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Script VO 505

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***

U.S. ARMY STORAGE FACILITY
FRANKFURT, GERMANY

(EXT. STORAGE FACILITY – NIGHT)

It is raining and thundering. A jeep pulls into a complex past the guard station in front. A soldier in a rain pancho sends off a large army truck. As the truck pulls away, someone dressed in black with their face concealed under a balaclava uses a taser on the soldier, who falls down, unconscious. The intruder leaves him there and goes up some stairs and into a storage space. The intruder uses a blowtorch to cut open a locked gate. Meanwhile, another soldier has found the soldier unconscious on the ground. The intruder searches the storage facility with a flashlight and stops when they see a container with a red and white cross on it.

SOLDIER: Kindt, we got a man down. It’s Rodriguez. Do you copy? Do you copy? Do you copy? Come in!

CUT TO a walkie talkie on the ground. Kindt is not responding because he is also knocked out.

Alarms sound. The intruder takes a silver case and starts to leave, but runs into a soldier, who begins firing. The intruder ducks out of the way, behind a concrete column. The soldier’s bullets hit some flammable barrels, which explode and start a fire. The intruder notices a window on the other side of the fire and leaps through the fire, breaking out of the window just as the rest of the barrels explode. They fall into an army truck bed below the window. The tarp breaks their fall. The intruder emerges from the truck and pulls off the balaclava. It is Renée Rienne.

(INT. SYDNEY’S HOUSE – DAY)

Sydney practices yoga with music on. Rachel walks in, wearing pajamas.

RACHEL: Hey.

SYDNEY: Hi. I wish I could still fit into those.

Rachel looks down at what she is wearing.

SYDNEY: Did you sleep okay?

RACHEL: Yeah, I did.

Sydney turns down the music with a remote control.

RACHEL: You okay?

SYDNEY: I’m just… I’m telling you, this kid’s gonna to be a black belt. Here, give me a hand. (reaches out) Get ready.

They share a laugh as Rachel pulls Sydney up off the floor. Rachel takes a seat on the couch, and Sydney sits in a chair across from her.

RACHEL: Wow. You, uh… must be so excited.

SYDNEY: Yeah, when I’m not terrified.

RACHEL: You don’t seem terrified.

SYDNEY: I have no idea how to be a parent. The thought of my life changing forever… doing it on my own – it’s a little overwhelming.

RACHEL: Yeah. I know what you mean.

SYDNEY: You know, you can stay here as long as you want, Rachel. There’s no hurry.

RACHEL: I don’t want to impose.

SYDNEY: We’re both going through transitions. We… might as well keep each other company.

RACHEL: Thank you. (smiles)

SYDNEY: I’m going to change. (gets up and starts toward her room) Help yourself to anything in the fridge…

RACHEL: Okay.

SYDNEY: …if there’s anything left.

RACHEL: Hey, Syd?

Sydney stops.

RACHEL: You’re going to be a great mom.

SYDNEY: (looks a little sad, and then smiles) Thanks.

(INT. UPSCALE RESTAURANT – DAY)

A hostess is leading Jack to Sloane’s table. Sloane stands up and greets Jack.

JACK: You seem to be enjoying your freedom.

SLOANE: I was hoping to offer you more than prison food.

JACK: I must confess, I’d grown rather fond of the shepherd’s pie.

Jack and Sloane sit down.

JACK: I’m assuming you didn’t bring me here simply for the cuisine.

SLOANE: Look, Jack, during the past few months, I have had to rely on you more than any friend should - which is what makes it difficult for me to ask you this.

JACK: You need another favor?

SLOANE: I want to return to APO. Of course, my position would be subordinate. You would be director of the task force, and I would have the highest respect for that. In return, you can engage my connections wherever you thought it would be most effective.

JACK: And you would, in turn have full CIA resources to search for Nadia’s cure.

SLOANE: Exactly. (pauses) I know this puts you in an awkward position –

JACK: I’ve already put in the request for your limited reinstatement.

SLOANE: You have? I don’t know what to say.

JACK: Your gratitude may be premature. Langley hasn’t denied the request, but they haven’t approved it either. Normally, these things… take a few days, but I’m getting informal reports that something – or rather, someone – is standing in the way.

SLOANE: Do you know who? I’m happy to make my case personally.

JACK: I’m trying to ascertain that myself.

Jack’s phone rings. He checks who is calling.

JACK: (gets up) I apologize. I’m going to have to cut this short.

SLOANE: Whether you’re successful or not, Jack, thank you.

Jack turns and leaves. Sloane watches him leave and takes a drink of water.

(INT. RENÉE’S HIDOUT – DAY)

Renée watches the monitor on the container for a moment and presses a button on the screen. The container opens. We see the man inside the container is an older man with a gray beard.

(INT. APO – DAY)

Dixon brings a file to Jack’s office.

DIXON: Eighteen hours ago, an army storage facility was hit outside of Frankfurt.

JACK: The Dornier Stockpile?

DIXON: The intruder crossed two minefields, deactivated a 30,000-Volt electric fence and took down half a dozen army rangers by non-lethal means.

JACK: Do we have any potential suspects?

DIXON: Agent Grace is on the phone to the base in Germany now, trying to get uplinks of their surveillance imagery.

JACK: This lone individual walked right past a stockpile of heavy weapons, opting instead for a few hundred CCs for something called Atropine ZX.

DIXON: ZX is a highly experimental medical stimulant. Its primary use is for battlefield resuscitation of gravely injured soldiers. The infiltration bears striking similarities to the DSR theft a month ago.

JACK: Are you suggesting this is somehow connected with the container we recovered in North Korea?

DIXON: It could be the secondary phase of the same operation. By all appearances, the man inside the container was in some sort of… next-gen cryogenic deep freeze.

JACK: And the stolen ZX could be used to wake up the body?

DIXON: It’s possible, yes.

CUT TO Tom talking on the phone.

TOM: Yes, Guder, I promise. Eight cases of jerky – half beef, half turkey. It’s on the way. Danke. (hangs up phone) Apparently, you can’t get good beef jerky in Germany.

MARSHALL: Really? I always thought of Germany as the home of processed meats. You know, ’cause all the sausages that they…

Jack and Dixon walk into the room.

MARHSALL: …and there’s liverwurst, bratwurst, fleischwurst –

TOM: Here it comes. Let’s take a look at our bad boy.

JACK: Put it on-screen.

They watch the monitors. In the video, the intruder pulls of her balaclava, revealing her identity.

TOM: Make that a bad girl.

DIXON: Renée Rienne, also known as Le Corbeau. In ’02, she attacked one of our listening posts in Turkey, made her Number Eight on the CIA’s Most Wanted List.

SYDNEY: You don’t know she’s the one who took the body.

DIXON: No, but it’s beyond reason that this is a coincidence.

SYDNEY: If she took the body, she had a reason. I’ll talk to her.

JACK: You exchange information with her twice a week. If she hasn’t told you by now…

SYDNEY: Not over the phone. I’ll go in person.

JACK: Sydney, this woman is an assassin.

SYDNEY: Vaughn trusted her. They worked together for seven years. Besides, if she did take the body and hasn’t told me, it’s because she doesn’t trust me, either. If we make a move on her, that just proves she’s right.

JACK: I’m hardly concerned with her feelings.

SYDNEY: No, but I am concerned about burning her as an ally. We know the body was in Dean’s possession. Finding out why may tell us more about Prophet Five, what their ultimate agenda is.

JACK: Go see her, but you’re not going alone.

CUT TO Thomas Grace target shooting. He fires multiple shots at the target and puts his gun down and takes his hearing protection off.

JACK: I think you got him.

TOM: My mother always said, “If someone was worth shooting once, then they’re worth shooting twice.”

JACK: I’m sorry I never met her. She sounds like my kind of woman.

TOM: I think the two of you would have gotten along.

JACK: Sydney’s going to Marseilles to meet with a contact. Wheels up within the hour. I’d like you to accompany her.

TOM: I’m on escort duty.

JACK: Sydney’s contact is Renée Rienne.

TOM: Really…?

JACK: Miss Rienne has been helping Sydney with her investigation into the Prophet Five conspiracy, though that fact is off the books.

TOM: Got it.

JACK: Miss Rienne used to work with Michael Vaughn. Based on that, my daughter has inherent trust in her. I do not share her trust.

TOM: (nods) I see. Don’t worry. I’ll make sure she’s safe.

(EXT. RENÉE’S HIDEOUT MARSEILLES– DAY)

TOM: Hope you got the right address.

SYDNEY: Micro surveillance cameras, motion detectors on the windows – and this is definitely her place.

TOM: I’ll cover the stairs. You slip around front to the elevator. (pulls out gun)

SYDNEY: Put that away. You won’t need it.

TOM: She’s already killed three CIA agents. We’re not going to be four and five.

SYDNEY: When my father briefed you, he told you we’d been working together.

TOM: Yeah. He also said if I suspected a threat to your safety, I have orders to kill her.

SYDNEY: My father is overprotective.

Inside, Renée loads Atropine ZX into a syringe and injects it into the man in the container. Just then, her cell phone rings.

RENÉE: (answering phone) Oui?

SYDNEY: It’s me. We need to talk.

RENÉE: It’s not a good time.

SYDNEY: It can’t wait. I’m out front.

RENÉE: (in person) I know.

Sydney turns around in surprise and disconnects her phone. Renée appears behind Tom and takes his gun from him. Tom looks defeated. Renée points her gun and the two CIA agents.

SYDNEY: We aren’t here to threaten you, Renée.

RENÉE: We had an agreement.

SYDNEY: I know you took the body. Whatever it is, you can tell me.

RENÉE: No, I can’t. This is different. I need to do this myself.

SYDNEY: That’s not an option.

TOM: Does he know what you’re up to?

The three look up and see the man through a window, walking around inside. Quickly, Renée goes back inside and looks for the man. Tom comes in and draws his gun.

RENÉE: No, he’s not dangerous.

Renée approaches the man. Suddenly, the man, wielding a knife, grabs Renée. He holds her hostage, with the knife to her throat.

MAN: Qu'est-ce qui se passe? [What's happening?*]

RENÉE: He won’t hurt me – he won’t hurt me!

SYDNEY: Let her go.

RENÉE: He won’t hurt me!

SYDNEY: (to Tom) Do you have the shot?

TOM: Just say when.

RENÉE: No. Please – he doesn’t understand!

MAN: Qui sont ces gens? Où sommes nous? [Who are you? (“Who are these people? Where are we?”)]

RENÉE: Ça va, ils vont pas te faire de mal. C'est moi. C'est moi. C'est Renée, c'est moi. [It’s okay, they won’t hurt you. It’s me. It’s me. Renée.]

The man drops the knife to the ground. Renée turns to face the man.

MAN: J'en crois pas mes yeux. [Can it really be you? (“I don't believe my eyes.”)]

RENÉE: C'est moi, Papa. [It’s me, Papa.]

TOM: Did I hear her right?

SYDNEY: He’s her father.

Renée hugs her father.

ALIAS INTRO


(INT. RENÉE’S HIDE OUT – DAY)

Sydney and Tom watch as Renée talks to her father, Luc.

LUC: Mais je rêve. Ma petite fille. [How can this be? (“But I'm dreaming.”)]

RENÉE: T'es en sécurité maintenant. [You’re safe now.]

LUC: On est en quelle année? [What year is this?]

RENÉE: 2006.

LUC: 23 ans. Pour moi c'était hier. [Twenty-three years. To me, it was yesterday.]

SYDNEY: Vous savez qui vous a fait ça? [Do you know who did this to you?]

LUC: Qui sont ces gens? T'es sûr d'eux? [Who are these people? Do you trust them? (“Who are these people? Are you sure of them?”)]

RENÉE: (nods) C'est eux qui t'ont trouvé. [They were the ones who found you.]

Luc looks over at Sydney.

RENÉE: Was it Desantis?

LUC: Desantis, c'est ça. Quand ils nous at rattrapés, je n’allais pas lui dire où je t'avais caché. Il essayait de me faire parler. D'abord il m’a torturé, puis... I do not… remember. [Desantis. (nods) Yes. After he caught up with us… he tried to make me talk. He tortured me. But I wouldn’t tell him where you were. Then… I do not… remember.]

SYDNEY: Is Desantis part of Prophet Five?

Luc gets up and stares intently at Sydney.

LUC: Prophet Five? What do you know about them?

RENÉE: Assied-toi, Papa. [Sit down, Papa.]

LUC: No, no, I am fine.

TOM: You’re not fine. Your ear is bleeding!

Luc reaches and touches his ear.

SYDNEY: Here, get him down.

RENÉE: Papa?

Luc puts his hands over his ears and collapses.

SYDNEY: Get him down. His pulse is all over the place. We need something to sedate him to get his heart rate under control.

RENÉE: I’ll get some diazepam.

SYDNEY: Get his legs steady.

TOM: Calm down.

Renée runs over and gets a vial of diazepam. Luc is struggling with Sydney and Tom and hyperventilating. Renée takes the syringe and injects Luc’s arm. Immediately, he calms down..

TOM: His heartbeat’s weak, but it’s stable.

SYDNEY: What do you know about that device? Why was he in it?

RENÉE: I don’t know. I just had to get him out of there.

(EXT. LOS ANGELES – NIGHT)

Arvin Sloane leaves the National Naval Hospital. Dean’s man is waiting for him. Sloane walks down the steps as Dean’s man, Keach, comes up behind him.

KEACH: How’s your daughter? Nadia, right? That’s such a pretty name.

SLOANE: What are you doing here?

KEACH: Just checking up on our investment. Thought this might be a good place to find you.

SLOANE: Don’t you ever contact me in public again. And tell whoever you answer to that I’m proceeding as instructed.

KEACH: Tell him yourself.

Sloane looks at Keach with surprise. At that moment, a car pulls up to the curb. Keach opens the rear passenger car for Sloane, who gets in. Gordon Dean is in the car.

DEAN: Hello, Arvin.

SLOANE: Hello, Gordon. So you’re my mysterious benefactor.

DEAN: I’m one of them. Are you familiar with Senator Lewis?

Dean hands Sloane an envelope. Sloane opens the envelope and flips through several pictures of the senator.

SLOANE: She’s the Chairman of the Intelligence Committee.

DEAN: She’s the reason your security clearance hasn’t been reinstated. She doesn’t seem to care very much for you.

Sloane continues flipping through the photographs and sees a young girl in one of the photographs.

DEAN: It may have something to do with the fact that she’s actually a decent human being.

SLOANE: If she’s the one standing in my way, my chances of returning to APO are slim… at best.

DEAN: And I need you at APO. You’re going to have to persuade Senator Lewis to see things your way. Luckily, that’s what you do best.

(INT. RENÉE’S HIDEOUT – NIGHT)

TOM: (on the phone with Jack) Look, I gotta be honest with you. I’ve had basic field medical training. If the guy were shot, I could handle that, but… this is beyond me.

JACK: Is he stable?

TOM: That’s kind of hard to define. He was bleeding out of his eyes and his ears. He’s unconscious. His breathing’s shallow, but regular.

MARSHALL: Well, if we knew why he was in the container, we might have a better idea of what was wrong with him.

TOM: I took a look inside the box. It’s lined with IVs apparently feeding him nutrients. There’s an on-board hard drive tracking his vitals. Other than that, a bunch of tech stuff I can’t identify.

DIXON: I still have contacts within the DSR. I can reach out. Maybe they analyzed the container before it was stolen.

TOM: Renée mentioned a name – a Dr. Aldo Desantis. Apparently, he put her father in the box twenty years ago.

RACHEL: I know that name. Dean had me arrange the transfer of some of his files. They were archived at the University of Milan, but about a year ago, Dean had me move them to a private facility in San Francisco.

JACK: Agent Grace, tell Renée we’ll coordinate a mission to obtain the Desantis files. Perhaps they’ll shed some light on her father’s condition. In the meantime, contact Dr. Etienne Laurent. He’s twenty minutes outside Marseilles. He can check Renée’s father into a facility under an assumed name and run the full examination.

TOM: Copy that. I’ll contact you when I get there.

CUT TO Renée and Sydney monitoring Luc’s progress.

RENÉE: I can take care of him.

SYDNEY: No, you can’t. If my father vouches for this doctor, your father will be safe. Look, if we were going to double-cross you, we would have done it already. Just let us help you. You have my word.

RENÉE: Okay.

TOM: I’ll pull a van around front.

Tom takes the elevator downstairs. Suddenly, the lights flicker and buzz. Suddenly, the power goes out throughout the entire building.

RENÉE: What’s going on?

SYDNEY: I don’t know.

The elevator is stuck between the first and second floor. Tom opens the elevator gate and crouches down to get out at the first floor. He hears some rattling noises and ducks down behind some crates. The rattling continues. Tom goes around to get a clearer view of the door, which is where the noise is coming from. Suddenly, the door is kicked open. Armed, uniformed men file into the room. Tom checks his cell phone, which beeps that it is not receiving a signal. He sighs in frustration.

The armed men fan out through the room. Their guns have laser sights. One of the them holds a tracking device of some sort. One of the men spots Tom, who races back to the elevator. The men shout at him in French and begin shooting.

ARMED MEN: Là-bas! Allez! Là-bas! À toi! [He's over there! Go, go! Over there, you get him.*]

Tom climbs back up into the elevator car and up into the shaft to get back to the second floor, where he closes a large metal security gate to the elevator.

Renée’s landline phone rings.

RENÉE: Allô? [Hello?]

VOICE: Vous avez pris quelque chose de nous. Nous voulons le recouperer. [You took something from us. We want it back.]

RENÉE: Vous êtes qui? [Who are you?]

VOICE: Vous avez vingt minutes. [You have twenty minutes.]

Renée hangs up the phone.

RENÉE: They want my father.

The door opens. It’s Tom.

TOM: We’re under siege!

SYDNEY: They want Renée’s father. Who are they?

TOM: I wish I knew.

RENÉE: It’s the DGSE.

TOM: Intelligence? No, it’s not French Military. They’re armed too well.

RENÉE: That’s why I didn’t tell you.

SYDNEY: What, you think we brought ’em here?

RENÉE: How else would they know?

Sydney flips open her cell phone.

TOM: It’s no good. They’re using a jamming device.

Sydney closes her phone.

TOM: We need weapons.

RENÉE: Back there. There is a closet. (hands Tom a set of keys) I have an army radio. If you can find a clear frequency, call for help. (sets the radio down for Sydney)

Tom opens the storage closet and finds well-stocked cache of weapons, including handguns, grenades, and rifles.

RENÉE: Inside those cases there are monitors for the security cameras. So what are we up against?

SYDNEY: Well, there are twelve of them it looks like, at least. They’re planning something. What is it?

Sydney and Renée watch the monitor closely. Tom returns with the weapons he chose. The surveillance cameras show a truck with a wide hose parked near the building.

RENÉE: What’s that?

SYDNEY: Gas. They want to knock us out before they attack us.

TOM: Right there, they’re pumping it into the vent.

RENÉE: Get in the bedroom. Seal yourself in. I’ll take out the truck.

TOM: No, no, no, I’ll go. You watch your father.

SYDNEY: (to Renée) Come on.

Sydney and Renée head to the bedroom, while Tom runs the other way to take care of the truck.

(INT. APO – DAY)

RACHEL: Marshall, Dixon’s ready for us.

MARSHALL: Yeah, I’m ready. It’s gotta be here somewhere. Where is it? You know what an audio coupler is? You know, the piece that slides over the base of a telephone headset?

RACHEL: Yeah, like from War Games.

MARSHALL: You know War Games…?

RACHEL: Yeah. It’s my second-favorite movie.

MARSHALL: Really? Mine, too. Now don’t tell anyone, but it’s what inspired me to hack into The Pentagon for the first time.

RACHEL: How’d you get in?

MARSHALL: I, uh, went in through the electrical system. Yeah, there was a side-wire cutout for air conditioning repairs, so I got the woman from the repair company on the phone and convinced her that I was inside the building and then sweet-talked her into giving me the password. I think her name was Ina.

RACHEL: I went straight in through the sewer controls.

MARSHALL: Really? That’s – that’s pretty smart… and a lot… easier.

RACHEL: So are we hacking into the storage facility’s network?

MARSHALL: Yeah, to find out where the Desantis files are stored.

RACHEL: Well, if we’re going in via RF, then the network must be terminal.

MARSHALL: No, closed loop. Oh! Found it.

Marshall holds up the audio coupler and tosses it to Rachel, who catches it. She turns and leaves.


(INT. SAN FRANCISCO - DAY)

MARSHALL: I hope none of you suffer from arachnophobia, ’cause this little six-legged freak (picks up the small robot he created) is not pretty, but she gets the job done. I call her Charlotte, for obvious reasons. Oh, check this out. There is a tomographic camera right on the bottom there. It basically acts like an X-RAY or a CAT scan. (takes pictures of Dixon) It takes images layer by layer. See? Look at that.

The monitor shows Dixon layers of Dixon’s face.

MARSHALL: This will allow us to take images of the Desantis files…

RACHEL: Without ever having to remove them from their storage container.

MARSHALL: Right.

(INT. STORAGE FACILITY - DAY)

Rachel, wearing a dress suit with fishnet stockings and red heels, and Dixon, wearing a suit with a red tie, walk down the hallway with the manager of the storage facility. Dixon is carrying a wooden box.

DIXON: I assume your vaults are climate-controlled.

MANAGER: Of course. Now, if you purchase our premium package, your item will be stored in the most secure wing of our facility.

They reach the front desk of the storage facility.

DIXON: Yes, I’ve heard that before. (opens box) Let me explain something. (motions at vase inside the box) This particular piece is from the Yongle Period – very delicate. I don’t want the most secure wing. I want the wing you reserve for the people who will come looking for you if anything happens to their stuff.

MANAGER: (pauses) Right this way.

The manager closes Dixon’s box and picks it up. Dixon checks his cell phone.

DIXON: Oh, my cell died. (to Rachel) Call my wife, would you? Let her know we’re running late.

RACHEL: Would you mind?

MANAGER: Of course not. Be my guest.

RACHEL: Thank you.

Rachel leaves to make the call, while Dixon and the manager go to put the box in storage. Rachel sits down at the lobby phone and attaches a device to the bottom of their cordless phone. It beeps. Rachel puts the phone to her ear.

RACHEL: Hi, Meredith. We’re running a little bit behind.

MARSHALL: Nice. Phone link is good. Accessing the network….

Rachel turns to check the man at the front desk. He notices Rachel and look sup at her. Meanwhile, the manager punches in a code in a keypad. He opens the door. Inside is a short hallway leading to another door.

MARSHALL: Uh, you know what? Just stay on the phone one more minute?

RACHEL: Yeah, I’ll have him home by dinner.

The manager reaches a second door and slides a car key in the reader to open another door. Inside is the vault.

Marshall locates the Desantis files on what looks like a circuit diagram.

MARSHALL: Got it.

Rachel hangs up the phone.

MANAGER: As you can see, temperature and humidity-controlled. We even have backup generators in case of prolonged blackout.

DIXON: This is fine.

MANAGER: I’m glad you’re pleased.

The manager smiles and places the box on a shelf.

MANAGER: Now if you’ll just follow me, we can finish the rest of our paperwork.

Dixon nods and follows the manager out. The manager closes the door as he leaves. Inside the vault, there is a beeping sound coming from the box. A small door opens, and Charlotte crawls out from the box.

MARSHALL: Come on, Charlotte. You go, girl.

Marshall controls Charlotte via remote control. Charlotte crawls around to the front of the box, traveling down the shelf.

MARSHALL: Come on, Charlotte. Don’t let me down.

Rachel and Dixon have finished at the storage facility and join Marshall inside the van.

RACHEL: How’s it going?

MARSHALL: Well, according to their network, the Desantis files are inside Cabinet 2187, so we’ll soon see for ourselves.

Charlotte crawls around until Marshall stops it at a certain spot.

MARSHALL: Come on, Charlotte. Work your magic. All right, imaging through the first layer of metal. “Desantis.” We got ’em.

DIXON: Good. Let’s scan the rest of those documents and relay them to APO.

MARSHALL: Okay.

(INT. RENÉE’S HIDEOUT – NIGHT)

Sydney fiddles with the army radio, trying to find a frequency they can use to call for help.

RENÉE: Any luck?

SYDNEY: Low-band frequencies are completely blocked. I found this… midrange. (turns up radio to hear this static and noise) Chatter of some kind, but it’s too nosy to transmit over.

Renée touches her hand to Luc’s head.

RENÉE: He’s got a fever.

SYDNEY: Why do they want him, Renée? (pauses) Tell me the truth.

RENÉE: I was very sick as a child. The medicine I was taking – it was expensive. My father answered an ad in the newspaper for a job. Later that week, he came home with more money than I had ever seen. I could tell he was scared.

Renée looks over at her father. He looks delirious.

RENÉE: He packed what he could, and we left. He didn’t want to scare me, but I knew he was running from someone. One day in Geneva, they found us.

Renée flashes back to her childhood. She stares out a window, clutching a teddy bear. Her father grabs her and puts her in a closet.

RENÉE’S FATHER: Allez, écoute Papa. T'ouvres pas cette porte avant le matin, quoique tu vois. T'es si courageuse. Papa reviendra. [Listen to Daddy very carefully. Don’t open this door until tomorrow morning. No matter what you hear, or what you see. Do you understand? You are so brave. Daddy will be back.]

Renée’s father closes the closet door. Two men approach Renée’s father. An older man follows behind and seems to be in charge.

RENÉE’S FATHER: Vous êtes qui? Qu'est-ce que vous voulez? J'ai pas - non! Laissez-moi! [What do you want? No - let me go!]

Renée watches as the two men force her father against the wall.

RENÉE’S FATHER: Let me go!

The older man takes out a syringe and injects Renée’s father, who passes out. The men take Renée’s father away.

RENÉE: I later found out that the man I saw take my father was Desantis. They were his clinical trials my father had been paid for. I assumed they killed him that night.

SYDNEY: This is why you began pursuing Prophet Five.

RENÉE: To make them pay.

Sydney remains silent. Tom heads to the stairs when he sees three men coming up the stairs. One guard directs the other two guards.

GUARD: Vas-y, on est prêt. Vous allez par là, et par là. Tout de suite. [Go on, we're ready... you, go through there, and through there.*]

The two guards separate, leaving their commander at the top of the stairs. He reports to someone over a walkie-talkie.

GUARD: On est pret, deuxième étage. C'est ça. [Hurry up. We're ready, second story.*]

Suddenly, Tom comes up behind him and knocks him down the stairs. Tom carefully goes down the stairs with his gun drawn. The two guards come back to the top of the stairs. A uniformed guard comes up the stairs and joins the other two guards. It’s Tom, who has stolen the uniform from the guard he knocked out. He follows the guards for a bit, but soon slips away to take care of the truck outside.

Tom walks out of the building, still dressed in the guard’s uniform. He walks around to the left side of the truck. After looking around first, he pulls a timed explosive out and places it on the left front tire of the car. The timer is set for 20 seconds. Tom begins to walk away, but stops when a guard calls out to him. The guard comes up behind him and grabs Tom’s arm, while talking to him in French.

GUARD: Qui êtes-vous? J'ai demandé de qui êtes vous. [Who are you? I asked - who are you?*]

Tom grabs the guard’s arm, causing the guard to fire the gun prematurely. Tom equips his knife, but the guard pushes him against the front of the truck, knocking his helmet off. Tom punches the guard and stabs him. The guard falls to the ground. There are only six seconds left on the bomb. Tom takes off running, as two other guards start shooting at him.

GUARDS: Vite, vite! [Quickly, quickly!*]

The bomb explodes, destroying the truck and catapulting Tom forward. The two guards that were firing at Tom are caught in the blast. Sydney watches the blast through a window.

RENÉE: What can you see?

SYDNEY: (turns away from the window) Nothing… I don’t know if he made it.

They hear the sound of glass shattering. Renée draws her gun. Sydney picks up her gun and they carefully make their way toward the door.

LUC: Renée!

RENÉE: Papa?

LUC: Qu'est-ce qui se passe? [What’s happening?]

RENÉE: T'inquiète pas. Il y a des hommes dehors, ils sont armés, mais ça va. [It’s okay. There are men outside. They have guns. (“Don't worry. There are men outside, they're armed, but it'll be okay.”)]

LUC: C'est moi qu'ils sont venus chercher. [They’re coming for me.]

Someone pounds on the door.

TOM: It’s me! Let me in.

Renée and Sydney remove the fabric they used to seal the sides of the door and slide open the door for Tom.

SYDNEY: Nice job.

TOM: (walks toward the window and peeks out) I think I just pissed ’em off. (comes back to Sydney and Renée) We need to get ready. They’ll be coming in soon. Sydney, you stay here with her father. If I can take enough of them out, maybe they’ll decide we’re not worth it.

Renée looks to Sydney and reassures her father.

RENÉE: T'inquiète pas. Personne ne va te faire de mal maintenant. [You’ll be alright, Papa. No one is taking you away again. (“Don't worry. No one will hurt you now.”)]

Renée and Tom head to the other room, while Sydney remains with Luc.

(INT. WASHINGTON, D.C. SKATING RINK – DAY)

A girl is skating to “Clair de Lune” by Claude Debussy. A skating instructor coaches her.

INSTRUCTOR: That’s great. Good - keep your back up.

Senator Lewis watches the girl proudly.

INSTRUCTOR: Over your toe. Stay over your toe. Good!

Arvin Sloane is watching also, from behind Senator Lewis.

SLOANE: She’s quite good.

SENATOR LEWIS: (without turning around) Thank you.

SLOANE: You must be very proud.

SENATOR LEWIS: (smiling as she turns around) You have no idea.

Her smile fades when she sees her visitor.

SLOANE: Senator Lewis.

SENATOR LEWIS: What can I do for you, Mr. Sloane?

SLOANE: (walks toward the senator) Well, actually, I was hoping for a minute of your time.

SENATOR LEWIS: If you’ve come here to lobby for your security clearance to be approved, I suggest you save yourself the trouble.

SLOANE: Yeah, I understand your reluctance, but I’m asking you to reconsider your position. With my knowledge and my resources, I can be a valuable asset to this country.

SENATOR LEWIS: Touching. But somehow I doubt that you’re motivated by mere patriotism.

SLOANE: You’re right. I have an agenda – my daughter, Nadia. She’s very sick.

SENATOR LEWIS: (sympathetically) I know.

SLOANE: I hope to use APO resources to find a cure for her condition. In exchange, I will happily do whatever the government requires of me.

SENATOR LEWIS: I’m sorry about your daughter… but I can’t in good conscience put you back in that office. If it were up to me, you’d still be in prison. You’ll have to find another way to help your daughter. I’m not reinstating your clearance. (turns back around to watch her daughter skate)

SLOANE: (pauses) You’re daughter’s very lovely. (hands the senator the envelope he received from Gordon Dean) I’m sure you’re proud of her.

Puzzled, the senator takes the envelope. She is shocked by the photographs she finds.

SLOANE: You’ll recognize the inside of your own house. You’ll notice none of those pictures were taken with a telephoto lens. The photographer was standing right next to her. It makes you wonder about her security detail, doesn’t it?

The senator looks at Sloane, speechless.

SLOANE: It makes you wonder if you can ever keep her safe at all.

Suddenly, they are interrupted by Senator Lewis’ daughter, who skates up.

DAUGHTER: Mom, did you see that?

SENATOR LEWIS: I did, honey.

SLOANE: I was just telling your mother how talented you are. You know, you skate like an angel.

DAUGHTER: (smiles) Thank you.

SLOANE: (smiles) You’re welcome.

Senator Lewis’ daughter beams at her mother and skates away.

SLOANE: Enjoy the rest of your day, Senator. Thank you in advance for your support.

The senator stares Sloane with anger as he leaves the skating rink.

(INT. RENÉE’S HIDEOUT – NIGHT)

RENÉE: They’re gone!

TOM: (comes over) What do you mean, they’re gone?

Renée shows Tom on the surveillance monitor. The cameras show no one is near her building.

RENÉE: They’re not in the street.

TOM: That’s ’cause they’re probably on the roof.

They hear something. Renée notices Tom’s arm.

RENÉE: You’re hurt.

TOM: It’s nothing.

Renée pulls a bandage out. Tom removes his jacket, revealing a gash on his arm.

TOM: I found this device. They all have them.

Tom pulls out the locating device we saw earlier.

TOM: It’s a tracker. They’re probably following a signal.

RENÉE: From what?

Renée puts the bandage on Tom’s arm. Tom watches the tracking device and walks toward the container, which is flashing a red light.

TOM: It’s an emergency beacon. You must have activated when you opened the container.

RENÉE: No. I would have noticed.

TOM: (holding up tracking device) Their signal’s still active. It’s not jamming the frequency this transmits on. Maybe I could piggyback this signal, get out a call for help.

Renée nods.

(INT. APO – DAY)

Jack is reading a file when Dixon walks into his office.

DIXON: Jack, I’ve just received hard copies of all data the DSR obtained from the cryo-container before it was stolen.

JACK: Marshall and Rachel are in the briefing room reviewing the files you recovered from San Francisco.

DIXON: (nods) I’ll cross-index the data.

Dixon hesitates.

JACK: Is there something else, Marcus?

DIXON: I just got off the phone with the office of Senator Dianne Lewis, the Chairperson of the Intelligence Committee.

JACK: (clearly knows what issue the call was regarding) Yes, I know who she is.

DIXON: Her office was following up on a request to reinstate Arvin Sloane’s security clearance so he could return to duty within APO. I told them I didn’t know anything about it.

JACK: The request to reinstate Sloane’s clearance came from me. I assume it was granted.

DIXON: (nods) He’s been given full access - gold level and beyond. Are you certain this is the right course of action?

JACK: I believe Arvin Sloane now has a single purpose – to save the life of his daughter. If it is within my power to help him with this endeavor, I will do so - gladly.

DIXON: Of course. (turns to leave) I suppose having him here at APO will allow us to keep a close eye on his activities.

JACK: Yes, that thought crossed my mind as well.

Dixon gives Jack a nod of understanding and leaves. CUT TO Marshall and Rachel going over the Desantis files.

MARSHALL: Oh, I got it. Here it is. Uh, actually, this is “Garceau” with an “A.”

RACHEL: Yeah, this here. (pushes a piece of paper to Marshall) Look – “Goursaud.”

MARSHALL: Oh, “Goursaud.” Excellent.

RACHEL: Oh, here. Looks like some kind of chemical study. But it’s all encoded. And then blood work, brain scans, and x-rays are all normal.

MARSHALL: This is also – yes – twenty years old. So… all this really tells us is that Mr. Goursaud was healthy at the time he was abducted.

DIXON: (walks in) What do we got?

MARSHALL: Well, I’ll tell you one thing. This guy’s into some freaky stuff here – manipulation of neural pathways, genetic manipulations -

DIXON: Anything on Goursaud?

RACHEL: Nothing that helps.

DIXON: The DSR sent over everything they had on the container. (hands Rachel the files from the DSR) It looks like while Goursaud was on the inside, his brain functions were severely limited. The container was also administering doses of antiproliferatives and… calico-neurin inhibitors -

MARSHALL: Calcineurin inhibitors, actually. With a “Ssss…” sound. It’s an immunosuppressive drug, basically – prevents the immune system from attacking itself, kind of like, you know, when a transplant patient rejects a new organ.

RACHEL: But - he hasn’t had any transplants.

MARSHALL: Wait a minute. Is that Goursaud’s EEG reading? (looks over at the Rachel’s file)

Marshall takes the two EEG readings and compares the old one with the one from the DSR. He shakes his head.

MARSHALL: I don’t get this.

CUT TO a view of the two EEG readings.

JACK: Brain scans?

MARSHALL: Yeah, that one’s from Desantis. That one’s from the DSR.

JACK: How old are these readings.

MARSHALL: Taken three weeks ago.

JACK: They don’t match. A by-product of the aging process?

RACHEL: Not gray matter. The volume is set by Age Four -

MARSHALL: Age Four.

JACK: You’re suggesting the man who came out of that container is not Luc Goursaud?

MARSHALL: That’s right.

JACK: Then who is he?

MARSHALL: Somebody who – who’s not… Luc Goursaud.

DIXON: (joins them in Jack’s office) I just called the clinic in France. Sydney and Tom never showed up. I tried her cell. No answer.

(INT. RENÉE’S HIDEOUT – NIGHT)

LUC: The people who took me… they want me back. Give me to them - and you all walk out of here.

SYDNEY: That’s not an option.

LUC: Twenty years ago, I let them capture me - to keep Renée safe. Nothing has changed. I am her father. It is my job to protect her.

SYDNEY: But giving yourself to them won’t protect Renée. It will destroy her if you’re killed.

LUC: They will not kill me.

SYDNEY: You can’t know that.

LUC: Once they tracked the beacon up here, they could have blown us to bits, but - they did not.

Sydney frowns.

LUC: They want me alive. Living.

SYDNEY: What beacon? You just said they tracked a beacon. What beacon?

Luc realizes he has said too much and pulls out a gun from under the blanket. He points the gun at Sydney. He leads Sydney out of the bedroom.

LUC: Put the radio down.

Renée and Tom turn to see Sydney with her arms up. Luc stands behind her with a gun.

RENÉE: Papa!

LUC: This woman was trying to kill me.

SYDNEY: He’s lying. He’s the reason we’re being attacked.

TOM: Let her go. (points his gun at Luc)

RENÉE: (points her gun at Tom) Don’t!

Tom looks over at Renée.

SYDNEY: He said they tracked a beacon. He sent a signal. He led them here.

LUC: Don’t listen to her. She’s only trying to confuse us.

SYDNEY: This isn’t an abduction. It’s a rescue.

RENÉE: How do you know about the beacon?

LUC: I’m your father, remember? I protected you.

SYDNEY: That’s right. Your father protected you. That night, when Desantis kidnapped him, he said… he left you somewhere safe. Ask him where he hid you.

LUC: That is silly.

SYDNEY: Ask him Renée, ask him.

RENÉE: Tell me.

LUC: (pauses) That was twenty years ago, Angel.

RENÉE: But for you, it was only yesterday. (points the gun at Luc) Who are you?

Suddenly, there is a sound of a rocket coming toward the building. Luc ducks. A large hole is blasted open on a brick wall to the room. A helicopter appears and shines a light into the room. A guard on the helicopter throws out a line with a harness. Luc grabs it and puts the harness on.

Suppressive fire from a machine gun on the helicopter forces Tom, Sydney, and Renée to scramble for cover. Tom ducks behind a column and tries to return fire. Renée and Sydney take a couple of shots at the helicopter, but it is no use. The diversion enables Luc to climb out of the hole. Renée and Sydney watch as he is quickly whisked away by the helicopter.

(INT. RENÉE’S HIDEOUT – DAY)

Renée is packing a suitcase.

SYDNEY: APO tracked the helicopter to a small airport. Shortly after it landed, an executive jet took off, bound for North Korea.

RENÉE: And that man?

SYDNEY: We still don’t know. We’re working on it. We’ve seen things like this before, believe it or not. Doubling technology.

Renée looks at Sydney in disbelief.

SYDNEY: But it’s impossible to say. My team is still reviewing Desantis’ papers. Hopefully, they’ll give us some insight into Prophet Five. I’ll contact you as soon as we know anything.

Renée is finishing up her packing and looks to her last item – her teddy bear. She picks it up and looks at it wistfully.

RENÉE: I thought I had him back.

SYDNEY: (nods) I know.

RENÉE: Michael always told me I could come to you. I didn’t trust him. I was wrong. (pauses) Thank you.

SYDNEY: Yeah.

(INT. BUILDING IN KAESONG, NORTH KOREA - DAY)

Gordon Dean enters and goes to a room with a door with a glass window. He sees the doctors is finishing up with the man we thought was Renée’s father, Luc. He opens the door to Luc’s room and goes in. Luc looks over at his visitor.

DEAN: Gordon Dean. How are you feeling, Dr. Desantis?

DESANTIS: Couldn’t be better. Thank you.

DEAN: And I’m told there shouldn’t be any lingering side effects from the procedure.

DESANTIS: Twenty-three years.

DEAN: (nods) The cohesion problem was solved once we understood how to re-sequence the information.

DESANTIS: (pauses) The girl’s alive. She calls herself Renée Rienne. Works with the CIA.

DEAN: Well, then keeping an eye on her won’t be a problem.

Dr. Desantis smiles.

(INT. APO – DAY)

Arvin Sloane opens the main door to APO. He enters and walks toward the front desk. At the end of the hallway, Jack Bristow is there to greet him.

Ecrit par Holly95 
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HypnoChat

stanary (21:45)

Ah oui ça va ! J'ai eu mes félicitations !

Sonmi451 (21:45)

Super!

stanary (21:46)

Merci !

Titepau04 (21:58)

Re !!! Félicitations Stanary!! Cest chouette ça!

Sonmi451 (21:59)

Pub aussi de mon côté

Sonmi451 (21:59)

y a vraiment trop de pub!

Titepau04 (22:17)

Graaaave!!!!

Sonmi451 (22:17)

Ca te casse carrément ton trip

Sonmi451 (22:17)

t'as encore une pub?

stanary (23:13)

Désolée j'etaisj'étais occupée. Merci tite ! Plus de pub alors ?

Titepau04 (23:25)

Vraiment trop!! Pas très longues mais à une fréquence!!! Au moins 6 pour 2h30

stanary (23:26)

Mais c'est bizarre ! Pour moi y a que 3 pubs normalement...

Titepau04 (23:27)

Bah d'habitude elles sont un peu plus longues mais moins fréquentes

Titepau04 (23:27)

Même entre les 2 épisodes yen avait une

Titepau04 (23:27)

Je pense qu'il y a eu 5 pubs en fait, 2 par épisode et une entre les deux

stanary (23:28)

Et c'est sur TF1 ?

Titepau04 (23:29)

Oui

stanary (23:29)

Ah bah alors ils ont tout changé

Titepau04 (23:30)

Je pense qu'ils ont fait parce que les épisodes étaient plus longs

Titepau04 (23:30)

65 min par épisode

stanary (23:33)

Ah oui la je comprends mieux. J'avais jamais vu ça à la télé c'est pour ça

Titepau04 (23:34)

C'est désagréable

stanary (23:37)

Au pire regarde si une autre chaine diffuse la série

Titepau04 (23:38)

Je crois pas qu'il y en ait d'autre ... c'était les derniers de la saison

stanary (23:42)

Et c'est déjà fini ?

Titepau04 (23:42)

Oui ça y est

Titepau04 (23:42)

Yen a que 8

stanary (23:44)

8 épisodes ? ah mais c'est meilleur alors !

Titepau04 (23:56)

Nooonnnnn c'est trop court!!!

stanary (00:17)

Ah ça, ça dépend quand même des séries. Bon moi je vais me coucher. Bonne nuit !

cinto (11:39)

Fans de Dallas, Friends, Petite maison , Mission impossible, venez défendre votre série préférée chez Ma sorcière bien aimée: sondage "génériques"!

grims (16:47)

Coucou à tous ! une petite visite sur les quartiers Sons of anarchy, Outlander et Vikings serait sympa de jolis calendriers de Noël vous y attendent : ) merci d'avance pour votre passage

choup37 (17:13)

Calendriers aussi chez Kaamelott, Merlin, Doctor Who, Torchwood et Musketeers

choup37 (17:14)

(c'est super ces deux onglets pour alterner entre blabla et promo)

stella (19:34)

Case 5 du calendrier de l'avent de Downton Abbey vient d'être dévoilée.

Titepau04 (22:11)

Bonjour !!!! Venez vous inscrire aux concours de Noël dans les quartiers de ncis Los Angeles et s club 7!!!
Et n'hésitez pas à commenter les calendriers au passage!!
Et profitez-en pour voter sur le sondage ncisla!!!!

mnoandco (09:56)

Coucou! Le quartier Blacklist propose 3 calendriers totalement différents et de circonstances pour ce mois de décembre. N'hésitez pas à venir les commenter.

sabby (10:19)

Hello la citadelle !! Le quartier Friday Night Lights aurait bien besoin de visites. Personnes pour voter au sondage ni commenter le nouveau design. Venez jouer au ballon avec moi, je m’ennuie un peu tout seule là_bas

serieserie (10:19)

Allez allez, on s'inscrit pour l'HypnoGame Arrow!!

mamynicky (10:27)

'Jour les 'tits loups Un calendrier de l'Avent gourmand sur Downton Abbey et un autre musical sur Empire. Si vous êtes en retard, vous pouvez le rattraper et n'oubliez pas de les commenter. Merci

Titepau04 (10:34)

Bonjour !!!! Venez vous inscrire aux concours de Noël dans les quartiers de ncis Los Angeles et s club 7!!!
Et n'hésitez pas à commenter les calendriers au passage!!
Et profitez-en pour voter sur le sondage ncisla!!!!

arween (13:12)

Bonjour à tous ! Une grande animation vous attends sur The Night Shift ainsi que le calendrier et le sondage. Et sur Dollhouse, il y a un nouveau calendrier qui ne demande qu'à être commenté

roro73 (15:22)

Bonjour Nouveau sondage et nouvelles PDM sur Wildfire. Venez nous voir, on s'ennuie un peu =P

mamynicky (19:11)

Edgemont a besoin de clics sur son sondage. Merci

chrismaz66 (19:26)

J'y go Mamy et toujours chez Dr House le sondage Bad Boys, votez pour votre chouchou inter-séries, et quelques clics pour Torchwood qui en a bien besoin, merci

Phoebus (00:03)

Bonjour, nouveau sondage sur le quartier de Person Of Interest.

arween (09:26)

Bonjour ! Nous n'avons que peu de participants à l'animation The Night Shift... Elle est pourtant ouverte à tous ! Allez ne soyez pas timide et venez nous rendre visite

SeySey (12:55)

Bonjour! Nouveau sondage spécial fête de Noel sur le quartier Under The Dome! Venez nombreux!

liliju (15:55)

Un sondage spécial Noël vous attend sur le quartier des zombies (The Walking Dead). Ils ont besoin de vous. Merci de votre temps

Titepau04 (17:06)

Bonjour !!!! Venez vous inscrire aux concours de Noël dans les quartiers de ncis Los Angeles et s club 7!!!
Et n'hésitez pas à commenter les calendriers au passage!!
Et profitez-en pour voter sur le sondage ncisla!!!!

chrismaz66 (17:39)

'Soir, venez départagez nos ex-aequo au sondage House, et Torchwood va bientôt fêter ses 10 ans : animations signées Choup! Un petit coucou serait sympa Merci

serieserie (09:44)

Tout dernier jour pour vous inscrire à la soirée HypnoGame ARROW de samedi soir!! Allez si vous aimez un minimum la série et que vous avez envie de passer une bonne soirée avec nous, venez vous inscrire à l'accueil, n'aillez pas peur!!!!

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Bonjour! Nouveaux design & sondage sur le quartier Under The Dome! Venez donner votre avis

oOragnarOo (15:10)

bonjour, venez voter à la photo du mois sur SONS OF ANARCHY et VIKINGS merci d'avance

Merane (16:41)

Bonjour, le sondage sur l'épisode 6.04, Relics, de Teen Wolf, vient d'arriver . N'hésitez pas à voter et à partager votre avis, merci .

Sonmi451 (22:10)

La bannière de noel d'urgences attendent vos votes dans préférence, merci.

Titepau04 (22:17)

Bonjour !!!! Venez vous inscrire aux concours de Noël dans les quartiers de ncis Los Angeles et s club 7!!!
Et n'hésitez pas à commenter les calendriers au passage!!
Et profitez-en pour voter sur le sondage ncisla!!!!

Titepau04 (22:18)

Calendrier de Noël pour les jolies sorcières de Charmed!!!

arween (08:32)

Bonjour à tous ! Venez nous rendre visite sur The Night Shift pour participer à notre grande animation (ouverte à tous), commenter le joli calendrier réalisé par serie² et voter au sondage ! Merci

arween (08:33)

Dollhouse vous attends pour voter au sondage et commenter le calendrier fait par Xana. Merci pour vos visites

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