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Episode Two

Text Only Version

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. ITíS TOM.

Tom: Do you want to die?

NEXT SCENE
INSIDE TOMíS HOUSE, IN THE ROOM WITH THE PALLET. TOM IS AT THE WINDOW, AND SLOAN IS RIGHT INSIDE THE DOOR.

Tom: You shouldnít 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 didnít. Why?
Tom: (exhaling) It doesnít 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: Itís 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 itíll get you killed. I donít wanna see that.
Sloan: I canít. I have to know.
Tom: I canít 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. Heís 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 donít know. I think he kind of likes me.
Ed: (flustered) And thatís supposed to be a good thing?!?
Sloan: Hey, weíve gotta use what weíve got. You know that as well as I do. I mean if I can get him to answer even one of these questions itíll 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 donít we try one of the other five we discovered; you know, maybe we could get something from them?
Sloan: What makes you think theyíd 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 SLOANíS DOOR.
Attwood: May I come in?
Sloan: Of course.

HE ENTERS.
Attwood: I couldnít help, uh, overhearing. I, uh, trust your visit to Lynch is about science. Not revenge?
Sloan: I know he didnít kill Ann. I mean, I Ďm 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: Iím 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: Youíre 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: Doesnít have to be that way. You answer my questions, Iíll 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: Iíve been sentenced to death. Itís a little late for salvation, donít you think?
Sloan: The thought never crossed my mind. But itís possible, if you cooperate, your execution could be stayed.
Lynch: My, my. How quickly youíve 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 Coulterís life? Pain as flesh tears from muscle. Muscle from bone--
Sloan: Stop it.
Lynch: What goes through oneís 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 SLOANíS QUESTIONNAIRE OFF THE TABLE WITH A SWEEP OF HIS HANDS. THE GUARDS RUSH FORWARD TO RESTRAIN HIM.
First Guard: Letís 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, itís all in the wrist.
Blonde: Thatís so true. (more giggling) You donít seem like a scientist.
Ed: Really? What do I seem like?
Blonde: I donít know. A lifeguard?
Ed: (laughing) I donít think my parents would consider hat a good use of my doctorate. Or my M.D.
Blonde: (incredulous)Youíre a doctor, too?
Ed: You know, I think I couldíve hacked it, if it wasnít for the sick people. Guess Iím not a people guy.
Blonde: Well, maybe itís because youíve 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. Howíd 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 weíll get our hands on whatís 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 canít come by here.

SHE TURNS TO GO AND ED GRABS HER ARM, HALTING HER.
Ed: Sloan, Sloan come on. Donít let this thing eat you up. If evolutionary theory has any merit nothingís 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, youíre right. Come on. Iím sure even Darwin took time off for a burger and a beer.
Sloan: Thanks, I just donít--
Ed: I know whatíll cheer you. Talk to my friend.

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

Sloan: Whatís her name?
Ed: Actually, Iím not quite sure.
Sloan: Yeah, and I bet youíd like to keep it that way!

HE PUTS HIS ARM AROUND HER AS THEY WALK OVER TO THE BARBECUE.
Ed: Relax Sloan, sheís cookiní burgers, not having my children.

NEXT SCENE
SLOANíS 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 DONíT THINK IíD BE ANGRY. HEL-LO SLOAN?!?)

TOM RISES FROM THE CHAIR.
Tom: You shouldnít have talked to Lynch.
Sloan: Yeah, well, you werenít around to ask for advice.
Tom: Iím serious. Did he tell you anything?
Sloan: No. Same as you.
Tom: Iím trying to help you Sloan.
Sloan: Yeah, well, you canít have it both ways, Tom. You canít help me and protect your own at the same time.
Tom: Iím giving you all I can.
Sloan: Youíre giving me NOTHING. Do you know how hard it is, not to tell everyone who you are? I havenít even told Ed.
Tom: That would be a mistake.
Sloan: Not telling hasnít gotten me anywhere.

HE WALKS AROUND TO HER.
Tom: Iím still here, arenít 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 arenít 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 theyíre all criminals? And they say it comes from upbringing.

THEY ENTER RAYíS OFFICE.

Sloan: I think one of them could be responsible for Annís 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 weíre 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 havenít 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 DOESNíT SIT.
Lynch: Who are you?
Attwood: Thatís 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 Iím here. I thought you might be more forthcoming with me.
Lynch: I donít think so.
Attwood: ĎFraid 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. HEíS OUT. ATTWOOD SMILES SMUGLY.



NEXT SCENE
RAY AND SLOAN ENTER A SEEDY APARTMENT BUILDING.

Ray: Suspect number one on the list. Letís hope heís 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: ĎScuse me.
Woman: I donít 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. Whatís he done?
Ray: You really wanna know?
Woman: (shaking her head) No. Two-elevenís never been a problem. You sure thatís the one you want? I got rooms to choose from, let me tell you.

SHE HANDS RAY THE KEY.
Ray: Oh, heíll 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, Iím 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: Nobodyís here.

HE GESTURES TO THE PALLET.
Ray: What the hell is this?
Sloan: I havenít gotten that far.
Ray: Okay. The guyís jacket said he was a regular with his parole officer.

HE GESTURES TO THE PALLET AGAIN.
Ray: This ainít regular.

SLOAN LOOKS ABOUT THE ROOM.
Sloan: Nothing in the closet. No food.
Ray: Something mustíve 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) Itís obvious.
Ray: Not to me. Iíll call Forensics. Maybe he left a bread crumb.

RAY GETS HIS CELL PHONE OUT AND TURNS IT ON.
Sloan: Donít bother. He didnít.

RAY TURNS AND WALKS OUT INTO THE HALLWAY.
Ray: (on the phone) This is Peterson. Iím 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 equipmentís 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. ITíS DAYTIME. SPRINKLERS SPRAY WATER IN ARCHES OVER THE GREEN LAWN.

Ray: ĎKay, suspect number two lit out just like the first guy and number three escaped Folsom and hasnít been seen for months.
Sloan: Well Four was executed. His body had to be somewhere.
Ray: Well, youíd think. It was cremated then claimed by relatives. No trace of them. In fact, thereís 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.
HEíS 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 LYNCHíS 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. LYNCHíS HEAD FALLS LIMPLY FORWARD. ATTWOOD PASSES A ROUND RING AROUND LYNCHíS HEAD AS WE HEAR TECHNOLOGICAL BUZZING FROM THE DEVICE. ON A COMPUTER SCREEN IS A PICTURE OF LYNCHíS 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 LYNCHíS 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 OíHare.

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 Iím 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 Iíll accept full responsibility.
Ray: And how did you manage to march all that equipment in here anyway?
Sloan: Some of this equipment isnít even from our lab.
Attwood: (tersely to Sloan) A lot of itís on loan.
Sloan: (confused) But, some of it doesnít even exist.
Attwood: Why donít you take a look at this data, Sloan?

HE HANDS HER THE PAPERS HE WAS LOOKING AT.
Attwood: Itís what you wanted, isnít 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 LYNCHíS PUPIL AND IRIS. A WHITE FILM COVERS THEM INSTEAD. SUDDENLY LYNCHíS ARM TEARS FROM ITíS RESTRAINT AND FASTENS ITSELF TO THE DOCTORíS 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. HEíS 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 MENíS 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. HEíS FREE.

Part Two


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