Mission Log: "Half Life"
click here for "Half Life" screen captures
click here for the episode guide entry

In the garden of a museum, in the city...
 A female teacher is escorting her class of about a dozen children through the garden. She stops at a sculpture.
TEACHER: Can anyone tell me what this might be? Alright, gather round. Please stay together.
Nearby, Michael crosses a walkway bridge to enter the garden. Nikita is approaching from another angle. She hears Birkoff via her comm unit.
VOICE OF BIRKOFF: What have you got, Nikita?
NIKITA, pausing to check a detection device, not much larger than a watch, strapped to her wrist. It's indicators flash green: So far, nothing.

Section One, Communications...
Birkoff is at his work station.
BIRKOFF: What about you, Michael?

In the museum garden...
MICHAEL, checking his detector: Hold on.
He moves deeper into the garden, checks the detector again. The indicators flash red.
MICHAEL: It's here. Get everybody out.

Section One, Communications...
BIRKOFF: All teams, evacuate the courtyard.

In the museum garden...
Nikita runs to the teacher.
NIKITA, urgently: Excuse me, there's a bomb in the yard. Please get the children inside.
Several other Section operatives appear to escort other visitors out of the garden.
TEACHER: Come on, children. Come on, inside. Come on, quickly, everyone inside. Quickly. Run quickly.
Nikita turns, scans the park. The evacuation isn't going quickly enough to suit her.
NIKITA, shouting: Get out of the park!
Some of the children are screaming. Nikita sees a fair-haired man in a dark overcoat standing on a walkway near an artificial waterfall.
NIKITA, shouting at man: There's a bomb! Get back! Please, run! Get out of the park! Run!
The man stands and stares at her. Nikita turns to a small child.
NIKITA: Come on, sweetheart, let's go inside with the other kids.  (To another Section op)  Get her inside.
Michael is slowly pulling a black bag  from a culvert beneath a cement walkway. Nikita joins him.
MICHAEL: The bomb's in the bag. Two hundred-fifty grams of Semtex wrapped in aluminum surrounded by nails.
NIKITA: How do you know it's Semtex wrapped in aluminum?
MICHAEL, carefully unzipping the bag: Go.
NIKITA: Michael, just wait for containment.

Section One, Communications...
BIRKOFF: Containment's on its way.

In the museum garden...
A black Section van pulls up at the curb just outside the garden.
MICHAEL: There's no time.
Reaching into the bag, he extracts the explosive package, removing it gently from a bed of nails. He tosses the package into a fountain. He and Nikita start running. The explosion knocks them down.

Section One, briefing table...
Operations is pacing the length of the table. Nikita, Michael, Madeline and Walter are present.
OPERATIONS: ...an anonymous transmission two hours before the bombing. The message warned of further attacks, but there were no accompanying demands. Was there anything on site that would help identify this group?
OPERATIONS: Walter, what do we have?
WALTER: The bomb was put together piecemeal. Japanese timer, Czech plastique. Some of the other parts were homemade.
MADELINE: Patchwork acquisition. Obviously they have limited resources.
OPERATIONS: They're buying off the world market. That means commerce, which causes ripples. Find them. Anything else?
NIKITA: This may not be anything....but there was a man onsite. There was something not quite right about him.
OPERATIONS: Meaning what?
NIKITA: He seemed a little too interested, and wasn't panicking while everyone else was.
OPERATIONS, nods: Get with Birkoff. Hopefully, he's on file somewhere.
He walks away. Madeline and Walter leave the table. Nikita starts to rise, but Michael stops her.
MICHAEL: Why didn't you mention this to me earlier?
NIKITA: I don't know. What difference does it make?
MICHAEL: What does he look like?
NIKITA: Long hair. Thirties. Why?
MICHAEL: No reason.
He gets up. She rises, grabs his arm.
NIKITA: Michael, what's going on?
MICHAEL: What do you mean?
NIKITA: You knew exactly what was in that bag before you looked.
MICHAEL: It's a common configuration.
NIKITA: I don't believe that. I think you know who these people are. What are you holding back?
MICHAEL: Nothing.
They go their separate ways.

Section One, Communications...
Nikita and Birkoff are at the latter's computer. He is pulling up six mugshots of terrorists, and then another six, for her to look at.
BIRKOFF: Any of these here?
NIKITA: Uh-uh. How many more are there?
BIRKOFF: 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.
NIKITA: The bomb in the courtyard -- was it a typical explosive?
BIRKOFF: Semtex. Sort of. There are about six or seven plastiques that are in common use. (He produces six more mugshots)  How about these?

A minor gaffe: It's inconceivable that Nikita would not know about Semtex after two years of training and one year in the field. A plastic explosive manufactured in the Czech Republic, Semtex is widely used by terrorist groups. It was an element in the mission described in "Mandatory Refusal".

Section One, Madeline's office...
Operations arrives at the door, punches a code into the keypad, and enters. Madeline is at her desk, working at her computer.
MADELINE, coolly: Is there something you need?
OPERATIONS, circling the desk to stand behind her: No.
MADELINE keeps working: If you came by to see if I got it, the answer is yes.
OPERATIONS: Did you like it?
MADELINE: Oh, the necklace is lovely.  (She picks up a jewelry box, hands it to him)  Here.
OPERATIONS: You don't want it?
MADELINE: Let's not open things up again.  (She turns back to the computer)  We're both much too busy.
OPERATIONS: I wasn't trying to open anything up.
OPERATIONS: So. How are the numbers coming?
MADELINE: I'll have them on time.
Operations places the box on her desk and walks out.

The city streets, at night...
Driving a black sports car, Nikita pulls over to the curb and stops. Michael is walking down the sidewalk. She gets out of the car and shadows him, briefly putting on what appear to be ordinary sunglasses, but are in fact night-vision glasses. She sees him disappear into an alleyway. Returning to the car, she circles the block. Again she stops the car, and this time spots Michael walking away from her down a narrow street. She gets out of the car, and sees him knock on a door and enter. Nikita activates a miniature shotgun microphone so that she can hear what is said inside.
VOICE OF HARRY: Look, I've changed my mind. I can't do this. I've got a family now.
VOICE OF MICHAEL: Take the money, Harry. Where is he?
VOICE OF HARRY: 221 Impasse de L'Arsenal. What are you going to do with him?
Nikita watches as Michael emerges and turns down the narrow street. She runs to her car.

The Impasse de L'Arsenal is a cul-de-sac off the rue des Arenes, near the intersection with the rue d'Auron, in Bourges, France.

Michael drives his car into the narrow cul-de-sac. Nikita is already there, concealed in the shadows beyond a high chain-link fence. She sees Michael go to a door and knock on it. A woman opens the door.
MICHAEL: I'd like to speak to Rene.
The woman draws a gun. Striking swiftly, Michael disarms her, pushes her back and inside. Nikita hears several shots. Gun drawn, she runs to the door, and enters. There are two bodies on the floor. Using the night-vision glasses, she sees a man -- the same man she saw at the museum garden -- running on the catwalks in the back of the rundown warehouse. Michael is in pursuit.
MICHAEL: Rene! Arrete!
The other man stops running, turns. Michael walks up to him.
RENE: Is it really you?
Rene embraces him, steps back.
RENE: Why didn't you let me know you were still alive?
MICHAEL: I couldn't.
RENE: Why not?
MICHAEL: I can't explain it. And if I could, I'm afraid you wouldn't understand.
RENE: Why are you here?
MICHAEL: The bomb at the museum. I recognized your work.
RENE: How did you find me?
MICHAEL: The details are not important. I have access to...people in the community.
RENE: You are on the other side.
RENE: And you've come here to...what? Arrest me?
MICHAEL: No. I'm not here to hurt you, Rene.
RENE: Then please, tell me what is so important? Why did you have to kill two of my friends, huh? To tell me what?
MICHAEL: To ask you to stop.
RENE: To stop. It's ironic, isn't it. We always talked of them, the oppressors. And now, you are what I fight against. The policeman.
MICHAEL: Not exactly.
RENE: I see little difference.
MICHAEL: A policeman has rules.
RENE: So what now, my old friend?
MICHAEL: Go back home.
RENE: My home is wherever people are oppressed.
MICHAEL: They don't know who you are, yet. I can protect you, but you have to do exactly as I say.
RENE, exasperated: You mean sell out everything I believe in so I can save myself? Please, Michel! You know me better than that.
MICHAEL: Don't make me come after you, Rene. If you strike again I will find you.
He turns and begins to walk away. Rene follows, sings tauntingly.
RENE: 'Les bourgeois c'est comme les cochons, Plus ya devient vieux plus ya devient byte, Les bourgeois c'est comme les cochons, Plus ya devient vieux plus ya devient...'
He follows Michael off the catwalk.
RENE: The greedy bourgeois are just like pigs -- the older they are, the dumber they get.
Michael leaves, walking right past Nikita's hiding place. Rene goes to one of the bodies, kneels. When he looks up, Nikita saves the image in her glasses to a disk.

Section One, Systems...
Nikita enters. There is one other op in the room. She uses a retinal scan ID to activate a workstation, compares the disk image to the B44 files -- and finds Rene Dian in a matter of seconds. Several images of a protest in the streets of Paris appear; she activates the video clip represented by one of these.
VOICE OF COMMENTATOR: The protest didn't start until everyone had had lunch. But then, the niceties were over. Students and their teachers hit Paris in waves, the largest in a 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 activates another video clip.
VOICE OF COMMENTATOR 2: It 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 sees something in a scene that features a mass of protestors marching behind a banner. She zooms in on one of the demonstrators. It's Michael.

Section One, private dining area...
Operations and Madeline sit across from one another, eating breakfast and scanning their monitors.
MADELINE: Josephson requested a backup team.
OPERATIONS: I thought it was a cold op.
MADELINE: So did he. They found land mines in the area. Someone's been there recently.
OPERATIONS: We need that intel. Give him what he needs.  (He checks his monitor again)  I see I'm scheduled to go online with the Agency this afternoon.
MADELINE: They want to know about Brussels.
OPERATIONS: Has anything changed in the last twenty-four hours?
OPERATIONS: See if you can put them off. No point, until we know something.
MADELINE: I disagree. You need to show your presence. This thing will get bloody and when it does whoeever has an attendance problem will pay.
Operations smiles and nods.
MADELINE: I was a little direct yesterday. I hope you don't take it the wrong way.
OPERATIONS: Of course not.
MADELINE: Where are we on the museum bombing?
OPERATIONS: I don't have anything on my screen. If nothing comes up in a couple of hours, call down to Comm.

Section One, Michael's office...
Nikita enters. Michael is behind his desk.
NIKITA: We need to talk.
MICHAEL: I'm busy.
NIKITA: I followed you last night.
MICHAEL, activating the jamming device: Yes?
NIKITA, showing him Rene Dian's file on her panel: Rene Dian. In 1984, along with some other extremist students at Paris University, he formed a radical activist group called L'Heure Sanguine -- The Bloody Hour. There was a bombing. People died. Everyone escaped -- except for you. You were arrested. 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.
MICHAEL: Yes. I knew him.
NIKITA: Now you're protecting him.
MICHAEL: Up to a certain point.
NIKITA: Why would you protect him at all? After all the lectures to me about sacrificing feelings for the "greater good." Hm?
MICHAEL: I'll take care of it, Nikita.
NIKITA: There's something you're not telling me.
MICHAEL: Just stay out of it.
She leaves without another word.

The jamming device in Michael's office is operated via a keypad secured to a small, sliding panel beneath his desk. He activates it when he wants his conversations to be private. (A very faint, ululating sound is sometimes audible in the scenes in which he activates the device.) Whether he knows or just suspects that his office is monitored is never made clear. He often uses the jammer when he talks to Nikita.

Section One, Communications...
As Nikita walks by, she sees Birkoff at his workstation. Making up her mind on the spot, she walks up to him.
NIKITA: Hey, Birkoff. I just remembered something.
NIKITA: This guy from the museum might have had a mole on his neck. And he could have been French.
BIRKOFF: What do you mean, "could have been French"?
NIKITA: Just check it.
BIRKOFF, turning to another computer: Alright. I'll add the two constraints.  (As he keys in the new data...)  And mole. And French....
Rene Dian comes up on the monitor almost immediately.
NIKITA: That's him.
BIRKOFF: Rene Dian. L'Heure Sanguine. Small student radical group from the '80s. Inactive. No wonder he didn't show up.
NIKITA: Do you know where to find him?
BIRKOFF: I can try.
She waits, pacing impatiently, as Birkoff begins to work his magic -- then pushes her panel across the desk at him.
NIKITA: He's here. There's a tracker on him.
BIRKOFF: What are you...?
NIKITA: Don't ask questions. Just take the credit.

It is unclear how there could be a tracker on Dian, unless Michael put one on him when they embraced, and Nikita would not have been privy to that.

Section One, Madeline's office...
Michael enters to find both Operations and Madeline waiting for him.
OPERATIONS: Rene Dian. You were close with him.
MICHAEL: Yes. Why?
MADELINE: He's responsible for the museum bombing.
MICHAEL: How do we know?
OPERATIONS: Nikita remembered a few details which pointed Mr. Birkoff in the right direction.
MADELINE: We'd like you to bring him in. Is that a problem?
MICHAEL: Of course not.

Section One, Van Access...
Michael is waiting at the exit. Nikita passes him, and neither says a word. The rest of the team also enters the tunnel. Michael follows and they enter the lift at the end of the tunnel.

The city, at night...
Passing through a hallway and out glass doors, Michael and Nikita enter a courtyard surrounded by four- and five-story apartment buildings. They walk under some scaffolding.
MICHAEL: I asked you to stay out of it.
NIKITA: Yes, you did. You should try talking to me next time, Michael. Maybe you'll get better results.
Michael checks a handheld infrared scanner. Nearby, Rene Dian climbs through a top floor window onto a fire escape, begins a hasty descent.
MICHAEL, via comm set: He's moving position. All teams converge to the south exit. He's leaving the building.
Rene leaps from the fire escape high above the ground, and lands poorly on the roof of a car. He rolls over the hood and hits the concrete. Two Section operatives burst through a door and have him before he can flee. Michael and Nikita arrive on the scene.
OPERATIVE, to Rene: Get up.
RENE, outraged, to Michael: Shame on you! After what I've done for you, eh? I was mistaken when I said you were still alive.
NIKITA, to the two ops, seeing the pain on Michael's face: Get him out of here.

Section One, The Perch...
MADELINE: Michael's team just picked up Rene Dian. They're on their way.
OPERATIONS: It was only a matter of time before Michael crossed paths with someone from his past. Can we use their relationship to our advantage?
MADELINE: We're exploring that now.
OPERATIONS: Good. You need to find out if the bombings are the work of a resurrected L'Heure Sanguine or if they represent a new association of Dian's.
MADELINE: Are you going to be here late?
OPERATIONS: Most likely. Why?
MADELINE: I'll have Christopher bring up some dinner for you.
OPERATIONS, with indifference: Well, that will be nice.

Section One, White Room...
Madeline enters, turns on the lights. Rene Dian is secured to the metal chair in the center of the room.
RENE: The mind is an amazing thing.
MADELINE, smiling: Sometimes.
RENE: 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. Why would that concern me? Here? Now? Strange.
MADELINE: Perhaps it's your fear looking for a place to hide.
RENE: Hm. Perhaps.
MADELINE: What group has contracted you to do these bombings?
RENE: I see my charm is insufficient to distract you from the business at hand.
MADELINE: I'm afraid so.
RENE: Too bad. What was your question?

Section One, Michael's office...
Sitting behind his desk, Michael is watching the interrogation via his monitor.

Section One, White Room...
MADELINE: The group you're working for.
RENE: Red Cell.
RENE: You don't believe me?
MADELINE: Well, Red Cell is sophisticated. Global. Your record suggests more...provincial activity.
RENE: One must face the realities of a modern world. Mergers, takeovers -- even in the resistance movement.
MADELINE: What are the targets?
RENE: We planted devices in every major city in the world. We'll begin detonating them one at a time.
She leaves, turning out the lights as she does so.

Section One, Michael's office...
Michael is still watching Rene in the White Room, via his monitor, when Madeline enters. Only then does he kill the image.
MADELINE: 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?
MADELINE: I agree. What's he doing, Michael?
MICHAEL: He's trying to regain his importance.  (He gets up, walks around the office)  Rene is living in another time. His causes are obsolete. Most of his comrades are dead.
MADELINE: So you think he's on his own?
MICHAEL: Perhaps. But Rene's a leader. His strength is recruitment. There may be a few others. Not many.
MADELINE: We have to clean this up. Would you like me to take care of it?
MICHAEL: No. I'll do it.
Madeline smiles, nods, and leaves. Michael returns to his desk. He sits down, turns on the monitor, and resumes watching Rene.

Nikita's apartment...
Nikita is sitting on the edge of the bar. She puts her hand too close to the flame of a candle, and jerks it back -- then jumps at the knock on the door. She gets up, opens the door to see Michael standing there.
NIKITA: Come in.
Michael walks in. Nikita closes the door.
NIKITA: I was surprised to get your call.
MICHAEL: Did you finish the debrief?
NIKITA: Yes. Why?
MICHAEL: You did the right thing, Nikita.
NIKITA: It's how you trained me, Michael.
He walks across the room, sits on his heels next to a glass coffee table where another candle is burning.
MICHAEL: 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.
NIKITA: Made bombs?
MICHAEL: 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.
NIKITA: Why are you in his debt?
MICHAEL, standing: My sister.
NIKITA, surprised: Your sister?
MICHAEL, walking back to her: 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.
She sits down on a sofa.
MICHAEL: He had no reason to do it except out of kindness.
NIKITA: Didn't you tell me once that you can't separate the man from his actions?
He sits beside her.
NIKITA: He's still a terrorist.
MICHAEL: To me, his actions are that of a friend.
NIKITA: Michael, disengage. Let the Section sort this out.
MICHAEL: It's too late. A profile's been set. I'm not sure I can do it.
NIKITA: Why are you telling me this?
MICHAEL: I wanted you to know. In case something happens to me.
Worried, she places a hand on his leg. He takes the hand in his.

Section One, Communications...
An alarm is sounding. Communications is in an uproar. Operations is present, as is Birkoff.
OPERATIONS: What's going on?
BIRKOFF: We're getting a Delta alarm.
OPERATIONS: Nuclear detonation?
BIRKOFF: Two of them. Thirty seconds apart. One in the Ukraine and one in the Atlantic.
OPERATIONS: It doesn't make sense. How long ago?
BIRKOFF: Two minutes.
OPERATIONS: Have you confirmed?
BIRKOFF, checking various monitors: No. All of our internal systems are consistent.
OPERATIONS: Alright. Initiate a lock-up, then go to Level Four and bring everybody in.
BIRKOFF, to one of his subordinates: Link with the DOD satellite. See what data it has.

DOD: The Department of Defense.

Level Four: This is clearly an alert status, distinct from the Level Four more often referred to in the series, which refers to a level in the Section One facility, where Medical is located and where some operatives go to speak privately, as there are no eavesdropping devices in certain areas of that level.

Section One, the White Room...
Michael arrives at the door, opens it. He drops a coat in Rene's lap and releases his friend from the chair.
RENE: Michel!
MICHAEL: Do exactly as I say.
RENE: Where are we going? What's happening.
MICHAEL: I'm getting you out of here.
They walk out, Michael leading the way, Rene putting on the coat.

Section One, Communications...
Birkoff is on a phone.
BIRKOFF: Are you sure? Nothing? What about seismic? Alright, thanks.  (To Operations:)  There was no event. Whatever we're seeing is internal.
OPERATIONS: How can that be?
BIRKOFF: I don't know. Yet.

Section One, Van Access...
Michael and Rene enter the tunnel, the fortified door swinging shut behind them.

A white Citroen DS-19, racing down a highway, at night...
RENE, glances at Michael, who is driving: Are we safe?
MICHAEL: Not yet. We have to get out of local radius.
RENE: How did you do this?
MICHAEL: 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.
RENE: They'll track you down.
MICHAEL: Doesn't matter.
RENE: They'll kill you. Join us, Michael. Give your life some meaning again -- or death some purpose.
MICHAEL: That's not possible.
RENE: Why not? It will be what we always wanted. We're older, smarter. We can do it right this time.
MICHAEL: Once we're out of the country I'll take you somewhere safe. You know a place?
RENE: I do. I'll have the others 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 glances at him, but says nothing.

Section One, Communications...
OPERATIONS: Are we fully operational?
BIRKOFF: I've deleted the virus Michael planted in the system.
OPERATIONS: Are we tracking?
BIRKOFF: Yeah, I've got them.
OPERATIONS: Alright. Mobilize the team.
BIRKOFF: Everyone's on their way in.
He turns to leave Communications, meets Nikita.
NIKITA: I just got the call. Where's Michael?
OPERATIONS: Birkoff will fill you in.
BIRKOFF: The profile will be downloaded now.

It's not clear why Operations and Birkoff had to give such a performance in Comm, acting as though they were genuinely alarmed in the previous scenes, when this scene makes it obvious that they were in on a ruse that had to involve Michael's "jailbreak" with Rene. Probably it was deemed wiser to have nearly everyone else in Section believe there was an actual alert rather than to require the facility's entire population to join in the ruse.

City streets, at night...
Michael turns the car into an alley, stops.
A moment later, he and Rene are going up in a lift in an old building. Rene smiles.
RENE: I was remembering '84, the transportation strike. We were 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.
MICHAEL: We rode those beat-up Lambrettas.
RENE: Those were the good times. You must agree on that, no?
MICHAEL: We were young. Everything seemed good then.
They get out on the third floor and Rene is greeted by two men and a young blonde woman.
ONE OF THE MEN: Hey, hey, Rene!
THE OTHER MAN: It's good to see you.
RENE. to Michael: Come on. Come.
They cross a hallway to a door that is opened by Jeanine, a dark-haired woman. Delighted to see Rene, she embraces and kisses him. Rene introduces Michael.
RENE: This is Michel.
JEANINE, in French: Rene has spoken of you often. Welcome.
RENE: Are we still on schedule for Tuesday?
They move into another room, where a table is covered with bomb-making material. Another man greets Rene at the door.
JEANINE: We just got the detonators last night. Claude is preparing them. We're studying the layout of the clinic now.
RENE: Our material is limited. We can't level the building. Plant the charges where they will kill the most people.  (To Michael:)  I have something for you.
He leads the way down a hall.

A rooftop, across the street...
Three black-clad Section operatives take a position along the edge of the roof. They are all armed with scoped sniper rifles.

In the hideout of L'Heure Sanguine...
Rene is showing Michael a snapshot of him with Michael's sister.
MICHAEL: What did you tell her about me?
RENE: The truth. That you were a great hero. She married a chef. They live in the country with their young son.
MICHAEL: Yes, I know. I check on them.
RENE: So you've seen them.
MICHAEL: Not in person. I monitor them through our system.
RENE: It's not the same. You have to see them.

The rooftop across the street...
The three Section ops are in position, sighting targets through their scopes.
VOICE OF BIRKOFF, via their comm units: Perimeter Team A, stay on mark.

In the hideout of L'Heure Sanguine...
RENE: He is a beautiful boy, Michel. Let's have some wine.
The blonde woman brings him two glasses of wine. He offers one to Michael.
MICHAEL, turning away: Not yet.
RENE: Not yet...means you will soon?

The rooftop across the street...
The Section ops are ready. A finger tightens on a trigger.
VOICE OF BIRKOFF: Keep them in visual.

In the hideout of L'Heure Sanguine...
RENE, to the others: ...And with Michael aboard you will understand the meaning of the word commitment. There is no one like him. There never was.  (He lifts his glass in a toast.) A ton retour!

The rooftop across the street...
The men begin shooting.

In the hideout of L'Heure Sanguine...
Window glass shatters. Jeanine and the blonde woman go down, as do the three other men. Rene dives to the floor, rolls, picks up a pistol. Michael stands quite still amidst the carnage.
MICHAEL, via comm unit: Everyone's been hit. Cease fire.

In a mission van, somewhere nearby...
BIRKOFF: Outside teams, hold your positions.

In the hideout of L'Heure Sanguine...
Still on the floor, Rene aims the pistol at Michael.
RENE: How could you? Huh?
MICHAEL: I'm sorry.
RENE: You have no soul! No honor!  (He slides another gun across the floor. It comes to rest at Michael's feet.)  Defend yourself! I said defend yourself!  (He stands, moves closer, until the barrel of his gun is inches from Michael's head.)  You once said that persons define themselves by what they are willing to die for. I will die for a belief.  (He pulls back the hammer; Michael shuts his eyes)  And you will die because you have none.
There is a single shot. Rene is thrown backwards. He rolls over, and dies. Michael opens his eyes, half turns his head. Nikita is standing in the doorway.
MICHAEL, in anguish: You should have let him do it.
He goes to Rene, kneels, gazing for a moment at his friend's face before passing a hand over it to close Rene's sightless eyes. Then he stands, shoulders hunched against inner pain, and turns away.

Section One, The Perch...
Nikita enters to find Operations alone.
NIKITA: You wanted to see me?
OPERATIONS, nods: 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. They can't.
NIKITA, shakes head: I never thought I could.
OPERATIONS: Then why didn't you tell us about Rene Dian from the beginning.
NIKITA: Because I had nothing...  (She stops abruptly, looks away.)  I was protecting him.
OPERATIONS: That's interesting -- you were trying to protect him.
NIKITA, defensively: If Michael was hiding something there had to have been a powerful reason. I respected that.
OPERATIONS: 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.
NIKITA: Or warned.
OPERATIONS: It might seem farfetched, Nikita, but you are the future of Section One. Just a reminder.
She nods, forces a smile, and leaves.

A small village, daytime...
Michael turns a corner in the Citroen, pulls to the curb. Watching through binoculars, he sees his sister on the sidewalk across the street, walking with a little boy. The  boy runs ahead to greet a man kneeling to embrace him. The man stands, gives Michael's sister a kiss, and gives her the flowers. They enter a small cafe. Michael puts the binoculars down, rolls up the car window., Rene's song echoing in his mind...
Les bourgeois c'est comme les cochons
Plus ya devient vieux plus ya devient byte
Les bourgeois c'est comme les cochons
Plus ya devient vieux plus ya devient....


Written by Maurice Hurley

Guest stars:
Denis Forest.....Rene Dian
Genevieve Langlois.....Jeanine
Martine Rochon.....Michael's Sister
Tannis Burnett.....Teacher

Transcript by Jason M.