EPISODE 11 ''VENGEANCE''

THE SHOW OPENS. ED LAYS IN HIS HOSPITAL BED, WATCHING TV, FLIPPING THROUGH THE CHANNELS. HE HEARS A KNOCK ON THE DOOR AND TURNS.

Sloan: (entering) Hey.
Ed: Hey. That was fast.
Sloan: Not much of a demand for ''Endless Summer 2''.
Ed: I guess.
Sloan: Are you sure this isn''t gonna depress you?
Ed: Nah, I''ll be fine, really. I mean, I got a view of the ocean from my bed, and I''ll be back on my board in no time.
Sloan: Well, where we really need you is back in the lab.
Ed: I'll be there too.
Sloan: Um-hmm. But not until both lungs are pumping at one hundred percent. That flu was brutal.
Ed: I was there, Sloan.
Sloan: (with a little grin) Oh, yeah.


ED CHUCKLES AS SLOAN MOVES TO THE TV AND INSERTS A TAPE INTO THE VCR.

Sloan: Okay.

SHE SITS ON THE BED NEXT TO ED.

Ed: What, you''re staying?
Sloan: Huh, wouldn''t miss it!

THEY HEAR A KNOCK AND SLOAN SEES ATTWOOD IN THE HALLWAY THROUGH THE WINDOW. SHE MOTIONS HIM TO COME IN. HE OPENS THE DOOR AND POPS HIS HEAD IN.

Attwood: Everything alright?
Ed: Hey, Walter, come on in.
Sloan: We''re watching a classic, wanna join us?
Attwood: No, thank you. Sloan, I need to speak to you outside.
Ed: Uh, if this is anything to do with me, I can handle it, I wanna know.
Attwood: No, Ed, you''re fine. As a matter of fact, the doctors tell me you''ll be out of here in a day or two.

SLOAN LOOKS BACK AT ED WITH A SMILE.

Attwood: Sloan.

SLOAN GETS OFF THE BED AND FOLLOWS ATTWOOD OUT INTO THE HALL.

Sloan: What''s up?
Attwood: There''s been a murder. The police want us to come to the crime scene.
Sloan: Does this have something to do with our work?
Attwood: If the police are right I''m afraid it does.

SLOAN GETS HER COAT FROM ED''S ROOM.
CUT TO A DARK CITY STREET. SIRENS BLARE, LIGHTS FLASH. RAIN IS POURING DOWN AS UNIFORMED POLICE OFFICERS CONTROL THE MILLING CROWD. ATTWOOD PULLS UP AND HE AND SLOAN GET OUT OF THE CAR. A UNIFORMED OFFICER APPROACHES ATTWOOD.

Attwood: Hi, Walter Attwood.
Ofc.: Thanks for coming, Doctor. Right over here.
Attwood: (to Sloan) Come this way.
Sloan: (ducking under an umbrella with Attwood) I wish you would just tell me what's going on.
Attwood: All I know is, the police need an identification.

ATWOOD AND SLOAN STOP, HAVING REACHED THE CRIME SCENE.

Sloan: An identification? Who do they think it is?
Attwood: (to an Officer) Go ahead.

THE OFFICER UNZIPS A BODY BAG AND REVEALS TOM INSIDE. SLOAN LOOKS DOWN, STUNNED AND CONFUSED. SHE BENDS OVER HIM AS ATTWOOD MAKES HIS WAY TO A DETECTIVE.

Attwood: (to Detective) It''s Tom Daniels.

ATTWOOD BENDS DOWN TO COMFORT SLOAN, WHO TRACES HER FINGERS OVER THE DEAD MAN''S (REALLY SEXY) LIPS.

NEXT SCENE

AT THE POLICE STATION. SLOAN AND ATTWOOD SIT AT A TABLE. SHE''S BEEN CRYING.

Attwood: For what it''s worth, Tom clearly put up quite a fight.
Sloan: (angrily) It''s worth nothing, they broke his neck.....I''m sorry.
Attwood: This is war, Sloan. We have each other, you, me and Ed. We're still in this. We''ll have to take added precautions.
Sloan: What do you mean?
Attwood: I''ve been getting pressure; my superiors want us to go after them as hard as they''ve been coming after us.
Sloan: Meaning?
Attwood: Action instead of reaction. If the world becomes more aware of this threat, our actions will no longer have to be hidden. Or even subtle.
Sloan: I''m all for that.
Attwood: I''m not talking about revenge, Sloan.
Sloan: You have your reasons for fighting. I have mine.
Attwood: Let me see if they''re ready to let us go.

SLOAN NODS, HER EYES FULL OF TEARS, AS WALTER GETS UP FROM THE TABLE.

NEXT SCENE

AT SLOAN''S APARTMENT. SLOAN ENTERS HER APARTMENT AND RESETS THE SECURITY SYSTEM, THEN LOCKS THE DOOR. SHE HAS A WEARY AIR ABOUT HER AS SHE SETS HER BAG DOWN AND GETS OUT OF HER COAT. SHE WALKS OVER AND PLAYS HER ANSWERING MACHINE MESSAGES. WE HEAR ED''S VOICE.

Ed: Sloan, uh, where you been? I need more movies. Gimme a call.

SLOAN LOOKS DOWN AT THE MACHINE AS THE MESSAGE ENDS. BEHIND HER WE SEE THE DOORKNOB ON THE BATHROOM TURNING. WE SEE A FLUFFY WHITE TOWEL AS THE DOOR OPENS. (BOY, THAT WOULD MAKE A REALLY SWELL DROOL TOWEL!) SOMEONE WITH NICE BLACK SHOES STEPS OUT OF THE BATHROOM. SLOAN, HOLDING THE PHONE RECEIVER, TURNS AS SHE HEARS A CREAK OF THE FLOORBOARDS. TOM STANDS THERE IN A REALLY TASTY BLACK MOCK TURTLENECK SHIRT.

Tom: (seeing her tear-streaked face) Whatsa matter?

SLOAN DROPS THE RECEIVER AND STEPS BACK, MOUTH AGAPE.

Sloan: (breathlessly) Tom?
Tom: (with a nice little ''duh'' head bob) What''s going on?
Sloan: I just identified you. Your body.
Tom: Sloan.
Sloan: You were dead. In an alley downtown.
Tom: Well I''m here.

HE STARTS TO WALK TOWARD HER AND SHE BACKS AWAY FROM HIM.

Sloan: I guess.
Tom: What do you mean you guess?

SLOAN TURNS AND FRANTICALLY GRABS THE POKER FROM HER FIREPLACE TOOL SET, HOLDING IT OUT IN FRONT OF HER, POINTING AT TOM.

Sloan: How do I know?
Tom: Sloan, it''s me.
Sloan: What was my mother''s maiden name?
Tom: (confused) I don''t know....You were adopted.
Sloan: You could''ve found that out.

HE TAKES A STEP TOWARDS HER.

Tom: Sloan. Who else would stick around for your bad jokes. Or put a mummy in your refrigerator. Or put up with being electrocuted.
Sloan: Right here in this apartment.
Tom: (shaking his head) In the lab. Sloan, it''s me.

HE PUTS HIS HAND ON THE POKER AND LOWERS IT.

Tom: It''s me.

SLOAN LETS HIM TAKE THE POKER AND RUSHES TO EMBRACE HIM.

Sloan: Oh, Tom. Oh my God, I''m so sorry.
Tom: It''s alright. Okay.

(HEY, CHECK IT OUT! THE CLOCK ON THE MANTLE SAYS IT''S 10:20, BUT TOM''S WATCH READS 1:10. BOY, I''M GETTING A BIT TOO INVOLVED IN THIS I THINK....)
TOM AND SLOAN PULL APART AND TOM SITS HER ON THE LOVESEAT, CROUCHING (!) IN FRONT OF HER. SHE STARES DOWN INTO HIS (INCREDIBLY LOVELY) EYES.

Tom: Now tell me what happened. And this time you start from the beginning.

NEXT SCENE

AT THE CHIEF MEDICAL EXAMINER-CORONER BUILDING. TOM AND SLOAN STAND IN A TILED MORGUE AS ATTWOOD ENTERS.

Attwood: Needless to say Tom, I''m glad all this was a horrible mistake. And Sloan, I apologize for what I put you through.
Sloan: Oh, it wasn''t your fault. I just wanna see how we could''ve been so wrong.

A MEDICAL TECHNICIAN PULLS A GURNEY INTO THE ROOM.

Attwood: We''ll find out more once we get the body back to our lab.

THE TECH HALTS THE GURNEY IN THE MIDDLE OF THE ROOM.

Attwood: (to Tech) Thank you.

THE TECH PULLS THE COVER OFF THE GURNEY, THEN STARES UP AT TOM IN SHOCK. WE SEE WHAT LOOKS LIKE TOM, (WEARING BLUISH LIPSTICK) LAYING UNDER THE COVER.

Attwood: (to Tech) You can leave now, thank you.

THE TECH LOOKS BACK AT TOM, THEN GOES. TOM WALKS AROUND THE SLAB AND LOOKS DOWN AT THE BODY. (AND WHAT A BODY IT IS! I RECOMMEND PAUSING THIS SO YOU CAN GET THE FULL ''HE''S DEAD'' EFFECT. OR SOMETHING LIKE THAT. PAUSE IT ANYWAY.)

Tom: (incredulous) I can see how you made a mistake.

TOM LIFTS THE BODY UP A BIT AND PEERS UNDER IT.

Tom: There''s no tattoo.
Attwood: From what we''ve learned about your species, you must''ve had siblings.
Tom: I don''t remember any brothers.
Sloan: You don''t remember much of anything.
Tom: It's a good point. But a twin?
Sloan: Why not? It''s a great way to increase your numbers.
Tom: Just what they need, more of me.

(WELL, IT''S WHAT WE ALL NEED, RIGHT? ADAM WHERE ARE YOU??)

Sloan: (smiling) I''m sure that wasn''t part of the plan.

SHE SOBERS.

Sloan: This was a message Tom.

NEXT SCENE

AT SLOAN''S APARTMENT. TOM OPENS THE DOOR TO LET RAY IN. RAY SMILES AT TOM.

Ray: You're lookin'' pretty good for a dead man.

(HE LOOKS DAMN GOOD FOR AN ALIVE ONE AS WELL! HE''S STILL WEARING HIS BLACK MOCK T-NECK SHIRT.) SLOAN STANDS NEAR THE CORNER OF HER COMPUTER TABLE.

Sloan: Obviously I was wrong about that. Well, sort of.
Ray: Sort of?
Tom: There''s a body in the lab that looks just like me. Could be a twin brother.
Ray: What do you want me to do?
Tom: I think he was killed as a way to get to me. Some kind of threat.
Ray: A threat? Why not just kill you?
Tom: It''s a good question.
Sloan: I know you still have contacts in the police department. We need to see the evidence the police have on the murder. It may give us a lead on exactly who's after Tom.
Ray: Okay. See what I can do.

RAY LEAVES.

NEXT SCENE

NIGHTTIME. TOM DRIVES DOWN A DARK STREET IN HIS BIG OLE LINCOLN. (WONDER IF HE APPROPRIATED THAT FROM THE FBI...OUR TAX DOLLARS AT WORK....) HE LOOKS OVER AT SLOAN, STARING OUT THE WINDOW, THOUGHTFUL.

Tom: Sloan.

SHE TURNS AND LOOKS AT HIM, THEN AWAY AGAIN.

Sloan: Ah, sorry. I was just thinking about what it would be like if you really were dead.
Tom: (with a smile) And?

(OOOH! LOVE HOW HIS LIP CURLS ON THAT ONE!)
SLOAN TURNS TO LOOK AT HIM.

Sloan: I''m glad you''re alive.
Tom: (humor in his voice) I hope so.
Sloan: You don''t get it, when I thought you were dead, when I thought I''d never see you again, never talk to you again...
Tom: You don''t have to do this.
Sloan: Yes, I do. I''ve had my share of relationships. In Grad school I nearly married this guy.
Tom: Why didn''t you?
Sloan: He didn''t make me feel like my life had purpose. But you...no one has ever meant as much to me as you.

TOM LOOKS OVER AT HER AND PUTS HIS HAND BEHIND HER NECK.

Tom: Hey, you''d be fine.
Sloan: No, I don''t think so. After what''s happened...what I''m saying, what I''m trying to say, is that I love you.

SLOAN TURNS HER TEAR-SOAKED FACE TOWARDS TOM.

Sloan: I love you.

TOM EXHALES AND GIVES A SUBTLE SHAKE OF HIS HEAD.

Tom: I''ve never known love, Sloan, you know that. But I can tell you, I''d never leave you.

HE TAKES HER HAND AND SHE RAISES THEIR CLASPED HANDS TO HER FACE.

NEXT SCENE

NIGHTTIME ON A CITY STREET OUTSIDE THE POLICE STATION. RAY AND THE DETECTIVE FROM THE TACO STAND IN EPISODE SEVEN WALK DOWN A SIDEWALK.

Detective: Guys have been asking about you.
Ray: You mean talking about me.
Detective: Well, that too. Some of us are starting to think maybe you''re not as crazy as we thought.
Ray: Now you believe in this new species?
Detective: Well, let''s just say reading about it in a tabloid''s one thing, but network news is another.
Ray: I''m glad you're listening but believe me, whatever you''re hearing isn''t necessarily the truth. It''s probably worse.
Detective: That''s kind of what we''re afraid of.

THE DETECTIVE STOPS AND TURNS TO FACE RAY.

Detective: So let me guess, this has to do with a stiff in the morgue named Tom Daniels.
Ray: Name sound familiar to you?
Detective: Sure, it was all over the front pages. He was cleared on murder charges.
Ray: It's not Tom Daniels. Might be his brother.
Detective: Why are you telling me this?
Ray: I''m playing with an open hand. That''s what I know about your victim. Now what can you tell me?
Detective: This new species is involved?

RAY NODS.

Detective: Daniels, or whoever it was, had his neck broken. There were injuries consistent with a fight, but the murder did not take place where we found him.
Ray: He was dumped.
Detective: It looks that way. And uh, there may have been a witness.
Ray: Really?
Detective: She''s working with a sketch artist. I''ll pass you a copy when it''s done.

THE DETECTIVE WALKS OVER TO THE DRIVER''S SIDE OF HIS CAR.

Ray: Thanks, I appreciate the backup on this, Martin. I was starting to think I was tilting at windmills.
Martin: Half of me wishes you were.

RAY GIVES A CHUCKLE AND A WAVE AS THE DETECTIVE DRIVES OFF.

NEXT SCENE

AT THE BIO LAB. ED ENTERS THE OUTER DOORS OF THE LAB AND WALKS DOWN THE HALL. HE LOOKS AROUND THE EMPTY ROOMS, THEN WALKS ACROSS THE LAB AREA. SLOAN RUSHES PAST HIM, HEAD DOWN, READING A REPORT.

Sloan: (with a brief glance up) Hey.

ED WAVES AT HER RETREATING FORM. ATTWOOD EXITS HIS OFFICE AND WALKS OVER TO ED.

Attwood: Ed! We need you to run some samples we''ve taken from the test we're doing on James.

ATTWOOD HANDS HIM THE FILES AND ED STARES AFTER ATTWOOD IN SHOCK. ED MOPES OVER TO HIS OFFICE AND OPENS THE DOOR. HE SEES BUNCHES OF BLUE AND GOLD BALLOONS AS SLOAN OPENS THE DOOR FROM HER OFFICE AND ENTERS ED''S WITH A SMILE.

Sloan: Did you think we didn''t love you anymore?

SHE GIVES ED A BIG HUG AND LAUGHS. ATTWOOD ENTERS SMILING AND TOM COMES INTO THE ROOM FROM SLOAN''S OFFICE WEARING A BLACK CREW NECK SHIRT. HE OFFERS ED HIS HAND.

Tom: Welcome back, Ed.
Ed: (shaking his hand) Thanks.
Attwood: You realize you''ve used all your sick days for the next five years.
Ed: Isn't there an Act of God clause in my contract somewhere?
Sloan: You mean act of evolution.
Ed: Ummm.
Attwood: It''s good to have you on your feet and back in the fight.
Ed: Speaking of which, I hear you got hold of Copeland''s lab equipment.
Attwood: Technology we could only dream about. Come on I''ll show you.
Ed: Alright.

ED MOVES TO FOLLOW ATTWOOD OUT OF THE OFFICE BUT SLOAN HALTS HIM.

Sloan: Don''t you think you should ease back into things?
Ed: Wait for them to get even further ahead? I don''t think so.

ED EXITS.

NEXT SCENE

NIGHTTIME OUTSIDE THE LIFE SCIENCES BUILDING. TOM AND SLOAN WALK FROM THE BUILDING TOWARDS TOM''S CAR, PARKED ON THE STREET.

Sloan: I think it''s too early for Ed to be back at work. Attwood''s gonna push him till he drops.
Tom: He seems fine to me. We certainly need his help.
Ray: Sloan!

SLOAN TURNS TO SEE RAY APPROACHING.

Sloan: Hey. Any news?
Ray: Got a sketch from a witness who saw someone in the park where the body was dumped.

HE SHOWS THE PICTURE TO TOM AND SLOAN. WE SEE A SKETCH OF A WHITE MALE WITH LONG HAIR AND A GOATEE.

Tom: Randall Lynch?
Ray: Someone who looks a lot like him.
Sloan: Lynch is dead, we saw him light himself on fire. Ed did the autopsy and everything.
Tom: Hell, I didn''t even know I had a brother until a day ago. Maybe Lynch has one too.

SUDDENLY TOM''S CAR EXPLODES. THE BLAST FORCES THE TRIO TO THE GROUND. PEOPLE COME RUNNING AS TOM, SLOAN, AND RAY TURN TO LOOK UP AT THE FLAMING CAR. WE SEE WHAT LOOKS LIKE RANDALL LYNCH GLOWERING ACROSS THE STREET. HE STARES AT THE DESTRUCTION A MOMENT, THEN WALKS AWAY.

NEXT SCENE

DAYTIME. AT THE BIO LAB. IN ATTWOOD''S OFFICE. ATTWOOD SITS AT HIS DESK, TALKING ON THE PHONE, WHILE SLOAN SITS IN A CHAIR BEFORE HIM.

Attwood: We''re fully aware of the level of danger....All precautions--I think you may be right....Yeah.

HE HANGS UP.

Sloan: Your boss sounds nervous.
Attwood: She is. For that matter, so am I.
Sloan: What does she suggest?
Attwood: Nothing yet, but she''s getting impatient. She believes our attempts to thwart this species have been exceedingly weak.
Sloan: What does she want? Open warfare with an enemy we can''t see?
Attwood: Not yet.

NEXT SCENE

AT THE BIO LAB. IN AN EXAMINING ROOM. ED SNIPS SOME HAIR FROM THE LOOK-ALIKE''S HEAD AS TOM LOOKS DOWN ON HIS DOUBLE, LYING ON A GURNEY. TOM''S WEARING A WHITE T-SHIRT UNDERNEATH A BLACK V-NECK SWEATER WITH LIGHT GREY PIPING AT THE COLLAR.

Ed: (looking up at Tom) Is this as weird for you as it is for me?
Tom: Weirder. Comparative DNA test?
Ed: Uh, yeah. I''m uh, also gonna take a blood sample. You sure you wanna be in here for this? I mean, y''know, once I open him up it''s liable to get kinda uh...messy.
Tom: I can handle it.
Ed: How come that doesn''t surprise me.

ED BENDS BACK DOWN OVER THE BODY. (BOY, I SHOULD PUT THAT ONE IN BOLD. IT''S QUITE THE BODY...)

Ed: Uhhh, so what do you think about this Lynch look-alike? He had to be the one behind blowing up your car.

ATTWOOD AND SLOAN ENTER THE ROOM.

Tom: Real Lynch wouldn''t have missed.
Ed: Unless he missed on purpose.
Tom: Exactly. And why would he kill my uh, brother, and not me?
Ed: Head games. If this is Lynch''s twin, he''s probably angry about his brother''s death.
Tom: Then he''d blame me the most.
Attwood: Ed''s probably right about this. I suggest we find the new Lynch. His brother was a rogue. My guess is, he''s one as well. And that makes him exceptionally dangerous.
Sloan: Ray''s gotten some cooperation out of the police department.
Attwood: Good, I''ll get him on the trail.

TOM LOOKS OVER AT SLOAN, THEN DOWN AT THIS LOOK-ALIKE (WHO HAS LOST HIS BLUE LIPSTICK).

NEXT SCENE

A BUSY RESIDENTIAL STREET. THE LYNCH-ALIKE EXITS A BUILDING AND WALKS DOWN THE FRONT STEPS. HE SCANS THE STREET. HE''S WEARING REALLY NICE BLACK JEANS (MEMO TO TOM''S DRESSER!), A NICE BLACK LEATHER JACKET, PLAID RUGBY SHIRT AND THIS AWFUL BLACK AND WHITE POLKA-DOT MOCK T-NECK THING UNDERNEATH. RUINS A DECENT OUTFIT.
CUT TO RAY AND MARTIN IN A CAR. RAY SPOTS THE LYNCH-ALIKE.

Ray: (to Martin) Let''s go.

MARTIN STARTS THE CAR AND INTERCEPTS LYNCH-ALIKE. MARTIN AND RAY GET OUT OF THE CAR AND GRAB LYNCH-ALIKE, PUSHING HIM AGAINST THE HOOD.

Ray: Police!

RAY STARTS FRISKING LYNCH-ALIKE.

Martin: Here, let me handle this.
Ray: He''s clean.

LYNCH-ALIKE TURNS AND FACES RAY.

Lynch-alike: What''s going on?
Ray: What''s your name?
Lynch-alike: John Doe.
Ray: You know a guy named Randall Lynch?
Lynch-alike: Heard of him. He''s dead, innit he?
Ray: You''re his brother.
Lynch-alike: Is that a crime?
Ray: Well, it is to me. A witness identified you as being at the scene of a crime.
Lynch-alike: When?
Martin: A few nights ago.
Lynch-alike: I didn''t get in until last night. You wanna see my plane ticket?

HE GIVES RAY A SMALL SMILE THEN REACHES FOR HIS INNER BREAST COAT POCKET. RAY GRABS HIS ARM, PREVENTING HIM FROM REACHING UNDER HIS COAT. LYNCH-ALIKE PULLS OPEN HIS COAT AND SHOWS PLANE TICKETS POKING OUT OF HIS POCKET.

Lynch-alike: May I go now?
Ray: How ''bout you come to the station to talk about this--
Lynch-alike: How ''bout you get a warrant and then we can talk.

RAY LOOKS OVER AT MARTIN, WHO SHRUGS.

Martin: Sorry, Ray.

HE LOOKS AT LYNCH-ALIKE.

Martin: (to Lynch-alike) Get out of here.

LYNCH-ALIKE GIVES RAY A TINY WINK THEN STROLLS OFF.

Ray: This is a mistake.
Martin: Yeah, well, Lt. Quinn''s not gonna think so.
Ray: Something bothering you about Quinn?
Martin: Maybe.

THEY GET INTO THE CAR.

NEXT SCENE

AT THE BIO LAB. IN ATTWOOD''S OFFICE. ATTWOOD SITS BEHIND HIS DESK, READING A REPORT. ED ENTERS THE DOORWAY AND KNOCKS. ATTWOOD TURNS.

Attwood: Hi.
Ed: Hey.
Attwood: How you feeling?

ED ENTERS AND CLOSES THE DOOR BEHIND HIM.

Ed: Better. It''s good to be back at work.
Attwood: Any progress?
Ed: Gotta tell you, y''know, Copeland was a maniac...

ED CLOSES THE OTHER DOOR TO ATTWOOD''S OFFICE.

Ed: But he knew how to spend his money. That gavitron out there, it''s only a sketch on our drawing board.
Attwood: And now it''s ours. The question is, what do we do with it?
Ed: I know exactly what to do with it.

ED LEANS OVER THE DESK AND LOOKS DOWN AT ATTWOOD.

Ed: Why not give them a taste of their own medicine?
Attwood: How?
Ed: Use gene therapy and genomapping. Alter their message RNA to match ours.
Attwood: Do you think that''s possible?
Ed: If they can turn us into them, why can''t we turn them into us?
Attwood: You're talking about complete genogenisis.
Ed: That''s the idea.
Attwood: Well, don''t waste any time.

ED LEAVES AND ATTWOOD PICKS UP A PHONE AND STARTS DIALING.

NEXT SCENE

AT THE LIFE SCIENCES BUILDING. TOM AND SLOAN WALK THROUGH THE LOBBY, ON THEIR WAY OUT. TOM FIXES HIS JACKET. (HEEHEE, SORRY. THAT DISTRACTED ME. HAD TO REWIND IT.)

Sloan: Have you given any thought about what you''re going to do with your brother? His body?
Tom: Not really.
Sloan: He was family. You can''t just leave him in the morgue, they''ll bury him in an unmarked grave.
Tom: Well, I don''t feel like he was family. He was a stranger.
Sloan: Who either was coming here to find you or was killed because he was related to you.

THEY STOP IN FRONT OF THE GLASS DOORS.

Tom: And I should feel guilty that he died?
Sloan: You should feel something, don''t you think?
Tom: Like what?
Sloan: Like you''re lucky, to have a brother. Sad, that you never got to know him. He was your family.
Tom: (shaking his head) There was no connection. Maybe if I knew him, knew that he was like me, then I''d feel differently.

CUT TO LYNCH-ALIKE, SITTING IN A CAR OUTSIDE THE LIFE SCIENCES BUILDING, WATCHING TOM AND SLOAN TALK AS THEY STAND BEHIND THE GLASS DOORS. LYNCH-ALIKE LOWERS HIS WINDOW AND PRODUCES A BIG GUN WITH A SILENCER. HE AIMS AT SLOAN AND SHOOTS, HITTING A WOMAN WHO HAS JUST WALKED AROUND SLOAN AND OPENED THE DOOR. THE WOMAN, SHOT IN THE SHOULDER, CRUMPLES WITH A CRY OF PAIN. SLOAN AND TOM RUSH TO HER.

Sloan: (to Woman) Are you okay?

LYNCH-ALIKE SPEEDS OFF IN HIS CAR, THE SQUEALING TIRES CATCHING TOM''S ATTENTION. HE TURNS TO LOOK AS THE CAR DRIVES UP ONTO THE SIDEWALK AND STOPS INCHES IN FRONT OF TOM AND SLOAN. LYNCH-ALIKE STARES MENACINGLY AT TOM, THEN PUTS THE CAR IN REVERSE. TOM STANDS AND RACES AFTER LYNCH-ALIKE. LYNCH-ALIKE GETS THE CAR TURNED AROUND AND TOM IS THERE, BLOCKING HIS PATH. SLOAN STARES AS LYNCH-ALIKE GETS OUT OF THE CAR SLOWLY.

Tom: What do you want, Lynch?
Lynch-alike: Eventually, you.
Tom: I''m not gonna let you hurt anymore people just to get to me.
Lynch-alike: I''ll hurt who I want.

THEY STAND STARING AT EACH OTHER FOR A MOMENT (OOOH THE PULCHRITUDE!), THEN LYNCH-ALIKE BOLTS AWAY. TOM RACES AFTER HIM. TOM REACHES LYNCH-ALIKE, TACKLES HIM TO THE GROUND AND PUNCHES HIM IN THE FACE. LYNCH-ALIKE GRUNTS, THEN THROWS TOM OFF OF HIM AND PINS TOM THE THE GROUND, STRANGLING HIM. BLOOD FROM LYNCH-ALIKE''S MOUTH DRIPS DOWN ONTO TOM. A MAN RUNS UP AND GRABS LYNCH-ALIKE OFF OF TOM, GETTING HIS NECK QUICKLY SNAPPED FOR HIS TROUBLE. LYNCH-ALIKE THROWS THE BODY ON TOM, KNOCKING TOM BACK ONTO THE PAVEMENT. LYNCH-ALIKE RUNS OFF AND TOM SCRAMBLES UP AND LOOKS AFTER HIM. HE FEELS HIS SHIRT AND LOOKS AT THE BLOOD COVERING HIS HAND. SLOAN LOOKS OVER AT TOM AND HE KIND OF SIGHS AND SHRUGS.

NEXT SCENE

AT THE BIO LAB. ED STANDS OVER A MICROSCOPE WITH TOM STANDING BEHIND HIM. SLOAN STANDS A FEW FEET AWAY.

Ed: Well this should be a clean sample of his blood. Good work.
Tom: Thanks. So what have you found out, about my brother.

ED SITS AT A COMPUTER AND TOM AND SLOAN WALK OVER TO HIM.

Ed: DNA confirms that he was definitely your brother, uh, not a twin though. I mean, I think you were the same age, y''know born....uh, if your mother had four children at the same time, he was one of them.
Sloan: You may have other siblings out there.
Tom: I''m not expecting any reunions. Assuming they''re still alive.

ED LOOKS INTO A MICROSCOPE, THEN UP AT SLOAN.

Ed: You''d better take a look at this.

ED KEYS UP THE COMPUTER.

Ed: The blood on Tom''s jacket is one-point-six.
Tom: Coulda guessed that.
Ed: Maybe. But take a look at this.

WE SEE THE DNA DIFFERENTIAL PROGRAM WITH TWO SAMPLES ON THE COMPUTER SCREEN.

Ed: Okay, the one on the top is the blood from Tom''s jacket. The one on the bottom, Randall Lynch.
Tom: Identical twins.
Sloan: Identical twins don''t have the same DNA.
Tom: So Randall Lynch is dead and this new one isn''t his identical twin.
Ed: A feat of genetic engineering.
Sloan: A clone.
Ed: But we''re still theorizing. They''ve been doing it for thirty years.

TOM LOOKS UP AT SLOAN.

NEXT SCENE

AT THE BIO LAB. IN ATTWOOD''S OFFICE. ATTWOOD SITS AT HIS COMPUTER TABLE. SLOAN IS SEATED NEXT TO ATTWOOD''S DESK AND TOM STANDS WITH HIS ELBOW PROPPED ON TOP OF A FILE CABINET, WEARING A BLACK MOCK T-NECK. (HE MUST EITHER HAVE A LOT OF THOSE, OR ONLY ONE. WHAT DID HAPPEN TO ALL HIS CLOTHES? WHERE DOES HE LIVE? IF ALL HIS CLOTHES WERE IN HIS CAR, DID THEY GET BLOWN UP TOO? ARE THE BROWN PANTS GONE? THAT''S JUST WRONG.) OH, AND ED IS SITTING ON ATTWOOD''S COMPUTER TABLE, WIPING HIS NOSE WITH A TISSUE. ATTWOOD MOVES OVER AND SITS AT HIS DESK.

Attwood: I''ve reviewed your data. As far as I can tell, this Lynch is an exact genetic match to the original.
Sloan: Or, he was the original and Randall Lynch was one of the copies.
Attwood: Begging the question, how many copies are out there? If you can make one, you can make a hundred.
Tom: I doubt they''d make so many, they would be so conspicuous.
Ed: Regardless, it throws our species population projections way off. Instead of being two hundred thousand, it could be closer to six hundred or a million.
Sloan: Or more.
Attwood: And whoever''s controlling the cloning process is probably making sure only the best, the brightest, and the strongest are being cloned.
Sloan: A booster shot for survival of the fittest. This is bad news for the home team.

ED STANDS AND WALKS OVER TO ATTWOOD''S DESK, LEANING HIS HANDS ON IT.

Ed: Look, so what do we do about the one Lynch that is out there?
Attwood: Eliminate him.
Ed: Eliminate, you mean--Can''t your boss take care of that?
Attwood: Believe me, she''s looking for him.

TOM STEPS FORWARD.

Tom: Maybe we don''t have to to anything. Like Randall, this Lynch is just as much a rogue. Now I told you before his behavior would never be sanctioned. If they knew what he was doing they might take care of him themselves.
Attwood: So we shine a light on him, another press conference. My superiors feel it''s time that we give the press as much detailed evidence about the species anyway, so.
Tom: You know the risk. They might attack us even harder.
Attwood: Yes, but it''s the only way to get them the message.

NEXT SCENE

A LARGE CONFERENCE ROOM. CAMERA BULBS FLASH AS ATTWOOD STANDS SPEAKING AT A PODIUM. TOM, ED, AND SLOAN SIT AT A TABLE NEXT TO ATTWOOD, LISTENING. REPORTERS SIT BEFORE HIM.

Attwood: Based upon the last three months of research and investigation, our initial claim of a new hominid species remains unassailable.

REPORTERS SHOUT, VYING TO HAVE THEIR QUESTIONS ANSWERED.

Reporter #1: You say there are hundreds of thousands of this new species living among us?
Attwood: That''s correct.

CUT TO THE INTERIOR OF A CAR. SOMEONE ADJUSTS THE DIAL OF THE RADIO, LISTENING TO ATTWOOD''S PRESS CONFERENCE.

Sloan: Our numbers are only estimates. The new species has multiple uteruses and early fertility. Moreover, new evidence indicates they have the ability to replicate themselves. Therefore we have no idea what the true number may be.

THE CAMERA PANS UP TO REVEAL LYNCH-ALIKE IN THE DRIVER''S SEAT. A TV NEWS VAN SITS PARKED ACROSS THE STREET FROM HIM. HE''S SITTING OUTSIDE THE PRESS CONFERENCE.
CUT BACK TO SLOAN, ANSWERING THE QUESTION. A REPORTER STICKS HER PEN UP.

Reporter #1: By replicate do you mean cloning and do you have any physical evidence to support this?
Attwood: In fact we do. This, as you may recall, is Randall Lynch, who committed suicide after his capture by Detective Ray Peterson.

ATTWOOD SHOWS A PHOTO OF LYNCH ON A TV SCREEN. HE PUNCHES A KEY, AND WE SEE THE DNA DIFFERENTIAL SCAN.

Attwood: Now here, you can see the DNA coding for Randall Lynch, as well as his fingerprints. Next to them, are the DNA coding and fingerprints of a man who only yesterday tried to kill Dr. Parker.
Reporter #2: Can you put this in layman''s terms, Dr. Attwood?
Attwood: Yes. Randall Lynch and yesterday''s assailant have identical DNA. This is not possible in twins, only in clones.

CUT BACK TO LYNCH-ALIKE IN THE CAR, STILL LISTENING.

Reporter #1 So a clone of Randall Lynch the serial killer is loose on the streets?
Attwood: Yes, and should be considered extremely dangerous.


LYNCH-ALIKE STARTS THE CAR ENGINE AS THE REPORTERS SHOUT AND CARRY ON. HE DRIVES AWAY.

NEXT SCENE

AT SLOAN''S APARTMENT. SLOAN ENTERS AND RESETS HER SECURITY ALARM. TOM WALKS IN BEHIND HER AND UNZIPS HIS JACKET, THEN REMOVES IT. (SIGH)

Sloan: I''m tired of living like this.
Tom: You know even if they get Lynch I wouldn''t count on life getting any easier.

TOM SITS ON A STOOL AT HER CENTER ISLAND.

Sloan: That''s reassuring.

SLOAN WALKS TO THE FRIDGE AND OPENS IT.

Tom: No point in lying.
Sloan: (turning to look at him) I know.
Tom: No one says you have to continue. You can leave all this. Go somewhere safe.

SLOAN CROSSES TO THE ISLAND AND LOOKS DOWN AT TOM.

Sloan: Quit?
Tom: You don''t have to put the genie back in the bottle.
Sloan: I let it out.
Tom: You did more than your share.

SHE THINKS ABOUT THIS. SLOAN LEANS ON THE ISLAND AND LOOKS ACROSS AT TOM.

Sloan: I like the idea of leaving this all behind.
Tom: But it''s not who you are, is it?

SLOAN SHAKES HER HEAD.

Sloan: Maybe after a good night''s sleep I''ll change my mind.

SLOAN WALKS AROUND THE ISLAND AND HEADS FOR HER BEDROOM. TOM WATCHES HER WALK AWAY.

NEXT SCENE

AT A SEEDY APARTMENT. LYNCH-ALIKE LIES ON A BED, READING TABLOIDS AND NEWSPAPERS. ONE HEADLINE READS, ''Dead Serial Killer Returns?''. HE FLIPS ANGRILY THROUGH THE ''NATIONAL INQUIRER''. HE STARES UP AT THE WINDOW, THEN LOOKS BACK DOWN AT THE TABLOID. HE GLANCES BACK UP AT THE WINDOW AND WE SEE A RED DOT FROM A LASER SIGHTING TRAVEL UP HIS BODY. LYNCH-ALIKE SEES ITS GLOW IN THE WINDOW SHEAR AND DIVES BEHIND THE BED JUST AS BULLETS SHATTER THE WINDOW. LYNCH-ALIKE CRAWLS TO THE DOOR AND OPENS IT AS BULLETS CONTINUE TO SPRAY THE ROOM. HE SLIDES OUT OF THE ROOM AND AWAY FROM THE GUNFIRE.

NEXT SCENE

AT SLOAN''S APARTMENT. SLOAN LIES IN HER BED, ASLEEP. WE HEAR A GUNSHOT AND SHE SITS BOLT UPRIGHT IN BED, LOOKING AROUND. THE APARTMENT IS DARK AS SLOAN CRAWLS OUT FROM UNDER THE BEDCOVERS. THE CAMERA PANS INTO THE LIVING ROOM TO REVEAL TOM ASLEEP ON THE LOVESEAT, BLANKET COVERING HIM. SLOAN PAUSES AT THE EDGE OF HER BEDROOM AREA AND LOOKS DOWN AT TOM. (NO DOUBT THINKING ABOUT HOW CUTE HE LOOKS WHEN HE''S ASLEEP, AND ADMIRING HIM IN THAT LITTLE WHITE MUSCLE SHIRT HE''S SLEEPING IN.) SLOAN WARILY WALKS ACROSS THE LIVING ROOM AREA, PAST TOM, WHO DOESN''T STIR. SLOAN CHECKS ALL AROUND THE APARTMENT AS SHE MAKES HER WAY TO THE DOOR AND THE VIDEO MONITOR. THE MONITOR SHOWS NOTHING BUT AN EMPTY HALLWAY. SLOAN TURNS AND STARTS TO WALK BACK TO HER BED.

Tom: Sloan?

SLOAN LOOKS DOWN AT TOM.

Tom: Everything alright?
Sloan: Yeah, I''m sorry. Go back to sleep.

SLOAN WALKS BACK TO HER BED. TOM CHECKS HIS WATCH, LYING ON THE ARM OF THE SMALL SOFA, THEN CLOSES HIS EYES. SLOAN GETS INTO BED.
CUT TO DAYTIME. THE SUN BRIGHTENS SLOAN''S BEDROOM AS SHE SLEEPS PEACEFULLY. TOM, STILL WEARING THAT WHITE MUSCLE SHIRT (OH MY!) APPROACHES HER BED SLOWLY. HE LEANS DOWN AND GENTLY SHAKES HER SHOULDER.

Tom: Sloan.

SLOAN TURNS TOWARDS HIS VOICE, THEN BLINKS OPEN HER EYES.

Tom: (insistently) Get out of bed.
Sloan: (sleepily) Whatsa matter?

SLOAN SLOWLY SITS UP AND LOOKS TO HER RIGHT. ON HER SHEETS NEXT TO HER IS A DEAD MONKEY, ITS BLOOD POOLED UNDERNEATH IT. SLOAN BACKS AWAY FROM IT WITH A YELP AND FIGHTS HER WAY OUT OF THE BED. TOM IS LOOKING REALLY TASTY IN THAT SHIRT. SHE KEEPS BACKING UP UNTIL SHE HITS THE WALL, HER MOUTH HANGING OPEN IN SHOCK AND FRIGHT AS SHE STARES AT THE ANIMAL.

Tom: Must be a monkey from the lab.

SLOAN LOOKS UP AS TOM BACKS AWAY FROM THE BED. SLOAN STARES UP AT THE MIRROR ABOVE HER DRESSER. ''YOU WILL ALL DIE'' IS WRITTEN ACROSS IT IN BLOOD. SLOAN SINKS TO THE FLOOR.

NEXT SCENE

AT THE BIO LAB. ED WALKS THROUGH A DOOR INTO A HALLWAY AND STOPS BEFORE SLOAN AND TOM.

Ed: It''s definitely James. Lock was ripped off his cage.

ATTWOOD HURRIES TOWARDS THEM.

Attwood: Which means that Lynch got by all the lab security protocols. Nobody saw or heard anything.

ATTWOOD ENTERS A SMALL CONFERENCE ROOM AND TOM, SLOAN AND ED FOLLOW. ATTWOOD CONTINUES THROUGH AND STARTS TALKING TO A MAN IN THE HALLWAY.

Ed: I was working late, at least one or two.
Tom: But the problem is, he got past me. He got into the apartment. I didn''t hear him or sense him.

TOM SITS ON A TABLE. SLOAN STANDS ABOVE HIM.

Sloan: They obviously perfected their masking ability. Because of you they''d have to. Amazing. There are more of them than we ever imagined possible and yet they''re getting harder and harder to find.

ED POURS COFFEE FOR SLOAN AND HIMSELF.

Ed: So much for the ole press conference helping.

ATTWOOD BUSTLES BACK INTO THE ROOM.

Attwood: We don''t have time to wait for somebody else to take care of Lynch. I''m going to have to move you to a secure location.
Sloan: A safe house?
Attwood: It''s the only way to keep you two alive. Your bags are already packed. There''s a car waiting for you downstairs.

TOM GRABS SLOAN''S HAND AND LEADS HER OUT.

NEXT SCENE

AN UNMARKED POLICE CAR DRIVES DOWN A ROAD BORDERED ON BOTH SIDES BY TALL TREES. IT PULLS TO A STOP NEXT TO AN AIRSTREAM TRAILER, WHICH IS BEING EXITED BY A MEMBER OF A SECURITY FORCE. A WOODEN CABIN SITS A FEW YARDS AWAY FROM THE TRAILER, AND SUVS ARE PARKED ALL ALONG THE ROAD. THE CABIN SITS BEFORE A SMALL POND, AND WOODS SURROUND THE SITE. TOM AND SLOAN EXIT THE POLICE CAR. SLOAN SMILES AT TOM AS SECURITY PEOPLE SCAN THE AREA, RIFLES IN HAND. SLOAN IS WEARING A BRIGHT RED JACKET THAT JUST SCREAMS ''HERE I AM, SHOOT ME''.

Sloan: Is this what you meant by getting away?
Tom: Not exactly, but uh, we''ll make the best of it.

TOM AND SLOAN HEAD TOWARDS THE CABIN AND WE SEE LYNCH-ALIKE, ON THE OTHER SIDE OF THE POND, WATCHING THEM.

NEXT SCENE

AT THE CABIN. INSIDE, SLOAN SITS CURLED UP ON A SOFA, READING, WHILE TOM TENDS TO THE WOODSTOVE IN THE CORNER. TOM WALKS OVER AND LEANS ON THE BACK OF THE SOFA, LOOKING OVER SLOAN''S SHOULDER.

Tom: Don't you ever read for pleasure, hmm?

SLOAN LOOKS UP AT HIM WITH A SMILE.

Sloan: This is pleasure.

HE LAUGHS AND GIVES HER A ''WHATEVER'' LOOK, THEN WALKS TO THE KITCHEN. SHE LAUGHS AT HIS LOOK. A KNOCK SOUNDS ON THE DOOR.

Voice: Dr. Parker?

SLOAN LOOKS UP, THEN WALKS OVER TO THE DOOR. SHE OPENS IT, AND WE SEE ONE OF THE SECURITY GUYS.

Guard: Sorry to bother you. Orders are to check every hour.
Sloan: I''ve set my watch by you.
Guard: Well, let me know if you need anything.
Sloan: We''re fine. Keep warm.
Guard: Okay.

SLOAN CLOSES THE DOOR AND LOOKS OVER AT TOM.

NEXT SCENE

THE GUARD ENTERS THE AIRSTREAM TRAILER AND NODS AT ANOTHER GUARD, SEATED AT A TABLE. OUTSIDE THE TRAILER, WE SEE LYNCH-ALIKE USING A LEATHERMAN ALL-PURPOSE TOOL TO INSERT A SMALL PLASTIC TUBE UNDERNEATH THE STORM WINDOW OF THE TRAILER. HE TWISTS THE TOP OF A CANISTER AND WE HEAR GAS HISSING THROUGH THE TUBE AND INTO THE TRAILER. LYNCH-ALIKE DUCT TAPES THE HOSE IN PLACE, THE LEATHERMAN CLUTCHED BETWEEN HIS LIPS. (COOL! I HAVE ONE OF THOSE!) THE GUARDS INSIDE START COUGHING.

CUT BACK TO THE CABIN. SLOAN SITS IN A CHAIR WHILE TOM LOADS MORE WOOD INTO THE WOODSTOVE IN FRONT OF HER.

Sloan: Can I ask you a question?
Tom: Of course.
Sloan: It''s kind of personal.
Tom: So''s the fact that someone''s trying to kill us.

SLOAN SMILES IN AMUSEMENT, THEN SOBERS.

Sloan: I know we kind of talked earlier, but uh....Would you want a family some day?

TOM LOOKS UP AT HER, THEN STANDS AND WALKS TO A CHAIR.

Tom: I had a family.

HE SITS IN THE CHAIR.

Sloan: I mean a normal family.
Tom: Being a father was...never something I really considered.
Sloan: I know. But now?
Tom: I don''t know. I mean um, I guess a family would be nice. I definitely would''ve liked to have known my brother. He may have understood me in ways no one else could have.
Sloan: He might even have felt the way you do about humans.

TOM GETS UP AND CROUCHES BEFORE HER, TAKING HER HAND IN HIS OWN.

Tom: Hmm, maybe.

HE GIVES HER A SMALL SMILE, THEN WALKS SLOWLY AWAY. (DAMN HE''S SMOOTH.) SHE STARES AFTER HIM. (YOU KNOW SHE''S CHECKING THE PACKAGE!) TOM GRABS HIS COAT AND EXITS THE CABIN. HE LOOKS OVER AT THE GUARD STANDING ON THE PORCH AS HE CLOSES THE DOOR.

Guard: You need anything?

TOM WALKS DOWN THE STEPS.

Tom: No thanks.

HE TURNS BACK TO THE GUARD AND POINTS TO THE CABIN AS HE WALKS ON.

Tom: You watch her.

TOM WALKS OVER TO THE CHOPPING BLOCK AS THE GUARD STEPS OFF THE PORCH AND POSITIONS HIMSELF IN FRONT OF THE CABIN, NEXT TO THE TRAILER. (BOY I LOVE THIS SCENE.) LYNCH-ALIKE PEEPS IN THE BACK WINDOW OF THE TRAILER, SATISFIED THE GUARDS ARE OUT OF COMMISSION. TOM IS STANDING SOME YARDS AWAY, CHOPPING WOOD (DEAR LORD!), HIS BACK TO THE CABIN AND THE GUARD. LYNCH-ALIKE WALKS AROUND THE TRAILER AND BEHIND THE PORCH GUARD, SNAPPING HIS NECK AS TOM SWINGS THE AXE DOWN. LYNCH-ALIKE DRAGS THE GUARD''S BODY AWAY.

CUT TO SLOAN, READING INSIDE THE CABIN. SHE HEARS A KNOCK AND LOOKS UP. SHE GOES TO THE DOOR AND OPENS IT. LYNCH-ALIKE PUSHES HIS WAY IN, HAND SHOOTING UP TO COVER SLOAN''S MOUTH.

CUT BACK TO TOM, GATHERING THE WOOD HE''S CHOPPED AND STARING BACK TOWARDS THE CABIN. HE LOOKS AROUND, SEEING THE CABIN DOOR AJAR AND NOTICING THE MISSING GUARD. HE DROPS THE WOOD AND RUNS UP THE STEPS OF THE PORCH. HE PUSHES THE DOOR WIDE AND SEES THE DEAD PORCH GUARD LAYING IN THE MIDDLE OF THE FLOOR. TOM TURNS AND GRABS HIS GUN FROM A TABLE, THEN STALKS OVER TO THE TRAILER. HE OPENS THE DOOR AND STARTS COUGHING AS THE GAS POURS OUT. THE GUARDS INSIDE ARE DEAD. TOM TURNS AND LOOKS OUT TOWARDS THE POND. HE SEES MORE DEAD GUARDS.

Tom: LYNCH! LYNCH! LET HER GO! IT''S ME YOU WANT!

TOM TUCKS THE GUN INTO HIS WAISTBAND AT HIS BACK, THEN TAKES OFF, TEARING THROUGH THE WOODS. HE RUNS THROUGH THE TREES, DUCKING BRANCHES AND LEAPING OVER ROOTS. HE SEES MORE DEAD GUARDS. HE CONTINUES TO SEARCH FOR LYNCH-ALIKE AND SLOAN AS HE RUNS. TOM RACES AROUND SOME UNDERGROWTH AND SCREAMS SLOAN''S NAME. HE SLOWS AS HE ENTERS A CLEARING. TOM HAS CIRCLED THE POND AND COME BACK TO THE CHOPPING BLOCK. HE SEES SLOAN BENT OVER IT, HEAD UPON THE BLOCK, WITH LYNCH-ALIKE''S BOOT PRESSING HER DOWN. THE AXE DANGLES IN LYNCH-ALIKE''S RIGHT HAND. TOM STEPS FORWARD.

Lynch-alike: We''ve been waitin'' for ya.

TOM TAKES ANOTHER STEP CLOSER.

Tom: Let her go, Lynch.

LYNCH-ALIKE RAISES THE AXE ABOVE SLOAN''S NECK.

Lynch-alike: Move again and she dies. Just like your brother. Only more painfully.

LYNCH-ALIKE WIGGLES THE AXE MENACINGLY.

Tom: What do you want from me?
Lynch-alike: You took away what I want, what I can''t have back. My brother.
Tom: He wasn''t your brother!
Lynch-alike: Oh, that''s right. You''re the one who lost his brother. You wanna feel human emotions? Well you''re gonna feel them. Let''s see what it feels like, when someone you love dies before your eyes.

LYNCH-ALIKE STROKES SLOAN''S TEMPLE AND HAIR WITH THE AXE BLADE. HER EYES WIDEN IN TERROR, AND TEARS ROLL DOWN HER CHEEKS.

Tom: I''ll do whatever you want.
Lynch-alike: It''s too late. You''ve chosen your side. Our domination is inevitable. It''s even in their Bible. Genesis, Twenty-Five: ''Two nations are in your womb...''
Tom: Don''t do this.
Lynch-alike: ''...And the peoples from within you will be separated, and one people will be stronger.''
Tom: I don''t think so.
Lynch-alike: You''ve seen the pillar. In just months, there''s gonna be a lot of familiar faces.

TOM STARES INTENTLY AT HIM AS LYNCH-ALIKE TIGHTENS HIS EYES INTO SLITS. LYNCH-ALIKE BRINGS THE AXE UP. TOM REACHES BACK INTO HIS WAISTBAND AND PULLS OUT HIS GUN. HE AIMS AND FIRES AT LYNCH-ALIKE, EMPTYING HIS CLIP INTO THE MAN. SLOAN BACKS AWAY FROM CHOPPING BLOCK AND LYNCH-ALIKE SLUMPS ONTO IT WITH A GROAN. SLOAN STARES AT THE FALLEN MAN. TOM RACES OVER TO SLOAN, CROUCHED NEXT TO THE BLOCK.

Tom: (whispering frantically) Are you alright? Are you alright? You okay?

LYNCH-ALIKE RAISES HIS HEAD AND TOM AND SLOAN LOOK OVER AT HIM.

Lynch-alike: (weakly) I''ll see you...again.

HE SLUMPS BACK DOWN WITH A FINAL GROAN, DEAD. TOM HOLDS SLOAN.

NEXT SCENE

AT THE BIO LAB. IN ATTWOOD''S OFFICE. A NEWS REPORT PLAYS ON THE TV. ATTWOOD SITS AT HIS DESK AND ED PERCHES ON THE CORNER OF IT. THEY BOTH STARE INTENTLY AT THE SCREEN.

Anchor: In the wake of recent scientific confirmation that a new species of man has been discovered, bioanthropologists at Whitney University broke even more startling news today when they revealed that the new species of man they uncovered has the capability to clone.

THE REPORT CUTS TO ATTWOOD, SPEAKING AT THE PRESS CONFERENCE.

Attwood: (on the TV screen) We know they exist, and they know we know. We''re both earth''s most advanced life forms, sharing the same ecological niche. Whether we battle for vital resources or coexist, remains to be seen.

ATTWOOD FLICKS THE TV OFF.

Ed: (turning to Attwood) Eloquent.
Attwood: Lies. There will never be coexistence.

ATTWOOD TOSSES THE REMOTE CONTROL ON HIS DESK AND PICKS UP A PEN. ED LEAVES THE ROOM. ATTWOOD LOOKS UP AFTER HE GOES, DEEP IN THOUGHT.



End Episode 11