Previously on Alias: Whirly whirly whirly.
This recap is being brought to you by the Easter Bunny, English toffee, a nap, and a hangover provided by MY MOTHER. What? Oh, you mean other families don't celebrate the resurrection of their Lord and Savior by eating big plates of pasta and drinking the better part of a gallon of cheap wine and smoking Benson & Hedges Ultra Light 100s until two in the goddamn morning? Huh. Interesting.
We open at San Marcos Orphanage for Project Christmas Castoffs in Buenos Aires. The year is 1992 and the orphanage is chock full of sleeping girls. A swarthy dude in a black cap enters and clamps his hand over one of the girl's mouths. Then he pulls her from her bed and leads her toward the door. Little Nadia gets out of bed and flashes a light in the swarthy dude's face and orders him to let her friend go. He hisses at her to get back into bed. She's not giving up without a fight, however, so she launches herself at Swarthy Dude and it's pretty obvious that Nadia attended the Project Christmas Country Day School, because she can totally kick his ass. He's bigger than her, though, so ultimately he starts to smack her around.
She finally gets away and runs out of the room. And that's when Sonia Braga enters and she's like, dude? What the hell are you doing? And where's my Super-Special Spy Orphan? One of the little girls steps up and tells Sonia that Nadia saved someone's life and ran off. Sonia looks decidedly distressed by this information. But she doesn't look all that distressed when she sees Swarthy Dude heaving and bloody in the middle of a bunch of nightgown-clad girls. She just orders him into her office, where I imagine he is going to either be murdered with a stiletto or told to confine his girl-napping to the other wing of the orphanage. Yeah, I don't know WHAT he wanted the little girl for, but it's pretty clear that Sonia knows about it and is somehow sanctioning it. At least, that's what I think. AND ISN'T THAT ALL THAT MATTERS?
Cut to present day and Nadia running along a dirt track. You can't run from the past, Nadia! I've tried! And the damn IRS always catches up with you. Nadia heads home and greets her sister. This greeting apparently was delivered with a hidden plethora of tears and some silent dogs-can-hear-it-but-no one-else-can moaning, because Syd turns from her coffee and goes, "What's going on?" Syd has super mad spy skillz, yo. She can tell something's wrong with someone without them even saying anything. Nadia's all, uh, nothing, thanks. But I'd like some coffee. Syd's all, yeah, no, when something's bothering me, I go running and you? You've gone twice in twelve hours. So, pretty much, I'm thinking something's wrong. Cream and sugar? The phone rings and it's Vaughn. Nadia hands over the phone and then skips off without saying another word.
Syd meets up with Vaughn at an outdoor café somewhere. He shows her his father's journal. She's as baffled by the post-death entries as he is. "Either he didn't die when the CIA says he did, which they may or may not know the truth about, or someone wants me to think he's still alive," Vaughn surmises. He tells her about meeting Murdoch and the famous back-shooting mission of 1982. Vaughn doesn't know what to believe. Syd, without hesitating, offers her help. Vaughn says that there are names of classified missions listed in Bill's journal and he wants to get details on those missions. So he needs access to all operational files at Langley, and he can't put the request in himself because, if this whole thing is being orchestrated from within, it wouldn't be a good idea to have his name stamped all over the "Hey, Can You Tell Me If My Dad's Not Dead" paperwork. Syd's just like, "Yep. I can handle that for you." Vaughn's all, are you sure, dude? Syd just looks at him and says, "Vaughn." And that's all she has to say, really. But she adds, "If your father is alive, we'll find him. And if he's not, we will find the person who's doing this." Aw. She's such a good girlfriend. I'd never do something like that for one of my boyfriends. I'm more of a surprising him at the door wearing a pair of frilly panties and holding a pitcher of beer kind of girlfriend.
Conference Room of Endless Expositions. Sloane is offering up the Device Du Jour. It's a -gen weapon called "amplifying glass" and, according to Marshall, this glass can magnify a laser pulse by 10,000. And this is…bad? Apparently, it is, because it means that you can take your average CD player laser, magnify it with the glass, and whap! You can take a plane out of the sky in the blink of an eye. That rhymed. I really need to not drink. Ever. Again. Jack pipes up that the Jakarta Faction is the Baddie Du Jour. They want the glass, and they've employed some hot Argentinean guy named Cesar Martinez to get it for them.
Smash cut to another of Nadia's sad sepia-toned memories. She enters a café and orders a coffee from the guy at the counter. Just then, Cesar enters. He walks over to some crisps, grabs a bag, opens it and starts munching away. The clerk is all, uh, dude? You gonna pay for those? Cesar's all, yeah. Right after I steal this chick's wallet. Later! He runs off, with the clerk running after him, and this gives Nadia the chance to clear out the cash register, which is now obviously their original target. The clerk comes back and sees Nadia stuffing bills into her bag. He's all, uh, what the hell are you doing? Nadia's all, say hello to mah little friend! She pulls out a gun and orders the guy to his knees, only to squirt him with her gun-shaped water pistol. Heh. She and her delightful Louise Brooks bob run laughing off into the street.
Back to present day. Sloane's saying something about how he tasked Nadia with working up a profile on Cesar. She tersely explains that Cesar is freelance, has no loyalties, and is fond of using excessive force. "He built his reputation with the execution of former Argentine intelligence officer -- Roberto Fox," she says, hitting a button and bringing up a picture of José Zúñiga, a rather hot HITG! Sydney, using her super mad sensitive spy skillz, watches Nadia with an expression of "there's more here than meets the eye" on her face. Jack concludes that Cesar is building his team, should take him about three days, and the science institute where the glass is being developed is having some shindig tomorrow night, so they're all heading to Russia to get them some amplifying glass, yo. Strict snatch-and-grab job, according to Sloane.
Speaking of snatch and grab, we head back to the faded memories of Nadia's youth and she's running around, shouting for Cesar. He races around the corner and grabs her and they scramble to see how much loot they nabbed in their job. Too bad a cop shows up just then to break up their little party. There's a scuffle and both Nadia and Cesar get knocked down. The cop then decides to beat the ever-lovin' shit outta Nadia, which…yeah. Not so nice, these Argentinean cops from the past. Good thing we head back to the present again before we can watch too much cop violence. Syd stops her sister with a "Hey" and Nadia turns and tells Syd that she knew Roberto, the guy Cesar killed. Syd's all, dude, if this mission is too difficult for you, just ask your daddy to assign someone else. Nadia's all, yeah, it's my job, okay? I'll make it work. And stop trying to run my life. You're not doing so hot with your own, aiight? She walks off, and Syd wonders if it's too late to send her snotty little half-sister back to Argentina where she belongs.
And now is the time on Alias when we go grab every last bit of fattening food we can find in the kitchen and lie down on the sofa and ponder whether everyone in the immediate neighborhood can FEEL THE POUNDING IN MY SKULL BECAUSE IT'S THAT LOUD.
Apple Store. Vaughn's trying to decipher his dad's journal when Marshall walks up and announces that Mitchell's learned a new word. "Ooshnot." Marshall claims this is baby speak for "beta particle." I claim it's baby speak for "ooshnot." Anyway, Marshall hands over some slips of paper with access codes written on them for the operational archives. Vaughn says thanks and continues working. Marshall just stands there. Vaughn's all, uh, anything else, Nerd Boy? Marshall's all, yeah, actually. What's goin' on? What's happenin'? How's it hangin'? Why are you looking for access codes and studying a warped journal? Vaughn's all, uh, nothing, SNOOPY. Marshall's all, you're lying. Vaughn's all, GO AWAY. Marshall's all, come on! Trust me! I babble like a brook, but I'm good with a secret! Promise! Vaughn's all, NO, SERIOUSLY. SHUT UP AND GO AWAY. Marshall finally gets the hint and starts to wander off like a kicked puppy and Vaughn goes, "Marshall! We should, ah, have lunch sometime." Hee. Marshall's like, REALLY? THE QUARTERBACK ASKED ME TO SIT AT THE COOL KIDS' TABLE, Y'ALL! He's seriously like, lunch? Awesome? Today? Vaughn's like, no. Try me in the year 2008, okay? Marshall, just giddy that someone other than his nerdy little baby has noticed him, practically skips back to his Garage of Geekiness.
Minsk. Syd and her truly hideous blonde corkscrew wig saunter through the institute party in search of their target: the architect. He's over in the corner and Dixon tells Syd that the PDA they're looking for is in the guy's breast pocket. Marshall tells Jack, who's standing to him monitoring the action from the Apple Store, that the architect is a real security freak and keeps blueprints and whatever on his PDA at all times, so, if Syd gets her hands on it, they should be able to find out where the amp glass is located. Marshall continues blathering about how the device Syd is using to scan the PDA is extremely short-range, so she has to get up close and personal with the architect. Unfortunately, the PDA is also encrypted with handwriting recognition software. So Syd has to get the architect's signature, I guess.
Syd's up to the challenge. She heads right over to the architect and gushes at him about his building in Amsterdam, and then she pulls out a "notepad" that's actually an electronic microscopic polymer that allows you to capture-- "Marshall, not the time," spits Jack. There's this micro-pause and Marshall just goes, "Vaughn asked me to lunch." HEE. He kind of tilts his head like, "Whattya say to THAT, beeyotch?" The camera lingers on Victor Garber's face and he is TOTALLY cracking up inside. The corners of his mouth are crimped, he's holding them together so hard. HEE.
So, yeah, Syd captures the architect's signature and this allows Marshall to decrypt the encoded PDA and get the goods on the amp glass. The architect wants to give Syd a private tour, if you know what I mean, and Syd, who's pretty much done with the dude, just snits, "Yeah. That'd be nice. Just you, me…and your wife." The architect's wife is making her way over that very moment, and Syd just sneers at the guy and walks off in pursuit of the amp glass. Jack orders Nadia to get the access key. She shows up wearing a green dress that doesn't really do her boobs any favors, but shows off her shoulders nicely. She quickly nabs some guy's access card and slinks off. "That was easy," she says as we head back to the Past of Muted Tones.
We're in a jail. A cop opens a door and Nadia's inside, cowering in a corner, bloody and beaten, with a rather large shiner. Roberto enters and tries to calm her down while he yells for someone to get a doctor. Later, after Nadia has been patched up, Roberto goes a little "Uncle Bob" on the poor girl and starts asking her name and generally trying to get info out of her. He tells her she's famous. They don't know her name, but her résumé is…impressive. Consisting mostly of petty theft, shoplifting, burglary, assault, and breaking and entering, the number of crimes on her list amounts to 130. Nadia just sits there silently, not giving up a thing. Roberto pumps her up, telling her she's talented and special and perhaps she'd like to work for the government and shack up with Jean-Hughes Anglade after eating ravioli? "I'm here to offer you a life you could never imagine," Roberto wraps up as we return to the Present in Full Color.
Nadia slips Weiss the key card and he, in turn, slips it to Syd. She heads to the lab with the amp glass. Nadia turns a corner and sees Cesar drifting through the party. We go back to the Past of Muted Tones and Nadia's meeting with Sonia Braga. They chat back and forth about Nadia running away and how Sonia looked for her and they're each sorry for having failed the other. Nadia then confides in Sonia about the Roberto offer, and without even blinking, Sonia tells Nadia that she should accept it. Yeah. It's pretty obvious that Sonia knows alllll about Roberto and what his "governmental agency" actually is.
Present in Full Color. Nadia gets on comms and tells everyone that Cesar has arrived. This doesn't seem to bother anyone but Nadia, because she knows Cesar so well that she knows he ain't just hanging out and doing recon. Dude's here to get the glass. Syd, en route to the lab, asks her if she's sure. Nadia's all, DO I SOUND LIKE I'M SURE? Syd just ignores her and keeps going after the glass. Sure enough, the second Syd enters the lab, guns start going off upstairs at the party. Looks like they're not killing anyone, they're just trying to get everyone on the ground. Dix orders Syd to abort, but she's headstrong and reckless and keeps on going after the glass. Upstairs, Cesar just calmly walks through the chaos with a glass of bubbly. Heh. He goes directly to the door Syd walked through not two seconds before.
Speaking of Syd, she's in the lab, playing with one of Marshall's gadgets. Cesar's making his way to her. Syd plays with the gadget. Cesar's coming. Syd opens the safe and gets the glass. Cesar and his men shoot the shit out of the lab and enter. Syd's a dead duck. Cesar finally puts down his champagne and walks over to her. Without a word, he beckons her to meet him halfway. She does. He pulls out his gun and holds out his hand for the amp glass. After a moment, Syd plops the glass into his hand. "Who do you work for?" he asks. "You forgot to say the magic word," she snarks. He bitch-slaps her with his gun. "Now you're gonna have to say 'pretty please,'" she snarks again. Heh. He asks her again who she works for, and that's when Nadia enters and says, "She works with me."
Cesar's all, Nadia? Baby? Whassup?! Syd's all, dude, you KNOW THIS GUY? Nadia's all, shut up. Oh, and Cesar? Put the guns down and let's talk. He walks over to her and gently touches her face and shoulder. Nice. He leans in and whispers something in her ear as Syd gets this expression on her face like, DUDE? WHAT'S HE SAYING? WHAT'S HE SAYING? Or maybe it's just an expression of, DAMN MY BACK HURTS AND THEY BETTER FOCUS MORE ON NADIA BECAUSE I'M GOING TO START CRYING HERE. Cesar steps back from Nadia and orders his men to tie them up. They do so as Syd glares at her sister from across the room.
Apple Store. Sydney and Nadia are trying to explain their situation to Sloane. All he really cares about is that Nadia knew Cesar Martinez and neglected to mention this to, like, ANYONE ON THE TEAM. Syd's all, hey, her knowing Cesar made it possible for me to LIVE, okay? I'm pissed too, dude, but cut the girl some slack. Sloane's all, yeah, fine. So what's the story on this guy, huh? Nadia's all, I knew him back when we were young. And in love. And petty thieves. Sloane's all, why do I feel there's more to it than that? Nadia's all, dunno, dude. But if you want me to sit at a desk after I get the glass from Cesar, fine. Until then? It's personal and I'd appreciate being kept in the field on this one. Syd pipes up that Nadia has a personal relationship with the guy, so she can use him. "You, of all people, should understand that," she snits. Heh. Snap! Sloane just hoods his eyes at her and orders Nadia to contact Cesar and see if the CIA can't buy the glass themselves. He then orders Sydney to take Weiss with her and act as Nadia's backup. "Let me be clear, Nadia," Sloane says to her. "I expect full disclosure from you." Really, Sloane? How about practicing what you preach there, GUY WHO'S PROBABLY IN CAHOOTS WITH JACK BRISTOW OR MAY REALLY STILL BE EVIL AND AFTER RAMBALDI.
Past of Muted Tones. La Mujer Nadia is sitting in a makeshift classroom, learning about bomb-making with the rest of the shadowy government agents-in-training. Some guy named Diego snarks at Nadia not to blow herself up. Then, of course, he flicks a switch and an alarm sounds on his "bomb" and Roberto's all, yeah. You're dead, dude. Congrats on that. Roberto walks over to Nadia and criticizes her work. She quickly defends herself, and it's obvious she's good at the spy stuff. Just then, Cesar walks in and they grin at each other.
Present in Full Color. Syd walks up to Nadia's desk and basically gives her shit for not telling her about the Cesar relationship. She wants Nadia to tell her what Cesar whispered to her in Minsk. Nadia says that he said, "Call me," and that's it so, like, step off, SIS. Syd continues glowering at her sister as Nadia apologizes again, some more, for not disclosing the full truth. Syd limps off, and we return to the Past of Muted Tones again where the shadowy government agents-in-training are engaging in a little Brazilian stick fighting. Nadia and Cesar are competing against each other. "I'm stronger than you," he says. "I'm faster," she says. "I'm bigger," he says. "I'm smarter," she says. "I'm prettier," he says. Hee. They spar a bit and then finally, he takes her down and pins her, asking her for a kiss. They're giggling and generally fucking around and this is something Roberto simply cannot have, so he interrupts them and hauls Cesar to his feet. He berates him for being unprofessional and tells him to shape up.
Present in Full Color. Syd checks in with Vaughn to see how his daddy dig is going. He cross-checked his dad's list against the archives and there are lots of entries he can't verify even existed. Syd picks up the list and asks Vaughn to hand her a pen. Vaughn's all, what're you up to? Syd's all, substitution cipher, dude. Vaughn's all, okaaaaay. How'd you see that? Syd's all, my dad used to encrypt my crossword puzzles when I was a kid. Heh. I like the idea that Jack spent his weekends setting up booby traps and encrypting shit for his kid instead of, you know, just taking her to the damn zoo like a normal father. Syd quickly deciphers the list and hands it to Vaughn, telling him to give whatever she's scrawled a try. She gives him a couple of sweet but totally inappropriate workplace smooches and heads to her plane.
Buenos Aires. Nadia's sitting at a café, waiting on Cesar. Syd and Weiss watch her from afar. That rhymed too. I need to lie down. Cesar approaches and they greet each other warmly. She says something about how she didn't know if he read El Diario still. Obviously that's where she sent her meeting request. Cesar says he checks all their old protocols, in case she reaches out to him for help or is in trouble. Aw. Nadia's clearly touched by this. There's more back and forth between them, but it's all in Spanish, and I'm tired of reading and all you need to know is that there's more going on with their relationship than Nadia's let on and now both Sydney and Weiss are clueing in to this. Cesar wrongly assumes that Nadia's scared and that she needs help. Nadia doesn't really do anything to dispel his assumption. In fact, she plays on it and acts like her employers want the glass or they'll kill her. She doesn't say that exactly, but it's intimated. Cesar has no idea that she's actually working for the CIA. Cesar also has no idea how hot I think he is. Rowr.
Cesar says she can have the glass. She's like, just like that? He's like, sure. I loves ya. Oh, and you have to pay, yah? She's all, sure. No problem. He says he'll take her to where it is, you know, just as soon as he makes sure they're alone. She's all, alone? What're you talking about? Of course we're alone. Cesar's all, lemme guess, transmitter in your purse? Suddenly, Syd realizes that Cesar's asking Nadia to get rid of her comms and she barks at her sister to not go radio silent. Nadia's all, dude. Please. Transmitter in my purse? Try my barrette, homes. She removes it and hands it to Cesar as Syd continues to snap into Nadia's earpiece. Cesar asks Nadia to accompany him to his office in order to get the glass and Nadia smoothly goes with him, looking back at Syd and Weiss as they follow along.
Yeah. I'll have to buy Sin City approximately one second after that thing comes out on DVD. Movie's not even OUT and I'm already salivating for the DVD. Sad.
Back from the break, we're hanging out at Vaughn's desk as he checks the list Syd gave him and doodles and generally looks tortured and upset. Finally, he scratches something on the paper and, for some reason, this leads him to say, "Portugal." Yeah. No idea. We catch up with Cesar and Nadia as he's wondering what it would have been like if things had been…different. Weiss and Syd continue to follow. Cesar and Nadia keep walking. Weiss and Syd keep following. Suddenly, a door rolls down behind Cesar and Nadia and a trolley pulls up, effectively hiding their exit. He ushers her into a van as Weiss and Syd meet up and realize that they've totally lost Nadia.
In the van, Cesar asks Nadia if she ever thinks about Roberto. She says she thinks about him every day, and if it weren't for him, she doesn't know who she'd be. We head to the Past of Muted Tones and see Nadia, dressed in an extremely tight leather dress. She walks into Roberto's office and he gets up, telling her that Diego's expecting her in three hours. Nadia moves toward him, repeating her assignment. She's to head to the first floor service corridor and check out some lamp cord. If Diego has the disk, the cord will have a knot in it. Roberto, basically drooling all over Nadia's nice cleavage, tells her she'll only have a thirty-second window to get the disk and that she and Diego can't be seen together. She assures him they won't take any risks and then asks him if there'll be anything else. Well, if by "anything else," you mean "getting interpersonal all over Roberto's desk," then, yes, there will be something else, Nadia. Thanks. Roberto hangs a "graduation present" necklace around her neck and comments that it looks beautiful. He kisses her gently (and totally inappropriately) on the lips and after a two-second pause, Nadia starts eating the lower portion of Roberto's face. Heh. That didn't happen in the French version of this story! And everyone totally wanted Nikita and Bob to make out after she got trapped in the bathroom with the bricked-up window!
After leaving a spent Roberto on the Oriental carpet in his office, Nadia heads to her assignment. She walks through a crowded bar and finds the lamp with the knot in the cord. She walks past a big bearded dude who I honestly thought was a fatter, hairier Weiss for about five seconds. It isn't Weiss, but I did a triple take on that one. Nadia turns and looks at him and sees that he's wiping blood off his hands. He sees her looking at him and her cover's totally blown. He and his buddy head after her. Nadia hides in a crawlspace, emerging after the two thugs have gone off to look for her elsewhere. She busts a door open, only to find Diego, lying in a bloody heap on the floor. She goes to him and he tells her that he still has the disk on him. He gives it to her and she says she needs to call Roberto. Diego tells her that Roberto's a bad guy and that they're not really South American intelligence agents -- that's just what Roberto wants them to think. Nadia doesn't believe it. Diego tells her that Roberto plays both sides and that he's a criminal. Nadia's still not buying it. Diego says, "The disk…" and then dies, leaving Nadia to sob and moan and wonder if she just had sex with the Latino version of Sloane. Ew.
Present in Full Color. Cesar and Nadia are walking into their old training grounds. Cesar bought the place after Roberto was killed. He opens a door, and they're back in the bomb-training classroom. Cesar waxes on about how fond he is of the past and his memories and this place is where his life began. Nadia thinks it's sad that the building has outlived its usefulness, and wants to get on with the amp glass purchase. Out in the van, Syd and Weiss are filling in Sloane on the disappearance of his daughter. Sloane just whips out some intel on Roberto's old training facility, and Syd and Weiss now know where to find their girl.
Cesar opens the door to Roberto's old office and Nadia hesitates at the doorway. Cesar's all, hey, you remember Roberto's office, don't ya? Nadia's all, how can I forget? I'm sure there's some "evidence" of my last visit there on the Oriental carpet. Cesar says something about how Nadia commented that Roberto made her who she is and he feels the same way. The only difference? Roberto's death is what made him who he is. Nadia sighs and says that killing a high-level security official certainly gave him a rep. Cesar just laughs and says that one dead body made his name feared. "The thing is…I didn't kill him," he says. Nadia looks pained. "Roberto had so many enemies, he could have been killed by anyone," says Cesar as he opens up his safe and gets out his gun. "But I always wondered…if it was you. Your work. The look on your face! The look on your face, Nadia! Confirms it." Nadia's face does, indeed, look troubled.
Past of Muted Tones. Nadia busts into Roberto's office. He just looks at her. She tells him Diego's dead and then says she read the disk. "How could you do this?" she asks. Roberto's all, Nadia… Nadia's all, BANG BANG BANG BANG BANG. Seriously. She empties a clip into the guy. Yow. Back in the present, Nadia tries to explain to Cesar that everything Roberto told them was a lie. He told them they were working for the good of the country, but they totally weren't. Cesar doesn't give a damn. They were living on the street before Roberto hooked them up. Nadia's all, dude! HE WAS A CRIMINAL. He was an assassin. He made us traitors! Cesar's all, don't care. If it weren't for him, we'd be rotting in that prison. Or dead. "He saved us and you killed him," Cesar says. "And I'd do it again," spits Nadia. Cesar points his gun at her…and then they fight.
Cesar gets her in a chokehold as Syd and Weiss pull up outside. More fighting, kicking, punching. Somehow, Nadia gets the upper hand. Oh, and she gets the gun. So that helps with the upper hand part. Just then, Syd and Weiss burst in and call out for her. Nadia brings Cesar out with her and says she's fine and that the amp glass is in the safe inside the office. Weiss takes Cesar off and Syd moves toward her sister. There's a beat, and then Syd just folds Nadia into her arms. It's a really nice moment between the two of them.
Lisbon. Vaughn walks through a really beautiful garden and approaches a door. He knocks, obviously expecting his father to answer. Instead, it's…Sonia Braga? Man, I honestly didn't see that one coming. Later, they're sitting at the table in the garden and Sonia's telling him the first time she ever laid eyes on Bill Vaughn, he was covered in blood and carrying a baby in his arms. "Nadia," surmises Vaughn. Sonia nods and continues telling her story, saying that Bill brought Nadia to the orphanage and said she was in danger and he'd been shot in the shoulder. Daddy Vaughn stayed for a few days and then, one morning, when she woke up, he was gone. Vaughn's confused, though. If Bill knew Sonia back in Buenos Aires, why on earth would he encode the Lisbon address in his journal? Sonia has no idea, and quickly surmises that Vaughn expected his father to be there. She apologizes and wishes she knew more.
Vaughn asks if she can remember anything, anything at all. Something he said, maybe? A detail? Sonia racks her brain, but all she can pretend to remember is the word "Nightingale." Vaughn's all, huh? Sonia's all, he was on the phone and…something in his voice…it was important to him. This "Nightingale" or whatever. Vaughn's all, yeah. Thanks for that. That's real…informative. There's a pause, and Sonia asks Vaughn if she can ask him a question. He's like, sure. Shoot. "Nadia -- how is she?" "She's good," says Vaughn. Sonia then kind of looks off to the side and back at Vaughn, and…scene. I know. Scene. The end. The what? I have no idea what Sonia's up to, but you can damn well be sure it ain't no good.