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Syd, in disguise (blond wig, pink pants and glasses) is in a large market. She arrives near a house in a vehicle (sort of a motorcycle). She is on the phone with someone.
SYDNEY: Honey, that's not good enough. What am I, a dog whistle? I said no. "N.O." that's right. That's better. Thank you. (A man waits in front of a house). Mr. Halbe?
HALBE: It's a pleasure to meet you.
HALBE: I hope your trip wasn't too arduous? (He helps her to go out of the vehicle)
SYDNEY: My trip was fine. It's these marketing people. B.A.S, M.B.A. Sand not a lick of common sense among 'em! They almost didn't launch my new perfume L'Eau De Passion. They said the name was tacky. Can you believe that?!
HALBE: It's a lovely name. (Halbe opens the entrance door).
SYDNEY: I know. That's why I always trust my instincts, and now it is flying off the shelves, flying!
HALBE: I assure you, we can take care of all your customer service needs. (They walk through a corridor)
SYDNEY: I don't want my people suffering through no ten minutes of pan flute to place an order.
HALBE: Of course not. Let me show you our main call centre. (They arrive in the large room of the call centre).
SYDNEY: Ouch! I think I came to the right place.
FLASHBACK APO : Marshall’s office.
MARSHALL: We just got a lead on Anna. She's routing her calls through a call centre in Jaipur; using what? Encrypted router. She must have put something on a line outside. So they have no idea she's piggy backing on their system. She's totally anonymous.
SYDNEY: So we locate the router and remove the encryption key. Next time Anna makes a call, we listen in.
MARSHALL: Right, maybe even trace her location.
SYDNEY: What's the approach?
MARSHALL: All you need to do is get this perfume bottle within 5 feet of... a WiFi access, point. And then you can just map the phone system. We can figure out which line she's using.
SYDNEY: (Sydney observes the name of the perfume) "L'Eau De Passion”?
MARSHALL: What, you think it's...too tacky?
SYDNEY: I'll work with it.
HALBE: Soon, we'll be doubling our call volume capacity.
SYDNEY: You're gonna need to triple it when you start getting calls about this baby....
EMPLOYEE: (On phone with a client) the Mandarin Stripe is on back order, but the Heather Sprig is available.
SYDNEY: Excuse me, ma'am. How do you like this smell? (She prays the perfume everywhere) It's called “L'Eau De Passion”. Nice. Well, you keep it. (She puts the bottle on her desk near a Wifi access point)
EMPLOYEE: (to the client) Sorry, my computer's working a little slow today.
RENEE: (outside - coms) Signal's good. I'm mapping the system now.
HALBE: If you outsource, you can cut your customer service budget by at least 30%
RENEE: (coms) Syd...We've got a problem. Their router is not out here. It's in the building.
SYDNEY: (To Halbe) Could I come back tomorrow? I need to think about it.
RENEE: (coms) No, don't go. (She closes the electrical panel) Just follow my lead. (Renee barges in as a robber and holds everyone up at gunpoint) Nobody move! Drop it! (A guard just put his gun out) You get on the ground. (To Sydney) You in the pink, come here. (To Halbe) Get down! (She looks at the cable on the ground and throws Sydney near them) Get on the ground! (She opens a bag) Watches, jewelry, wallets in the bag! Hurry up! No reason not to be nice! Come on!
Sydney finds the access point and takes out the chip.
SYDNEY: All right now. That's enough for today
RENEE: (She takes Sydney as a hostage) get up. If anyone does anything in the next three minutes, she dies. (They run)
SYDNEY: (She takes the bag) Let me see this. (She throws the bag).
RENEE: Hey, I saw a watch I liked!
SYDNEY: It's probably a Knockoff.
SYDNEY: Renée, what you did back there...
RENEE: You don't approve.
SYDNEY: No, it was brilliant. You should think about joining A.P.O. Really. (They are about to jump in the car).
RENEE: In case you forgot, I'm a criminal.
SYDNEY: We could try for a pardon. You should think about it.
RENEE: OK, no.
BARCEL[O]NE. Hall outside, night.
EHRMANN: I was surprised to hear from you. You made it very clear that your dealings with us were over.
SLOANE: I read the instructions. In order for the serum to work, Nadia's heart needs to be stopped.
EHRMANN: Only briefly, as I recall 30 seconds or so.
SLOANE: You're asking me to kill my daughter.
EHRMANN: I'm asking you to have faith in Rambaldi.
SLOANE: You're saying Rambaldi designed the cure?
EHRMANN: Well, given that Nadia's illness stems from his invention, doesn't that make sense? Surely, I don't have to convince you of the genius behind his designs. You spent decades pursuing his works. If things had gone differently, you'd be working with us right now. You'd be there. When we realized his greatest achievement. You still could be.
SLOANE: My pursuit of Rambaldi is over. I won't allow it to consume me again. I'm only here for Nadia.
EHRMANN: That's unfortunate, but we upheld our end of the bargain. We gave you the cure. Whether or not you choose to administer it, that's up to you.
DIXON: Anna's line just went active. Marshall and Rachel are standing by to intercept.
MARSHALL: Initiating the back trace.
RACHEL: Bringing the optical satellites online.
We hear a dialogue:
KOLLER :Hello ?
PEYTON! Did you bring your umbrella? The weather report calls for rain.
RACHEL: That's not Anna but Kelly Peyton.
JACK: Can you locate them?
MARSHALL: Already on it.
KOLLER: Who are you?
PEYTON: That's not important. Anna Espinosa works for me now. That's all you need to know.
KOLLER: I don't do business with strangers.
PEYTON: Check your account. You've already been compensated.
MARSHALL: I got him. He's in Zurich. 47-22north, 8-32 east.
RACHEL: The KH-12 feed is up. I'm zooming in now.
KOLLER: I suppose given your generosity, I could make an exception.
PEYTON: I figured. Check under the bench at the base of the stairs.
JACK: We need Peyton's location!
MARSHALL: I know, but she's routing it through too many hubs.
Via satellite, they zoom in on Koller’s suitcase and find Page 47 of the Rambaldi manuscript.
DIXON: Can you get a better view?
KOLLER: I've got it in front of me. What exactly do you want me to do?
PEYTON: There's a message hidden in the text.
DIXON: page 47.
KOLLER: What sort of message? A code, a transfer, microdot?
PEYTON: If I knew that, I wouldn't have to pay you, would I?
MARSHALL: Got it... Barcelona.
MARSHALL: I don't know, just give me a sec. Keep talking. more minute, please.
PEYTON: Use the protocol you had with Anna to contact me when you unveil the message hidden on the page. (She hangs up)
MARSHALL: Barcelona. That's all we have.
PEYTON: I don't know, Anna. He sounds a little skittish.
SYDNEY (ANNA): He's the best. If it exists, he'll find it.
RACHEL: It doesn't make any sense. If this guy in Zurich was Anna's contact, why is Peyton the one calling?
JACK: It's unclear. But now I want you and Marshall to work together. See if you can I.D. him. If we can bring him into custody, we can use him to get to Anna. Tom, Dixon, reach out to all our contacts in Barcelona. If Prophet5 has established a new outpost there, perhaps someone's heard about it.
DIXON: What about the message?
TOM: You mean the one buried in a year old piece of paper? Are we taking that seriously?
JACK: We've seen too much not to.
RACHEL: Look, we still have a copy of page 47. I could take it and analyze it and...
JACK: I'm taking it with me. You have your assignments. If anything develops, notify me at once.
MARSHALL: Wait, where are you going? Not that you have to tell me, unless you want to.
JACK: I'm going to see Sloane. He had page 47 in his possession long before it was turned over to the D.S.R. Given his obsession with it, maybe he knows something we don't.
HOSPITAL. Sloane inside Nadia’s room.
SLOANE: can't just let you lie here like this, not if there's a way to get you back. I'm sorry. (He kisses her face, unplugs perfusion and devices. He stops her heart by smothering her). God, I'm sorry. It's the only way.
As Sloane was about to draws the cure into a syringe, Jack enters.
JACK: Arvin, Move away from her.
SLOANE: You don't understand. We don't have time.
JACK: Stop! This is not your decision to make, no matter how much she's suffering.
SLOANE: I have to do it now! (Sloane draws the cure into a syringe) Oh, my God. It's too late. It was a cure, Jack, A cure. (Nadia wakes up, bringing joy to Arvin’s face and suspicion to Jack’s) It's okay. It's okay. We're here.
DIXON: So she's working with Prophet5?
SYDNEY: Well, that explains how Anna escaped from prison, but why? I mean, why would they want her?
DIXON: She's good.
SYDNEY: Yeah, I know. But Prophet5 has always been low profile. Anna is on everybody's radar.
DIXON: Maybe they had to go to her. Maybe there's only something she can do.
RACHEL: We've identified the man from Zurich: Mortiz Koller. He used to be an art historian, was kind of a big shot. Supposedly discovered Da Vinci's lost drawings.
RACHEL: He forged them. He was completely discredited. It looks like he went freelance. And plenty of criminal organizations are more than happy to put his talent to good use, including Le Corbeau.
DIXON: He worked with Renée?
RACHEL: More than once.
SYDNEY: Well, that means she'll know how to find him.
MARSHALL: Syd, your father's on line two. Nadia's awake.
SLoane talks with Jack in a corridor. Nadia is with the doctor.
SLOANE: Looking at her like this, I'm almost afraid to believe it's true.
JACK: It must be an overwhelming relief.
SLOANE: Yeah. I know you have questions, Jack.
JACK: Why didn't you tell me?
SLOANE: I wanted to, but I was afraid for people to know. Conventional medicine gave up on my daughter. I couldn't. I've been funding dozens of backchannel research projects, phase one studies using class "A" drugs, methods that no country would condone. And then one of them paid off...A study out of Barcelona.
SLOANE: I had no guarantee that it would work. My options had run out.
SYDNEY: Is she okay?
JACK: She's with the doctor now.
Sydney enters the bedroom and smiles at Nadia.
DOCTOR: he's doing wonderfully. You need me for anything, you call the nurse, OK?
In the corridor, the doctor joins Jack and Sloane
DOCTOR: Everything seems normal. I need to run some tests, see if we can determine how... Nadia's condition reversed itself.
SLOANE: No. My daughter has been poked and prodded enough. If her health is no longer in jeopardy, I want to make arrangements to take her home. She deserves her life back.
DOCTOR: I understand. I'll update her file now and... See if we can get her out of here as soon as possible.
SLOANE: Thank you. You want to go in?
JACK: In a minute. I have a call to return.
JACK: It's me. I need you to look into something, off the record?
DIXON: Sure. What is it?
JACK: Sloane's recent activities. That is travel itineraries, call logs, meeting reports.
DIXON: Anything you want me to focus on?
APO. Sydney enters Jack’s office where she also finds Dixon.
SYDNEY: Did you find Koller?
JACK: Tom's en route to meet Renée in Paris.
SYDNEY: But you called me away from Nadia.
JACK: Sydney, how much do you know about Nadia's cure?
DIXON: Sloane's travel records indicate he's made several trips to Barcelona. He was there shortly before we intercepted Peyton's call.
JACK: Sloane told me he acquired the cure in Barcelona where Prophet5 is based. We know they've used Nadia's condition to blackmail him in the past. Perhaps Sloane's association with them......didn't end there.
SYDNEY: You think he's working with them, that Prophet5 gave him the cure?
JACK: Perhaps in exchange for information.
DIXON : Sloane's been breaking protocol, incorrectly logging phone calls made from A.P.O. for months, dozens of calls, Syd, all of them made to numbers that no longer exist.
SYDNEY: He's already admitted to using illegal research channels. Perhaps he's trying to cover it up.
JACK: Or the backchannel research could be a cover for something else.
SYDNEY: I know what Sloane is capable of. You don't have to remind me, but Nadia has her life back because of him.
JACK: Which is why I hope I'm wrong about this.
SYDNEY: Well, do what you have to do. But until you have something concrete, I'll be with my sister.
LOS ANGELES. HOSPITAL PARK.
Nadia and Sloane are sited on a bench.
SLOANE: You cold? Want me to get you a blanket?
NADIA: No, the air feels good.
NADIA: Sydney should be here soon. I can't wait to spend some time with Isabelle. I'm even looking forward to changing diapers in the middle of the night.
SLOANE: So you're going to stay at Sydney's?
NADIA: Yeah, I assumed so.
Sydney pushing a baby carriage arrives.
NADIA: Oh my God. Let me see her.
SYDNEY: Come here, baby. She's dying to meet her aunt Nadia. (Sydney puts Isabelle in Nadia’s arms) Yeah, there you...
NADIA: Hi, beautiful.
SLOANE: Well, I'll leave the three of you to enjoy each other's company.
SYDNEY: Where are you going?
SLOANE: A.P.O. Jack wants to see me. I'll be back.
NADIA: We'll be fine. Won't we?
SLOANE: Okay, enjoy the sun.
NADIA: What's happening? Hi. What is it?
APO. Sloane enters Jack’s office.
SLOANE: You wanted to see me?
JACK: I arranged for the leave of absence you requested. The forms are all here for you to sign.
SLOANE: Thank you. Look Jack, I realize the timing on this might be less than ideal, but if you need me...
JACK: You should be spending this time with Nadia.
SLOANE: Well, unfortunately, I'm not sure if she feels the same.
JACK: Give it time, Arvin.
SLOANE: I know. You're right.
JACK: One last thing. We intercepted a call from Prophet5. Turns out Anna gave them page 47.They're looking for a hidden message encoded in the text. Were you......aware of this?
JACK: Apparently, the message is hidden in a substitution cipher. Marshall believes she's close to decoding it. I could let you know when we find out.
SLOANE: No. No, I think it's better I not be involved.
JACK: I understand.
Dixon arrives when Sloane leaves.
DIXON: I talked to Marshall. He'll confirm he's working on page 47 if Sloane goes to him.
JACK: And the taps are in place?
DIXON: If Sloane alerts Prophet Five, we'll know.
JACK: Thank you. Any words from Tom?
DIXON: He's connected with Renée. They should be making contact with Koller soon.
PARIS. On the quays of the Seine river.
TOM: We should get this going.
RENEE: We're following Koller's protocol.
TOM: it’s 10h00.
RENEE: it’s 9h59.
TOM: I didn't realize the French were so punctual.
RENEE: We're not. It's you Americans who are always in a hurry.
TOM: And we get fat, too. Is there anything else?
RENEE: Now it's 10h00. (She calls Koller)
ZURICH. KOLLER’S HOME. He observes page 47 when his phone rings. (French discussion)
RENEE: Tu te souviens de moi.
KOLLER: Renée bien sur comme ça va ?
RENEE: J’ai besoin de toi Morritz, un job très important.
KOLLER: Pas maintenant je travaille. Mon client est plutôt exigent.
RENEE: Mais ça ne peut pas attendre Morritz et j’ai sans doute quelque chose de plus intéressant à t’offrir.
KOLLER: Tu sais il s me payent une fortune.
RENEE: mmm, ce n’était pas vraiment l’argent que je pensais.
KOLLER: J’aimerai bien crois moi, mais.
RENEE: Mais quoi ? (He finds something strange on the page 47 when he runs a black light over the document) Qu’est-ce qu’il se passe ?
KOLLER: Rien, Une surprise c’est tout, je peux me libérer plus tôt que prévu. Tu sais quoi ? On peut se voir finalement.
RENEE: Vraiment ?
KOLLER: OUI, absolument, Vient à Zurich.
They hang up.
RENEE: (To tom) we’re on.
APO. Sloane calls someone.
SLOANE: We need to meet...Tonight.
LOS ANGELES. Sydney’s apartment. Nadia looks at her bracelet’s hospital « DE SANTOS NADIA PATIENT N°3059 ADMIT DATE 04-23-05 "
NADIA: How's Isabelle?
SYDNEY: She's asleep, finally. I'm all yours.
NADIA: You shouldn't stay up. You must be exhausted.
SYDNEY: Well, what about you?
NADIA : It's strange. I've already missed so much time. I wish I had been here for you, with everything that's happened.
SYDNEY: I know. And I know what it's like to have a part of your life taken from you. For what it's worth, it gets easier.
NADIA: My father wanted me to stay with him, but I couldn't. Ever since he came into my life, it's always the same. I just don't want to get hurt anymore.
SYDNEY: I don't blame you. You have every right to be guarded. But... You should know that while you were sick, he was completely devoted to you. I mean, I've never seen him so dedicated to anything.
NADIA: Even Rambaldi?
SYDNEY: From what I've seen, even Rambaldi. You can stay here as long as you want, as long as you don't mind a crying baby.
NADIA: Are you crazy? I love having so much life around me.
SYDNEY: (Her phone rings) It's my dad. Hey, dad.
JACK: Sloane set a meet.
JACK: Tonight. I'm going to survey it. I thought you should know.
SYDNEY: I'll wait for your call.
NADIA: What is it?
SYDNEY: There's something you should know.
LOS ANGELES. CAR PARK. Jack opens his car and Nadia joins him.
NADIA: Sydney told me what you're doing. I want to go with you.
JACK: You sure that's wise?
NADIA: Whatever you're about to find out about my father...I need to know.
JACK: All right, let's go.
They get in the car.
ZURICH. NIGHT. KOLLER’S HOME. (French discussion)
RENEE : M. Koller s’il vous plait.
HOMME : Oui bien sur. (He calls Koller) Il y a une dame pour vous voir. Oui elle est très belle.
RENEE : (She gets to the apartment) (coms) Security is armed.
TOM (coms) : Aren't they always? Just try to buy me a couple more minutes.
KOLLER : Toujours aussi ravissante.
RENEE : Toujours aussi charmeur. (She enters) Ah tu as mis le paquet dis donc
KOLLER : Euh, pas vraiment.
RENEE : Non ? Tu travailles toujours à la lueur des bougies ?
KOLLER : J’ai toujours un petit faible pour toi. (She discovers page 47 on a table)
Tom paints a large red square on a wall.
KOLLER : Je ne savais pas quel genre de musique te plaisait. Euh, j’ai du jazz aussi… Euh si tu veux (Renée gets near him and puts his hand in his hair)
RENEE : Chéri tout est parfait
KOLLER : Euh, j’ai du champagne
Tom still paints.
KOLLER : Il est juste un peu dur.
RENEE : On le boira plus tard pour se remettre de nos émotions.
KOLLER : On serait peut-être mieux sur le canapé. (He starts to undress himself).
TOM (coms) : Renée...Almost there.
RENEE : (To Koller) habilles-toi on s’en va. Je dois trouver Anna Espinosa et tu vas m’aider à le faire.
KOLLER : Je ne comprends pas.
Tom finishes the painting.
RENEE : Je te prends en otage
KOLLER : Quoi ? Mais tu es folle ?
RENEE : Ah tu penses ça oui ? Quoi qu’il en soit tu viens avec moi.
He puts a plastic charge on the square.
KOLLER : Les gardes, mes gardes ils vont te tuer.
RENEE : T’inquiètes pas on ne passera pas par là.
KOLLER : Tu es folle.
TOM (coms) : . Three, two...
Renée catches Koller and pushes him on the ground. Tom blows a square hole into the house. Tom pushes the rest on the wall in order to get inside the room.
RENEE : Espèce de... garce. (Renée kicks him) (To Tom) I hate that word.
TOM : I'll remember that.
Tom gets Koller.
LOS ANGELES. Jack and Nadia follow Sloane.
NADIA: You finally got the Ford hybrid.
JACK: Electric. It comes in handy when you have to be quiet. Regardless of what we find, I believe your father's feelings for you are genuine.
NADIA: I wish that was enough for him...
JACK: Sloane's not the only family you have, you know.
NADIA: Thank you.
A car follows Sloane’s car and together they gets to a storage facility.
JACK: What are you doing?
NADIA: We can't see anything from here.
Nadia gets out of the car to follow.
SLOANE: (To an other man) All right.
She watches him enter the unit and take a suitcase. The door is shut and she watches the codes being implemented. The two cars leave. Nadia goes to the door and tries to find the code. Jack joins her.
JACK: What were they saying?
NADIA: I couldn't make it out. (She tries the code) We’re in. Sloane took something from in here.
When she and Jack enter the unit all they find are the things Sloane had stored for Nadia.
NADIA: Mine. These are my things.
JACK: He was getting them for you.
NADIA: I don't know what the rest of this is.
JACK: Findings from clinical trials.
NADIA: Trials for what?
JACK: Studies from a facility in Barcelona. It appears that I've misjudged your father.
ZURICH. Renee and Tom interrogate Moritz Koller.
KOLLER: Help! Dear God, someone! Anyone! Help!
TOM: Are you done yet?
KOLLER: Please, I don't know what you want from me.
RENEE: We want information about Anna Espinosa.
KOLLER: I I... I can't help you.
TOM: Yes, you can. We know she hired you to decode a message in this.
KOLLER: I don't have the slightest idea what you're talking about. Anna who?
Renée takes a knife and puts it on Koller’s neck. Tom approches him.
TOM: I know you're trying to do right by your client. But you and I both know you are not cut out to withstand extended interrogation. You're just some unlucky bookworm who's in way over his head.
KOLLER: Please, don't hurt me!.
RENEE: Then stop screaming and talk!
KOLLER: I have a meet set with Anna tomorrow... in Ghana.
TOM: She knows what the message was??
KOLLER: No. I want to get paid.
RENEE: Why wouldn't she pay you?
KOLLER: Anna doesn't like bad news. The document... it's a fake. Very well done, but...but a fake.
LOS ANGELES APO. Sydney phones to Tom.
SYDNEY: And you believe him?
TOM: He has no reason to lie. He found a small amount of titanium dioxide in the pigment.
SYDNEY: Well, that means the document can't be older than 10 years.
TOM: Give or take a decade. How do you want to proceed?
SYDNEY: We keep the meet. We can still use Moritz and the counterfeit page to bait Anna.
TOM: Guess I'll see you in Ghana. And the real one where is it?
LOS ANGELES. SLOANE’S HOUSE. Sloane opens his suitcase and takes out the real page 47. He starts to study it. When he hears the doorbell rings, he quickly hides the page underneath a mat.
NADIA: I'm sorry. I should have called.
SLOANE: No, of course not. I...I thought you were staying at Sydney's.
NADIA: Sydney went to Ghana. They're going after Anna. That's not the reason I'm here. I was hoping I could stay with you. Maybe we can take some time, get to know each other again, if it's okay.
SLOANE: How could you even ask that? Come in, sweetheart.
Nadia enters the house.
Some time after, in the living room.
NADIA: This is my favourite sweater.
SLOANE: I remembered. (He gives a Chamomile to Nadia)
NADIA: Thank you. Chamomile. You remembered that, too.
SLOANE: I need to admit something to you. I didn't think you'd want to be with me at all. Especially not after what my actions caused for you.
NADIA: I've been quite angry.
SLOANE: Well, you have every right to be angry. Nadia, when I first met you, I didn't know how to be a father. I assumed it meant being needed. And then I saw you lying in the hospital in that bed, and I realized something. I realized that I need you more than you will ever need me. I'm sorry. I...I promised myself I wouldn't put any pressure on you.
NADIA: It's no pressure.
SLOANE: Dinner's almost ready.
NADIA: You need some help?
Sloane goes off, leaving her alone. She moves into his study, looking for scissors to cut her hospital bracelet. She spots a piece of old parchment on his desk. She pulls out Page 47 unable to believe it. He enters the room to see her with the page
SLOANE: Let me explain. Nadia, you're going to have to trust me.
NADIA: You said it was over.
SLOANE: No, it's not what it looks like.
NADIA: You've been lying all along.
SLOANE: Look, I handed everything over to the D.S.R. except for that page. I couldn't part with it. I I'd spent so much time...
NADIA : I don't want more excuses. Just talking about Rambaldi, your face, your voice it all changes. This obsession you have
SLOANE: No, it's not an obsession. It's faith.
NADIA: Do you have any idea what your faith cost me? What did you think, that I was sleeping peacefully? The last 12 months were an extended nap? I heard people talking. I felt tubes being shoved down my throat. I couldn't open my eyes. I couldn't move. I couldn't scream. But I felt everything, so forgive me if I don't have much tolerance for your faith.
SLOANE: Nadia, please! You have to understand.
NADIA: I'm done trying to understand you! You have to make a choice. Either me or this.
SLOANE: Please, don't make me choose between the two most important things in my life.
NADIA: I suppose then you'll lose us both.
Nadia throws the page into the fire.
Suddenly we see the sign of <O> on the page.
SLOANE: My god, the message! I see it.
NADIA: You're not getting it!
SLOANE: Get out of my way!
NADIA: No, you can't have it! I won't let you! Stop, please! Stop it!
SLOANE: Nadia, move!
He throws her to one side, picking the page out from the fire. There is, at the same time, a crash as Nadia falls onto a glass coffee table. With the page in his hand, Sloane turns in horror to see Nadia dying.
Sloane gets to Nadia.
A shard of glass deeply imbedded in her throat, causing her to bleed out… to death.
LOS ANGELES. APO. Marshall explique le plan de la mission à Jack.
MARSHALL: Okay, now this place crazy crowded. I'm not talking about mall crowded, I'm saying like people, cars, goats.
JACK: That's why Anna chose it hard to survey. What's the plan? How are we apprehending her?
MARSHALL : (Using Mitchell’s toys, he illustrates how they are going to catch Anna) Visual aids here. Courtesy of Mitchell. (He takes a car) Vrouumm vrouum… Okay, uh, well, we have Anna, who will be arriving on the main road right here. Now, uh, let's see. (He takes two little toys) Dixon and Rachel will be stationed right here.
JACK : Are the exits secured?
MARSHALL : Yeah. (He takes a truck) Tom will be cutting off the back, and... (He takes a playmobil) Sydney will... sorry, Syd...will be at the entrance. So here comes Anna...
JACK : Okay, thank you. Notify me when they have her in custody.
MARSHALL : Well, I wasn't done with the…
JACK : It's fine. Thank you.
MARSHALL: The car was...
JACK : I get it.
GHANA. On a marketplace full of people.
Sydney is with Renee.
SYDNEY: Everybody's getting set up. When you see Anna, you'll take her out with this.
RENEE: government Issue. I never thought I'd have one of these.
SYDNEY: Don't get too excited. It's only a tranq gun.
RENEE: That's too bad.
SYDNEY: Have you give any more thought to my offer about APO?
RENEE: Yeah, I work better on my own schedule.
SYDNEY: When are you going to start trusting me?
RENEE: I trust you. It's everyone else that's the problem.
SYDNEY: Okay, go.
Tom arrives in a truck. Renée gets on the roof with a sniper rifle. Rachel is inside the marketplace.
JEWELLER: Beautiful jewellery for a beautiful lady.
RACHEL: No cash, sorry. I'm a starving student.
Dixon is in a restaurant and a waitress brings him food. Sydney walks inside the marketplace. Koller drinks something and Rachel comes to see him. He seems anxious.
RACHEL: Is everything all right?
KOLLER: Wonderful, considering I might get killed today.
RACHEL: Relax. We've got you covered.
Rachel observes Dixon who is behind. Renée gives some money to a guy and gets in a room upside. She looks at the windows. The position seems good.
RENEE: This will be fine. Thank you.
Renée prepares his gun. She observes Koller with the lunette. Tom gets out of the truck. We see briefly Dixon, then Sydney. A green car arrives on the marketplace.
SYDNEY (coms): Target approaching.
RENEE (coms): Copy. (She sees the car).
DIXON (coms): Copy that.
A car arrives in front of the terrace and stops. Koller looks at it.
RENEE (coms): What's going on? She's not getting out.
DIXON (coms): Something's not right.
SYDNEY (coms): Hold your positions.
The car stArts again.
DIXON (coms): They're retreating.
The car terrorizes the market where the meet was to take place.
RENEE (coms): I've lost visual.
DIXON (coms): Don't let her escape! Repeat, Anna's cars headed toward the entrance!
SYDNEY (coms): Rachel, follow the car.
RACHEL (coms): Copy that.
SYDNEY (coms): Renée, block off the back alleys.
DIXON (coms): She knows it's an ambush!
TOM (coms): Someone tipped her off.
Sydney runs at the car and fires at the front glass. The car crashes inside a stand and stops. When the agents get to the car, Anna is not there.
SYDNEY (coms): She's not here. Repeat Anna is not in the car.
RENEE (coms): Copy. (Renée leaves her position).
DIXON (coms): She must have gotten out. Let's search the perimeter.
Renee does catch up with Sydney (with other clothes), but is in shock seeing her almost seconds after talking to her.
Anna (Sydney’s clone) draws a knife and slashes Renee’s throat.
SLOANE VOICE OVER: A few days ago, I was absolutely horrified that you would suggest I would turn against A.P.O., that I would kill my own daughter. I realize now that both were inevitable, that death is a necessary sacrifice, necessary to complete the final leg of this journey. I have been preparing for this my whole life. I knew it was coming. I have betrayed everyone I ever loved, but I was chosen......
LOS ANGELES. APO. (During Sloane’s voiceover) Marshall tells Jack that Nadia is dead. By the time Sydney finds Renée, She finds her dead. Meanwhile Jack has found Nadia in Sloane’s home. He has a letter from Sloane explaining.
AIRPORT. Sloane joins Ehrmann.
EHRMANN: We appreciate what you've done.
SLOANE: And this is my road to follow.
EHRMANN: Welcome back.
Both get in the prophet5’s jet. Sloane looks outside and boards a plane (painted black) and the door closes.