If there is one thing that Michael will inspire his audience very strongly and which is a cardinal virtue in any human being, is trust. But not any given trust or confidence. Very often, Nikita had to face difficult times with Michael, but he always came through whenever she needed him. And if he was not there, it is because fate had otherwise decided or Michael himself taught that it was not necessary for him to be there. Because he is so efficient, he is the hero we keep in mind when a situation becomes dangerous or when Nikita is in real trouble, even having her life at risk. It is a very strong feeling as in many instances, specially hazardous ones, I had the same idea as Nikita: let's talk to Michael. We must get his advice. When someone is in the action and that he becomes part of it, it is because an identification process has been realized and as I said previously, the link between imagination and reality been created. The bonding between make-believe and reality is then established. This is reassuring me that Michael, as all other characters played by Roy lived trough Roy's talent, regardless how tough it was to bring to life a character, always showed an outstanding generosity for all characters he chose to render.

Hatred in Roy's characters is very rare. I can only remember this happening twice, but I still have very memories of these moments as they are exceptional. In NIKITA, with the look in his eyes that was full of this kind of emotion, was when Michael was prisoner in the White Room and when Zalman ( Beyond the Pale) had tried to make him to confess, then showed him a video tape of his son, pretending that he was ready to harm the child if Michael continued to refuse anserwring. At that Michael's look in his eyes was terribly charged with emotions. It is a precious moment. He shows a visceral hatred. Just rage. It is up to the limit of what you can ask to achieve perfection. This picture is stronger than words.

A second example is in the Québec series SCOOP. In the third season, the scene takes place in the gym where Michel is training with his friend. Michel feels very bad because his girlfriend's depression. Since freed from her abduction, Stéphanie's moral is very low. She lives a post traumatic shock. Michel is mad about her abductors. Showing how helpless he was, he says: " You know what's worse, what's most hurting, it's that I hate them, I hate them!" You could see his face and hear him that he was destroyed, wounded...A blue rage, a feverish hatred so intense taking the flame's color to attain paroxysm...The White Room scene was a reminder. In NIKITA, Michael lives mostly inside himself. The opposite of Michel in SCOOP. But as he lives in the same body, he shares same colors. Roy is an expert to measure up his shaded and light sides.

The first seasons have in fact revealed very little of these emotions on Michael, and perhaps a little in the third. The first incident that comes to my mind is when he dashes in his house, looking for Elena ( his wife). Then he finds her, asleep and for a split second, he taught that she was dead. He is anguished. His eyes are wide open, the pupil dilated by anxiety; the way to his soul always taking the same road; his eyes. Another example will take place in the fourth season in the episode Into the looking glass. When Nikita gets away from him and forces him to tie himself up on a chair. The way he will look at her then is much different than normally, even in worst circumstances. He is showing a weakness, a fault which becomes almost shaky. He is scared. He is looking down when tieing himself up, then he raises his dead slowly, the look in his eyes are imploring her to change her mind. He is desperate. Nikita will hit him and that will bring this incident to a close.

Just a word on how Roy will allow Michael to move around in NIKITA. While Michael is not utterly generous of his gesture, Roy has managed to play on two different levels, opposing an immobile Michael to a passionate active one, so Michael resemble any of the feline predators. From complete immobility to the fastest action when needed. In many occasions Roy had the opportunity to express himself, always to his great pleasure...And with memories of his childhood coming back... it was with complete ease and ability that he climbed over fences, stairs; four steps at a time, go around obstacles with the suppleness of a cat, almost floating in the he air, always being graceful either walking or running.

He has also a personal touch if ending a conversation, when he stands alone...then moving back one of his foot slowly, to reassure him while returning inside himself. Then he will move forward again slowly, re-entering the normal course of life, with a proud and noble stance.

In Michael's character there is a gesture which is when analyzed most significant. All Michael's love is contained in the way he holds Nikita's face in his hands, and a good example is in a scene of Psychic Pilgrim. The morning after a torrid night, Michael and Nikita are in the kitchen, acting like a suburban couple for the viewers, they will continue as if they were all alone. A great shot by the camera shows Michael profile. Nikita is beautiful as ever, and Michael's hands will translate his thoughts. Caressing Nikita's cheek with the back of his fingers, then her face that he will hold like a precious cup, like a sacred object...slightly touching her...Roy is the only actor capable of rendering this gesture.

The picture will strike you as if Nikita's head was weightless, almost not human...

He was holding in his hands a bird or a crystal glass. Same feeling when his fingers slide through her hair as if they were floating. Roy's hand know how to make love. They speak of love and so does the look in his eyes. Purity and desire united at last. For a man, it is a great advantage. He kisses her forehead delicately holding her head with infinite respect. Nikita who was beautiful at the beginning of that scene, is now gorgeous, resplendent after this unforgettable touch.

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