(Continuing from last week. Sydney and Ana kneel in front of the case, staring at its contents. It starts to beep. Acid starts bubbling up through two tubes at either side of a piece of paper which is centered inside. It has binary digits written on it -- 0s and 1s. Ana and Sydney start memorizing it, saying out loud. The acid starts covering the piece of paper. The sheet disintegrates. They stand.)
SYDNEY: Did you get it?
ANA: Did you?
(They take off, running in opposite directions.)
SYDNEY: Dixon, I'm ending transmission!
(Inside the SD-6 van, an agent sits with Dixon.)
AGENT: She turned off her mic, I've lost her signal.
(Sydney runs through the alley of the field.)
SYDNEY: 0-0-1-0. Did you get that?
(Vaughn is still in L.A.)
VAUGHN: Got it.
SYDNEY: I'm giving SD-6 the wrong number!
VAUGHN: What? No, no, no, no, you give them exactly what--
SYDNEY: I'm not giving them the right sequence! There is no way, forget it!
VAUGHN: Sydney, listen to me! This is critical! Sydney, you give them the number. That's an order.
SYDNEY: An order?
VAUGHN: Yes.
SYDNEY: We have to have a long talk when I get back to Los Angeles!
(Sydney runs up to the SD-6 van and crawls in.)
SYDNEY: Dixon, I've got the code! 0-1-0-0-0-1-1-0-0--
(In the K-Directorate van, Ana tells the code to her agents.)
ANA: Null, adin, null, adin--
(Sydney and the agents in the van, Dixon takes it down.)
SYDNEY: 1-0-0-0-1-1-0-0-1-1-1. Just two ones. Then--
(In the K-Directorate van.)
ANA: Null, adin, null, adin, null, null, adin, null--
(SD-6 van.)
SYDNEY: 1-1-0-1. That's it. 1-1-0-1.
DIXON: You did good.
(In Los Angeles, inside a yellow parked van. Sydney, Vaughn and Weiss.)
SYDNEY: You do NOT give me orders!
VAUGHN: Maybe I do--
SYDNEY: I could have easily misled SD-6--
VAUGHN: You're not thinking this through!
SYDNEY: ...That's what I'm here for!
VAUGHN: Just stop talking for a second! If you'd given SD-6 a bogus code, what would have happened when Ana gave K-Directorate the correct sequence?
SYDNEY: Who cares? They would have thought I made a mistake!
VAUGHN: Oh, and what, that Ana didn't? She would've given them the correct code, they would have seen the code indicate at Athens, K-Directorate would head there, SD-6 would have nothing. They would suspect you. Sydney, we have to be very careful here. We have to be wildly, crazy careful. If SD-6 suspects you in the least, it's over.
SYDNEY: Ana's been the enemy for three years. In Berlin I realized she wants SD-6 to burn almost as much as I do.
VAUGHN: As far as the C.I.A.'s concerned, the only thing worse than SD-6 getting its hands on critical information is if K-Directorate gets it first. Ana is still your enemy.
(Credit Dauphine. Sloane and Russett walk together.)
SLOANE: You're not into mysticism, are you?
RUSSETT: Mysticism.
SLOANE: Neither am I. But keep an open mind, it'll help. The code was written in 1489. The guy who wrote it was some sort of Nostradamus. His name was Milo Rambaldi.
RUSSETT: This binary was witten by a fifteenth century fortuneteller. How come I've never heard of him?
SLOANE: His designs were so advanced, they just assumed he was insane. On some of his drawings, he made lists of part numbers. I.D. numbers of actual technology not manufactured until now. This year. It's real, it's a hunt. This man spent the last ten years of his life working on one project. We don't know whether it's a weapon, a fuel source, a transportation system. Based on the little we do know, its technology is beyond anything we have ever seen. How's your wife? I forgot to ask.
RUSSETT: Uh, good. Yours?
SLOANE: Actually, Emily's a bit under the weather. Thanks for asking. Come on.
(They enter the board room where Marshall and Sydney sit.)
SLOANE: Did you read the report?
SYDNEY: They found nothing.
SLOANE: This is Anthony Russett, he's transferring here from Jennings. He's working on the UCO file. You've already met Marshall. This is Sydney Bristow.
RUSSETT: I know your father.
SLOANE: We read the code you recovered. Accordingly, we sent a team to Athens. So, I just got a phone call from SD-3, he said there was no evidence to anything pertaining to Rambaldi. And we were there first. Turns out, we made a giant mistake. But so did K-Directorate.
MARSHALL: In our rush to decipher the Rambaldi enigma, we misinterpreted the code. It left us with two series of digits. We assumed longitude and latitude. But he was using a compression scheme. I should have seen that. Instead of sending a team to Athens, we should have been headed to Malaga, Spain.
SLOANE: Which is where you're going. There's a five-hundred-year-old church sitting on the exact site of Rambaldi's coordinates.
SYDNEY: What am I looking for?
SLOANE: We don't know. The only clue we have, if it is indeed a clue, are two words that were part of a code: Sol d'oro.
RUSSETT: Golden sun.
(Malaga, Spain. Sydney shines a flashlight in the church, she looks over the pews for the clue. She looks around, turns to see the painted glass window at the back of the church. In the center is a golden sun. Sydney takes a desk and stands on top if it. She touches the golden sun and unscrews its center. The golden circle is the clue. She looks at it in her hands, and jumps down. Ana, from behind her, takes her by the throat and snatches the golden sun away from her.)
ANA: I was hoping you'd come.
(Sydney kicks Ana and Ana's gun goes sliding down the floor. Sydney punches her, roundhouse kicks. Ana drops the sun. Sydney flips Ana and dives behind a pew while Ana fires her gun at the pews, destroying many of them. Sydney flinches while on the floor, covering her head. She sees the sun lying nearby. Ana slinks closer with her gun in hand. She sees the sun, bends down and gets it. Sydney comes up from behind and hits her on the head with a wooden post with religious markings on it. The gun flies. Ana grabs a long candle stick holder and slaps Sydney in the head with it. Sydney lands on her back on a table. Sydney grabs Ana's hand and holds it above all the candles that are lit. Ana snatches her hand away, yelping in pain. Sydney quickly moves and handcuffs Ana's hand to the table post. She struggles like a caged animal. Sydney takes the sun, and walks out.)
(In Sydney's house, Sydney and Francie sit on the sofa eating Chinese food. Sydney holds the matchbook, looking at it.)
SYDNEY: You haven't said anything to Charlie?
FRANCIE: I needed to talk to you first.
SYDNEY: It's just a matchbook with someone's number.
FRANCIE: Yeah, someone named Rachel who "truly loved tonight."
SYDNEY: You have to ask Charlie about it.
FRANCIE: Yeah.
SYDNEY: I mean, what else are you going to do?
FRANCIE: Have you ever spied on anyone? Okay, I know it's totally beneath me, but Charlie has been so distant lately, and every time I ask him what's wrong, he's like, "Nothing, baby. Everything's cool. It's all fine."
SYDNEY: You don't believe him.
FRANCIE: He has law review in an hour.
SYDNEY: You want to follow hm.
FRANCIE: So much, I cannot even tell you.
SYDNEY: I think spying on your boyfriend generally sets a bad relationship precedent.
FRANCIE: What if he's cheating on me?
(Across the street from Francie and Charlie's house, Sydney and Francie sit in Sydney's vehicle. Francie eats some candy.)
FRANCIE: You're a really good friend, you know that?
SYDNEY: Yes, I do. (smiles) So, this thing happened with Will the other night.
FRANCIE: What, did he come on to you?
SYDNEY: No, no. I kissed him.
FRANCIE: What? You kissed Will Tippin? Are you kidding me?
SYDNEY: I know. Stop it. We were in the apartment by ourselves after you and Charlie left and we had all those drinks...
FRANCIE: I don't believe it. You must have been really drunk. Hey, there he is. Start the car, start the car.
SYDNEY: No, you wait 'til he's a block away.
FRANCIE: Look at you getting all into it.
SYDNEY: Everyone knows you wait.
FRANCIE: I don't know you wait.
SYDNEY: You wait.
FRANCIE: What's he doing?
(A car pulls up beside Charlie, its horn honking. Charlie walks over to the driver's side. A blonde woman gets out, and hugs him. They kiss briefly. Sydney looks at Francie. Charlie puts his duffel bag in the girl's trunk. Francie looks devastated.)
FRANCIE: Okay. I guess he's not going to law review.
(Will's office. He's on the phone, sitting at his desk. Jenny stands nearby.)
WILL: H-E-C-H-T. You're certain? Okay. Thank you. I promise, I won't call again. (hangs up) Danny was supposed to be registered at a medical conference in Singapore.
JENNY: You already told me. Litvack wants the baptist church copy.
WILL: But I checked all the conferences twice. He's not registered at any of them.
JENNY: I know...
(His phone rings.)
WILL: Will Tippin.
(Sydney's at her house, watering plants.)
SYDNEY: Hey, it's me.
WILL: Hey. Hi. Uh, how'd your trip go?
SYDNEY: Okay. How are you?
WILL: Good. Uh, uh, busy. Listen, you don't feel weird about what happened, right?
SYDNEY: A little.
WILL: Me too. What is that?
SYDNEY: We'll talk about that later. Listen, Francie and I saw Charlie last night with another woman.
WILL: What? You're kidding.
SYDNEY: Yeah. She spent the night at my place. She's here now, she's sort of a mess.
WILL: Oh, God...
SYDNEY: And the bank called. Uh, I might have another trip.
WILL: You take an insane amount of trips.
SYDNEY: Would you mind dropping by later? Just check on her and make sure she's okay.
WILL: No, yeah, yeah, yeah, of course.
SYDNEY: Thank you. I should go.
WILL: Okay. Go. I'll talk to you later. Bye.
(He hangs up. Jenny stands there, watching.)
JENNY: That was Sydney. You're different when you talk to Sydney.
WILL: Don't analyze me. Go. Can you get me the number of, uh, the guy who works for the airport? What's his name? Luis Scourza? What?
JENNY: If you want me to do something for you, you say please.
WILL: Please. Scourza, okay? You know, "please" is implicit, Jenny!
(Credit Dauphine. Sydney is at her desk, filing something. She sees her dad walking through. She gets up.)
SYDNEY: Dad. You have a meeting with Sloane?
MR. BRISTOW: McCullough.
SYDNEY: Psych evaluation?
MR. BRISTOW: Routine. It's nothing I'm not used to, nothing I look forward to, but, uh, such is the nature of the job.
SYDNEY: So, Berlin. It worked out. My meeting with K-Directorate. We got the code. That was smart.
MR. BRISTOW: Well, I should go. I'll see you later.
SYDNEY: Dad... could we have dinner? How about Thursday, do you have plans?
MR. BRISTOW: No. Thursday. Dinner. That'll be fine.
(Board meeting. Sloane, Russett, Dixon, Sydney, Marshall.)
SLOANE: Analysis is working full-time on the piece you brought back from Spain. This is not glass. They know that. It's a synthetic polymer. They believe it was made at least five hundred years ago.
DIXON: Before there were synthetic polymers.
SLOANE: And so the mystery continues. Meanwhile, we have another situation. This is last year's United Commerce Organization. Administerial conference. A number of groups led planned attacks against the proceedings. Zero defense among them. Word is they're planning to attend the conference this year in Sao Paulo.
RUSSETT: Luc Jacqnoud should be landing in Morocco within the next forty-eight hours.
SYDNEY: I thought he was in Le Sante for stabbing a police officer.
RUSSETT: Released twenty-six months early. He's obviously got ties to French justice. Intel reports he'll be in Morocco to meet a client.
DIXON: I.D. on the client?
SLOANE: None. That's your job. You're Kate Jones, and Justin Bernell. You're traveling with Mindspring Learning Tours. You arrive on Wednesday. Your objective is to monitor the meeting, I.D. the client, and make sure whatever Jacqnoud is up to, doesn't happen.
SYDNEY: Is Mochtar the contact?
SLOANE: He's meeting you at the airport. (to Russett) This is an Egyptian commando. We recruited him two years ago. Marshall.
MARSHALL: (standing) Okay. Ahem. How is, uh, everyone? Hi, or -- right. Okay. You're going in with the usual tech -- camera, comm gear, and sat relay, but this-this is new. (holds up a purse) Now, this looks just like a normal purse that you would wear out with going out with your lady friends. Put your feminine things in there, but, a parabolic microphone. (points to center of the design) Has a laser transmitter that works in a three hundred yard radius, and oh, and I also added a low frequency tantalum wind filter that will eliminate any unwanted sounds below a hundred and fifty hertz. Not that you're going to be in any wind. I mean, you're probably not going to be in any wind, but let's say that you were in some wind, you know, like a light breeze, like a (whistles). Or even a strong wind, like, a gust, like a (blowing air). This? Nothing. Silent. Wind filter. (sits)
(Inside psych evaluation room. Mr. Bristow has pads over his face for monitoring purposes. Machines beep around him. McCullough sits nearby.)
MCCULLOUGH: You feel light, thin air, and as you continue moving downward, you feel more and more relaxed. The escalator continues down and the closer you get to the light, the more relaxed you feel.
(We see inside Jack's mind. An escalator.)
MCCULLOUGH: (voice over) The escalator seems to continue forever, and you feel safe and relaxed.
(White light. In Jack's mind, we're transported to a baby's room. A crib sits in the corner with a stuffed teddy bear.)
MCCULLOUGH: (V.O.) Still listening to my voice, you keep going and the farther you go, the more comfortable you feel.
(A woman is holding a baby gently in her arms. We're assuming it's Jack's wife, Sydney's mom. Suddenly, the woman turns and it's... Sydney. Holding the baby.)
SYDNEY: It's only a matter of time before I find out the truth.
(In the evaluation room, Mr. Bristow snaps to attention, looking terrified.)
MCCULLOUGH: Jack?
MR. BRISTOW: Just give me a minute, will you?
(He pulls the pads off his face and exits. Outside the room, he desperately tries to control himself. He calmly buttons his jacket.)
(Car wash. Sydney is inside the waiting area while her car gets a washing. Vaughn approaches, looking disheveled. Well, more than usual.)
VAUGHN: Sorry I'm late.
SYDNEY: That's all right. You okay?
VAUGHN: Yeah. Turns out we knew Jacqnoud was traveling, but we thought he was going to Bahrain. But what we don't know is why SD-6 is so interested in the U.C.O.
SYDNEY: You sure you're okay?
VAUGHN: Yeah. I just, uh--
SYDNEY: Did you have a fight with your wife?
VAUGHN: My what?
SYDNEY: Your wife.
VAUGHN: What wife? I have no wife.
SYDNEY: No, there was a picture in your office. You and that woman. I thought you were married.
VAUGHN: No. She and I are not remotely m-- You thought I was married this whole time?
SYDNEY: I guess so. What's the big deal?
VAUGHN: Nothing. So when you get an idea on who he's meeting and/or details of that meeting, just call the usual number. Hit the eight key. We'll dead-drop in the trash can. Why did you ask me if I had a fight with my girlfriend?
SYDNEY: I don't know. Did you?
VAUGHN: Huge. Good luck in Morocco.
SYDNEY: Thanks.
(He leaves, looking more stressed than before.)
(Morocco. At the airport, Sydney and Dixon walk to the curb. They see a man, Mochtar, who waves to them. They approach.)
MOCHTAR: Look at you!
SYDNEY: It's been a while!
(She kisses him on both cheeks.)
MOCHTAR: Ah, hello!
DIXON: How have you been?
MOCHTAR: Lately, too busy. Too many people with dangerous toys.
SYDNEY: Any news on Jacqnoud?
M0CHTAR: Yes. A friend tells me he's meeting a client today in the local marketplace. I've got a good spot for us.
DIXON: Any word on the client?
MOCHTAR: Big mystery. We still don't know. Come, I'm parked right over there.
(Sydney's house. Francie talks on the phone to Sydney.)
FRANCIE: Charlie has called my cell phone six times.
SYDNEY: You still haven't seen him?
FRANCIE: No. I want him to suffer. I'm not even going to tell him where I am. How is Chicago, did you get there okay?
(Cut to Sydney, in Morocco, putting on her disguise.)
SYDNEY: Yeah. Chicago's fine. Look, let me just sy one thing, just so someone's saying it. There might be an explanation.
FRANCIE: He got into a car with a woman I have never met.
SYDNEY: Just talk to him. Tell Charlie what you saw. You owe him that.
FRANCIE: Maybe after he calls me a few more times.
SYDNEY: Call me if you need me, okay? Love you.
FRANCIE: Love you.
[SCENE_BREAK]
(Sydney, complete in her disguise, goes out to the balcony to see Mochtar and Dixon setting up video cameras and cameras for the op.)
SYDNEY: How's the view? (takes purse) You want to give this a test run? Can you hear me?
DIXON: Loud and clear.
MOCHTAR: Jacqnoud just walked in.
DIXON: Who's he with?
M0CHTAR: Uh, looks like he's solo.
DIXON: (to Sydney) You're ready.
SYDNEY: I'm going shoppin'!
DIXON: Bring us back something, would you?
SYDNEY: That's the plan!
(She leaves and walks down to the market, looking around. She gets closer. Jacqnoud sits alone.)
SYDNEY: Are you picking this up?
DIXON: Yeah. The mic's hot.
SYDNEY: He's still alone.
(A man tries to sell her something.)
SYDNEY: No, no, no, I don't understand. Don't understand. Sorry.
(Jacqnoud greets a man at his table.)
SYDNEY: The meet just got here.
(In the balcony, Mochtar and Dixon looks. Dixon takes pictures.)
DIXON: Got him! Mochtar, you know this guy?
MOCHTAR: No, but I'm going to try and get an I.D. right now.
(Mochtar runs to another set up around the hallway. The laptop connects, scanning the picture for identification of the man meeting with Jacqnoud.)
(Downstairs, the men meet.)
SUARI: Nice to finally meet you in person. Everything worked getting here?
JACQNOUD: Yes, thank you. Merci beaucoup.
SUARI: So, how are we doing?
JACQNOUD: You mean phase three?
SUARI: What were the results?
JACQNOUD: You will be very happy. If Patel's going to be our delivery man, I'll need the piece by tomorrow.
SUARI: As long as the financial arrangements can be made, that shouldn't be a problem.
JACQNOUD: Bon. Salut.
(The bodyguard stares at Sydney. She looks away.)
SYDNEY: Dammit! The litle guy's bodyguard. I know him.
DIXON: What?
SYDNEY: From Corisca, two years ago. The son of a bitch broke my arm.
(She starts walking away. The bodyguard looks up, and sees the camera lens in the balcony.)
DIXON: Mochtar, pack up! We've got to get out of here!
(The bodyguard sees shadows scurrying along up on the balcony.)
SYDNEY: (walking) We have somebody.
(Sydney tries to leave.)
DIXON: Syd, get out of there!
(The bodyguard stops her.)
BODYGUARD: You. I know you.
SYDNEY: I'm sorry. You're talking to me?
BODYGUARD: I think you remember me, too.
(He throws her in a small part of the market, she falls to the ground behind the curtain. He advances.)
SYDNEY: I'm sorry. I don't know who you are.
BODYGUARD: Tell me why you're here, or this time I do more than just break you arm.
(Sydney kicks a table in the air, catches it, throws it at him, smashes his head in twice. He pushes her up against the wall, she flips off of it. Kicks him in the back. Hits him with an empty pot three times. He falls. The curtain opens, and an elderly couple -- tourists -- walk in, shocked.)
SYDNEY: He wanted to charge me fifty dollars. That's too much.
(Upstairs, Dixon frantically packs up. Gunshots are heard. Dixon freezes. Sydney runs up the stairs.)
SYDNEY: Dixon! Dixon! Dixon, do you copy!
(Sydney stops running when she sees Mochtar's lifeless body. She takes off her glasses. Down the hall, punches are being thrown as more bodyguards try beating up Dixon and Sydney. She fights one of the men. Another guy manages to pin Dixon down on a table, but he jumps up, kicking the man.)
DIXON: Are you okay?
SYDNEY: I'm fine!
(Helicopter whirring overhead. Sydney gets some of the gear and stops at Mochtar. Touches his head. When she takes her hand away, she sees his blood on her palm. Dixon stops behind her.)
DIXON: We have to go.
(Sydney stares at Mochtar, and leaves.)
(At Sydney's house, she arrives home from her trip. She puts her bag down.)
FRANCIE: Hey.
SYDNEY: Hi.
FRANCIE: How was your trip?
SYDNEY: It was awful.
FRANCIE: Syd, I'm sorry.
SYDNEY: What's going on with Charlie?
FRANCIE: I'm meeting him for coffee. He knows something's up. If he doesn't have an explanation, if he can't exactly explain why he was kissing some whore instead of going to law review, I'm going to kill him.
SYDNEY: Don't say that.
(Will appears behind them.)
WILL: She's on a rampage. She wasn't even going to go out with him, I had to force her to go out with him. (smiles sweetly at Sydney) Hi.
SYDNEY: Hi.
FRANCIE: Let me ask you something. You think it's going to go all right?
SYDNEY: I do.
(The girls hug. Only this time, Sydney hugs a little longer, needing that comfort after the day she's had.)
FRANCIE: Love you.
SYDNEY: Love you.
FRANCIE: See you, Will!
WILL: Good luck. Let me get that for you.
(He gestures to Sydney's luggage. Francie leaves.)
SYDNEY: Thanks.
WILL: You look exhausted.
SYDNEY: Pretty good assessment.
(Inside Sydney's bedroom, Will sits down on her bed with the luggage at his feet.)
WILL: So, hey, I was thinking about what happened. You know, that, uh, you know, that kiss. Yeah. And, uh, I think I've figured out why it was so weird.
SYDNEY: Why?
WILL: Well, because, how often do you, you know, do you kiss someone that you're that close to? I mean, never.
(He flips the luggage tag that reads "Kate Jones" in his hand as a nervous habit, not realizing the name that's written there.)
WILL: Anyway, I, uh, I know that it's awkward between us now, but...
(Sydney sits beside him, seeing what he's doing, and takes the luggage from him.)
WILL: I think that I've figured out a way for it to not be so awkward anymore.
SYDNEY: What?
(Will kisses her, holding her face gently. Their eyes slowly open. It's awkward. He pulls away.)
WILL: Okay. That didn't work, did it?
SYDNEY: I have to go have dinner with my father.
WILL: Ooooh, now I feel like an idiot.
SYDNEY: No, don't, don't.
WILL: (embarrassed) Oh, my God. I have that feeling. Oh, my God.
(Restaurant. Sydney sits alone.)
WAITER: Would you like to order, ma'am?
SYDNEY: I'll wait, thanks. I'm meeting someone.
(Sydney looks at her watch.)
(Different restaurant. Francie and Charlie.)
CHARLIE: (to waiter) Thank you. (sighs) So, you gonna tell me what's up? Do I have to start guessing?
FRANCIE: I saw you.
CHARLIE: Saw me what?
FRANCIE: I saw you outside our house with a woman.
CHARLIE: What are you doing watching me?
FRANCIE: I don't have to answer that question, you do! What were you doing?
CHARLIE: She's a friend.
FRANCIE: A friend you went out with instead of going to a law review. Her name's Rachel, right?
CHARLIE: (to waiter) No, thanks. (to Francie) You know I trust you.
FRANCIE: I give you reason to! I am not going to let you lie to me, Charlie! Now, explain yourself.
CHARLIE: Francie, I love you, and I'm not playing around. We're just hanging out, that's all.
FRANCIE: All right. Hang out. Hang out with Rachel.
(She leaves.)
(Sydney waits at the restaurant. Looks around. Looks at the menu, puts it down. Still waiting. She's getting more worried. She looks at her watch. Her cell phone rings.)
SYDNEY: Hello?
MR. BRISTOW: Sydney. Sorry to call so late.
SYDNEY: No, it's all right.
MR. BRISTOW: Uh, look, uh, I won't be able to make dinner. Work is, uh, just, um, I can't get away. You understand.
SYDNEY: Of course. Don't worry about it.
(We see that Mr. Bristow is actually in his car, at the restaurant, watching Sydney.)
SYDNEY: I'll just see you at... I'll just see you.
MR. BRISTOW: Okay. Bye. (hangs up)
(Sydney hangs up, choking down tears. She covers her mouth. She then picks up her phone, and dials.)
(Pier, night. Sydney and Vaughn.)
SYDNEY: (sobbing) I'm sorry to call you, I just didn't know who else to call. My father and I were supposed to have dinner tonight. The first time since I was a kid. I can't even remember the last time. (sobs) He just didn't show. He said he had work. He didn't have work. This isn't just about my dad. When I was in Morocco, the man who died... he was a friend of mine. He was a good man, who thought he was fighting for the right side, that he was working for the C.I.A.! He was lied to, and now he's dead. I had his blood on my hands!
VAUGHN: Sydney...
SYDNEY: I feel like I'm losing my mind! Like I don't even know who I am anymore, or what I'm doing, or why I'm doing it!
(Her pager suddenly beeps. Sydney grabs it, and throws it in the water below them. It splashes.)
VAUGHN: You just threw your beeper in the Pacific.
SYDNEY: (laughs through tears) I know...
VAUGHN: Okay, listen to me. There's something you need to know. When you first walked into my office with that stupid Bozo hair, I thought you were crazy. I thought you might actually be a crazy person. But I watched you, and I read your statement, and I've seen... I've seen how you think, I've seen how you work, I've seen how you are in this job. In this job, you see darkness. You see the worst in people and though the jobs are different and the missions change, and the enemies have a thousand names, the one crucial thing, the one real responsibility you have is to not let your rage, and your resentment, and your disgust, darken you. When you're at your absolute lowest, at your most depressed, just remember that you can always... you know. You got my number.
(A few seconds pass. Sydney grabs Vaughn's hand, and holds on tight.)
(Credit Dauphine, the next day.)
SLOANE: I put the recording you made through voice print. The man that Jacqnoud is meeting with is Malik Suari. He specializes in industrial demolition. This is his latest innovation. It's called the Blu-250. Commissioned by a Swiss corporation to blow out mountain ranges for the production of high speed trains. There's a third piece. You will be very happy.
(They play the recording Sydney took.)
SLOANE: Now, of course, the man they're referring to is Dhiren Patel.
DIXON: You think the winner of the Edgar Peace Prize is working with Luc Jacqnoud?
SLOANE: Dhiren Patel is India's delegate to the U.N., he's a former president of the southern hemisphere. Human rights commission. There's no way in the world he's working with Jacqnoud.
SYDNEY: So, then, what's the connection?
SLOANE: Irony. Jacqnoud is using Mr. Patel without his knowledge to send a message to the U.C.O.
DIXON: Which is what?
SLOANE: To abolish the organization. We've traced at least a half a dozen threats to Jacqnoud. This has it that this last act will be his most violent.
SYDNEY: You think Jacqnoud is going to plant an explosive on Patel?
SLOANE: Yes, I do. And I want you two to stop it. That's why you're leaving for Sao Paulo tonight. The job is to find Patel, recover the weapon, and safeguard the U.C.O. Any questions?
(Sao Paulo. At a party, Dixon looks around, wearing a tux.)
DIXON: Any luck?
(Pan over to Sydney, dressed in disguise.)
SYDNEY: I don't see Patel anywhere.
(At Will's office, he's on the phone. Jenny stands nearby.)
WILL: Oh, and that's unusual, buying an international flight with cash. Uh-huh. But he was traveling alone, right? Excuse me? Daniel Hecht was not traveling alone?
(Sydney mingles, looks around. Patel enters.)
SYDNEY: I have a twenty on Patel.
DIXON: Let's get him out of here.
(Patel wipes sweat from his head, motions to his bodyguards that he's suddenly ill.)
SYDNEY: Wait. Something's wrong. He looks sick.
DIXON: Sick?
(Patel collapses.)
SYDNEY: He just went down.
DIXON: Does he have a drink?
SYDNEY: Yes.
DIXON: Get the glass.
(Sydney walks over to where Patel has collapsed. Some people surround him, checking if he's okay. She crouches down near Patel's fallen hand, where he's holding his drink.)
SYDNEY: Is he okay? Did somebody call a doctor?
(She takes the glass, stands, and drops it into Dixon's hand, who walks by.)
MAN: Excuse me, I'm a doctor. Can I help?
(The man kneels down. Suari stands in the background, takes a drink, watching with interest.)
SYDNEY: Guess who's here?
(Dixon exits the party, and goes into the stairwell, still holding Patel's drink.)
DIXON: Suari.
(He puts something in the drink, shakes the glass a little.)
DIXON: I'm telling you, if they're bombing this place, it's going to be tomorrow. Opening ceremonies.
(Dixon holds the glass up to the light. Patel's drink turns blue.)
DIXON: They fed Patel some kind of powdered sedative compound. Looks like a designer drug.
(Out at the party near the curb, people stand around, watching Patel enter an ambulance.)
DIXON: Keep an eye on Suari.
(The ambulance drives away. Sydney sees a brand new motorcycle parked.)
SYDNEY: I'm following Patel.
(Will's office, continuing.)
WILL: Just confirm something for me. The person traveling with Daniel Hecht, the name was Sydney Bristow, right? No? Are you sure? Okay, man, you gotta tell me who it was. Just give me the name. Oh, come on, what about you owe me one? All right. Hey, you remember my assistant Jenny? No, no, no, no, the other one.
JENNY: What are you doing? What are you doing?
WILL: Yes, yes, yes. You give me the name, and she'll go out with you.
JENNY: No, she won't!
WILL: Yeah, she's psyched to go out with you, man.
(Will presses a button on the phone and gives the receiver to Jenny.)
JENNY: I'm not going to talk to him!
WILL: (whispering) You don't ahve to go out with him, just say that you are. Please?
JENNY: Fine! (picks it up) Hi. Yeah. Okay. I'd love to go out with you. Uh-huh.
(She gives Will a dirty look and hangs up. He takes over on his headset.)
WILL: Okay, so, give me the name of the person who was traveling with Daniel Hecht. Yeah, I know.
(Will types "Kate Jones" on his computer, frowning.)
WILL: Kate Jones. Kate Jones.
(He types "Kate Jones?".)
(In Sao Paulo, the ambulance races down the street. Sydney rides behind it with the motorcycle she eyed. The ambulance pulls up to a building, enters a gate. She comes up behind. The ambulance enters the building. She stops and takes off her helmet, wtaching. She spots a way to get into the building. Inside, the ambulance driver takes off his tuxedo coat. Talks to Suari. They're getting Patel out of the ambulance. To the side, is a marked off area with hospital gear set out.)
AMBULANCE DRIVER: There was any problems?
SUARI: No problem. He's ready to go.
(Sydney runs and climbs up a stairwell outside. Inside, a few doctors gather around Patel.)
DOCTOR: Scalpel.
(Patel lays, unconscious. Sydney breaks a cage outside and climbs inside. At the operation, a doctor makes an incision on Patel's chest. Someone else wipes the blood away. Sydney, climbing above where the operation is taking place, moves through an entryway and gasps as her legs dangle below through a giant hole in the walkway. She pulls herself up, grunting. On her hands and knees, she looks down. Coming up to another hole in the ceiling above where the doctors are currently cutting Patel open, she gets a better look with a small telescope that is about the size of a pencil. She seees Suari below, observing the operation. And Jacqnoud. She gets a better look. She sees Patel's face. They're making the incision deeper. One of the doctors holdds a small metal casing that is formed into a half moon.)
SUARI: Uh, careful with that. That's the equivalent to three hundred pounds of TNT.
JACQNOUD: Yes. Don't kill him.
(Sydney watches in horror as the doctors put the bomb inside Patel's chest.)


(audience laugh)
Lucas (reading): "It has been a long time since New Years on the roof". "Remember that"? "I know we've been avoiding it but now the flowers are blooming and it is Spring: the season of love"! "Hi! My name is Lucas Friar and I am here to talk about us".
Maya: Do we have to talk about this?
Lucas: We have to make some decisions!
Riley: We have chosen to completely forget about this! (yells) He's in my room!
Cory (O.C.): You have to make some decisions!
Lucas (reading): "This is very hard for me. We have to be very careful about what's going on, because I don't want to--"
Riley (interrupts): .. lose either one of you as my friends?
Lucas (continues reading): ".. lose either one of you as my friend".
Maya: You were with him when he wrote this?!
Riley: No. Maya, I think we just all know what's at stake here.
Maya: Nothing's at stake here. Just tell me right now: nothing will affect our friendship.
Riley: (shrugs) It won't.
Lucas (pretending to read): "What... about... what... I... want"?
(audience laugh)
Riley: One card for each word...
Maya: Why did he do that?
Riley: Emphasis.
Maya: Why did he do that?!
Riley: Lucas, what do you want?
Lucas: I don't want anything bad to happen to us... but I especially don't want to be responsible for something bad happening between the two of you!
Maya: We know that.
Riley: Why do you think we like you?
Maya: What's it say on your last card?
Lucas: Oh, I'll get to it.
(audience laugh)
Lucas: See? I have different feelings for each of you and I don't entirely understand them.
Riley: We don't understand this either.
Lucas: That's why the smartest thing to do would be to make the right decision, right now, and just move on.
Riley: Great! How do we do that?
Maya: You mean, choose one of us over the other? What happens then?
Riley: That would be the end of us.
Maya: What's it say on your last card?
Lucas (reading): "I don't want this to be the end of us"!
[SCENE_BREAK]
(Theme music playing)
♪ I've been waiting ♪ ♪ For a day ♪ ♪ Like this to come ♪ ♪ Struck like lightning ♪ ♪ My heart's beating like a drum ♪ ♪ On the edge ♪ ♪ Of something wonderful ♪ ♪ Face to face with changes ♪ ♪ What's it all about? ♪ ♪ Life is crazy ♪ ♪ But I know ♪ ♪ I can work it out ♪ ♪ 'Cause I got you ♪ ♪ To live it with me ♪ ♪ I feel all right, I'm gonna take on the world ♪ ♪ Light up the stars, I've got some pages to turn ♪ ♪ I'm singing "Go-o-o" ♪ ♪ Oh, oh, oh, oh ♪ ♪ Take on the world, take on the world ♪ ♪ Take on the world ♪ ♪ Take on the world, take on the world ♪ ♪ Take on the world ♪
[SCENE_BREAK]
[ INT. John Quincy Adams Middle School - Classroom - day ]
[SCENE_BREAK]
Legacy!
(audience laugh)
Why is Farkle a goose?
Riley: That's the Einstein Academy Goose. Oh! Of course. The Einstein Academy Goose. Why is it on Farkle's desk?
Maya: Einstein captured Farkle. It was their end of the year prank.
Maya: So, since they took our mascot...
Riley: We took theirs, and now we are even.
(audience laugh)
Farkle is not our mascot.
Maya: What would you call him?
(audience laugh)
Where's Zay? They got Zay too? Zay is back in Texas; he's at Vanessa's Spring Formal.
all: Ooo-oo-oh. Alright guys, listen up. It's your last week of school. This is my last chance to teach you something.
Maya: You have more to teach us? I have so much more I wanna teach you. So much more... I mean, you guys are gonna be leaving this place; what will you be leaving behind? What is your legacy? I want to talk about not just what you've gotten from this place... but what you've given.
Maya: He's right! We still haven't thought of our class prank! I was thinking we could let all of the air out of school. Everybody would just be like (makes strangling noises). That would be hilarious.
Farkle: I'll tell you what's hilarious: nobody saved me! Why did nobody save me?!
Riley: Farkle, we looked for you for a whole five minutes and then we took the goose.
(audience laugh)
Maya: He's the new you!
Donnie Barnes, regular goose. I'd see that movie.
(audience laugh)
Farkle: Oh, please. Farkle cannot be replaced by a goose. Farkle is unique and one of a kind. (at goose) Hah!
(Goose honks back)
(audience laugh)
Farkle: You don't know me.
[SCENE_BREAK]
[ INT. Matthews Kitchen - night ]
[SCENE_BREAK]
Riley: You haven't taught me enough!
Did I teach you to pass the mashed potatoes?
Riley: Yes. Well then, there's a test on that right now.
(audience laugh)
You passed!
(audience laugh)
Funny Daddy.
(audience laugh)
What's bothering you Riley?
Riley: Everything gets harder. Everything gets harder and you didn't tell me! Were you going to tell me? You didn't tell her? Only every day. You tell her. Life gets harder. Tell her Auggie.
Auggie: I'm doin' fine!
(audience laugh)
Riley: We're graduating middle school. We're supposed to be in the middle of our education. The only thing I'm in the middle of is a big mess with two of the people I care most about in the world.
Why?
Riley: Because we're not talking about it? Because Maya and I both like Lucas and so we know none of us is going to get hurt, so we're all scared to move. You know what makes me happy?
Riley: How could you be happy about any of this? Because you're talking to us about it. No matter what happens to you, we always want to be a part of what happens to you.
Riley: You always will be. Thanks Riley. That's the greatest legacy any parent could have. Well, you guys are both going to be fine, and there is nobody stronger than Maya; nothing can break her. I just don't see it.
(Maya enters and falls to her knees.)
Awwww, it's a poor baby. It's a poor, poor baby. Come here. Come here. Aww... (hugs Maya) Maya. No matter what happens it is nobody's fault.
Maya: Yes it is. Whose fault do you think it is?
Maya: Matthew's! (points) Well, of course!
Maya: You didn't teach us enough we don't know how to handle this, and now we're leaving, and you're staying behind, and you didn't teach us enough.
Riley: Yeah, Dad, you're more than a teacher, you're like a father to me.
(audience laugh)
Thanks, Riley. He's the best teacher you're ever going to have and if there is one thing I know for sure he's taught you, it's how to express yourselves to each other, in the best possible way. And as long as you do that, there is nothing to worry about.
Lucas (reading): "Hi! It's me, Lucas Friar".
(audience laugh)
Lucas (reading): "Since no-one knows what to do, I made a choice".
OK, I'm a little worried.
Lucas (reading): "I choose to stop--" Lucas, put the cards away. Say what you need to say.
Lucas: You both mean the world to me, and I would never do anything to hurt either one of you... so I choose to stop. You won't decide, so I did, and I decided we're just friends. That's all we are. I don't want this to be the end of us.
[SCENE_BREAK]
[ INT. John Quincy Adams Middle School - Classroom - day ]
[SCENE_BREAK]
You came into this place, a bunch of young kids, who didn't know very much, and now look at ya: young men and women ready for what's next. Snap out of it. Get in here!
(audience laugh)
What are you doin'?
Lucas: We value our friendship too much to look at each other.
(audience laugh)
Turn your chair around. Get in your seat.
(audience laugh)
Now, the most important thing you can do in life is give people a reason to remember you. The people who do that are the ones we study in here. So, your last assignment from me, and for yourselves, is to figure out what you'll give back.
Maya: What?
Lucas: I looked at Riley.
Maya: I know, I saw.
Lucas: So, I'm looking at you to even it up!
Maya: Oh, well, a girl always wants to be looked at to be evened up.
(audience laugh)
Lucas: We're just friends, and I love your outfit.
Riley: (screams) Hey! (slams both hands on the window)
Lucas: Your hair smells nice!
Maya: You smelled her hair?
(audience laugh)
Lucas!
Lucas: I'm dying here!
(audience laugh)
What are you grateful for? Who do you want to remember you?
(Riley enters and sits down)
Do something about it... right now. Now, get outta here!
(The class leave and Riley is still in her seat)
Riley: I'm not ready to leave this place.
[SCENE_BREAK]
[ INT. John Quincy Adams Middle School - Corridor - day ]
[SCENE_BREAK]
Ms. Kossal: What's going on?
Maya: I'm graduating, Ms. Kossal... and I wanted to say goodbye... and thank you for believing in me.
Ms. Kossal: I expect great things from you, Maya. You've been given a real gift... so grow! And when you feel something you know the rest of us feel, explain it to us... Paint us a picture.
Maya: I'll try.
Ms. Kossal: I'm glad I had the chance to be your teacher.
(Ms. Kossal hugs Maya)
[SCENE_BREAK]
Farkle: Just a quick goodbye, Mr. Norton, we both know emotion has no place in science.
Mr. Norton: Quite right, my dear boy. So, from one scientist to another, see you on Mars.
(audience laugh)
Farkle: Mr. Norton, can we just stop being scientists for one second?
Mr. Norton: Well, let me remove the protective goggles of my soul! Clear outta here!
(audience laugh)
Farkle: I'm really gonna miss you, sir.
Mr. Norton: The feeling's mutual, my boy.
Farkle: Is it possible feelings are stronger than science?
Mr. Norton: Hm. Keep discovering, Farkle.
[SCENE_BREAK]
Janitor Harley: Me?
Lucas: Yeah. I wanted to say thank you.
Janitor Harley: Why? I left some kind of impression on you? Clear outta here!
(audience laugh)
Lucas: Mr. Matthews told me I had to make a real difficult choice once.
Janitor Harley: I was at a crossroads; I was standing on the corner of Maple Street and Alcatraz.
Lucas: How did you make the right decision?
Janitor Harley: I always try and make sure this bench here is polished up and looking nice and inviting for you to sit on. You know why I do that?
Lucas: Why? (sits)
Janitor Harley: Because, you kids come and go, but this bench stays right here and all the problems of the universe get decided on it. I respect a nice place where good decisions get made. Gettin' a little worn down... A little old as time goes by, but aren't we all? Thanks for saying goodbye to me, Lucas. Means a lot to me. Make good decisions.
[SCENE_BREAK]
[ INT. John Quincy Adams Middle School - Classroom - day ]
[SCENE_BREAK]
Riley: I don't wanna go. I'm not ready for high school... and I don't wanna go.
Why not?
Riley: 'Cause we did great here. This was the time of our lives; we were kings, Matthews.
(audience laugh)
Riley: What will I be next year?
Not kings.
Riley: No. The opposite of kings. Freshmen. Worms. Worse than worms freshmen. You'll be fine Riley. You all will.
Riley: Also... and I don't say this a lot but... I like you.
(audience laugh)
You do?!
Riley: Yeah. You said you had a lot more to teach us. And I will. You're my daughter.
Riley: What about the rest of my friends, Dad? You need to teach all of us more. We're a mess. We shouldn't feel we don't know how to feel and you need to teach us how to not feel. What?
Maya: You got one last lesson for the road? Yeah. I do.
Maya: Well, I've never said this before but... you have my attention.
(audience laugh)
Good! This one's important. I've gotten to watch you guys become friends, and I've gotten to watch you grow. You guys grew up so fast... and I've been trying to teach you to keep your feelings inside...
Riley: And you were right. Look at us. I was wrong! Your teacher was wrong. I can't keep you in this place. You've outgrown it. You guys are graduating to whatever comes next. You know why?
Maya: No. You've earned it.
Maya: How do we know when we're ready? Same way we know anything. Let's take one last test and see.
(all groan)
Farkle: Yay!
[SCENE_BREAK]
Riley: Are you even allowed to do this? It's the last day of school.
I'm still your teacher. I can do whatever I want. Besides, this test isn't for a grade. This is a test to find out what you have actually learned here. Question one: What's the secret to life? Maya.
Maya: People change people. And for extra credit?
Maya: What us does for them? What does that mean?
Maya: How we help those who are less fortunate than us? And are you an "us" or "them"?
Maya: I'm an "us". I'm very blessed. We all are.
Question two: Sneak attack. Riley?
Riley: Pearl Harbor. And for extra credit?
Riley: Missy Bradford tried to tear our friendships apart. Lucas was new here and she tried to throw a sneak attack. I think that was the moment we all realized what we really meant to each other. The moment we all came together. Good! Farkle, Canada?
Farkle: Our greatest allies are the people right next to us. Lucas...
Lucas: I think I was the most changed by these people. I know that whatever I'm feeling, I can just tell my friends and everything would be okay.
Riley: Will it?
Lucas: I guess we'll see.
Maya: I thought we stopped?
Riley: I thought we were just friends.
Lucas: We're not. We're no good at it. We can't even look at each other any more. I don't need any note cards now that we have different feelings now. And that's why your teacher was wrong. I can't hold you back from what you feel. Congratulations! You've all passed this test with flying colors.
Farkle: What happens now? Now you graduate, Farkle. You walk out of here with everything you've learned... and you live life. You live it. You face whatever comes. This is going to be the greatest test of your friendship yet.
Maya: Wow. I made it to high school. We're gonna need some good teachers, Matthews.
Yeah. So... one last thing: How will the school remember you?
Lucas: I have an idea.
Maya: What's our prank?
Riley: I have an idea.
[SCENE_BREAK]
[ INT. John Quincy Adams Middle School - Corridor - day ]
[SCENE_BREAK]
Riley: And that concludes our tour of the big, bad John Quincy Adams Middle School.
Maya: Not so scary, right?
Lucas: You guys are gonna do great here.
Maya: There's one more thing before you guys go.
Lucas: We wanted to give you something from our class to yours.
Riley: We think one of the greatest legacies in life is friendship.
Lucas: And no matter what happens in your new school, friends should always have a place where they can sit, and talk, and work things out.
Because sometimes, life throws you all up and knots people together for a reason. Is that what you were feeling? What's that?
(audience laugh)
Riley: I think everybody should leave their mark.
Maya: We work very well together.
(Plaque on the bench reads):
THIS FRIENDSHIP BENCH dedicated by Riley, Maya, Lucas, Farkle and Zay
PEOPLE CHANGE PEOPLE
♪ We got time, got time ♪
[SCENE_BREAK]
[ EXT. John Quincy Adams Middle School - night ]
[SCENE_BREAK]
Katy Hart: Congratulations, baby girl, you are now the most educated person in our family.
Maya: Mom! You didn't graduate middle school? Here you go.
Katy Hart: OK, it was a joke. (audience laugh) I am a high school graduate, with three days college under my belt, and if I hadn't taken neurobiology, perhaps I'd still be there, so take classes you understand, honey.
(audience laugh)
Congratulations, Farkle, only four more years 'til Princeton.
Farkle: I wanna go wherever my friends go. C'mere. Look at this place! Different view than when we were growing up. I'm glad you're here with us, Zay. So, how was the Formal? Vanessa likes me better now than when I lived there. Now she's always missin' me 'cause I'm gone... You know, I got this whole love thing figured out. Don't be there.
(audience laugh)
Got this impossible choice to make right now. You know what you should do? What? Don't be there.
(audience laugh)
But I wanna be there. Well, then you deserve what you get. (audience laugh) What's it gonna be? You got two great people, one follows the rules, one likes to break 'em... Yeah. One very blonde. One very brunette. Yup. Gotta choose, man. I know! So, who do you like better? Me or Farkle?
(audience laugh)
Ha-ha-ha-ho. Congratulations Riley, you did it! Mmm... I had help. You would've been fine without me. I don't really see it that way, Dad. None of us do. Thank you for teaching my daugher so well. My pleasure. I don't think Farkle would have reached his full potential without you, Cory. Thanks Minkus. He had a lot to live up to. Thanks. That's why we want to see that he does! Of course he will. I don't really think you understand, Dad. What? Their class prank. Oh, you haven't hear about that? Nooo. What'd they do? Well, we started talking about legacy... About what we left behind... And what we don't want to leave behind... What we wanted to take with us... This is good! We stole something from school. You what?! This is good.
(audience laugh)
Well, put it back! Nope. It's ours now. We captured the real John Quincy Adams Mascot and we're taking it home with us. What did you guys do? We stole you! I told you this was good.
(audience laugh)
What are you talkin' about? I called up Uncle Jonathan and I told him that you had a lot more to teach us. She got you promoted, Daddy! Of course, the superintendent of schools didn't want to move teachers around for only one student, so there would have to be a lot of other people who thought you knew what you were doing. So, the parents put together a little petiton, got some signatures, and we presented it to him. I was very convincing.
(audience laugh)
How many parents? All of 'em. We want our children to have the best. You're going to high school, Cory... again!
(audience laugh)
We get to stay together. You said that you had a lot more to teach us... and now you can!
[SCENE_BREAK]
[ INT. Apartment - night ]
[SCENE_BREAK]
Riley: Still like him?
Maya: Yeah. You?
Riley: Yeah.
Maya: OK. I'll check again tomorrow.
(audience laugh)
Lucas: Any change?
Riley: No. I've felt the same way about you ever since I fell into your lap on the subway.
Lucas: You? (looks at Maya)
Maya: There was this camp fire, y'see... You and me, I was in a far away place, there was a million stars in the sky... What do you think?
Lucas: I think I don't want anybody to be hurt.
Riley: I think we don't know how to stop that.
[SCENE_BREAK]
Maya: Still like him?
Riley: Yeah. You?
[SCENE_BREAK]
Maya: Yeah.
(audience laugh)
Maya: Still like--
Lucas: Yeah.
Riley: OK.


MAWDRYN UNDEAD
BY: PETER GRIMWADE
Part One
First Air Date: 1 February 1983
Running time: 24:03
[SCENE_BREAK]
IBBOTSON: A 1929 Humber 16/50 open tourer, Imperial model. Do you realise this car has the same chassis as the three and a half litre Humber Super Snipe?
TURLOUGH: Crude, heavy and inefficient.
IBBOTSON: This car is a classic, Turlough.
TURLOUGH: It's dull and fat and ugly. Just like you, Hippo.
IBBOTSON: Turlough!
TURLOUGH: We're going for a ride.
IBBOTSON: You can't drive the car!
TURLOUGH: Watch me.
IBBOTSON: We'll be caught.
TURLOUGH: Who will know?
IBBOTSON: Oh, Turlough, we can't.
TURLOUGH: Oh, come on, Hippo. Just to the end of the drive and back. You're not afraid, are you? Come on.
IBBOTSON: Turlough!
[SCENE_BREAK]
IBBOTSON: Hey, you said just to the end of the drive. But you haven't got a license, Turlough.
TURLOUGH: So, who needs one?
IBBOTSON: Oh, go back to the school, please. Oh Turlough, slow down, please. You're on the wrong side of the road, Turlough!
TURLOUGH: This car's a classic. Isn't that what you said, Hippo?
IBBOTSON: Look out!
[SCENE_BREAK]
TURLOUGH: Who are you?
GUARDIAN: A friend.
TURLOUGH: What is this place?
GUARDIAN: There's no need to be afraid.
TURLOUGH: Then tell me who you are.
GUARDIAN: Your guardian. One who has your interests at heart.
TURLOUGH: Am I dead?
GUARDIAN: Merely sleeping.
TURLOUGH: I don't think I'd really care if I were. I hate Earth.
GUARDIAN: You would like to leave?
TURLOUGH: Is it possible?
GUARDIAN: All things are possible.
TURLOUGH: Then get me away from here, please.
GUARDIAN: But first, we should have to discuss terms.
[SCENE_BREAK]
RUNCIMAN: He'll be all right. No bones broken. Just a slight concussion.
HEADMASTER: It's a wonder they weren't both killed. What's the damage at your end, Brigadier?
BRIGADIER: Eh? In thirty years of soldiering, I've never encountered such destructive power as I have seen displayed here and now by the British schoolboy. Well, how is he?
RUNCIMAN: He's been lucky, He'll be all right.
[SCENE_BREAK]
GUARDIAN: We haven't much longer. I need to know that I have your assent to our arrangement. You will find me the most accommodating of partners.
TURLOUGH: But murder. I'm not sure I could go that far.
GUARDIAN: You will be destroying one of the most evil creatures in the universe. He calls himself the Doctor.
TURLOUGH: Why can't you destroy him? You have the powers.
GUARDIAN: I may not be seen to act in this. I must not be involved.
TURLOUGH: I need time to think.
GUARDIAN: There is no time. Yes or no?
TURLOUGH: Don't send me back to Earth, please.
GUARDIAN: Yes or no?
TURLOUGH: Yes.
[SCENE_BREAK]
RUNCIMAN: He's coming round.
BRIGADIER: Steady on, old chap. You had a bit of a knock.
[SCENE_BREAK]
TEGAN: Doctor? I am free of the Mara, aren't I?
DOCTOR: Tegan, Tegan, Tegan.
TEGAN: I'm scared.
DOCTOR: There isn't any need to be.
TEGAN: I'm still having terrible dreams.
DOCTOR: It's your mind's way of coping with the experience. You've suffered a great deal.
TEGAN: That could have been prevented if that Dojjen person had destroyed the Great Crystal.
DOCTOR: No, he couldn't. The Mara during the process of its becoming. It had to be trapped between modes of its being.
TEGAN: The feelings of hate. Doctor, I couldn't go through it again.
DOCTOR: Well, you're completely free of it now, Tegan. For you, the Mara is dead forever.
NYSSA: For all of us, I hope.
DOCTOR: Indeed.
TEGAN: Can you take me back to Earth?
NYSSA: You want to leave us?
TEGAN: I want to rest. I want to be surrounded by familiar things.
NYSSA: You'll forget the Mara, Tegan. It won't always be as painful as it is now.
DOCTOR: Warp ellipse cut out?
NYSSA: Can't be. That would mean we were near an object in a fixed orbit in time as well as space.
DOCTOR: And what's the probability of that?
NYSSA: Several billion to one against.
TEGAN: Are you trying to scare me, or is this your way of telling me we've broken down again?
DOCTOR: I'm afraid it's much more serious than that.
[SCENE_BREAK]
MATRON: Right, into bed with you, young man.
TURLOUGH: Oh, Matron, I'm perfectly all right.
MATRON: Mild concussion and shock. You heard what Doctor Runciman said. We don't want complications, do we?
TURLOUGH: I'm not going to bed.
MATRON: Just this once you can do as you're told. You're in enough hot water already.
TURLOUGH: Matron, where did this come from?
MATRON: It was in your jacket, and that was in a fine old mess, I don't mind telling you.
MATRON: Good afternoon, Headmaster.
HEADMASTER: Is it, I wonder. Well, Turlough, how are you feeling?
TURLOUGH: Much better, thank you, sir.
HEADMASTER: Which is more than the Brigadier can say for his car. I don't understand you. You make no effort at games, you refuse to join the CCF, you do little or no work in class though you have a first-rate mind, and now this.
TURLOUGH: I wasn't driving, you know, sir.
HEADMASTER: What?
TURLOUGH: The Brigadier's car.
HEADMASTER: But Ibbotson said
TURLOUGH: I didn't want Ibbotson to get into trouble, sir. I only went along in case he got hurt. I knew he wasn't really able to drive it, and, well
HEADMASTER: I see.
MATRON: Ahem. Turlough must get some sleep, Headmaster.
HEADMASTER: Of course, Matron. I'll look in again later.
TURLOUGH: So you are real. I thought it was just a dream.
GUARDIAN (OOV.): Waking or sleeping, I shall be with you until our business is concluded.
[SCENE_BREAK]
NYSSA: Are we safe?
DOCTOR: There's a chance something's on a collision course with the TARDIS.
TEGAN: Don't you know?
DOCTOR: Well, there's a chance of anything. Statistically speaking, if you gave typewriters to a tree full of monkeys, they'd eventually produce the works of William Shakespeare.
NYSSA: Doctor!
DOCTOR: Now, you and I know that at the end of the millennium they'd still be tapping out gibberish.
DOCTOR: And you'd be tapping it out right along side them. I only asked you a simple question.
NYSSA: Doctor, something's coming straight for us!
NYSSA: We've got to get out of the way.
DOCTOR: We can't. We've converged with the warp ellipse.
NYSSA: Doctor!
DOCTOR: Hold this steady.
TEGAN: We're going to crash.
DOCTOR: I'll try and materialise on board the ship. Hold tight!
[SCENE_BREAK]
TURLOUGH: Why am I still on Earth?
GUARDIAN: Patience, Turlough. Already the elements of chance are ranged against the Doctor. Soon he will be separated from the TARDIS and in your power. Go to the hill, boy, to the obelisk, and wait. There I will instruct you further.
[SCENE_BREAK]
HEADMASTER (OOV.): You realise, Ibbotson, what you did is a criminal offence. If it weren't for the good name of the school, I'd hand you both over to the police.
HEADMASTER (OOV.): I shall be writing to your parents, needless to say.
BRIGADIER: Ahem.
BRIGADIER: Ah, Ibbotson. And what have you got to say for yourself?
IBBOTSON: Please, sir, I'm very sorry, sir, but it wasn't my fault, honestly. I'm really sorry, sir.
BRIGADIER: Ah, Headmaster. I trust you flogged that young man within an inch of his life?
HEADMASTER: Thank you, Brigadier, but I feel that we should wait until Turlough is restored to health before we take any legal or disciplinary action.
BRIGADIER: You realise that car was unique?
HEADMASTER: Quite, but I feel sure that you will agree that we must do what is best for the school.
BRIGADIER: Yes, well. Oh, if you say so, Headmaster. Mind, you can't really take it out on Ibbotson. It's my view that he was led into this by Turlough. Oh, we've got a rotten one there.
HEADMASTER: I'm not so sure. I had a word with Turlough. He said he only went along to protect Ibbotson.
BRIGADIER: Pah. Cunning as a fox. You don't believe him, of course.
HEADMASTER: I don't know. I'd be reluctant to jeopardise the boy's future.
BRIGADIER: Have you spoken to his parents?
HEADMASTER: I thought you knew. They're dead. I deal with a solicitor in London, and a very strange man he is, too.
[SCENE_BREAK]
IBBOTSON: Are you awake, Turlough?
TURLOUGH: What do you want?
IBBOTSON: Listen, the Head's going to write to my parents. The police may be called into investigate. We could be expelled.
TURLOUGH: It's all right, Hippo. I've spoken to the Head. I told him it was all my fault.
IBBOTSON: I say, did you really, Turlough?
TURLOUGH: So you won't get the boot, just beaten, I expect.
IBBOTSON: Oh. Well, they'll beat you when you're better.
TURLOUGH: Oh no, they won't.
IBBOTSON: Hey, you can't get up until Doctor Runciman says so.
TURLOUGH: Goodbye, Hippo.
IBBOTSON: Oh, Turlough, you can't leave me on my own! Oh please, Turlough!
[SCENE_BREAK]
TEGAN: Strange ship.
NYSSA: No sign of any passengers.
TEGAN: Probably having cocktails with the Captain.
NYSSA: What?
TEGAN: Well, I mean it's more like the Queen Mary than a spaceship.
TEGAN: I take it back. It's not the Queen Mary, it's the Marie Celeste. You'd think on a long journey they'd want something a little more cheerful.
NYSSA: Everything on this ship is designed for pleasure.
DOCTOR: I have a weird feeling the warp ellipse will be travelling for a very long time. Possibly through infinity.
NYSSA: Well, it's certainly no prison ship.
[SCENE_BREAK]
IBBOTSON: Where are we going?
TURLOUGH: Don't ask questions. (quietly) What am I supposed to do?
IBBOTSON: Oh, Turlough, what's happening? Who are you talking to?
IBBOTSON: Oh, wait for me.
[SCENE_BREAK]
TEGAN: Could you fly this thing, Doctor?
NYSSA: You don't fly a ship like this, it's in perpetual orbit.
DOCTOR: Amazing.
NYSSA: Doctor?
DOCTOR: There's a length of flight indicator. This ship's been in orbit three thousand years.
TEGAN: No wonder there's no one on board.
[SCENE_BREAK]
IBBOTSON: Now what?
TURLOUGH: We wait.
GUARDIAN (OOV.): The base of the urn. Press it. Release the camouflage screen protecting the capsule.
[SCENE_BREAK]
NYSSA: Doctor, look at this.
DOCTOR: Mmm. Transmat terminal.
NYSSA: And in the transmit mode.
TEGAN: The crew escaped in a life raft?
DOCTOR: Well, someone certainly left the ship, almost six years ago.
TEGAN: Where to?
DOCTOR: Earth.
[SCENE_BREAK]
IBBOTSON: What is it?
TURLOUGH: A transmat capsule. Don't you know anything?
[SCENE_BREAK]
DOCTOR: The ship's orbit takes it within range of Earth for six years.
TEGAN: Someone might come back.
DOCTOR: Any time. Come on, let's get back to the TARDIS.
[SCENE_BREAK]
IBBOTSON: Keep back!
IBBOTSON: Turlough!
[SCENE_BREAK]
GUARDIAN (OOV.): The controls of the vessel are of no interest to you, Turlough.
TURLOUGH: But it's a ship! I can get home!
GUARDIAN (OOV.): I did not bring you here so that you could return home. Your concern is with the Doctor.
GUARDIAN: You will obey me in all things.
TURLOUGH: Let me go.
GUARDIAN: Remember the agreement between us.
TURLOUGH: Yes.
GUARDIAN: You will seek out the Doctor and destroy him.
TURLOUGH: Of course. I will seek out the Doctor and destroy him.
[SCENE_BREAK]
DOCTOR: Quickly.
[SCENE_BREAK]
IBBOTSON: Sir! Sir!
IBBOTSON: It's Turlough, sir.
BRIGADIER: What?
IBBOTSON: We were on the hill, sir, and there was this great big silver ball, and Turlough went inside and disappeared.
[SCENE_BREAK]
TEGAN: Now what?
DOCTOR: The TARDIS won't dematerialise.
[SCENE_BREAK]
BRIGADIER: If you took more regular exercise, Ibbotson, not only would your body be less disgusting, but you'd enjoy a healthier imagination.
IBBOTSON: I didn't imagine it, sir.
BRIGADIER: Take it from me, boy, a solid object just can't dematerialise. Turlough!
[SCENE_BREAK]
TEGAN: What's happening?
DOCTOR: I wonder.
DOCTOR: I might have known.
NYSSA: Doctor?
[SCENE_BREAK]
TEGAN: Where are you going?
[SCENE_BREAK]
DOCTOR: The transmat beam, it's been operated. The signal is interfering with the TARDIS.
NYSSA: Look. It must have just returned.
TEGAN: Well, how is the transmat signal jamming us?
DOCTOR: Well, the capsule and the TARDIS must be dimensionally very similar, and the beam's still functioning. It's supposed to cut out when the capsule completes its journey.
TEGAN: Well, can you switch it off?
DOCTOR: I hope so.
TEGAN: I hope so too. I don't fancy a non-stop mystery tour of the galaxy.
DOCTOR: Ah.
NYSSA: You found the fault?
DOCTOR: In a manner of speaking. It's on Earth.
TEGAN: Earth?
DOCTOR: If these readings are correct, it's 1983 on Earth.
TEGAN: So?
DOCTOR: Well, the capsule originally left the ship six years ago.
TEGAN: 1977.
DOCTOR: Yes. I wonder what it's been up to all that time. Come on, back to the TARDIS.
TEGAN: Doctor, wait.
NYSSA: What's the matter?
TEGAN: Well, if that thing's back, then someone could be on board the ship.
[SCENE_BREAK]
DOCTOR: Who are you?
[SCENE_BREAK]
HEADMASTER: Turlough again.
MATRON: I'm sorry, Headmaster, but he was missing when I came in with Doctor Runciman. And there's no sign of Ibbotson either.
HEADMASTER: I must talk to the Brigadier.
MATRON: I sent a boy round to his quarters, but the Brigadier's disappeared too.
[SCENE_BREAK]
DOCTOR: This is Turlough.
TEGAN: Where did you come from?
DOCTOR: The transmat capsule.
TEGAN: Earth?
TURLOUGH: The capsule just appeared. It was very strange.
NYSSA: And you just walked in?
DOCTOR: Seven, eight. All set.
NYSSA: Where are you going?
DOCTOR: Earth, via the transmat capsule.
TEGAN: Is it safe?
DOCTOR: Well, it worked one way. Once I've disconnected the beam jamming the TARDIS, you should follow me through to Earth.
TURLOUGH: May I come with you?
DOCTOR: You'll be safer in the TARDIS.
TURLOUGH: Please?
DOCTOR: All right, why not. See you on Earth.
NYSSA: Good luck.
[SCENE_BREAK]
DOCTOR: Come on.
[SCENE_BREAK]
DOCTOR: It's a pity those things don't have a wider range. Still, at least we're here in one piece. Transmat capsules can do very nasty things to organic structures if they're not properly maintained.
[SCENE_BREAK]
TEGAN: I don't trust that boy.
NYSSA: Oh, I don't know. I thought he was rather nice.
TEGAN: Nobody from Earth is just going to walk into a transmat capsule.
NYSSA: As you did into the TARDIS on the Barnet bypass?
[SCENE_BREAK]
GUARDIAN: In the name of all that is evil, the Black Guardian orders you to destroy him now!
GUARDIAN: Now, boy. Do it now!