Alias
Parity

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Spy Vs. Spy

The next few scenes of Marshall doing his go-go-Gadget thing are interspersed with Sydney using the actual gadgets. So, here we go: Benegas's Museo Priveo de Auto. I made up that name, so no stealing now, kids. Sydney is wearing a strange floor-length gown whose color can only be described as faded tomato-juice stain. It's also deliberately cut too low by a hair, so the scalloped edges of her black bra peek out. It's like Heidi Fleiss and the makers of Starburst designed the dress. She's also wearing a long red wig that looks rather fetching. Jennifer Garner's face is really malleable and goes well with all the hair changes. Someone compliments her necklace. She says thanks.

Marshall. He gives Sydney "a normal-looking Spanish peseta" that's a sonic something-or-other. Sydney drops it near a window, as per Marshall's VO. Close-up of Sydney as she walks in slo-mo through the crowd. She turns to see Ana Espinosa dressed as a waitress, her hair drawn back in a low ponytail. Ana turns and Cheshire grins at Sydney. Sydney catches her breath.

Announcer unveils the latest car. Marshall VOs about the pen that triggers the sonic thingamajigger, and Sydney pulls it. The window shatters. Ay, caramba! Chaos. Flamenco-flavored techno plays, and once again, it's really not that bad. Kind of like the fat-free Jell-O I ate by mistake last night at dinner. Marshall tells Sydney that they'll need to disrupt the surveillance cameras' video signal, and shows her a remote modem. He says it again, as if the words taste delicious: "Remote. Modem." Museo de Auto. Sydney breaks into the necessary security blibedeeblah thingmagummy to attach the remote modem, only to see that Ana's already attached one, and deduces that Ana has back-up. She speaks into her transmitter to Dixon, and he tells her they'll piggy-back off Ana's signal, and to leave it there.

Thumps overhead. Sydney says Ana's in the ducts, and that Dixon needs to break the surveillance feed 'cause she's going in, baby! Security guards. Interrupted feed. Sydney exits the elevator to the chamber where the vault is. She stops at a glass barrier that looks like a phone-booth door, and attaches a descrambler. The descrambler has a nice, easy-to-read LED display that shows what percentage of stuff is descrambled so far. Suddenly, a red flare of light shoots up through the floor, lighting the bottom third of the walls pale red, and it's a pretty cool effect since the color is echoed in Sydney's hair and dress. So maybe there was a reason for that weird stained color. The descrambler is de-slowest thing ever. It's at thirty percent when the flare finishes cutting a hole in the floor and out pops Ana. K-Directorate and Ana deserve to have the sketch for common sense alone -- how much smarter is it to have someone go in as part of the waitstaff, especially when the waitstaff can wear pants and sensible shoes; plus, no one ever really looks at waitstaff. Unlike poor Sydney in her cast-offs from Le Tart's Boudoir.

Sydney doesn't know what to do. Ana sees her and gives her a triumphant smile. Sydney expositions, "Ana's in the vault." She yells at Dixon to fix the descrambler. Dixon says that Ana's back-up is jamming their signal, and he'll find them. Ana, acting crazy-sexy-cool, grabs the case from the vault, saunters up to the glass barrier, kisses it, and waves good-bye. Sydney tries to narrow her eyes and look menacing, but mostly looks dumb and young. Ana leaves a big lip-print. Well, we know she's not wearing Lipfinity.

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Alias

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