Sydney. Professor from "Parity." They're walking and talking. Sydney's pleading for clemency on a paper. The professor is telling her that her performance has only gotten worse since they spoke about it last. Sydney says that while her analysis of Fitzgerald isn't the best, it's not a D paper. So, is she an English grad student? Would anyone read Fitzgerald in a graduate English program? I think it's more likely that she'd be reading Stanley Fish and taking enormous bong hits to get through it. Just a guess. In case you can't tell, I hate Stanley Fish. Except for his name, which is great. The professor tells her paper had no depth and soul, and that if she doesn't fix it by Friday, he's going to reevaluate her place in the program. Ouch.
Underground parking garage. Sydney walks by a guy talking on his cell phone. She slows down, wondering with the rest of us, "How the hell is he getting a signal?" No fool Sydney, she realizes something is up and starts walking faster. She is worried. Cell Phone Man looks after her. Sydney whips out her own product-placed phone, which reads "no service," and disappears down a row of cars. Cell Phone Man follows her, still holding his phone up, looking for her and talking spastically into the phone. He does a pretty good job of faking a conversation. It's also amusing to hear him speaking so nonchalantly while his eyes dart beadily around the parking garage. He says, "Hold on a second," and then whips around. No one's there. Actually, Sydney is there, but she takes a second to use an overhead pipe for leverage to kick him in the stomach. He lands flat on his back, and she pulls his gun on him while getting his throat in her hands at the same time. He makes this weird little noise that kind of sounds like a fart. Sydney whispers, "Who are you?" over and over again.
SD-6. Sloane. Sydney. Sloane says that Security section says Sydney assaulted one of their officers. Sydney vehemently protests, saying that it was not SOP and the guy was clearly a tracker, that she's seen him three times in the past two days, and that she found a recording device under a car. She tells Sloane that if he wants to know something, just ask her. Sloane, very coolly, says that McCullough assigned the tracker, as was his province, and that SD-6 is an organization that needs to check up on its own. He asks her if she can put this aside and focus. Sydney, laser-beaming him with hate rays, grits that she thinks she can. Jennifer Garner does much better when she's one-on-one with actors who are better than her, I think. It makes her rise to the occasion, or something.
SD-6. Conference room of endless exposition. Sloane fills them in on the artifact Sydney took: it's a clock designed by Giovanni Donato, blah blah blah, 1503, Donato a master clockmaker, blee blee, Rambaldi's only collaborator, bloo hah blah, clock holds more than just devices for telling time. Sloane says, "Go, Marshall," and Marshall says that he knows everyone is hungry for lunch, and then trails off and launches into his lecture. He gets so wrapped up in the mechanism of the clock that he loses everyone for a second. Sydney asks about the date engraved on the clock, and Marshall says that they're looking into it, but so far they've found nothing -- that it's pretty much the one day in history when nothing occurred. Sloane interrupts him to say that the clock is another piece of the Rambaldi puzzle, and that they can't risk analyzing it or getting it to work without damaging it. Sydney's mission is to go to the direct descendent of Donato -- whom SD-6 conveniently found -- and get the clock fixed, since he also happens to be a clockmaker. Oh yeah, and he lives in Positano. Why the heck does it have to be a "direct descendent"? No one bothers to explain why that's important, and I assume it is, unless Sloane just thinks it's neat.