~ Everyone doesn't get into Heaven ~
by Derek Evans
Disclaimer: I don?t own any of the characters featured in this story. This is for entertainment purposes only.
Content: This story features some extreme violence.
Description: This is a reworked version of the series finale. Sydney and the rest of APO must race against time to stop Sloane and Irina from starting a war with China. Please read and review.
If you would like to send a review, please send it to drkevans@yahoo.com
Script created with Final Draft by Final Draft, Inc.
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Alias
"Everybody doesn't get into Heaven"
ACT ONE
FADE IN:
EXT. DSR - NIGHT
Several GUARDS stand in front of the entrance to a large
building called the DSR (Department of Special Research).
A good distance away, we see two pairs of feet approaching.
One's a man's and the other's a woman's. We slowly move up
to see that it's... JULIAN SARK and KELLY PEYTON.
They're both dressed in business attire. Sark is wearing
glasses. Peyton is wearing a blonde wig.
PEYTON
What was Sloane thinking, sending us to
the DSR?
SARK
I've worked with him for years. Trust
me, he knows what he's doing.
PEYTON
If this doesn't work...
SARK
It will. It worked for Elena Derevko.
PEYTON
I seriously doubt the CIA would be stupid
enough to fall for the same trick again.
Fool me once, shame on you, fool me
twice...
SARK
Well, we'll be taking a slightly
different approach.
Sark and Peyton are stopped by a GUARD.
GUARD
ID.
The agents hand the guard their fake IDs. He checks them,
sees that everything is in order.
GUARD (CONT'D)
What are you two doing here so late at
night?
PEYTON
We were sent by Jack Bristow. Sloane's
on the loose and Mr. Bristow wanted us to
remove certain Rambaldi artifacts from
the DSR to prevent Sloane from completing
his endgame.
GUARD
They'll be able to help you inside.
PEYTON
Thank you.
The guards step aside and let Peyton and Sark enter.
INT. DSR - CONTINUOUS
This place looks like a futuristic laboratory. We can see
there's a big VAULT all the way in the back of the room.
There's a RECEPTIONIST at the front desk. Actually, it's
another guard. Let's call him GUARD 2.
He's on the phone when Peyton and Sark enter. He quickly
hangs up. The guard looks his guests up and down, trying to
figure out who they are.
GUARD 2
May I help you?
PEYTON
No.
Sark WHIPS out his GUN and shoots guard 2 in the neck,
killing him. No one can hear the gun shot because Sark had
the foresight to put a silencer on his weapon.
PEYTON (CONT'D)
(looking at the vault.)
We know what we're looking for.
Sark gets the keys off the dead guard and goes to the vault.
Peyton follows behind him. Sark opens the vault.
Inside is a warehouse full of the Rambaldi artifacts that
have been acquired over the years. Each artifact is in a box
with a tag indicating which artifact is which.
INT. VAULT - CONTINUOUS
Peyton and Sark enter the vault.
SARK
Okay, we need the sphere of life and the
Paphiopedilum Khan orchid.
Peyton starts checking the boxes.
PEYTON
I'll get the orchid; you get the sphere.
Sark begins looking around.
SARK
Be careful with the orchid. It's very
delicate.
PEYTON
You don't think I know that?
Peyton's reading something on one of the boxes. She opens
the box with a box cutter that she has in one of her pockets.
PEYTON (CONT'D)
Found mine.
Still looking around:
SARK
You know it's really a shame we can't
take all of this stuff with us. I bet
they'd fetch a pretty penny on the black
market.
Peyton takes the orchid out of the box. It's in a plastic
bag.
PEYTON
We're not here to steal.
(off Sark's look)
Well we are, but not for money anyway.
Sark reads something on the side of a box.
SARK
I know.
Sark pulls a box cutter out of his pocket and opens the box.
Footsteps can be heard in the background. Sark and Peyton
share knowing looks.
PEYTON
Guards.
Peyton hands Sark the orchid, draws her gun.
PEYTON (CONT'D)
You finish up here; I'll take care of
them.
Peyton exits the vault. Sark's thoroughly impressed with her
take charge attitude. He sets the orchid down on one of the
other boxes while he goes back to opening the box containing
the sphere of life.
Gunfire can be heard outside of the vault. Sark removes the
sphere from the box, which is also in a bag. He grabs the
orchid and exits the vault.
INT. DSR - CONTINUOUS
Sark sees that all the guards lie dead on the floor. He
spots Peyton. She has some blood on her clothes from her
victims, but isn't wounded herself.
SARK
Your work is magnificent.
PEYTON
A man after my own heart. You get what
we need?
SARK
Yes. Shall we?
Peyton begins walking out of the building with Sark close
behind.
EXT. DSR - NIGHT
Sark and Peyton are now outside.
PEYTON
That was too easy.
SARK
That's how I like it.
Peyton SQUEEZES something in her hand. The DSR BLOWS UP.
PEYTON
And that's how I like it.
SARK
I can see why Sloane hired you.
The two keep walking as we...
INT. APO BRIEFING ROOM - DAY
A big roundtable is in the middle of the room. Filling up
the seats are VAUGHN, MARSHALL, DIXON, RACHEL, and TOM. JACK
is standing in front of them.
SYDNEY enters the room.
SYDNEY
Dad, what's happened?
JACK
Close the door.
Sydney shuts the door and takes a seat.
JACK (CONT'D)
The DSR was blown up last night.
SYDNEY
Sloane.
JACK
I believe so, yes.
VAUGHN
That doesn't make sense. Why would
Sloane want to blow up the DSR? It has
all of the Rambaldi artifacts in it.
MARSHALL
That does seem to be something Sloane
wouldn't do, Mr. Bristow.
JACK
I believe that Sloane took the Rambaldi
artifacts and blew up the DSR to keep us
from getting a lead on him and what his
intentions are.
TOM
Mission accomplished if you ask me.
JACK
Not quite. I've been going over the
various Rambaldi prophecies and I've got
a hunch that Mt. Subasio is where Sloane
will be headed next.
RACHEL
Why Mt. Subasio?
JACK
It plays an important role in one of
Rambaldi's prophecies. If we beat Sloane
there, then we stand a good chance of
defeating him and Irina.
Everyone is shocked to hear Irina's name.
SYDNEY
Mom?
JACK
Yes. Some of my contacts have seen your
mother with several of Sloane's
associates. It's safe to assume that the
two are in cahoots. I like to take a
team to--
SYDNEY
Dad, before you go any further, I'd like
to ask if I could lead the team to Mt.
Subasio. I feel bad for letting Sloane
escape in Rome and for not keeping a gun
on Irina in Vancouver. I feel that to
make up for my mistakes I should be the
one to bring the two of them in.
JACK
What happened in Rome wasn't your fault;
Sloane shocked you with a taser and what
happened in Vancouver definitely wasn't
your fault; you were in labor. Having
said all that, I will permit your
request, not for any mistakes you might
have made, but because I feel that you
could get the job done.
Sydney beams with pride.
JACK (CONT'D)
Tonight at 21:00 hours, Sydney, Vaughn,
Dixon, Tom, and Rachel, I want you all to
meet me at LAX. There will be a jet
there waiting to take us to Mt. Subasio.
Sydney can tell us her plans on the
plane. This meeting's adjourned.
The room starts to clear out as we...
INT. SYDNEY'S HOME - LIVING ROOM
Sydney and Vaughn are sitting on the couch. Vaughn is
playing with ISABELLE. Sydney is deep in thought.
SYDNEY
I still can't believe my father is
letting me lead the mission. Just like
that, no questions asked.
VAUGHN
It's really not that surprising Sydney.
You're an amazing agent. Your father
knows that. He wouldn't give you
something he felt you couldn't handle.
Vaughn begins making faces at Isabelle, prompting her to
laugh.
SYDNEY
Really? You think so?
VAUGHN
Yeah, you're father's a total control
freak.
Sydney playfully slaps him on the arm.
VAUGHN (CONT'D)
Ow. Isabelle, mommy hurt daddy. Get
her.
SYDNEY
She wouldn't hurt me. She loves her
mother.
Sydney takes Isabelle from Vaughn and begins playing with
her.
SYDNEY (CONT'D)
Wish I could say the same about my
mother. All that stuff about how truth
takes time, and how she loves dad and me,
and how she was gonna be there on my
wedding day--
VAUGHN
We never had a wedding day. We had a
fake my death day.
SYDNEY
Don't be funny. You're not very good at
it.
VAUGHN
Syd, I know you would kill Sloane in a
heartbeat, but if it came down to it, do
you really think you could kill Irina,
your own mother?
Sydney takes her gaze off Isabelle and turns it to Vaughn.
SYDNEY
Yes, I could. I owe her nothing. She's
had plenty of opportunities to change her
ways and she's still the same old Irina
Derevko. And every time she comes back,
pretending to have changed, I've fallen
for it, hook, line, and sinker. Well not
this time. If I can apprehend her, I
will, but if I can't... I'll kill her.
Sydney goes back to playing with Isabelle. Vaughn stares at
Sydney, not quite sure of what to make of her stance on
Irina.
SUPER: MT. SUBASIO
EXT. ITALIAN ROAD - DAY
Two SUVs carrying Sydney, Vaughn, Dixon, Jack, Tom, and
Rachel speed along the dusty road, steadily approaching the
distant Mt. Subasio.
INT. MT. SUBASIO - CAVE - CONTINUOUS
The cave is made entirely out of ice. SLOANE and IRINA are
there. They're bundled up in nice, warm clothes. Sloane has
the Rambaldi amulet in his hand. He's standing in front of a
beautiful altar. It has the eye of Rambaldi on it.
IRINA
Sloane, we've been here for hours. What
are we waiting for?
SLOANE
A sign. Night and day have to occur at
the same time to see the key.
IRINA
An eclipse.
SLOANE
That's what I'm thinking.
IRINA
So if this works, what is it supposed to
do exactly?
SLOANE
Give us the key to immortality. Then
we'll be halfway to fulfilling Rambaldi's
endgame.
IRINA
You know Sydney and Jack will show up to
try and stop us.
SLOANE
Of course they will. Sydney and Jack
showing up at the most inopportune time
is a prophecy in and of itself.
Fortunately, I always come prepared.
EXT. ITALIAN ROAD - DAY
The SUVs are still making their way toward Mt. Subasio.
INT. SUV 1 - CONTINUOUS (MOVING)
Sydney, Vaughn, and Jack are in this SUV with Vaughn at the
wheel.
SYDNEY
(to Jack)
Do you think Sloane and Irina are already
at Mt. Subasio?
JACK
I don't know. I hope not. Otherwise,
we'll lose the element of surprise.
SYDNEY
Do you think it'll be a surprise to them
if we show up? They think this is all
prophecy and fate.
JACK
What do you think?
SYDNEY
That this is all a bunch a crap I wish
I'd never gotten into.
EXT. ITALIAN ROAD - CONTINUOUS
The SUVs keep moving along when...
BOOM!
They're blasted by gunfire straight ahead. The shooters are
nowhere to be seen. The SUVs try to dodge their attackers.
INT. SUV 1 - CONTINUOUS (MOVING)
VAUGHN
What the hell!
EXT. ITALIAN ROAD - CONTINUOUS
The gunfire keeps coming and coming. Bullets fly through
both SUVs.
INT. SUV 2 - CONTINUOUS (MOVING)
This SUV contains Dixon, who's at the wheel, Tom, who's
riding shotgun, and Rachel who's in the backseat.
TOM
We've gotta open fire.
DIXON
How are you gonna open fire on what you
can't see?
TOM
I can see that.
TOM'S POV - Peyton coming out from behind some bushes with a
huge ROCKET LAUNCHER.
TOM (CONT'D)
(to Rachel; re:Peyton)
How could you have been friends with her?
RACHEL
She wasn't like this when we were
friends.
TOM
I hope not 'cause otherwise I'd be
wondering what you were thinking when you
befriended her.
Peyton fires two rocket-propelled missiles: one at SUV 1 and
the other at SUV 2.
DIXON
Could you two talk about this some other
time, like when we're not about to be
blown to smithereens?
INT. SUV 1 - CONTINUOUS (MOVING)
The missile is just a few feet away.
VAUGHN
Sydney, I love you.
Sydney and Jack shoot Vaughn confused looks.
EXT. ITALIAN ROAD - CONTINUOUS
Seconds before the missiles reach their destination, we...
INT. MT. SUBASIO - CAVE - CONTINUOUS
The battle on the road can be heard inside the cave.
IRINA
Sloane, did you hear that?
SLOANE
It doesn't matter. They're too late to
stop us now.
ON IRINA
She looks somewhat upset about the news she's just heard, but
she hides it very well from Sloane.
EXT. ITALIAN ROAD - CONTINUOUS
The SUVs have been blown up, but not to fear gentle readers.
Our heroes are all okay.
Peyton and Sark have several men with them. They're hidden
behind some trees and bushes. Sydney and team are on the
other side of the road, hidden by similar surroundings.
A huge gun battle is taking place. Bullets are flying
everywhere as each side fights for the upper hand. Sydney
looks toward Mt. Subasio. Smoke from the gunfire fills the
sky. There's barely any visibility.
SYDNEY
(to Jack)
I need to get to Mt. Subasio to try to
stop Sloane and Derevko.
JACK
It's going to be very risky to get there.
You may get hit by a stray bullet, your
vision will be impaired...
SYDNEY
I have to take that chance. Can you
cover me?
JACK
Go ahead.
VAUGHN
I'm going with you.
SYDNEY
Vaughn, I need you to stay here on the
line and fight.
VAUGHN
Syd, I don't feel comfortable with you
going up there alone.
SYDNEY
I can handle myself.
Sydney kisses Vaughn passionately before she goes. Jack's
bothered by this. During the kiss:
JACK
Sydney, if you're going to go, go now.
Sydney breaks her kiss with Vaughn and takes off toward the
mountain.
INT. MT. SUBASIO - CAVE - CONTINUOUS
A solar eclipse occurs. Sloane can see it through the
opening in the cave.
SLOANE
It's time.
Sloane sets the amulet down in the center of the altar. Some
light from the sun manages to beam down straight into the
cave. It hits the amulet. A pink light emanates from the
amulet and beams straight up to the sky.
Sloane and Irina are both fascinated by this. A pink map
forms in the sky. Sloane can't help, but be drawn to it.
IRINA
Do you really think it's safe to be
looking up at the sky right now?
SLOANE
Rambaldi will protect me.
EXT. MT. SUBASIO - CONTINUOUS
Sydney is steadily approaching the cave with her eyes
shielded from the solar eclipse by one of her hands.
EXT. ITALIAN ROAD - CONTINUOUS
The gun fight still rages on. Three of Sark and Peyton's men
have gone down. Rachel gets distracted by the pink map in
the sky. It has her in a daze. Peyton notices this
distraction and takes a shot at Rachel.
BAM!!!
Rachel takes two bullets straight in the chest. She hits the
ground hard. Tom rushes to her side.
TOM
Oh god.
EXT. MT. SUBASIO - CONTINUOUS
Sydney sees Rachel go down and she rushes back to her fallen
friend.
EXT. ITALIAN ROAD - CONTINUOUS
Sark is replacing the cartridge in his gun when something on
him beeps. He taps Peyton on the shoulder.
SARK
Time to go.
Sark, Peyton, and their remaining men retreat, using the
trees and bushes as cover.
Jack and Tom are tending to Rachel's wounds. Jack notices
something scurrying from the bushes where their adversaries
were hiding. Dixon and Vaughn notice shortly afterwards
JACK
(re:Sark/Peyton)
Vaughn, Dixon, go after them. See if you
can find out where they're headed.
Vaughn and Dixon take off in the direction they saw Sark and
Peyton flee. Rachel is coughing up blood and hanging on for
dear life.
TOM
Rachel, just hang on. We'll get you some
help.
RACHEL
Believe me, I'm trying.
TOM
Jack, we--
JACK
I know.
Sydney shows up and rushes to Rachel's side. She takes
Rachel's hand.
JACK (CONT'D)
Sydney, did you get a chance to stop
Sloane and your--
SYDNEY
No. I saw Rachel get hit and I rushed
back.
Struggling to speak:
RACHEL
Sydney, I need to tell you something.
SYDNEY
You can tell me after we get you to a
hospital.
RACHEL
As nice as that sounds, I don't think I'm
gonna make it.
SYDNEY
You're not gonna die on me. I refuse to
lose another friend.
RACHEL
Sydney, please just let me tell you.
SYDNEY
Okay.
RACHEL
I saw a map in the sky. It was a map
to...
Rachel's voice trails off. Sydney leans in very close to
her.
SYDNEY
Rachel, say it one more time.
Rachel says the coordinates of the map very gently. Only
Sydney can hear them.
What little light was left in Rachel's eyes has disappeared.
She's dead. Sydney begins crying uncontrollably. Tom's
mourning as well, but quietly. Rachel's eyes are open. Tom
shuts them.
Vaughn and Dixon reappear.
VAUGHN
We lost them.
Vaughn and Dixon notice Sydney and Tom's actions.
VAUGHN (CONT'D)
(re: Rachel)
Is she...
JACK
Yes, she is, but she saw a map in the
sky. I believe Rachel told Sydney the
location before she passed.
We focus on Sydney still mourning the loss of her friend.
MAIN TITLES.
END ACT ONE
ACT TWO
FADE IN:
INT. APO BRIEFING ROOM - DAY
Sydney, Marshall, Dixon, Vaughn, and Tom are being addressed
by Jack. Sydney and Tom are still saddened by Rachel's
death.
JACK
Based on the coordinates Rachel gave
Sydney, we've discovered that whatever
Sloane's going after is in Rome, Italy.
It's in Castel Sant'Angelo.
SYDNEY
We were so close and we came back.
JACK
We had no choice. We failed the first
time, but hopefully we'll pull through
this time.
Sydney's hurt when her father mentions the failure, but she
hides it as best as she can.
MARSHALL
Castel Sant'Angelo? Isn't that a museum?
JACK
It is now, but it didn't start out that
way. We'll move out in a few hours.
TOM
Actually, Jack, I was wondering if I
could sit this one out. I need some time
alone.
JACK
Of course. I understand. Sydney, I'd
tell you I'd understand if you wanted to
sit this mission out--
SYDNEY
But you know already know what my answer
will be.
VAUGHN
What about warning the people who run
Castel Sant'Angelo about Sloane and
Derevko?
JACK
I'm way ahead of you. I've already made
a phone call for them to evacuate the
building and have ordered for them not to
alert the authorities.
VAUGHN
Why not alert the local authorities? I
figure we could use all of the help we
can get.
JACK
Sloane and Irina are not stupid. They
would catch on if the authorities get
involved.
SYDNEY
Dad's right. It's best if we leave the
planning to him.
A beat then:
JACK
Any more questions?
Everyone shakes their head no.
JACK (CONT'D)
I'll see you all in a few hours.
Everyone's getting their stuff and exiting the room.
MARSHALL
Except me, sir.
JACK
Except you, Marshall.
INT. JACK'S OFFICE - DAY
Jack's going over some papers. There's a knock on the door.
JACK
Come in.
The door opens. It's Sydney.
SYDNEY
Do you have a minute?
JACK
Sure.
Sydney closes the door and takes a seat.
JACK (CONT'D)
What did you want to talk about?
SYDNEY
I want to apologize for what happened in
Italy. I did a horrible job leading the
team and I got Rachel killed. I know I
let you down.
JACK
Sydney, I'm beginning to wonder if you
have some kind of a complex. Sloane and
Irina knew we were coming and set up a
trap. That could've happened just as
easily if I were leading the team. I
know how close you were to Rachel, but
you're not to blame for her death. Put
the blame where it belongs: on Sloane and
your mother.
SYDNEY
She's not my mother. She's just another
terrorist I wish I had killed when I had
the chance.
JACK
Sydney, I love you and I want you to stop
hating your mother.
SYDNEY
She deserves my hatred. And yours. She
betrayed both of us.
JACK
She does, but I want you to stop hating
her for your own sake, not hers. If you
continue to let your hatred for her get
to you, it'll hurt you in the long run.
Believe me, I know.
SYDNEY
She told me you can't be both an agent
and a mother, that I'd have the choose
one over the other.
JACK
And you believe her?
SYDNEY
I don't know. What I do know is that I
don't wanna fail Isabelle like Irina
failed me. I want her to be proud of me.
JACK
She will. You're a great mother and a
great agent.
Sydney and Jack bask in their tender moment. Vaughn enters.
VAUGHN
You guys gotta see something.
INT. APO BRIEFING ROOM - DAY
There's a television screen hanging in the center of the
room. The screen is showing destroyed cities. Marshall and
Dixon are already in the room along with CIA director CHASE
when Sydney, Vaughn, and Jack enter. Jack's eyes are drawn
to what's happening on the screen.
JACK
What's going on?
CHASE
A war is what's going to be going on
unless you prevent it. Someone broke
into Pantex and launched two missiles.
JACK
Who were the targets?
CHASE
China. One missile hit Shanghai; the
other hit Beijing. The Chinese are
preparing for war.
SYDNEY
Sloane's behind this. I know he is.
CHASE
I figured as much, but why?
SYDNEY
I don't know, but I'll be sure to ask him
before I kill him.
CHASE
Let's get one thing straight agent
Bristow: this is not about you getting
revenge. This is about stopping Sloane
and stopping a war.
I've managed to pull some strings and
China is willing to not got to war if we
hand over Sloane. That's what your
primary goal is, not your quest for
vengeance against Sloane and your mother.
Is that clear?
SYDNEY
Yes, Director Chase.
INT. APO PARKING GARAGE - NIGHT
The garage is half empty. Sydney, Vaughn, and Jack are
walking through it.
SYDNEY
Dad, what do you think Sloane could
possibly be up to as far as this whole
China thing goes?
JACK
I don't know. It doesn't make sense to
me either. It could be just some
diversion to keep us from his real plan.
VAUGHN
And we don't even know what that is.
JACK
Hopefully, we'll figure that out when we
return to Italy.
SARK
(O.S.)
I don't know about going back to Italy.
Sark comes out from behind a car.
SARK (CONT'D)
That doesn't seem to be a good place for
you people.
Sark pulls his gun out an opens fire on our trio. They take
cover behind a car. Sydney and Vaughn draw their guns and
fire back. Sark takes off running. Sydney and Vaughn give
chase. Jack takes off toward a car on the other side of the
garage.
Sydney and Vaughn continue to trade fire with Sark while
chasing after him.
EXT. LA STREETS - CONTINUOUS
There's a building directly in front of the APO garage. The
two are separated by a street.
Sark is now out of the garage and is continuing to run. Syd
and Vaughn are close behind. Jack comes out of the garage,
driving an SUV.
Sark dives behind the aforementioned building, presses a
button.
BOOM!!!
APO is blown up into bits. The explosion sends Sydney and
Vaughn flying and Jack's SUV rolling. Sydney and Vaughn run
over to Jack. Sark sneaks off.
INT. SLOANE'S HEADQUARTERS - MEETING ROOM - NIGHT
The room is opulently decorated. Sloane and Irina are
standing by the fireplace. Irina is drinking wine and Sloane
is drinking water.
SLOANE
It won't be too long now before we
realize Rambaldi's true endgame.
IRINA
I know, I can't believe it. I thought it
never would've happened in my lifetime.
SLOANE
There have been many fools in the past
who claimed to know Rambladi's endgame or
that they were trying to accomplish it.
(scoffs)
Rambaldi would turn in his grave if he
knew how his works have been distorted.
Sark and Peyton enter the room. Sloane and Irina turn to
face them.
SLOANE (CONT'D)
Did you achieve your goals?
SARK
APO has been destroyed.
PEYTON
And the members of prophet five have been
killed.
IRINA
(to Sloane)
It was smart to get rid of prophet five.
SLOANE
They would've eliminated us once we
outlived our usefulness. And now that
our enemies have been taken care of, we
can work in peace.
IRINA
That's a funny choice of words.
SLOANE
I can be humorous at times.
IRINA
So I'm noticing. Sark, can I have a word
with you, outside?
SLOANE
Why outside?
IRINA
I'm on your side, Sloane. You have
nothing to worry about.
Sark and Irina exit the room. Peyton watches them as the
leave, then turns to Sloane.
PEYTON
You know, contrary to what Derevko says,
I don't believe you can trust her.
SLOANE
I don't trust her really, but I trust
that she's the only person I know who
cares as much about Rambaldi as I do.
PEYTON
I hope your trust is well placed.
INT. HALLWAY - CONTINUOUS
Irina and Sark have moved a good distance from the meeting
room to prevent Sloane and Peyton eavesdropping.
IRINA
Did you do what I asked?
SARK
Yes, your daughter, granddaughter, and ex
husband are all alive and well.
ON IRINA
Her face is expressionless.
SARK (CONT'D)
I have to ask though, why did you want to
save them from the explosion? They'll
just be at our backs.
IRINA
You're told what you need to know,
nothing more.
Irina heads back into the meeting room. Sark shoots her a
look when her back is turned, then follows her back into the
meeting room.
INT. SYDNEY'S HOME - BABY'S ROOM - NIGHT
The room is dimly lit. Sydney, in her spy clothes, is
sitting in a chair with Isabelle in her arms. Sydney is
rocking back and forth as Isabelle slowly drifts off to
sleep.
Once Isabelle is asleep, Sydney puts her in her crib. Vaughn
enters.
VAUGHN
Syd,--
Sydney motions for Vaughn to be quiet. Speaking softly:
SYDNEY
Isabelle's sleeping.
Vaughn and Sydney speak softly for the rest of the scene.
VAUGHN
Sorry.
Vaughn comes over to the crib, takes a peak at Isabelle.
VAUGHN (CONT'D)
She's so beautiful when she's sleeping.
She's her mother's daughter.
Sydney smiles. She and Vaughn kiss.
SYDNEY
I wish Francie was alive. I would love
for her to have seen Isabelle. At least
Nadia and Will got to meet her.
VAUGHN
Francie's here in spirit.
SYDNEY
I'd rather have her here in person.
Vaughn takes Sydney in his arms, giving her comfort and
support.
SYDNEY (CONT'D)
Is everyone here?
VAUGHN
Yeah, they're in the living room,
waiting.
SYDNEY
I guess we better get out there then.
VAUGHN
They can wait a little more. I wanna
look at my daughter a little while
longer.
The couple just stands there, looking dreamily at the
beautiful life they've created.
INT. SYDNEY'S APARTMENT - LIVING ROOM - NIGHT
Jack is seated in the living room with Marshall and Dixon.
Jack's a little scarred from the explosion.
DIXON
(to Jack)
So Sloane blew up APO? I'm glad that was
one of the few days I chose to leave
early.
MARSHALL
Me too.
Sydney and Vaughn enter.
DIXON
(to Sydney)
How you holding up?
SYDNEY
Under the circumstances I'd say
unbelievably well. I'm glad you and
Marshall are okay.
MARSHALL
So are we, I mean we're glad that you,
Vaughn, and Mr. Bristow are alright.
JACK
Thanks to Irina, we're alright.
SYDNEY
Dad, what are you talking about? Sloane
and Derevko tried to kill us.
JACK
Sark wasn't there for a fight. He was
there to blow up APO, which he could've
done just as easily, if not more so, with
us inside. Someone wanted us to make it
out alive and I believe it was your
mother. It wouldn't be the first time
she's done something like this.
SYDNEY
So you trust her now?
JACK
Of course not, but I trust her love for
you.
MARSHALL
So is Sydney's mother a friend or foe?
SYDNEY
Foe. We'll take her out just like we'll
take out Sloane.
JACK
We won't be taking out anyone if we don't
leave soon to catch the plane to Rome.
SYDNEY
Are the baby sitters here yet?
JACK
They're agents, Sydney.
SYDNEY
Baby sitting agents.
Jack rolls his eyes in annoyance.
JACK
They're in the kitchen.
SYDNEY
I'll go get them and then we can go.
Sydney exits the room.
INT. SLOANE'S HEADQUARTERS - SLOANE'S ROOM - NIGHT
This is another posh room. It screams Victorian. Sloane is
in a chair, looking at PAGE FORTY-SEVEN. There's a knock on
the door.
SLOANE
Just a second.
Sloane puts page forty-seven in a folder, then puts the
folder in a briefcase by his side. He takes the briefcase
and puts it in a cabinet. Finally, he opens the door. He
stands in the doorway.
SLOANE (CONT'D)
What do you want?
SLOANE'S POV - SARK.
SARK
I need to talk to you about Derevko.
Sloane steps aside and lets Sark in. He closes the door
behind him.
SLOANE
What about her?
SARK
I think she's playing for the other team.
SLOANE
What do you mean?
SARK
She asked me to make sure Jack and Sydney
got out of APO before I blew it up.
Also, to complicate things further, the
Bristows know about Castel Sant'Angelo.
Sloane looks shocked when Sark tells him the last bit of
information.
SLOANE
It doesn't surprise me that Irina would
ask you to spare Jack and Sydney. She
has always shown a soft spot for them.
I have a soft spot for them as well, but
I can't let them stop me from bringing my
plans to fruition.
SARK
What does that mean exactly?
SLOANE
I'll take care of our problems. Leave
me.
Sark exits the room, closing the door behind him.
ON SLOANE
He has a pensive look. He's planning something.
INT. AIRPLANE - CABIN - NIGHT
Sydney, Jack, Vaughn, Marshall, and Dixon are all on the
plane.
SYDNEY
(to Jack)
So what's the plan?
JACK
Seeing as how we're so few in numbers and
Castel Sant'Angelo is quite large, I say
we stay as one team and sneak in. The
information on the map leads to an
underground level within Castel
Sant'Angelo. We'll go there and try to
beat Sloane to the punch.
VAUGHN
And if he and Irina are already there?
JACK
I'll take a sniper shot to take out
Sloane and Derevko, then we can dispatch
with their henchmen.
MARSHALL
I'm still a little worried about our
small army. It would've been nice if Tom
had stayed on.
JACK
Well as we all know Tom needed time off
for personal reasons.
MARSHALL
I know and I understand, but I'm still a
little worried.
SYDNEY
You'll be alright. We all will.
EXT. CASTEL SANT'ANGELO - NIGHT
SUPER: ROME
The Castel Sant'Angelo is a beautiful towering cylindrical
building. A CAB pulls up near the entrance. A MAN gets out
of it, but we can't tell who it is just yet because he's
wearing a coat with a hood that is covering his face.
MAN
(in Italian)
Thank you.
The cab pulls off. The man pulls his hood back a bit and we
can see it's TOM! He heads up to Castel Sant'Angelo as we...
FADE OUT.
END ACT TWO
ACT THREE
FADE IN:
EXT. CASTEL SANT'ANGELO - NIGHT
A BLACK SUV pulls up. Four people get out of it. The four
people are Sydney, Vaughn, Dixon, and Jack. They're dressed
in black and are wearing ski masks. Jack approaches the
driver of the SUV.
JACK
Okay, Marshall, take off. Get somewhere
safe.
Marshall rolls down the window.
MARSHALL
Will do.
Marshall drives off. Jack looks at Castel Sant'Angelo.
JACK
We'll enter from the top and work our way
down. Let's move.
Our heroes stealthily make their way toward Castel
Sant'Angelo.
INT. CASTEL SANT'ANGELO - UNDERGROUND LEVEL - CONTINUOUS
The room has an ancient feel. One gets a sense that this
room was very stylish and exuberant. Now, its' kind of drab.
A long, metal staircase with no spaces is behind Sloane,
Irina, Sark, and Peyton. The fantastic four are backed up by
several GOONS.
The group is looking at a plaster wall.
PEYTON
What we need is behind there, a plaster
wall?
SLOANE
Yes, Ms. Peyton, it is.
(to goons)
Take it down.
The goons grab SLEDGEHAMMERS and begin breaking through the
plaster. Sloane, Irina, Sark, and Peyton take several steps
back. The noise from the destruction is so loud that nothing
can be heard.
Tom skulks down the staircase, gun at the ready. He spots
Peyton.
INT. CASTEL SANT'ANGELO - MAIN FLOOR - CONTINUOUS
This room holds paintings, but they can't be seen because the
room is very dark. Four bodies drop from the ceiling
suspended by cables. It's our heroes: Sydney, Vaughn, Jack,
and Dixon. The sledgehammers smashing up the plaster can be
heard, but our team doesn't notice it yet.
Our gang lower themselves to the floor and disconnect
themselves from the cable.
Sydney tries to walk forward, but nearly trips on something.
The rest of the gang notices. They whisper throughout this
scene.
VAUGHN
Syd, something the matter?
SYDNEY
I--
Sydney bends down and touches what she nearly tripped over.
SYDNEY (CONT'D)
It's a body.
Jack pulls a flashlight out of his belt, turns it on. We can
see several dead bodies on the floor.
SYDNEY (CONT'D)
(to Jack)
Why didn't they listen when you tried to
warn them?
Jack notices something sticking out of the jacket pocket of
one of the dead bodies. He pulls it off of him. It's a
Roman police badge.
JACK
They listened... somewhat. These are
policemen.
The noise from the underground level is finally heard by the
quadruplet.
DIXON
That sound, it's coming from beneath us.
SYDNEY
Let's go.
JACK
Everyone move lightly and softly. We
don't know how many men they have so a
sneak attack is our best shot at winning.
With Jack leading, the group makes their way toward the
underground level.
INT. CASTEL SANT'ANGELO - UNDERGROUND LEVEL - CONTINUOUS
Sloane's goons are almost done tearing down the wall. Tom's
on the staircase.
ON TOM
He has a disturbed determination about him. He sets his gun
straight on Peyton, waiting for the perfect time to take his
shot.
Poor Peyton is oblivious as to what's going on behind her.
She's just standing next to Sark while the wall continues to
be torn down.
ON TOM
He's got a great shot, has his finger on the trigger...
can't take it because the wall has been completely torn down.
Peyton and Sark move forward along with Sloane and Irina and
the goons move back now that the manual labor is over with.
The plaster was covering up a tunnel. Sloane is very
euphoric.
SLOANE
I'm almost there.
IRINA
We're almost there.
Sloane seems annoyed by Irina's intrusion.
SLOANE
Yes, we're almost there.
One of the goons steps aside and Tom now has another good
shot of Peyton. He has his finger on the trigger...
BOOM!!!
Jack, Sydney, Vaughn, and Dixon come storming down the
staircase. This makes the baddies turn around. It also
makes Tom startled, causing him to shoot and kill the goon
closest to Peyton.
When the gang gets there, they're surprised to see Tom.
SYDNEY
Tom?
SLOANE
(to his people)
Get them!
A big gunfight ensues. The APO team takes cover behind the
staircase. The baddies hide behind various walls and
pillars. Sloane and Irina are hidden behind the same pillar.
IRINA
Sloane, we have to get through that
tunnel.
SLOANE
I know. Sark never told me that Jack and
Sydney survived the APO explosion.
Sloane looks at Irina, waiting to see how she reacts to his
deceitful comment.
IRINA
Maybe he didn't know.
ON IRINA
She watches the gunfight and sees that APO is mainly focused
on taking out the henchmen. While watching the fight, her
eyes meet Sydney's.
Irina smiles at Sydney. Sydney returns her smile with a
callous glare. Irina turns to Sloane.
IRINA (CONT'D)
They're not paying attention to us. We
can escape through the tunnel if we move
now.
SLOANE
Okay.
Sloane and Irina take off and head down the tunnel.
ON SYDNEY
She sees what Sloane and Irina just did.
SYDNEY
Dad, Derevko and Sloane are escaping. I
have to go after them.
JACK
Okay. There's a grenade in the back of
my belt. Take it and through it in the
air. When it explodes, take off.
VAUGHN
She can't do that. She could get caught
under the debris.
SYDNEY
It's a risk I'm willing to take.
Sydney grabs the grenade from the back of Jack's belt.
VAUGHN
Then I'm coming with you.
SYDNEY
Vaughn,--
VAUGHN
No, I'm coming with you and that's the
end of it.
Both Sydney and Jack are impressed by Vaughn's forcefulness.
SYDNEY
(smiling)
Okay.
Sydney removes the pin and throws the grenade at the ceiling
where the baddies are. The grenade explodes and part of the
ceiling caves in. The debris mainly falls on the henchmen.
Peyton and Sark narrowly escape the destruction caused by the
grenade.
Sydney and Vaughn jump over the staircase, the debris missing
them, and head into...
INT. TUNNEL - CONTINUOUS
The tunnel is light by torches.
Sydney and Vaughn, guns in hand, are moving at lightning
speed down the tunnel. They're a good distance from Sloane
and Irina, who are also running, but can still see their
enemies.
SYDNEY
SLOANE!!!
Sloane turns around. Sydney takes a shot at both him and
Irina, but misses them by a few inches.
Following that, Irina takes a couple of shots at Sydney and
Vaughn, but misses them.
INT. CASTEL SANT'ANGELO - UNDERGROUND LEVEL - CONTINUOUS
The goons, Sark, and Peyton all appear to have been knocked
out by the grenade. Jack, Tom, and Dixon are moving over to
check on them.
JACK
(to Tom)
So what happened to sitting this one out?
TOM
I... uh... it's a long story.
JACK
One I'm looking forward to hearing after
this mission.
Tom checks on Peyton, Dixon checks on Sark, and Jack checks
on the last two remaining henchmen. Tom tries to check
Peyton's pulse and as soon as he does...
WHAM!!!
PEYTON
Kicks Tom's gun out of his hand, then kicks him in the gut.
TOM
Stumbles back.
DIXON AND JACK
Aim their guns at Peyton.
SARK
Is on them in a second. He hits Dixon on the back of the
head with a piece of Debris, taking him out.
JACK
Tries to shoot Sark, but...
SARK
Grabs the gun and the two wrestle over it.
PEYTON AND TOM
Are going at it like two lions. Tom is more wild in his
fighting, his anger and fury, hindering his fighting
capabilities. Peyton is fighting more like a trained martial
artist.
Peyton's landing the most blows, but the strength of Tom's
strikes is making them equals.
INT. TUNNEL - CONTINUOUS
Sloane and Irina are still hustling down the tunnel with
Sydney and Vaughn in hot pursuit. Sloane looks at Irina.
SLOANE
Oh, and by the way Irina...
Sloane WHIPS out a gun and shoots Irina several times in the
midsection. Irina drops to the ground. Sydney's eyes widen
with shock as does Vaughn's.
SYDNEY
Mom!
Sloane keeps going down the tunnel. When Sydney reaches her
fallen mother, she checks out her wounds. Vaughn goes after
Sloane.
SYDNEY (CONT'D)
Mom, just stay still. We're gonna get
you some help.
(in her com)
We need medical assistance. We have an
agent down. Repeat, we have an agent
down.
IRINA
I'm not an agent. At least not for the
CIA.
SYDNEY
It doesn't matter. You're gonna get the
help you need.
IRINA
Do you trust me now?
Before Sydney can answer, Vaughn comes back.
VAUGHN
Sloane went through a door. I tried to
follow him, but couldn't get it open.
INT. CASTEL SANT'ANGELO - UNDERGROUND LEVEL - CONTINUOUS
The battle is still raging on. Jack and Sark are engaging in
a fist fight. Peyton and Tom are still going at it. Their
fight is very brutal and violent. They're using whatever is
around them to their advantage.
SARK
Punches Jack twice in the jaw, then kicks him in the chest.
JACK
Falls to the ground.
SARK
Grabs a gun near the unconscious Dixon, holds it on Jack.
SARK
I'll tell Sydney I made it quick.
DIXON
Wakes up and sweeps Sark's feet out from underneath him.
JACK
Grabs a gun.
DIXON
Takes the gun Sark had.
They both hold their guns on Sark.
DIXON
Knocks Sark out with the butt of his gun.
JACK
Aims his gun at Peyton.
JACK
Peyton!
PEYTON
Stops fighting Tom, turns to face Jack, puts her hands up in
defeat once she sees he's armed.
PEYTON
You win this round, Mr. Bristow.
TOM
Takes a knife out of his belt and slits Peyton's throat.
TOM
And I win the match.
Peyton's body slumps to the ground. Jack's taken aback by
Tom's actions.
JACK
Have you lost your mind?
TOM
I did what I had to.
JACK
You didn't have to kill Peyton. You
wanted to kill Peyton, because she killed
Rachel, or die trying. That's why you
didn't want to work with us.
TOM
Rachel didn't deserve to die. She was
the only thing I had left.
JACK
We can discuss this later. Let's get
down the tunnel and back Sydney and
Vaughn up.
DIXON
You guys go. I'll guard Sark.
Dixon gets up, puts handcuffs Sark.
TOM
What about his boys?
The trio take a look at Sloane's minions, realizing:
JACK
They're dead. We won't be long Dixon.
INT. TUNNEL - NIGHT
Sydney is tending to her mother's wounds.
SYDNEY
Where in the hell is the medical help?
Tom and Vaughn come running down the tunnel and see Sydney
with her mother and Vaughn. Jack sees what's happened to
Irina.
IRINA
Hello, Jack.
INT. HOSPITAL ROOM - ITALY - NIGHT
Irina is hooked up to an assortment of machines that are
keeping her alive. It's easy to tell the machines aren't
doing a very good job because Irina looks horrible; she's
barely conscious. She's clearly on her death bed.
Jack and Sydney are in the room with her.
JACK
How do you feel Irina?
IRINA
how do you think I feel?
JACK
I think that you're getting you're just
rewards.
SYDNEY
Dad.
JACK
I'm sorry. My feelings for you can wait
until later. We have some questions to
ask you Irina.
IRINA
Do you really think I deserve this?
JACK
You were a Russian spy, you betrayed
Sydney and me, and you teamed up with
Sloane, and he betrayed you.
IRINA
He did betray me. I betrayed him too.
And betrayed you and Sydney, but I didn't
always do it for the wrong reasons.
JACK
If you're going to tell us you love us,
you'll just be wasting your time.
SYDNEY
Dad, have a heart.
IRINA
You don't have to protect me, Sydney. I
do love you both and I loved Nadia. You
know a lot Jack, but you don't know
everything.
JACK
Really? Well, why don't you fill me in
on what I don't know.
IRINA
Rambaldi's true endgame. It isn't death
and destruction. It's to create heaven
on earth. Rambaldi believed that his
works would allow us to know God's final
plans for us: immortality and peace.
That's what the horizon, the sphere of
life, and the orchid are for.
Jack and Sydney both have dubious looks on their faces.
IRINA (CONT'D)
I can see that the two of you don't
believe me, but that's alright. I've
lived a horrible life. I grew up
desolate, became a spy, got married and
started a family for Russia, but when I
had you Sydney, you and Nadia, it made me
want to give the two of you a better life
than I had.
Sydney's overcome with joy that her mother is actually one of
the good guys.
IRINA (CONT'D)
That's why I did all of the things I did
and that's why I followed Rambaldi. My
way of going about things might not have
always been the best, I admit that, but
to me, the ends justify the means.
Jack now seems to believe Irina as well.
SYDNEY
Mom, I don't know what to say.
IRINA
You don't have to say anything,
sweetheart. You don't owe me anything.
I just wish I could've saved Nadia. I
wish I could've been there for her
funeral. I wish I could've been there
before she died in a coma.
Sydney and Jack exchange looks. Irina catches them.
IRINA (CONT'D)
That's what Sloane told me, that Nadia
died in a coma, but from the looks on
your faces, I can see that's not true.
What really happened?
SYDNEY
Mom, you're severely wounded. I don't
wanna--
IRINA
Sydney, tell me what happened to your
sister.
SYDNEY
Um... Sloane found a cure for Nadia and
it worked. She awoke from her coma as
good as new. She was worried that Sloane
was still obsessed with Rambaldi. She
went to his home to talk him and I don't
know what happened. There must've been a
fight or something. Dad found Nadia dead
with a piece of glass through her neck.
IRINA
That bastard. I knew he was despicable,
but I never thought he'd go so far as to
kill his own daughter.
JACK
Irina, do you know what Sloane's plans
are? Obviously, they're not the same as
yours.
Irina looks very weak.
JACK (CONT'D)
Irina.
Irina's eyes roll up in the back of her head. She flatlines.
JACK (CONT'D)
I'll go get help.
Jack exits the room. Sydney takes her mother's hand, tears
begin rolling down her eyes.
FADE OUT.
END ACT THREE
ACT FOUR
FADE IN:
INT. HALLWAY 2 - NIGHT
Sydney is leaning against a wall in the hallway outside of
her mother's bedroom. Her cheeks are stained with tears.
Various hospital employees pass her.
Jack enters the hallway, approaches Sydney.
JACK
I took care of the paperwork.
SYDNEY
Good.
JACK
I'm so sorry Sydney.
SYDNEY
I am too. I'm sorry for all the times I
doubted mom. I should've known. All
those times she could've killed me and
didn't.
JACK
We all made the mistake of doubting
Irina. In the end, she turned out to be
a good woman.
SYDNEY
That's what I'll tell Isabelle. Her
grandmother died a hero. She died trying
to bring peace to the world.
JACK
I think that would be wonderful.
Sydney wipes the tears from her eyes.
SYDNEY
We have to get Sloane.
JACK
We will, but we also have another
pressing matter: stopping the war with
China.
SYDNEY
I don't care about that. I care about
killing Sloane. He's taken just about
everyone I loved away from me.
He had Danny and Francie killed, he
killed Nadia, and now he's killed mom.
Now, I'll kill him. I just wish mom had
the chance to tell us Sloane's plan
before she passed away.
JACK
We can still find out Sloane's plan.
SYDNEY
How?
JACK
We captured Sark at Castel Sant'Angelo.
He's in custody right now.
Sydney's anger builds up inside her.
INT. INTERROGATION ROOM 1 - NIGHT
Sark is alone in the room, handcuffed to the chair. A table
is in front of him. A glass window is on the other side of
the room. Sydney enters, furious as hell.
SYDNEY
Where's Sloane?
SARK
Aren't you going to offer me a deal?
Sydney punches Sark in the face.
SARK (CONT'D)
Guess not.
SYDNEY
I don't have time to play games with you.
I'll ask you again: where is Sloane?
SARK
I'm not telling you anything.
Sydney kicks Sark in the face a couple of times.
SARK (CONT'D)
You play the good girl very well, but
when your pissed off, you can be very
violent and volatile. You remind me a
lot of your mother. Your late mother.
Sydney smacks Sark around so badly that when she's finished,
his face is a bloody mess.
SYDNEY
Don't you ever talk about my mother.
SARK
I would think you'd want me to talk about
your mother. After all, it is my fault
she's dead.
SYDNEY
What are you talking about?
SARK
I was the one who sold Derevko out to
Sloane. When some of the people in your
lovely crew took me into custody, I
couldn't help, but overhear them talking
about how she was pumped full of bullets.
I never thought Sloane would kill her
like that. They do have a history after
all.
Sark's attempt to irk Sydney has succeeded. Sydney unleashes
her fury on him, full force. She hits him again and again,
each blow more devastating than the last, until finally, Sark
is unconscious and Sydney is breathing heavily from her
exertion.
Sydney leaves the room and enters...
INT. INTERROGATION ROOM 2 - CONTINUOUS
This room is identical to the first interrogation room.
Jack, Vaughn, Dixon, Tom, and Marshall are there. They've
been watching Sydney in the first interrogation room with
Sark.
SYDNEY
Dad, I need a knife.
Sydney turns to leave, then stops.
SYDNEY (CONT'D)
And maybe some smelling salts.
Sydney exits the room followed by a somewhat vexed Jack.
INT. HALLWAY 3 - CONTINUOUS
Sydney is heading back toward the first interrogation room.
Jack stops her by grabbing her arm. Sydney turns to face
him.
JACK
Sydney, what do you think you are doing?
SYDNEY
I'm trying to prevent a war.
JACK
I thought you didn't care about the war
with China.
SYDNEY
Well, I care now.
JACK
What you care about, or who rather, is
Sark because he can lead you to Sloane so
that you can get your revenge.
SYDNEY
I have a right to it. I didn't see you
having a problem with Vaughn getting
revenge on Lauren.
JACK
That was different.
SYDNEY
Why? Because you wanted to live
vicariously through Vaughn?
JACK
I already told you earlier when were
talking about your mother that I'm trying
to keep you from going down a path of
destruction through vengeance. I wish
for once in your life that you'd listen
to me and take my advice.
Jack's not getting through to Sydney.
SYDNEY
Just get me what I need so I can do my
job.
Sydney sulks off toward the first interrogation room, leaving
a concerned Jack watching.
INT. INTERROGATION ROOM 1 - NIGHT
Sark is still out cold from the beating he took from Sydney.
We see a hand waving smelling salts under Sark's nose. This
wakes him up in a hurry.
Sark awakens to see Sydney. She sits the smelling salts down
on the table in front of Sark and picks up a large, sharp
knife. She holds it in her hands.
SYDNEY
Sark, you're a very beautiful man.
SARK
Why Ms. Bristow, are you trying to seduce
me?
SYDNEY
Don't flatter yourself.
Sydney softens her tone a bit for the next line.
SYDNEY (CONT'D)
Are you concerned about your looks? I
think you are.
Sydney makes shallow cuts on Sark's face. Sark winces a
little.
SYDNEY (CONT'D)
You feel like talking now?
SARK
This is nothing a little plastic surgery
can't cure.
SYDNEY
You're right. I'll cut lower and deeper.
Sydney drops down out of frame. We hear something unzip.
Sark screams.
SARK
Okay, okay, I'll tell you whatever you
wanna know!
We hear something zip, then Sydney stands.
SYDNEY
What's Sloane up to?
SARK
Sloane wants to make himself immortal.
He also wants to create an army out of
the United States by using the Mueller
device.
SYDNEY
That doesn't make sense. I destroyed the
Mueller device in Russia.
SARK
Sloane's built a new one.
SYDNEY
It still doesn't make sense. Sloane was
there in Sovogda, he saw what the Mueller
device did to those people. They would
turn on him just as quickly as they would
turn on each other.
SARK
He plans on using the peaceful version.
That's why he had me steal the orchid
from the DSR.
SYDNEY
Is that all you stole?
SARK
No, I also stole the sphere of life.
SYDNEY
What happened to the rest of the Rambaldi
artifacts?
SARK
They blew up with the building.
Sydney looks at him, incredulously.
SARK (CONT'D)
I'm telling you the truth. Sloane didn't
want you people getting any clues about
his endgame so he had Peyton and me
destroy everything that wasn't needed for
the endgame.
SYDNEY
And what does all of this have to do with
China?
SARK
China is one of the greatest countries in
the world.
If Sloane can use the Mueller device to
convince the Americans to fight the
Chinese and they win, then he plans on
using them as his army to take over the
world, punishing the wicked and the
sinful, and rewarding and saving the good
and the innocent.
SYDNEY
He wants to be god. Where is he now?
SARK
If everything is going according to plan,
then he's probably in Washington D.C. or
on his way there. He plans on taking
over the white house.
SYDNEY
And the Mueller device, where is that?
SARK
Mt. Subasio. Sloane had it moved after
our fight there. He figured you wouldn't
think about going there, seeing as how he
already got what he needed from Mt.
Subasio.
SYDNEY
Is there anything else I need to know?
SARK
No.
Sydney turns to leave with the knife in her hand.
SARK (CONT'D)
Can we talk about a deal now?
Sydney turns to face Sark. She takes the knife and throws it
at Sark. It goes somewhere off screen. Sark's eyes widen as
they look down at his crotch area. He screams out in pain.
SYDNEY
(leaving)
Deal with that.
INT. INTERROGATION ROOM 2 - CONTINUOUS
The APO team watches Sydney as she leaves through the glass
window. Sydney enters the room.
JACK
What is wrong with you?
SYDNEY
Sark had it coming.
Vaughn goes over to Sydney, tries to hold her, but Sydney
brushes him off.
VAUGHN
Sydney, I know what you're going through,
but lashing out isn't going to help.
Sydney pays Vaughn no mind.
SYDNEY
Dad, I have a plan.
JACK
I'm not sure I want to follow any plans
you have right now. You're not of sound
mind.
SYDNEY
Will you at least listen?
Jack nods.
SYDNEY (CONT'D)
Let me go to D.C. to stop Sloane. Alert
the authorities; they can hold him off
until I can get there. You guys go to
Mt. Subasio and destroy the Mueller
device.
JACK
That's a good plan, but I'm going with
you to Washington.
SYDNEY
No, dad.
JACK
I'm not letting you go by yourself.
SYDNEY
Dad, if you go and I lose you, I don't
know what I'd do.
JACK
I'm just as stubborn as you are, Sydney.
The two look at each other, sternly, but Jack eventually
stares Sydney down.
SYDNEY
Alright, but don't die on me. That goes
for all of you.
Sydney takes Vaughn's hand.
SYDNEY (CONT'D)
Especially you.
MARSHALL
I can't believe this is Sloane's endgame,
that it's finally happening. After
working for him all of those years and
this is what it's come to. I feel like I
should say something.
(beat)
Sydney, kick his ass.
Sydney smiles.
INT. HELICOPTER - DAY
SUPER: WASHINGTON D.C.
Jack and Sydney are inside the helicopter. They're in the
back with another GUY up front, piloting the helicopter.
JACK
We should reach the White House in
another hour.
SYDNEY
Dad, what Sark said about Sloane's
plan... do you really think Sloane
achieved immortality?
JACK
I don't know. We've seen some strange
things happen.
SYDNEY
But immortality?
JACK
I never really bought into Rambaldi's
prophecies and endgames, but a lot of
things he predicted have come true and
his machines, when realized, have worked
the way they were designed to. However,
I think immortality might be a bit of a
stretch.
SYDNEY
So do I.
When Sydney says her last line, a bullet comes through the
window and kills the pilot. Sydney looks out the window and
sees another helicopter carrying Sloane and he has a couple
of cronies with him.
One of the cronies has a gun in his hand. It's still aimed
at Sydney and Jack's helicopter. The helicopter Sydney and
Jack are in begins to lose altitude.
SYDNEY (CONT'D)
Sloane.
Jack moves the pilot's body out of the way and gets the
helicopter back on course. Sydney opens one of the windows,
draws her gun, and fires on her enemies.
Jack tries to maneuver the helicopter below Sloane's.
Sloane's lackeys fire on Syd. She drops to the floor. One
of the lackey's gun fire hit the helicopter's rotors. The
rotors fly off. Sydney and Jack's helicopter rapidly begins
to drop out of the sky.
At first Sydney is freaking out, then she sees Sloane. His
helicopter is above hers. Sydney leans out of the open
window and shoots at the motor and the rotors of Sloane's
helicopter. She hits her marks and Sloane's helicopter comes
down with hers.
While all of this is happening, Jack moves to where Sydney
is, searching for something. Once she shoots down Sloane's
helicopter, he hands her a pack.
SYDNEY (CONT'D)
What's this?
JACK
Parachute.
They put on their parachute packs, open the door, and jump
out.
EXT. SKY - CONTINUOUS
Once they're out, they pull their cords. Their parachutes
open and they float in the air.
SYDNEY
I was worried there for a minute.
JACK
Don't worry. Sloane's not going to win
this time.
When Jack says that line, he's shot in the throat. Sydney
gasps in shock.
SYDNEY
DAD!!!
Sydney looks up and sees that Sloane is out of his helicopter
and has a parachute scrapped on. He has a gun in his hand.
SLOANE
You won't stop me, Sydney.
Sloane aims his gun at Sydney. Before he can shoot her, she
shoots the gun out of his hand. Sydney steadies herself for
another shot, but at this time...
EXT. FIELD - CONTINUOUS
She lands in a large field with her parachute falling on top
of her. Sydney frantically rips off her parachute. The
first thing she sees is her father lying dead beside her.
Before she can mourn him, a helicopter comes rushing down out
of the sky and it's headed straight for her.
Sydney rolls her father and herself out of harm's way. The
other helicopter hits the ground. Sydney sees that Sloane has
just landed about a dozen feet away from her.
Sydney springs to her feet and charges Sloane, knocking him
down. Sydney takes the cords of his parachute and wraps them
around Sloane's neck. She begins to strangle him.
Sloane seems unscathed and kicks Sydney off of him. Sydney
hits the ground hard, giving Sloane a chance to take off his
parachute. Sydney charges Sloane again and the two go at it.
It quickly turns into fierce hand-to-hand combat and
surprisingly, Sloane is holding his own.
Sydney eventually lands several blows that knocks Sloane on
his ass. She spots her gun over by her father's body. She
makes a mad dash for it, grabs it, and shoots Sloane in the
head as he gets up.
Sloane goes down, dead. His eyes are open. Sydney goes over
to the body to confirm the kill.
SYDNEY
I knew Rambaldi's plan for immortality
was untrue. Rest in Hell, you son of a
bitch.
Sydney bends down to close Sloane's eyes. SURPRISE!
Sloane's not dead! He grabs Syd's arms.
SYDNEY (CONT'D)
Oh my god.
Sloane throws Sydney across the field. Sydney keeps a firm
grasp on her gun. Sloane gets up.
SLOANE
Only the dead go to Hell.
ON SYDNEY
She's still on the ground. She stares at Sloane in total
shock.
FADE OUT.
END ACT FOUR
ACT FIVE
FADE IN:
INT. MAUSOLEUM - NIGHT (FLASHBACK)
Sloane has just entered this room from the tunnel. He closes
the door and locks it. Sloane pulls a flashlight out because
the room is pitch black.
Sloane turns on the flashlight. He sees a line of tombs. He
walks all the way down the line. At the end, he comes upon a
wall that has the eye of Rambaldi in the center of it.
SLOANE
At long last.
Sloane connects the sphere of life to the horizon and puts it
on the eye of Rambaldi. A hole forms in the sphere of life
and water springs from it. This isn't just ordinary water.
It's the most beautiful, pure water one could lay one's eyes
on.
Sloane's positively giddy. Sloane puts his mouth near the
miniature waterfall that has formed in the wall and drinks
from it. After his drink, Sloane giggles with joy. He's
like a school boy. He drinks again.
EXT. FIELD - DAY (PRESENT)
We return to Sydney and Sloane. Sydney is now on her feet.
Sloane kicks the gun out of her hand. The two engage in an
epic battle. This fight is incredible. Sloane is fighting
with the vigor of a man half his age.
SYDNEY
Decks Sloane a few times, then kicks him.
SLOANE
Backhands Sydney, then throws her across the field.
SLOANE
Why are you fighting me? You know you
can't kill me.
SYDNEY
Jumps up, lunges at, Sloane, kicks him in the chest, sending
him back.
SYDNEY
No harm in trying.
SYDNEY
Attacks Sloane again, but he manages to dodge her blow this
time.
SLOANE
Gets Sydney in a headlock from behind.
SLOANE
I killed Irina; I killed Jack; don't make
me kill you too.
SYDNEY
Rams the back of her head into Sloane's face. His grip on
her loosens. Sydney breaks free and throws Sloane by one of
the helicopters.
SYDNEY
You won't be killing anybody else.
SYDNEY
Swings her leg at Sloane.
SLOANE
Grabs her leg and slams her into the helicopter. He grabs
her by the throat.
SLOANE
You shouldn't have came after me, Sydney.
You're capable of remarkable things, but
defeating me isn't one of them.
SYDNEY
Puts her hands around Sloane's arms and uses all of her arm
strength to try to break his grip. She fails. She jumps up
in the air, wraps her legs around Sloane's neck and spins.
The two of them do a flip before they land on the ground.
They get up within seconds of each other.
SYDNEY
Gets up first and kicks Sloane in the face before he can get
his bearings.
SLOANE
Hits the ground. He doesn't stay down for long.
SYDNEY
Goes to hit him again.
SLOANE
Tosses her backward.
SYDNEY
Lands by one of the helicopter rotors. She decides to stay
down.
SLOANE
Goes after Sydney in her apparently weakened state.
SLOANE (CONT'D)
Don't feel bad Sydney. Not too many
people would have lasted half as long as
you did against an immortal.
SLOANE
Reaches Sydney.
SYDNEY
Leaps to her feet, grabs the helicopter rotor, and uses it to
decapitate Sloane. As she decapitates him:
SYDNEY
Sloane, you've got a big head.
Sloane's head drops to the ground and rolls away. His body
sinks to the ground. Sloane is still alive. His head is
just separated from his body.
SLOANE
I... can't believe you beat me.
The horizon and sphere of life fall from Sloane's person.
Sydney doesn't notice. She's paying attention to Sloane's
head. She stares at it, bewildered.
SYDNEY
My life is too weird.
Sydney presses a button on her side.
SYDNEY (CONT'D)
(in com)
Vaughn, I've stopped Sloane.
VAUGHN
(V.O.)
Great. We've destroyed the Mueller
device.
SYDNEY
See you in a few hours?
VAUGHN
(V.O.)
Yeah.
Sydney disconnects with Vaughn. She presses the button on
her side again.
SYDNEY
Director Chase, this is agent Sydney
Bristow.
CHASE
(V.O.)
Do you have good news for me?
SYDNEY
Very good news. I've defeated Sloane and
will bring him back ASAP.
CHASE
(V.O.)
Excellent.
SYDNEY
Oh, and I'd like to discuss some things
when I return to L.A.
Sydney turns, sees the horizon and the sphere of life.
CHASE
(V.O.)
Alright. Agents Vaughn, Dixon, and Grace
reported they didn't find the sphere of
life, the horizon, and the orchid.
In a fit of fury, Sydney smashes the horizon and the sphere
of life.
SYDNEY
I haven't seen the orchid, but the sphere
of life and the horizon were destroyed in
my battle with Sloane and his men.
CHASE
(V.O.)
Okay. Return as soon as you can.
SYDNEY
Will do.
Sydney disconnects with Director Chase.
SLOANE
You lied. You don't have to worry about
me telling your secret.
SYDNEY
I know. Even if I did, I doubt that
after all you have done that you word is
worth more than mine.
SLOANE
Good point.
SYDNEY
You finally got what you've been
searching for all these years. Was it
worth it?
SLOANE
What do you think?
SYDNEY
I think that I don't hate you anymore. I
think I feel sorry for you. You let your
obsession get the best of you and look
what happened. You're a pitiful man,
Sloane.
SLOANE
Can I tell you something, Sydney?
SYDNEY
What?
SLOANE
I'm truly sorry for everything that I
have ever done to you.
Sydney kicks Sloane's head a good distance. She goes over to
her father's body as we...
EXT. CIA - ESTABLISHING
INT. CIA - DIRECTOR CHASE'S OFFICE - DAY
The office is plain. Sydney and Vaughn are vis-a-vis with
Director Chase, who is behind her desk. She has a folder in
front of her. They're in the middle of a conversation.
SYDNEY
(to Chase)
I don't know what happened to Sloane's
head. I chopped it off and it went
flying.
(off Chase's look)
It's the truth.
CHASE
Hopefully, China won't mind. I know they
wanted to interrogate Sloane. I was told
Sark had to have corrective surgery for
his genitals.
SYDNEY
I needed information. Desperate times
call for desperate measures.
Chase stares at Sydney in disbelief.
CHASE
And agent Vaughn, what did you do with
the Mueller device?
VAUGHN
It's on a scrap heap in Italy.
Chase writes something on the folder.
CHASE
Agent Bristow, you said you had something
to discuss with me?
Sydney looks at Vaughn, takes his hand.
SYDNEY
Agent Vaughn and I would like to quit the
CIA.
CHASE
Is there a reason why?
SYDNEY
We just feel that if we're going to try
and raise a family, it's best not to do
it while working for the CIA.
CHASE
Your father worked for the CIA while
raising you.
SYDNEY
That's exactly my point. My father never
wanted this life for me and after being
an agent for all these years, I can see
why. I don't want my daughter to follow
in my footsteps.
Chase thinks about it for a minute, then:
CHASE
It'll be a shame to lose you; you're two
of my best agents, but if your minds are
made up...
SYDNEY
They are.
CHASE
Then I won't stand in your way. Have a
good life, all three of you.
Sydney beams with joy. She's finally free.
VAUGHN
Thank you.
The two exit the room.
INT. ELEVATOR - DAY
Sydney and Vaughn enter. Vaughn presses the button for the
lobby and the door closes.
VAUGHN
I'm beat. These last few days have been
hell. Can't wait to get home. I may
even take a nap.
Sydney kisses Vaughn passionately.
VAUGHN (CONT'D)
Or do other things.
SYDNEY
I've been wanting to do that for a while.
VAUGHN
You wanna go home and do some more of
that?
SYDNEY
I do, but there's somewhere else I wanna
go first and I wanna take Isabelle.
The elevator door opens, Sydney exits. Following behind her:
VAUGHN
Where?
EXT. CEMETERY - DAY
Sydney and Vaughn arrive. Sydney's holding Isabelle. They
walk past several graves until they reach Jack and Irina's.
Yes, the two former lovers and enemies are buried next to
each other.
Sydney points at Jack's grave.
SYDNEY
Isabelle, your grandpa Jack is there. He
was a brave man. He always did the right
thing even when it hurt him.
Sydney moves toward Irina's grave.
SYDNEY (CONT'D)
And this is grandma's grave. Her name is
Irina. You never got a chance to meet
her. She sacrificed her life to give us
a better world. She was a real heroine.
Isabelle coos. Sydney's becoming maudlin.
SYDNEY (CONT'D)
Vaughn, will you take Isabelle back to
the car?
Vaughn takes Isabelle from Sydney.
VAUGHN
Yeah, sure. You alright?
SYDNEY
Yeah, I just wanna be alone with my
parents. I know that sounds silly--
VAUGHN
Not at all.
Vaughn kisses Sydney, then leaves. Tears begin falling down
Sydney's face as she looks heartbreakingly at her parent's
grave.
SYDNEY
I did it. I stopped Sloane for good.
He's not dead, but he'll never be able to
hurt anyone again, nor will Rambaldi. I
hope wherever you guys are, that you're
happy and I want you to know that I'm
good and Isabelle's good. I love you.
Sydney walks away from the graves, her face now a teary mess.
Her tears are tears of joy and sadness.
CUT TO BLACK.
THE END
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