Tenderbear
Scout
UPDATE 6/28: The only way to read the entire script all together (it's too long for one post on AllAlias) is to read it at my website in PDF form! Click HERE to see for yourself!
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SHATTERED GLASS, PT. III
Before you read this installment, it's a good idea to read the first two scripts first, although it isn't mandatory:
SHATTERED GLASS, PT. I
SHATTERED GLASS, PT. II
If you know how to read script form, you can skip the next part, but if you don't you should really read on...
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A few tips in reading script form...
1. INT. - takes place inside ; EXT. - takes place outside
2. Beat - a pause in dialogue
3. VO - voice over the text coming after it
4. OS - the speaker is off the screen
5. Rack Focus - change the focus from the main object to something in the background
6. Pan - camera moves across the scene
You should be able to figure out the rest. If you have any questions about what something means, be sure to post!
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The entire Shattered Glass series is a three-part season finale and only includes plot developments up to 3x10 "Remnants" (the one where Will comes back), so some stuff may not match up/may have already happened according to what is going on in the show now.
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DISCLAIMER: I don't own Alias. It's sad, but true. It's on my X-mas list, but we'll have to wait and see. All Alias characters, plotlines, etc. belong to J.J. and the Alias crew. All new characters, plotlines, and dialogue are mine. (*sniff* I own something!).
RATED: TV-14 Suggestive Dialogue, Strong Language, Descriptive Violence {Do not read if any of these offend you!}
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Phew, almost there! Part III is written as approximately a 90-page script, meaning if this were made into an episode, it would run for about 1 and a half hours commercial free.
I'm posting it by acts this time to let everyone take a breather. (Yes, it can take a long time to read)
Finally, I worked SO INCREDIBLY HARD on this piece and an author feels meaningless if no one reads his work. It can also be lonely if no one replies. So PLEASE POST ALL THOUGHTS/COMMENTS/SUGGESTIONS after reading! Even rate it on a scale from 1-10!! ENJOY!
(I'm really hoping you will...)
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ALIAS
“SHATTERED GLASS, PT. III”
WRITTEN BY
TENDERBEAR
ACT ONE
EXT. CEMETERY - DAY.
A red leaf falls from a tree. It gently floats toward the ground. A slight breeze lightly lifts the leaf, then it continues to fall. A crackling noise, as the leaf lays itself atop a pile of other leaves, red, yellow, orange, and brown. All around is green grass, poking out through many fallen leaves. The leaves of the pile quiver until a large gust of winds sends them flying every which way. A leaf gets caught in the gust and quickly rises into the gray sky. Below is a small expanse of various tombstones and autumn-bound trees. The leaf continues to float further across the scene over a funeral procession. MEN AND WOMEN dressed in black stand in perfect rows, in perfect stillness. In front is a raised, black casket. The leaf flutters out of the frame as we PUSH IN to the funeral.
SYDNEY (VO)
I’d seen it too many times already.
(beat)
All the pain. The suffering.
(beat)
One can only handle so much.
We slowly PAN a row of standing people, their hands folded and their heads down. We pass a TALL BLACK MAN with patches of gray hair, a SHORTER BLACK WOMAN with silver hair under a box hat, DIXON‘S TWO CHILDREN, and a YOUNGER BLACK WOMAN with long, shiny black hair.
SYDNEY (VO)
A life... it’s so fragile. Too often taken for
granted, by everyone... every single day.
(beat)
But then cherished, all too late.
(beat)
A life can be taken away so quickly... so
thoughtlessly.
A RIGHT CLOSE UP of Sydney, bowing her head, her lips gently parted. Strands of loose hair from her bun gently sway with the breeze. She closes her eyes and squints as her mouth muffles. She then takes a deep breath, looks around, and again, closes her eyes. We RACK FOCUS to reveal VAUGHN, standing a few rows behind her, his arm in a sling, his worried gaze never leaving her direction.
INT. CIA ROTUNDA - DAY.
SYDNEY (VO)
And then you’re supposed to simply adjust.
(beat)
Move on with your life.
(beat)
“Don’t live in the past,” they tell me.
“Don’t live life in the shadows of your
most dismal moments.”
SLOW: Sydney gently strides into the CIA Rotunda. The usual hustle and bustle carries on around her. She wears a looming sadness as she pushes a strand of hair behind her ear. Her eyes never look up; her mouth never moves.
SYDNEY (VO)
You know, I don’t want to adjust.
Her voice shows signs of saddening. It wavers as she sniffs.
SYDNEY (VO)
I don’t want to move on with my life.
(beat)
Living in the past is what keeps me from
accepting the truth-- that he’s gone.
(beat)
It’s the most dismal moments in life that
you can never forget.
SLOW: Sydney passes Dixon’s office, separated from the rest of the working units in the Rotunda. It is as usual, a large, glass desk, on top a computer and a few other gadgets and files. Sydney stops and stares into the room, a wondering look about her.
We see a black-and-white flash of Dixon’s office, Dixon sitting at the desk, talking on the phone. And as quickly as it came, it’s gone. Just the office remains.
Sydney quickly averts her eyes from the office and bows her head. Her mouth quivers and her eyes become glossy. She raises her hand to her mouth, and she hopelessly sobs. She lowers to her knees and cries full out, desperate, betrayed. Five AGENTS quickly surround her and begin to help her back up as we
CUT TO:
INT. BARNETT’S OFFICE - DAY.
BARNETT
Sydney.
Sydney is seated in front of Barnett’s desk, wiping the tears from her eyes.
BARNETT
This accident was extremely unfortunate.
There was no one more devoted to this agency
than Marcus Dixon.
(beat)
But you can’t hold on to his death forever...
It’s unhealthy to you and to all of your
colleagues.
(beat)
And what do you think Dixon would want you
to do?
(beat)
Waste your life away restricted by the
thought of a lost friend and partner? Or
let go. Continue your life because that’s
one thing you still have.
SYDNEY
I can’t forget Dixon.
BARNETT
You don’t have to forget him, Sydney. No.
Always remember him.
(beat)
Just don’t let those memories constrain
you.
Barnett looks down at her book and back up at Sydney.
BARNETT
I’ll see you in a week.
Sydney nods as Barnett begins to get up.
SYDNEY
I just--
Barnett stops and turns to Sydney.
SYDENY
I just want him back, for one day, you know?
I never got to say goodbye...
Barnett sighs and removes her glasses.
BARNETT
You can’t turn back time, Sydney.
(beat)
If we could, there would be no need for
psychiatrists.
She smiles and walks out of the frame.
INT. CIA MEETING ROOM - DAY.
MARSHALL, LAUREN, and Vaughn are seated at a horseshoe-shaped table around a screen. All are silent. They turn to the sound of a door opening. In walks Sydney. She doesn’t look at any of them, only walks to her seat and sits down. JACK opens the door and walks into the room. He too, shows a mute expression as he walks toward the screen. He stands in the center of the room and waits. No one gives him their attention. They all stare aimlessly into space.
JACK
There is a lot we have to discuss.
No one looks up. Jack waits.
JACK
We have a breakthrough... a, uh...
Covenant document was intercepted last week...
He sees that no one is listening.
JACK
It contained...
Still no one gives attention.
JACK
Important information... regarding...
Marshall looks up.
MARSHALL
It’s just not as booming.
Lauren, Vaughn, and Jack look to him.
JACK
I beg your pardon?
MARSHALL
Your voice.
(beat)
I don’t mean to be offensive or anything,
but it just doesn’t have that commanding
flare to it.
(beat)
Like his used to...
The other three look away. Marshall notices, and he too looks down. Jack clears his throat.
JACK
Yes, I...
He clears his throat again to revert back to serious mode.
JACK
The documents retrieved last week in
Monaco along with information found in
the Scout Novel have lead us to believe that
the Covenant is on the verge of uncovering
Rambaldi’s greatest work ever.
Jack clicks a remote and a picture of undecipherable scribbles and sketches on old parchment comes onto the screen.
JACK
Viator they call it-- The Traveler.
Lauren is the first to pipe in. Jack seems relieved that someone else is paying attention.
LAUREN
What is it?
JACK
Apparently, no one knows. As stated in
the Covenant documents, all writings of
the piece are indecipherable, as all sketches
and blueprints are nonsensical. We do know,
however, of this.
Jack clicks the remote again to reveal a vial of green liquid on the screen.
MARSHALL
It looks like Cool-Aid.
JACK
It is far from Cool-Aid. This vial holds
the only thing keeping anyone mystified
about Viator. It is called--
SYDNEY (OS)
The genesis elixir.
All turn to Sydney who is still motionless in her chair; her eyes looking aimlessly into nothing.
JACK
Sydney. That’s undisclosed information, how
did you--?
SYDNEY
(still giving no eye contact)
I stole it.
Silence. Finally, Sydney looks up.
SYDNEY
Seven years ago in Milan.
FLASHBACK SEQUENCE...
SYDNEY (VO)
Sloane sent me to Milan to infiltrate a
meeting between the KIC and SD-2.
A much younger Sydney, dressed in a brown wig and a business suit walks into a tall building. She talks to the WOMAN at the front desk, smiling and laughing, then accepts a key from her. She walks across the floor to a door and unlocks it with that key.
SYDNEY (VO)
The KIC was exchanging SD-2 ancient Rambaldi
documents and drawings for an undisclosed
amount.
(beat)
I was supposed to record their conversation,
get out, and come home...
Sydney enters the room and locks it behind her. She then runs over to a wall, takes out a screwdriver and begins to unscrew a large air vent. She removes the vent and enters into the ducts.
She crawls through the ducts until she reaches a vent on the bottom of the duct. She peers through the vent and sees a KOREAN MAN talking to another MAN. She takes out a device and clips it on the vent. It attaches, and a red light on the device begins to flash.
SYDNEY
But, something unexpected happened.
Sydney is staring through the vent when she hears a cracking noise. She looks around when suddenly, the duct collapses into the room below, sending Sydney falling down. She gets up from the mess and punches out the Korean Man. She turns and swivel-kicks the other man. The door of the room opens and two GUARDS with guns enter. Sydney dives behind the pile of metal scraps as they fire at her. As they start to reload their guns
, a
piece of metal come
s flying across the room, hitting one of the guards in the head. Sydney runs across the room and kicks the other guard into the door, his neck between the sole of her shoe and her heel. In one motion, she kicks up with the grounded foot and does a backflip. Halfway through it, she takes the gun out of the guard’s hand. She lands on the ground and fires three rounds into the guard’s chest. He gags and lowers to the ground, staining the door behind him with a streak of blood. Sydney turns and runs across the room to an opened briefcase, takes out a manila folder and runs back to the door. She begins to open the door when she sees a small vile of green liquid sticking out of the SD-2 man’s chest pocket. She runs over, takes the liquid out of his pocket and examines it. It is labeled “GENESIS ELIXER.” She pockets it and runs out the door.
END FLASHBACK SEQUENCE...
SYDNEY
I took it back to Sloane. He said lab
tests showed it was just sugar water, some
kind of knock-off remedy the SD-2 official
must have been taking.
JACK
Well, it’s definitely not some “knock-off
remedy.” Sloane must have wanted to keep
it for himself, without anyone knowing.
SYDNEY
Why? What is its significance?
JACK
We don’t know. But we understand that it
is crucial for uncovering Viator.
SYDNEY
But wait. If Sloane kept it seven years
ago--
JACK
(realizing)
Yes, he may know where it is.
INT. CIA CELLS - DAY.
Sloane is behind the bars, sitting on the bed and reading a book. Jack enters the area. Sloane walks up to the bars.
JACK
The Genesis Elixir, where is it?
Sloane looks around and shakes his head.
SLOANE
You know I haven’t slept in two weeks?
No response.
SLOANE
Yes, Jack. Sleeping on steel isn’t the most
comfortable way to spend your nights. My
blanket is thin, doesn’t keep me warm.
I haven’t eaten a real meal since I came in
here. Hunger builds character, though, Jack.
You should try it sometime.
JACK
Where is the Genesis Elixir?
SLOANE
I want different confinement arrangements.
(beat)
I want a private house where I can cook my
own food, sleep in a real bed, and turn up
the heat when I get cold.
JACK
I’m not going to comply to the requests of
a convict.
(beat)
How about you tell me where the Genesis
Elixir is, or you sleep on the floor?
SLOANE
I’m smarter than that Jack.
(beat)
I’m fully aware that the Covenant on the
verge of uncovering Viator.
(beat)
You need the Genesis Elixir now. Before the
Covenant gets it, and it’s too late.
(beat)
Viator can cause great destruction, Jack.
The tales claim it has the capabilities of
ending mankind itself. In the Covenant’s
hands, no one knows what could happen.
Jack glares at Sloane angrily.
SLOANE
Give me my safe house. I tell you where the
elixir is.
Jack shakes his head in disbelief.
JACK
You c***y bastard.
Sloane shrugs.
SLOANE
What are friends for, Jack?
Jack glares harder at Sloane then sighs.
INT. CIA ROTUNDA - DAY.
Vaughn is at his workspace, trying to type with one hand. Sydney walks up to him.
SYDNEY
How’s your shoulder?
Vaughn looks up at her, a bit startled.
VAUGHN
Ah, you speak.
SYDNEY
(sarcastically)
Okay. I hope you’re in pain.
He smiles. She smiles back.
VAUGHN
It’s getting better.
(beat)
I mean, I can’t move it or anything yet.
And I won’t get any work done unless I
miraculously become ambidextrous...
why the sudden change of mood?
Sydney sighs.
SYDNEY
I talked to Dr. Barnett today. She really
put things into perspective for me, you
know? She really made things clear.
(beat)
The longer I let it haunt me, the more of
my life I’m wasting. Dixon wouldn’t want
that, I mean, I worried about him enough
when--
Sydney stops abruptly and looks up, startled. She sighs and barely lets out the next words.
SYDNEY
...when he was alive.
Vaughn stands up and hugs her. She hugs back, still somewhat saddened.
VAUGHN
Hey.
(beat)
Dixon will always be alive. In our hearts
and in our prayers...
The hug ends. Sydney steps back, her sadness fading.
SYDNEY
I just miss him, that’s all.
VAUGHN
We all do, Sydney.
Awkward silence.
VAUGHN
Are you gonna be--
SYDNEY
Yeah. Yeah, I’ll be fine.
She stands there and smiles. Vaughn puts his hand on her shoulder and walks away. Sydney walks across the floor and opens a glass door into small meeting room. Through the glass door, we see her slump against the wall. Her face tightens as we hear a muffled cry.
EXT. ROME - EVENING.
The beauty of ancient Rome is still apparent in the evening twilight, with its many domes and churches in the skyline.
EXT. PANTHEON - EVENING.
A black van screeches to a halt in front the Pantheon, between the great obelisk-topped fountain and the front pillars. Seven AGENTS dressed in all black quickly file out of the van with large guns and run up the front stairs to the entrance, which is blocked by two large pieces of wood. The agents line up against the exterior stone wall. One motions and two of the agents kick in the wooden coverings.
INT. PANTHEON - EVENING.
The PANTHEON MANAGER quickly comes across the floor to the entrance, a concerned look on his face. He sees the agents coming in and shouts to them.
MANAGER
(Italian accent)
Excuse me!
(beat)
Excuse me! We’re closed for construction!
One of the agents c***s his gun and shoots four rounds into the Manager. The Manager shouts, falls to his knees, and then to the floor. The agents quickly scatter through the area, their guns aimed, looking for other people. The head agent turns in a full circle then calls to the others.
HEAD AGENT
We’re clear! Let’s go!
All the agents meet in the very center of the Pantheon on a large circle. One of the agents motions to another who takes out a square device and sets it on the center of the circle. He presses two buttons and the screen on the device lights up “:10.”
AGENT
Stand back.
The agents creep backwards as the timer continues until it reaches “:01.” The device explodes, causing the entire circle to break up into pieces and fly through the air. The agents duck their heads until the explosion dies. The head agent approaches the steadying flow of smoke coming from the epicenter of the blast. He waves some smoke out of his way and stands over the place where the circle was. A deep hole the size of the circle now sits there.
INT. CIA SAFEHOUSE - EVENING.
Sloane is seated at a table, eating spaghetti. Jack is seated opposite him, waiting. Sloane eats a forkful.
SLOANE
Mm. Mm Mm Mm. Jack, you have no idea how
long I’ve craved to eat Italian.
JACK
Get a hold of yourself. It’s compliments of
Chef Bouyardee.
SLOANE
Yes, well.
Sloane wipes his mouth with a napkin, rests his hands on the table, and sighs.
SLOANE
What can I do for you?
JACK
Do you know where the Genesis Elixir is?
Sloane looks around and then back at Jack.
SLOANE
No.
Jack glares at Sloane.
JACK
What do you mean you don’t know?
SLOANE
Take it easy, Jack. I wasn’t finished.
(beat)
I may not know exactly where the elixir
is, but I know how you can find out.
My Zurich office was compromised a week
ago. I haven’t been back, of course, but
I probably lost everything-- all my
collections, all my paperwork, even my
dear secretary. They were all in that building.
JACK
Don’t tell me the Genesis Elixir was destroyed?
SLOANE
Now let’s think about this, Jack. The Covenant
blows up my office. At the same time, they
are desperately seeking the Genesis Elixir. Do
you really think they would destroy it?
(beat)
Shortly before the explosion my secretary
informed me of a tall woman entering the
building, disappearing for awhile and then...
she’s back. She sees her walk out the door.
JACK
You think she was Covenant.
SLOANE
I know she was Covenant. And I know she
took the elixir.
JACK
How does this help?
(beat)
You say a tall woman came into the office.
We can’t just round up every tall woman
in Zurich and question them.
SLOANE
After my secretary told me of this, I went
into the surveillance room and took the daily
video feed.
(beat)
I have a video of the woman in my left coat
pocket.
Jack stares at Sloane who removes a small tape from his pocket and waves it in his fingers.
INT. SYDNEY’S HOUSE - EVENING.
Sydney is slumped on her couch in a tank top and shorts, sipping a glass of wine and reading a magazine. She turns a page and begins reading when her doorbell rings. She puts down the magazine and walks to get the door. She opens it to find a young man about her size and age with dark brown, perfectly combed hair and a pretty face. He is stubbly and little disheveled. He has a charming aura about him.
SAM
I saw you yesterday.
SYDNEY
(confused)
Excuse me?
SAM
I just moved in, and I’m still trying
to get everything into all the rooms.
I swear, the boxes multiply. So I’m unpacking
all this stuff I never even knew I had and
really don’t like anyway, and I saw you--
SYDNEY
I’m sorry. Who are you?--
SAM
And I saw you tear a door right off its
hinges... just thought you could give me
a hand with my refrigerator...
Sydney looks confused.
SAM
By the way, why did you pull a door off
its hinges? Remodeling the cheap way?
SYDNEY
I was going through a tough time.
SAM
Oh, I see. Wouldn’t want to make you mad.
He sticks out his hand.
SAM
Sam Messler, just moved in.
Sydney accepts his hand.
SYDNEY
So I’ve heard.
SAM
Really? Cause all I’ve met so far was
this old woman up the street.
(beat)
Okay, I actually almost ran over this old
woman up the street, but...
Sydney smiles.
SYDNEY
I’m Sydney.
SAM
Well, Sydney. Could you maybe help me move
my refrigerator? I’ve been chilling my food
in front of the air vent for a day now. I
swear, my house is the second ice age.
Sydney smiles.
SYDNEY
You know what, Sam? I’ve been dying to get
out of the house.
She steps onto her porch and closes the door.
SAM
You can come in as long as you leave my door
alone.
Sydney laughs and they walk out of the frame.
INT. SAM’S HOUSE - EVENING.
The kitchen is contemporary with spotlighting and black countertops, pale walls, steel appliances, and silver tile floors. Sydney and Sam walk in and up to a refrigerator oddly positioned in the middle of the floor.
SAM
I moved it a few inches and now I’m in
physical therapy. I swear this thing weighs
a ton--
Sydney moves over to the refrigerator and pushes it until it turns. She then gives it a large shove and moves it back toward the wall into an empty space. She wipes off her hands and the sweat on her head with her shirt.
SAM
Well. Aren’t you strong?
SYDNEY
And if you eat your vegetables, one day
you can be, too.
SAM
Ah, a clever one.
They smile at each other.
SAM
Gosh, you have a really pretty smile.
(beat)
Hey, now that I can store food, maybe,
I mean if your not busy or anything, you
could come over for dinner or something
this week...
SYDNEY
Ah... I don’t know--
SAM
I’ll make... whatever you want. I could
just really use the company. I’ve been
unpacking with no outside contact for
three days now. I was about to name and
befriend my toaster.
SYDNEY
You’re toaster?
SAM
Yeah. It’s a little shinier than most
people, but hey...
Sydney laughs.
SAM
So, what do you say?
Sydney look around, thinks for a second, and then smiles.
SYDNEY
Yeah.
(beat; sarcastic)
I mean, I’m sure I’ll be hungry.
She sighs.
SYDNEY
And I could really use the company too.
He smiles.
INT. CIA ROTUNDA - DAY.
Jack is working at his desk when Marshall approaches him.
MARSHALL
Mr. Bristow, sir.
Jack turns to Marshall.
MARSHALL
Yes, I, uh. Now that you’re director, I
thought you might want to know I’m
near completion of my analysis of the
stolen files.
JACK
Anything?
MARSHALL
Clearly rerouted to Covenant.
(beat)
Clearly not Vaughn.
Jack sighs in relief.
MARSHALL
He has backed alibis at the times these
files were compromised. Every single one.
(beat)
It’s kind of funny, I mean. Whenever he
left, someone came on his computer and
sent these files to the Covenant.
JACK
Unfortunately, we still have a thriving
mole somewhere in this office.
MARSHALL
I don’t mean to be, uh, like a nosy old
lady or anything, but... any leads on
identifying the mole?
Jack turns to his computer and turns on the screen.
JACK
We have a record of the times every agent
came in and left this building.
He types a few keys and a list of names comes up on the screen.
JACK
We programmed in the times all the files
were sent to the Covenant.
He types a few more keys.
JACK
And...
He presses one more key and a smaller list of people comes up.
JACK
We have fifteen agents that were in this
building at those times.
MARSHALL
Anyone... important? High-ranking?
JACK
None. They’re all novice desk-workers.
MARSHALL
Hmm. Well, I gotta get back to work.
Jack nods and Marshall walks off. Jack turns back to his computer and scans the list. He passes names “Smith, Arnold,” “Ellis, Dakota,” “Tamber, Sam,” and then “Flinkman, Marshall.” Jack sighs and looks over toward Marshall’s office. From outside, we see Marshall typing frantically and eating a sandwich. Jack turns back, picks up his phone, and dials a number.
JACK
Yes, the analysis is finished.
(beat)
Only one person on the list has the clearance
to have accessed those files.
SUPER CLOSE-UP of the name “Flinkman, Marshall” on the list of people, then Jack listening on the phone, his face looking worried.
END OF ACT ONE
ACT TWO
EXT. PARK - MORNING.
A couple are walking with their dog under a gray, cloudy sky. Another pair are playing Frisbee between some autumn-stricken trees. A few kids are playing on the playground behind. Sydney jogs into the frame wearing a gray tank top and sweatpants. Her expression is dazed. She jogs across the awakening park and stops at a bench to rest. She outstretches her arms, holds on to the top of the bench, and breathes deeply. She looks around and then back down at the bench.
VAUGHN (OS)
I thought I’d find you here.
Sydney looks up to see Vaughn standing on the other side of the bench, in a sweat-stained shirt and shorts. His arm still in a sling. He pants and breathes heavily.
VAUGHN
You’re tough competition. I lost you
for about a mile there.
Sydney laughs.
SYDNEY
You’ve been following me.
VAUGHN
Trying.
(beat)
I had to stop to actually breathe after the
third mile, but yeah.
Sydney smiles.
SYDNEY
So... what are you doing here? You don’t
jog this early--
VAUGHN
And I don’t think I’ll start.
(beat)
Cripples like us need their sleep.
Sydney laughs and looks away, then back at him.
SYDNEY
No, really. Why are you here?
Vaughn looks down and sighs.
VAUGHN
I’ve just... been going through a rough
patch in my life. I need someone to talk
to, that’s all. And with Weiss out of
town... the only other person I thought
of was you.
Sydney smiles.
SYDNEY
You are married, you know.
VAUGHN
Yeah, sometimes I have to remind myself.
A moment of silence. Vaughn looks around, sighs, and then squeezes out his next line.
VAUGHN
Lauren moved out last night.
Sydney looks startled.
SYDNEY
Oh... my gosh, I’m so sorry.
VAUGHN
No, no. Don’t be. I saw it coming long
ago.
SYDNEY
I had no idea that you two--
VAUGHN
We’re on good terms and all, but... uh...
we have different interests, you know?
(beat)
We have different values that don’t mix
well.
Sydney sighs.
SYDNEY
Well, I wish you the best.
VAUGHN
It is the best. We weren’t happy.
SYDNEY
I’m sorry.
VAUGHN
Yeah.
Sydney peaks out a smile. Vaughn returns with another.
VAUGHN
You want to know something?
SYDNEY
What?
VAUGHN
I don’t know if I really ever wanted to
marry her. I mean, I wanted to marry
somebody.
Sydney looks down, somewhat uncomfortable.
VAUGHN
Sydney, after you went missing, I was
really thrown into a loop, you know?
(beat)
I had dreams, plans, of spending my life
with you.
(beat)
I really missed you, Sydney. I never thought
anything could impact my life that much.
Sydney laughs a sarcastic laugh. She is a little annoyed.
SYDNEY
Why are you telling me this?
VAUGHN
I married Lauren for comfort. I needed...
someone... to share my time with. I
couldn’t stand being alone anymore.
(beat)
But I guess it didn’t matter. During those
two years, I’ve never been so alone in my
life...
Sydney sighs and looks around.
SYDNEY
I missed you too, Vaughn. I really, really
missed you.
He smiles wide. She sighs. He moves closer to her so that their feet are centimeters apart. She turns her head to the side, embarrassed.
VAUGHN
You really meant something to me, Sydney.
(2 beats)
You really do mean something to me.
She looks up at him. He smiles. They lean their heads in closer. He readies for a kiss but she turns her head.
SYDNEY
(whispering)
Vaughn.
Silence for a moment, then
VAUGHN
(whispering)
What is it?
She leans back out and takes his hands in hers. Her eyes begin to lightly gloss. She takes a deep breath and sighs. She keeps her voice at a low volume.
SYDNEY
When I went missing for two years, I never
knew whether or not I’d ever see you again,
ever see anyone again.
(beat)
I went through hell. Absolute hell. At first
I prayed every day that they’d keep me alive.
But after a few weeks, I started wanting them
to kill me. I figured even death could be
better than what I was put through.
(beat)
When I finally got out okay, I was so
relieved. The first thing I thought about was
you.
(beat)
I went to your door, looked inside.
She sighs heavily. She begins to lightly cry. Her voice raises a little.
SYDNEY
And I saw you.
(beat)
Sitting there, staring out the window,
aimlessly. You looked so miserable. I
smiled, knowing I was about to change your
life. I reached for the doorbell...
She sighs again and cries a little harder.
SYDNEY
And I saw her.
(beat)
She walked up to you and put her arms
around you. She kissed you... and you kissed
her back.
(beat)
I felt betrayed, Vaughn. I felt twisted up
inside. I just ran. Ran as far as I could,
and then I cried, all night long.
(beat)
It took me months to overcome the fact that you
were no longer mine.
(beat)
I loved you Vaughn. I loved you so much.
She begins to full-out cry. He frowns back at her, concerned.
SYDNEY
But I can’t take another heartbreak.
I can’t ruin my life all over again.
He shakes his head.
VAUGHN
Sydney. I won’t. I promise. It’ll never
happen again--
SYDNEY
No... You can’t promise me that!
(beat)
Every day we live a life so dangerous, so
delicate, that it could end at any moment.
(beat)
As it is I worry... every briefing... every
mission... that you won’t be coming back the
next day.
(beat)
And it pains me, because I love you Vaughn.
(beat)
I have always, incessantly loved you. And I
wouldn’t be able to live if I lost another
boyfriend... another fiancé... a husband...
(beat)
That’s why it can’t work, Vaughn. I lost you
once already. For two years I lost you entirely.
(beat)
I can’t handle losing you again.
Sydney lets go of his hands and turns to go, but he grabs her hand back. Vaughn has a fiery passion in his eyes. He is angry, but saddened.
VAUGHN
I can’t let you go.
(beat)
I can’t let you do this.
Sydney lets out a cry.
SYDNEY
I have to, Vaughn.
(beat; she whispers)
I can’t love you.
It hits him. The passion in his eyes immediately dies. He stands there, stunned.
SLOW: Sydney turns to walk. Her hand slips out of his. He leaves his outstretched hand in place, then slowly lowers it to his side. It begins to rain.
Sydney jogs away from him. He stands where he was, watching her fade into the distance. He plops onto the bench, lowers his head, and covers his face with his hands.
From ahead, Sydney looks back from her jogging, takes a deep breath, and wipes the tears from her eyes. She continues to jog further through the park then stops at the playground. She walks past a sliding board and a merry-go-round to a pair of swings, gently rocking with the rain and wind. She lowers onto one of the swings and leans on the chain. She closes her eyes and lets out a cry. LONG SHOT of Sydney lightly swaying on the swing and crying.
INT. CIA ROTUNDA - MORNING.
Jack walks into the building and to the middle of the floor. An AGENT approaches him.
AGENT
Mr. Bristow. The video feed from Arvin
Sloane’s office has been reviewed and
analyzed.
He turns to her, anxious.
AGENT
We have a positive I.D. of the woman you
talked about.
He nods, looks around, leans into her, and whispers.
JACK
Who is she?
AGENT
Well, there’s one problem, Mr. Bristow.
(beat)
She’s dead.
Jack stares at the agent, confused.
INT. COVENANT HEADQUARTERS - EVENING.
The Covenant Headquarters looks similar to SD-6, only with a darker feel and higher technology. Mikelov, the head of the Covenant, crosses the room. An agent approaches him.
COVENANT AGENT
Mikelov, sir, our team is back from the
Pantheon.
Mikelov nods forcefully at the agent who walks away. The team of agents from the Pantheon walk up to him.
HEAD AGENT
We were very successful, Sir.
(beat)
Our source was indeed correct. There was a
well beneath the Pantheon.
MIKELOV
(Russian accent)
And what did you find?
The head agent motions another of the agents over to him. This agent takes out a small wooden box that fits into the palm of the agent’s hand. Mikelov looks amazed down at the box then back up at the head agent.
MIKELOV
The key to Viator?
HEAD AGENT
No one has opened it yet. We figured we’d let
you do the honors...
The agent holding the box hands it to Mikelov. He strokes the top in wonder. He holds the box in one hand and gently lifts the lid with the other. He stares into the box confused. In the box is a small piece of parchment paper with symbols scribbled across it.
MIKELOV
This was all that was down there?
HEAD AGENT
We ran triple checks, Sir. Nothing else was
in the hole.
Mikelov closes the box and hands it back to the head agent.
MIKELOV
Give it to decryption.
(beat)
I want to know what this paper says by the
time I come in tomorrow.
The head agent nods and walks off with his group of other agents. Mikelov walks out of the frame.
EXT. CEMETERY - MORNING.
The trees are now nearly bare. The sky is again gray and a brisk wind rustles the leaves on the ground. A leaf from the ground blows into the air and flies across the cemetery. It glides with the breeze over rows and rows of tombstones, then it stalls in mid-air and gently begins to float out of the frame. We RACK FOCUS to see that below, Sydney is kneeling in front of a tombstone. Her hair and clothes are soaking wet as she looks helplessly at the stone. A gust of wind blows her hair and ruffles her clothes, but she remains. Engraved on the tombstone is: “DIXON, MARCUS.” And under: “Trusted friend, dad, and employee.” Sydney gently stares at the tombstone, her expression a daze. A flash of light then
FLASHBACK SEQUENCE...
A much younger Sydney is escorted by Sloane through the former SD-6 building. They stop.
SLOANE
Sydney, I’d like you to meet your partner.
A younger looking Dixon walks into the frame. Sydney smiles and accepts his outstretched hand.
DIXON
Marcus Dixon.
(charmingly)
It is an honor.
SLOANE
I know he isn’t much, but we thought you
could use some company.
Dixon laughs. Sloane smiles back.
DIXON
I just hope I won’t get in your way.
(beat)
You’re all Sloane’s been talking about these
days, and he seems very impressed with your
abilities. I hope I’m not too forward, but I
pray some of your talents will rub off on me.
Sydney smiles. Dixon winks back. Another flash of light.
END FLASHBACK SEQUENCE...
Sydney is still kneeling in front of the tombstone. A red leaf gently falls onto the top of it. Sydney is taken off guard and goes to brush it away. She stops her hand a few inches away and pulls it back toward her. She sighs and stands up. She takes a deep breath and walks out of the frame. We RACK FOCUS back to the tombstone. Another gust of wind blows the red leaf off the grave.
INT. CIA OFFICE ROOM - MORNING.
Jack leans over a monitor as the agent types on the computer.
AGENT
We ran a face match scan from the woman
found in the video feed.
(beat)
We came up with no matches.
Jack nods.
AGENT
I sent the video to Maxillus over there
She points to a man across the room at a computer. He waves back at them.
AGENT
who ran the feed into his scan system, and we
got a match.
JACK
Why didn’t your system find one?
AGENT
Luckily, Maxillus over there, well, one might
categorize him as “lazy” if you will? He never
updated his software and still had the same
database of people from 1999. The only reason
she was in his and not in mine must have been
because--
JACK
She’s dead.
AGENT
Yes.
(beat)
We looked her up on our grave scan system,
and sure enough, we found her.
The agent shakes her head.
AGENT
Mm. It’s a shame, really. To be murdered at
such a young age.
JACK
Murdered?
AGENT
Well, I guess it’s a shame to be murdered at
any age, but--
JACK
Excuse me, but did you say that woman was
murdered?
AGENT
Found dead in an alley a little more than
two years ago.
(beat)
Apparently, the police have already
labeled it as a cold case.
Jack looks around in thought.
JACK
So who is this woman? What is her name?
AGENT
Her name? Oh, I have it right here.
The agent turns back to her computer and types a few keys. She types one final key.
AGENT
Ah. Here it is. Her name is Francine D. Calfo.
Jack leans in and stares inquisitively at the monitor, then leans out and looks away in disbelief.
AGENT
Poor girl. Just over thirty years old.
Jack hurries away from the agent and out of the room.
AGENT
Mr. Bristow?
The agent turns toward the door and shouts.
AGENT
Mr. Bristow? Is there something wrong?
She shrugs and turns back to her computer.
INT. PARKING GARAGE - MORNING.
Jack waits next to his car. Sydney pulls up in hers and parks. She gets out of the car and walks up to Jack. Her hair and clothes are a little drier, but it is still apparent she’s been out in the rain.
SYDNEY
Dad, what’s wrong? I came as fast as I could.
JACK
When was the last time you saw Alison?
Sydney stares at him, dumbfounded by the question. She sputters out her answer.
SYDNEY
I... I don’t know-- I think I was with
Will last year--
JACK
Did you see her escape?
Sydney looks her father over, very confused. Her eyes then widen.
SYDNEY
She didn’t--
JACK
Sydney, did you see her escape?
SYDNEY
I thought Will killed her, but...
(beat)
No I didn’t see her escape, but I didn’t
see her after he stabbed her either--
Jack sighs nervously and looks around.
SYDNEY
Dad? What’s going on?
JACK
Alison Doren walked into Sloane’s office
and took the Genesis Elixir last week.
Sydney is shocked.
SYDNEY
Oh my god.
JACK
Are you certain she was Covenant?
SYDNEY
She was working with Sark. I have no
doubts... Why, Dad? What’s wrong?
Jack looks very worried.
JACK
Sloane told me that Viator could bring utter
desolation to the world.
(beat)
The Genesis Elixir is what activates Viator.
If the Covenant has the elixir they will
use it for their own purposes. And I bet
you ten to one those purposes aren’t for the
good of mankind.
Sydney is alarmed.
SYDNEY
What do we do?
JACK
What can we do?
(beat)
We haven’t a clue where the Covenant is
located! We don’t even know who runs it.
Sydney stares into the distance, thinking. Then it hits her...
SYDNEY
Mikelov!
JACK
What?
STOCK FOOTAGE - After running out of the demolished Rotunda in “Shattered Glass, Pt. II,” Sydney finds herself at gunpoint from a Spanish man he says “This one for Mikelov” and then is shot dead.
SYDNEY
Last week, when the Rotunda was compromised.
(beat)
I found myself at gunpoint right here in the
garage. The assassin mentioned a man named
Mikelov before he was about to shoot me.
Jack nods.
JACK
I’ll run a trace, find everything we can
on this man named Mikelov.
Sydney nods back. Jack looks around.
JACK
Are you... okay?
Sydney looks at him awkwardly.
SYDNEY
Yeah, I’m fine.
Jack nods.
JACK
Get changed.
He pats her twice on the arm on his way by as he walks back toward his car.
JACK
I feel we have a big day ahead of us.
Sydney nods and watches her father get in his car and pull away.
INT. CIA ROTUNDA - MORNING.
POV: Someone is walking into the Rotunda. People pass and wave as this person continues walking. The person walks past the main area of the Rotunda and opens a door to an office. The person walks in to
INT. MARSHALL’S OFFICE.
Scattered with electronic equipment, Star Wars figures, and computer monitors. The person takes a seat at the computer and turns it on. The screen pops up to find a title of “Marshall’s Computer” and beneath, an animated Marshall doing a dance. A window pops up on the monitor saying “Enter Password:” with a box next to it. The person enters seven digits that appear as just dots on the screen. The desktop of his computer comes up. The arrow from the mouse moves over to a file called “MOLE RESEARCH.” They right click on it, drag the mouse arrow down the menu, and click “Delete.” It disappears from the desktop.
INT. WAREHOUSE - MORNING.
Jack’s car pulls into the warehouse. He exits and walks up to his contact standing in the center of the warehouse.
CONTACT
(Middle-Eastern accent)
Jack.
The contact meets Jacks and they shake hands.
CONTACT
It is wonderful to see you.
JACK
Yes, it’s been a long time. Listen, I need
you to do me a favor.
CONTACT
Anything, Jack. I am in debt to you.
JACK
I’m looking for information regarding a man.
(beat)
His name is Mikelov. And I’m afraid to say
that’s all I know.
The contact’s eyes widen and he turns from Jack.
CONTACT
Mikelov. Why would you need to know about
him?
JACK
Why does it matter? I would appreciate if you
could just find out who he is.
The contact nods his head, still fearful.
CONTACT
I know who he is Jack.
(beat)
And if I were you, I wouldn’t mess with him.
Jack approaches his contact closer, inquisitive.
JACK
What do you know?
CONTACT
Mikelov Tchaikot is his name. Born in a
rich Russian family. Lived in Moscow for
thirty years.
He turns to Jack.
CONTACT
Jack. He’s a dangerous man. He has connections.
No one knows who, no one knows how, but if you
make him angry... you might not wake up the next
morning.
Jack is not phased.
JACK
Anything else?
CONTACT
He is rumored to head a top-secret
terrorist organization. But no one can prove
it, and I am certain no one ever will.
Jack nods.
JACK
Do you happen to know the name of this
organization?
The contact sighs.
CONTACT
I don’t even know if it exists.
Jack nods.
CONTACT
I’m very sorry, Jack. The information you
ask for isn’t available for my taking.
Jack nods again and smiles a small, reluctant smile.
JACK
Thank you. I’ll be seeing you.
He turns to go.
CONTACT
Jack.
Jack stops and turns.
CONTACT
You shouldn’t go looking for this man. Anyone
who has ever come close to uncovering his
true agenda has mysteriously disappeared...
Without any acknowledgement, Jack gets back in his car and drives away.
INT. CIA MEETING ROOM - DAY.
Sydney, who is now dry and in work clothes, is seated across the room from Vaughn, who is also dry and in work clothes. Lauren is seated closer to Sydney, and next to her, Marshall. Jack is standing in the center of the room.
JACK
We believe to have a positive ID of the
Covenant leader.
Jack clicks the remote. A picture of Mikelov comes up on the screen.
JACK
Mikelov Tchaikot, a Russian businessman,
seems to have all signs point to him being
head of the Covenant.
(beat)
My sources tell me he is very ill-mannered and
dangerous, eager to kill anyone who proves
an obstacle on his path to success.
LAUREN
Do we know where he operates?
JACK
My contact said he lived in Moscow for thirty
years. Something tells me he wouldn’t be too
eager abandoning his place of upbringing.
SYDNEY
You think the Covenant headquarters is in
Moscow?
JACK
It’s a personal thought. That’s all. We
have no hints, no evidence, no data.
He shrugs.
JACK
Just a hunch.
Sydney looks stunned.
SYDNEY
Dad, we can’t execute a plan based on a
mere hunch!
JACK
That is why we wait. All of our resources
are being used for finding the location
of Michelov Tchaikot.
(beat)
Now that we know his name, I predict a
matter of days before we have an exact
location.
Sydney nods.
INT. CIA ROTUNDA - DAY.
Sydney is walking across the floor. Marshall stops her.
MARSHALL
Sydney!
Sydney turns.
MARSHALL
Sydney, uh, hi. I’ve been wanting to talk
to you.
He clears his throat.
MARSHALL
We never really got to discuss...
He becomes tongue-tied.
SYDNEY
Discuss what?
MARSHALL
Well, you know...
(beat)
What happened... last week.
Sydney takes a deep breath.
MARSHALL
Sydney. I’m really sorry. I mean, about
almost turning you over to the Covenant
and all.
Sydney fakes a smile and nods.
MARSHALL
(serious)
The Covenant came into my house and put a
gun to my baby’s head. What was I supposed
to do with that, you know?
(beat)
I mean, as a father, do you have any idea
what kind of position that puts you in?
He’s only a baby.
Sydney stares at him in disbelief. She begins to understand his choices.
MARSHALL
They made it certain they would kill little
Mitchell if I didn’t drop you off at the
port. They gave me no other information,
but I was desperate, Sydney. I didn’t want
to lose my only son.
Sydney looks down and sighs. She shakes her head.
SYDNEY
Why didn’t you tell me any of this?
MARSHALL
You don’t know what goes through your head
when the one thing you love more than
anything in this world...
His eyes water and he looks away.
MARSHALL
I didn’t want... anything to happen to Mitchell.
And I was afraid that if I had told you... they
would have somehow found out... and killed him.
Sydney is obviously sorry for ever doubting Marshall.
SYDNEY
Oh my God... I mean, I had no idea.
MARSHALL
I couldn’t eat for a day... I just kept
thinking about what would have happened
if they did kill him.
SYDNEY
But Marshall, you warned me. At the port you
told me to run... Why didn’t they--
MARSHALL
I got home and they were still there. They
told me I had been warned and would have
to suffer the consequences...
FLASHBACK SEQUENCE...
MARSHALL (VO)
They took poor Mitchell.
One of the agents in Marshall’s home picks up Mitchell.
MARSHALL (VO)
Raised the gun to his head.
The same agent raises a gun to the baby’s head.
MARSHALL (VO)
I couldn’t take it, I just closed my eyes
and waited.
Marshall closes his eyes and ducks down, begging to the agent.
MARSHALL (VO)
And I heard it. A gunshot.
Marshall, still with closed eyes, shouts out to Mitchell.
MARSHALL (VO)
And then another. And another.
The agents in Marshall’s house fall to the ground after being shot.
MARSHALL (VO)
I opened my eyes and they were dead. All
of them, just dead.
(beat)
But Mitchell was okay. That’s what mattered.
Marshall opens his eyes and sees the dead bodies. He picks up a crying Mitchell from the ground and hugs him tight, thanking God.
END FLASHBACK SEQUENCE...
MARSHALL
I am so grateful they didn’t kill my baby.
SYDNEY
And you have no idea who killed them?
MARSHALL
I don’t know, and I don’t care. It was
priceless enough seeing Carrie come home
to a house full of dead bodies...
He chuckles, then clears his throat back to serious mode.
MARSHALL
But whoever it was saved my baby.
(beat)
And probably saved me.
Sydney comes toward Marshall and hugs him.
SYDNEY
I’m so sorry I ever doubted your loyalty.
They pull back. She shrugs.
SYDNEY
I mean, with all this talk of moles, I
just became suspicious, that’s all.
(beat)
If I had known--
MARSHALL
Hey, don’t let it bug you.
(beat)
I prefer to put those type of moments
in the past, you know? Move on with my
life.
Sydney thinks for a moment, seeing the irony in the situation. She smiles and nods. Obviously lying, she responds.
SYDNEY
Yeah, I do.
(beat)
It’s for the best.
Marshall smiles and walks away.
INT. CIA ROTUNDA - DAY.
A desk agent is typing on his computer. He looks up at the monitor. A window pops up reading “MESSAGE: URGENT.” The agent stares curiously at the screen as he clicks on the window. He reads the screen and his eyes become wide. He immediately gets up and runs off.
CUT TO:
Jack is talking to another agent at his desk. The desk agent runs up to him.
DESK AGENT
Mr. Bristow. We have received an unexpected
message.
JACK
Who sent it?
The desk agent looks around and leans in to Jack. He whispers.
DESK AGENT
Mikelov.
Jack stares at the desk agent curiously.
END OF ACT TWO
ACT THREE
INT. MIKELOV‘S OFFICE.
Mikelov is sitting in his office at his desk, his elbow leaning on the desk, his hand clasped over his mouth. He is staring into space when a covenant official named Ivan walks into his office.
IVAN
Mikelov.
Mikelov turns to his employee.
MIKELOV
Ivan. Please.
He motions for Ivan to sit in front of his desk. Ivan nods his head and sits. The parchment is laying on the desk near Ivan. Ivan eyes the piece of paper.
IVAN
Thank you, Sir.
Mikelov nods back and continues to stare into space.
IVAN
Sir. I was just wondering... have we
uncovered any further information on Viator?
No response.
IVAN
What it is?
(beat)
Where it is?
(beat)
What it does?
Mikelov sighs heavily, but does not turn to Ivan. He waits. After no response, Ivan continues.
IVAN
I mean, we must have found something in Rome.
(beat)
The parchment, the one found in the box...
did it say anything?
No response. Awkward silence. Finally, it is broken.
MIKELOV
(without looking over)
Ivan, if you had a wish in life, what
would it be?
Ivan is caught off guard by the question.
IVAN
Sir... I don’t understand--
MIKELOV
If you were to find... oh I don’t know...
say... a magic lamp?... a wishing well?...
and you were granted one wish...
what would it be? Just out of curiosity...
Ivan cannot say. He looks down and thinks hard.
IVAN
I don’t know, Sir. I... there are a lot of
things I’d like to have... but one wish...
it’s just hard to choose--
Mikelov turns to Ivan.
MIKELOV
What about your wife?
Ivan looks at Mikelov curiously.
IVAN
Mr. Tchaikot, she died in a skiing accident
three years ago--
MIKELOV
I am aware.
(beat)
But what if... what if you could have her
back... would you use your one wish to do
it?
(beat)
Would you use your wish... to be with your
wife?
Ivan thinks deeply on the question. He cannot respond.
IVAN
Sir, this is a very hard question.
(beat)
I mean, I do miss my wife and all, but...
playing with time... I don’t know...
(beat)
I figure that maybe God chose that it
was her time to go.
(beat)
And I would never want to betray God,
Sir... I would never want to undo what he
has done.
He thinks hard, then shakes it off, realizing how irrelevant of a question it is.
IVAN
Why does it matter? Are you telling me
Viator grants wishes?
Mikelov stares back out in space. He gently shakes his head, as if in a daze.
MIKELOV
No, Ivan.
(beat)
Viator does not grant wishes.
Silence. Ivan waits for a command from Mikelov.
MIKELOV
You may go, Ivan.
Ivan nods and stands. He turns his body so that his right hand sweeps past the parchment.
INSERT - On its way by the paper, Ivan’s hand presses on a small, square object hidden in his palm.
Ivan turns toward the door to the office and leaves. Mikelov picks up the tiny parchment from the top of his desk, looks at it for a moment, puts it back in the small box, leans his head on his hands, and sighs deeply.
INT. COVENANT HEADQUARTERS.
Ivan quickly walks passed busy workers who shuffle papers and type at their desks. He opens a glass door into a small room with computers on the wall. He takes the small black object in his hand and plugs it into one of the computers. An image of the “Fabula Viatori” appears on the screen. The image prints out onto a piece of paper. Ivan then disconnects the computer, takes the paper, and walks out of the room.
INT. CIA ROTUNDA.
Jack and the agent walk up to a computer. Jack looks at the
message on the screen. He reads the screen, then stares at the agent in disbelief.
JACK
Does this mean...?
AGENT
It appears so.
(beat)
He left a number. Says it’s secure.
Jack nods, walks away from the desk, and picks up a phone. He dials a number.
INT. COVENANT HEADQUARTERS.
Mikelov is as we left him, his hands resting on his head, sitting in his office. The phone next to him begins to ring. He rolls his chair over and picks up the phone.
MIKELOV
I am pleased you have decided to call.
INT. CIA ROTUNDA./INT. COVENANT HEADQUARTERS. PHONE CONVERSATION.
Jack talks on the phone.
JACK
Is this Mikelov Tchaikot?
Silence as Jack waits for his response.
MIKELOV
(from the phone)
Yes. This is he.
Jack nods his head.
JACK
What do you want from the CIA?
MIKELOV
Now hang on, I introduced myself, so I think
it is only fair to know who I am speaking to...
Keep reading further down!
+++++++++++++++++++++++++++++++++++++++++++++++++++++
SHATTERED GLASS, PT. III
Before you read this installment, it's a good idea to read the first two scripts first, although it isn't mandatory:
SHATTERED GLASS, PT. I
SHATTERED GLASS, PT. II
If you know how to read script form, you can skip the next part, but if you don't you should really read on...
+++++++++++++++++++++++++++++++++++++++++++++++++++++
A few tips in reading script form...
1. INT. - takes place inside ; EXT. - takes place outside
2. Beat - a pause in dialogue
3. VO - voice over the text coming after it
4. OS - the speaker is off the screen
5. Rack Focus - change the focus from the main object to something in the background
6. Pan - camera moves across the scene
You should be able to figure out the rest. If you have any questions about what something means, be sure to post!
+++++++++++++++++++++++++++++++++++++++++++++++++++++
The entire Shattered Glass series is a three-part season finale and only includes plot developments up to 3x10 "Remnants" (the one where Will comes back), so some stuff may not match up/may have already happened according to what is going on in the show now.
+++++++++++++++++++++++++++++++++++++++++++++++++++++
DISCLAIMER: I don't own Alias. It's sad, but true. It's on my X-mas list, but we'll have to wait and see. All Alias characters, plotlines, etc. belong to J.J. and the Alias crew. All new characters, plotlines, and dialogue are mine. (*sniff* I own something!).
RATED: TV-14 Suggestive Dialogue, Strong Language, Descriptive Violence {Do not read if any of these offend you!}
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Phew, almost there! Part III is written as approximately a 90-page script, meaning if this were made into an episode, it would run for about 1 and a half hours commercial free.
I'm posting it by acts this time to let everyone take a breather. (Yes, it can take a long time to read)
Finally, I worked SO INCREDIBLY HARD on this piece and an author feels meaningless if no one reads his work. It can also be lonely if no one replies. So PLEASE POST ALL THOUGHTS/COMMENTS/SUGGESTIONS after reading! Even rate it on a scale from 1-10!! ENJOY!
(I'm really hoping you will...)+++++++++++++++++++++++++++++++++++++++++++++++++++++
ALIAS
“SHATTERED GLASS, PT. III”
WRITTEN BY
TENDERBEAR
ACT ONE
EXT. CEMETERY - DAY.
A red leaf falls from a tree. It gently floats toward the ground. A slight breeze lightly lifts the leaf, then it continues to fall. A crackling noise, as the leaf lays itself atop a pile of other leaves, red, yellow, orange, and brown. All around is green grass, poking out through many fallen leaves. The leaves of the pile quiver until a large gust of winds sends them flying every which way. A leaf gets caught in the gust and quickly rises into the gray sky. Below is a small expanse of various tombstones and autumn-bound trees. The leaf continues to float further across the scene over a funeral procession. MEN AND WOMEN dressed in black stand in perfect rows, in perfect stillness. In front is a raised, black casket. The leaf flutters out of the frame as we PUSH IN to the funeral.
SYDNEY (VO)
I’d seen it too many times already.
(beat)
All the pain. The suffering.
(beat)
One can only handle so much.
We slowly PAN a row of standing people, their hands folded and their heads down. We pass a TALL BLACK MAN with patches of gray hair, a SHORTER BLACK WOMAN with silver hair under a box hat, DIXON‘S TWO CHILDREN, and a YOUNGER BLACK WOMAN with long, shiny black hair.
SYDNEY (VO)
A life... it’s so fragile. Too often taken for
granted, by everyone... every single day.
(beat)
But then cherished, all too late.
(beat)
A life can be taken away so quickly... so
thoughtlessly.
A RIGHT CLOSE UP of Sydney, bowing her head, her lips gently parted. Strands of loose hair from her bun gently sway with the breeze. She closes her eyes and squints as her mouth muffles. She then takes a deep breath, looks around, and again, closes her eyes. We RACK FOCUS to reveal VAUGHN, standing a few rows behind her, his arm in a sling, his worried gaze never leaving her direction.
INT. CIA ROTUNDA - DAY.
SYDNEY (VO)
And then you’re supposed to simply adjust.
(beat)
Move on with your life.
(beat)
“Don’t live in the past,” they tell me.
“Don’t live life in the shadows of your
most dismal moments.”
SLOW: Sydney gently strides into the CIA Rotunda. The usual hustle and bustle carries on around her. She wears a looming sadness as she pushes a strand of hair behind her ear. Her eyes never look up; her mouth never moves.
SYDNEY (VO)
You know, I don’t want to adjust.
Her voice shows signs of saddening. It wavers as she sniffs.
SYDNEY (VO)
I don’t want to move on with my life.
(beat)
Living in the past is what keeps me from
accepting the truth-- that he’s gone.
(beat)
It’s the most dismal moments in life that
you can never forget.
SLOW: Sydney passes Dixon’s office, separated from the rest of the working units in the Rotunda. It is as usual, a large, glass desk, on top a computer and a few other gadgets and files. Sydney stops and stares into the room, a wondering look about her.
We see a black-and-white flash of Dixon’s office, Dixon sitting at the desk, talking on the phone. And as quickly as it came, it’s gone. Just the office remains.
Sydney quickly averts her eyes from the office and bows her head. Her mouth quivers and her eyes become glossy. She raises her hand to her mouth, and she hopelessly sobs. She lowers to her knees and cries full out, desperate, betrayed. Five AGENTS quickly surround her and begin to help her back up as we
CUT TO:
INT. BARNETT’S OFFICE - DAY.
BARNETT
Sydney.
Sydney is seated in front of Barnett’s desk, wiping the tears from her eyes.
BARNETT
This accident was extremely unfortunate.
There was no one more devoted to this agency
than Marcus Dixon.
(beat)
But you can’t hold on to his death forever...
It’s unhealthy to you and to all of your
colleagues.
(beat)
And what do you think Dixon would want you
to do?
(beat)
Waste your life away restricted by the
thought of a lost friend and partner? Or
let go. Continue your life because that’s
one thing you still have.
SYDNEY
I can’t forget Dixon.
BARNETT
You don’t have to forget him, Sydney. No.
Always remember him.
(beat)
Just don’t let those memories constrain
you.
Barnett looks down at her book and back up at Sydney.
BARNETT
I’ll see you in a week.
Sydney nods as Barnett begins to get up.
SYDNEY
I just--
Barnett stops and turns to Sydney.
SYDENY
I just want him back, for one day, you know?
I never got to say goodbye...
Barnett sighs and removes her glasses.
BARNETT
You can’t turn back time, Sydney.
(beat)
If we could, there would be no need for
psychiatrists.
She smiles and walks out of the frame.
INT. CIA MEETING ROOM - DAY.
MARSHALL, LAUREN, and Vaughn are seated at a horseshoe-shaped table around a screen. All are silent. They turn to the sound of a door opening. In walks Sydney. She doesn’t look at any of them, only walks to her seat and sits down. JACK opens the door and walks into the room. He too, shows a mute expression as he walks toward the screen. He stands in the center of the room and waits. No one gives him their attention. They all stare aimlessly into space.
JACK
There is a lot we have to discuss.
No one looks up. Jack waits.
JACK
We have a breakthrough... a, uh...
Covenant document was intercepted last week...
He sees that no one is listening.
JACK
It contained...
Still no one gives attention.
JACK
Important information... regarding...
Marshall looks up.
MARSHALL
It’s just not as booming.
Lauren, Vaughn, and Jack look to him.
JACK
I beg your pardon?
MARSHALL
Your voice.
(beat)
I don’t mean to be offensive or anything,
but it just doesn’t have that commanding
flare to it.
(beat)
Like his used to...
The other three look away. Marshall notices, and he too looks down. Jack clears his throat.
JACK
Yes, I...
He clears his throat again to revert back to serious mode.
JACK
The documents retrieved last week in
Monaco along with information found in
the Scout Novel have lead us to believe that
the Covenant is on the verge of uncovering
Rambaldi’s greatest work ever.
Jack clicks a remote and a picture of undecipherable scribbles and sketches on old parchment comes onto the screen.
JACK
Viator they call it-- The Traveler.
Lauren is the first to pipe in. Jack seems relieved that someone else is paying attention.
LAUREN
What is it?
JACK
Apparently, no one knows. As stated in
the Covenant documents, all writings of
the piece are indecipherable, as all sketches
and blueprints are nonsensical. We do know,
however, of this.
Jack clicks the remote again to reveal a vial of green liquid on the screen.
MARSHALL
It looks like Cool-Aid.
JACK
It is far from Cool-Aid. This vial holds
the only thing keeping anyone mystified
about Viator. It is called--
SYDNEY (OS)
The genesis elixir.
All turn to Sydney who is still motionless in her chair; her eyes looking aimlessly into nothing.
JACK
Sydney. That’s undisclosed information, how
did you--?
SYDNEY
(still giving no eye contact)
I stole it.
Silence. Finally, Sydney looks up.
SYDNEY
Seven years ago in Milan.
FLASHBACK SEQUENCE...
SYDNEY (VO)
Sloane sent me to Milan to infiltrate a
meeting between the KIC and SD-2.
A much younger Sydney, dressed in a brown wig and a business suit walks into a tall building. She talks to the WOMAN at the front desk, smiling and laughing, then accepts a key from her. She walks across the floor to a door and unlocks it with that key.
SYDNEY (VO)
The KIC was exchanging SD-2 ancient Rambaldi
documents and drawings for an undisclosed
amount.
(beat)
I was supposed to record their conversation,
get out, and come home...
Sydney enters the room and locks it behind her. She then runs over to a wall, takes out a screwdriver and begins to unscrew a large air vent. She removes the vent and enters into the ducts.
She crawls through the ducts until she reaches a vent on the bottom of the duct. She peers through the vent and sees a KOREAN MAN talking to another MAN. She takes out a device and clips it on the vent. It attaches, and a red light on the device begins to flash.
SYDNEY
But, something unexpected happened.
Sydney is staring through the vent when she hears a cracking noise. She looks around when suddenly, the duct collapses into the room below, sending Sydney falling down. She gets up from the mess and punches out the Korean Man. She turns and swivel-kicks the other man. The door of the room opens and two GUARDS with guns enter. Sydney dives behind the pile of metal scraps as they fire at her. As they start to reload their guns
, a
piece of metal come
s flying across the room, hitting one of the guards in the head. Sydney runs across the room and kicks the other guard into the door, his neck between the sole of her shoe and her heel. In one motion, she kicks up with the grounded foot and does a backflip. Halfway through it, she takes the gun out of the guard’s hand. She lands on the ground and fires three rounds into the guard’s chest. He gags and lowers to the ground, staining the door behind him with a streak of blood. Sydney turns and runs across the room to an opened briefcase, takes out a manila folder and runs back to the door. She begins to open the door when she sees a small vile of green liquid sticking out of the SD-2 man’s chest pocket. She runs over, takes the liquid out of his pocket and examines it. It is labeled “GENESIS ELIXER.” She pockets it and runs out the door.
END FLASHBACK SEQUENCE...
SYDNEY
I took it back to Sloane. He said lab
tests showed it was just sugar water, some
kind of knock-off remedy the SD-2 official
must have been taking.
JACK
Well, it’s definitely not some “knock-off
remedy.” Sloane must have wanted to keep
it for himself, without anyone knowing.
SYDNEY
Why? What is its significance?
JACK
We don’t know. But we understand that it
is crucial for uncovering Viator.
SYDNEY
But wait. If Sloane kept it seven years
ago--
JACK
(realizing)
Yes, he may know where it is.
INT. CIA CELLS - DAY.
Sloane is behind the bars, sitting on the bed and reading a book. Jack enters the area. Sloane walks up to the bars.
JACK
The Genesis Elixir, where is it?
Sloane looks around and shakes his head.
SLOANE
You know I haven’t slept in two weeks?
No response.
SLOANE
Yes, Jack. Sleeping on steel isn’t the most
comfortable way to spend your nights. My
blanket is thin, doesn’t keep me warm.
I haven’t eaten a real meal since I came in
here. Hunger builds character, though, Jack.
You should try it sometime.
JACK
Where is the Genesis Elixir?
SLOANE
I want different confinement arrangements.
(beat)
I want a private house where I can cook my
own food, sleep in a real bed, and turn up
the heat when I get cold.
JACK
I’m not going to comply to the requests of
a convict.
(beat)
How about you tell me where the Genesis
Elixir is, or you sleep on the floor?
SLOANE
I’m smarter than that Jack.
(beat)
I’m fully aware that the Covenant on the
verge of uncovering Viator.
(beat)
You need the Genesis Elixir now. Before the
Covenant gets it, and it’s too late.
(beat)
Viator can cause great destruction, Jack.
The tales claim it has the capabilities of
ending mankind itself. In the Covenant’s
hands, no one knows what could happen.
Jack glares at Sloane angrily.
SLOANE
Give me my safe house. I tell you where the
elixir is.
Jack shakes his head in disbelief.
JACK
You c***y bastard.
Sloane shrugs.
SLOANE
What are friends for, Jack?
Jack glares harder at Sloane then sighs.
INT. CIA ROTUNDA - DAY.
Vaughn is at his workspace, trying to type with one hand. Sydney walks up to him.
SYDNEY
How’s your shoulder?
Vaughn looks up at her, a bit startled.
VAUGHN
Ah, you speak.
SYDNEY
(sarcastically)
Okay. I hope you’re in pain.
He smiles. She smiles back.
VAUGHN
It’s getting better.
(beat)
I mean, I can’t move it or anything yet.
And I won’t get any work done unless I
miraculously become ambidextrous...
why the sudden change of mood?
Sydney sighs.
SYDNEY
I talked to Dr. Barnett today. She really
put things into perspective for me, you
know? She really made things clear.
(beat)
The longer I let it haunt me, the more of
my life I’m wasting. Dixon wouldn’t want
that, I mean, I worried about him enough
when--
Sydney stops abruptly and looks up, startled. She sighs and barely lets out the next words.
SYDNEY
...when he was alive.
Vaughn stands up and hugs her. She hugs back, still somewhat saddened.
VAUGHN
Hey.
(beat)
Dixon will always be alive. In our hearts
and in our prayers...
The hug ends. Sydney steps back, her sadness fading.
SYDNEY
I just miss him, that’s all.
VAUGHN
We all do, Sydney.
Awkward silence.
VAUGHN
Are you gonna be--
SYDNEY
Yeah. Yeah, I’ll be fine.
She stands there and smiles. Vaughn puts his hand on her shoulder and walks away. Sydney walks across the floor and opens a glass door into small meeting room. Through the glass door, we see her slump against the wall. Her face tightens as we hear a muffled cry.
EXT. ROME - EVENING.
The beauty of ancient Rome is still apparent in the evening twilight, with its many domes and churches in the skyline.
EXT. PANTHEON - EVENING.
A black van screeches to a halt in front the Pantheon, between the great obelisk-topped fountain and the front pillars. Seven AGENTS dressed in all black quickly file out of the van with large guns and run up the front stairs to the entrance, which is blocked by two large pieces of wood. The agents line up against the exterior stone wall. One motions and two of the agents kick in the wooden coverings.
INT. PANTHEON - EVENING.
The PANTHEON MANAGER quickly comes across the floor to the entrance, a concerned look on his face. He sees the agents coming in and shouts to them.
MANAGER
(Italian accent)
Excuse me!
(beat)
Excuse me! We’re closed for construction!
One of the agents c***s his gun and shoots four rounds into the Manager. The Manager shouts, falls to his knees, and then to the floor. The agents quickly scatter through the area, their guns aimed, looking for other people. The head agent turns in a full circle then calls to the others.
HEAD AGENT
We’re clear! Let’s go!
All the agents meet in the very center of the Pantheon on a large circle. One of the agents motions to another who takes out a square device and sets it on the center of the circle. He presses two buttons and the screen on the device lights up “:10.”
AGENT
Stand back.
The agents creep backwards as the timer continues until it reaches “:01.” The device explodes, causing the entire circle to break up into pieces and fly through the air. The agents duck their heads until the explosion dies. The head agent approaches the steadying flow of smoke coming from the epicenter of the blast. He waves some smoke out of his way and stands over the place where the circle was. A deep hole the size of the circle now sits there.
INT. CIA SAFEHOUSE - EVENING.
Sloane is seated at a table, eating spaghetti. Jack is seated opposite him, waiting. Sloane eats a forkful.
SLOANE
Mm. Mm Mm Mm. Jack, you have no idea how
long I’ve craved to eat Italian.
JACK
Get a hold of yourself. It’s compliments of
Chef Bouyardee.
SLOANE
Yes, well.
Sloane wipes his mouth with a napkin, rests his hands on the table, and sighs.
SLOANE
What can I do for you?
JACK
Do you know where the Genesis Elixir is?
Sloane looks around and then back at Jack.
SLOANE
No.
Jack glares at Sloane.
JACK
What do you mean you don’t know?
SLOANE
Take it easy, Jack. I wasn’t finished.
(beat)
I may not know exactly where the elixir
is, but I know how you can find out.
My Zurich office was compromised a week
ago. I haven’t been back, of course, but
I probably lost everything-- all my
collections, all my paperwork, even my
dear secretary. They were all in that building.
JACK
Don’t tell me the Genesis Elixir was destroyed?
SLOANE
Now let’s think about this, Jack. The Covenant
blows up my office. At the same time, they
are desperately seeking the Genesis Elixir. Do
you really think they would destroy it?
(beat)
Shortly before the explosion my secretary
informed me of a tall woman entering the
building, disappearing for awhile and then...
she’s back. She sees her walk out the door.
JACK
You think she was Covenant.
SLOANE
I know she was Covenant. And I know she
took the elixir.
JACK
How does this help?
(beat)
You say a tall woman came into the office.
We can’t just round up every tall woman
in Zurich and question them.
SLOANE
After my secretary told me of this, I went
into the surveillance room and took the daily
video feed.
(beat)
I have a video of the woman in my left coat
pocket.
Jack stares at Sloane who removes a small tape from his pocket and waves it in his fingers.
INT. SYDNEY’S HOUSE - EVENING.
Sydney is slumped on her couch in a tank top and shorts, sipping a glass of wine and reading a magazine. She turns a page and begins reading when her doorbell rings. She puts down the magazine and walks to get the door. She opens it to find a young man about her size and age with dark brown, perfectly combed hair and a pretty face. He is stubbly and little disheveled. He has a charming aura about him.
SAM
I saw you yesterday.
SYDNEY
(confused)
Excuse me?
SAM
I just moved in, and I’m still trying
to get everything into all the rooms.
I swear, the boxes multiply. So I’m unpacking
all this stuff I never even knew I had and
really don’t like anyway, and I saw you--
SYDNEY
I’m sorry. Who are you?--
SAM
And I saw you tear a door right off its
hinges... just thought you could give me
a hand with my refrigerator...
Sydney looks confused.
SAM
By the way, why did you pull a door off
its hinges? Remodeling the cheap way?
SYDNEY
I was going through a tough time.
SAM
Oh, I see. Wouldn’t want to make you mad.
He sticks out his hand.
SAM
Sam Messler, just moved in.
Sydney accepts his hand.
SYDNEY
So I’ve heard.
SAM
Really? Cause all I’ve met so far was
this old woman up the street.
(beat)
Okay, I actually almost ran over this old
woman up the street, but...
Sydney smiles.
SYDNEY
I’m Sydney.
SAM
Well, Sydney. Could you maybe help me move
my refrigerator? I’ve been chilling my food
in front of the air vent for a day now. I
swear, my house is the second ice age.
Sydney smiles.
SYDNEY
You know what, Sam? I’ve been dying to get
out of the house.
She steps onto her porch and closes the door.
SAM
You can come in as long as you leave my door
alone.
Sydney laughs and they walk out of the frame.
INT. SAM’S HOUSE - EVENING.
The kitchen is contemporary with spotlighting and black countertops, pale walls, steel appliances, and silver tile floors. Sydney and Sam walk in and up to a refrigerator oddly positioned in the middle of the floor.
SAM
I moved it a few inches and now I’m in
physical therapy. I swear this thing weighs
a ton--
Sydney moves over to the refrigerator and pushes it until it turns. She then gives it a large shove and moves it back toward the wall into an empty space. She wipes off her hands and the sweat on her head with her shirt.
SAM
Well. Aren’t you strong?
SYDNEY
And if you eat your vegetables, one day
you can be, too.
SAM
Ah, a clever one.
They smile at each other.
SAM
Gosh, you have a really pretty smile.
(beat)
Hey, now that I can store food, maybe,
I mean if your not busy or anything, you
could come over for dinner or something
this week...
SYDNEY
Ah... I don’t know--
SAM
I’ll make... whatever you want. I could
just really use the company. I’ve been
unpacking with no outside contact for
three days now. I was about to name and
befriend my toaster.
SYDNEY
You’re toaster?
SAM
Yeah. It’s a little shinier than most
people, but hey...
Sydney laughs.
SAM
So, what do you say?
Sydney look around, thinks for a second, and then smiles.
SYDNEY
Yeah.
(beat; sarcastic)
I mean, I’m sure I’ll be hungry.
She sighs.
SYDNEY
And I could really use the company too.
He smiles.
INT. CIA ROTUNDA - DAY.
Jack is working at his desk when Marshall approaches him.
MARSHALL
Mr. Bristow, sir.
Jack turns to Marshall.
MARSHALL
Yes, I, uh. Now that you’re director, I
thought you might want to know I’m
near completion of my analysis of the
stolen files.
JACK
Anything?
MARSHALL
Clearly rerouted to Covenant.
(beat)
Clearly not Vaughn.
Jack sighs in relief.
MARSHALL
He has backed alibis at the times these
files were compromised. Every single one.
(beat)
It’s kind of funny, I mean. Whenever he
left, someone came on his computer and
sent these files to the Covenant.
JACK
Unfortunately, we still have a thriving
mole somewhere in this office.
MARSHALL
I don’t mean to be, uh, like a nosy old
lady or anything, but... any leads on
identifying the mole?
Jack turns to his computer and turns on the screen.
JACK
We have a record of the times every agent
came in and left this building.
He types a few keys and a list of names comes up on the screen.
JACK
We programmed in the times all the files
were sent to the Covenant.
He types a few more keys.
JACK
And...
He presses one more key and a smaller list of people comes up.
JACK
We have fifteen agents that were in this
building at those times.
MARSHALL
Anyone... important? High-ranking?
JACK
None. They’re all novice desk-workers.
MARSHALL
Hmm. Well, I gotta get back to work.
Jack nods and Marshall walks off. Jack turns back to his computer and scans the list. He passes names “Smith, Arnold,” “Ellis, Dakota,” “Tamber, Sam,” and then “Flinkman, Marshall.” Jack sighs and looks over toward Marshall’s office. From outside, we see Marshall typing frantically and eating a sandwich. Jack turns back, picks up his phone, and dials a number.
JACK
Yes, the analysis is finished.
(beat)
Only one person on the list has the clearance
to have accessed those files.
SUPER CLOSE-UP of the name “Flinkman, Marshall” on the list of people, then Jack listening on the phone, his face looking worried.
END OF ACT ONE
ACT TWO
EXT. PARK - MORNING.
A couple are walking with their dog under a gray, cloudy sky. Another pair are playing Frisbee between some autumn-stricken trees. A few kids are playing on the playground behind. Sydney jogs into the frame wearing a gray tank top and sweatpants. Her expression is dazed. She jogs across the awakening park and stops at a bench to rest. She outstretches her arms, holds on to the top of the bench, and breathes deeply. She looks around and then back down at the bench.
VAUGHN (OS)
I thought I’d find you here.
Sydney looks up to see Vaughn standing on the other side of the bench, in a sweat-stained shirt and shorts. His arm still in a sling. He pants and breathes heavily.
VAUGHN
You’re tough competition. I lost you
for about a mile there.
Sydney laughs.
SYDNEY
You’ve been following me.
VAUGHN
Trying.
(beat)
I had to stop to actually breathe after the
third mile, but yeah.
Sydney smiles.
SYDNEY
So... what are you doing here? You don’t
jog this early--
VAUGHN
And I don’t think I’ll start.
(beat)
Cripples like us need their sleep.
Sydney laughs and looks away, then back at him.
SYDNEY
No, really. Why are you here?
Vaughn looks down and sighs.
VAUGHN
I’ve just... been going through a rough
patch in my life. I need someone to talk
to, that’s all. And with Weiss out of
town... the only other person I thought
of was you.
Sydney smiles.
SYDNEY
You are married, you know.
VAUGHN
Yeah, sometimes I have to remind myself.
A moment of silence. Vaughn looks around, sighs, and then squeezes out his next line.
VAUGHN
Lauren moved out last night.
Sydney looks startled.
SYDNEY
Oh... my gosh, I’m so sorry.
VAUGHN
No, no. Don’t be. I saw it coming long
ago.
SYDNEY
I had no idea that you two--
VAUGHN
We’re on good terms and all, but... uh...
we have different interests, you know?
(beat)
We have different values that don’t mix
well.
Sydney sighs.
SYDNEY
Well, I wish you the best.
VAUGHN
It is the best. We weren’t happy.
SYDNEY
I’m sorry.
VAUGHN
Yeah.
Sydney peaks out a smile. Vaughn returns with another.
VAUGHN
You want to know something?
SYDNEY
What?
VAUGHN
I don’t know if I really ever wanted to
marry her. I mean, I wanted to marry
somebody.
Sydney looks down, somewhat uncomfortable.
VAUGHN
Sydney, after you went missing, I was
really thrown into a loop, you know?
(beat)
I had dreams, plans, of spending my life
with you.
(beat)
I really missed you, Sydney. I never thought
anything could impact my life that much.
Sydney laughs a sarcastic laugh. She is a little annoyed.
SYDNEY
Why are you telling me this?
VAUGHN
I married Lauren for comfort. I needed...
someone... to share my time with. I
couldn’t stand being alone anymore.
(beat)
But I guess it didn’t matter. During those
two years, I’ve never been so alone in my
life...
Sydney sighs and looks around.
SYDNEY
I missed you too, Vaughn. I really, really
missed you.
He smiles wide. She sighs. He moves closer to her so that their feet are centimeters apart. She turns her head to the side, embarrassed.
VAUGHN
You really meant something to me, Sydney.
(2 beats)
You really do mean something to me.
She looks up at him. He smiles. They lean their heads in closer. He readies for a kiss but she turns her head.
SYDNEY
(whispering)
Vaughn.
Silence for a moment, then
VAUGHN
(whispering)
What is it?
She leans back out and takes his hands in hers. Her eyes begin to lightly gloss. She takes a deep breath and sighs. She keeps her voice at a low volume.
SYDNEY
When I went missing for two years, I never
knew whether or not I’d ever see you again,
ever see anyone again.
(beat)
I went through hell. Absolute hell. At first
I prayed every day that they’d keep me alive.
But after a few weeks, I started wanting them
to kill me. I figured even death could be
better than what I was put through.
(beat)
When I finally got out okay, I was so
relieved. The first thing I thought about was
you.
(beat)
I went to your door, looked inside.
She sighs heavily. She begins to lightly cry. Her voice raises a little.
SYDNEY
And I saw you.
(beat)
Sitting there, staring out the window,
aimlessly. You looked so miserable. I
smiled, knowing I was about to change your
life. I reached for the doorbell...
She sighs again and cries a little harder.
SYDNEY
And I saw her.
(beat)
She walked up to you and put her arms
around you. She kissed you... and you kissed
her back.
(beat)
I felt betrayed, Vaughn. I felt twisted up
inside. I just ran. Ran as far as I could,
and then I cried, all night long.
(beat)
It took me months to overcome the fact that you
were no longer mine.
(beat)
I loved you Vaughn. I loved you so much.
She begins to full-out cry. He frowns back at her, concerned.
SYDNEY
But I can’t take another heartbreak.
I can’t ruin my life all over again.
He shakes his head.
VAUGHN
Sydney. I won’t. I promise. It’ll never
happen again--
SYDNEY
No... You can’t promise me that!
(beat)
Every day we live a life so dangerous, so
delicate, that it could end at any moment.
(beat)
As it is I worry... every briefing... every
mission... that you won’t be coming back the
next day.
(beat)
And it pains me, because I love you Vaughn.
(beat)
I have always, incessantly loved you. And I
wouldn’t be able to live if I lost another
boyfriend... another fiancé... a husband...
(beat)
That’s why it can’t work, Vaughn. I lost you
once already. For two years I lost you entirely.
(beat)
I can’t handle losing you again.
Sydney lets go of his hands and turns to go, but he grabs her hand back. Vaughn has a fiery passion in his eyes. He is angry, but saddened.
VAUGHN
I can’t let you go.
(beat)
I can’t let you do this.
Sydney lets out a cry.
SYDNEY
I have to, Vaughn.
(beat; she whispers)
I can’t love you.
It hits him. The passion in his eyes immediately dies. He stands there, stunned.
SLOW: Sydney turns to walk. Her hand slips out of his. He leaves his outstretched hand in place, then slowly lowers it to his side. It begins to rain.
Sydney jogs away from him. He stands where he was, watching her fade into the distance. He plops onto the bench, lowers his head, and covers his face with his hands.
From ahead, Sydney looks back from her jogging, takes a deep breath, and wipes the tears from her eyes. She continues to jog further through the park then stops at the playground. She walks past a sliding board and a merry-go-round to a pair of swings, gently rocking with the rain and wind. She lowers onto one of the swings and leans on the chain. She closes her eyes and lets out a cry. LONG SHOT of Sydney lightly swaying on the swing and crying.
INT. CIA ROTUNDA - MORNING.
Jack walks into the building and to the middle of the floor. An AGENT approaches him.
AGENT
Mr. Bristow. The video feed from Arvin
Sloane’s office has been reviewed and
analyzed.
He turns to her, anxious.
AGENT
We have a positive I.D. of the woman you
talked about.
He nods, looks around, leans into her, and whispers.
JACK
Who is she?
AGENT
Well, there’s one problem, Mr. Bristow.
(beat)
She’s dead.
Jack stares at the agent, confused.
INT. COVENANT HEADQUARTERS - EVENING.
The Covenant Headquarters looks similar to SD-6, only with a darker feel and higher technology. Mikelov, the head of the Covenant, crosses the room. An agent approaches him.
COVENANT AGENT
Mikelov, sir, our team is back from the
Pantheon.
Mikelov nods forcefully at the agent who walks away. The team of agents from the Pantheon walk up to him.
HEAD AGENT
We were very successful, Sir.
(beat)
Our source was indeed correct. There was a
well beneath the Pantheon.
MIKELOV
(Russian accent)
And what did you find?
The head agent motions another of the agents over to him. This agent takes out a small wooden box that fits into the palm of the agent’s hand. Mikelov looks amazed down at the box then back up at the head agent.
MIKELOV
The key to Viator?
HEAD AGENT
No one has opened it yet. We figured we’d let
you do the honors...
The agent holding the box hands it to Mikelov. He strokes the top in wonder. He holds the box in one hand and gently lifts the lid with the other. He stares into the box confused. In the box is a small piece of parchment paper with symbols scribbled across it.
MIKELOV
This was all that was down there?
HEAD AGENT
We ran triple checks, Sir. Nothing else was
in the hole.
Mikelov closes the box and hands it back to the head agent.
MIKELOV
Give it to decryption.
(beat)
I want to know what this paper says by the
time I come in tomorrow.
The head agent nods and walks off with his group of other agents. Mikelov walks out of the frame.
EXT. CEMETERY - MORNING.
The trees are now nearly bare. The sky is again gray and a brisk wind rustles the leaves on the ground. A leaf from the ground blows into the air and flies across the cemetery. It glides with the breeze over rows and rows of tombstones, then it stalls in mid-air and gently begins to float out of the frame. We RACK FOCUS to see that below, Sydney is kneeling in front of a tombstone. Her hair and clothes are soaking wet as she looks helplessly at the stone. A gust of wind blows her hair and ruffles her clothes, but she remains. Engraved on the tombstone is: “DIXON, MARCUS.” And under: “Trusted friend, dad, and employee.” Sydney gently stares at the tombstone, her expression a daze. A flash of light then
FLASHBACK SEQUENCE...
A much younger Sydney is escorted by Sloane through the former SD-6 building. They stop.
SLOANE
Sydney, I’d like you to meet your partner.
A younger looking Dixon walks into the frame. Sydney smiles and accepts his outstretched hand.
DIXON
Marcus Dixon.
(charmingly)
It is an honor.
SLOANE
I know he isn’t much, but we thought you
could use some company.
Dixon laughs. Sloane smiles back.
DIXON
I just hope I won’t get in your way.
(beat)
You’re all Sloane’s been talking about these
days, and he seems very impressed with your
abilities. I hope I’m not too forward, but I
pray some of your talents will rub off on me.
Sydney smiles. Dixon winks back. Another flash of light.
END FLASHBACK SEQUENCE...
Sydney is still kneeling in front of the tombstone. A red leaf gently falls onto the top of it. Sydney is taken off guard and goes to brush it away. She stops her hand a few inches away and pulls it back toward her. She sighs and stands up. She takes a deep breath and walks out of the frame. We RACK FOCUS back to the tombstone. Another gust of wind blows the red leaf off the grave.
INT. CIA OFFICE ROOM - MORNING.
Jack leans over a monitor as the agent types on the computer.
AGENT
We ran a face match scan from the woman
found in the video feed.
(beat)
We came up with no matches.
Jack nods.
AGENT
I sent the video to Maxillus over there
She points to a man across the room at a computer. He waves back at them.
AGENT
who ran the feed into his scan system, and we
got a match.
JACK
Why didn’t your system find one?
AGENT
Luckily, Maxillus over there, well, one might
categorize him as “lazy” if you will? He never
updated his software and still had the same
database of people from 1999. The only reason
she was in his and not in mine must have been
because--
JACK
She’s dead.
AGENT
Yes.
(beat)
We looked her up on our grave scan system,
and sure enough, we found her.
The agent shakes her head.
AGENT
Mm. It’s a shame, really. To be murdered at
such a young age.
JACK
Murdered?
AGENT
Well, I guess it’s a shame to be murdered at
any age, but--
JACK
Excuse me, but did you say that woman was
murdered?
AGENT
Found dead in an alley a little more than
two years ago.
(beat)
Apparently, the police have already
labeled it as a cold case.
Jack looks around in thought.
JACK
So who is this woman? What is her name?
AGENT
Her name? Oh, I have it right here.
The agent turns back to her computer and types a few keys. She types one final key.
AGENT
Ah. Here it is. Her name is Francine D. Calfo.
Jack leans in and stares inquisitively at the monitor, then leans out and looks away in disbelief.
AGENT
Poor girl. Just over thirty years old.
Jack hurries away from the agent and out of the room.
AGENT
Mr. Bristow?
The agent turns toward the door and shouts.
AGENT
Mr. Bristow? Is there something wrong?
She shrugs and turns back to her computer.
INT. PARKING GARAGE - MORNING.
Jack waits next to his car. Sydney pulls up in hers and parks. She gets out of the car and walks up to Jack. Her hair and clothes are a little drier, but it is still apparent she’s been out in the rain.
SYDNEY
Dad, what’s wrong? I came as fast as I could.
JACK
When was the last time you saw Alison?
Sydney stares at him, dumbfounded by the question. She sputters out her answer.
SYDNEY
I... I don’t know-- I think I was with
Will last year--
JACK
Did you see her escape?
Sydney looks her father over, very confused. Her eyes then widen.
SYDNEY
She didn’t--
JACK
Sydney, did you see her escape?
SYDNEY
I thought Will killed her, but...
(beat)
No I didn’t see her escape, but I didn’t
see her after he stabbed her either--
Jack sighs nervously and looks around.
SYDNEY
Dad? What’s going on?
JACK
Alison Doren walked into Sloane’s office
and took the Genesis Elixir last week.
Sydney is shocked.
SYDNEY
Oh my god.
JACK
Are you certain she was Covenant?
SYDNEY
She was working with Sark. I have no
doubts... Why, Dad? What’s wrong?
Jack looks very worried.
JACK
Sloane told me that Viator could bring utter
desolation to the world.
(beat)
The Genesis Elixir is what activates Viator.
If the Covenant has the elixir they will
use it for their own purposes. And I bet
you ten to one those purposes aren’t for the
good of mankind.
Sydney is alarmed.
SYDNEY
What do we do?
JACK
What can we do?
(beat)
We haven’t a clue where the Covenant is
located! We don’t even know who runs it.
Sydney stares into the distance, thinking. Then it hits her...
SYDNEY
Mikelov!
JACK
What?
STOCK FOOTAGE - After running out of the demolished Rotunda in “Shattered Glass, Pt. II,” Sydney finds herself at gunpoint from a Spanish man he says “This one for Mikelov” and then is shot dead.
SYDNEY
Last week, when the Rotunda was compromised.
(beat)
I found myself at gunpoint right here in the
garage. The assassin mentioned a man named
Mikelov before he was about to shoot me.
Jack nods.
JACK
I’ll run a trace, find everything we can
on this man named Mikelov.
Sydney nods back. Jack looks around.
JACK
Are you... okay?
Sydney looks at him awkwardly.
SYDNEY
Yeah, I’m fine.
Jack nods.
JACK
Get changed.
He pats her twice on the arm on his way by as he walks back toward his car.
JACK
I feel we have a big day ahead of us.
Sydney nods and watches her father get in his car and pull away.
INT. CIA ROTUNDA - MORNING.
POV: Someone is walking into the Rotunda. People pass and wave as this person continues walking. The person walks past the main area of the Rotunda and opens a door to an office. The person walks in to
INT. MARSHALL’S OFFICE.
Scattered with electronic equipment, Star Wars figures, and computer monitors. The person takes a seat at the computer and turns it on. The screen pops up to find a title of “Marshall’s Computer” and beneath, an animated Marshall doing a dance. A window pops up on the monitor saying “Enter Password:” with a box next to it. The person enters seven digits that appear as just dots on the screen. The desktop of his computer comes up. The arrow from the mouse moves over to a file called “MOLE RESEARCH.” They right click on it, drag the mouse arrow down the menu, and click “Delete.” It disappears from the desktop.
INT. WAREHOUSE - MORNING.
Jack’s car pulls into the warehouse. He exits and walks up to his contact standing in the center of the warehouse.
CONTACT
(Middle-Eastern accent)
Jack.
The contact meets Jacks and they shake hands.
CONTACT
It is wonderful to see you.
JACK
Yes, it’s been a long time. Listen, I need
you to do me a favor.
CONTACT
Anything, Jack. I am in debt to you.
JACK
I’m looking for information regarding a man.
(beat)
His name is Mikelov. And I’m afraid to say
that’s all I know.
The contact’s eyes widen and he turns from Jack.
CONTACT
Mikelov. Why would you need to know about
him?
JACK
Why does it matter? I would appreciate if you
could just find out who he is.
The contact nods his head, still fearful.
CONTACT
I know who he is Jack.
(beat)
And if I were you, I wouldn’t mess with him.
Jack approaches his contact closer, inquisitive.
JACK
What do you know?
CONTACT
Mikelov Tchaikot is his name. Born in a
rich Russian family. Lived in Moscow for
thirty years.
He turns to Jack.
CONTACT
Jack. He’s a dangerous man. He has connections.
No one knows who, no one knows how, but if you
make him angry... you might not wake up the next
morning.
Jack is not phased.
JACK
Anything else?
CONTACT
He is rumored to head a top-secret
terrorist organization. But no one can prove
it, and I am certain no one ever will.
Jack nods.
JACK
Do you happen to know the name of this
organization?
The contact sighs.
CONTACT
I don’t even know if it exists.
Jack nods.
CONTACT
I’m very sorry, Jack. The information you
ask for isn’t available for my taking.
Jack nods again and smiles a small, reluctant smile.
JACK
Thank you. I’ll be seeing you.
He turns to go.
CONTACT
Jack.
Jack stops and turns.
CONTACT
You shouldn’t go looking for this man. Anyone
who has ever come close to uncovering his
true agenda has mysteriously disappeared...
Without any acknowledgement, Jack gets back in his car and drives away.
INT. CIA MEETING ROOM - DAY.
Sydney, who is now dry and in work clothes, is seated across the room from Vaughn, who is also dry and in work clothes. Lauren is seated closer to Sydney, and next to her, Marshall. Jack is standing in the center of the room.
JACK
We believe to have a positive ID of the
Covenant leader.
Jack clicks the remote. A picture of Mikelov comes up on the screen.
JACK
Mikelov Tchaikot, a Russian businessman,
seems to have all signs point to him being
head of the Covenant.
(beat)
My sources tell me he is very ill-mannered and
dangerous, eager to kill anyone who proves
an obstacle on his path to success.
LAUREN
Do we know where he operates?
JACK
My contact said he lived in Moscow for thirty
years. Something tells me he wouldn’t be too
eager abandoning his place of upbringing.
SYDNEY
You think the Covenant headquarters is in
Moscow?
JACK
It’s a personal thought. That’s all. We
have no hints, no evidence, no data.
He shrugs.
JACK
Just a hunch.
Sydney looks stunned.
SYDNEY
Dad, we can’t execute a plan based on a
mere hunch!
JACK
That is why we wait. All of our resources
are being used for finding the location
of Michelov Tchaikot.
(beat)
Now that we know his name, I predict a
matter of days before we have an exact
location.
Sydney nods.
INT. CIA ROTUNDA - DAY.
Sydney is walking across the floor. Marshall stops her.
MARSHALL
Sydney!
Sydney turns.
MARSHALL
Sydney, uh, hi. I’ve been wanting to talk
to you.
He clears his throat.
MARSHALL
We never really got to discuss...
He becomes tongue-tied.
SYDNEY
Discuss what?
MARSHALL
Well, you know...
(beat)
What happened... last week.
Sydney takes a deep breath.
MARSHALL
Sydney. I’m really sorry. I mean, about
almost turning you over to the Covenant
and all.
Sydney fakes a smile and nods.
MARSHALL
(serious)
The Covenant came into my house and put a
gun to my baby’s head. What was I supposed
to do with that, you know?
(beat)
I mean, as a father, do you have any idea
what kind of position that puts you in?
He’s only a baby.
Sydney stares at him in disbelief. She begins to understand his choices.
MARSHALL
They made it certain they would kill little
Mitchell if I didn’t drop you off at the
port. They gave me no other information,
but I was desperate, Sydney. I didn’t want
to lose my only son.
Sydney looks down and sighs. She shakes her head.
SYDNEY
Why didn’t you tell me any of this?
MARSHALL
You don’t know what goes through your head
when the one thing you love more than
anything in this world...
His eyes water and he looks away.
MARSHALL
I didn’t want... anything to happen to Mitchell.
And I was afraid that if I had told you... they
would have somehow found out... and killed him.
Sydney is obviously sorry for ever doubting Marshall.
SYDNEY
Oh my God... I mean, I had no idea.
MARSHALL
I couldn’t eat for a day... I just kept
thinking about what would have happened
if they did kill him.
SYDNEY
But Marshall, you warned me. At the port you
told me to run... Why didn’t they--
MARSHALL
I got home and they were still there. They
told me I had been warned and would have
to suffer the consequences...
FLASHBACK SEQUENCE...
MARSHALL (VO)
They took poor Mitchell.
One of the agents in Marshall’s home picks up Mitchell.
MARSHALL (VO)
Raised the gun to his head.
The same agent raises a gun to the baby’s head.
MARSHALL (VO)
I couldn’t take it, I just closed my eyes
and waited.
Marshall closes his eyes and ducks down, begging to the agent.
MARSHALL (VO)
And I heard it. A gunshot.
Marshall, still with closed eyes, shouts out to Mitchell.
MARSHALL (VO)
And then another. And another.
The agents in Marshall’s house fall to the ground after being shot.
MARSHALL (VO)
I opened my eyes and they were dead. All
of them, just dead.
(beat)
But Mitchell was okay. That’s what mattered.
Marshall opens his eyes and sees the dead bodies. He picks up a crying Mitchell from the ground and hugs him tight, thanking God.
END FLASHBACK SEQUENCE...
MARSHALL
I am so grateful they didn’t kill my baby.
SYDNEY
And you have no idea who killed them?
MARSHALL
I don’t know, and I don’t care. It was
priceless enough seeing Carrie come home
to a house full of dead bodies...
He chuckles, then clears his throat back to serious mode.
MARSHALL
But whoever it was saved my baby.
(beat)
And probably saved me.
Sydney comes toward Marshall and hugs him.
SYDNEY
I’m so sorry I ever doubted your loyalty.
They pull back. She shrugs.
SYDNEY
I mean, with all this talk of moles, I
just became suspicious, that’s all.
(beat)
If I had known--
MARSHALL
Hey, don’t let it bug you.
(beat)
I prefer to put those type of moments
in the past, you know? Move on with my
life.
Sydney thinks for a moment, seeing the irony in the situation. She smiles and nods. Obviously lying, she responds.
SYDNEY
Yeah, I do.
(beat)
It’s for the best.
Marshall smiles and walks away.
INT. CIA ROTUNDA - DAY.
A desk agent is typing on his computer. He looks up at the monitor. A window pops up reading “MESSAGE: URGENT.” The agent stares curiously at the screen as he clicks on the window. He reads the screen and his eyes become wide. He immediately gets up and runs off.
CUT TO:
Jack is talking to another agent at his desk. The desk agent runs up to him.
DESK AGENT
Mr. Bristow. We have received an unexpected
message.
JACK
Who sent it?
The desk agent looks around and leans in to Jack. He whispers.
DESK AGENT
Mikelov.
Jack stares at the desk agent curiously.
END OF ACT TWO
ACT THREE
INT. MIKELOV‘S OFFICE.
Mikelov is sitting in his office at his desk, his elbow leaning on the desk, his hand clasped over his mouth. He is staring into space when a covenant official named Ivan walks into his office.
IVAN
Mikelov.
Mikelov turns to his employee.
MIKELOV
Ivan. Please.
He motions for Ivan to sit in front of his desk. Ivan nods his head and sits. The parchment is laying on the desk near Ivan. Ivan eyes the piece of paper.
IVAN
Thank you, Sir.
Mikelov nods back and continues to stare into space.
IVAN
Sir. I was just wondering... have we
uncovered any further information on Viator?
No response.
IVAN
What it is?
(beat)
Where it is?
(beat)
What it does?
Mikelov sighs heavily, but does not turn to Ivan. He waits. After no response, Ivan continues.
IVAN
I mean, we must have found something in Rome.
(beat)
The parchment, the one found in the box...
did it say anything?
No response. Awkward silence. Finally, it is broken.
MIKELOV
(without looking over)
Ivan, if you had a wish in life, what
would it be?
Ivan is caught off guard by the question.
IVAN
Sir... I don’t understand--
MIKELOV
If you were to find... oh I don’t know...
say... a magic lamp?... a wishing well?...
and you were granted one wish...
what would it be? Just out of curiosity...
Ivan cannot say. He looks down and thinks hard.
IVAN
I don’t know, Sir. I... there are a lot of
things I’d like to have... but one wish...
it’s just hard to choose--
Mikelov turns to Ivan.
MIKELOV
What about your wife?
Ivan looks at Mikelov curiously.
IVAN
Mr. Tchaikot, she died in a skiing accident
three years ago--
MIKELOV
I am aware.
(beat)
But what if... what if you could have her
back... would you use your one wish to do
it?
(beat)
Would you use your wish... to be with your
wife?
Ivan thinks deeply on the question. He cannot respond.
IVAN
Sir, this is a very hard question.
(beat)
I mean, I do miss my wife and all, but...
playing with time... I don’t know...
(beat)
I figure that maybe God chose that it
was her time to go.
(beat)
And I would never want to betray God,
Sir... I would never want to undo what he
has done.
He thinks hard, then shakes it off, realizing how irrelevant of a question it is.
IVAN
Why does it matter? Are you telling me
Viator grants wishes?
Mikelov stares back out in space. He gently shakes his head, as if in a daze.
MIKELOV
No, Ivan.
(beat)
Viator does not grant wishes.
Silence. Ivan waits for a command from Mikelov.
MIKELOV
You may go, Ivan.
Ivan nods and stands. He turns his body so that his right hand sweeps past the parchment.
INSERT - On its way by the paper, Ivan’s hand presses on a small, square object hidden in his palm.
Ivan turns toward the door to the office and leaves. Mikelov picks up the tiny parchment from the top of his desk, looks at it for a moment, puts it back in the small box, leans his head on his hands, and sighs deeply.
INT. COVENANT HEADQUARTERS.
Ivan quickly walks passed busy workers who shuffle papers and type at their desks. He opens a glass door into a small room with computers on the wall. He takes the small black object in his hand and plugs it into one of the computers. An image of the “Fabula Viatori” appears on the screen. The image prints out onto a piece of paper. Ivan then disconnects the computer, takes the paper, and walks out of the room.
INT. CIA ROTUNDA.
Jack and the agent walk up to a computer. Jack looks at the
message on the screen. He reads the screen, then stares at the agent in disbelief.
JACK
Does this mean...?
AGENT
It appears so.
(beat)
He left a number. Says it’s secure.
Jack nods, walks away from the desk, and picks up a phone. He dials a number.
INT. COVENANT HEADQUARTERS.
Mikelov is as we left him, his hands resting on his head, sitting in his office. The phone next to him begins to ring. He rolls his chair over and picks up the phone.
MIKELOV
I am pleased you have decided to call.
INT. CIA ROTUNDA./INT. COVENANT HEADQUARTERS. PHONE CONVERSATION.
Jack talks on the phone.
JACK
Is this Mikelov Tchaikot?
Silence as Jack waits for his response.
MIKELOV
(from the phone)
Yes. This is he.
Jack nods his head.
JACK
What do you want from the CIA?
MIKELOV
Now hang on, I introduced myself, so I think
it is only fair to know who I am speaking to...
Keep reading further down!