EPISODE 6: Infiltration
PRODUCTION CODE: #467056
WRITER: Charlie Craig & Jeremy R. Littman
DIRECTOR: Winrich Kolbe

TRANSCRIBED BY: Karen King

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


THE SHOW OPENS. AT THE BIO LAB. ATTWOOD ENTERS AND WALKS TO ED'S OFFICE.
ED IS SITTING AT HIS DESK, LOOKING AT THE COMPUTER SCREEN.

Ed: Hey. What're you doing here so late?
Attwood: Tying up loose ends. I've arranged for the transport of the bodies
from the warehouse to a facility in New Mexico for more extensive testing.
Ed: I guess you can't exactly overnight three bodies, can you?
Attwood: (snickering) How's your progress?
Ed: Slow. Trying to make some sense of the date we got off the pillar.
Attwood: But you can't predict the future, can you?
Ed: Nope. Second week of October. 1998. All we know is something bad's
gonna happen.
Attwood: That's not even our primary concern.
Ed: What do you mean?
Attwood: This new species has given us no indication they're going to remain
inactive till then, have they? So our real concern should be, what're they
going to do now?

ED LOOKS AT ATTWOOD AS HE THINKS ABOUT THIS.
CUT TO THE EXTERIOR OF A BAR, NIGHTTIME. IT'S A BUSTLING PLACE INSIDE. A
MAN IN WITH GLASSES IN HIS MID-THIRTIES APPROACHES THE BAR INTENT ON ORDERING
A DRINK AS A BLONDE WOMAN WHO HAS JUST TURNED FROM THE BAR BUMPS INTO HIM.

Woman: Sorry.
Man: No problem.

THE MAN GIVES HER THE ONCE-OVER, THEN FLASHES AN APPRECIATIVE SMILE AT HER.

Woman: I don't know why I bother coming here. I can never get a drink.
Man: What do you want?
Woman: Martini.

THE MAN MUSCLES THROUGH THE PATRONS TO THE BAR COUNTER.

Man: Hey, Chris! Martini and Scotch rocks.

HE TURNS BACK TO THE BLONDE WOMAN.

Man: Oh, my name's Roger.
Woman: I'm Lisa.
Roger: Are you here with anyone?
Lisa: I'm meeting some friends here. They haven't shown up yet.
Roger: If you'd like, I could wait with you till your friends get here.
Lisa: That'd be great.
Bartender: Roger! Here you go.
Roger: (to Bartender as he accepts the drinks) Thanks.

ROGER GESTURES WITH HIS HEAD TO A TABLE.

Roger: (to Lisa) C'mon.

HE CARRIES THEIR DRINKS OVER TO A TABLE AND SITS DOWN. LISA BENDS OVER THE
TABLE, SETTING HER PURSE ON A CHAIR AS SHE DOES.

Lisa: I'll be right back. Don't go anywhere, alright?
Roger: Don't worry, I'll be here.

LISA TURNS AND STRUTS AWAY, GIVING ROGER A GOOD LOOK AT HER LEGS IN HER SHORT
DRESS. ROGER'S CELL PHONE RINGS. HE ANSWERS IT.

Roger: Hello? Yeah? I can hardly hear you. Hang on.

HE GETS UP FROM THE TABLE AND MOVES TO THE WINDOW NEAR THE FRONT OF THE BAR.

Roger: (still on phone) Yeah. Yeah, that's better. Yeah, I'm at Joffe's.

ROGER SEES LISA OUTSIDE, PUTTING HER COAT ON AND STRIDING ACROSS THE DAMP
STREET. (WELL, IT WAS AN EL NINO YEAR.)

Roger: Let me call you back in a minute.

HE HANGS UP.

Roger: (to himself) What the--?

ROGER EXITS THE BAR AND STARTS TO CROSS THE STREET. HE SPOTS LISA OPENING A
CAR DOOR.

Roger: Hey!

LISA GIVES HIM A COLD LOOK AND GETS INTO THE CAR. ROGER SHAKES HIS HEAD IN
CONFUSION AS LISA SPEEDS AWAY IN THE CAR. SUDDENLY THE BAR EXPLODES BEHIND
HIM. HE AND THE OTHER PEOPLE ON THE STREET ARE THROWN TO THE GROUND. THE
CAR WITH LISA SPEEDS AWAY FROM THE SCENE AND ROUNDS A CORNER.

NEXT SCENE

SLOAN'S APARTMENT, MORNING. SLOAN IS IN HER SLIP, GETTING READY FOR WORK,
EATING A QUICK BREAKFAST. THE TV IS PLAYING SOFTLY IN THE BACKGROUND. HER
DOOR ALARM BUZZES. ON THE VIEWSCREEN SHE SEES TOM. SHE PUNCHES THE ACCESS
CODE TO LET HIM IN, THEN RUNS TO HER BEDROOM AND GRABS A ROBE. A KNOCK
SOUNDS ON HER DOOR.

Sloan: Coming!

SHE OPENS THE DOOR AND SMILES AT TOM. HE ENTERS. HE GLANCES AT THE STATE OF
HER UNDRESS.

Sloan: Uh, I'm running late. I'm sorry about the way I look.
Tom: (with a shrug) You look great.

SLOAN ROLLS HER EYES AS SHE TURNS FROM HIM.

Sloan: Do you want some coffee?

SLOAN TURNS BACK TO FACE TOM.

Sloan: Do you even like coffee?
Tom: I'm alright. (HEH HEH, YOU CAN SAY THAT AGAIN, MISTER...)

SLOAN HOPS UP INTO HER BEDROOM AREA AS TOM WALKS OVER TO THE TV. A REPORTER
IS COVERING THE STORY OF THE BAR BOMB.

Reporter: ....hours ago....Joffe's bar. Fire investigators are still
baffled by the explosion last night that killed fifteen people and wounded
scores of others.

TOM IS INTRIGUED BY THE STORY, AND SITS ON A STOOL TO WATCH THE REPORT.

Reporter: Investigators report they detected residue of an unknown compound
used as the actual explosive. Additionally, they report there was a trace
odor of benzene detected after the blast, and I can tell you that odor is
still present.

SLOAN ENTERS THE ROOM, DRESSED FOR THE DAY. SHE LOOKS AT THE TV REPORT.

Tom: It was them.
Sloan: How do you know?
Tom: The compound used to blow up the bar. It can never be traced. Doesn't
even exist yet.
Sloan: A bar full of people? From what we've seen so far, that action's way
too random.
Tom: You're right.
Sloan: We know that they want to kill me, and you, and everyone connected to
the lab.
Tom: It has nothing to do with you or the lab.
Sloan: That means someone in that bar was a target. We've gotta find out
who.

NEXT SCENE

TOM FLASHES HIS FBI BADGE AT THE BAR CRIME SCENE.

Tom: Tom Daniels, FBI.

THE COP AT THE SCENE WAVES HIM THROUGH. SLOAN FOLLOWS HIM IN. TOM, WEARING
ONE OF HIS FBI SUITS, PUTS ON A PAIR OF LATEX GLOVES AS HE AND SLOAN ENTER
THE REMAINS OF THE BAR. BROKEN GLASS AND PERSONAL EFFECTS LITTER THE CHARRED
FLOOR. TOM CROUCHES AND WIPES HIS HAND OVER A PIECE OF DEBRIS, RAISING HIS
FINGERS TO HIS NOSE AND SNIFFING. SLOAN APPROACHES HIM. TOM GIVES A SMALL
SHAKE OF HIS HEAD.

Tom: I was right.

HE STANDS.

Tom: It was definitely them.

TOM WALKS OVER TO ONE OF THE INVESTIGATORS WHO IS WRITING ON A CLIPBOARD. HE
FLASHES HIS FBI BADGE.

Tom: Do you have a list of victims yet?

THE INVESTIGATOR LOOKS UP AND GIVES TOM A PAPER. SLOAN IS LOOKING OUT THE
WINDOW OF THE BAR. SHE SEES A LARGE HOMELESS MAN, OBVIOUSLY AGITATED, OUT ON
THE SIDEWALK WATCHING THE INVESTIGATION PROGRESS. HE TURNS FROM THE SCENE.
TOM WALKS OVER TO SLOAN.

Tom: Here's a victim list. You recognize anyone who might be a target?
Sloan: (distractedly) We'll have to go over the names later. I'll be right
back.

SLOAN RUSHES OUT AND TOM WATCHES HER GO, A BIT CONFUSED. (NICE SHOT OF THOSE
BABY BLUES THERE.) SLOAN RACES AFTER THE HOMELESS MAN.

Sloan: Excuse me! Sir? Can I talk to you? I'm not with the police.
Please?

SLOAN CONTINUES TO CHASE AFTER THE MAN, DOWN A BACK STREET, PAST A LARGE
DUMPSTER. THE MAN JUMPS OUT OF AN ALLEY AT HER. SLOAN SHRIEKS AT THE FRIGHT.

Man: (belligerently) What do you want with me?
Sloan: I was hoping that you would answer a few questions.
Man: Not interested.

THE MAN TURNS DOWN THE ALLEY. SLOAN FOLLOWS.

Sloan: Did you see what happened last night?
Man: Yeah--bar blew to hell. Great show!
Sloan: You were there. Maybe you saw something. Please. Tell me.
Man: After it blew I saw this guy get into a car and take off.
Sloan: What kind of car?
Man: I don't know what kind of car! Red. Small. I wrote out part of the
number.

HE GESTURES TO A CARDBOARD BOX WITH A SERIES OF LETTERS AND NUMBERS ON IT.

Man: All I got.

SLOAN STARES AT THE NUMBER, THEN QUICKLY SCAMPERS OFF.

NEXT SCENE

AT THE POLICE STATION. TOM, SLOAN, AND RAY WALK THROUGH THE BUSY OFFICES.

Ray: I'd rather you came to my house. My Lieutenant's been all over me
lately.

THEY ENTER RAY'S OFFICE.

Sloan: Sorry if your helping us has gotten you into trouble.

TWO DETECTIVES WATCH THEM ENTER AND START WHISPERING TO EACH OTHER, LOOKING
IN TOM AND SLOAN'S DIRECTION.

Ray: Look. I ran the partial plate. Comes back to Roger Young. He lives
in the Hollywood Hills.
Sloan: That name wasn't on our victim list.
Tom: It's a good chance this is our guy.
Ray: I'll have somebody interview the guy who gave you the plate. Now, a
unit has already cruised Roger Young's house but apparently he's already
taken off. No surprise.
Sloan: Maybe Ed could help us with that.

TOM NODS AT HER, THEN LOOKS OVER AT THE DETECTIVES WHO WERE WHISPERING
BEFORE, AS IF SENSING SOMETHING.

NEXT SCENE

BUSY DOWNTOWN STREET, BACK AT THE BAR CRIME SCENE. A MAN IN A CAR WATCHES
LISA WALK ACROSS THE STREET. SHE GETS IN THE CAR.

Lisa: (to Man) I got what we came for.

THE MAN DRIVES OFF AND THE CAMERA PANS DOWN THE ALLEY LISA HAS JUST EMERGED
FROM. WE SEE THE LIFELESS BODY OF THE HOMELESS MAN.

NEXT SCENE

AT THE BIO LAB. ED'S OFFICE. ED SITS AT THE COMPUTER. SLOAN STANDS BEHIND
HIM, LOOKING OVER HIS SHOULDER. TOM PACES IN THE BACKGROUND.

Ed: Four years undergrad, seven years of post-graduate work, three years in
the lab have all led to this. Hacking into the records of the phone company.
Sloan: Think about how hard this would be if you hadn't gotten your M.D.

ED LAUGHS AND SLOAN SMILES.

Ed: Right, okay. We're in the phone company's main database. Uh, what's
the guy's name again?
Sloan: Roger Young. Two-one-three area code.
Ed: Boom. Got his home phone records.
Tom: Did he call any of the victims on the list?
Ed: Uh, no calls since yesterday.
Sloan: Day of the bombing.
Tom: What about incoming calls?
Ed: Five to his phone since last night.
Sloan: Can you trace where they came from?
Ed: I don't see why not. Three calls from the same number. Last one
was...an hour ago. It's a motel. On Olive. In Burbank.
Sloan: Let's go.
Tom: Right. I'll drive.
Ed: I'll go over that victim list.
Sloan: Thanks, Ed.
Ed: (to Tom) Hey.

TOM LOOKS AT ED.

Ed: You watch her back.

TOM NODS, THEN LEAVES THE OFFICE.

NEXT SCENE

STAIRWELL AT A MOTEL. TOM LOOKS BACK OVER HIS SHOULDER AT SLOAN AS THEY
CLIMB THE STAIRS.

Tom: Roger Young's registered in room Two-oh-nine.
Sloan: Did they tell you if he was in there?

HE SHAKES HIS HEAD SLIGHTLY.

Sloan: I guess you'll tell us that.

TOM LOOKS BACK AT SLOAN AND GIVES HER A LITTLE SMILE. THEY WALK DOWN A
BALCONY TOWARDS THE ROOM, PASSING A MAID WHEELING A CART. THEY REACH THE
DOOR AND TOM PAUSES. HE FLASHES ON THE INTERIOR OF THE ROOM. IT'S MESSY,
BUT EMPTY.

Tom: Room's empty.

TOM TRIES THE DOOR.

Tom: (turning back to Sloan) It's locked.

TOM GRABS THE DOOR HANDLE AND BREAKS THE LOCK. SLOAN SHAKES HER HEAD IN
DISBELIEF, AND FOLLOWS HIM INTO THE MOTEL ROOM. THEY ENTER THE ROOM AND SEE
THE BED, STREWN WITH PHOTOS. SLOAN BENDS DOWN TO LOOK AT THEM. TOM PICKS UP
A NEWSPAPER CLIPPING FROM A TABLE NEAR THE BED. IT'S THE CLIPPING OF LYNCH'S
ESCAPE. TOM SITS ON THE BED AND LOOKS OVER AT SLOAN IN PUZZLEMENT.

Tom: What have you found?

SLOAN LOOKS UP AT HIM.

Sloan: Pictures of the lab. And Attwood.

SHE SLIDES SOME PHOTOS AROUND AND PICKS ONE UP. SHE LOOKS AT IT, THEN TURNS
IT FOR TOM TO SEE.

Sloan: And of me.

TOM FLASHES ON AN IMAGE OF ROGER YOUNG NEARING THE MOTEL DOOR.

Tom: Someone's coming.

WE SEE ROGER YOUNG LOOK AT THE BROKEN DOOR HANDLE AND BACK AWAY FROM THE
DOOR. TOM RUSHES OUT OF THE ROOM, GUN DRAWN. SLOAN POKES HER HEAD OUT
BEHIND HIM. ROGER YOUNG IS RACING DOWN THE BALCONY. TOM FOLLOWS. WAITING
FOR ROGER UP AHEAD IS LISA, WHO HAS DRAWN HER GUN AND AIMED AT THE ONCOMING
MAN.

Tom: Get down!

ROGER THROWS HIMSELF TO THE FLOOR AS LISA FIRES. TOM RETURNS FIRE AS SLOAN
GASPS. TOM REACHES ROGER.

Tom: Stay down.

TOM ADVANCES ON ON LISA, WHO HAS DUCKED INTO A ROOM TO AVOID TOM'S GUNFIRE.
SLOAN RUSHES FROM ROGER'S ROOM AND OVER TO THE MAN, HUDDLED IN A THRESHOLD.
SHE GRABS HIM AND PULLS HIM FROM HIS HIDING SPOT.

Sloan: Come on.

SLOAN AND ROGER RACE BEHIND THE COVER TOM PROVIDES WITH HIS GUN AND DOWN THE
STAIRWELL.

Roger: Who the hell are you?
Sloan: People who aren't shooting at you.

TOM WATCHES THEIR DESCENT. SLOAN AND ROGER EXIT THE STAIRWELL, AND GET TO
THE CAR. TOM FOLLOWS THEM DOWN THE STAIRS.

Sloan: (to Roger) Get in!

LISA SEES ROGER GET IN THE CAR AND AGAIN STARTS FIRING AT HIM. SLOAN STARTS
THE CAR AS PULLS AWAY AS TOM HOPS INTO THE PASSENGER SEAT, DODGING LISA'S
BULLETS. LISA EMPTIES HER ROUNDS, SHOOTING OUT THE REAR WINDOW OF TOM'S
LINCOLN, CALMLY PUTS THE GUN IN HER SHOULDER BAG, THEN WALKS OFF.

NEXT SCENE

AT THE BIO LAB. IN ATTWOOD'S OFFICE. ROGER YOUNG IS SEATED. ATTWOOD AND
TOM STAND AROUND HIM. SLOAN ENTERS THE ROOM LOOKING AT A PRINTOUT.

Sloan: Well, Mr. Young, your DNA test is normal.

ROGER MAKES A DERISIVE SOUND.

Sloan: Do you mind telling us what this has been about?
Roger: I'm a reporter at the Tribune.

HE LOOKS AT ATTWOOD.

Roger: I was at your press conference. It blew me away. Ever since, I've
been looking into this new species.
Attwood: What exactly have you been looking into?
Roger: I was researching an article on missing persons. There's been a
three-hundred percent increase in reported cases in the last six months. I
had this idea, that it might be connected to what you discovered.
Attwood: Such as?
Roger: The serial killer Lynch. I discovered that more than one person
reported missing in this county has crossed his path. I put one and one
together.
Sloan: And asked a few too many questions.
Tom: And had to be eliminated.
Sloan: Mr. Young, the woman who tried to kill you, at the motel. Had you
ever seen her before?
Roger: The night the bar exploded. I...picked her up.
Tom: She picked you up.
Roger: Right! She left me inside. I guess I'm lucky.
Attwood: This time. It seems clear there will be a next.
Tom: (to Roger) And then you fled the scene.
Roger: Well what the hell else was I supposed to do? Once I saw her drive
away I knew that something must be up. I've been laying low, I mean, who's
gonna try and kill me next? My boss? My best friend?
Attwood: That is the problem that plagues us all, Mr. Young.
Tom: At the bar, did you see anyone else with the girl?
Roger: She got into a car. I think a man was driving, but...

TOM NODS SLIGHTLY AS HE DISSECTS THE INFORMATION HE'S HEARING.

Roger: ...it happened so fast.
Tom: It was a man.

ATTWOOD LOOKS UP AT TOM.

Sloan: You're sure?

TOM GIVES SLOAN A POINTED LOOK. ROGER YOUNG LOOKS UP AT TOM IN CONFUSION AND
WORRY.

NEXT SCENE

AT ED'S APARTMENT. ED IS SLEEPING AS THE PHONE RINGS. HE FLICKS ON A LIGHT,
GRABBING A PILLOW AND PUTTING IT OVER HIS HEAD, TRYING TO BLOCK THE SOUND,
THEN GETS UP AND ANSWERS THE PHONE. (BOXERS ONLY AGAIN, LADIES! LOOK AT
THOSE GAMS!)

NEXT SCENE

A CROWDED NIGHTTIME STREET. SIRENS BLARE. COPS KEEP A MILLING CROWD BACK ON
THE SIDEWALK. ED WALKS PAST A FIRE ENGINE AND SPEAKS TO A POLICEMAN.

Ed: I'm Dr. Tate. How do I get up to the roof?

ANOTHER COP APPROACHES ED.

Second Cop: Follow me, please.

AS ED DOES, THE CAMERA PANS UP A TALL BUILDING. A SPOTLIGHT SHINES ON A
FIGURE PERCHED ON THE EDGE OF THE ROOF.
CUT TO ED WALKING ACROSS THE ROOF. HE STOPS BEHIND A MAN. THE MAN TURNS.

Man: Are you Ed Tate?
Ed: Yeah. What's going on?
Man: She's over there?
Ed: Who is she?
Man: She says her name is Kelly. She told me that you were the only one
that she would talk to.
Ed: That's it?
Man: Look, I don't know whether she's strung out or not, but she's not
making a lot of sense. She keeps talking about some....cave.
Ed: Oh, my God.

ED APPROACHES THE GIRL ON THE BUILDING'S EDGE AND WE REALIZE IT IS THE SECOND
GIRL FROM THE CAVE IN EPISODE THREE. SHE'S STARING AT THE GROUND BELOW.

Ed: Kelly!
Kelly: Ed!
Ed: What are you doing?
Kelly: (in tears) I don't know.

ED EXTENDS HIS HAND TO HER.

Ed: Come on.

AFTER A MOMENT'S HESITATION, KELLY RUSHES INTO ED'S EMBRACE, AND SOBS.

NEXT SCENE

AT SLOAN'S APARTMENT. SHE'S IN THE KITCHEN, CHOPPING VEGGIES FOR DINNER.

Sloan: What is it, Tom? You haven't said a word in ten minutes.

CUT TO TOM, SITTING IN ONE OF SLOAN'S COMFY OVERSIZED CHAIRS, WHITE DRESS
SHIRT OPEN AT THE NECK, CUFFS UNBUTTONED, ILLUMINATED BY A READING LAMP. HIS
ELBOWS REST ON HIS THIGHS AS HE LEANS FORWARD.

Tom: Sorry.
Slaon: (insistently) The man Roger saw at the bombing. What do you know
about him? What aren't you telling me?
Tom: If I'm right, the man is her mentor. His name is Lewis. He's the one
who trained her and many more like her.
Sloan: Like you?

TOM LOOKS AWAY FROM SLOAN UNCOMFORTABLY AND SIGHS.

Tom: He's a dangerous man, Sloan. He and the people he's trained are
responsible for crimes you couldn't imagine. He's the best as what he does.
If we could find her, she could lead us to him.
Sloan: How?
Tom: (sighing) The reporter.
Sloan: Wait a minute--
Tom: He's the one she wants.

TOM STANDS AND WALKS OVER TO SLOAN.

Tom: If it's her assignment to kill him, she won't stop until she succeeds.
I know her kind. I was her kind.
Sloan: You're suggesting that we just throw him out here as bait?
Tom: We don't have a choice.
Sloan: Yes. We do. That is not the way my kind operates.
Tom: But from my perspective it is sometimes necessary to risk one in order
to save many. You gotta trust me on this one, Sloan.

NEXT SCENE

AT THE POLICE STATION. KELLY SITS CURLED IN A BALL ON A BENCH IN A HALLWAY.
RAY AND ED STAND IN AN OFFICE LOOKING OUT AT HER.

Ray: No offense, Dr. Tate, but this girl should be spending the night in the
hospital, for psych evaluation.
Ed: What she should be doing is spending the night talking to a friend. I
guess I'm the closest she's got.
Ray: What about her parents?
Ed: No, she just came from there. Look, she's over eighteen. You're not
really gonna commit her for observation, are you?
Ray: (sighing) I hope you know what you're doing.

ED ACCEPTS A RELEASE PAPER FROM RAY.

Ed: So do I.

ED LEAVES THE OFFICE AND WALKS OVER TO KELLY IN THE HALLWAY.

Ed: Hey, let's get out of here.

NEXT SCENE

ED AND KELLY ARE AT A LATE NIGHT DINER. KELLY SITS, HEAD BOWED, STILL
CLEARLY DISTURBED.

Kelly: So sorry about what happened tonight. 'Bout the way you found me.
Ed: Naaaw. It's good that you had them call me.
Kelly: You have no idea what it's been like, not being able to talk to
anybody about this.
Ed: Actually, I do.
Kelly: After the cave, nothing's been the same. I can't stand it. I don't
know how much longer I can live like this.
Ed: Kelly.

KELLY LOOKS UP.

Ed: There's something you need to know about what happened. About Lynch.
He wasn't...he wasn't like you and me.
Kelly: What are you talking about?
Ed: He looked it, but he was different. He was a member of a new species.
Kelly: Not human?
Ed: Yeah.
Kelly: I don't understand. What did he want with us?
Ed: I don't know.

HE SIGHS IN FRUSTRATION.

Ed: This can't make much sense. It barely makes sense to me, but...does it
help?

KELLY SHAKES HER HEADS SLIGHTLY AND SMILES.

NEXT SCENE

AT THE BIO LAB. IN ATTWOOD'S OFFICE. ATTWOOD SITS AT HIS DESK, SLOAN
STANDS IN A CORNER AND ROGER YOUNG STANDS NEAR THE INTERIOR WINDOW.

Roger: (indignently) Why would I even leave this building?

TOM STEPS FORWARD WEARING A BLACK MOCK TURTLENECK AND A BLACK
WINDBREAKER-TYPE COAT. HE'S LOOKIN' GOOD.

Tom: Because more people will die if you don't. It's the only chance we
have of drawing her out into the open.
Attwood: We'll do our best to guarantee your safety.

SLOAN STEPS FORWARD AND GIVES ROGER A COMPASSIONATE LOOK.

Sloan: The decision is yours.

ROGER SIGHS AND TOSSES HIS HEAD.

Roger: I don't know. I--
Tom: (pointedly interrupting him) Fifteen people died.
Roger: I wasn't responsible. I can't change what happened. I cant stop
evolution!
Tom: We've all risked our lives. You understand that? To stop this. To
stop them. We have no other choice.

(OO, HE'S SOOOO ANGRY!)
ROGER SIGHS IN RESIGNATION.

NEXT SCENE

A CAR DRIVES UP A WET STREET (EL NINO STRIKES AGAIN), TOWARDS TWO MEN. A
FILM CREW RACES ACROSS THE STREET AS THE CAR PARKS. ONE OF THE MEN OPENS THE
CAR DOOR AND ATTWOOD GETS OUT. ROGER GETS OUT OF THE PASSENGER SIDE AND THEY
WALK DOWN THE STREET.

Attwood: How do you feel?
Roger: I'd feel a whole lot better if the person we're hoping will show up
wasn't interested in killing me.

CUT TO TOM AND SLOAN, STANDING IN A DOORWAY. TOM IS FIXING AN EARPIEICE.
(HE LOOKS DAMN SEXY. STILL HAS THE MOCK T-NECK AND BLACK COAT ON, BUT NOW HE
ALSO WEARS HIS TASTY MID-LENGTH GREY OVERCOAT.)

Tom: (to Sloan) If she shows up, I'll know.

HE PLACES HIS HAND ON SLOAN'S ELBOW.

Tom: I'll sense her.

TOM STEPS AWAY FROM SLOAN.
CUT TO ROGER, STANDING IN FRONT OF THE BOARDED-UP BAR, REPORTERS SURROUNDING
HIM.

Roger: Ladies and gentlemen. As you know, several weeks ago there was an
announcement that a new species of man had been discovered.

TOM IS SCANNING THE CROWD, LOOKING FOR LISA. THE SIDEWALKS BUSTLE. A WOMAN
WITH LONG DARK HAIR APPROACHES UNDER A LARGE UMBRELLA.

Roger: I heard it, as you did, for the first time at the press conference.

THE WOMAN WITH THE UMBRELLA PASSES TOM.

Roger: And I was amazed. I was researching an article on missing persons
for the Tribune, and I, like you...

CUT TO TOM, WHO SENSES SOMETHING. HE PUTS HIS HAND TO HIS TEMPLE, ALMOST AS
IF IN PAIN. HE FLASHES ON AN IMAGE OF THE REPORTERS CROWDED AROUND ROGER.

Roger: ....disbelieved the notion. However...

SLOAN IS WATCHING TOM AND SEES HIS DISTRESS. SHE SPEAKS INTO A PORTABLE
RADIO.

Sloan: What is it?
Tom: (speaking into a nifty little gadget on his wrist) I don't know.
Roger: I can now offer evidence, that the crime that occurred here, was the
work of that new species.

TOM FLASHES AGAIN, BUT THE IMAGES ARE DISTORTED.

Sloan: (her voice fuzzy to Tom) Is she here?
Tom: I can't tell. There's nothing clear.

DISTORTED IMAGES CONTINUE TO FLASH AT TOM. THE REPORTERS ARE IN AN UPROAR AT
ROGER YOUNG'S STATEMENTS. THE LADY WITH THE UMBRELLA RAISES HER MICROPHONE
TO ROGER. WE CAN SEE IT IS NOT A NORMAL MICROPHONE. IMAGES CONTINUE TO
POUND TOM AS REPORTERS BADGER ROGER WITH QUESTIONS.

Tom: Something's happening.

TOM FLASHES ON AN IMAGE OF THE UMBRELLA WOMAN'S MICROPHONE. HE GRABS HIS GUN
OUT OF HIS WAISTBAND.

Tom: Get down!

THE UMBRELLA WOMAN FIRES HER MICROPHONE. IT IS A GUN IN DISGUISE. THE
REPORTERS ALL DROP TO THE GROUND. SLOAN GASPS AS ROGER IS SHOT. TOM RUSHES
OVER AS SLOAN JOINS HIM AND ATTWOOD BESIDE ROGER.

Attwood: (to Sloan) He's dead.

THE UMBRELLA WOMAN COLLECTS HER THINGS AND STROLLS AWAY UNNOTICED. TOM LOOKS
AROUND FOR HER, THEN UP AT SLOAN, WHO HAS HER HEAD IN HER HANDS IN SHOCK.
THE UMBRELLA WOMAN GETS INTO A CAR AND GIVES A NOD TO THE GREY-HAIRED MAN IN
THE DRIVER SEAT. THEY DRIVE OFF.

NEXT SCENE

AT THE BIO LAB. TOM SITS, DEJECTED. SLOAN STANDS ABOVE HIM AND ED IS AT HIS
LEFT, LOOKING DOWN AT TOM.

Ed: So what's the deal? I thought you could spot one of your own.
Tom: I can.
Ed: Obviously not very well.

TOM LOOKS UP AT ED WITH A RATHER MENACING LOOK.

Tom: You think I didn't want to see her? That I wanted that guy shot?
Ed: I don't know what to think anymore.

TOM TURNS TO LOOK AT SLOAN, WHO IS LOOKING PENSIVE. HE EXHALES.

Tom: I just uh...I could sense something, but nothing was clear.
Sloan: I don't understand. At the motel, you could sense Roger before he
unlocked the door. You could always sense Lynch coming. What happened out
there?
Tom: I don't know.
Ed: Or you're not saying.

TOM STANDS AND ADVANCES ON ED.

Sloan: Hey, wait a second! Ok. Could-could she be doing something to mask
herself, to prevent you from noticing?
Tom: (voice soft and low with anger) Yeah, maybe.
Sloan: Biofeedback, maybe. Olympic athletes, they use it all the time to
lower their heart and respiratory rates.
Tom: Lewis could've taught her anything. Whatever it would take to complete
her mission.
Sloan: This is worse that we thought. I mean, if they can fly under Tom's
radar, no one stands a chance.

A KNOCK SOUNDS ON THE DOOR, AND RAY ENTERS THE OFFICE.

Sloan: Ray. Have you found her?
Ray: Well, we found someone. Suicide victim. Found her body about a block
away from the killing . There were notes with it. A gun the same caliber
used to kill Young. Even a diary explaining how she'd been stalking him for
months.
Tom: It's not her. It's a cover to discredit the lab. This way even the
press won't even listen.
Ray: Or the police department. As far as they're concerned, it's an open
and shut case. Nice and neat.
Sloan: And she's still out there.

NEXT SCENE

SLOAN'S APARTMENT. SLOAN UNLOCKS THE DOOR AND SHE AND ED ENTER.

Sloan: So how's Kelly doing?
Ed: Uhhhhh, not that great. Actually, she's uh, she's at my place. I had
to give her something to help her sleep. Thought she could use it.
Sloan: Now that she knows, what do you think she'll do?
Ed: Well, she won't go home. I'm trying to talk her into some therapy, but,
thing is, there's not exactly a specialist for this kind of trauma.
Sloan: The way things are going, there may be a big need. Soon.
Ed: (sighing) Yeah, good point. Hey uh, tell me something. And uh, you
know, I think I already know what your answer's going to be but....How can we
be sure that Tom didn't sense that girl coming to kill Roger?
Sloan: Ed. He was just wrong. Okay? And we've all got tot deal with that.
After everything he's done, he wouldn't turn on us now.
Ed: Ok, um, hear me out. Ok , this...this...this mentor of his, now I get
the impression that they were close.
Sloan: So?
Ed: So maybe he was close to both of them. I mean, do we even know what his
relationship was, or is, with this woman?
Sloan: (emphatically) None!
Ed: Look just think abut it, ok?
Sloan: No! Ed, NO! I am done questioning Tom's loyalty to us. As far as
I'm concerned, he's proven himself.
Ed: I hope you're right.

NEXT SCENE

AT RAY'S HOUSE. HE LIGHTS THE CANDLES ON THE TABLE AS HIS WIFE GRACE
DESCENDS THE STAIRS. LOOKS LIKE A ROMANTIC DINNER FOR TWO.

Grace: Candles....wine....good food. Either we're planning on having
another child or something's wrong.

SHE CHUCKLES AND GIVES RAY A PECK ON THE LIPS.

Ray: I wish it was another kid, Grace.
Grace: What's going on, Ray?

RAY SITS AT THE TABLE.

Ray: All this help I've been giving Dr. Parker is sinking me with the
department.
Grace: I thought you were just doing your job.
Ray: Yeah, I am, but as far as they're concerned I've broken just about
every regulation they could come up with.

HE LOOKS UP AT HER.

Ray: I think they're gonna ask for my badge.
Grace: You were just trying to help those people.
Ray: Doesn't make any difference to the department. You'd think after
nineteen years it would.
Grace: I'm sorry, Ray.

SHE PUTS HER ARMS AROUND HIM, COMFORTING HIM.

Ray: Being a cop is all I know, Grace.
Grace: Thing is, pretty soon being a cop might not be enough.

NEXT SCENE

AT SLOAN'S APARTMENT. SLOAN AND TOM SIT AT HER TABLE. TOM IS DRINKING FROM
A COFFEE CUP.

Sloan: (excitedly) Roger had fifteen names on his missing persons list.
Maybe there's a link between them and your mentor.
Tom: Roger Young didn't know about him. He wasn't even sure it was a man
who drove away from the bar.

(TOM IS STILL WEARING THE BLACK MOCK T-NECK, BUT NOW HE SPORTS HIS GUN
HOLSTER OVER HIS SHOULDERS. HE LOOKS VERY MANLY.)

Sloan: Maybe it had to do with Lynch. Is there a link between Lynch and
your mentor that Roger may have stumbled upon?
Tom: No, Lynch has nothing to do with him. He was a loner, a rogue. His
style would never have been tolerated.
Sloan: (impatiently) We've got to find this girl. What else can you tell
me about Lewis?

TOM SIGHS AND SITS BACK IN HIS CHAIR, LOOKING AT THE CEILING.

Sloan: Whe-where would he live?
Tom: Well he wouldn't stay in one place very long, maybe six months.
Sloan: So he moves around a lot. Does he rent or buy?
Tom: I don't know, it would only make sense that he would rent.
Sloan: He probably wants seclusion, so that would rule out condos and
apartments.
Tom: It'd be a big house for training purposes.
Sloan: We know what he looks like. We know what she looks like.

SLOAN GETS UP AND RETRIEVES HER PHONE BOOK, THEN SITS BACK DOWN AND FLIPS
THROUGH IT.

Sloan: There's a lot of realtors to canvas. Let's hope someone remembers.
Tom: They'd remember a cash deal. Bank accounts leave trails. Lewis would
never leave a trail.

SLOAN SMILES AND NODS HER HEAD AT HIS INGENUITY.

NEXT SCENE

AT THE BIO LAB. IN ED'S OFFICE. KELLY SITS HUDDLED IN A CHAIR BY ED'S DESK.
SHE'S STARING OFF INTO SPACE. SHE TURNS AS ED ENTERS, TAKE-OUT FOOD AND
SODAS IN HAND.

Ed: Hey.

HE SMILES AT HER AND SITS AT HIS DESK, PLACING THE FOOD BETWEEN THEM.

Kelly: Oh, oh, this is great. You've been so nice to me.
Ed: Just trying to help you feel better. So, you doing ok here? I mean,
this can't be that exciting.
Kelly; Oh, no that's ok. It's just, I mean, I'm kind of afraid to be alone
right now.

ED DROPS SOMETHING FROM THE TAKE-OUT BAG ONTO THE FLOOR.

Ed: Dammit!

ED BENDS TO PICK UP WHAT HE DROPPED AS KELLY STANDS UP QUICKLY,
MISUNDERSTANDING.

Kelly: Do you want me to leave?
Ed: NO! No, no, no, no, no, no. (SERIOUSLY, I COUNTED.)
Kelly: (defensively) 'Cause if I'm in the way, you know, I can find
someplace else to stay.
Ed: Kelly. It is perfectly fine for you to crash on my couch till you get
it together. Really.
Kelly: Ok.
Ed: Ok.

HE SMILES AT HER AND SHE SITS AND RETURNS THE SMILE.

Ed: Now, how 'bout some food, huh?
Kelly: (with a disgusted look on her face) No, none for me, thank you.
I've been kind of, uh, sick to my stomach lately.
Ed: Ok. Uh, well, it's here when you want it. So.
Kelly: (looking at the food in horror) Thanks.

NEXT SCENE

A CAR PULLS UP INTO A BRUSH-FILLED LOT. IT IS SLOAN'S CAR. SLOAN AND TOM
GET OUT. TOM HAS A PAIR OF BINOCULARS IN HIS HAND.

Sloan: (reading from a small notebook) This place was rented two months
ago. The agent's description of the man matches the description of Lewis.
Cash deal.

THEY MAKE THEIR WAY THROUGH THE BRUSH, CROUCHING LOW TO KEEP OUT OF SIGHT.
THEY PAUSE AND LOOK DOWN ON AN ENORMOUS HOUSE. TOM LIFTS THE BINOCULARS AND
SURVEYS THE HOUSE.

Sloan: What do you think?
Tom: This is the place.

NEXT SCENE

AT THE POLICE STATION. LT. QUINN WALKS THROUGH THE DOORS AND APPROACHES RAY,
WHO IS SEATED AT HIS DESK WORKING. QUINN SITS.

Quinn: (pained) Ray, we been friends for a long time. So I think we can
just get right to it. I can't condone what you've been doing these past few
weeks.

RAY STARTS TO OBJECT.

Quinn: Mostly because I don't understand it.
Ray: You don't understand the threat.
Quinn: What threat?
Ray: That girl we found. The suicide? It's all a set-up. I mean, she had
nothing to do with the murder of that reporter. God!

RAY SMACKS THE DESK WITH HIS HAND.

Ray: Why won't you people listen to me?
Quinn: Because you sound like a crazy man. I'm afraid I'm gonna have to ask
you for your badge, and your gun.

RAY LOOKS AT HIM, THEN STANDS AND REMOVES HIS BADGE AND GUN FROM HIS BELT.

Ray: You're making a big mistake, Quinn. You have no idea what you're doing.

RAY GETS HIS COAT AND LEAVES THE OFFICE.

Quinn: Yeah. Yeah I do.

NEXT SCENE

NIGHTTIME AT THE ENORMOUS HOUSE. LIGHTS ILLUMINATE THE BUILDING. TOM AND
SLOAN ARE CROUCHED IN THE BRUSH ON THE HILL ABOVE. CRICKETS CHIRP.

Tom: There's a car.

SLOAN LOOKS AT THE VEHICLE APPROACHING THE HOUSE. THE CAR PARKS IN THE
DRIVE. TOM LIFTS HIS BINOCULARS AND USES THE NIGHT VISION LENS TO PEER DOWN
AT THE CAR. LEWIS GETS OUT OF THE DRIVER'S SIDE AND LISA EMERGES FROM THE
PASSENGER SIDE.

Sloan: (voiceover, as we watch the duo walk from the car) Is that him?

TOM LOWERS THE BINOCULARS. HE HAS A VERY INTENSE LOOK ON HIS FACE.

Tom: That's Lewis.

NEXT SCENE

TOM AND SLOAN IN THE BRUSH ABOVE THE ENORMOUS HOUSE. DOWN BELOW WE SEE LISA
CLOSE THE HUGE FRONT DOOR BEHIND HER AND WALK OVER TO THE CAR. SLOAN LOOKS
AT THE SCENE THROUGH THE NIGHT LENS BINOCULARS.

Sloan: She's leaving.
Tom: Alright.

SLOAN LOWERS THE BINOCULARS AND BOWS HER HEAD.

Tom: You stay here.
Sloan: What exactly do you plan on doing with him?
Tom: The police aren't going to do anything with him. There's no evidence
he committed any crime. He'll just be released if he's brought in.
Sloan: You cannot just kill him.
Tom: I'll do what I have to do.
Sloan: You have got to put your past with Lewis behind you. We're not here
for revenge.
Tom: You're right. We're here for survival.
Sloan: He's gonna know you're coming.
Tom: Maybe not. I thought about what you said. About how I couldn't sense
Roger's killer at the press conference. Now, if she can mask herself there's
no reason I can't do it as well.
Sloan: That's a great theory, but you've never tested it.
Tom: Didn't you ever do a field test?

SLOAN GIVES A RESIGNED CHUCKLE.

Tom: I'll be alright.

SLOAN NODS AND TOM WALKS OUT OF THE BRUSH AND DOWN THE HILL, GUN DRAWN.
SLOAN OBSERVES HIM THROUGH THE NIGHT LENSES. TOM PAUSES AT THE CORNER OF THE
HOUSE, AND PEERS AROUND IT. HE ENTERS THROUGH FRENCH DOORS INTO THE DARKENED
KITCHEN. OPERA MUSIC IS PLAYING AND A LIGHT SHINES IN THE NEXT ROOM.
CUT TO LEWIS, SEATED AT A TABLE, TYPING ON A LAPTOP COMPUTER.
CUT BACK TO TOM, CROSSING THE MARBLE FOYER AND ASCENDING THE STAIRS. (THOSE
BLACK PANTS AREN'T BAD.)
CUT TO SLOAN OUTSIDE AS SHE LIFTS THE BINOCULARS AND THROUGH THE WINDOW ABOVE
THE DOOR WATCHES TOM CLIMB THE STAIRS. (YOU KNOW SHE'S CHECKING OUT HIS
PACKAGE.) TOM REACHES THE LANDING AND WE CUT BACK TO SLOAN, STILL CHECKING
OUT HIS HINDER IN HER NIGHT VISION BINOCS. SLOAN PUTS THE BINOCULARS DOWN IN
FRUSTRATION. TOM HAS STEPPED OUT OF VIEW AND SHE CAN NO LONGER SEE HIS REAR.
(AM I PROJECTING?)
CUT BACK TO TOM, SLOWLY WALKING DOWN A HALL, GUN RAISED. HE SEES LEWIS
THROUGH A CRACK IN THE DOOR.
CUT TO LEWIS, WHO'S EYES FLICK AWAY FROM HIS COMPUTER SCREEN. HE KNOWS TOM
IS COMING. TOM ENTERS THE ROOM AND TRAINS HIS GUN ON LEWIS.

Lewis: What took you so long? Did you think you could learn to mask
yourself so easily?

TOM IS SLOWLY MANEUVERING HIMSELF TO A POSITION IN FRONT OF LEWIS.

Lewis: It took Lisa months, and that was with my help.
Tom: I don't need you.
Lewis: Obviously you do. I knew you were on that hill an hour ago. How
does it feel to betray me, Tom?
Tom: Doesn't feel like betrayal Lewis. Not anymore.
Lewis: Because of her? Is Dr. Parker really worth it?
Tom: Yes.
Lewis: Interesting.

CUT TO OUTSIDE. SLOAN SEES A BMW PULL UP THE DRIVE. LISA IS BACK. (HAVE WE
NOTICED THE GOOD GUYS DRIVE AMERICAN AND THE BADDIES DRIVE FOREIGN?) SLOAN
LEAPS UP AND RACES DOWN THE HILL TO THE ENORMOUS HOUSE. (AND FOR ONCE, SLOAN
IS RUNNING AND MANAGES NOT TO FALL! YEA!!)
CUT BACK TO LEWIS' OFFICE ROOM. TOM HAS THE GUN AIMED AT LEWIS' CHEST.

Lewis: You realize of course it's only a matter of time before you come back
to us.
Tom: Stand up and move away from the table.

LEWIS SMILES.

Lewis: So now what? Going to arrest me?
Tom: No. I'm gonna stop you.

LEWIS SUDDENLY BOLTS UP FROM THE TABLE AND PINS TOM TO THE WALL. TOM THROWS
SOME ELBOWS INTO LEWIS' BACK AND POUNDS HIM TO THE FLOOR. TOM GIVES LEWIS A
KICK AND THE OLDER MAN GOES ROLLING OVER THE FLOOR. TOM STANDS GUARD ABOVE
HIM, GUN POINTED AT LEWIS' HEAD. JUST THEN LISA ENTERS THE ROOM. TOM TURNS
TO LOOK, AND THAT MEANIE LEWIS KICKS HIS KNEES OUT FROM UNDER HIM, CAUSING
TOM TO BANG HIS HEAD ON THE WALL AND LET THE GUN GO FLYING AS HE FALLS. TOM
IS SPRAWLED ON HIS STOMACH, DAZED. LISA FLASHES ON AN IMAGE OF SLOAN
ROUNDING THE CORNER OF THE HOUSE.

Lisa: (to Lewis as she pulls him off the floor) Go! Get out of here.
There might be others.

TOM GROANS, STILL TRYING TO RECOVER AS LEWIS GRABS THE LAPTOP AND SPRINGS
FROM THE ROOM, OUT ONTO THE BALCONY. HE HOPS OVER THE RAILING TO SAFETY
BELOW. LISA ADVANCES ON TOM, PULLING HIM TO A SITTING POSITION.

Lisa: Lewis told me so much about you.

SLOAN APPEARS IN THE DOORWAY. SHE GRABS THE GUN BEFORE LISA CAN GET TO IT.
SHE AIMS IT AT THE BLONDE WOMAN.

Sloan: Stop.

TOM GRABS LISA AND PUSHES HER TO THE FLOOR. HE WRAPS HIS FINGERS AROUND HER
NECK AND GLARES AT THE BLONDE WOMAN AS BLOOD RUNS DOWN HIS RIGHT TEMPLE.
SLOAN STANDS NERVOUSLY AND HURRIES OVER TO TOM.

Sloan: Tom! Don't!

TOM CONTINUES STRANGLING LISA, A FEROCIOUS LOOK ON HIS FACE.

Sloan: Don't! Please!

TOM LOOKS OVER AT SLOAN, THE DESPERATION IN HER VOICE PENETRATING HIS
MURDEROUS HAZE. HE LEANS DOWN TO LISA AND SPEAKS SOFTLY TO THE GASPING WOMAN.

Tom: I'm no longer like you.

HE RELEASES HIS GRIP ON HER NECK AND LOOKS AROUND, A BIT DAZED.

NEXT SCENE

AT RAY'S HOUSE. RAY OPENS THE DOOR AND LETS ATTWOOD IN.

Attwood: Thank you for seeing me, Detective Peterson.
Ray: Oh, I'm afraid I no longer go by that title.
Attwood: So I've heard. That's why I thought we should talk.
Ray. Okay.

RAY MOTIONS FOR ATTWOOD TO SIT AND DOES SO HIMSELF.

Attwood: I'll get right to the point. I'm here to offer you an opportunity
to serve your country.
Ray: I'm a little old to join the Marines.
Attwood: But not too old to join our team.
Ray: Exactly who's team is that, Dr. Attwood?
Attwood: I'm sure you've had your suspicions. And I'm also sure they're
accurate.
Ray: (snickering) So, what's the job?

NEXT SCENE

LEWIS IN HIS BMW. HE'S SPEAKING ON A CELL PHONE AS HE LOOKS AT HIS COMPUTER
PERCHED ON THE PASSENGER SEAT.

Lewis: You don't have to worry about Tom.

THE COMPUTER SCREEN LOADS WITH A FILE ON TOM.

Lewis: Because everything is under control. You just tell them to stay off
my back. I'll file a report when I see fit. Patience. Without it we shall
never succeed.

HE HANGS UP THE PHONE.

NEXT SCENE

AT THE BIO LAB. KELLY SITS ON THE FLOOR IN THE CORNER OF ED'S OFFICE,
SOBBING. ED SEES HER POUNDING HER HEAD BACK AGAINST THE WALL AND RUSHES TO
HER. HE HOLDS HER AS SHE CONTINUES TO SOB.