Transcript- S4/E19
uncle111
4X19 - IN DREAMS...
Original Airdate (ABC): 11-MAY-05
WRITTEN BJ JON ROBIN BAITZ
DIRECTED BY JENNIFER GARNER
ORIGINALLY TRANSCRIBED BY ALLILEV FOR ADDICTED TO ALIAS
TRANSCRIPT ARCHIVED WITH PERMISSION AT TWIZ TV.COM.
DO NOT archive/post this transcript without permission from the
transcriptionist.
==========================
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TRANSCRIPT:
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@@@
Two vehicles, including a van, drive up to a monastery. Monks gather in
front as Arvin Clone steps out of the car.
Monk: Mr. Sloane, welcome to Mount Inferno Monastery of the Vespertine
Order.
AC: Thank you.
Monk: You will forgive us our cautions.
AC: Of course.
Another monk sweeps him as we see another monk holding a rifle.
AC: Hunting season?
Monk: Come. Father Kampinski is waiting.
Monks close the monastery gate as we see the Rambaldi eye at the top.
We go inside.
Kampinski: Mr. Sloane.
AC: Father Kampinski. Thank you for agreeing to meet with me.
Kampinski: What can I do for you, Mr. Sloane?
AC: Our institute is mandated to develop methods to counter terrorism.
We have, of course, heard about the work you've done here. And, you
know, wanted to perhaps-
Kampinski: Our bees are not for sale.
AC: Well, of course they're not. What we wanted was your. .
.knowledge, not your insects, per se. I understand, you've bred the
aggression out of them.
Kampinski: This is not strictly true. The aggression is there. The nee
for it, happily, is not. Come Mr. Sloane. I'll show you.
Outside. Watching bees mess with the flowers. There are monks
everywhere.
Kampinski: Our bees have an exceptionally venomous sting. They're
very hard to antagonize. They choose productivity over aggression.
Aggression is a distraction, which is why we're able to work among
the apiaries without the traditional protective garments.
AC: Remarkable.
Kampinski: There is so very much we can learn from these exquisite
beings.
AC: Fascinating.
Kampinski: They're imbued with a kind of grace- unlike so many
humans.
AC: And you've achieved that grace? How?
Kampinski: Monte Inferno, we're dedicated to the- the marriage of
supposed opposites, amongst them man and his science, God and his
miracles coming together for the profit of all. Just think about it.
The right blend of genetic engineering, dietetic supplements, behavior
modification, and-
AC: (nods) You could create a new species.
Kampinski: Oh, no ,no, my son. Merely a better bee. One closer to
God's grand design. We even have the ablilty to control their body
temperatures, makes the bees work harder, longer, more in synch- all
for the common good.
They come to a room in a greenhouse. In that room, is a large flower.
There are bees everywhere.
AC: Extraordinary. Paphiodilum khan. The rarest of lady slipper orchid
species, generally thought to be extinct.
Kampinski: Not exactly. A close cousin.
AC: No. This is the genuine article. Brought here to Italy from China
by Marco Polo, 1269, a gift from Kubla Khan.
Kampinski: And what do you want?
AC: If I might, I'd like to spend a little time here, examine your
historical papers, take a cutting of your orchid.
Kampinski: A cutting? Hahaha.
AC: For $50 million. Deposited immediately. To your accounts in Vanuatu
and Samoa.
Kampinski: Yes, it's true, I have a little put away for a rainy day.
The fact is, I'm uninterested in money. I'm a man of God, not a
merchant.
AC: In my experience, Father, the two are hardly mutually exclusive.
Kampinski: I'm so sorry you came all this way for nothing.
AC: No. I'm the one who's sorry.
Arvin Clone on phone. Outside.
AC: (to phone) I'm coming home.
Inside van, a woman snaps shut a phone. There is also a man.
Woman: Plan "B".
Man messes with a computer, and we see a miniature Rambaldi ball
spinning quickly.
The bees go crazy and start stinging people. Cries of "ow" and
general screaming as the bees continue to sting, growing rapidly in
momentum. Arvin Clone walks around wearing a bee mask and carrying a
rifle. All the other monks lay unconscious, if not dead. He comes up to
Father Kampinski, is not yet dead.
Kampinski: Please. . .help me.
AC: Certainly. Anti- venom. (holds up a tube) Enough to give you a shot
of actually surviving. But first, the Rambaldi orchid formulas. Which
you used on your bees.
Kampinski: You go to hell.
AC: You first. (he shoots him with the rifle)
@@@
Infirmary. Jack sitting on a hospital bed, with the nurse holding his
arms up. Sydney looks on.
Nurse: Now keep both arms up. Like this.
Jack: Yes, I know, I know. You tell me every day, thank you. (to
Sydney) They treat me like an idiot. (he starts to put his arms down)
Sydney: Keep them up Dad. It's for your own good. Dr. Liddel said you
have to follow the procedure to the letter if you want to make a full
recovery. (she buttons his cufflinks for him)
Jack: I never thanked you for what you did- helping to find Liddel.
Sydney: You don't have to. (buttons his other sleeve)
Jack: That other charade- you pretending to be your mother- whose idea
was that?
Sydney: Sloane's. You were living in 1981. You were delusional. It
was the only way we could get you to reveal LIddel's whereabouts. You
told her, dad. You told mom you were a CIA agent. You broke protocol.
That's how she stole Agency secrets.
Jack: (referring to his arms) I'm putting these down now.
Sydney: You also said you were thinking about resigning from the CIA.
(pause) You would have, right dad? If she hadn't left?
Jack: I didn't like being away all the time. Not being a part of your
life.
Sydney: You're part of it now.
Nadia walks in as Sydney helps Jack put on his jacket.
Nadia: They're ready for the briefing.
Sydney: Thank you. We're coming.
@@@
Briefing room. Gang around table.
Sloane: Yesterday a rare orchid was stolen from the Monte Inferno
Monastery in Umbria. 45 monks were killed to obtain it. Satellite
photos confirm it's the same man we encountered in Santiago, the man
who claims to be me. Details are in your briefing folders.
Sydney: What's so special about this orchid?
Marshall: Well, it has chemical properties, which heighten receptivity
in the neutral pathways. . .we think- we assume, well, we don't know,
really. It's just that nobody in the scientific community has laid
eyes on it for centuries.
Sloane: We have been asked to recover it. Find the imposter. Get the
orchid. I want a plan on my desk by 2200. That's it.
Everyone gets up and leaves. Except Jack.
Jack: Arvin. . .a word.
Sloane: Of course.
@@@
Sloane's office.
Jack: You said it was harmless, this could never happen.
Sloane: I didn't know it could. I never imagined the effects of the
orchid could be reversed.
Jack: No, but somebody did.
Sloane: Let's not overreact, Jack. What we saw- the effect of the
Mueller device- was a demonstration on insects, not on humans.
Jack: We are staring at the potential for global disaster, in no small
part because of what you've put in place.
Sloane: Don't you think I realize the responsibility I bear? We need
to find the orchid, Jack, not waste time arguing over what we can't
change.
Jack: 72 Hours. If we haven't recovered the orchid in that time,
I'm going to Langley with this. It'll mean the end of you Arvin.
Sloane: You too, Jack.
Jack I know. 72 hours.
@@@
Sydney's apartment. Sydney, Nadia, Vaughn, and Dixon.
Dixon: The Italian police dead-ended on both vehicles. Satellite
surveillance was a bust.
Vaughn: Echelon's bone-dry. Apparently our Sloane Clone's vanished
into the ether.
Nadia: Then we're back to square one.
Sydney: Not exactly. If we can't find him, we'll make him find us.
The Vespertine papers- Rambaldi texts that refer to our stolen orchid.
Rumor is they were destroyed during World War II.
Vaughn: You want to bring them out of hiding?
Sydney: Leak dummy intel that they were found in Father Kampinski's
personal belonging's.
Dixon: We can get the DSR to loan us some documents.
Nadia: Set it up as an auction.
Sydney: I have a contact at the Paris Antiquities House.
@@@
Paris. Auction house. Nadia and Dixon walk down the stairs.
Dixon: Smile and look like a lot of money.
Nadia: Dollars or euros?
Dixon: Euros definitely.
They come up to a desk.
Dixon: Mark Mullins from the Carolina Institute.
Dixon: (signs paper) Ah, yes.
Nadia: (desk person hands her a card) Thank you.
Marshall: (on comms, watching the camera that's in Nadia's glasses)
Evergreen you are on the air.
Vaughn: Uplinking to APO.
APO Jack, Sloane, Sydney around the table.
Sydney: I'd love to be there.
Sloane: It's too risky. The imposter's seen you before.
Sydney: I know, just-
Sloane: Nadia will do fine.
Jack: Let's hope so.
Back to auction room. A crowd of people sit in chairs, including Nadia
and Dixon.
Auctioneer: Sold, for 5 million euros to the man in the gray flannel
suit. Our next item- lot 47- is a last-minute addition. The Vespertine
papers. (man carries briefcase to table) All interested bidders should
take a few moments to examine the documents. Look, but, please, do not
touch.
Nadia and a few other people walk up to the table and examine the
briefcase.
Sydney: Let's see who takes the bait.
Nadia looks at the other buyers standing around her.
Sydney: Identity?
Sloane: Toshira Tokenada. Wealthy Rambaldi collector from Kyoto.
(another person) Efraim Dousseau Ngumbe. Dilettante, far more money
than vision. (another person) I've never seen her before.
Sydney: Evergreen, get a look at her name tag. Pamela McNabb, Stanwyck
Institute
Marshall: Yowza.
Vaughn: Easy.
Marshall: What? We can't appreciate beautiful things? No, you're
right, watch tv, can't touch the knobs.
Jack: (looks something up on computer) It's a dummy corp. McNabb's
a phony.
Auctioneer: (guards take the briefcase out) We will start the bidding
at 2 million euros. (man raises sign) I have 2 million. Do I hear 2.5?
(other man raises sign) 2.5. Do I have 3 million? (Dixon raises sign) 4
million. 6 million. 9 million. 10 million.
McNabb stops bidding and listens to a cell phone.
Nadia: (notices) Our girl stopped bidding.
Sloane: Something went wrong. Merlin, McNabb's cell phone.
Marshall: I'm all over it. (types at a computer) Scanning to get a
GSM source. Her conversation's encrypted.
Auctioneer: 11.5? (McNabb gets up and leaves)
Nadia: McNabb's on the move.
Sydney: Stop the woman.
Dixon: (sitting in a chair) Copy that. (gets up and follows)
Auctioneer: 12 million? (Nadia follows McNabb)
Jack: Suppose she's not working for your imposter.
Sloane: No, it's her.
Sydney: Then why's she leaving.
Sloane: I would only stop bidding if I was certain that I could recover
the papers through some other means.
Auctioneer: 13 million?
McNabb walks down the hall followed by Nadia and Dixon.
Sloane: She's a decoy. Outrigger, check the papers.
Dixon: Copy that.
In the auction room, people are passed out as a guy steals the papers.
Nadia chases down McNabb. Dixon enters the auction room to find people
unconscious and the papers missing.
Dixon: Evergreen, forget about her, the papers are gone. Out the back.
(pulls out a gun and runs outside)
A van is leaving. Dixon chases it, until a CIA van drives up and blocks
it. Dixon, Vaughn, Nadia, and Marshall kill the drivers and open up the
back to find Arvin Clone.
AC: Marcus. What a surprise.
Vaughn: We got him.
Sloane: Good work. Bring him home. We'll make him tell us where the
orchid is.
@@@
APO White room. Arvin Clone is sitting in chair. Just outside, Nadia,
Sydney, Marshall, watch him. Jack and Sloane enter the room.
AC: Jack. Of course, I should have known.
Jack: You know me.
AC: Well, what kind of question is that? Of course I know you.
Sloane: And me?
AC: What about you?
Sloane: Do you know me?
SC: No.
Sloane: I am Arvin Sloane.
AC: I see. This is your idea, Jack- play with my sense of reality.
Jack: I don't know what you're talking about. I've never met you.
AC: It's not going to work. Ok. Shall we state this for the record? I
am Arvin Sloane.
Jack: Posing as Arvin Sloane, you recently stole a rare orchid from the
Monte Inferno Monastery. Your masquerade is over. You've been caught.
AC: What happens next? You deprive me of food? Try to alter my sense of
time? Childish attempts to break me down. You, Jack, of all people
should know that.
Jack: Who are you?
AC: Who am I? 1985. Belize. For 72 hours we were stuck in a safehouse
questioning a revolutionary. And after you cut off- how many fingers
was it?- 8, he told us what we wanted. Only you and I know that. You
let it off the after- action report. How desperate the company must be
to play this pitiable mind game. Think you could call this. . .actor,
this- this clown, Arvin Sloane and make me doubt my own identity?
Jack: Tell me, how do you account for the fact, that in the recent
past, this man created and ran an international relief agency called
OMNIFAM? The world knows his face as Arvin Sloane.
AC: He's a CIA stooge with my good looks, and I can prove it. The
affair in Santiago, I noticed that both Marcus Dixon and Sydney Bristow
were in on that mission. It beggars reason to believe these same two
agents would ever agree to work for the man who killed their loved
ones. That's the most logical scenario. That I'm the imposter. .
.or that you are?
Marshall: (on the computer, moves to the other computer) This is weird.
AC: And unless you have anything better to offer, either start cutting
off my fingers or kindly call my lawyer.
Nadia: (walks in) Marshall would like to see you.
AC: Tell him I said hello. (he doesn't appear to recognize Nadia)
Jack: (to Sloane) Try not to kill him. (he follows Nadia out the door
and speaks to Marshall) What have we got?
Marshall: Oh, hey, uh, I think you should see for yourself. (he turns
the monitor so Jack can see)
Jack: What am I looking at?
Marshall: Well, these are the imposter's EEG readings, his brain
activity. Basically every individual has a unique brain pattern, a
signature, and- take a look at this other one.
Sydney: They're identical.
Marshall: Exactly.
Jack: Whose EEG is this?
Marshall: Well, that's the weird part. I pulled these from the CIA
database. This is Arvin Sloane. The real Sloane. Our Sloane.
Jack: You're telling me, these two men share identical brains?
Marshall: For all intents and purposes, well, yes. I mean, this man is
Arvin Sloane. At least his brain is.
Nadia: How is that possible?
Marshall: Back at SD-6, I worked on a project that focused on brain
imprinting. Engram encoding.
Jack: That program was run out of psy-ops, by McCullough.
Nadia: Who's McCullough?
@@@
Breifing room. Gang, including Sloane, sits arounds table.
McCullough's picture and info pop up on a screen.
Jack: Calvin McCullough, senior partner at SD-6. He headed the
psychological warfare and operations division. Among the numerous
programs he oversaw, was something called Project Brainstorm. It's
purpose- to explore experimental technologies to aid in interrogation,
brainwashing, the creation of sleeper agents, as well as the transfer
of memories. From one subject to another.
Sydney: This is what we think happened to this man? He was made to
believe he's Sloane?
Jack: Not just believe, but to act. Among other things, he shares the
same desires, which explains his pursuit of Rambaldi artifacts.
Marshall: Well, if you think about it, this guy's been able to stay
two steps ahead of us the entire time. He thinks like you, he knows
your strategies, your playbooks, your secrets.
Sydney: When we were in Santiago going after Sloane Clone the first
time, you knew the access code to his facility- "Jacquelyn".
Sloane: I had no reference to that. It just came to me.
Marshall: Probably because it's buried deep inside your subconscious,
which also means it's buried inside his.
Nadia: But you said they were only experimental technologies at the
time. So someone must have continued McCullough's research after SD-6
was taken down.
Jack: McCullough was tipped off to the raid. He evaded capture.
Nadia: Who tipped him?
Sloane: I did. I owed him a favor, one he clearly didn't return to
me.
Sydney: If McCullough is holding the strings, then we may have a lead
on the orchid.
Sloane: I have a good idea where he might be.
Jack: I'll put Dixon and Vaughn on McCullough. In the meantime, we
continue the interrogation here.
@@@
Buenos Aires. McCullough is sitting at an outside table reading the
newspaper. Vaughn and Dixon approach him.
Dixon: I see you are enjoying your retirement.
Vaughn: Don't mind if we join you, do you? (they sit, McCullough
looks shocked)
McCullough: It's been a long time, Mr. Dixon. To what do I owe the
pleasure of your company?
Dixon: Arvin Sloane sent us. The real Arvin Sloane. Tell us where the
orchid is and we might be able to cut you a deal.
McCullough: I don't know where it is. (McCullough rips up a piece of
paper and empties the powder into his coffee cup. HOW DO DIXON AND
VAUGHN NOT SEE THIS? It's right in front of their faces.)
Vaughn: Listen to me if you don't want to spend the rest of your like
in a federal prison, I suggest you start cooperating with us now.
McCullough: And I am telling you I don't have the answers you're
looking for.
Dixon: We know you used Project Brainstorm technology to make that man
believe he's Arvin Sloane.
McCullough: And I'm not denying that.
Dixon: You had him acquire the orchid for you. Where is it?
McCullough: (takes a sip of coffee) Yes. I made him believe he's
Sloane. But I did to good a job. He double-crossed me and kept the
orchid for himself. Just like Arvin would have done.
Vaughn: You're lying.
McCullough: I'm beyond lying. All that really matters now is that my
employer would never let me live long enough to be interrogated, and
that right now I have 300 milligrams of cyanide coursing through my
veins.
Dixon: The coffee.
Vaughn: Get an ambulance! (shouts something in Spanish)
Dixon: (Dixon holds him up) Who are you working for?
McCullough: Tell Arvin, I- (he dies)
@@@
Arvin Clone interrogation room. AC is sitting. Sydney walks in.
AC: I'm so happy to see you Sydney.
Sydney: I have only one question to ask you. Where's the orchid?
AC: Four years is a long time not to see someone you love. It appears
you've done well.
Sydney: Look, if you want to tell me where to find the orchid, I'll
be happy to continue this farce, otherwise. . .
AC: Are you sure that's what you want, Sydney? Think about it. There
are so many things you could ask of me. Why not choose one that
matters.
Sydney: Such as?
AC: The reengineering of the evolution of a species.
Sydney: You found an application for one of Rambaldi's formulas.
AC: Mm-hmm. Finally. I'm the first to admit that some of Rambaldi's
quests occasionally degenerated into sheer folly, but not this one.
Sydney: Go on.
AC: The work we did- the work you do now- taking down bad guys, putting
out fires- you're a beat cop. Not making a dent. You've got to go
to the source. Human nature itself. Where we are headed. What will
become of human beings. You want to change the world? You want to
really deal with the vanquishing of evil and the ascendancy of good?
Well, I'm your guy.
Sydney: You're telling me you're one of the good guys?
AC: Come work with me.
Sydney: This work- would it involve genetics and bioengineering?
AC: In part. A Vulgarian would use the word "mutate", but it has
such negative connotations.
Sydney: Mutate into what?
AC: Ostensibly into a more evolved, less aggressive being- you know,
cooperative, calmer.
Sydney: Easier to control, like the bees at the monastery. You turned
them into killers.
AC: The bees were a test. I wanted to see if what goes down, could come
up so to speak. Oh, come on Sydney, how many wars were there last
century? And how many people died in those wars through genocide or
political repression? We're disgusting, humans. Do we learn from
grace or beauty or what we call God?
Sydney: What were you gonna do about it?
AC: Suppose one could administer a formula to the general population
that would quietly alter our brain chemistry, exponentially expanding
our capacity for qualities like empathy and harmonic coexistence.
Sydney: This formula- how would you administer it?
AC: Nothing could be more simple. (he places his glass of water in
front of her) Do you have any idea how many additives are in our
drinking water?
uncle111
talking.
Sloane: If I could undo what I did, I would. The truth is, through
OMNIFAM, I introduced a combination of substances into water supplies
throughout the world. It was my intent, based on Rambaldi's formulas,
to create a more peaceful species. To breed the aggression out of the
population. Just as the monks had done with their bees.
Nadia: We don't have time for your rationalizations.
Sloane: No-
Marshall: Excuse me. I'm assuming that you failed, right?
Sloane: Yes, I failed. Because I didn't have the orchid, I attempted
to artificially manufacture its nectar.
Sydney: Because your imposter already has the orchid, he doesn't need
to acquire any of the other substances you mentioned. All he has to do
is put the nectar into the water you contaminated.
Nadia: You loaded the gun.
Sloane: That's right.
Sydney: How many people are we talking about? How many people drank the
contaminated water?
Sloane: Somewhere between 3 and 4 hundred million.
Sydney: What?
Jack: Assuming the imposter's organization is already harvesting the
chemical from inside that orchid, I suggest we not waste time on
accusations right now.
Sydney: What are the options?
Jack: Dixon and Vaughn are uplinking all of McCullough's files. There
might be a lead in there. Divide it up. See what you can find.
Nadia leaves. Followed by Marshall.
Sydney: (to Jack) I'd like to talk to you.
@@@
Jack's office.
Sydney: I saw it on your face. You knew. You knew what he did and you
ignored it. I want to know why.
Jack: Sydney-
Sydney: He's sick, dad, can't you see that?
Jack: He was at the height of his obsession with Rambaldi, but he
abandoned his scheme.
Sydney: You still trust him.
Jack: I trust that when he laid the seeds for this crisis, he thought
he was doing something good, that he didn't see this as a trigger for
global genocide.
Sydney: So he's simply a delusional megalomaniac with benign
intentions?
Jack: What Sloane did cannot be undone. To alert the public would be
worse than useless. It would create worldwide panic. We need that
flower.
Sydney: Which we could have recovered long ago which we could have
recovered long ago and turned over to the DSR for safe-keeping, but we
didn't because you sat on what you knew, which you just as guilty as
he is.
Jack: Yes, Marshall?
Marshall: (he's standing in the doorway) I think I found something.
@@@
Sloane's office. Nadia, Jack, Sydney, Marshall, Sloane.
Marshall: Okay, from what I was able to get from McCullough's files,
SD-6 performed detailed brain scans on Sloane. McCullough then
recreated Sloane's brain digitally and then uploaded it to this guy.
I mean, those files- they're ingrained deeply. Which leaves us very
few options.
Sloane: He'll never give us the location of the orchid as long as he
still believes that he's me.
Marshall: That's right, We'll have to shock it out of him- you
know, split it off from his dual persona and then get his real
personality to tell us where the orchid is.
Nadia: Are we talking shock therapy?
Marshall: No, not in the traditional sense. According to the research,
reliving a painful memory or a tragic experience will literally shake
his moorings, but has to be something really bad. It can't be , you
know, like- "I'm sorry-".
Sydney: Hypnotic regression. Take him back to a point in his past and-
your past- and make him recall the memory.
Marshall: Arvin Clone? He'll probably resist that. You would have to
relive a painful memory. And then record it, using McCullough's
technology, and then upload it to Sloane 2. You know, it's kinda like
throwing a switch. One second he's Arvin Clone, and then shazam,
he's himself again.
Jack: What are the risks?
Marshall: To the subject? I'm not sure. It'll either break him down
or not.
Sloane: What about to him? (looks at Sloane)
Marshall: The thing is, I'm gonna need a little bit more time to run
some tests before I synthesize, so-
Sloane: No. We do it now.
Jack: Fine. Where do we begin?
Sloane: Jacquelyn.
Jack: Who's Jacqueline?
Sloane: Thirty years ago, I-
Marshall: No! Don't. Sorry, sir, it's just- it's better if you
experience it in the moment. Don't verbalize.
@@@
Another room. Sloane is strapped to a chair. Marshall standing beside
him.
Marshall: Okay, now, this should help you feel nice and relaxed. Once
you're semiconscious, the electrodes will administer small pulses to
put you into a hypnotic state.
Sloane: I'm going to need some help accessing Jacquelyn.
Marshall: Right. Mr. Bristow will speak to you through your ear bugs.
He'll administer certain verbal cues which should bring your mind
into the right place.
Sloane: I see. (obviously, not looking forward to this)
Marshall: Okay. Good luck.
Nadia stands in the doorway staring at Sloane as Marshall leaves the
room. She waits and then follows Marshall.
@@@
Outside the room Sloane is in. Marshall, Sydney, Jack, Nadia.
Marshall: Okay, we are ready to record his experience. You're on.
Jack: Arvin, I'm going to count back from ten to one. When I get to
one, you'll be in a place where you can tell me about Jacquelyn. 10.
. .9. . .8. . .(Sloane jolts)
Sydney: What was that?
Marshall: He's fighting it. He doesn't want to go back to
Jacquelyn. Keep going.
Jack: 7. . .6. . .5. . .4. . .3. . .2. . . 1.
@@@
VISION
Sloane is outside in a garden, walking. Emily is sitting on a bench. He
sits next to her.
Sloane: I thought we could take the boat before it gets too cold.
Perhaps have lunch in Bellagio, hmm? What do you think?
Emily: I like just being here. You can see the wind in the trees. Maybe
you should go.
Sloane: No, no. No, we can sit here for as long as you like. For as
long as you need. And I promise you we will get past Jacquelyn.
Emily: I don't want to hear that name. You can't say it, Arvin.
Hurts too much. Will you promise me that? You won't speak her name
again?
REALTIME
Sloane: Never say. . .her name.
VISION
Sloane: Let me in, Emily. Please.
Emily: I'm alone in this, Arvin. Right now, I am alone.
Sloane: No.
REALTIME
Sloaen: Jacquelyn.
Sydney: Jacquelyn. Could she have been a mistress?
Sloane: Please.
Marshall: Wait a minute. Look at this.
Nadia: Is he okay?
Marshall: I don't know.
Jack: Arvin, we're not quite there yet.
VISION
Sloane is walking and Jack shows up.
Jack: You need to go back. Who is Jacquelyn, Arvin? Go back to when you
met her.
Sloane turns around and goes back. Emily is gardening.
Sloane: You're supposed to be doing exactly nothing. And that means
not gardening.
Emily turns around and we can see her pregnant belly.
Emily: It's the nesting instinct. I can't help it.
REALTIME
Sloane: Emily. Please. . .
VISION
Sloane is walking Emily to a bench.
Emily: Please, no more funny names of Italian villages. (laughing, they
sit at a bench) We can't have a daughter named Carlotta, Tabanabia,
or Fabina.
Sloane: (hands Emily a glass of tea??) Fabina. That name is perfect.
(they kiss) How about Jacquelyn? Hmm?
Emily: Jacquelyn. (she smiles) Yeah.
REALTIME
Sloane: Do you like it? (he smiles, and laughs) Baby Jacquelyn.
Jacquelyn. I like that.
Nadia gets up and watches Sloane.
Sydney: Baby Jacquelyn. Dad, did you have any idea?
Marshall: Sloane's numbers are wild. His beta brainwaves are cycling
at 14 per second, and he's releasing massive amounts of glycine onto
the motoneurons.
Nadia: We have to bring him out.
Jack: Do we have enough? Enough to confront the imposter?
Marshall: No, not yet.
Jack: Arivin. . .keep going. What happened to Jacquelyn?
VISION
Hospital room. Emily lies on a bed.
Emily: How is she?
Sloane takes her hand and shakes his head.
Emily: (starts crying) No. No, no. . . please, Arvin. It's a mistake.
Please, no.
REALTIME
Sloane starts crying.
VISION
Sloane: Listen to me. This was a risky pregnancy. And she fought. She
tried so hard to stay with us. It was too much. Her heart couldn't-
Emily: (continues crying) No, no. . .My baby!
Sloane: Emily. . .I love you. I love you so. (he leans down and kisses
her cheek) I love you. I love you Emily.
REALTIME
Sloane: (crying) My baby.
VISION
Emily and Sloane continue to cry.
REALTIME
Sloane: (continues to cry) Oh, oh my baby. . .I'm sorry. I'm so
sorry. No.
Marshall: Guys, that's it. We have enough to break down the imposter.
Jack. Come with me, Marshall. Bring Slone out.
@@@
Arvin Clone strapped to his own chair much like the real Sloane. Sydney
looks on.
AC: Jack, please. Are we really wasting our time with this? After all,
it was you who taught me to endure torture. It was your training that
enabled me to get through McKenas Cole and the needles of fire.
Jack: Listen to me, you pathetic freak. (takes away AC's glasses)
Even if what you're saying was true, you can be sure that I kept a
few things to myself.
Jack goes to a computer and does stuff. AC starts shaking. Images from
Sloane's flashbacks flash across the screen.
Jack: Tell us your name.
AC: My name- Ned Bolger. Corporal. US army. Serial number 112762.
Sydney: Where's the orchid?
AC: Who are you?
Sydney: Corporal, where's the flower?
AC: At a warehouse. Ugano, Switzerland. 43 Paseo Mantello.
Sydney and Jack run up to him.
AC: Damn you, Jack! I always knew you were a traitor, and you'd turn
me in. Sydney, please, don't let him do this. (Jack and Sydney
watched with shocked faces, speechless) I'm Ned Bolger. (twitch)
I'm from Torch Lake, Michigan. You can't torture POWs. Geneva
Convention. Who a- who am- who am I? Who are you? Who- who are you?
Nadia walks in.
Nadia: There's a problem.
Marshall: It's Sloane. He's not coming back. I'm trying to bring
him out of it, but he's fighting it. I mean he's supposed to be
waking up.
Nadia looks devastated.
@@@
VISION
Sloane is standing looking out at the sunset. Emily walks up beside
him, holding Jacqueline.
Emily: Honey. Is everything okay?
Sloane: (he puts him arm around Emily's shoulders) Yeah. Everything
is wonderful.
REALTIME
Marshall: Take a look right here. (looks at computer) You see that
spike right there? That's his serotonin release. You know, like a
pleasure center. It mirrors the exact reaction he had at the time of
Emily's pregnancy. He's there right now. He's stuck there. He's
kinda in that state.
Nadia: Can we just wake him up?
Jack: You saw what happened to Bolger. The shock could kill him.
Marshall: Right. Think of it in computer terms. You can't just
force-quit. You have to reboot his brain.
Sydney: How?
Marshall: Beats me.
Nadia: What is one of us tried to guide him back? The way that Jack was
able to prompt some of my father's memories by talking to him.
Marshall: Well, it could work. But it could also kill him. You know,
serotonin overload. I mean he could die of happiness- literally.
Jack: You have a better idea?
Marshall: No.
Jack: Let's get started.
Marshall: (to Nadia) Okay, he can hear you now.
Nadia: Hi, dad.
Sydney: Keep going.
Nadia: Dad, it's me. Nadia, your daughter.
VISION
Sloane and Emily are playing with Jacqueline. They are sitting on the
bench.
Emily: You know that nice lady in the little store in town, Angelina?
Sloane: Uh-huh.
Emily: She told me she didn't approve of the way I was dressing
Jacqueline.
Nadia: (appears as of out of thin air) Dad?
Emily: Who's that?
Sloane: She's a very lovely girl. She's my. . .she's my Nadia.
Nadia: You can't stay here, dad. I'm sorry.
Sloane: I'm happy here.
Nadia: You may be but your work isn't done.
Sloane: What a beautiful girl you are. How proud you make me. But I
can't come with you. The terrible things I've done.
Nadia: That's why you have to.
Sloane: Why don't you stay here with us?
REALTIME
Sloane: Stay here with us. Nadia. . .Stay with us darling.
VISION
Nadia and Sloane are standing.
Sloane: We're family.
Nadia: Emily and Jacqueline are gone, and you have to let them go.
Sloane: I will never let them go again. No.
Nadia: They're already gone.
Sloane turns around and sees the bench where Emily was sitting, empty.
Sloane: What did you do? I was a good man once. Now I'm a monster.
And monsters cannot be allowed in this world.
Nadia: Yes, you were once a good man. I believe it. And you can be
again. But you have to undo what you've set in motion. You have not
earned the right to rest.
Sloane: I'm tired, Nadia. I am tired, and I am ashamed.
Nadia: Then there's hope. Come back and redeem yourself.
Sloane turns around and a door opens. Emily is standing in the door way
holding Jacqueline.
Sloane: It's so beautiful here.
Nadia: But it's not real. Be brave. Come back with me. Show me who
you are deep down. I believe in you. (Sloane shakes his head) Please,
do not betray that belief. Do not betray again.
Sloane: (smiles) Goodbye.
Nadia: No, don't go. Dad-
REALTIME
Sloane: Uhh. . .Dad.
Nadia goes in the room. She runs to Sloane and gives him a hug. Sydney
walks in and stands in the doorway.
@@@
Sloane is standing with Jack outside Bolger's room.
Sloane: The first time I heard the name Rambaldi, I was working with
the Army Corps of Engineers. It meant nothing to me- his life, his
works. It was a simple curiosity. Something I quickly set aside. And
then we lost Jacquelyn. . .When Emily lost the baby. . .I felt utterly
abandoned. One night I came across some of his writings that I had
stored in a drawer. And somehow. . .it filled the hole in my heart.
Oddly, it wasn't until I saw him that I realized how much of myself I
had lost. I am going to rectify this, Jack. I will clean up this mess
that I have made.
Jack: I'd like to believe that, Arvin.
Sloane: But you can't.
Jack: I've heard it before.
Sloane: Yeah. Well, Jack, all I can say is I'm trying. And every day
it's a struggle. Every day.