Diana
Previously on the 4400:
Richard
(entering his apartment and seeing Lily lying on the floor) Lily! Are you all right? (seeing Lily aged, he doesn’t recognize her) Where’s my wife?
Lily
What are you talking about?
Kevin
(in his laboratory) Mr. Tyler, when your wife fainted this morning, she was a young woman. When she woke up less than a minute later, she was fifty years older?
Isabelle
(standing just inside Lily’s apartment) Are you my mother?
Lily
(later in the episode) Richard, I’m dying.
Matthew
(to Isabelle) I understand there was an incident this morning. [referring to her jumping off the roof] You attempted to harm yourself. (he slaps her) You had no right to do that! Don’t you understand who you are? What you’re here to do?
Kevin
(in his apartment/laboratory) I’m injecting myself with a modified version of the promicin serum. I will have taught my body how to produce promicin, and then I will be the first non-returnee to develop 4400 abilities.
Nina
(talking over a scene of Tom chasing Kim) That was T. J. Kim running from the courthouse.
Tom
(drawing his w*apon) Stop!
Garrity
When she hit this place, T. J. drove every man in the building into a homicidal rage.
Diana
Ever since we took them off the inhibitor, they’re either developing new abilities, or they’re refining the ones that they’ve got.
Garrity
So, they are getting more dangerous.
T. J. Kim
(to Shawn) You saved my life. I owe you. (she is sh*t by an NTAC agent) You sold us out.
Shawn
I don’t guess we’ll be seeing her in court any time soon.
Tom
(to Shawn) You okay?
Man
(disguised voice over transmission) This is a message from the Nova Group. We are the defensive wing of the 4400. Today the world has seen what happens to those who try to harm us. A new era dawns.
(scene change: in NTAC, Tom enters a restricted area)
Tom
(to a guard) Hi. (he turns over his w*apon)
Ian
Need your auxiliary rounds as well, Agent Baldwin.
Tom
Oh, yeah. Of course. I forgot, Ian.
Ian
Thanks. You can go on in.
Tom
Great. (he enters an interrogation room) Hi, T. J.
T. J.
(defensively) What do you want?
(scene change: Diana enters Kevin’s apartment, which is very dark)
Diana
Dr. Burkhoff? I have your prescriptions. (no answer) Hello? Say something if you’re here. (she turns on a table lamp.
Kevin
(covering up his face with a blanket) Don’t! Please. (Diana turns off the light) I’ve been having migraines.
Diana
How severe?
Kevin
Bad enough. Don’t worry. They’re just headaches. I’ve been getting them for years. (an alarm clock beeps; Diana checks it out) Seven forty-five. You’re just in time for my wake-up call. (he climbs off the couch and heads for a table)
Diana
These promicin sh*ts: how many a day are you up to now? (she sits down at the table)
Kevin
(sitting down opposite Diana) Six.
Diana
You’ve doubled your dosage? (Kevin lifts a tray of vials) I thought you weren’t going to do that without talking to me.
Kevin
We’re talking now. Look. I’m training my body to produce a new neurotransmitter. And, I guarantee you I’m not the only one trying. The moment the first 4400 manifested an ability, an arms race began. Someone is going to produce a promicin serum that will cause non-4400s to develop extraordinary abilities. It will happen. The only questions are: who’s going to do it and who’s going to control it.
Diana
Hopefully someone with a highly developed sense of responsibility—(pauses as she gets up to get some water)—and some judgment.
Kevin
Let me ask you a question. Do you meet people like that in your day-to-day affairs? Do a lot of them hold high-ranking government posts or sit on the board of giant pharmaceutical companies?
Diana
(reseated) Dr. Burkhoff, I knew that you had some personality quirks, but I never pegged you for a cynic.
Kevin
Well, I can’t afford to have a charitable view of human nature. There’s too much at stake here. If these experiments cost me some headaches—some sores—I’d say that’s a price worth paying. Wouldn’t you?
Diana
I’m here, right?
(scene change: Isabelle steps into a lake and tries to drown herself; a boater sees her and rescues her.)
Boater
(taken aback when Isabelle looks up at him) Holy mother!
(scene change: in the interrogation cell)
T. J.
Why are we doing this? Everything I’m telling you: it’s all in my file. You know it already.
Tom
Relax, T. J. I just think it’s important we review everything you’ve told the government so far. (looks up) Have we?
T. J.
Yes. I keep telling you: that’s everything I know.
Tom
(smiles cunningly) Okay. Thanks for your cooperation. We’re just trying to consolidate information. You’d be amazed how hard that can be in a bureaucracy. (he is busy with something under the table)
T. J.
Yeah, well—I hope you don’t expect me to say: “You’re welcome.” (becomes suspicious) What are you doing?
Tom
(holds up a w*apon) Hmm? What? This? It’s nothing. I’m just wrapping up the interview (stands up abruptly and puts a b*llet in T. J.’s head; he cleans the w*apon of fingerprints and places it on the table; he picks up T. J.’s file and exits)
(scene change: NTAC; agents are preparing to move out)
Nina
(to Diana) Get geared up. We’re leaving in two minutes.
Diana
What for? What’s going on?
Nina
You’re partner registered to see T. J. Kim this morning. When Tom left the interview room, T. J. was dead.
Diana
What?
Nina
Two g*nsh*t wounds to the head. Apparently, Tom snuck a small firearm into the interrogation room. By the time the guard went into the room and found T. J.’s body, Tom had already left the building. We’re going to pick him up right now.
Diana
Wait. Wait! This is Tom we’re talking about here. I mean, there’s got to be some explanation. Now, maybe T. J. used her ability on him.
Nina
No. She had concentrated promicin inhibitor pumping through her veins. And, we’ve tried to contact Tom, but he hasn’t been picking up his phone. We need to get him in here and figure out what happened.
Diana
Okay. But just let me talk to him first. He trusts me. (Nina looks skeptical) Now, this is Tom. Come on. We owe him that much.
Nina
(nods reluctantly) Yeah. Okay.
(scene change: at the lake; police are investigating; Isabelle is sitting, wrapped in a blanket)
Isabelle
I wasn’t trying to drown myself. I don’t even know if I could.
Shawn
Okay. Isabelle, I just thought that after everything that happened with Lily that—
Isabelle
Shawn, this has nothing to do with my mother. I was teaching myself to swim.
Shawn
(incredulous) In your clothes?
Isabelle
Well, I never wore a bathing suit before. I didn’t know what to get. And, I’m too old to ask for help. It’s embarrassing not knowing how to swim.
Shawn
Everybody’s got to learn sometime, Isabelle. (he sits down on the bench beside her) I learned when I was a kid.
Isabelle
But I never was a kid. That’s why I never learned how to swim or how to drive or ever went out on a date. I keep reading about all these—(pause)—rites of passage.
Shawn
Like stuff everyone goes through before they grow up? Yeah?
Isabelle
Yeah. But I am grown up, and I missed out on all of it. It’s not fair. I’ve gotta catch up; so, I made a list.
Shawn
A list? That’s pretty organized. Well, Isabelle, there’s a pool at the Center. I could probably teach you the basics.
Isabelle
Really? (Shawn grunts assent) Thanks, Shawn.
(scene change: Richard’s apartment; he packs up Lily’s ashes)
Isabelle
Dad? How old were you when you learned how to swim?
Richard
Huh. Oh—uh—about eleven, I guess. Why? You want me to teach you?
Isabelle
That’s okay. Shawn said he’d do it. (she sits down on the bed)
Richard
Oh, he did, did he? Well, just make sure he doesn’t throw you in the deep end right away. That’s what my grandmother did to me. Look—uh—Isabelle, I’m gonna be gone overnight. If you need anything, see Shawn.
Isabelle
Where are you going?
Richard
I’m going to take your mother home. I’m putting her to rest.
Isabelle
Well, can I come with you?
Richard
I don’t think so. Flying and—uh—to tell you the truth, I don’t think you’re ready to be away from the Center yet.
Isabelle
You want to be alone with her when you say goodbye, don’t you?
Richard
Yeah. I guess I do.
(scene change: Tom’s home; in the shower)
Diana
(enters the bathroom) Tom.
Tom
(shocked) Oh! God! You scared the hell out of me, Diana. What are you doing here? Why is your g*n out? What the hell is going on?
Diana
Jarvis is on her way over. She’s got everyone with her. You need to come in.
Tom
Why? What are you talking about?
Diana
You sh*t T. J. Kim this morning.
Tom
What?
Diana
You don’t remember?
Tom
Don’t remember? I didn’t sh**t anybody. I’ve been here all morning.
Diana
Can someone confirm that?
Tom
No. No. I was supposed to have a conference call with Kyle’s attorneys. They cancelled, though. Look. I took a half a personal day, Diana. I went jogging. I wasn’t—wasn’t at work.
Diana
You got to stop saying that, because two dozen people saw you there. Now, I don’t know what’s going on. Maybe you’re blacking out like Kyle did. Maybe it’s like some 4400 ability. I mean, I don’t know. But you gotta come in.
Tom
And what happens if I do? I get arrested for m*rder?
Diana
You know, we’ll figure it out, okay? Everyone wants to help you. You just—you just have to come in.
Tom
You mind if I get dressed first?
Diana
Sure. (she closes the bathroom door and begins talking while pacing in the bedroom) Are you sure you remember everything you did this morning? Like, there’s no time gaps or anything? You didn’t take a nap? ‘Cause, Tom? Tom? (she quickly enters the bathroom to see the window open: Tom has left) Damn it! (she unholsters her w*apon and runs outside)
(scene change: as Tom drives away, Boyd Gelder [disappeared March 3, 2000] makes a phone call)
Boyd
Yeah. Hi. It’s me. He got away. I—I don’t know how. They only sent one agent after him. Look. Sorry. He got away. What? No way. He’s an NTAC agent. They’ll be expecting that. Okay. You’re right. This has to happen. I’ll do it.
(scene change: NTAC)
Diana
I was letting him get dressed. I didn’t think he would jump from a second-story window.
Nina
Well, obviously you underestimated your partner’s resolve. What—does he still seem blameless to you?
Diana
I don’t know. Look. It was a really bad call, and I take full responsibility.
Nina
I’ve alerted local law enforcement, the FBI. I’ve told them that Tom is wanted for questioning in connection with a m*rder. He’s a fugitive now. Oh, don’t give me that look, Diana. I had no choice.
Diana
(goes to answer her cell phone) Sorry. (to Nina) It’s Tom.
Nina
Yeah.
Diana
(on the phone) Tom?
Tom
Sorry I ran out on you.
Diana
Where are you?
Tom
(while driving) I didn’t k*ll T. J. I didn’t k*ll anyone.
Diana
I believe you. But you have to come in, and we can figure out what’s going on.
Tom
No. I’m not going to jail.
Diana
No one’s going to put you in prison.
Tom
They did it to my son, Diana. Was it really him that pulled the trigger the day Jordan Collier d*ed? No, it wasn’t, was it? It was the thing inside him. What happened to Kyle? He was incarcerated.
Diana
You’re a fugitive, Tom. Everyone in Washington is looking for you. Some local cop wants to be a hero, spots you—you know how these things can end.
Tom
It’s gonna end when we have proof I didn’t do this. Look. Dig around, Diana. There’s got to be some evidence that will clear me. Just (pause) help me find it. (he hangs up)
Nina
(to Diana) Did he give you a location? (Diana shakes her head; she sighs and walks away)
(scene change: in the Theory Room; Marco is looking at papers and trying to figure something out)
Diana
(entering) Marco, help me out here. If you were trying to prove that your partner didn’t commit a crime that the whole world thinks he did, where would you start?
Marco
Well, I guess I’d start by pretending that my partner wasn’t involved. (he writes something on his board) Okay. Just think of it like any other case. I mean, what’s the first thing you do when you start?
Diana
Well, look at the evidence. I mean, there’s a dead body; there’s the g*n that Tom left behind; and, there’s a bunch of people that saw him here.
Marco
Well, they’ve got security cameras down in the detention ward, right?
(scene change: detention center)
Man
(to Diana and Marco) You’re serious? You’re really asking me for all that footage?
Diana
(as Marco nods his head) Of course I’m serious. Is that a problem?
Man
Well, it’s just—I gave all the tapes to him, like an hour ago. (he indicates Marco)
Marco
Whoa! What are you talking about? I haven’t been up here all day.
Man
What is this? A joke? Marco, come on! You were just here. You signed for all the footage from the detention ward. (Marco and Diana share an incredulous look)
(scene change: 4400 Center; the pool)
Isabelle
This isn’t so hard.
Shawn
That’s because I haven’t let go yet. All right. I’m gonna move my hands. Are you ready?
Isabelle
No. Not yet. I’m kind of comfortable.
Shawn
You’re kind of comfortable? I’m freezing. I don’t know what’s going on. This pool’s supposed to be heated.
Isabelle
You want me to make it warmer?
Shawn
You can do that?
Isabelle
I think so. Hold on. (the water temperature rises)
Shawn
How did you do that?
Isabelle
I don’t know. How do you heal?
Shawn
It’s not the same, Isabelle. Healing’s one thing. That’s what we can all do: one thing.
Isabelle
Not me. I guess I’m different.
Matthew
(calling) Shawn. Sorry to barge in. We’re scheduled to brief the Board of Directors.
Shawn
That’s starting now?
Matthew
Five minutes ago. They’re on hold. (as Shawn exits, Matthew looks displeased)
(scene change: Alana’s art gallery; Alana appears as if to begin closing up)
Tom
(whispering) Alana. (he motions for her to come to him)
Alana
Thomas. What are you doing here?
Tom
Shh. I’m in trouble. My bosses at NTAC: they—they think I did something. I need you to come with me.
Alana
What are you talking about?
Tom
I don’t have time to explain. (he grabs her)
Alana
(she pulls away; sharply) Thomas! (she answers her cell phone) Hello?
Tom
(on the cell phone, walking down the street) Alana. I’m right down the street. I need you to come meet me. Honey, I’m in trouble. Everyone thinks I k*lled somebody.
Alana
Who is this? I know it’s not Thomas.
Tom
(cell phone) What are you talking about?
Alana
I’m looking at Thomas right now.
Tom
(cell phone) Honey, listen. That’s not me. (he starts to quicken his pace) The man you’re looking at: he can impersonate me somehow.
Alana
I don’t believe you.
Tom
(cell phone) He walked into NTAC, and he sh*t someone this morning. Alana, he’s dangerous. Get away from him. Alana, listen to me. Your mother’s middle name is Madeleine. You wanted a dog when you were a kid, but your parents gave you a bird instead: a parakeet named Charlie. Listen. We made love last night. There were two candles burning. Just hold on. I’ll be right there.
Alana
(hangs up and questions the other Tom) Did I have a dog when I was a girl? (the other Tom grabs her)
Tom
I don’t have time for this.
Alana
What are you doing?
Man
What’s going on, Tom? (as the real Tom enters the gallery, the pseudo Tom runs)
Tom
(to Alana) Are you all right?
Alana
Yes.
Tom
Where is he?
Alana
He just ran through the back. (Tom gives chase, but all he sees is Boyd)
Tom
Hey! Did you see a guy come down this alley? He looked exactly like me.
Boyd
I didn’t see anybody.
Tom
Are you sure? (Boyd walks away; Alana and her helper run up to him) He’s gone.
Alana
Who?
Tom
He’s gone.
Alana
What do you mean? He just ran out a few seconds ago.
Tom
There was no one here. Just some kid. (realizes) It was him. It had to be. I had him. I had him.
Alana
Had who? What kid are you talking about?
Tom
The one who’s impersonating me. The guy who’s framing me for m*rder.
Alana
He looked like you. He sounded like you. He was standing as close as you are to me right now, and he had me completely fooled.
Tom
Don’t feel bad. He fooled everyone at NTAC, too. At least we know what’s going on now.
Alana
He’s a 4400, isn’t he? Somehow, he can pass himself off as you.
Tom
Yeah. I’m not sure how. I mean, maybe he’s got some kind of optical camouflage. He can convince your brain you’re talking to whoever he wants you to see.
Alana
He’s a boy. Why would he want to k*ll anyone?
Tom
Not just anybody. T. J. Kim, the one member of the Nova Group we had in custody. I mean, think about it. It’s a good plan. You get rid of the one member of your cell who could testify against you; you compromise a government agent; and NTAC, the one agency that’s trying to hunt you down, is wasting their own time chasing one of their own.
Man
Alana! You might want to get in here. There’s all kinds of people flashing badges everywhere. They said they’re NTAC agents.
Tom
Look. Stall them. I want you to go home. Then I want you to lock the doors and don’t open it until this is all cleared up. If I need to get ahold of you, I’ll use a password.
Alana
How about “Death in Venice”?
Tom
You’re favorite book. That’s a good choice. (he kisses her)
(scene change: 4400 Center)
Tom
Listen, Shawn. Thanks for letting me come in here. I know it puts you at risk. I just didn’t know where else to go. Look. You guys must have a database of 4400s here, right?
Shawn
Yeah.
Tom
I need to get a look at it and find out who this kid is.
Shawn
Here. I can pull it up on my laptop for you.
Tom
This might take a while. You mind if I let myself out?
Shawn
That’s fine. (he activates a program on the computer) There you go. You know, Uncle Tommy, you can stay here if you want.
Tom
I might take you up on it.
Shawn
All right. But, hey! You get the couch. (they share a laugh)
Tom
(working on the computer) Okay.
(scene change: Kevin’s apartment)
Kevin
(overlooking his medical charts) Kidneys, huh? That explains the blood in the urine.
Diana
Kevin, we had a deal. I was going to help you through this as long as it wasn’t compromising your health. Well, guess what: I’m calling the hospital.
Kevin
But they won’t let me take my sh*ts.
Diana
Oh, no. You’re done with your sh*ts.
Kevin
I know we had an agreement, and I’ll honor it. Just let me show you something before you call.
Diana
(examining his fingernails) What happened to your fingernails?
Kevin
Uh, they fell off. Dissolved, you might say.
Diana
If you’re trying to change my mind, you’re not doing a very good—(she is shocked when Kevin stabs the back of his hand) Kevin! What the hell did you just do?
Kevin
(pulling the blade out of his hand and wiping the blood away) There!
Diana
Kevin, you’ve developed a 4400 ability.
Kevin
It’s getting there. It doesn’t always work.
Diana
You just put a scalpel through the back of your hand.
Kevin
I know. I was nervous about that.
(scene change: Shawn is trying to teach Isabelle how to drive)
Isabelle
This is fun to drive fast.
Shawn
(a little breathless) Yeah. (he exits the car)
Isabelle
I mean, all that information about compression rates and gear ratios just seems completely irrelevant.
Shawn
(walking around to the driver’s side) Well, you’re not driving home. Get out of there. (Isabelle is charged up) You’re lucky you didn’t wrap my car around a pole. Is there anything on this list of yours that involves—you know—a little less risk of bodily harm?
Isabelle
(exits the car and sits on the passenger seat) We could have sex. (Shawn is surprised) Come on. You have a big bed.
Shawn
Whoa. Isabelle. Hey—hey—uh—no.
Isabelle
Why? It’s on my list. It’s an important rite of passage into adulthood. It’ll be fun. I was good at driving.
Shawn
(getting into the car) I’m sure you’d catch on real quick. Uh, I don’t know. For one thing, your dad would k*ll me.
Isabelle
Why? I’m an adult.
Shawn
Well, you are, and you aren’t. Isabelle, let’s just say he has a right to have an opinion on the matter. (he buckles up) I don’t know, Isabelle. I feel like I’d be taking advantage of you.
Isabelle
But I want to.
Shawn
Well, I’m flattered. I really am. But, I just don’t think you’re ready to make that decision. We barely know each other.
Isabelle
I know you better than I know anyone else in the world.
Shawn
(starts the car) That may be true. It’s still not gonna happen.
(scene change: 4400 Center; Shawn pushes the elevator button)
Matthew
(walks up beside Shawn) Lessons with Isabelle going well?
Shawn
They’re not lessons, and it’s completely innocent. Do me a favor, and don’t ask about them again. (they enter the elevator)
(scene change: NTAC)
Diana
(rushing into her office and answering the phone) This is Skouris.
Tom
(walking down a street) His name’s Boyd Gelder, Diana. He’s a 4400. I know where he lives.
Diana
Where who lives? Who’s Boyd Gelder?
Tom
The kid who’s doing this. He can imitate me somehow. And, not just imitating. He can be me. At least make you think he’s me. He lives with his mom. I’m in Schenley Park. It’s right by his house.
Diana
Well, can you wait for me? I’ll be fifteen minutes.
Tom
I’ll wait. But, Diana, just you.
Diana
Just me. (she hangs up)
Marco
(intercepting Diana) We just got here. Where you going?
Diana
Schenley Park. I think we caught a break on Tom’s case. (she strides away)
(scene change: Schenley Park; Diana exits her car and starts looking for Tom)
Diana
Tom! (Tom starts to walk away) Tom!
Tom
(finds two Dianas approaching him; one of them starts f*ring at him; after a short g*n battle, the real Tom and Diana give chase; children are playing in the park; Boyd has escaped)
Diana
I didn’t tell anybody, Tom. Just Marco. At least, I thought it was Marco.
Tom
I looked across the park. You were standing there. It was you. But it wasn’t.
Diana
Listen. Tell me about it. You weren’t the one actually chasing yourself across the park. I mean, I don’t really run like that, do I? It’s an amazing ability. Marco’s going to have a field day over this.
Tom
Good. Get him working on it. We’re gonna need a way to handle this guy when get him into custody.
Diana
Wait! Wait! No. You don’t need to skulk around anymore. You can come in with me now.
Tom
I’m still on the hook for m*rder, Diana.
Diana
No. You’re not. Boyd posed as you. He sh*t T. J. Kim. You’re not responsible. Listen. I just saw his abilities with my own eyes. That’s proof of something right there. I will back you up on everything you say.
Tom
Which means exactly nothing. I mean, thank you, Diana, but you’re my partner. Everyone expects you to stand up for me. There’s only one way to prove I didn’t k*ll T. J. Kim. I have to get Boyd Gelder.
Diana
Okay. Let’s go.
Tom
(a little frustrated) You sure you want to come?
Diana
I’m your partner. Everyone expects that I’ll stand up for you.
(scene change: in a motel room; Richard is on the phone)
Richard
I should be back by tonight. I’ve been taking my time, stopping off at all the places your mother liked. Everything okay? You been going to your doctors’ appointments?
Isabelle
Most of them.
Richard
Isabelle, we need to keep monitoring you.
Isabelle
I’m fine. Shawn’s taking good care of me just like you asked. He’s doing a really good job.
Richard
Oh yeah.
Isabelle
Yeah. He taught me the backstroke. He let me drive his car, and then I asked him to have sex with me, but he said “no.” He said you’d be angry if we do. Is that true?
Richard
(shocked) Isabelle, you’re too young to be thinking about (pause) that.
Isabelle
I am? But I thought I was almost twenty. How old were you when you lost your virginity?
Richard
(embarrassed) It was—things were a bit different in my day. It’s not the same.
Isabelle
It’s not? Why?
Richard
You know what, Isabelle? I’m not having this conversation with you over the phone.
Isabelle
So, Shawn was right. You are mad.
(scene change: in Gelder’s home)
Mrs. Gelder
I don’t understand. What does NTAC want to talk to my son for, anyway?
Tom
He’s in some trouble. We can’t discuss it. We just need to talk to him.
Mrs. Gelder
Well, he’s not here. He went away on a ski trip with some friends, and he won’t be back till tomorrow.
Diana
Ma’am, your son is not on a ski trip, and this is serious. Is there any way you can contact him?
Mrs. Gelder
First, tell me what’s going on. I mean, what is it you think my son did?
Diana
Mrs. Gelder, there are a lot of agents looking for Boyd. Situations like this can get very chaotic.
Tom
People get hurt. The sooner we get to your son, the safer he’ll be.
Diana
So, why don’t you call him and convince him you need to see him. (she hands her the phone)
(scene change: in a lot near a bridge; Diana and Tom sit in a car on a stakeout)
Diana
Boyd’s late. I wonder if he’ll even show.
Tom
Let’s just give it another few minutes.
Diana
Nice mom, nice house: makes you wonder. If the Nova Group can turn this kid, who else have they gotten to?
Tom
Everyone keeps telling the 4400 they’re here to save the world.
Diana
Whatever that means.
Tom
Exactly. I mean, say what you like about Nova, they do seem to have a game plan. I’m sure that helps the recruiting pitch.
Diana
(seeing two sedans speed by) Well, I’m just guessing, but I don’t think that’s Boyd.
Tom
How the hell did NTAC get here?
Diana
Maybe Boyd figured out it was a trap and tipped them off. (she starts the car and drives away)
(scene change: Tom’s apartment; Tom knocks on the door)
Alana
Thomas
Tom
Alana, open up.
Alana
What are you doing here? There are NTAC agents watching the house.
Tom
They just drove away. They must be changing shifts or something. Come one. Let me in. (Alana hesitates) Death in Venice, okay? Open up. (Alana hesitates) I don’t want anyone to see me. Come on.
Alana
(she moves to unlock the door) What did you do with your door key?
Tom
I lost it. I must have lost it while I was running around. Now, come on. It’s me. Tom. Alana. I gave you the password. (Alana refuses to open the door, so he breaks it down) Please don’t make me. I don’t have anything against you.
(scene change: in the car; Diana looks at the ringing cell phone)
Diana
Tom, says it’s your house.
Tom
(taking the phone) Alana.
Boyd
I just wrote a letter on your computer. You need to come sign it.
Tom
Boyd?
Boyd
It’s a confession. It says you cracked under the strain of the m*rder charges against your son. You sh*t T. J., and now you can’t live with it. So, you’ve decided to k*ll yourself.
Tom
Where’s Alana? What did you do?
Boyd
It’s my “Get out of jail free” card. See, you’re the only one who could identify me. Everyone else: they’ve just been seeing double. They’ll sound crazy.
Tom
I’m not signing a su1c1de note, Boyd. Put Alana on the phone.
Boyd
Oh, you’ll sign, ‘cause either I sh**t you—(pause)—or I sh**t her. It’s a trade. Your life for hers.
Diana
You know what? I don’t think I can let you do this, Tom. We need to call Jarvis. We need to block off the street. We need to surround your house.
Tom
He has Alana.
Diana
Tom, he wants to k*ll you. The least thing we can do is make it a little bit difficult for him.
Tom
If it was Maia in there, would you call Jarvis?
(scene change: 4400 Center; Isabelle opens a present from Matthew; it’s a bright green dress)
Matthew
You like it?
Isabelle
Why did you bring this to me?
Matthew
You’re a young woman. A young woman should have a nice dress. It’s gonna look good on you. See for yourself.
Isabelle
(she models it in front of a mirror) Thank you.
Matthew
I see you’ve been spending a lot of time with Shawn.
Isabelle
So?
Matthew
I think it’s wonderful. Shawn’s a very isolated young man. He doesn’t get to spend much time around people his own age. (he inappropriately touches her) I think you should get as close to him as you can. (he starts to exit)
Isabelle
Matthew? Shawn’s nice. What I’m doing with him is not for you, and it’s not because I’m trying to use him.
Matthew
(condescending) Of course not. But eventually, Isabelle, you and Shawn are going to be on opposite sides of a very large ideological divide. So, enjoy your friendship. But don’t let your emotions run too deep. If you do, it’ll make things more difficult later.
Isabelle
What things?
Matthew
You’ll know. (he holds the material of the dress up to her face) It doesn’t match your eyes. You should take care of that. (he leaves; Isabelle changes her eyes to a green color)
(scene change: graveyard; Lily’s grave)
Richard
You were a beautiful woman. Both of you. You looked exactly alike. I never could figure out why. One way or the other, I’ve had a Lily in my life for over fifty years. That’s all gone now, and I don’t know what I’m gonna do. But—uh—it makes me feel better knowing the two of you are together—(pause)—forever. (he pours Lily’s ashes onto her grandmother’s grave)
(scene change: in Tom’s house)
Alana
This is it for you, you know. I don’t know what kind of fairy tale the Nova Group sold you, but it doesn’t matter what happens to me or Tom. Your life is over. They sent you on a su1c1de mission.
Boyd
I volunteered, and I don’t think you’re in any spot to be giving me advice. You’re a 4400. You’re special. You’re supposed to be changing things. Instead, you live with an NTAC agent.
Alana
And, what are you going to change, Boyd? You k*lled a girl. How does that make the world better?
Boyd
T. J. Kim was a soldier. She’d rather have me put a b*llet in her head than betray us. Everyone talks about saving the world. Meanwhile, for the past fifty years, everything’s been turning bad. One disaster after another. But we’re gonna show the world a new way. We’re gonna take them down a new path, by force if we have to. Why can’t you see the real catastrophe is to sit back and do nothing? (he hears a noise) Did you hear that?
(Alana hits Boyd over the head with a vase, then runs into the kitchen where Tom is waiting; Tom pounces on Boyd; Alana picks up the w*apon, but she doesn’t know who to sh**t)
Alana
Stop it! Stop it, both of you! Stop, or I’ll sh**t.
Tom
Nice work, Alana. We got him.
Boyd
Shut up!
Tom
Alana, Death in Venice.
Boyd
Yeah. That’s the password. Come on, Alana. Give me the g*n. We’ll call NTAC. It’s over.
Tom
Alana, it’s me, Tom. Ask me any question. Anything.
Boyd
Don’t fall for it. He’s probably read my file. He knows everything about us. Don’t listen to him.
Tom
Ask me something about us. Something only I would know. Anything about us.
Alana
Shut up, both of you.
Boyd
Baby, I am so proud of you. Billy would have been proud of you.
Alana
You know about Billy?
Boyd
Yeah. That was your son.
Tom
He d*ed in a car accident. Alana, he did research. Anyone could find that out.
Boyd
Give me the g*n. Just give me—give me the g*n. Alana, give me the g*n.
Tom
No. Alana.
Boyd
(he is bleeding) Give me the g*n. Alana.
Alana
Get down on the ground.
Boyd
What? No, no. You’ve got the wrong one. Think about this.
Alana
I said, get down!
Tom
(subduing Boyd with handcuffs) It’s over, Boyd. Don’t move.
Alana
(seeing Boyd return to his natural shape) You’re just a boy.
Boyd
I’m a soldier. And, there are more of us every day.
Tom
(lifts Boyd to his feet) Let’s go, soldier. (he marches Boyd out of the house)
(scene change: 4400 Center; Richard knocks on Shawn’s room door)
Shawn
(opens the door) Hey. Welcome back.
Richard
Yeah, thanks.
Shawn
Everything go okay?
Richard
Yeah. Thank you. And, thank you for keeping an eye on Isabelle.
Shawn
Oh, well. It’s not a problem. Didn’t really do much. (he closes the door)
Richard
Yeah. Well, thank you, anyway. I worry about her.
Shawn
(seated) You don’t really need to. She seems to be getting along really well.
Richard
I’m her father. It’s my job. And, it’s harder with Isabelle. People see her: they see a woman. A beautiful woman. And they might forget that, inside, she’s just a little girl. (he smiles a little) Still, I’m glad she has you around—(pause)—to be a friend. (he shakes Shawn’s hand; he exits)
(scene change: Kevin’s apartment; Diana gives him an intravenous injection)
(scene change: Shawn’s apartment)
Isabelle
Shawn.
Shawn
(surprised) How did you get in here?
Isabelle
I can do stuff, remember?
Shawn
Yeah. So, what’s up? What do you need?
Isabelle
(she stands up from sitting on the table) Just one thing. (she walks up to him, nose-to-nose) It’s on my list. (she kisses him) First kiss.
Shawn
This isn’t smart, Isabelle.
Isabelle
Okay. (they start kissing heavily)
(to be continued)
FADE TO BLACK