Episode Two
Discovery
Part One
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 Folsom 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.
Part Two
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