Before Sark can leave, never to appear again in this episode, Sloane asks if he's heard from Irina. Sark informs him that Irina's in Cyprus, looking for new facilities, whatever that means. Sloane pours himself a glass of Grey Goose and says something about how he thought he'd have satisfaction with Mrs. Dixon's death. Well, that seems awfully unfocused to me, Sloane. Dix didn't CHOOSE to off Auntie Em, after all. Seems to me that Sloane might have gotten a bit more satisfaction if, say, he'd blown up Oops Center. But maybe that's just me.
"I killed the wrong person," grits Sloane. "Dixon?" asks Sark. "No, you juvenile delinquent!" snaps Sloane. "Now, pay attention. I'm taking a leave." Sark's all, "Why? Do you have a headache?" Sloane chucks the glass of vodka at Sark's head. "No, not ALLEVE, you peon! A LEAVE! You know, as in A LEAVE OF ABSENCE?" Sark's all, okay! God! You're so touchy when you're disgruntled.
Sark tries to convince Sloane to stick around so that he can enjoy the victory of his thirty-year pursuit. "If I don't see you again, Mr. Sark," says Sloane, walking over to him, "tell Irina that I hope you both succeed...where I couldn't." Sloane walks out, leaving Sark to stare off into a corner of the room and attempt to silence his inner voice, which is screaming, "Yay! He's gone! It's MINE! ALL MINE! Wait'll I tell my mom!"
Conference Room Of Endless Expositions. Jack's informing the troops that there's a new Kendall in town and his name is Brandon. Brandon's the NSA deputy director, and he's making an appearance here for no goddamn reason whatsoever. No, really. Kendall's gone and this Brandon guy is here and there's no reason for it. Except that he's on some sort of task force designed to track down and study Rambaldi's work. Whatfuckingever.
Brandon makes nice-nice with the troops and then gestures to his "associate," a comely young brunette by the name of Kerry Bowman. She deals with special projects. If by "special projects" you mean "Rambaldi shit and Marshall's affections." Because, as it turns out, Kerry's a big fan of Marshall's work, and thanks to him, they've made some sort of breakthrough in their Rambaldi work.
Marshall introduces himself, and he and Kerry share a couple of goofy-verging-on-sweet interactions before Kerry says something to Marshall about his presentation. "Hmm?" he stutters, having lost his collective senses in the dense sepia pools of Kerry's eyes. "Oh, a...presentation. Yeah. I've got -- and by the way you can call me Marshall. Everybody calls me... whatever." Hee. Marshall's in lurve!