] Come on. ... Come.
As they approach a door, it opens. It is a woman, Jeanine, who
is obviously romantically involved with Rene. Her eyes tear up
and they embrace.
INTERIOR - RENE'S HIDEOUT
The rest of Rene's comrades file past. Michael is the last to
enter. Rene introduces him to Jeanine. [Conversation was in
[R] This is Michael.
Jeanine studies Michael a moment before holding out her hand and greeting him.
[J] Rene has spoken about you often. Welcome.
Michael follows Rene and Jeanine through the apartment. It's walls
are decorated with maps and building diagrams. Rene is busy
catching up on his group's progress while he's been gone.
[R] Are we still on schedule for Tuesday?
[J] We just got the detonators last night. Claude is preparing them.
Rene, Jeanine and Michael look in another room, where a partly assembled
bomb is spread across a table. This room, also is
strung with planning papers of some kind.
[J] We're studying the layout of the clinic now.
[R] Our material is limited. We can't level the building. Plant the charges where they kill the most people.
Rene turns back and give Michael a smile.
[R] I have something
EXTERIOR - ACROSS THE STREET FROM RENE'S HIDEOUT
It is raining what looks like a cold, almost mist-like rain. Operatives
take positions along the rooftop across from Rene's hideout.
They are all carrying sniper rifles.
INTERIOR - RENE'S HIDEOUT
Michael is looking at a picture of his sister and Rene. It was
the item Rene wanted to show him. Michael's face is blank as he
stares at the picture.
[M] What did you tell her about me?
[R] The truth. That you were a great hero. ... She married a chef. They live in the country with their young son.
[M] Yes, I know. ... I check on them.
[R] So, you've seen them.
[M] Not in person.
... I monitor them through our system.
Michael hands Rene back the photo.
[R] Huh, its not the
same. You have to see them.
Birkoff is giving orders via the Comm Link.
[B] (VOICE) Parameter Team A, stay on mark.
They Operatives all take aim.
[R] He's a beautiful boy, Michel.
[R] Let's have some wine!
Rene takes one of the glasses being passed around and offers it to Michael, but Michael waves it off.
[M] Not yet.
[R] (SMALL LAUGH)
Not yet ... means ... you will soon?
Operatives are marking their targets
[B] (VOICE) Keep
them in visual.
Rene is preparing to make a toast in Michael's honor. He wants his comrades to know what a great 'find' Michael is.
[R] And with Michael
aboard ..., you will understand the meaning of the word "commitment." ...
There's no one
like him ..., there never was.
The Team is holding position, waiting for the word to fire.
Rene raises his glass.
[R] "A Ton Retour"!
Birkoff gives the word.
[B] (VOICE) Now!
Rene has just raised his glass when first the window, then his glass
explodes and Jeanine slumps to the floor, a surprised
expression crossing her face before she dies. Shots quickly take out the rest of Rene's group. Rene fell to the floor when the first
shots were fire and now looks at all his comrades lying dead. Michael has not moved, just calls off the Team via his Comm Link.
[M] Everyone's been hit. Cease fire.
[My impression of this scene was that the Profile had Michael responsible
for taking out Rene. Since Rene was one of
the closest targets and well within reach of the Operatives across the way, I think Michael had rigged the Profile to
play out in just this manner, giving Rene the satisfaction of killing Michael before being taken out by a backup Team
INTERIOR - SECTION / VAN
[B] Outside Teams,
hold your positions.
Rene reaches into a drawer, pulls out a gun and aims it at Michael. He looks at Michael in disbelief and betrayal.
[R] How could you?! Huh?
[M] I'm sorry.
[R] You have no soul ..., no honor!
Rene reaches over, grabs a gun lying on the floor and slides it over
to Michael. It hits his shoes and lays there. Michael makes
move to pick it up or draw his own weapon.
[R] DEFEND YOURSELF! ... I SAID DEFEND YOURSELF!!
Rene stands. Michael continues to stand there defenseless, just looking at Rene.
[R] You once said that
those that define themselves by what they are willing to die for. ...
I will die for a belief.
Rene cocks the gun and readies to fire it.
[R] You will die because you have none!
Michael just closes his eyes as though he welcomes the release death
will bring. Before Rene can shoot, however, a shot fired
from behind Michael kills him. Michael stares at his dead friend a moment, before turning his head slightly to the side and
speaking to the person he knows is behind him — Nikita.
[M] You should have let him do it.
Michael slowly walks over and crouches down next to Rene. He reaches
over and gently closes Rene's eyes. He remains there
a moment, carefully studying Rene's face, before standing. Michael turns and, almost blindly, leaves the room, passing Nikita as
though he doesn't see her. Nikita is devastated by the loss and pain she sees in Michael's face.
INTERIOR - SECTION / OPERATION'S OFFICE
Operations is staring out over Section. Nikita enters and joins
him at the window. He gives her a side look before returning his
gaze back to the Common Area. Nikita, too, looks out the window and not at Operations.
[N] You wanted to see me?
[O] I know sometimes
the line can blur, Nikita. ... The one between loyalty to a friend
... and duty to the
Section. It's a common mistake for an Operative to believe that he ... or she ... can elude the eyes of the Section.
[N] I never thought I could.
[O] Then why didn't you tell us about Rene Dian from the beginning?
[N] Because I had nothing to ....
Nikita stops, gathers herself ..., then tells the truth.
[N] (DEEP BREATH) I was protecting ... him.
[O] That interesting! You ... were trying .. to .. protect .. him.
[N] If Michael was hiding something ..., there had to have been a powerful reason. I respected that.
[O] Michael was thrown
off balance by Rene. But he was quick ... to adjust ..., as we knew
he would. ...
There's nothing you know that we don't know first. No move you'll make we don't anticipate. ... I think you
fundamentally understand this ..., but every once in a while you need to be reminded.
[N] Or warned?!
[O] It might seem far fetched, Nikita ..., but you are the future of Section One. ... Just a reminder.
Nikita realizes the conversation is over and leaves Operations' office.
EXTERIOR - SMALL COUNTRY TOWN
A white Citroën pulls up and parks. The window glides down
to show Michael. He pulls out binoculars and watches his sister
and her little boy walk down the street. Her husband sweeps the little boy up in his arms and presents Michael's sister with
flowers. Together, this small happy family enter their small restaurant. Michael watches this intimate tableau that he can never
be a part of ..., then rolls his window back up. You hear Rene's voice singing the song he sang to Michael the first night they
Les bourgeois c'est comme les cochons
Plus ça devient vieux plus ça devient bête
Les bourgeois c'est comme les cochons
Plus ça devient vieux plus ça devient c...