EPISODE 2: Discovery
PRODUCTION CODE: #467052
WRITER: Teleplay by Chris Levinson -  Story by Charlie Craig & Jeremy R. Littman
DIRECTOR: Dan Lerner
EDITOR: Lee Haxall

TRANSCRIBED BY: Karen King

***********************

THE SHOW OPENS. IT IS NIGHTTIME. SPRINKLERS OSCILLATE IN A YARD AS A CAR
PULLS UP. SLOAN GETS OUT AND APPROACHES A LARGE WHITE HOUSE WITH A WELL-LIT
WRAPAROUND PORCH. SLOAN CLIMBS ONTO THE PORCH AND PEERS INTO THE WINDOWS
THROUGH WHITE LACE CURTAINS. SHE WALKS AROUND TO THE SIDE OF THE PORCH AND
WALKS DOWN THE SIDE STEPS. SHE FINDS A GARBAGE CAN AND LOOKS UNDER THE LID.
THE PORCH LIGHT SUDDENLY GOES OUT AND SLOAN GASPS. SHE HURRIES BACK ONTO THE
PORCH AND PEERS IN THROUGH A CRACK IN THE CURTAINS. SLOAN SEES A LOW BLACK
PALLET WITH ILLUMINATED CIRCLES AND SQUARES. A HAND REACHES OUT, GRABBING
HER SHOULDER AND SPINNING HER AROUND. SHE GASPS AGAIN. IT’S TOM.

Tom: Do you want to die?


NEXT SCENE

INSIDE TOM’S HOUSE, IN THE ROOM WITH THE PALLET. TOM IS AT THE WINDOW, AND
SLOAN IS RIGHT INSIDE THE DOOR.

Tom: You shouldn’t have followed me.
Sloan: I had to.

TOM CROSSES TO THE FIREPLACE.

Tom: I was supposed to kill you Sloan.

HE CROUCHES.

Sloan: But you didn’t. Why?
Tom: (exhaling) It doesn’t matter why.
Sloan: Yes. It does. Listen to me. I need to know who you are. What you
are. What this is.

SHE POINTS TO THE PLATFORM. TOM STANDS.

Tom: It’s not safe here.
Sloan: For me? Or for you?
Tom: For both of us. Now this passion of yours....this need to discover.
To know.
Sloan: Help me with it.
Tom: Bury it. Or it’ll get you killed. I don’t wanna see that.
Sloan: I can’t. I have to know.
Tom: I can’t help you then.

HE TURNS AND WALKS AWAY FROM HER.

Sloan: Are you gonna stop me?

TOM TURNS BACK AND GIVES SLOAN A SEARCHING LOOK. (SIGH)

NEXT SCENE

AT THE BIO LAB. ED AND SLOAN WALK DOWN A HALLWAY.

Ed: Sloan, Sloan, Sloan, you cannot go back to Lynch. He’s a serial killer.
I mean, come on. After you scammed that DNA sample from him last time, he
will eat through his chains to get to you.
Sloan: (giving a small smile) I don’t know. I think he kind of likes me.
Ed: (flustered) And that’s supposed to be a good thing?!?
Sloan: Hey, we’ve gotta use what we’ve got. You know that as well as I do.
I mean if I can get him to answer even one of these questions it’ll be
invaluable to us.

WE SEE DR. WALTER ATTWOOD WATCHING THE TWO CONVERSING.

Ed: But Sloan, come on, I mean, does it have to be Lynch? I mean why don’t
we try one of the other five we discovered; you know, maybe we could get
something from them?
Sloan: What makes you think they’d be any less dangerous than Lynch?
Ed: Still. I just wish there was someone else we could get information
from, you know?
Sloan: Yeah, I know.

SLOAN ENTERS HER OFFICE AND ED WALKS DOWN THE HALL. ATTWOOD KNOCKS ON
SLOAN’S DOOR.

Attwood: May I come in?
Sloan: Of course.

HE ENTERS.

Attwood: I couldn’t help, uh, overhearing. I, uh, trust your visit to Lynch
is about science. Not revenge?
Sloan: I know he didn’t kill Ann. I mean, I ‘m sure he was involved,
but...I just want to see if I can get him to talk about what he is.
Attwood: Would it help if I was there?
Sloan: I appreciate the offer but...
Attwood: Be careful Sloan.
Sloan: (giving a small chuckle) Not to worry. The always have him chained
and if anything-
Attwood: I’m not just talking about Lynch.

HE PATS HER SHOULDER AND LEAVES.

NEXT SCENE

AT THE PRISON. LYNCH IS SITTING IN A ROOM IN HIS ORANGE JUMPSUIT. (EVEN
THAT COLOR LOOKS GOOD ON HIM.) GUARDS ARE BEHIND HIM, TALKING. SLOAN ENTERS
AND APPROACHES THE TABLE.

Lynch: You’re back.

HE GIVES A SMALL SMILE.

Lynch: I admire that.

SLOAN SITS AT THE END OF THE TABLE AND OPENS HER FILE FOLDER. SHE HANDS A
PAPER TO THE GUARD, WHO HANDS IT TO LYNCH.

Sloan: I need answers.
Lynch: You want a King Kong, to parade around on stage and perform tricks.
Sloan: Doesn’t have to be that way. You answer my questions, I’ll leave you
alone.
Lynch: What makes you think that I want to be left alone?
Sloan: Maybe I can help you in another way.
Lynch: I’ve been sentenced to death. It’s a little late for salvation,
don’t you think?
Sloan: The thought never crossed my mind. But it’s possible, if you
cooperate, your execution could be stayed.
Lynch: My, my. How quickly you’ve forgotten the sad, unfortunate fate of
your mentor Dr. Coulter.
Sloan: I will never forget that as long as I live.
Lynch: I wonder.

HE SHRUGS.

Lynch: You seem so gung ho. Have you thought about the last minutes of Ann
Coulter’s life? Pain as flesh tears from muscle. Muscle from bone--
Sloan: Stop it.
Lynch: What goes through one’s mind at a moment like that? What kind of a
person are you, who would want to make a deal with someone like me?
Sloan: One who wants answers.

LYNCH STANDS SUDDENLY, KNOCKING OVER HIS CHAIR. HE PUSHES SLOAN’S
QUESTIONNAIRE OFF THE TABLE WITH A SWEEP OF HIS HANDS. THE GUARDS RUSH
FORWARD TO RESTRAIN HIM.

First Guard: Let’s go.

WE HEAR THE GUARDS HUSTLE LYNCH OUT AS SLOAN CONTEMPLATES WHAT LYNCH HAS SAID.

NEXT SCENE

A BARBECUE. YOUNG ADULTS DRINK BEER AND TALK. WE SEE ED FLIPPING BURGERS.
A BLONDE COED WALKS UP TO HIM, PLAYING WITH HER HAIR.

Blonde: (giggling) Impressive technique.
Ed: Yeah, it’s all in the wrist.
Blonde: That’s so true. (more giggling) You don’t seem like a scientist.
Ed: Really? What do I seem like?
Blonde: I don’t know. A lifeguard?
Ed: (laughing) I don’t think my parents would consider hat a good use of my
doctorate. Or my M.D.
Blonde: (incredulous) You’re a doctor, too?
Ed: You know, I think I could’ve hacked it, if it wasn’t for the sick
people. Guess I’m not a people guy.
Blonde: Well, maybe it’s because you’ve been hanging around the wrong kinda
people.

ED LOOKS AROUND AND SEES SLOAN APPROACHING. SHE WAVES AT HIM.

Ed: (to Blonde) Take over.

HE HANDS HIS SPATULA TO THE BLONDE AS HE WALKS TO SLOAN, FIXING HIS HAIR.

Ed: Hey. How’d it go?
Sloan: Not that great. Guess I shouldn't have skipped Interrogation 101 at
Stanford.
Ed: Look, I was thinking. After they gas Lynch or juice him or, whatever
they do these days, maybe we’ll get our hands on what’s left of him. I mean,
you know, think about it. His body would have all the real answers.
Sloan: I guess. Anyway, I just came by to say I can’t come by here.

SHE TURNS TO GO AND ED GRABS HER ARM, HALTING HER.

Ed: Sloan, Sloan come on. Don’t let this thing eat you up. If evolutionary
theory has any merit nothing’s gonna happen overnight.
Sloan: How can you be so sure? I mean, you even said it yourself. We
already know there are six killers out there. I mean, how many more are out
there--
Ed: Okay, you’re right. Come on. I’m sure even Darwin took time off for a
burger and a beer.
Sloan: Thanks, I just don’t--
Ed: I know what’ll cheer you. Talk to my friend.

ED NODS TOWARDS THE BLONDE. SLOAN GIVES ED A LOOK.

Sloan: What’s her name?
Ed: Actually, I’m not quite sure.
Sloan: Yeah, and I bet you’d like to keep it that way!

HE PUTS HIS ARM AROUND HER AS THEY WALK OVER TO THE BARBECUE.

Ed: Relax Sloan, she’s cookin’ burgers, not having my children.

NEXT SCENE

SLOAN’S APARTMENT. SLOAN WALKS IN AND STARTS AT THE SIGHT OF TOM SITTING IN
ONE OF HER CHAIRS. (AND A VERY COMFY LOOKING CHAIR, I MIGHT ADD.)

Sloan: Oh! How exactly do you manage to keep getting in and out of my
apartment?

(SHE SEEMS A BIT EXASPERATED. PERSONALLY, IF HE KEPT BREAKING INTO MY
APARTMENT AND WAITING AROUND FOR ME, I DON’T THINK I’D BE ANGRY. HEL-LO
SLOAN?!?)

TOM RISES FROM THE CHAIR.

Tom: You shouldn’t have talked to Lynch.
Sloan: Yeah, well, you weren’t around to ask for advice.
Tom: I’m serious. Did he tell you anything?
Sloan: No. Same as you.
Tom: I’m trying to help you Sloan.
Sloan: Yeah, well, you can’t have it both ways, Tom. You can’t help me and
protect your own at the same time.
Tom: I’m giving you all I can.
Sloan: You’re giving me NOTHING. Do you know how hard it is, not to tell
everyone who you are? I haven’t even told Ed.
Tom: That would be a mistake.
Sloan: Not telling hasn’t gotten me anywhere.

HE WALKS AROUND TO HER.

Tom: I’m still here, aren’t I?

SHE WALKS AWAY FROM HIM.

Sloan: I need something to go on.
Tom: Yes. I think you already have it.

SLOAN FLICKS HER GAZE OVER TOM.

NEXT SCENE

AT THE POLICE STATION. WE SEE SLOAN WALK UP TO RAY, WHO IS LEANING OVER A
DESK. SHE REMOVES A PAPER FROM HER FOLDER AND PLACES IT IN FRONT OF HIM.

Sloan: Lynch and Daniels aren’t the only two.
Ray: (laughing a bit) Morning, Dr. Parker.

HE LOOKS AT THE PAPER.

Ray: You been withholding information?
Sloan: Not exactly, no. Just waiting for the right moment.
Ray: Come with me.

THEY MOVE AWAY FROM THE DESK AND DOWN A HALLWAY. RAY CONTINUES TO READ THE
PAPER.

Ray: Five more members of the new species of yours?

SLOAN NODS.

Ray: And they’re all criminals? And they say it comes from upbringing.

THEY ENTER RAY’S OFFICE.

Sloan: I think one of them could be responsible for Ann’s death.
Ray: Well, personally I was leaning towards Tom Daniels. It seems he
mysteriously vanished.
Sloan: I know.

RAY GESTURES TO THE PAPER.

Ray: And you think one of these guys could help us find him.
Sloan: Maybe. And if we’re lucky, we might find even more of them.
Ray: We?
Sloan: Hey taking me along is the least you can do. I brought you the names.
Ray: Science riding shotgun, huh?

RAY STANDS AND GETS HIS COAT, AND THEY HURRY OUT OF HIS OFFICE.

Ray: Try and keep it quiet. I haven’t exactly gotten around to telling the
rest of the guys about your new theories.
Sloan: I will if you will.

NEXT SCENE

BACK AT THE PRISON. WE SEE LYNCH STANDING IN HIS ORANGE JUMPSUIT AT A BARRED
WINDOW IN THE INTERROGATION ROOM. THE DOOR OPENS AND A PRISON GUARD AND
ATTWOOD ENTER.

Guard: Lynch! Have a seat.

LYNCH TURNS AND SEES ATTWOOD. HE DOESN’T SIT.

Lynch: Who are you?
Attwood: That’s none of your concern. I was told you weren't very helpful
to my associate this afternoon.
Lynch: Dr. Parker sent you.
Attwood: Dr. Parker has no idea I’m here. I thought you might be more
forthcoming with me.
Lynch: I don’t think so.
Attwood: ‘Fraid you might say that.

ATTWOOD NODS ALMOST IMPERCEPTIBLY AT THE GUARD. THE GUARD RUSHES AT LYNCH
WITH A TASER AND SHOCKS HIM. LYNCH GOES DOWN WITH A GROAN. HE’S OUT.
ATTWOOD SMILES SMUGLY.

NEXT SCENE

RAY AND SLOAN ENTER A SEEDY APARTMENT BUILDING.

Ray: Suspect number one on the list. Let’s hope he’s home.

THEY WALK TO THE FRONT DESK. THERE ARE BARS FROM THE DESK TO THE CEILING.
RAY FLASHES HIS BADGE THROUGH THE BARS AT THE WOMAN BEHIND THE COUNTER.

Ray: ‘Scuse me.
Woman: I don’t want any trouble.
Ray: Me neither. I just want the key to Two-eleven.
Woman: Two-eleven? I never get any complaints from Two-eleven. What’s he
done?
Ray: You really wanna know?
Woman: (shaking her head) No. Two-eleven’s never been a problem. You sure
that’s the one you want? I got rooms to choose from, let me tell you.

SHE HANDS RAY THE KEY.

Ray: Oh, he’ll do just fine.

THE WOMAN LOOKS AT SLOAN, WHO IS STANDING NEXT TO RAY.

Woman: You a cop too?
Sloan: (smiling at the woman) No, I’m a Bio-anthropologist.
Woman: Now I feel safe.
Ray: (walking from the desk) Thank you.

NEXT SCENE

RAY AND SLOAN WALK DOWN A HALLWAY OF THE APARTMENT BUILDING LOOKING FOR ROOM
211.

Ray: (disgusted) Wish I lived in a place like this.

THEY REACH THE ROOM.

Ray: (to Sloan) Stay here.

RAY USES THE KEY AND UNLOCKS THE DOOR. HE BURSTS THROUGH THE DOOR, GUN DRAWN.

Ray: Police!

RAY LOOKS AROUND. THE ROOM IS EMPTY, SAVE FOR A LOW BLACK PALLET WITH
SQUARES AND CIRCLES ON THE TOP, EXACTLY LIKE THE ONE TOM DANIELS HAD IN HIS
LIVING ROOM. SLOAN ENTERS THE DOORWAY. RAY IS LOOKING OUT AN OPEN WINDOW.
HE TURNS BACK TO SLOAN.

Ray: Nobody’s here.

HE GESTURES TO THE PALLET.

Ray: What the hell is this?
Sloan: I haven’t gotten that far.
Ray: Okay. The guy’s jacket said he was a regular with his parole officer.

HE GESTURES TO THE PALLET AGAIN.

Ray: This ain’t regular.

SLOAN LOOKS ABOUT THE ROOM.

Sloan: Nothing in the closet. No food.
Ray: Something must’ve spooked him. I mean he cleaned this place out big
time.
Sloan: (pointing towards the pallet) Except for this. I think this is how
he lived. Maybe how they all live. Fewer possessions allow him to be more
mobile. Their survival could depend on that.
Ray: You figured all that out from one room?
Sloan: (smiling) It’s obvious.
Ray: Not to me. I’ll call Forensics. Maybe he left a bread crumb.

RAY GETS HIS CELL PHONE OUT AND TURNS IT ON.

Sloan: Don’t bother. He didn’t.

RAY TURNS AND WALKS OUT INTO THE HALLWAY.

Ray: (on the phone) This is Peterson. I"m gonna need a Forensics team. I
got something they should look at.

NEXT SCENE

WE SEE ATTWOOD THROUGH SOME CELL BARS. THE CELL DOOR OPENS AND WE SEE
ATTWOOD IS IN SOME SORT OF SECURITY FACILITY. A GUARD SITS BEHIND A DESK IN
THE ROOM ATTWOOD HAS JUST ENTERED, MONITORING SECURITY CAMERA SCREENS.

Attwood: (to another Guard behind him) Down the hall, to the left.

THE GUARDS WHEEL IN SEVERAL LARGE METAL CRATES. ONE BUMPS A CRATE AGAINST
THE DOORWAY.

Attwood: (tersely) Be careful, that equipment’s quite delicate.

ATTWOOD FOLLOWS THE GUARDS PAST THE FIRST GUARD AND THE DESK AND DOWN A HALL.

NEXT SCENE

RAY AND SLOAN ARE WALKING THROUGH A CEMETERY. IT’S DAYTIME. SPRINKLERS
SPRAY WATER IN ARCHES OVER THE GREEN LAWN.

Ray: ‘Kay, suspect number two lit out just like the first guy and number
three escaped Folsum and hasn’t been seen for months.
Sloan: Well Four was executed. His body had to be somewhere.
Ray: Well, you’d think. It was cremated then claimed by relatives. No
trace of them. In fact, there’s no record that these relatives even exist.
Last but not least made it into here.

HE GESTURES AT THE CEMETERY AROUND THEM.

Ray: Military cemetery. Go figure.
Sloan: Hey, if they can end up at the FBI, they could wind up anywhere.

RAY AND SLOAN STOP BY AN OPEN EMPTY GRAVE. THEY LOOK DOWN INTO IT.

Sloan: This is his grave.
Ray: Coincidence?
Sloan: Organization.

RAY GETS A PHONE CALL.

Ray: Hello? What? Where?

HE HANGS UP AND USHERS SLOAN AWAY FROM THE GRAVE. WE SEE TOM DANIELS
STANDING NEXT TO A LARGE TOMBSTONE, OBSERVING THE SCENE THROUGH BINOCULARS
FROM ACROSS THE CEMETERY. HE’S WEARING A SHORT GREY OVERCOAT, GREYISH-GREEN
T-SHIRT, BLACK SWEATER VEST AND BLACK JEANS WITH A BELT. LOOKS ABSOLUTELY
DEEE-LECTABLE. TOM WATCHES THEM LEAVE, LOWERS THE BINOCULARS, SLOWLY TURNS
AND STALKS OFF.

NEXT SCENE

A LAB ROOM AT THE SECURITY FACILITY. THROUGH A DOORWAY WE SEE A TRACTION
WHEEL WITH A PLATFORM BED DISSECTING IT. THERE IS A MAN STRAPPED TO THE
PLATFORM. WE ENTER THE ROOM AND SEE THE MAN IS LYNCH, NAKED EXCEPT FOR A
TOWEL AROUND HIS WAIST. (YOWZA!) ATTWOOD IS AT THE SIDE OF THE WHEEL IN
FRONT OF A DESK, MONITORING LYNCH WITH COMPUTERS. THE WHEEL TURNS AND THE
PLATFORM RAISES LYNCH FROM A HORIZONTAL TO A SLANTED POSITION.

Attwood: (speaking into a headset microphone) Subject is male.
Approximately 25 to 30 years of age. Hair brown.

ATTWOOD STANDS, LIFTS LYNCH’S CLOSED EYELID AND USES A PENLIGHT TO LOOK INTO
HIS EYES.

Attwood: Eyes brown. Pupil dilation normal. Skin smooth. Healing gunshot
wound beneath left clavicle. Normal bodily hair coverage.

ATTWOOD PRESSES A CONTROLLER AND TURNS THE WHEEL AGAIN, RAISING LYNCH TO A
VERTICAL POSITION. LYNCH’S HEAD FALLS LIMPLY FORWARD. ATTWOOD PASSES A
ROUND RING AROUND LYNCH’S HEAD AS WE HEAR TECHNOLOGICAL BUZZING FROM THE
DEVICE. ON A COMPUTER SCREEN IS A PICTURE OF LYNCH’S BRAIN, SHOWING THE
RESULTS OF THE SCAN ATTWOOD IS PERFORMING. ATTWOOD REMOVES THE RING AND SITS
AT THE COMPUTER SCREEN.

Attwood: CT scan reveals abnormally high levels of cerebral activity.
Hypothalamus and the brain stem both appear to be hyperactive.

OUR VIEW OF ATTWOOD IS PARTIALLY OBSCURED BY LYNCH’S BODY. HIS LITTLE TUMMY
IS JUST TO DIE FOR.

Ray: What the hell is going on in here?

ATTWOOD TURNS AND SEES RAY IN THE DOORWAY. RAY IS ASSESSING THE SCENE.
SLOAN STANDS NEXT TO HIM. SHE LOOKS AT ALL THE EQUIPMENT AND AT LYNCH ON THE
PLATFORM IN THE WHEEL WITH A SHOCKED LOOK ON HER FACE. SLOAN WALKS TO THE
SCREEN WITH THE CT SCAN RESULTS.

Attwood: (to Sloan) I know. Got him on Theopental. Three hundred and
twenty milligrams. Scope still lights up like air traffic control at O’Hare.

ATTWOOD LOWERS LYNCH BACK DOWN A BIT TO A SLANTED POSITION. SLOAN WALKS OVER
TO LYNCH.

Lynch: (groggily to Sloan) King....Kong.
Ray: This is way out of bounds, Attwood. Not only did you fail to ask my
permission, but I’m willing to bet that you failed to ask the permission of
Lynch, and that is a clear and distinct violation of his civil rights.
Attwood: (looking through results on paper) I assure you I’ll accept full
responsibility.
Ray: And how did you manage to march all that equipment in here anyway?
Sloan: Some of this equipment isn’t even from our lab.
Attwood: (tersely to Sloan) A lot of it’s on loan.
Sloan: (confused) But, some of it doesn’t even exist.
Attwood: Why don’t you take a look at this data, Sloan?

HE HANDS HER THE PAPERS HE WAS LOOKING AT.

Attwood: It’s what you wanted, isn’t it?

SLOAN LOOKS AT THE PAPERS.

NEXT SCENE

IN THE LAB ROOM AT THE SECURITY FACILITY. LYNCH IS ALONE, STILL STRAPPED TO
THE TABLE IN THE TRACTION WHEEL. (STILL ONLY WEARING THAT LITTLE WHITE TOWEL-
--YEEEHAAAW!) THE DOOR OPENS AND A DOCTOR IN A LAB COAT ENTERS THE ROOM AND
WALKS OVER TO LYNCH. HE OBSERVES HIM AND LOOKS AT A CHART. THE MAN LEANS
OVER LYNCH TO CHECK HIS EYES WITH A PENLIGHT. THE MAN IS CONFUSED WHEN HE
FAILS TO SEE LYNCH’S PUPIL AND IRIS. A WHITE FILM COVERS THEM INSTEAD.
SUDDENLY LYNCH’S ARM TEARS FROM IT’S RESTRAINT AND FASTENS ITSELF TO THE
DOCTOR’S THROAT. LYNCH RIPS HIMSELF FROM THE TABLE (WATCH OUT FOR THAT
TOWEL!) AND PUSHES THE MAN TO THE FLOOR.

NEXT SCENE

AT THE SECURITY DESK. A GUARD DRINKS COFFEE. HE’S NOT PAYING ATTENTION TO
THE TV SCREENS THAT SHOW THE SECURITY CAMERA FOOTAGE. WE SEE ON ONE SCREEN A
MAN EXIT A ROOM WEARING A LAB COAT AND FIXING HIS NECKTIE. HE STRIDES DOWN
THE HALLWAY AND CASUALLY THROWS A STETHOSCOPE ABOUT HIS NECK.
CUT TO THE SCENE IN REAL LIFE. WE SEE THE MAN IN THE LAB COAT IS LYNCH. HE
WALKS DOWN A HALLWAY TOWARDS AN ONCOMING SECURITY GUARD. HIS LONG HAIR IS
TIED IN A KNOT AT HIS NAPE, AND FROM THE FRONT IT APPEARS SHORT. THE GUARD
ENTERS THE MEN’S LOCKER ROOM AND LYNCH FOLLOWS HIM IN.
CUT BACK TO THE SECURITY DESK AND WE SEE ON THE SCREEN A MAN EXITING THE
LOCKER ROOM IN FULL GUARD UNIFORM, WITH A HAT AND A NIGHTSTICK. IT IS LYNCH.
WE SEE HIM WALK DOWN THE HALLWAY.
CUT TO THE OUTSIDE OF THE SECURITY FACILITY. A DOOR OPENS AND LYNCH WALKS
OUT, KEEPING HIS HEAD DOWN AND TAKING HIS CAP OFF AND USING IT TO OBSCURE HIS
FACE AS HE WALKS PAST AN ONCOMING GUARD. HE’S FREE.

NEXT SCENE

AT THE POLICE STATION, IN RAY’S OFFICE. RAY IS ON THE PHONE.

Ray: How could a serial killer escape from a high security prison?

RAY SLAMS THE RECEIVER DOWN. HE PICKS UP HIS COAT AND HURRIES OUT.

NEXT SCENE

NUMEROUS FLAK-JACKETED MEN MOBILIZE. THEY ARE GOING AFTER LYNCH. RAY
MOTIONS ONE OF THE VEHICLES OVER TO HIM.

Ray: Alright, let’s go. Come on.

RAY GETS IN ONE OF THE SWAT TEAM VANS. WE SEE IT HAS A LOT OF EQUIPMENT AND
TV SCREENS IN THE BACK.

Ray: (to SWAT team officer) Lynch’s transmitter active?
Ofc: Yeah.
Ray: Where’s he headed?

WE SEE ON A SCREEN A MAP WITH A DOT TRAVELING DOWN A ROAD--S. SANTA FE AVENUE.

Ofc: South on Santa Fe toward Sixth Street.
Ray: (giving Ofc a confused look) The bridge?
Ofc: (nodding) Looks like it.
Ray: Its a good thing he doesn’t know about the implant.

CUT TO A CAR STREAKING DOWN A BUSY STREET. WE SEE LYNCH BEHIND THE WHEEL,
SWERVING AND CUTTING PEOPLE OFF. HORNS HONK. TIRES SQUEAL.
CUT BACK TO THE SWAT VAN.

Ray: All right, we’ve gotta get all units into position before he reaches
that bridge.
Ofc: (speaking into a CB) This is Alpha 14, suspect heading east
approaching Sixth Street bridge. Block the on ramp.
Dispatcher: (over radio) Roger Alpha 14.

CUT BACK TO LYNCH IN THE CAR. HE COMES UPON THE COP CARS AT THE ROAD BLOCK
AND SWERVES TO AVOID THEM. HE CUTS OFF A TRACTOR TRAILER AND SPEEDS OFF. HE
TURNS AND DRIVES UNDER AN OVERPASS.

Ofc: He’s slowing.
Ray: We got him.
Ofc: That’s it, he’s stopped.

THE OFFICER SPEAKS INTO A CB RECEIVER.

Ofc: Attention all units. Suspect has stopped under the Sixth Street
bridge.

CUT BACK TO THE SIXTH STREET BRIDGE. A COP CAR SQUEALS INTO VIEW AND THE
SWAT VAN FOLLOWS BEHIND. WE SEE LYNCH’S PARKED CAR. THE POLICE MOVE INTO
POSITION AROUND IT.

Ray: (still in the SWAT van) Something’s wrong. He’s just sitting there.

RAY GETS A BULLETPROOF VEST AND LEAVES THE VAN. HE COMES AROUND THE VAN
WEARING THE VEST AND APPROACHES A SECOND SWAT TEAM OFFICER WHO HAS HIS RIFLE
TRAINED ON LYNCH’S CAR.

2nd Ofc: No sign of movement, Sir.
Ray: Ahh, he’s still in there. The signal still hasn’t moved.
2nd Ofc: Maybe he’s lying down.

RAY GETS A BULLHORN.

Ray: (speaking into the bullhorn) Lynch, step out of the car. I repeat,
step out of the car!

HE PUTS THE BULLHORN DOWN AND TURNS TO THE SECOND SWAT TEAM OFFICER.

Ray: Take out the tires.

THE SECOND OFFICER DOES SO.

Ray: (into a portable radio) Let’s go. All units move in!

THE SWAT GUYS CONVERGE ON THE VEHICLE. RAY RUNS FORWARD AS WELL. RAY OPENS
THE CAR DOOR. THE CAR IS EMPTY.

2nd Ofc: What the hell?

RAY GETS A HANDKERCHIEF AND PICKS UP SOMETHING FROM THE DRIVER SEAT. WE SEE
BLOOD ON THE HANKY.

Ray: Lynch’s transmitter.
2nd Ofc: (incredulous) He ripped it out of his own arm?

RAY SLAMS THE CAR DOOR SHUT IN DISGUST.

NEXT SCENE

AT THE BIO LAB. SLOAN IS IN HER OFFICE SEATED AT HER DESK. WE SEE ED IN HIS
OFFICE THROUGH THE OPEN WINDOW BETWEEN THE TWO OFFICES. SLOAN ROLLS HER
CHAIR BACK TO THE WINDOW.

Sloan: Check it out.

THROUGH THE WINDOW SHE HANDS ED A PAPER WITH A COLORFUL BRAIN SCAN ON IT.

Sloan: Lynch’s EEG.

ED LOOKS AT THE READOUT.

Ed: Whoa.
Sloan: Uh-huh. His level of electrical discharge is more than three times
pattern. It’s almost pure energy. Incredibly efficient.
Ed: Kinda makes you wonder what this guy’s capable of.

SLOAN NODS.

Ed: Bet he’d be real good at figuring out how much to tip.

SLOAN SMILES.

Sloan: For all we know, he could read our minds, Ed.
Ed: ESP?
Sloan: (nodding) It’s been documented in countless studies and those tests
were on humans. His brain makes a Pentium 233 look like--
Ed: An abacus.

A KNOCK SOUNDS ON SLOAN’S DOOR. THEY BOTH TURN AND SEE RAY.

Ray: Dr. Parker, we need to talk.

SLOAN GETS UP FROM HER CHAIR AND ED STARTS TO CLOSE THE WINDOW BETWEEN THEIR
OFFICES.

Ray: (to Ed) No, you too.

ED GETS UP AND ENTERS SLOAN’S OFFICE. THROUGH THE WINDOW BEHIND RAY WE SEE
ANOTHER DETECTIVE STANDING OUTSIDE SLOAN’S OFFICE.

Ray: Lynch escaped.
Sloan: Oh my God.

SHE COVERS HER MOUTH WITH HER HAND.

Ed: (incredulous) How?
Ray: Killed a doctor. Killed a guard, switched uniforms, and just walked
out.
Sloan: (stunned) He saw me. He woke up when Attwood was examining him.
Ray: You’re going to be needing protection.

RAY MOTIONS THE OTHER DETECTIVE TO ENTER AND ANOTHER ONE WE DIDN’T SEE BEFORE
FOLLOWS AS WELL.

Ray: (to Sloan) Detective Masters. You two are gonna become real close.
At least until we find Lynch.

SLOAN NODS IN AGREEMENT.

Ed: (to Ray) Not to seem presumptuous, but--
Ray: (walking over to Ed) Don’t worry, I have a new friend for you too.
Now we’re beefing up security at the lab. No more open door policy.

SLOAN SIGHS.

NEXT SCENE

SLOAN OPENS HER APARTMENT DOOR. SHE HAS TWO PLATES OF PIZZA IN HER HAND.

Sloan: (to the detectives from earlier) You know, you guys can come inside.
Masters: Thanks, Ma’am, but we really need to stay out here.
Sloan: Okay. Just stop calling me "Ma’am".

SHE SMILES AT THE GUYS AND WE SEE THEM SMILE BACK AS SLOAN CLOSES THE DOOR
AND LOCKS IT. SHE WALKS OVER TO THE CENTER ISLAND IN HER KITCHEN AREA. ED
IS SITTING THERE.

Ed: We have no idea what we’re doing, Sloan.
Sloan: I do.
Ed: Come on. You’re winging it. We both are. Maybe we can handle the DNA,
but we’ve no business screwing around with serial killers.
Sloan: This serial killer is precisely our business.

SLOAN WALKS OVER TO THE TABLE AND EATS SOME PIZZA.

Ed: You’re not scared by any of this?
Sloan: (exhaling) Scared to death. Stop reminding me.

ED JOINS HER AT THE TABLE.

Sloan: You gonna eat your crust?

ED LOOKS AT HER AND SLOAN SMILES.

Ed: Where do you put it?
Sloan: (absently) Must have a high metabolism.
Ed: (with a look of realization) Might be the same thing with Lynch. I
mean, think about it. This kind of cranial activity would require a hell of
a lot of energy.
Sloan: I’d say that’s a pretty good guess.
Ed: (standing up from the table) Maybe we could starve ‘em out.
Sloan: Unfortunately they’re probably too smart.
Ed: How smart is what we don’t know.

SLOAN LOOKS UP AND STARTS GATHERING LYNCH’S BRAIN DATA. SHE GETS UP FROM THE
TABLE.

Sloan: You’re right.
Ed: Wha--where you going?
Sloan: To find out. Dr. Mark Baker at University Hospitals is a neural
specialist. I’m sure we could convince him to look at the CT scans and tell
us what he thinks.
Ed: I’d love to come with ya, but Attwood wants me back at the lab.
Sloan: Suit yourself.

SLOAN OPENS THE DOOR.

Sloan: (to Masters) We’re gonna take a ride to University Hospital.

SLOAN TURNS BACK TO ED.

Sloan: Lock up for me?
Ed: Ah, sure thing. Hey, Sloan. Be careful.
Masters: (speaking into a portable radio) Unit 22, I’m taking Dr. Parker to
University Hospitals.

THE SECOND DETECTIVE COVERS THE DOOR AND ED WAVES AT HIM. ED CLOSES THE DOOR.

NEXT SCENE

NIGHTTIME. A RAIN-SLICKENED PARKING LOT. WE SEE A POLICE CAR IN AN ALLEY
AND HEAR CHATTER OVER THE POLICE CB RADIO. THE CAMERA PANS INTO THE CAR AND
WE SEE A DEAD POLICEMAN LEANING OVER THE PASSENGER SEAT. LYNCH IS IN THE
DRIVER SEAT, HOLDING THE CB RECEIVER. HE HAS HEARD MASTERS’ UPDATE ON
SLOAN’S LOCATION. LYNCH TURNS THE HEADLIGHTS ON. HE LEANS OVER AND REMOVES
THE EYEGLASSES FROM THE DEAD COP, FOLDING THE EARPIECES DOWN AS HE LOOKS OUT
THE WINDSHIELD, LOST IN THOUGHT.

NEXT SCENE

A CAR PARKS IN A DARK LOT. SLOAN GETS OUT AND MASTERS JOINS HER.

Sloan: (to Masters) Baker’s office is on the third floor. If we cut
through the emergency room, we can take the stairs. Its much faster.

THEY WALK OVER TO THE EMERGENCY ROOM DOOR.
CUT TO SLOAN AND MASTERS CLIMBING UP FLIGHTS OF STAIRS IN A DIM STAIRWELL.

Masters: My wife had a mammogram here. Two hundred bucks. They can’t
afford lights in the stairwell?!?
Sloan: Energy savers.
Masters: How may floors?
Sloan: (good-naturedly) Few more. Come on.

SLOAN SPRINTS AHEAD OF OUR STOCKY, WINDED DETECTIVE.

Sloan: I did a fellowship here. You’re gonna like Dr. Baker. He’s big on
one-liners. His class was like a stand-up act.

SLOAN PAUSES ON THE THIRD FLOOR LANDING. DETECTIVE MASTERS ISN’T WITH HER
AND WE DON’T HEAR HIS FOOTSTEPS BELOW.

Sloan: (over her shoulder with a smile) Whatsa matter, the stairs too much
for you?

SLOAN TURNS.

Sloan: (concerned now) Detective Masters?

SHE PEERS DOWN TO THE EMPTY LANDING BELOW. SLOWLY SHE DESCENDS THE STAIRS
AND PEERS AROUND THE CORNER.

Sloan: Detective?

STILL NO RESPONSE. SHE DESCENDS A FEW MORE STAIRS AND WE SEE THE FIREHOSE
CABINET DOOR AJAR. THE FIREHOSE IS HANGING OUT THE BOTTOM, TRAILING OVER TO
DETECTIVE MASTERS’ PRONE BODY, WRAPPED AROUND BOTH THE STAIR RAIL AND HIS
NECK. SLOAN GASPS AND COVERS HER MOUTH. SHE BACKS AWAY FROM THE BODY AND
INTO THE CORNER OF THE LANDING. THE DIM LIGHTS GO OUT AND SLOAN SCREAMS. IN
THE DIM LIGHT FROM THE LANDING BELOW WE SEE A FIGURE SWAGGERING UP THE
STAIRS, SWINGING A NIGHTSTICK. THE LIGHTS COME UP. WE SEE LYNCH. HE SMILES
AT SLOAN.

Lynch: Thanks for coming by.

SLOAN TAKES OFF UP THE STAIRS. LYNCH FOLLOWS AT A STEADY PACE. SLOAN COMES
TO A SET OF FIRE DOORS, BUT THEY ARE LOCKED. SHE POUNDS ON THEM.

Sloan: Help! Open the door!

SLOAN FRANTICALLY LOOKS OVER HER SHOULDER. LYNCH IS STILL SLOWLY CLIMBING
THE STAIRS BELOW HER.

Sloan: Help!

SHE RUNS FROM THE DOOR AND STARTS UP THE NEXT FLIGHT OF STAIRS. SHE COMES TO
THE DOOR TO THE ROOF. IT IS LOCKED AS WELL.

Sloan: Help!

LYNCH IS RIGHT BEHIND HER. SLOAN THROWS HER MASSIVE SHOULDER BAG AT HIM AND
RETURNS TO POUNDING ON THE DOOR. HE DODGES THE BAG EASILY. LYNCH FINISHES
THE STAIRS AND STEPS ON THE LANDING. SLOAN BACKS UP AGAINST THE WALL.

Sloan: (nearly hysterical) Too many people know, Lynch. The word is out.
Killing me won’t change a thing.

LYNCH FACES HER.

Lynch: Then again maybe...

HE HITS THE WALL WITH THE NIGHTSTICK.

Lynch: ...it might.

HE SMACKS HER WRIST AWAY LIGHTLY WITH THE NIGHTSTICK. LYNCH GENTLY BRUSHES
HER OVERSHIRT AWAY AND PRODS HER STOMACH WITH THE STICK. SUDDENLY HE RAISES
IT UP, UNDER HER NECK, PINNING HER TO THE WALL WITH IT, CHOKING HER. HE
LEANS IN CLOSE TO HER FACE, ALMOST AS IF HE’S GOING TO KISS HER.

Sloan: (gasping) I just need to know one thing.
Lynch: (whispering as his intense gaze roams over her face) What’s that?
You can ask me anything you want.

HE SMILES EVILLY AT HER.

Sloan: Pain. Do you feel pain?
Lynch: Absolutely.

SLOAN KNEES HIM IN THE GROIN AND HE CRUMPLES WITH A GROAN. SHE RACES DOWN
THE STAIRS, TRIPPING ON THE LAST FEW (‘CAUSE SHE ALWAYS WEARS THOSE BIG
SHOES). LYNCH GETS UP, A BIT HUNCHED OVER FROM THE PAIN AND STARTS DOWN THE
STAIRS. SLOAN LOOKS UP AT HIM FROM WHERE SHE’S SPRAWLED ON THE LANDING.
SUDDENLY THE ROOF DOOR OPENS AND WE SEE TOM RUSH THROUGH.

Tom: (shouting) LEAVE HER ALONE, LYNCH!

(BIG SIGH THERE. HE’S IN THE SAME OUTFIT FROM THE CEMETERY. SHORT OVERCOAT
FLOWING BEHIND HIM LIKE A SUPER-HERO’S CAPE. OR AM I PROJECTING?)

Lynch: (calmly speaking over his shoulder) None of your business, Daniels.
Tom: (shouting) YES IT IS!

TOM TACKLES LYNCH AND THEY TUMBLE DOWN TO THE LANDING. SLOAN RUNS DOWN THE
STAIRS. TOM SMACKS LYNCH INTO A WALL AND THEY TUMBLE A FEW MORE FLIGHTS.
LOTS OF GROANS AND OOFS. WE SEE A SECURITY GUARD APPEAR FROM ABOVE. LYNCH
LANDS ON TOP OF TOM AND STARTS TO STRANGLE HIM.

Guard: Hey! What’s going on down there?

LYNCH SEES THE GUARD AND RACES OFF.

Guard: Hey! You! Hold it, Stop!

LYNCH REACHES THE LANDING WHERE SLOAN IS, RACES PAST HER AND LEAPS THE ENTIRE
FLIGHT OF STAIRS TO THE NEXT LANDING.

Guard: Stop right now!

THE SECURITY GUARD FOLLOWS LYNCH.
CUT TO SLOAN, AS SHE GOES TO TOM, WHO IS STILL ON THE FLOOR. HE GIVES HER A
REASSURING LOOK AS HE REACHES FOR HER.
CUT TO LYNCH PLOWING THROUGH THE DOOR TO THE STAIRWELL AND INTO A BASEMENT
HALLWAY. HE RUNS OFF, AND CLIMBS OVER A WALL AND OUT A WINDOW. THE SECURITY
GUARD COMES THROUGH THE DOOR LOOKING FOR LYNCH. HE’S GONE.

NEXT SCENE

THE HOSPITAL PARKING LOT, NIGHTTIME. RED AND BLUE POLICE CAR LIGHTS FLASH.
RAY APPROACHES SLOAN, WHO IS SITTING ON THE TAILGATE OF AN AMBULANCE.

Ray: No sign of Lynch.

RAY LOOKS TO THE DOORWAY OF THE HOSPITAL. WE SEE A BODY BAG BEING WHEELED
OUT ON A GURNEY BY CORONER’S TECHNICIANS. SLOAN LOOKS SAD.

Ray: I lost a good man in there, Dr. Parker. I’d like to believe he didn’t
die because you’ve been lying to me.
Sloan: I’ve told you the truth about everything.
Ray: Even him?

RAY GESTURES TO TOM, WHO IS LEANING AGAINST A COP CAR ACROSS THE PARKING LOT.
HIS ARMS ARE CROSSED OVER HIS CHEST AND HE’S STARING AT SLOAN, HIS EYES
NEVER LEAVING HER, ALMOST AN ANGRY EXPRESSION ON HIS FACE. A FEMALE
DETECTIVE STANDS NEXT TO HIM, TRYING TO ASK HIM QUESTIONS.

Sloan: I couldn't tell you about my contact with him. I didn’t want to
scare him away.
Ray: And all that poking around in apartment buildings and cemeteries, what
was that about?
Sloan: Just what I said it was. Looking for a body. Looking for answers.
Ray: And you’re sure that it was Lynch that attacked you?
Sloan: (she nods and then points at Tom) And he saved me.

RAY TURNS TO LOOK AT TOM AND THEN LOOKS BACK AT SLOAN.

Ray: So first you tell me that Daniels is a new species and that he tried to
kill you. Now he’s supposed to be saving your life?

SLOAN NODS ABSENTLY.

Ray: I’m sorry, I just don’t get the game plan for this new species.
Sloan: Neither do I. All I know is that Lynch and the five others are
killers--
Ray: Which is reason enough for me to lock him up until we can sort this out.
Sloan: He is different. He’s proven that tonight.
Ray: So you’re not afraid of him anymore?

SLOAN LOOKS SEARCHINGLY AT TOM WHERE HE STANDS ACROSS THE PARKING LOT. HE’S
STILL STARING AT HER, IGNORING THE QUESTIONS FROM THE DETECTIVES AROUND HIM.
SEEMINGLY IGNORING EVERYTHING, EXCEPT SLOAN.

Sloan: No.
Ray: No.

RAY GESTURES TO THE DETECTIVES WITH TOM. THEY BRING HIM OVER TO SLOAN AND
RAY. TOM LOOKS RESENTFUL OF THEM LEADING HIM. HE LOOKS GOOD.

Ray: (to the detectives) Thanks.

THE DETECTIVES LEAVE. TOM LOOKS AT SLOAN. THIS IS QUITE A LOOK.

Ray: You know if I let him go, I can’t promise I can protect you.

SLOAN LOOKS AT TOM. TOM GLANCES OVER AT RAY, THEN BACK TO SLOAN.

Tom: I can.

(SIGH. OKAY, REWIND THE TAPE AND WATCH THAT BIT AGAIN.)
SLOAN GIVES A SMALL SMILE AND TOM NODS JUST PERCEPTIBLY.

NEXT SCENE

SLOAN IS DRIVING HER CAR. TOM IS IN THE PASSENGER SEAT.

Sloan: Thank you.

SHE PAUSES.

Sloan: So Dr. Attwood managed to get a CT scan of Lynch’s brain.

TOM SIGHS RUEFULLY.

Sloan: I’m not an expert. That’s where I was going when Lynch attacked me.
But I can tell you his brain puts out a lot of energy. Is that normal?
Tom: I’m not a doctor, Sloan.
Sloan: I know that, but it’s clear you have a much higher brain capacity.
Tom: We have smaller brains.
Sloan: Which is consistent with the evolutionary development of man. Your
brains operate faster, more efficiently, and at a much higher level of
intelligence.
Tom: Than the average person, yes. Which you are definitely not.

SLOAN SHAKES HER HEAD AND LAUGHS.

Sloan: Thank you again. In your house. That black pallet. I saw another
one.

TOM’S ATTENTION IS FIXED AS HE LOOKS OVER AT SLOAN.

Tom: Where?
Sloan: In an empty apartment. The owner disappeared. What are they, Tom?
Tom: (reluctantly) Beds.
Sloan: Beds?
Tom: Yes.

SLOAN’S PAGER BEEPS. SHE CHECKS IT.

Sloan: It’s Ed. He says turn to KWF radio.

SLOAN TURNS THE CAR RADIO ON.

CUT TO BIO LAB. ATTWOOD STANDS BEFORE A GROUP OF REPORTERS AND
PHOTOGRAPHERS. LIGHTS FLASH, PEOPLE MURMUR.

Attwood: The discovery of a new Homo genus species is a credit to all in
this laboratory, especially to the tireless research of Dr. Ann Coulter.

REPORTERS SCRAMBLE TO GET THEIR QUESTIONS ASKED.

First Reporter: How many of these new species are there?

WE SEE ED WATCHING THE PROCEEDINGS WITH A WORRIED LOOK.

Attwood: That we don’t know. In fact, we know very little other than the
fact that they exist.

CUT BACK TO THE CAR. WE SEE TOM LISTENING TO THE PRESS CONFERENCE WITH
CONCERN. HE GLANCES OVER AT SLOAN.

CUT BACK TO THE LAB.

Second Reporter: Is it true that your proof is limited to a single sample of
DNA?
Attwood: For the time being that’s correct. We hope to establish more as
time and research continue.
Second Reporter: So isn’t it possible then that your DNA sample was simply
contaminated or some kind of a bizarre mutation?
Attwood: Possible, but not probable. One more question.
First Reporter: Do you have a name for this new species?
Attwood: That would be premature at this time.

CUT BACK TO SLOAN’S CAR. SHE’S LISTENING AS ATTWOOD WRAPS UP THE PRESS
CONFERENCE.

Attwood: (over the radio) Thank you all for coming.
Radio Announcer: That was Dr. Walter Attwood from Whitney University.
Tom: (adamantly) Pull the car over.

SLOAN PULLS OVER AND PARKS THE CAR. TOM GETS OUT (CHECK OUT THAT SEXY NECK
AND ADAM’S APPLE) AND SLOAN FOLLOWS SUIT. HE WALKS OVER TO THE SIDEWALK,
PACING, VISIBLY UPSET.

Tom: What Attwood has done here, has made a terrible mistake.
Sloan: What was wrong with what he said? He wasn’t lying about anything,
was he?
Tom: You’d better hope most people think he is.
Sloan: Why? What are you afraid of?
Tom: It’s what you should be afraid of Sloan. Attwood’s just raised the
stakes. This is a threat, do you understand that? To our existence. He’s
just made things more dangerous.
Sloan: Things were pretty dangerous before he went public. Lynch is the
perfect example of that.
Tom: You just don’t know what you’re up against.
Sloan: Well then tell me! Just tell me!
Tom: (nodding slightly) Okay. Let’s go.

HE WALKS OVER TO THE CAR.

NEXT SCENE

WE SEE A PARKED CAR. THE CAMERA PANS UP AND WE SEE ATTWOOD BEHIND THE WHEEL.
A CAR PULLS UP NEXT TO HIM AND THE LEFT REAR WINDOW LOWERS. A WOMAN IN HER
THIRTIES LOOKS UP.

Woman: Press conference seemed to go well.
Attwood: Assuming it was the right thing to do.
Woman: That’s not your concern, Walter.
Attwood: Just so long as I’m not left out of the loop.
Woman: You know everything you need to know.
Attwood: Do you think anyone will actually believe the news?
Woman: (pursing her lips) We’ll see, won’t we?

THE WINDOW RAISES AND THE CAR CARRYING THE WOMAN DRIVES OFF. ATTWOOD STARTS
HIS CAR.

NEXT SCENE

SLOAN DRIVES DOWN A DUSTY ROAD AND PARKS IN THE CLEARING OF A WOODED AREA.
SHE GETS OUT AND SO DOES TOM. HE’S CARRYING A COUPLE OF FLASHLIGHTS. HE
LOOKS AROUND.

Tom: This is it.

HE HANDS A LIGHT TO SLOAN. THEY TURN THEM ON AND WALK TOWARDS THE ENTRANCE
TO A CAVE. TOM ENTERS FIRST, LEADING SLOAN THROUGH THE CAVE.

Sloan: How much further?

TOM LOOKS BACK AT SLOAN OVER HIS SHOULDER AND CONTINUES ON. SHE’S SCANNING
THE WALLS AND FLOOR WITH HER FLASHLIGHT. SHE COMES UPON A PAIR OF
EYEGLASSES, ALMOST STEPPING ON THEM. SHE BENDS DOWN AND PICKS THEM UP. SHE
LOOKS AT TOM, BEAUTIFULLY LIT IN THE GLOW OF HER FLASHLIGHT. HE’S STANDING
BEFORE PILES OF PERSONAL ITEMS: EYEGLASSES, SHOES, PURSES AND WALLETS.
SLOAN IS STUNNED, HER MOUTH AGAPE.

Sloan: All these people.
Tom: (looking over his shoulder at her) You wanted to know what you were up
against? I’ve tried to tell you Sloan. It’s evolution. You can’t survive.
Sloan: (shaking her head) We’ll fight for our survival.
Tom: (pointedly) And you’ll lose.

CUT TO A SCENE OF A COMPUTER SCREEN FLASHING THE RESULTS OF A DNA TEST--1.6%.

<

End Episode 3

And that's it!