(Continuing. Sydney walks out of the meeting, goes down a hallway. Jack comes out and runs after her.)
JACK: Sydney! Wait!
(She turns around. They stand in the hallway.)
JACK: You can't lose control over this.
SYDNEY: You know what, Dad? This is not the best time to start lecturing me.
JACK: I know how this feels.
SYDNEY: Not exactly. You've had a lot longer to make sense of this than I have.
JACK: There was a time when this was news to me, too. Your mother was sent to the United States to steal secrets from a ranking officer of the C.I.A. How she and I happened to meet, how she supposedly fell in love, I thought it was all true. But it was just a set-up.
SYDNEY: Even her wanting to have a family? Was that just part of the plan, too?
(Jack doesn't say anything. Sydney leaves.)
(In her house, Sydney looks through her hat box full of pictures and memories. She sees the newspaper article about her mother and the FBI agent dying in the car accident. Takes out a framed picture. She finally finds the picture of Sydney as a little girl and her mother.)
SYDNEY: (voice over) There's something that happens when you discover the truth about someone. I know a little about this.
(She wads up the picture in a little ball.)
SYDNEY: (voice over) The truth changes everything.
(She throws it in the fire.)
(In the self-storage facility, Sydney talks to Vaughn.)
SYDNEY: There's this woman, her personality like a collage I've put tlogether from the photographs, the few memories I have, scraps of stories I've heard, the clothes of hers I've got... her books. And none of it's real. She wasn't that woman at all. She was... she was a horrible person... who killed your father.
(She stands in front of him, crying.)
SYDNEY: Vaughn, I just wanted to say... that I'm so sorry.
(He hugs her and cradles her head against his shoulder while she cries.)
(Credit Dauphine parking garage. A van with 'McTiernan Air Conditioning' written on the side drives up. The driver stops at the security gate and wires it up to a machine he has that unlocks the gate. The gate doors open and the van goes inside. They stop once they're inside and cut the wires of a surveillance camera.)
(Inside the control room, two agents sit and watch the various camera angles.)
AGENT1: We've lost coverage on the off-site garage.
AGENT2: Any signs of forced entry?
AGENT1: Negative from gate control. I'll check it out.
AGENT2: Hey, while you're at it, grab me a black coffee, will you? Two sugars.
(Agent1 leaves.)
(In the parking garage, McTiernan gang starts welding off the air vent. Inside the van, the rest of the goons start packing their guns and loading them. Agent1 walks in the garage and sees the van. He talks on his transmitter to his buddy from control.)
AGENT1: You know about any AC repairs?
AGENT2: Negative.
(The goons have already started to make their way inside the building using the air conditioning vents. Agent1 pulls his gun out. Near the van, one of the goons comes behind him and hits him over the head. Agent1 falls to the ground.)
(Back in the self-storage facility.)
SYDNEY: I don't want this job anymore.
VAUGHN: Sydney, that's why you're doing what you do. You're helping to bring an end to SD-6.
SYDNEY: Not anymore.
VAUGHN: Sydney--
SYDNEY: I need someone in my life to be real.
VAUGHN: This right here. What we do is real.
SYDNEY: Look where we are. I mean, this isn't real. This isn't what we should be doing. I want out.
VAUGHN: Out?
(Sydney nods.)
VAUGHN: You want to enter the protection program.
SYDNEY: No. I'm not going into hiding.
VAUGHN: If you don't, Sloane will kill you.
SYDNEY: I don't think he will.
(She stands up, hesitant.)
SYDNEY: You like hockey, right? The Kings?
VAUGHN: Yeah, how'd you--
SYDNEY: The pen you keep in your briefcase. It's a Kings pen.
VAUGHN: Yeah, I got that--
SYDNEY: They're playing the Islanders next week. We should go.
(Vaughn brightens with hope. Then his face falls as he realizes what she's doing.)
VAUGHN: Sydney, you can't do this.
(Will's desk at the newspaper. He has his headphones on. Jenny stops at his desk.)
JENNY: Okay, here's the appeal filed by McNeils' lawyer last year and I found out that SD-6 is an ingredient in artificial sweetener, but that's probably not the SD-6 you're talking about.
WILL: Is my voice annoying?
JENNY: Your voice?
WILL: Yeah. I was just going over this interview with Eloise Kurtz and I started thinking about McNeil. How he had this look in his eyes when I was interviewing him. His lawyer the same thing. Just... trying to get away from me.
JENNY: Will, you're a journalist for God's sake. You get paid to be annoying.
WILL: So you're saying I'm annoying?
JENNY: Not to Danny or Eloise Kurtz.
WILL: Oh, so I don't annoy dead people?
JENNY: Will, you're their champion.
WILL: What am I doing if I'm hurting the people I'm writing about? Look, if I could bring back Danny Hecht and Eloise Kurtz, I would, but I just... I can't. And if championing them is going to cause David McNeil's daughter to be in danger, I can't live with that. I don't think I can do this anymore. This SD-6 story. I'm out.
(The goons burst through the vent and make it to a hallway off of another hallway where red security beams are illuminated. The female goon - FGOON - has a heart beat detector in her hands. It beeps, and an agent comes into view.)
FGOON: We're right on time.
(He checks the corridor. The security red beams go off. They bust in. One of them breaks the agent's neck. They run through the hallway while the beams aren't there. The lead goon - Cole - motions for one of the last goons to hurry up as the red beams start appearing from the back, coming up. Not enough time left, the last goon slides down the rest of the hallway and makes it. Cole strips off his jumpsuit while FGOON pours him a cup of coffee from a thermos. Underneath the jumpsuit, Cole is wearing a suit. He takes a swig of coffee and spreads his arms out.)
COLE: How do I look?
(In the parking garage, Sydney drives up in her SUV. She takes out a card and slides it into the security panel that the goons had unlocked with their machine earlier. She passes through and the gate doors buzz and then open. She drives through.)
(In SD-6, Cole walks through. Nobody recognizes because, since he's wearing a suit, he blends right in. Cole walks by Sloane's office. Inside the office, Sloane is on the phone, rubbing his temples.)
SLOANE: Yes, will you get me my wife's doctor on the phone please?
(He looks at monitor on his desk. It's a security camera monitor. He sees Cole walk by. The monitor scans for facial recognition. Sloane's face freezes because he knows who he is.)
VOICE: Dr. Medlesohn is on line one.
(Sloane stares as the security monitor scans through the files, trying to identify Cole.)
VOICE: Sir?
(Sloane isn't paying attention. He stares at the monitor.)
VOICE: Sir?
(In the garage, Sydney parks her SUV and gets out. She sees the McTiernan van. The driver leers at her.)
DRIVER: Hey there, beautiful! Why don't you turn that frown upside down?
(She doesn't run over there and kick his ass. She keeps walking. Pissed, the driver takes out his gun and puts the silencer and laser on. He points the gun at Sydney while she walks away, into SD-6. The red beam of light is aimed right on her head. She walks, having no idea. Suddenly, tires screech and he puts the gun away. Sydney turns. Jack pulls up and gets out of his car, running after her.)
JACK: Sydney! Sydney!
(He catches up to her. She keeps walking to the elevator.)
JACK: This is suicide!
SYDNEY: I don't think it is.
JACK: What exactly is your exit strategy? Politely asking Sloane to let you out of SD-6?
SYDNEY: Based on Sloane's behavior toward me -- protecting me at Donatti Park, asking Rusik to get me to talk--
JACK: Sloane answers to people. People who don't know you or care about you. If he lets you go, those people will kill him and you.
(She goes inside the elevator. He follows.)
(Sloane still has the phone up to his ear as he waits for the security panel to indentify Cole. A picture flashes up on the screen: McKenas Cole.)
SLOANE: Cole.
(He presses a button on his desk with his finger. The monitor flashes "FAILSAFE ACTIVATED".)
(In the elevator.)
JACK: Those people Sloane works for - the alliance - if they believe you've abandoned them, they will kill anyone they think you have talked to. Your roommate Francie. That reporter friend. Anyone.
(Control room. Agent2 is still by the monitors, waiting for his coffee. Cole enters behind him, holding a gun.)
AGENT2: Let me guess. You forgot the two sugars.
(He turns around. Cole shoots him twice. In his office, Sloane scrambles for the phone and calls the control room. Cole answers the phone.)
SLOANE: We have a physical breach! Start lockdown procedures now!
COLE: Sure thing, Arvin. Whatever you say.
(Cole hangs up.)
(Elevator.)
SYDNEY: I felt this way before I found out about my mother. This life has to stop.
(Instead, the elevator stops and the lights go out.)
(Inside SD-6, Dixon looks up as gas starts hissing down from the ceiling vents. Agents start to pass out around him. In his office, Marshall sees the gas coming down and covers his mouth with his sweater vest. Making two or three steps, he falls to the ground beside his inflatable chair. Out in the main part of SD-6, more agents fall to the ground. Dixon falls. In Sloane's office, a vent of gas is pouring down right on top of Sloane. He's slumped over his desk, his head down.)
(In the elevator, the lights come back on. Jack tries the phone.)
JACK: Dead. But a blackout wouldn't shut down security.
(At the newspaper, specifically in the bathroom, Will flushes a urinal, takes off his glasses, and washes his hands at the sink. His cell phone rings.)
WILL: Tippin.
DISTORTED VOICE: Go to your desk.
WILL: I'm off the story.
DISTORTED VOICE: Leave the bathroom and then go to your desk.
(Will looks around all, "How the hell did they know I was in the bathroom?" He comes out near his desk and looks around for anyone suspicious lurking about. A yellow manila envelope sits on his desk chair. The telephone rings at his desk, but Jenny rushes in and answers it.)
JENNY: Will Tippin's office. Um, yeah, he's right here.
(She passes the phone to him.)
JENNY: Some guy. Totally nasal. Clips on the housing story, Litvack wants two thousand words by noon tomorrow.
(She walks out.)
WILL: Hello?
DISTORTED VOICE: There is something inside the envelope that will make McNeil talk.
WILL: I don't want to make him talk.
DISTORTED VOICE: You said you didn't scare easily.
WILL: Well, if you're so brave, why don't you lose the voice box and tell me your name?
(Silence.)
WILL: Don't call me again.
(He hangs up, and throws out the envelope in his nearby garbage can.)
(Cole and his goons, wearing gas masks, walk in SD-6 with various guns. The gas stops. Cole takes off his mask and looks around.)
COLE: Five minutes ahead. Get 'em wrapped up, baby!
(FGOON starts tying up everyone's hands while they're unconscious. Cole looks to another guy with a gun.)
COLE: Chopper, secure the elevator. You got the scanning room door code?
CHOPPER: Got it!
(Cole approaches FGOON who is at a computer typing.)
COLE: You jammin'?
FGOON: I'm jammin'.
(He kisses her head.)
(Vaughn's office. He's twirling a silver dollar in between his fingers over and over again. Weiss enters.)
WEISS: Want to get a pizza? That new place?
VAUGHN: Ah, no thanks.
(Weiss comes in and looks at Vaughn, silently telling him to just tell him what's up.)
VAUGHN: Sydney wants to quit SD-6... which she knows she just can't do.
(Weiss nods.)
VAUGHN: It's a weird thing. You know, when you're learning how your father died. I... it's always been this intellectual idea I had, knowing he died, just not having any details.
WEISS: You really want some space, or are you and I going to go get drunk? 'Cause there's this bar, you won't even remember it tomorrow.
(They laugh. Vaughn's face falls when Haladki enters.)
HALADKI: Hey, what a day, huh?
VAUGHN: Why do you say that?
HALADKI: Come on. Bristow's mom, your dad. It's not like a secret around here. Vaughn, that really sucks.
WEISS: Well put.
HALADKI: You know what? I think Barnett's gonna be good for you.
VAUGHN: I'm not seeing Barnett.
HALADKI: Oh, yeah you are! She wants to see you. I mean, come on. You're Bristow's handler. You find out her mom killed your dad? She's a shrink, she lives for crisis management! I think she'll be good for you. I like thick crust, in case you wanted me to come.
WEISS: Oh, hey, we don't.
(He leaves.)
VAUGHN: Did you know about Barnett?
(Weiss shakes his head. Vaughn sighs.)
(In the elevator.)
SYDNEY: Still can't get a signal.
JACK: Whoever's doing that could be jamming the frequencies.
(Elevator starts.)
JACK: Emergency lockdown procedures.
(He hits a button.)
JACK: The elevator is returning to SD-6. The doors will automatically open.
(He gives Sydney a knowing look.)
(Out in the white area where the agents stand to get cleared by security outside the elevator, Chopper stands in front of the elevator with a gun pointed, ready to shoot whoever's inside the elevator. The bell dings. No one's there. Sydney and Jack are on top of the elevator, looking down.)
CHOPPER: Elevator secure.
(Jack and Sydney climb down the stairs from the elevator shaft and jump down. Jack takes out his gun. They walk down the hallway, getting to a door. Jack comes out, gun in hand. Sydney next. She closes the door. Jack comes around a corner with Sydney and sees the agent that was punching in the code in the red beam hallway, dead. The red beams are up. Jack and Sydney go in the hallway and he punches in a code. The red beams disappear.)
JACK: The advantages of high-level clearance. Let's go.
(Jack and Sydney enter an underground control room. There are cables and monitors and some sheets up on a wall. Jack starts tearing off the outside on the wires, getting to the core of them.)
SYDNEY: How could K-Directorate overpower fifty trained agents?
JACK: If K-Directorate attacks SD-6, they know SD-6 will return the favor. This team that's invaded SD-6, isn't working with any organization we know. My guess is they're working for a group, clearly unpredictable and dangerous. Hand me that cable.
(She does.)
JACK: Now plug it in.
(They hook up a nearby monitor to the camera wires. Jack starts flicking through the wires, going from camera angle to camera angle. The conference room is empty, various rooms are empty.)
JACK: There are six hundred cameras hidden through SD-6.
(They finally spot the group of agents, everyone at SD-6, gathered together on the floor outside Sloane's office. They all have their arms tied behind their backs. A couple of men with guns watch them.)
SYDNEY: Oh, my God. Look at that hardware.
JACK: Latest military specs.
SYDNEY: Extended magazines, compensators, laser sights...
JACK: I see four.
SYDNEY: There's a fifth.
(Cole walks in. Dixon stares. Marshall looks scared. Sloane sits with everyone else, his back against the wall. Cole swaggers in, coming closer to Sloane.)
COLE: I want to talk to you. That's the sick part. Catch up and stuff. You know, so much has happened in the last five years. This place... it hasn't changed. But you. You look... older. But that's good. Your hair... looks good. You know what the worst part is? Being left for dead in Grozny, Arvin? Well, you're going to learn the worst part. But another part that sucks is seeing guys you worked with, guys you thought were tougher than deer jerky, tortured to death. That's no good. The most ironical part for me is... we did the damn job. We blew that pipeline to hell first night we landed. But you know me, Arvin...
[SCENE_BREAK]
(In the control room, Sydney and Jack still watch.)
SYDNEY: Do you know this guy?
JACK: I know the operation. Sloane in '96 sent a team to Chechnya to destroy the Shelhemil pipeline. There were complications. The team was captured by the Russians.
(Back to Cole.)
COLE: And if that chopper had have been where the hell you know it should have been--
(He kicks an agent out of the way and sits down.)
COLE: My whole life would have taken a different direction.
SLOANE: What do you want?
COLE: I got this really kick ass new job. See, I'm working for this gentleman they call The Man. And you will learn about The Man. What The Man wants is a certain little sumthin'-sumthin' you got in the SD-6 vault.
SLOANE: Well, you initiated lockdown. Not only is the vault secure, the vault access room is locked now, too.
COLE: Well, don't worry about the vault access room, we're taking care of that. What I need is the combination to the vault.
(Sloane laughs. Cole laughs.)
SLOANE: Not a chance.
(Cole sits back and claps his hands a couple of times.)
COLE: That's cool.
(He stands up and kicks his chair he was sitting on. It slides across the room.)
COLE: You still got that room downstairs, right? The "conversation room"? That's what you used to call it, right? The torture room's like you really got to admit what the hell you do down there. So, Arvin. Let's go to the conversation room!
(Will's newspaper. He talks to Jenny.)
WILL: Check this out.
JENNY: Yeah?
WILL: People victimized by the developer who's using his political connections to have their homes condemned by the city. Now we go in, shed a little light on this, protect the little guy and no one gets hurt. I'm going to go interview the developer right now.
JENNY: No more McNeil?
WILL: Nope.
JENNY: Hmmm. Interesting.
(She walks away. Will turns around and sees the envelope in his trash can. He shakes his head no and walks away.)
(Dr. Barnett's office. Vaughn knocks and enters.)
VAUGHN: Hi.
BARNETT: Hi!
VAUGHN: Michael Vaughn. We've met.
BARNETT: I remember. Judy Barnett. Have a seat.
VAUGHN: Thanks.
(He sits down on the couch. She sits in her chair.)
BARNETT: You got my voice mail?
VAUGHN: Yeah, yeah. (pause) I just want you to know, I've got nothing against shrinks.
BARNETT: Well, good.
VAUGHN: But, I-I think this might be a waste of time. You wanted to see me because we've learned that Sydney Bristow's mother was a KGB operative who killed my father, among others.
BARNETT: Yes.
VAUGHN: Which is not ideal news, obviously, and yes, it's emotional, but I already knew he was killed and it happened almost twenty years ago. You know? So I really don't think I require crisis management. There's-there's no crisis.
BARNETT: Everything you say to me I will keep confidential.
(Vaughn seems to relax a little.)
VAUGHN: Okay. (smiles)
BARNETT: I wanted to talk to you about your relationship with Ms. Bristow. How often do you meet with Sydney?
VAUGHN: Uh, a couple of times a week. Three or four sometimes.
BARNETT: Only about operations?
VAUGHN: Uh... we have met on occasion when Sydney wanted to talk to me about what was happening within SD-6 or regarding her father, when she believed he was a KGB agent and not her mother.
BARNETT: You and Sydney... have a friendship?
VAUGHN: She needs someone to talk to. I think you'd appreciate that. I'm the only person she can confide in.
BARNETT: So you feel that your relationship with Ms. Bristow is fully appropriate, that it falls within the guidelines of agent and handler?
VAUGHN: What are you asking me?
BARNETT: I have gotten some reports about your behavior recently.
VAUGHN: Reports from who?
BARNETT: After the incident in Tuscany when you sent in an extraction team--
VAUGHN: Hey, hey, SD-6 issued an order to have Sydney killed!
BARNETT: --to protect Sydney, I've been following your work. Mostly very good.
VAUGHN: Thank you. That's very nice.
BARNETT: Did you purchase a Christmas gift for Agent Bristow?
(Pause. Vaughn looks around.)
VAUGHN: Uh, I'm not familiar, Dr. Barnett, with the regulations preventing officers from celebrating with their co-workers, a fairly widely recognized holiday such as Christmas.
BARNETT: May I ask you what the gift was?
VAUGHN: I'd like you to tell me who's been reporting me.
BARNETT: I can't tell you that.
VAUGHN: Then I'm just going to have to guess.
(Two guys, one who is called Endo, drill through the vault access room. Cole talks to them through a transmitter.)
COLE: Endo! What's up? Where are we? I need status!
ENDO: Almost done drilling. Then we'll start packing explosives.
(Jack flicks from cam to cam.)
JACK: Those other two. Where the hell did they go?
(They see them in the vault room.)
(Vault room.)
ENDO: We should be in the vault within ten minutes!
(Jack and Sydney.)
SYDNEY: Ten minutes? What are they going for in the vault?
JACK: Could be anything. Sloane was planning on sending you to Taiwan, did you know about that?
SYDNEY: FTL acquired some scud launchers. He wanted me to scramble their launch codes.
JACK: Marshall's working on a scrambling device for that op. Have you seen it?
SYDNEY: He showed it to me last week.
JACK: What does it look like?
SYDNEY: Why?
JACK: Sloane must have activated the emergency failsafe. There are five hundred pounds of C-4 strategically placed within the substructure of this building. Opening the vault will trigger that C-4. All underground levels will collapse, burying any evidence that the Los Angeles cell of SD-6 ever existed.
SYDNEY: You want to scramble the vault codes.
(Jack goes from camera to camera until he gets Marshall's office.)
JACK: Can you see the scrambler in Marshall's office?
SYDNEY: There it is. That compact on his desk.
JACK: It's not far from his air vent. But getting into his office is too much of a risk.
(Sydney sees a magnet on the wall in a shape of a fish. She gets it.)
SYDNEY: So then... we fish for it.
(Interrogation room where Sydney was when they thought she was the mole and where they killed Rusik. Sloane is strapped in. Cole puts on some Chapstick.)
COLE: They took us to their base in Hankala. And after thirty-eight straight days of beatings, they finally got around to interrogating me. They took me into a room. They tied me to a chair. And they asked me questions about Islamic Rebels. They wanted to know where they were keeping Russian P.O.W.s and I told them, "I'm just a kid from Redondo Beach running black ops for Uncle Sam! Get it? I'm an American citizen." Well, that senior Russian officer - he didn't want any piece of that action. He had the KGB contact Langley through both front and back channels. And they never heard of me. They didn't know of any operative by the name of McKenas Cole.
(Sloane smiles and looks away.)
COLE: So when that Russian got off the phone, he was so pissed. He was so insane with rage. That was when he showed me this. Baby?
(FGOON gets a long box from the bag on the counter and gives it to Cole.)
(Jack is preparing to go in the air vent.)
JACK: Watch the security feeds. If I'm caught, get out of the building through the elevator shaft as fast as you can.
SYDNEY: Dad, wait. You're not doing this.
JACK: Of course I am. What are you talking about?
SYDNEY: No, you're not. You're going to have to crawl through a maze of air shafts, get to Marshall's office, get the scrambler, get to the vault room and scramble the code all in under ten minutes. I mean, no offense, but, Dad, I am doing this.
(Pause. Jack relents.)
JACK: You'll have to find your way to the vault.
SYDNEY: I know.
JACK: And use the scrambler. And stay low!
SYDNEY: Dad, I know how to use the scrambler. I can't believe, of all things, we're saving SD-6.
(She crawls in. He watches her go, listening as she bumps along the air vents. Jack puts his hand up the vent, looking worried for Sydney.)
(Interrogation room. Cole holds the box.)
COLE: Want to see what's inside? I know you do. I'll open it. Want me to?
(Sloane looks away, bored.)
COLE: You're going to give me the combination to the SD-6 vault and if you don't, I'm going to open this box. And Arvin, trust me when I tell you, you do not want me to open this box.
(Restaurant. Will sits at a table, going over his notes when a girl about seventeen years old comes up to him. Her name's Kelly.)
KELLY: Will Tippin?
WILL: Yeah?
KELLY: Oh, thank God. You're, like, the third guy I've introduced myself to. The maitre d's starting to give me an evil look.
WILL: I'm sorry. Are you-are you with Carla D'Angelo's office?
KELLY: Who?
WILL: Car--the developer. The woman I'm supposed to meet here.
KELLY: On my voice mail you said you were working on a story about my dad.
WILL: Your dad?
KELLY: Yeah. David McNeil?
(Will's face falls. He blinks a few times.)
WILL: I, uh... I never called you. You know, I don't know what you know--
KELLY: What happened with my father? I know everything.
WILL: Yeah, well, we never talked.
(He starts to get his things, scared.)
KELLY: Okay, maybe. But we're talking now.
WILL: No, no, this right here. This never happened. Look, your dad... I-I don't know him, but he seems like a good guy.
KELLY: He is. He's the best.
WILL: Yeah, well, I think he knows best, too. And believe me when I tell you this. He doesn't want you and I talking.
KELLY: Well then who does?
WILL: Good-bye.
(He leaves.)
(C.I.A. Haladki walks down a hall. Vaughn is on his tail and he's not happy.)
VAUGHN: Haladki! What the hell is your problem, Haladki? Reporting me to Barnett?
HALADKI: I don't have a problem. I told you, you have the problem.
VAUGHN: You know what? This might shock you, but my business is not your business.
HALADKI: I'm looking out for the good of the agency!
VAUGHN: Yeah? Then you should quit!
HALADKI: Stay out of my way!
(He starts to walk away but Vaughn grabs him by the shoulder, pulling him back.)
VAUGHN: Did it make you feel better about yourself, telling Barnett I got Sydney a Christmas gift?
HALADKI: You're too emotionally attached to that woman!
VAUGHN: Oh, like you would know anything about being emotionally attached to a woman!
HALADKI: I think your judgement's impaired!
VAUGHN: I think I'm gonna kick your ass!
HALADKI: You're out of line!
VAUGHN: No! You know what? You're out of line!
(Vaughn grabs him by the lapels of his coat and throws him against the wall.)
VAUGHN: You stay the hell away from my operations!
(Weiss runs up and breaks them apart.)
WEISS: Hey, hey, calm down!
HALADKI: Who's out of control, Vaughn? ME?
WEISS: HEY!
(He takes Vaughn away.)
HALADKI: Did you see that? Did everyone see that? That's what I'm talking about.
(Chopper and another goon watches everyone, guns pointed. Dixon look worried.)
(Sydney pulls herself up in the vent and climbs on all fours. When she's above Marshall's office and the compact, she gets the fish magnet which is tied to a string and starts lowering it through the slot on the vent. Jack, in the control room, flicks from camera to camera until he finds the one for Marshall's office. He sees the string being lowered. Sydney lowers it down but gets a ring instead. She sighs and brings it up anyway. Jack watches.)
JACK: No... come on...
(Sydney brings the ring up, looks at it, and pockets it. She goes down again.)
(At the vault access room, Endo and another goon.)
ENDO: Explosives in place. Activating detonator.
(Sydney is finally at the compact, drops it. She gets it again and starts raising it up. Endo and the goon run away from the vault access room and take cover. Sydney is almost there, she has the compact... when the explosives go off. The building shakes and the desk in Marshall's office breaks. Everything falls to the floor, including the compact. Sydney brings the magnet back up and watches below. She starts moving.)
(In the interrogation room, Endo enters.)
ENDO: We're in.
COLE: Excellent! All right, Arvin, here's the deal. We are in the vault room. Two things. One - you don't give us the codes. We got the tech to get it anyway, it'll just take a while. And two - you give us the codes, and I don't have to open the box which will be really excellent for you.
SLOANE: I can't be the first person having difficulty taking you seriously, can I?
COLE: Well, while that was a moderately clever retort... I'm the man holding the box.
(He opens it and takes out a cloth rolled up.)
COLE: Have you ever regretted being born? That's a pretty... heavy thing to experience.
(He unravels it. A series of pins are on the cloth.)
COLE: Regretting having emerged from your mother's womb. I mean, I've had some dark days but nothing close to regretting the day I was born, until I met [foreign language]. Needles of fire.
(Marshall's office. Sydney looks down through the vent and opens the vent door. Jack watches. She starts motioning with her hands.)
JACK: No, Sydney. Don't, don't...
(She motions to him what she's going to do. He flicks to another camera and sees Marshall and Dixon. He starts flicking the camera, making the red light under the camera flash on and off. In the office, the door opens just as a goon looks in. Jack keeps flicking until Marshall sees it.)
JACK: Good, good...
MARSHALL: Ahem.
(He motions to Dixon and then motions to the camera. Dixon sees the red light going on and off, like morse code. In the office, Sydney lowers herself down, hanging on the ledge of the vent. The goon looks in... Dixon starts violently shaking on the floor, gasping for breath. Jack watches.)
MARSHALL: Hey! We need some help here, this guy's having a seizure!
(Sydney lowers herself into the office and gets the compact and starts to lift herself up back in the vent. The goons kick Dixon and tie him in a chair.)
GOON: I heard something back there. I'm going to go check it out.
(Marshall stands up.)
MARSHALL: Um, excuse me? As luck would have it, I'm feeling kind of a Stockholm Syndrome thing happening right now--
(The goon hits him in the head with the but of his gun. Marshall falls and rolls across the floor. Sydney flips herself back up in the vent, closes the door. Jack watches.)
(In the interrogation room.)
COLE: There's this little cajun food place in Abita Springs, Louisiana. It's called Rockamore's. You know what they're famous for? Making people cry. You know what makes them cry? The hot sauce. No one knows how they get that crap so hot. Legend has it that the devil comes by once a month and spits in their frying pan. Point being, the hot sauce at Rockamore's is like a fluffly vanilla ice cream cone when compared to what's in these. Each one is like you took a bag of red jalapenos, threw them in a blender, and used them for an enema. And Arvin, you're about to get to know them.
(Will's office. Here, my tape goofed. Sorry.)
KELLY: I want to talk to you for just a second.
WILL: I want to. I just don't think we should.
KELLY: Fine, whatever. Then just listen, please. What I said before about know everything. That's not true, okay? I don't know what SD-6 is, and I don't know why the people who are a part of it destroyed my life. All I do know is that they killed my mother, and framed my father. Every time I say that, it's like, do people really exist who do things like that? And if they do, isn't it our obligation to do something about it?
WILL: Yeah, well, not if doing it is going to make more innocent people get hurt.
KELLY: Which is why I'm here. See, I know my dad won't talk because he's afraid that something bad will happen to me if he does.
WILL: Yeah.
KELLY: Rob Stoller - my godfather - he knows some people who can send me away where they're never gonna find me. And I'll be safe so my dad won't be afraid anymore. I'm going to go away. Now, tomorrow, whenever I know that someone is fighting for my father. So please. If you can, just help my father. Please.
(Will gets the envelope from the garbage and looks around. He opens it. A key is inside.)
(Interrogation room. FGOON writes down the numbers.)
SLOANE: Eight, five, nine and three.
COLE: And three.
(He smiles and sticks a pin in Sloane's open palm. He gasps.)
COLE: Now, it takes the powder a few minutes to kick in. I can always take it out. So, Arvin, why don't you give us the real combination?
(Cole and two goons with guns walk down the hallway. Cole has a piece of paper with the numbers on it. Jack sees them and flicks through the cameras, looking for Sydney and trying to see if she scrambled it yet.)
JACK: Where are you...
(He flicks and flicks and sees Sydney. She walks in and sees the explosion from the vault access room. Jack watches Cole coming closer to Sydney with the two huge guys with huge guns. Sydney takes out the scambler and puts it on the panel. It starts. Jack watches. She looks around. Cole is still walking. It finishes. Sydney takes the compact, slips it in her bag and moves over to the vent. She escapes. Cole walks in just as Sydney is putting the air vent cover back on. He moves to the panel and punches in the code. Jack watches. A buzzer sounds.)
VOICE: Access denied.
COLE: SLOANE!
(He slams his hand against the panel and hears something in the air vent. He takes the gun from oen of the goons. Sydney moves through the vent on all fours, unaware. One of the goons has the heartbeat detector from before and sees that someone's in the vent. Cole fires his gun and shoots the vent. Sydney yelps and moves up in the vent, out of harm's way.)
VOICE: Target out of range.
COLE: Go get 'em!
(He gives one of the goons the gun back. The two goons take off. Sydney hides in the vent in the corner, barely hanging on. She hears someone coming. Panting, she tries holding on to the edge.)


-[Real World]-
(Mary Margaret, who has escaped from her cell, has fled to the woods. Meanwhile, Henry sits on a bench reading his book at the station. Emma and Mr. Gold see him.)
Emma: Henry. What are you doing here?
Henry: I came to congratulate you.
Emma: For what?
Henry: Your genius plan.
Mr. Gold: And what plan's that, Henry?
(Henry doesn't respond.)
Mr. Gold: Right.
(Mr. Gold leaves Emma and Henry alone in the hall.)
Henry: Sorry. I thought Mr. Gold was in on it, now that he's Miss Blanchard's lawyer.
Emma: In on what?
Henry: The escape plan.
Emma: The what?
(Mr. Gold calls out from the other room.)
Mr. Gold: Sheriff, could you join me, please?
(They join Mr. Gold and see Mary Margaret's empty cell.)
Mr. Gold: She's gone.
Emma: Henry, what did you do?
Henry: Nothing. She was gone when I got here.
Mr. Gold: Her arraignment's tomorrow. If she's not there...
Emma: She's a fugitive. Doesn't matter if she's convicted for Kathryn or not - she's screwed. I have to go find her before someone notices she's missing.
Mr. Gold: Oh, you mean Regina?
Emma: The arraignment's at eight A.M. I'm sure she'll be here bright and early to celebrate her victory.
Mr. Gold: Well, you have until eight A.M., then.
Henry: Uh, what about me? How can I help?
Emma: Go home.
Henry: Emma, if she leaves Storybrooke...
Emma: Not now, Henry. Come on.
Mr. Gold: Miss Swan, I know time is of the essence, but if Miss Blanchard doesn't return... Her future's in jeopardy. And if you're caught helping her, so is yours.
Emma: I don't care. I'd rather lose my job than my friend.
[SCENE_BREAK]
(Emma gets in her car and drives down a deserted road near the woods. In the fog in the distance, a figure can be seen. Emma doesn't notice in time, and narrowly avoids hitting a man. He jumps out of the way and falls down an incline. She gets out of her car to assist him.)
Emma: I'm so sorry! Are you okay? I didn't see you there.
Jefferson: Uh, I think so.
Emma: Are you sure?
Jefferson: I'm fine. I'm not used to sharing the road with cars so late. You're the Sheriff, aren't you?
Emma: Yeah.
Jefferson: What brings you out here in the middle of the night?
Emma: Oh, nothing to worry about. I'm just looking for a lost dog.
Jefferson: Well, I hope you find it.
Emma: Thank you.
(Jefferson tries to walk, but has an obvious limp.)
Emma: Oh, you are hurt.
Jefferson: No, I just twisted my ankle, I think. I live just a mile down the road. I'll make it okay.
Emma: No, let me drive you. I insist.
Jefferson: Thank you. I'm Jefferson.
Emma: Emma.
(The two of them get into Emma's car.)
-[Fairy Tale World]-
(Jefferson runs through the woods, seemingly trying to escape from something. He stops to rest by a tree, but is caught by his daughter, Grace.)
Grace: Papa, I found you.
Jefferson: You certainly did. You must be part bloodhound, my dear Grace.
Grace: Now it's my turn to hide, and you seek.
Jefferson: I'm afraid playtime's over. Though, you can still use that nose of yours to hunt mushrooms. Enough to sell at market tomorrow. Do you think you can do that? Ready or not, here we come.
(They head back to their house, where the Evil Queen's carriage is parked outside.)
Jefferson: Wait.
Grace: Whose carriage is that?
Jefferson: The Queen's.
Grace: In our house? Do you know her?
Jefferson: Of course not. Now, listen carefully. Hey. I want you to stay hidden in the woods. Like our game. I'm going to find out what she's doing here.
(Jefferson enters the house, while Grace runs off into the forest. Inside, the Evil Queen is waiting.)
Evil Queen: I'd like to say you're looking well, Jefferson, but I'd be lying. Poverty doesn't suit you.
Jefferson: What are you doing here, Regina?
Evil Queen: I have a job for you.
Jefferson: I don't do that anymore.
Evil Queen: Yes, I heard you hung up your hat. Why? Is it because of your sweet daughter Grace?
Jefferson: Because of my work, she lost her mother. I don't want her to lose her father, too.
Evil Queen: So, now you're foraging for fungus. What kind of future does your daughter have here with you? Do this one last favour for me, and you can give her the life she deserves.
Jefferson: That's why I'm staying. You don't abandon family. That's... What she deserves. Now, please leave.
Evil Queen: All I need is your special skills to get me somewhere. Somewhere you've been before. Do it, and I can change your life.
(She hands him a piece of paper.)
Jefferson: What business could you possibly have there?
Evil Queen: Something of mine was taken and found its way over there. I want it back.
Jefferson: Then, find someone else to get it.
Evil Queen: I see. Hard living has strengthened your resolve. Well, I'm sorry I couldn't convince you, but I understand. There's nothing more important than family.
-[Real World]-
(Emma and Jefferson pull up to a large house on a hill. The two of them get out.)
Emma: Wow. This is your house? It looks more like a hotel. You must have a huge family.
Jefferson: Nope. It's just me.
(Emma sees Jefferson struggling to get up the stairs, and goes to help him inside.)
Emma: Here. Wait.
(Inside, Emma is waiting in the living room when Jefferson enters with a tea tray.)
Jefferson: Here we go. I thought you might want to warm up for your search. It's cold out there.
Emma: That is kind of you, but I think I should get back to it.
Jefferson: I know. That's why I brought this. I'm a bit of an amateur cartographer - mapping the area is a hobby. Maybe, this will help you track down your dog.
(He lays out the map on a table.)
Emma: Wow.
Jefferson: What's his name?
Emma: Spot.
Jefferson: Cute.
(Emma looks over the map while she sips her tea. She begins to act drowsy.)
Emma: Well, Route Six runs the boundary of the forest, so... So, if I just follow that, I should... Be able to...
Jefferson: Is something wrong?
Emma: I'm just, uh... Feeling a little...
(Jefferson catches Emma and drags her over to the couch.)
Jefferson: Oh. Let me help you.
Emma: Dizzy.
Jefferson: Let's just lie you down here. There you go. Let me get you some air.
Emma: Your limp...
Jefferson: Oh. That. I guess you caught me.
Emma: Who are you?
-[Fairy Tale World]-
(Jefferson and Grace are at an outdoor market. They come to an old woman, who is selling toys.)
Grace: The toy cart!
Woman: Come.
(Grace picks up a stuffed rabbit.)
Grace: Wouldn't this make the perfect guest for our tea parties, Papa? Can I have him? Please?
Jefferson: Excuse me. How much for the rabbit?
Woman: That costs one silver.
Jefferson: Would you take it for eight coppers? It's all I have.
Woman: Oh, you are good father. Your last coppers for your little girl's happiness, ah?
Jefferson: Thank you.
Woman: Oh, I did not say I accept. Alas, I cannot take less than one silver. The economy. You understand.
Grace: It's okay, Papa. Come on - people are waiting.
Jefferson: I will not take no for an answer.
Grace: Papa, please. I don't need it.
Jefferson: Come on, sweetie.
(The old woman walks away from the crowd to a mirror.)
Mirror: Well, that was awfully cruel. You could at least let the girl have her toy.
Evil Queen: Where's the fun in that?
(The old woman's face briefly morphs into the Evil Queen's.)
-[Real World]-
(Emma wakes up bound and gagged on the couch. She looks around and sees that Jefferson is gone. She sits up and notices her fallen teacup on the floor. Emma throws a pillow over the cup to muffle sound, and then breaks it with her feet. She manoeuvers herself onto the floor, grabs a shard of the broken cup, and cuts through her binds. She tries to open one of the windows, but discovers that they're all locked. By the windows, there is a telescope pointed at the Sheriff's station. Emma hears a noise coming from the room across the hall. She peeks in and sees Jefferson sharpening a pair of scissors.)
-[Fairy Tale World]-
(At their home, Jefferson finishes making a stuffed rabbit. He places it on a chair next to Grace, who is having a tea party.)
Jefferson: I know it's not the same as what you wanted.
Grace: I love it, Papa. Thank you.
(Grace pretends to pour tea.)
Grace: Mm. This is really good. Don't you think so, Mr. Tortoise? Papa, do you like your tea?
Jefferson: Grace... I want you to go to the neighbours' for the rest of the day. There's work I have to do.
Grace: Can't I come with you? I like being with you in the forest.
Jefferson: I'm not going to the forest, sweetie.
Grace: This has to do with the Queen's visit, doesn't it? Whatever she wants you to do, don't do it.
Jefferson: Grace, I have to. I want you to have what you need.
Grace: All I need is you, Papa. Please, stay.
Jefferson: Come here. I know. I'm sorry, baby. I have to go.
Grace: Just promise me you'll come back. You have to promise.
Jefferson: Of course.
Grace: For our tea party. Promise?
Jefferson: I promise. I won't miss it for the world. Go.
(Grace leaves. Jefferson opens a locked chest, and pulls out a hat box.)
-[Real World]-
(Emma slows edges out into the hallway. She slowly creeps down the hall, but steps on a creaky floorboard. Panicking, she quickly enters the closest room. Inside, Mary Margaret is gagged and tied to a chair. Emma starts to untie her.)
Emma: What is going on?
MMB: Emma, thank God.
Emma: What are you doing here?
MMB: I was in the woods, trying to get away. Then, this man appeared out of nowhere and grabbed me. Why are you here?
Emma: I've been trying to find you. You escaped, remember? How did you get out?
MMB: There was a key... In my cell, under my pillow. Someone put it there.
Emma: Who?
MMB: I don't know. I'd like to know just as much as you.
(Once Mary Margaret is free, they both head for the door. Emma checks the hall and sees that it's clear. The two of them start down the hallway, but are stopped by Jefferson. He's armed with a gun.)
Jefferson: I see you found Spot.
Emma: I've already called for backup. They'll be here any second.
Jefferson: You haven't called anybody. For the same reason you didn't tell me about her. You don't want anybody to know you're here, which means, nobody does. So, now tie her back up.
(Emma ties Mary Margaret to the chair, again.
MMB: Emma...
Emma: It's going to be okay.
(She gags her.)
Emma: Your telescope - you've been watching me. Why?
Jefferson: I need you to do something.
-[Fairy Tale World]-
(Jefferson meets with the Evil Queen at her castle. He enters with the hat box and is escorted by several guards.)
Evil Queen: Jefferson. So good to see you looking more like yourself. I assume you're here because you've reconsidered my offer?
Jefferson: I want your guarantee. That, if I do what you ask, my daughter will want for nothing.
Evil Queen: You have my word. Now, let's open that box of yours and see what it can do.
(He pulls a top hat out of the box.)
Evil Queen: I do so like a man who dresses for the occasion.
(Jefferson places the hat on the floor and spins it. It begins to spin on its own.)
Jefferson: Step back.
(The hat forms a purple vortex.)
Jefferson: After you!
Evil Queen: Together!
(They link arms.)
Jefferson: Hold on!
(They both jump into the vortex and are transported elsewhere.)
-[Real World]-
(Jefferson brings Emma to a room with several top hats lining the walls.)
Emma: I don't know what you think you're doing, but if you hurt my friend, I swear I'll make you regret it.
Jefferson: Hurt her? I'm saving her life.
Emma: How do you figure that?
Jefferson: Don't play stupid. We both know what happens when people try to leave Storybrooke.
Emma: What are you talking about?
Jefferson: The curse.
Emma: What curse?
Jefferson: The one keeping us all trapped. All except you.
Emma: Have you been reading Henry's book?
Jefferson: Henry? You mean the Queen's father?
Emma: Henry, the mayor's adopted kid.
Jefferson: Oh, Henry. Your Henry. And his book of stories. The ones that you choose to ignore. Maybe, if you knew what I know, you wouldn't.
Emma: Why have you been spying on me?
Jefferson: Because, for the last twenty-eight years, I've been stuck in this house. Day after day, always the same. Until one night, you, in your little yellow bug, roll into town, and the clock ticks, and things start to change. You see... I know what you refuse to acknowledge, Emma. You're special. You brought something precious to Storybrooke - magic.
Emma: You're insane.
Jefferson: Because I speak the truth?
Emma: Because you're talking about magic.
Jefferson: I'm talking about what I've seen. Perhaps, you're the one that's mad.
Emma: Really?
Jefferson: What's crazier than seeing and not believing? Because that's exactly what you've been doing since you got to our little hamlet. Open your eyes. Look around. Wake up. Isn't it about time?
Emma: What do you want?
Jefferson: I want you to get it to work.
(Jefferson sits Emma down in front of a table of sewing supplies and materials.)
Emma: You want me to get what to work?
Jefferson: You're the only one that can do this. You're going to get it to work.
-[Fairy Tale World]-
(Jefferson and the Evil Queen end up inside Jefferson's hat. There are several different coloured doors lining the walls.)
Evil Queen: I forgot how magnificent you are.
Jefferson: I'm not here to relive the past. I'm here for my daughter.
(He points toward a door made of glass.)
Jefferson: Here - this is the entrance. It's important that we stick together. Same amount of people that go through have to come back. No more, no less. It's the hat's rule, not mine.
Evil Queen: I understand.
(They enter through the mirrored door and arrive in Wonderland. Along the path, they encounter the Caterpillar.)
Caterpillar: Who are you? Who? Who?
Jefferson: I hate Wonderland.
-[Real World]-
(Emma and Jefferson are still in the sewing room.)
Jefferson: Make one like that.
Emma: You want me to make a hat? You don't have enough?
Jefferson: Well, none of them work, do they? Or else you wouldn't be here. Now, make a hat, and get it to work.
Emma: I don't-
Jefferson: You have magic. You can do it.
Emma: The hats, the tea, your psychotic behavior... You think you're the Mad Hatter.
Jefferson: My name's Jefferson.
Emma: Okay. You've clearly glommed onto my kid Henry's thing. They're just stories. The Mad Hatter is in Alice in Wonderland - a book. A book I actually read.
Jefferson: Stories. Stories? What's a story? When you were in high school, did you learn about the Civil War?
Emma: Yeah, of course.
Jefferson: How? Did you read about it, perchance, in a book? How is that any less real than any other book?
Emma: History books are based on history.
Jefferson: And storybooks are based on what? Imagination? Where does that come from? It has to come from somewhere. You know what the issue is with this world? Everyone wants some magical solution for their problem, and everyone refuses to believe in magic. Now, get it to work.
Emma: Here's the thing, Jefferson - this is it. This is the real world.
Jefferson: A real world. How arrogant are you to think yours is the only one? There are infinite more. You have to open your mind. They touch one another, pressing up in a long line of lands. Each just as real as the last. All have their own rules. Some have magic, some don't. And some need magic. Like this one. And that's where you come in. You and your friend are not leaving here, until you make my hat. Until you get it to work.
Emma: And then what?
Jefferson: Then I go home.
-[Fairy Tale World]-
(In Wonderland, Jefferson and the Evil Queen come to a hedge maze.)
Jefferson: You want to go in there?
Evil Queen: What I want is a short walk through.
Jefferson: A short walk? You know who this belongs to.
Evil Queen: The Queen of Hearts. She's not one for subtlety.
Jefferson: This wasn't part of our deal. You know what she does to anyone that crosses her.
Evil Queen: Indeed. Better than most. You can't leave Wonderland without me. Two go through, two go back. You're not going to let the Queen of Hearts keep you from returning to your daughter, are you?
(Jefferson says nothing and begins to follow her.)
Evil Queen: That's what I thought.
Jefferson: Wait.
(He picks up a branch from the ground and throws it towards one of the walls. The hedge grabs the branch and pulls it into the wall.)
Jefferson: Stay away from the walls.
Evil Queen: I've got a better idea. The walls should stay away from me.
(The Evil Queen magically creates a fireball, and blasts a path through the maze. The two of them proceed until they reach they reach a vault containing a wall of hearts like the Evil Queen's. She pulls a drawer open and takes out the box.)
Jefferson: Okay? You got what you need. Shall we?
(The two of them go to leave, but are suddenly ambushed by several of the Queen of Hearts' guards.)
Guard: Trespassers! Halt!
(Jefferson and the Evil Queen begin to run through the hedge maze. The guards follow and try to stop them, but are thwarted by the Evil Queen's magic. They run back to the burned path, where the Evil Queen magically causes the hedges to reform. They end up back at the mirrored door they entered through.)
Jefferson: The Looking Glass! There it is!
(Jefferson sees that the Evil Queen has stopped.)
Jefferson: C- What are you doing? We can't stop now. We got to get out of here.
Evil Queen: There's something I need to do first.
(She breaks off a piece of mushroom.)
Evil Queen: A little snack.
Jefferson: Are you mad? Do you know what the food here does?
Evil Queen: I'm well aware.
(The Evil Queen sets the opened box on the ground and places the piece of mushroom inside. Purple smoke emerges from the box and materializes into Henry I.)
Evil Queen: Oh, daddy!
Jefferson: This is what she took from you? Your father?
Evil Queen: The Queen of Hearts has always seen me as a threat. So, she wanted some leverage. I got it back.
Henry I: The Queen's soldiers - we must hurry.
Jefferson: You knew only two can go through the hat... Which is why you didn't tell me about your father.
Evil Queen: It was the only way to make sure you'd help me.
(Jefferson tries to chase after them, but his feet are swallowed by the ground.)
Jefferson: Wait! Wait! Wait, please. My daughter... My Grace... She's... She's waiting for me. I promised her I'd... I'd be home for tea.
Evil Queen: A promise which you now have broken. If you truly cared for your daughter, you never would've left her in the first place. You were right, Jefferson. You don't abandon family.
(The Evil Queen and her father go through the mirrored door.)
Jefferson: No! No...
(The Queen of Hearts' men finally catch up to Jefferson. Two of the guards drag him away.)
Knave of Hearts: Take him to the Queen.
[SCENE_BREAK]
(The guards bring Jefferson before the Queen of Hearts and several other citizens of Wonderland. Her face is covered by a veil and uses a tube to speak through.)
Knave of Hearts: Her Majesty says she knows you're responsible for helping to steal from her.
Jefferson: The Queen, she tricked me-
Knave of Hearts: That woman's name is Regina. There is only one Queen - the Queen of Hearts.
Jefferson: Yes, of course. My apologies. Now, please...
Knave of Hearts: Her Majesty wishes to know how you got to this world. How did you come to Wonderland?
Jefferson: If I tell you, will you let me go home to my daughter?
Queen of Hearts: Off with his head.
(One of the guards decapitates Jefferson with an axe. However, he does not die. Another guard holds up his head.)
Jefferson: I'm alive? I'm alive!
Knave of Hearts: If you wish your body back, then answer. How did you get here?
Jefferson: The... The... The hat. My hat. We used my hat.
Knave of Hearts: Where's the hat now?
Jefferson: She took it - Regina.
Knave of Hearts: If all you require to travel to your homeland is this magic hat, then surely, you could make another.
Jefferson: I can't. A hat without magic is just a hat. It won't work.
Knave of Hearts: Then, there's your task. Get it to work.
-[Real World]-
(Emma and Jefferson are still in the sewing room. Emma has made a top hat.)
Emma: I can't make it work. What you're asking me is impossible.
Jefferson: No! It has to be. If it's not, I'm never going home. I'll be cursed to live in this house forever.
Emma: What is so cursed about your life? Look at this place. It's beautiful. It doesn't seem cursed to me.
Jefferson: It's cursed because, like everyone else here, what I love has been ripped from me. Take a look.
(He gestures for Emma to look through a telescope. She sees a little girl and her family eating dinner at home.)
Jefferson: Her name is Grace. Here, it's Paige. But it's Grace. My Grace. Do you have any idea what it's like to watch her day in and day out, happy, with a new family? With a new father?
Emma: You think she's your daughter?
Jefferson: I don't think - I know. I remember. She has no idea who I am. Our life together, where we come from. I do. That's my curse.
Emma: To remember.
Jefferson: What good is this house, these things, if I can't share them with her?
Emma: If you really think she's your daughter, why don't you reach out to her? Why don't you tell her?
Jefferson: And destroy her reality? I'm trapped by knowledge. How cruel do you think I am? You think I'd inflict that awareness on my daughter? It's hard enough to live in a land where you don't belong. But knowing it, holding conflicting realities in your head...will drive you mad.
Emma: That's why you want me to make the hat work, isn't it? You just want to take Grace home - to your world.
Jefferson: It's the one world where we can be together... Where she'll remember who I am.
Emma: I know what it's like to be separated from your kid.
Jefferson: Yeah, you do, don't you?
Emma: It can make you feel like you're losing your mind.
Jefferson: I'm not losing my mind. I'm not crazy. This is real.
Emma: Maybe. Maybe, it is.
Jefferson: You believe?
Emma: If what you say is true, that woman in the other room is my mother. And I want to believe that more than anything in the world. So, maybe you're right. Maybe, I need to open myself up more. Maybe, if I want magic, I have to start believing.
Jefferson: So, you're... You're going to help me? You can get it to work?
Emma: I can try.
(When Jefferson turns around, Emma grabs the telescope and hits him in the head. He's knocked unconscious.)
Emma: Crazy son of a bitch.
(Emma takes Jefferson's gun and heads to the room where Mary Margaret is tied up. She ungags her and begins to untie her.)
Emma: Hey. It's alright. I'm going to get you out of here. You're going to be okay. He can't hurt you anymore.
MMB: Emma! Look out!
(Jefferson tackles Emma, who then falls into Mary Margaret, causing the three of them to fall on the floor. The gun is knocked from Emma's hand, and she and Jefferson scramble for it. The two of them fight, while Mary Margaret tries to untie herself from the chair. Jefferson eventually wrestles away the gun and points it at Emma. The scar around his neck can now be seen.)
Jefferson: Off with his head.
(Mary Margaret frees herself and grabs a croquet mallet, which she uses to hit Jefferson. While he is temporarily distracted, Mary Margaret kicks him out the window.)
MMB: Are you okay?
Emma: Yeah.
(They look out the window, but Jefferson is gone and only the hat remains. The two of them head outside.)
Emma: There's no sign of him anywhere.
MMB: Who was he?
Emma: A very lonely man. By the way, have you been taking kickboxing and not telling me about it?
MMB: I have no idea where that came from.
(They walk around the side of the house, and discover Emma's car under a tarp.)
MMB: Emma, look.
(Emma removes the tarp and looks inside. She finds the keys in the car.)
MMB: So, Sheriff, I guess you'll be taking me back now.
(Emma throws the keys to Mary Margaret.)
Emma: Here. Go.
MMB: You want me to run?
Emma: No, but it's your choice. Just know something - running ain't easy. I've done my share of it. And once you go, there's no stopping.
MMB: Emma, everyone thinks I killed Kathryn.
Emma: Mary Margaret, you have to believe me. You have to trust me. I know it seems impossible, but I can get you out of this.
MMB: Why is it so important to you what happens to me?
Emma: Because, when Regina framed me, and you bailed me out, I asked you why. And you said you trusted me. And then, when I wanted to leave Storybrooke cause I thought it was best for Henry, you told me I needed to stay because that was the best for him. And I realized, all my life, I have been alone. Walls up. Nobody's ever been there for me - except for you. And I can't lose that. I cannot lose my family.
MMB: Family?
Emma: Friends. Whatever. You know what I mean. Wouldn't you rather face this together than alone?
(Mary Margaret gives the keys back to Emma. In the distance, the clock chimes.)
Emma: The arraignment. Regina.
[SCENE_BREAK]
(Regina arrives at the station. Inside, she is surprised to find Mary Margaret sitting in her cell reading the newspaper.)
MMB: Madam Mayor.
Regina: Good morning.
(Mr. Gold appears.)
Mr. Gold: Excuse me, but my client is not having any visitors.
Regina: Of course not.
Mr. Gold: I'll see you out.
(Mr. Gold and Regina go out into the hall.)
Regina: What is she doing here?
Mr. Gold: She came back.
Regina: You said this was going to work. That she'd take the key, that she'd go.
Mr. Gold: And she did. But, it seems that Miss Swan is rather more resourceful than we thought. Fear not, Your Majesty. Miss Blanchard is still guilty of murder. You may yet get what you want.
Regina: Oh, I better. The only reason I made a deal with you, Gold, is because I wanted results.
Mr. Gold: And results you shall have. See you at the arraignment.
[SCENE_BREAK]
(Henry is sitting on a bench outside of his school, when Emma approaches him.)
Emma: Henry. Well, I found Mary Margaret.
Henry: How is she?
Emma: She's okay. Other than being on trial for murder, she's fine.
(A group of kids walk past them.)
Paige: Hi, Henry.
Emma: Who is that?
Henry: Her name is Paige. She goes to school with me.
Emma: Henry, do you have your storybook with you? Can I see it?
Henry: Yeah. Why?
Emma: I'm just curious about something.
(Henry takes the book out of his backpack and gives it to Emma. Emma flips to the story about Jefferson.)
Henry: What? What is it?
Emma: Nothing.
Henry: Emma? Emma?
(The bell rings.)
Henry: I got to go.
Emma: Right. Can I hold on to this?
Henry: Absolutely.
-[End]-


SCENE: Neverland. Present. Felix escorts the prisoner (Neal) through the jungle.
[SCENE_BREAK]
Felix: Feels like just yesterday I welcomed you to Neverland the first time, Baelfire. Gotta say, hoped I'd never see you again.
Neal: Then maybe Pan shouldn't have taken my son.
Felix: Maybe you should've left well enough alone.
Neal: I'm gonna get him back.
Felix: You really believe that? You were a lost boy. You know Peter Pan's not be to trifled with. You know how long he's been searching for the heart of the truest believer. Do you really believe he'll just... give him up?
Neal: Maybe, if I ask nicely.
(Chuckles)
Felix: You may have grown up, Baelfire, but it would appear you have grown up stupid.
Neal: I have grown up. I don't know if I'm stupid or not, but I do know I know how to tie an overhand knot.
Felix: Uhh!
(Panting)
Neal: I'm not a boy anymore, Felix. I sure as hell ain't lost.
[SCENE_BREAK]
SCENE: The Enchanted Forest. Before the first curse. Rumplestiltskin's hovel.
[SCENE_BREAK]
Rumplestiltskin: Bae. A present. Something to sharpen your coal with.
Bae: Where did you get it?
Rumplestiltskin: Oh, from a man who no longer needed it.
Bae: You mean taken from a man who couldn't pay you.
Rumplestiltskin: Bae...
Bae: Papa, I told you, I don't want any more gifts from the people you terrorize.
(Thud)
Rumplestiltskin: Then what do you want? Tell me, son. What would make you happy?
Bae: Leaving this place. I'm tired of staying in this hovel all the time.
Rumplestiltskin: Well, that's easy to fix. How about a castle, huh? I could build you a palace so magnificent its shadow would blanket the countryside.
Bae: That's not what I mean. I wanna go out, have friends, see the world beyond these four walls. Papa, why can't you just trust me to do that?
Rumplestiltskin: I do trust you, Bae. It's... It's others that I can't. You see, I have many enemies beyond that door. And once you leave, any one of them could hurt you.
Bae: You sure that's the only reason? Maybe what you're really worried about is if I leave, I might never come back.
Rumplestiltskin: No, no. I... I... I'm worried about your safety. This is the best place for you. I don't know what I'd do if I ever lost you.
[SCENE_BREAK]
SCENE: Neverland. Present. Rumplestiltskin puts on war paint.
[SCENE_BREAK]
(Scraping)
(Fire crackling)
Belle: You always felt more comfortable behind a mask.
Mr. Gold: You were the only one who could ever see past it, past the mask of the monster.
Belle: Then why put it back on now?
Mr. Gold: I need the monster, Belle. It's the only way I can save him. And that's what I've decided. I'm gonna save Henry.
Belle: The prophecy states that Henry will be your undoing. To save him, you ensure your own death.
Mr. Gold: You don't think I can do it?
Belle: I think your intentions are good. But a lifetime of craven self-interest is a nasty habit that you've never been able to break.
Mr. Gold: Things are different now.
Belle: How? What... what's different?
Mr. Gold: Because I have nothing to live for.
Belle: What about me?
Mr. Gold: You're not real. Just a vision.
Belle: But I'm... I'm back in Storybrooke, waiting for you.
Mr. Gold: You shouldn't be. When I said good-bye to you, Belle, we both know it was for good.
Belle: Well, maybe I think you'll come back.
Mr. Gold: Even if I did, eventually you'd leave me because you can see me for what I really am. You think you see a good man, but in time, you'd see the monster. My son is dead. The only way I can redeem myself is by saving his son and giving my life.
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
Emma: This is where they're keeping Henry. Pan's compound. According to, uh...
Tinkerbelle: Tinker Bell.
Emma: Yes, I know. Still weird to say.
Tinkerbelle: "Tink" is fine.
Emma: Not sure that's any better. Anyway, she says that there are sentries positioned across the front, which is why we are gonna come in through the back entrance here. She's gonna talk her way in. Once she makes sure the coast is clear, then we are going to sneak on in.
Tinkerbelle: You'll still have to deal with any lost boys once you're inside.
Regina: I think we can handle a few children with pointy sticks.
Tinkerbelle: It's not the sticks you need to worry about. It's the poison they're dipped in.
Mary Margret: Dreamshade. Hook warned us.
Tinkerbelle: Good. Because one nick, and you'll spend the last of...
David: Poison sticks equal death. We got it. Now when can we put this rescue mission into action?
Tinkerbelle: I'm ready to go, just as you tell me the exit plan. You do have an escape plan, don't you?
Emma: It's... it's more of a last-minute trip.
Tinkerbelle: If you don't have a way off this island, then none of this matters.
Regina: We'll figure it out.
Tinkerbelle: You'll figure it out? No one comes and goes from this place unless he allows it. This is a waste of time.
David: Hey, when it comes to family, we always find a way.
Tinkerbelle: You don't get it. Here. Let me show you something. You know what this is?
Emma: Yeah, a watch.
Tinkerbelle: I got it from the people who brought your son here for Pan.
Emma: Greg and Tamara? Where are they? Why'd they give you that?
Tinkerbelle: I got it off the girl's body. Spent half the night cleaning the blood off it. And the other guy... Well, there wasn't enough left of him to find anything useful. This is what Pan does to people he employs. What do you think he's gonna do to you? I'm not sticking my neck on Pan's chopping block without a way off this island. When you figure that out, you know where I live.
Mary Margret: Where the hell is she going?
David: I'll get her, bring her back.
Emma: Don't. She's right. If there's one thing I've learned, you never break in somewhere unless you know the way out.
Regina: And where'd you get that, in bail bondsperson school?
Emma: Neal taught me that.
David: What about you, Hook? You got off this island before.
Hook: Yes, aboard my ship, which would require some form of magic to create a portal, which... I got from Pan in a deal I don't think he's ready to repeat.
Regina: So no one's ever left the island without Pan's permission.
Hook: One man. Her partner in crime Neal.
Emma: How?
Hook: Maybe we can find out.
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
(Lost boys speaking indistinctly in distance)
(Foliage rustles)
Lost Boy: Stop by order of Pan!
(Whoosh)
(Grunts and groans)
Mr. Gold: I don't take orders.
(Rustling)
(Grunts)
(Whispers)
Mr. Gold: Bae?
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
Mr. Gold: You're not real. You're dead.
Neal: What? Of course I'm real. What the hell's going on?!
Mr. Gold: You're a vision, just like Belle.
Neal: No. No, hey. Listen to me. It's me. I was shot. Okay? But I survived. See? I'm alive.
Mr. Gold: My son is dead! You're just here to remind me of my failure!
Neal: That's not why I'm here.
Mr. Gold: My weakness.
Neal: Put the spear down.
Mr. Gold: You're here to question my resolve. But you won't succeed. I will sacrifice my life for Henry. And nothing will stand in my way!
Neal: (Whispers) Please, papa.
(Gasps)
(Whispering)
Mr. Gold: Bae? Is that really you?
(Whispers)
Neal: Yeah.
(Spear thuds)
Mr. Gold: I thought I'd lost you forever.
[SCENE_BREAK]
SCENE: The Enchanted Forest. Before the first curse. Rumplestiltskin's hovel.
[SCENE_BREAK]
Rumplestiltskin: I was thinking... Only a king should live in a castle. So why don't you try this on for size? Bae?
[SCENE_BREAK]
SCENE: The Enchanted Forest. Before the first curse. The village of Hamelin.
[SCENE_BREAK]
Man: All right, now listen. We'll start organizing search parties right away.
Rumplestiltskin: You think you can hide him from me?
(Woman gasps)
Rumplestiltskin: Where is he? Where's my son?!
(Murmuring)
Man: He's not here, Dark One. I swear!
Rumplestiltskin: Don't lie to me! Magic has led me to this rathole of a town! His trail ends here, in Hamelin. I know you're hiding him from me.
Man: No. No, we're not. Many of our children went missing last night, lured from their beds by some unholy music.
Rumplestiltskin: What kind of music?
Man: From the Piper. Only the children could hear it. Some of them tried telling their parents, but no one believed them. They were sent back to bed. And this morning, they were gone.
Rumplestiltskin: And who was playing it?
Man: No one saw his face. O... only a figure hidden by a pied cloak of multicolor patches, leading the children from their homes and into the forest. Don't you see? It... It has to be the same man that has taken your son.
Rumplestiltskin: Then whoever this Pied Piper is, he's about to play his late note.
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
Mr. Gold: How is it possible?
Neal: It's kind of a long story. Let's just say that the debt Robin Hood owes you has been paid.
Mr. Gold: You were back in our land?
Neal: Yeah, but I made it here. The only thing that matters now is that I help Emma save Henry. Where is she?
Mr. Gold: I left her and the rest of them aboard Hook's ship. As noble as their intentions may be, they don't have the stomach to do what needs to be done.
Neal: Like what you did to these boys? They're not, uh...
Mr. Gold: No, they're just sleeping. For now.
Neal: Let's leave it that way, okay?
Mr. Gold: You don't have the stomach either.
Neal: I'll do what needs to be done. But killing lost boys? We don't have to do that.
Mr. Gold: We shall see.
Neal: So I take it you have a plan? The whole "sacrifice your life" thing was just you being dramatic.
Mr. Gold: Well, it's the only way. Pan's too powerful. You can only beat him if you're willing to die, which I am.
Neal: What if I told you there was another way?
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
Mr. Gold: So what exactly is your plan?
Neal: You know how if you hold a shell up to your ear you can hear the ocean? Certain shells, the ocean can hear you.
(Plays conch)
Mr. Gold: Why would we need the ocean to hear us?
(Note continues)
Mr. Gold: What have you done?
Neal: Give me the spear.
(Squid growling)
(Grunts)
(Squish)
(Roars)
(Both grunting)
Mr. Gold: A squid?
Neal: That's right. I believe you know how to extract ink from one of these bad boys.
Mr. Gold: Squid ink. So this is your plan?
Neal: It can immobilize the most magical of creatures. At least for a little while...
(Water lapping)
Neal: Even Pan.
Mr. Gold: I have some experience with it.
Neal: Can you get it out?
Mr. Gold: Indeed. But how do you plan on getting close enough to use it?
(Sighs)
Neal: I don't need to get close. All I need is one clean shot to get Henry back.
Mr. Gold: Well, leave that to me.
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
Regina: What is this supposed to be?
Emma: So... what, Neal swung out of Neverland on a vine?
Hook: Well, if someone would be kind enough to lend me a hand... What do you say, savior?
David: I'll do it.
(Lowered voice)
Hook: You don't look so hot, mate.
(Lowered voice)
David: It's a hundred degrees in this damn jungle. And I'm plenty hot.
(Stone scraping)
Hook: Ladies first.
David: How much longer do you think you can keep up this charade? Don't you think your family deserves to know you're gonna die?
David: What do you care?
Hook: Why don't you?
David: What is the good in telling them when there is nothing I can do to stop the poison, when there is no hope?
Hook: Well, if there's one thing I've gleaned from you hero types, it's that there's always hope.
David: Is there something you're not telling me, mate?
Hook: Alas, hope and reality are most often worlds apart. I told you the truth. You'll never make it off this island alive.
David: Well... Then this is between us. The only thing they need to worry about saving is Henry.
Emma: Hook! What is this place? What are we doing here?
Emma: Neal. This is where he lived.
Hook: Aye.
(Sets down flint)
Hook: Baelfire spent some time in Neverland as a boy. This was his home.
Snow: So you think he may have left a clue as to how he escaped from here?
Hook: Well, let's hope so, or we'll be lost just like he was.
[SCENE_BREAK]
SCENE: The Enchanted Forest. Before the first curse.
[SCENE_BREAK]
(Pipe in distance playing melody)
(Pipe continues playing)
(Boys whooping and laughing, drums playing tribal beat)
(Whooping and music continue)
Rumplestiltskin: Bae!
(Whooping continues)
(Pipe playing)
(Whooping and music continue)
Rumplestiltskin: Bae!
[SCENE_BREAK]
(Whoosh)
Rumplestiltskin: Where is my son, Piper?
Pan: Is that what they're calling me? We both know who I really am. Been a long time, laddie. Glad you could make the show.
[SCENE_BREAK]
SCENE: The Enchanted Forest. Before the first curse.
[SCENE_BREAK]
Pan: You surprised to see me, Rumple? I don't blame you. I'm a little surprised myself. Look who's all grown up and become The Dark One! Good for you.
Rumplestiltskin: What are you doing here?
Pan: It's lonely in Neverland. The only friends I have are the children who visit in their dreams. But they can't stay. The boys I take back with me will.
Rumplestiltskin: You're here for my son.
Pan: I am.
Rumplestiltskin: It's gonna take a lot more than a magic pipe to take my son.
Pan: The only thing magic about this pipe is that only certain boys can hear it... boys who feel unloved, boys who feel lost. I guess that's why you can hear it, Rumple. Isn't it?
Rumplestiltskin: Don't pretend to know me. You don't. Not anymore.
Pan: Oh, I think I do. Beneath all that power, you're nothing more than an unloved, lonely, lost boy. Hey, I like the sound of that. That's what I'll call my new group of friends. The lost boys. It has a nice ring, don't you think?
Rumplestiltskin: You can call them whatever you like. Baelfire will not be part of it.
Pan: Oh, he's already a part of it. The question is, what are you willing to do to get him back?
Rumplestiltskin: I'm gonna make you regret ever asking that question.
Pan: Oh, I understand you're upset. Most parents' worst fear is that their child will be taken away from them. But that's not yours, is it, Rumple? No. You're not afraid Baelfire will be taken from you. You're afraid he'll leave. After all, being abandoned is what you're good at, isn't it? Everyone you've ever known has left, haven't they? Like Bae's mother Milah. Not to mention your own father. Why should Baelfire be any different?
Rumplestiltskin: You're wrong.
Pan: Am I? Well, let's find out, shall we? You ask Baelfire if he wants to come to Neverland with me or stay here with you. If he wants to stay, I'll leave and never return. Deal?
Rumplestiltskin: I don't have to make any deals with you.
Pan: But why wouldn't you, if you're so sure he'll stay?
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
(Lost boys whooping, drums playing tribal beat)
Pan: You don't want to join in the celebration, Henry?
Henry: Nothing to celebrate.
Pan: Nothing to celebrate?
(Chuckles)
Pan: Henry, this whole party is to celebrate you.
Henry: Me? Why?
Pan: Because you've come to save magic, of course. And I, for one, can't think of a reason more deserving of celebration than that. Just look at them.
Henry: I'm not like them. Or you.
Pan: Sure you are. You're still a boy. Maybe a song will get you on your feet.
(Blows air)
Henry: Sorry. I... I don't hear anything.
Pan: Interesting. You see, this pipe's enchanted, Henry. It can only be heard by certain children.
Henry: Like who?
Pan: You'll find out soon enough, I promise.
Pan: What? I know that look. What happened?
Felix: Baelfire. I'm afraid he got away.
Pan: Well, then why didn't you get him back?
Felix: I tried. I followed his trail and found two of our sentries knocked out... By a sleeping spell.
Pan: The Dark One. So father and son have been reunited.
Felix: They'll be coming for the boy. We should move him somewhere safe.
Pan: Now, now, Felix. Where's your sense of adventure? We can't end the party when the real fun is about to begin.
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
Hook: Anything important?
Emma: I can't tell yet. I didn't know he liked drawing.
Hook: He got it from his mother.
Emma: I'm hoping Neal left something useful in the details of one of these. Maybe a map? Some kind of clue. Hand me that candle. What about you? Any luck?
Hook: No potted bean plant or swirling vortex under the rug, if that's what you mean. There may be no rug at all. There are other drawings on the far wall, but as far as I can tell, that's all they are. Probably just a way to pass the time and keep occupied.
Emma: You knew him pretty well, didn't you?
Hook: We spent some time together. You all right there, Swan?
Emma: I'm fine. Looks like you're right. They're just a bunch of pictures. What's all this?
Mary Margret: Uh, just some cups and bowls he fashioned from things he found here.
David: Don't know how great a cup this coconut could make. It's filled with holes.
Mary Margret: Uh, maybe it's a tiny colander.
Regina: Yes, because preteen Baelfire probably made lots of pasta.
Emma: Hold on. Hook, snuff out that torch.
Regina: Am I supposed to be impressed that he made a night-light?
Emma: Look up.
Mary Margret: Stars.
Hook: It's a map.
David: To where?
Emma: Home.
[SCENE_BREAK]
SCENE: Neverland. Present. Pan's camp.
[SCENE_BREAK]
(Lost boys yipping and grunting)
(Wind blowing)
Pan: We have a guest! No doubt someone who knows how much I like guessing games. Who could it be? I guess...
(Fire whooshes)
Pan: The Dark One. Come to save Henry, have you, laddie?
(Whispers)
Pan: How exciting. The Dark One ready to sacrifice his life for his family. Speaking of family...
(Fire whooshes)
Pan: You can come out now, Baelfire.
Neal: Name's Neal now.
Pan: New name, but the same old tricks. It's heartwarming to see father and son working together, especially after you abandoned him, Rumple. This is a real family reunion.
Mr. Gold: What are you waiting for?
Neal: I got this.
(Whoosh)
(Panting)
Pan: Clever. But we've been through this before, Baelfire. Have you remembered nothing?
Neal: I remember plenty.
(Arrow clatters)
Neal: That's why I didn't coat the tip.
(Whooshing)
Mr. Gold: Grab Henry.
Pan: Well, how about that? I'm impressed. But are you sure you're really saving him, Bae?
Neal: What could be worse than leaving him here with you?
Pan: Why don't you ask your father? Sometimes the people we should fear the most are the ones closest to us.
Neal: W... what's he talking about?
Mr. Gold: Don't listen to him.
Pan: You mean you haven't told him?
Neal: Told me what?
Pan: Why, about the prophecy, of course.
Neal: What prophecy? What's he mean?
Pan: The prophecy that says you've been tricked. Your father isn't here to rescue your son. He's here to murder him.
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
Neal: What the hell was he talking about?
Mr. Gold: Oh, don't mind him.
Neal: He said you were gonna murder Henry!
Mr. Gold: He plays games. Mind games. The important thing is we got the boy and we got away.
Neal: Where are we?
Mr. Gold: The other side of the island. We're safe here for the time being.
Neal: Hey. Hey, Henry. It's me. Hey, it's your dad.
Mr. Gold: No, he... he can't hear you.
Neal: Then wake him up.
Mr. Gold: Pulling him out of the spell could be dangerous. He'll wake naturally in a few hours. He'll be fine.
Neal: All right. Then you can explain to me what the hell Pan meant. This prophecy that he's talking about, why would he say that you'd kill Henry?
Mr. Gold: Oh, I don't know, to create a wedge between us.
Neal: That's not a denial.
(Sighs)
Neal: No, this has to do with what happened when I found you. You thought I was a hallucination. You said that you had to do the right thing and save Henry! What did that really mean?
Mr. Gold: Baelfire...
Neal: it's Neal! Now stop dodging and tell me what's going on!
Mr. Gold: There was a seer, and she told me of a prophecy... that boy would help reunite me with you. And that boy... Would be my undoing.
Neal: Henry.
Mr. Gold: I didn't know it was gonna be my own grandson, till I found you in New York and discovered you were his father.
Neal: You were planning on getting rid of him, whoever he was, weren't you? To try and cheat fate? To get around the prophecy? You cold-blooded son of a bitch. You were gonna kill him.
Mr. Gold: Yes.
Neal: Get back. You stay away from him!
Mr. Gold: That was then. Things have changed. I... I didn't come here to Neverland to hurt Henry. I came here to save him.
Neal: After what you just told me, I'm supposed to believe you?!
Mr. Gold: I won't lie to you, Bae. Self-preservation has been a nasty habit I've had my whole life, but I came here to break it, to do the right thing and to save your son. Even if that meant sacrificing my own life.
Mr. Gold: (Whispers) You have to trust me.
Neal: (Whispers) How can I?
[SCENE_BREAK]
SCENE: The Enchanted Forest. Before the first curse.
[SCENE_BREAK]
(Drums playing)
(Boys whooping)
Pan: You don't even recognize him, do you, Rumple?
Rumplestiltskin: Well, how could I when he's wearing a mask?
Pan: Well, he might be wearing a mask, but that's not the reason. Look at him... Playing with to boys, out in the world. He's happy, Rumple. That's why you don't recognize him.
Rumplestiltskin: Bae.
(Panting)
Rumplestiltskin: Baelfire. Are you all right?
Bae: I'm fine. Why are you here?
Rumplestiltskin: I know you think I don't care about you, son, but I do. And I'm here to prove it.
Bae: How?
Pan: Go ahead, Rumple.
Bae: Papa! What are you doing?!
Rumplestiltskin: I'm protecting you.
(Whoosh)
Pan: You're gonna regret not taking my deal, Rumple!
(Whoosh)
Bae: Don't touch me! Get away!
Rumplestiltskin: It's all right now, Bae. You're safe.
Bae: Safe? I was never in danger. The Piper was my friend!
Rumplestiltskin: He may have wanted you to think that. But you have to believe me. He would've hurt you.
Bae: Why? Who is he? Another person that you abused with your power?
Rumplestiltskin: His name is Peter Pan. I've known him since I was a boy. Growing up, we were incredibly close.
Bae: So you're saying he's immortal, too.
Rumplestiltskin: He wasn't always. He went to a place called Neverland. He betrayed me, Bae. He can't be trusted.
Bae: What happened?
Rumplestiltskin: All that matters is that he fooled me for a long time before I'd finally seen his true nature, and it is darker and more repulsive than you should ever be exposed to!
Bae: He can't be any worse than you.
Rumplestiltskin: I had to protect you, Bae. I didn't have a choice.
Bae: Stop lying because I know that you did! I know about the deal Pan offered you. He said all you had to do was ask me if I wanted to come home.
Rumplestiltskin: (Whispers) He told you?
Bae: He said that way I'd know if you really trusted me, if you really cared.
Rumplestiltskin: Oh, please, Bae.
Bae: You didn't need to. I would've chosen to come home. I would've chosen you! If only you asked. Maybe we could've found a way to be a family again.
Rumplestiltskin: We can be. Bae. Bae!
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
Mr. Gold: Tell me what I have to do to gain your trust, and I will.
Neal: Give me The Dark One dagger. I know you. I know you wouldn't come all the way to Neverland without it. It's the only thing that can control you. It's the only thing that could stop you. You wouldn't take any chances with it.
Mr. Gold: I don't have it.
Neal: Why you lying?
Mr. Gold: I'm not lying to you, Bae. I hid it so Pan couldn't get it, so he couldn't stop me.
Neal: So un-hide it!
Mr. Gold: My shadow took it.
(Laughs)
Neal: Your shadow. Man, you got an answer for everything, don't you?
Mr. Gold: I'm telling you the truth, I swear.
Neal: You know, maybe you did hide it. Maybe you do want to do the right thing. But that's today. What about tomorrow?
Mr. Gold: I've changed.
Neal: Have you?
Mr. Gold: Yes.
Neal: The prophecy still stands. You save him, he's still your undoing.
Mr. Gold: I'm still willing to die for him.
Neal: What happens if we get back, and you're reunited with Belle, and you realize that the only thing standing between you and your happy ending is my son? And suddenly, "undoing" doesn't sound so great.
Mr. Gold: You're my happy ending. This is, because it's my redemption. I can be strong, son, if you have faith in me.
(Lowered voice)
Neal: You know, when I was living here and sleeping in a cave, I used to dream of you coming to rescue me. But then I'd wake up and remember how you left me behind. You left your own son behind for the power of that dagger. How can I think that things would ever be any different?
(Whooshing)
Mr. Gold: Neal. What are you doing?
Neal: I'm gonna find Emma and the others and get the hell off this island. Then I'm gonna get my family back home.
Mr. Gold: You can't go into the jungle alone. Without my power to protect you, Pan will capture you both!
Neal: I'm sorry, I got no choice. We're safer without you. Good-bye, papa.
(Crying)
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
Mary Margret: How can you be so sure it's a map?
Hook: There was a short time in Neverland when Baelfire was aboard my ship. I taught him to navigate using the stars. What you're looking at is the fruit of my labors.
Regina: Then you can read it.
Hook: Sadly, no.
David: I thought you just said you taught him how.
Hook: Yes, but I also taught Neal something else. The key to being a pirate... secrecy. The best captains conceal their maps in a code. He was an apt pupil.
Mary Margret: So you're saying the only person who can read this map is Neal?
Emma: Which means the only person who can read it is dead.
David: Emma, wait!
Emma: Now is not the time.
Mary Margret: I can't imagine even imagine the sadness you must be feeling.
Emma: I'm not sad. I'm pissed. Yes, Neal just died, but I lost him years ago.
(Voice breaking)
Emma: All that time thinking that he didn't love me, only to find out that he did, and it was too late. I can't even tell him how angry that makes me, or how much it hurt when he left, or how terrified I was when he came back, because... I knew the moment I saw him, I never... I never stopped loving him.
David: She'll be okay.
Mary Margret: Really?
David: We have done everything we can.
Mary Margret: But that's the problem.
(Voice breaking)
Mary Margret: I have no idea how to comfort my own daughter. It is the first thing a mother learns, and I don't know how.
David: I know. I feel the same way. But she is so upset, we have to get...
Mary Margret: How can we even blame her? If you died, I would not be able to move on.
David: You must.
(Stammers)
David: I'm just saying. Every day we're here, something bad could happen. And if it did to me, I'd want you to move on, to continue, to be happy.
(Whispers)
Mary Margret: That's really sweet, but nothing is going to happen to you, not while I'm here.
(Sighs)
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
Neal: Emma.
Pan: You were so close to finding her. You disappoint me. I thought I taught you better. Never break in somewhere unless you know the way out.
Neal: I'll remember that for next time.
Pan: Well, there isn't going to be a next time. But don't blame yourself. Your father could have protected you out here, sure. But then who would've protected Henry from him? Talk about a rock and a hard place.
Neal: I will get my son back, no matter what it takes.
Pan: You're not getting it. That's not the problem. You got him. I got him back. It's the game. No, my boy, the real problem for you is that there is no escaping Neverland. No one gets off this island without my permission.
Neal: I've done it before.
Pan: Did you? Look where you are now. It's like you never left.
Neal: You saying you let me go?
Pan: I'm saying everyone's where I want them.
(Henry groans)
Pan: Something to chew on. You know where to take him.
Neal: No! Henry!
Pan: Oh, don't worry. It won't be for very long.
Neal: I'm alive!
Pan: Just until I reset the board. See, the game is about to change.
Neal: Don't give up hope, Henry! I will come for you! I promise!
[SCENE_BREAK]
SCENE: Neverland. Present.
[SCENE_BREAK]
(Whoosh)
(Sighs deeply)
Belle: I'm so sorry, Rumple. Neal should have trusted you.
Mr. Gold: How could he? After everything I've done?
Belle: Well... He may not know what was in your heart, but I do. You would've protected Henry. You would've even given your own life to show Neal that you've changed.
Mr. Gold: Are you asking me, or do you truly believe that?
Belle: I know it with all my heart. What I don't know is why you look so upset now. I mean, Rumple, he's alive. Baelfire. You have something to live for.
Mr. Gold: But the prophecy remains. Henry's still my undoing.
Belle: That's why you're upset. You were so determined to die for the boy, but now? Having something to live for has brought back that nasty habit of self-preservation, hasn't it? Rumple... Habits can be broken, can't they?
Mr. Gold: Go away, Belle. I don't want to talk right now.
[SCENE_BREAK]
SCENE: Neverland. Present. Pan's camp.
[SCENE_BREAK]
(Drums continue playing)
(Lost boys whooping)
(Groans)
Henry: What happened?
Pan: Oh, you fell asleep.
Henry: I did?
Pan: No, don't worry. It was just a little catnap. The night's still young.
(Whooping continues)
Henry: Wait. I... I remember something. My dad... When I was asleep, I... I could've sworn I heard him calling for me.
Pan: Really?
Henry: It must've been a dream.
Pan: Well, how can you be sure?
Henry: Because... 'Cause my dad's dead.
Pan: I'm sorry, Henry. It makes sense for us to dream about the things we've lost and the things we hoped for, like your father being alive and your mother coming to find you. But eventually, you'll find new things to dream about. And when you do, they'll start to come true.
Henry: How do you know?
Pan: Because that's what I did. And now you're here. Neverland used to be a place where new dreams were born. You can bring that magic back, Henry. And we can be your family. I'd like to play a song, a song for our guest of honor... Henry.
(Playing melody)
[SCENE_BREAK]
(Whooping continues)
Pan: (Voice echoes) You can hear the music now, can't you, Henry?
Henry: (Voice echoes) Yeah!
(Lost boys yipping and whooping, voices echoing)