Episode Eleven

Text Only Version

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.

Part Two

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