|
Shawn
|
Previously on the 4400:
|
|
Richard
|
(Isabelle is carried around in her baby carrier) This is Isabelle.
|
|
Matthew
|
You are stewards of the future. (scene of experimentation on Isabelle) Your daughter is the Rosetta stone for understanding what happened to the 4400.
|
|
Isabelle
|
(grown up, to Lily) Are you my mother?
|
|
Kevin
|
(explaining why Isabelle is a young woman and Lily so old) Your rapid aging has caused her rapid aging.
|
|
Isabelle
|
(to Lily) The only way for you to live is for me to die.
|
|
Matthew
|
(slaps Isabelle) Don’t you understand who you are, what you’re here to do?
|
|
Tom
|
(looking at secret documents that verify the promicin inhibitor was given to the 4400) PI: promicin inhibitor.
|
|
Diana
|
We did it to them, Tom. We made them sick.
|
|
Daniel
|
(on his cell phone) We are in a war. (with a disguised voice) This is a message from the Nova Group. The second demonstration of our capabilities is planned for October 19th.
|
|
Shawn
|
(to Daniel) You think I’m just going to write you a check?
|
|
Daniel
|
I need it tomorrow.
|
|
Garrity
|
We couldn’t even handle one when she walked right in here and attacked the place. Now there’s a whole team of assassins out there, all with abilities?
|
|
Shawn
|
(to Daniel) I gave you money to start a defensive arm for the Center in case the government ever came after us again. (scene of betraying T. J. Kim) You lied to me, Daniel. You never said anything about killing people.
|
|
T. J. Kim
|
(accusing Shawn) You sold us out.
|
|
Tom
|
(to Shawn) You did the right thing by calling us, Shawn.
|
|
Diana
|
You’re a hero.
|
|
Tyler
|
(to Maia in her new 4400 school, as he demonstrates his ability) Hey. I’m Tyler.
|
|
Maia
|
Maia.
|
|
Tom
|
(in the fantasy world made by Alana: a glimpse of the operating room) Where are we?
|
|
Alana
|
This is where they altered us, gave me the ability to create the world we’ve been living in for the last eight years.
|
|
Richard
|
(to Shawn) People see her; they see a woman. And, they might forget that, inside, she’s just a little girl. I’m glad she has you around to be a friend. (lastly, Isabelle enters Shawn’s room and makes out)
|
|
|
(episode begins: after Shawn and Isabelle have made love)
|
|
Shawn
|
You are ticklish.
|
|
Isabelle
|
(playfully) Hmm. Cut it out. It bothers me.
|
|
Shawn
|
It bothers you?
|
|
Isabelle
|
Yeah.
|
|
Shawn
|
It didn’t seem to bother you a few minutes ago.
|
|
Isabelle
|
(mounting him) I could hold you like this.
|
|
Shawn
|
Oh, you could hold me like this?
|
|
Isabelle
|
Yeah.
|
|
Shawn
|
Really?
|
|
Isabelle
|
Yeah.
|
|
Shawn
|
What about that? (there is a knock on the door)
|
|
Isabelle
|
Don’t answer it. Don’t answer it.
|
|
Shawn
|
I have to. I’m still the boss around here. (he puts on a robe and opens the door to Richard) Richard! Hey!
|
|
Richard
|
Sorry to bother you. I was waiting for you down in your office.
|
|
Shawn
|
Oh, you know. Yeah, sorry. I’m just running a little late this morning. What’s up?
|
|
Richard
|
Before Lily—uh—before she passed, she asked if I’d take over her job at the Foundation. The healing work you do was really important to her.
|
|
Shawn
|
I remember. Um, I’m glad to have you aboard. What do you need?
|
|
Richard
|
A better head for numbers. I’ve been trying to decipher these financial reports. There’s some pretty big cash payments. (he passes papers to Shawn) You signed the transfers. I figured you might remember what they were for.
|
|
Shawn
|
(lying) Hmm. No idea. I’m sorry. No idea. (he hands back the papers)
|
|
Richard
|
Oh. Just checking. (he turns to go) See you soon.
|
|
Isabelle
|
(Shawn closes the door and faces her) Maybe we should tell him.
|
|
Shawn
|
No. No. I don’t think so. We just—we’ve just got to be more careful from now on, okay?
|
|
Isabelle
|
(smooching) Okay.
|
|
|
(scene change: outside the 4400 Center; Tom and Alana walk down steps)
|
|
Alana
|
Thank you for doing this, Thomas. I know an open house at the Center isn’t your favorite Sunday activity.
|
|
Tom
|
Hey. I love a good barbecue. You’ve been spending a lot of time here. If this place is important to you, it’s important to me.
|
|
Alana
|
I don’t believe you, but I love you for saying it. And, don’t be nervous. Everyone here’s going to love you, too.
|
|
Ryan
|
[Ryan Freel, disappeared July 14, 1983] So, help me out here, Tom. You say you love Alana, and yet she’s a 4400. And, you’re an NTAC agent. I mean, if I were you, and I really loved her I—uh—well—I’d quit that job.
|
|
Tom
|
First of all, you’re not me. You don’t know anything about me. You don’t know anything about this relationship. And, frankly, I doubt you know much about NTAC.
|
|
Ryan
|
Well, you did almost kill us all.
|
|
Tom
|
(irritated) Thanks for the input, Ryan. Nice chatting with you. (he and Alana walk away)
|
|
Alana
|
I am so sorry, Thomas. He’s usually not that rude.
|
|
Tom
|
We’ve been here an hour. I’ve had four conversations like that. You think we can call it a day?
|
|
Heather
|
[Heather Tobe, disappeared March 3, 1974] (approaches) Alana! I didn’t realize your Thomas was Tom Baldwin. (to Tom) Remember me?
|
|
Tom
|
Heather Tobey! Yeah. Nice to see a friendly face. How are you?
|
|
Heather
|
I couldn’t be better. Tom was my hero.
|
|
Alana
|
(to Tom) Oh. You mean, Heather was one of your assignments?
|
|
Tom
|
Yeah. About eight months ago.
|
|
Heather
|
Back when I first got my ability.
|
|
Tom
|
Heather, you seem great. What are you up to?
|
|
Heather
|
I teach at the school here now. It’s a good match, huh? Finally found a place where they won’t run me out on the rails for being a 4400. And, now Alana and I are going to be working together. (Tom is a little take aback) Isn’t that cool?
|
|
Alana
|
(explaining) Um, I’ve—I’ve been offered a job working with the children at the school. But I haven’t decided if I’m going to take it yet.
|
|
Heather
|
I blew the surprise, didn’t I?
|
|
|
(scene change: parking garage; Maia and Diana enter)
|
|
Diana
|
(to Maia) So, help me out here. Who is Amy again? Is she a 4400? (they walk to the car)
|
|
Maia
|
Everyone in my class is a 4400. She wants me to come over tomorrow. It’s not a huge deal.
|
|
Diana
|
(opening the trunk) Oh, it’s not? Well, I guess when you put it like that, then there’s no way I can say no. Where’s your sweater?
|
|
Maia
|
I left it upstairs.
|
|
Diana
|
Quickly run and get it. It’s freezing by the water. We’re going to miss the ferry.
|
|
Maia
|
(stops) You’re going to forget me.
|
|
Diana
|
Excuse me?
|
|
Maia
|
You’re going to forget me. I saw it.
|
|
Diana
|
Maia, do you mind explaining that, because—frankly—it sounds a little creepy.
|
|
Maia
|
It’s okay. It’s not your fault.
|
|
Diana
|
Maia, I would never forget you. Not ever! Come on. You know that, don’t you?
|
|
Maia
|
(holding back tears) I’ll be right back.
|
|
Diana
|
Okay. (she closes the trunk of the car) Maia, come on. (she enters the apartment) Come on, Sweetie. We’re going to miss the boat, literally. (she sees Maia with a woman; alarmed) Maia, come here. Right now.
|
|
Maia
|
Mommy, it’s okay.
|
|
Diana
|
How did you get in here?
|
|
Sara
|
I’m sorry. I didn’t mean to upset you. I was just knocking on your door when Maia came upstairs.
|
|
Maia
|
It’s so great. (to the woman) Tell her.
|
|
Diana
|
Tell me what?
|
|
Sara
|
Ms. Skouris, my name is Sara, Sara Rutledge. I’m Maia’s sister.
|
|
|
(scene change: later)
|
|
Maia
|
(looking at a picture) This is my dog.
|
|
Sara
|
I know. He slept on your bed, every night, right until he died.
|
|
Maia
|
You really lived in my house?
|
|
Sara
|
22 White Oak Lane, Crescent City.
|
|
Maia
|
My room was at the top of the steps.
|
|
Sara
|
I know. It was always your room. Mom and Dad kept it all the same, just for you. They missed you so much.
|
|
Diana
|
(rising from her seat) Maia, I need you to give me some time alone with Sara.
|
|
Maia
|
Did Daddy teach you to play poker?
|
|
Sara
|
We played for Tootsie Rolls.
|
|
Diana
|
Maia. (she nods knowingly)
|
|
Sara
|
I think your Mom needs a word with me, Sweetie. (Maia heads for her bedroom; follows Diana into the kitchen) I’m sorry. I didn’t mean to sandbag you. I was going to leave a note.
|
|
Diana
|
I’ve been trying to find you for years. Every phone number out of date; every letter comes back “return to sender.” Guyana? The Ivory Coast?
|
|
Sara
|
I—I’ve been hard to find.
|
|
Diana
|
Hard to find? I didn’t even know if you were alive or dead.
|
|
Sara
|
Which, I’m guessing, is—is why you never told Maia about me.
|
|
Diana
|
(at a loss for words) I’m sorry. What was I supposed to say? “Sweetheart, you have an older sister, but it doesn’t seem like she’s terribly interested in meeting you.”?
|
|
Sara
|
I’m sorry. I—I should have called first. I just felt like I needed to do this in person. I just want to know her. That’s all.
|
|
Diana
|
You think it’s that easy? There are a lot of people who would do anything to get close to a 4400. Until you can prove to me that you are who you say you are, you’re not seeing my daughter again.
|
|
Sara
|
I understand. I’m willing to take a DNA test.
|
|
Diana
|
It’s a good start.
|
|
|
(scene change: Tom’s house)
|
|
Tom
|
(entering with Alana; upset) You didn’t even tell me you were thinking about teaching, that the possibility existed.
|
|
Alana
|
To be honest, I was avoiding it. I know how you feel about the Center.
|
|
Tom
|
(angry) No. I’m fine with the Center. They’re not fine with me. (more calm) What about your gallery?
|
|
Alana
|
I can still do all the buying, and Tina can handle sales. Okay. I’m sorry if this seems just—sudden. I—I told them about my ability at the Center, and they thought they could use it at the school.
|
|
Tom
|
You’re gonna use your ability?
|
|
Alana
|
Don’t you think that’s why we came back here with these gifts? To help other people?
|
|
Tom
|
Yeah, yeah. It sounds great. I just didn’t think that— (he is at a loss for words) I mean, does it even work with other people?
|
|
Alana
|
I did an experiment with Heather. We went to Paris for lunch. Don’t worry. I don’t think my batteries will run out. I’ll save my best work for you. I promise.
|
|
|
(scene change: a hospital room; Richard addresses sick children, staff, parents, and press)
|
|
Richard
|
I’d like to thank you for agreeing to be a part of our—(pauses)—experiment, I guess you’d call it. We’ve never tried a healing this large, but we think you’ll all be very happy with the results. Before we begin, I’d like to say that this Foundation was started by my late wife, Lily Tyler. I’m proud to be carrying on her work. She’s the reason why we’re all here today. Well, her and the man I’m about to introduce to you, Shawn Farrell. (he claps his hands)
|
|
Shawn
|
Thank you. Okay. Kids, I promise this is not going to hurt. Uh, listen. I’d like to ask everyone here a favor. When you leave here today—and you will be leaving the hospital today—please tell anyone that asks: that a 4400 made you better, made your children better, because we’re not bogeymen. We’re here to help. So, let’s get this thing started.
|
|
Orderly
|
(charges) Traitor! (he throws red paint on Shawn’s shirt) You betrayed your own kind. Next time, it won’t be paint! (he is escorted out by security)
|
|
Richard
|
You okay?
|
|
Shawn
|
Yeah.
|
|
|
(scene change: NTAC)
|
|
Diana
|
(to Tom) It’s in her file. Maia’s parents had a baby five years after she disappeared, and her name was Sara.
|
|
Tom
|
So, it is possible. No word at all for two years, and then she just shows up. You think she’s the real deal?
|
|
Diana
|
I don’t know. Maybe.
|
|
Tom
|
What does your gut tell you?
|
|
Diana
|
It tells me that she’s not going to see Maia again until the DNA tests come back.
|
|
Tom
|
Smart gut.
|
|
|
(scene change: NTAC, briefing room)
|
|
Nina
|
(referring to a photo on the computer screen) Her name is Lindsey Hammond. She disappeared on November 23, 1979.
|
|
Diana
|
You know, just once, I wish a 4400 would smile for their picture. Is that too much to ask?
|
|
Nina
|
Since her return, she’s been living with her stepfather. Until yesterday, that is.
|
|
Tom
|
What? She’s missing.
|
|
Nina
|
Her stepfather thinks she ran away. Take a drive out to her house. See if we need to be worried.
|
|
|
(scene change: 4400 Center; in Shawn’s office; Shawn is looking at a postcard)
|
|
Matthew
|
That just came in. The attack at the hospital this morning: it wasn’t random. Somehow, you’ve become a target of the Nova Group. Any idea why?
|
|
Shawn
|
Two months ago, someone called me. They were trying to raise money to start a defensive wing of the 4400. I made a couple of contributions.
|
|
Richard
|
You gave money to the Nova Group? Shawn, they murdered half a dozen people.
|
|
Shawn
|
That was after. Do you really think I would have given them money if I thought they were going to hurt anybody? When they came back asking for more, I said no.
|
|
Richard
|
You got the money from the Foundation, didn’t you? That’s what all those signatures were for. (Shawn nods) You diverted money from my wife’s foundation to a terrorist group?
|
|
Shawn
|
Richard, it was a mistake. I know that. Don’t you think I know that?
|
|
|
(scene change: Amy and Maia are playing badminton)
|
|
Amy
|
[Amy Paspalis, disappeared July 23, 1999] I’ll serve to you. We have to try to keep it going for as long as we can. Okay?
|
|
Sara
|
Maia?
|
|
|
(scene change: NTAC)
|
|
Tom
|
Where’s Maia?
|
|
Diana
|
She’s at a girlfriend’s house, a girl from the class. Why?
|
|
Tom
|
Preliminary DNA came back. Negative match. Sara isn’t Maia’s sister. (they rush out)
|
|
|
(scene change: Paspalis’ home)
|
|
Diana
|
(to a woman who opens the door) Where’s Maia?
|
|
Woman
|
They’re in the yard. Is everything okay?
|
|
Diana
|
(she and Tom race to the backyard) Maia!
|
|
Amy
|
She left.
|
|
Tom
|
Where’d she go?
|
|
Amy
|
She went with that lady: her sister.
|
|
|
(scene change: NTAC)
|
|
Nina
|
Her picture’s already on the wire. An amber alert’s been issued. We’ll find her, Diana.
|
|
Diana
|
I know we will.
|
|
Marco
|
We’re tapped into every surveillance camera in the city downstairs. We’re monitoring every tollbooth, every intersection we can. If Sara shows up on any of them, we can be there in minutes.
|
|
Diana
|
You’re going to keep on eye on things yourself, right?
|
|
Marco
|
Yeah, yeah. You got it.
|
|
Diana
|
Okay. (to Tom) What did the lab say?
|
|
Tom
|
Nothing good. They ran the fingerprints from your apartment and the DNA samples against every known database. No names came up.
|
|
Diana
|
So, she has Maia. We have no idea who she is.
|
|
Tom
|
No.
|
|
Diana
|
She said I was going to forget her. (she races into the bathroom to vomit)
|
|
|
(scene change: Maia and Sara walk along a flower-filled street)
|
|
Maia
|
Mom really kept my room just like I left it?
|
|
Sara
|
Sure she did. She always believed that you were going to come home. Maia, can I ask you a question? Do you see the future more clearly since you stopped taking the inhibitor?
|
|
Maia
|
Well, at first, I couldn’t control it. I thought I was going crazy. But now, I can see the future. More when I wanna. It doesn’t really sneak up on me anymore. Not much, anyway.
|
|
Sara
|
That’s great. You’re learning to focus your ability. What if I asked you to predict something right now?
|
|
Maia
|
Wait. (a boy on a skateboard narrowly misses them, along with two boys on bicycles) We can go now.
|
|
Sara
|
You are a very special girl. (they arrive at a house that is for sale) What do you think?
|
|
Maia
|
This is your house?
|
|
Sara
|
I bought it so I can stay in Seattle. We’ve spent enough time apart, don’t you think? Come on. Let me show you the inside. There’s a surprise.
|
|
Maia
|
(they enter a room that resembles Maia’s old room) My gosh. It’s just like my old room.
|
|
Sara
|
I told you: Mom kept it the same. Else, how would I know? (Maia starts to examine things in the room)
|
|
|
(scene change: 4400 Center; Richard’s office)
|
|
Matthew
|
(knocking on the door) Sorry to interrupt. Hoping I could have a word.
|
|
Richard
|
(types something on the computer; rises) Matthew. Come on in. (Matthew closes the door) What’s on your mind?
|
|
Matthew
|
I was brought into this organization by Jordan Collier. I didn’t always know what he had in mind for it. But, I did know that he was a man of experience and vision. Six months after I came aboard, he died. My new boss was a nineteen-year-old boy.
|
|
Richard
|
This is about Shawn.
|
|
Matthew
|
He’s overwhelmed, Richard. Running this Center requires substantive decisions, decisions that he’s not qualified to make. Now, you, on the other hand, you were an officer. You led men into battle—
|
|
Richard
|
Stop. Shawn runs things here. I’m not interested in a palace coup. (he returns to his desk)
|
|
Matthew
|
I’m not talking about getting rid of him. I’m talking about power sharing. The two of you make decisions together. It’s a way of helping him, giving him the benefit of your experience.
|
|
Richard
|
This is all very flattering.
|
|
Matthew
|
I’m not trying to flatter you. I’m trying to keep this movement alive. Think about it. And, before you say no, I want you to tell me: could you, under any circumstances, see yourself inadvertently funding a terrorist attack? (he exits)
|
|
|
(scene change: NTAC; Marco and Diana are looking at Maia’s diary on a computer screen)
|
|
Marco
|
Look familiar? Maia’s been drawing it a lot for the last few days. (Diana shakes her head) Are you sure? I mean, it’s all through the margins of her journals.
|
|
Diana
|
I’ve never seen it before, but she likes butterflies.
|
|
|
(scene change: later, discussing the butterflies with Tom)
|
|
Diana
|
It might just be a doodle.
|
|
Tom
|
Did you find anything else? Anything we can use?
|
|
Marco
|
It’s hard to say. I mean, it’s all stream of consciousness. You know, predictions about big events right next to tiny things in her everyday life—(Diana seems to be suffering from a headache)—and, there’s no dates. I did find out how I’m going to die. That was interesting. (in response to Tom’s concerned look) Oh, don’t worry. It’s actually kind of cool. Uh, she did mention a friend’s house. Just referred to the mom, though: Mrs. Paspalis.
|
|
Diana
|
Amy Paspalis? That’s the house she was taken from.
|
|
Tom
|
Great. Show us that page.
|
|
Marco
|
(looking through a journal) Spooky. I could spend the rest of my career working on these things.
|
|
Tom
|
Come on, Marco. Just—
|
|
Marco
|
Yeah. Uh, here. “Mommy’s coming to pick me up from Mrs. Paspalis’ house, but I’m already gone. I’m in a circle with Tyler Downing.”
|
|
Tom
|
Tyler Downing? Isn’t he a 4400?
|
|
Diana
|
He goes to school with Maia.
|
|
|
(scene change: Tyler’s home)
|
|
Tyler
|
[Tyler Downing, disappeared January 9, 1972] (to Diana) I told you: I didn’t do anything to Maia. I swear!
|
|
Diana
|
Look. Nobody thinks that you did anything. I just need you to try and remember. Now, did she ever talk to you about a circle? (Tyler shakes his head) Did she ever mention about having visions about the two of you.
|
|
Tyler
|
No. I said already ten times. I’m not lying—
|
|
Woman
|
Ma’am, I know you’re worried about your kid. You’re scaring the crap out of my brother.
|
|
Tom
|
Diana. (he motions her away from Tyler) There’s nothing here. There’s no sign of Maia or the woman.
|
|
Diana
|
“I’m in the circle with Tyler Downing.” Tyler’s here. So, where is Maia?
|
|
Tom
|
I don’t know. Maybe if we knew what circle she was talking about. It is a street? Barnaby Circle? There’s a Circle Park—
|
|
Diana
|
Well, we need to check them all, because she’s trying to tell me how to find her. (she and Tom exit)
|
|
|
(scene change: Maia’s new room; a record player is playing the song when she was abducted)
|
|
Maia
|
Sara? Is my Mom coming to pick me up soon? (she gets off her bed and enters the hallway) Sara? (she tries a door) Sara, the door won’t open. Sara?
|
|
Lindsey
|
[Lindsey Hammond, disappeared, November 23, 1979] Shh. (she is wearing a green outfit) You can yell all you want to. She won’t come. She never does.
|
|
Maia
|
Who are you?
|
|
Lindsey
|
I’m Lindsey. I’m a part of her collection. (Olivia and Duncan Germaine, also wearing green outfits, arrive) We all are. Now you are, too.
|
|
Maia
|
All of us are 4400s. (Lindsey nods) What is she going to do to us?
|
|
Lindsey
|
Sell us to the highest bidder, do experiments. I mean, who knows? It doesn’t matter. We’re not going to let it come to that.
|
|
|
(they hear the door unlock and run to their rooms; Maia sees Tyler brought in by a large man)
|
|
|
(scene change: Tom’s house)
|
|
Tom
|
(entering) Hello? (he sees Alana and Heather in a trance together)
|
|
Heather
|
(after the trance ends) That was incredible.
|
|
Tom
|
Hi.
|
|
Alana
|
Oh, hi, Thomas. I didn’t hear you come in. Any word about Maia? (Tom shakes his head)
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Heather
|
Sorry to invade your house, Tom. Alana and I were just practicing.
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Alana
|
(to Tom) I think I might take that job at the school. Heather and I were just trying something.
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Heather
|
Don’t be shy about it. Alana just took me back to the year I disappeared. We just watched Richard Nixon fly away from the White House after he resigned. That’s remarkable, huh? Well, Alana’s an amazing woman.
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Tom
|
She certainly is. (he exits to the kitchen to get a beer)
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Alana
|
(following Tom) Are you all right, Thomas?
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Tom
|
I’m fine. I’m just—I’m just worried for Diana.
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Alana
|
She’s strong, and so are you. After Heather leaves, you want me to take you somewhere? Might calm you down some.
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Tom
|
No. I think I’m just going to go to sleep, hit the investigation fresh in the morning.
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(scene change: 4400 Center)
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Matthew
|
So, things are going well between you and Shawn?
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Isabelle
|
Yeah. I think so. We’re having lots of sex.
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Matthew
|
Has he said: “I love you.” yet?
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Isabelle
|
No. Do you think he should have?
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Matthew
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(picking up a paper bag) Try this. (he hands her a green bikini) It would be a way to gauge the level of his involvement. Men can do things with their bodies entirely unrelated to their hearts and minds.
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Isabelle
|
Shawn likes me. It’s real.
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Matthew
|
Good! Shawn’s going to be having a difficult time these next few days. He’s going to have some decisions to make. You need to help guide him toward the right choice.
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Isabelle
|
You want me to use him?
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Matthew
|
Use him? What does that even mean? You’re getting close to Shawn, right? So, he’ll value your advice. That’s a relationship. That’s two people trusting each other.
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Isabelle
|
I guess. What do you want me to say to him?
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Matthew
|
Just the truth: a leader should never be afraid to ask for help. It’s not a sign of weakness. It’s a display of strength. (pointing to the bikini) Wear that.
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(scene change: Maia’s room; there are voices in the background)
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Lindsey
|
(to Tyler) Hey, kid. You have to try to be quiet, okay?
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Tyler
|
I just want to go home.
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Lindsey
|
We all do, but crying is not going to help. (Maia peers out her door) Listen. We can do stuff. They can’t. That’s why they want us, but maybe we can use it against them. Maybe we could figure out a way to get us out of here. Everyone, tell me what you can do, okay?
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Duncan
|
My sister and me: we can make water move. Back and forth. Our teacher says we can make dis-fusion happen.
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Olivia
|
Diffusion.
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Duncan
|
Yeah. We have to be together to do it, though.
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Lindsey
|
(to Tyler) What about you, kid?
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Tyler
|
I do stuff with electricity. Currents. I can make machines in my kitchen stop working.
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Lindsey
|
Okay, good. That will come in handy.
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Maia
|
I can see things, things that are going to happen.
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Lindsey
|
Really? That’s awesome. Can you tell if they’re going to keep us here? Are they going to let us go? Come on. Tell us.
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Maia
|
We’re not going to be here long.
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Lindsey
|
Why? Do we get to go home?
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Maia
|
I don’t think so.
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Lindsey
|
Sorry I asked. Listen. I don’t know about the rest of you, but I’m going to try to figure out a way to get us out of here. So, are you guys up for it? (they hear the door unlock and head back into their rooms; the large man carries a green outfit, enters Maia’s room, deposits it on her bed, and leaves) No! Let me go! Stop! Let me go! (Maia races to her door) Stop it! Let me go! Help me! Let me go! (Maia sees the large man dragging her down the hallway) Help! Stop it! Let me go! (she is dragged through the door) No!
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(scene change: NTAC briefing room)
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Nina
|
Tyler Downing wasn’t home when his sister got back from her waitressing shift last night.
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Diana
|
My God. That’s the third 4400 kid missing.
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Nina
|
No. Try five. Olivia and Duncan Germaine’s parents thought they went on a camping trip with their youth group. Turns out, they never showed. (frustrated, she moves towards Tom who is looking at a large map) Tom. Update me here. What are we doing to find this woman?
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Tom
|
Well, Maia’s journal said she was inside the circle with Tyler Downing. We’ve checked out every street with the name “circle” in it: Skyline Circle Park, Circle Theater on First Hill. And, there’s nothing yet.
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Nina
|
What about the reservoirs? They’re basically circular.
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Diana
|
We’ve already looked. There’s a prayer circle scheduled this morning in Denny Park. Maybe there.
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Tom
|
It’s over here. (he moves to show Nina)
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Marco
|
(to Diana) Hey. I thought you could use a jolt. (he hands her a cup of coffee)
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Diana
|
Thanks. Didn’t get much sleep last night. Any, actually. This helps.
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Marco
|
You were up all night? You should go lie down in the Theory Room for an hour.
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Diana
|
(looks at the cup and realizes it is circular) Tom?
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Tom
|
Diana, are you all right?
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Diana
|
Look. (she indicates a circle stain where the cup rested)
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Tom
|
“I’m in the circle.”
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|
(scene change: 4400 Center, Shawn’s office)
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Shawn
|
(to Matthew and Richard) I don’t believe this. I tell you the truth, and you use it to kick me out.
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Richard
|
No, Shawn. I’m just talking about helping you. You’ve got an impossible job.
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Shawn
|
Jordan Collier left me in charge of this place. For the past year and a half, it has been my entire life. So, thank you for the offer, but I am good.
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Matthew
|
The Center has a board of directors, Shawn, and Collier’s appointment of you is subject to their ongoing approval.
|
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Shawn
|
They approved it because that’s what Jordan wanted, Matthew.
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Matthew
|
Frankly, if Jordan was here, his thoughts on succession might change, if he knew you bankrolled an attack on the United States government. You’ve made yourself, and this place, a target for terrorists.
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Richard
|
Shawn, when you got sick from the inhibitor, you asked me to pinch-hit for you. It’s like that. You need help.
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Shawn
|
You’re talking like you’re offering me a choice.
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Richard
|
I am.
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|
Shawn
|
Really? Because right now it sounds like a threat.
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(scene change: Maia’s prison house)
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Maia
|
Tyler, you have to talk to us.
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|
Tyler
|
No.
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Maia
|
If we get out of the house, can you make it so their cars can’t start?
|
|
Tyler
|
No. I’m not helping. Didn’t you see what they did to that other girl? They took her away. I don’t want to go away.
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|
Maia
|
You will. We all will if we don’t do something. (she races back to her room, as the large man returns Lindsey to her room; she knocks on Lindsey’s door) Lindsey. Are you okay?
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Lindsey
|
(opens the door) Who are you?
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|
Maia
|
What did they do to you?
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|
Sara
|
(opens the hallway door) Maia, do you want to come with me, please?
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|
Maia
|
No.
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Sara
|
It’s okay, Sweetie. It’s not so bad. I promise.
|
|
Maia
|
(the large man grabs her) Help! Tyler! Duncan! Please! Somebody help me! Help!
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|
|
(scene change: NTAC vehicles race to a location)
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|
Tom
|
(in the car) Seattle PD has the south edge. We’ll take center and work east. It’d be nice if we knew what we were looking for.
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Diana
|
A message. A sign. Anything.
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|
|
(scene change: 4400 Center; Shawn’s room)
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|
Shawn
|
(in bed; seeing Isabelle enter wearing her bathing suit) Oh.
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|
Isabelle
|
Do you like this?
|
|
Shawn
|
You’re seriously asking?
|
|
Isabelle
|
I knew you would. I picked it out just for you. (she climbs on the bed with him) Green’s your favorite color, isn’t it? I can tell. I know you now. (she starts to make out)
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|
Shawn
|
(protesting gently) Isabelle. Isabelle. I’m not really ready for another round right now, okay?
|
|
Isabelle
|
What are you so worried about? If you don’t want to share your job, don’t.
|
|
Shawn
|
What are you talking about?
|
|
Isabelle
|
I can do things, Shawn. Lots of them. I figure out more every day. If you want to keep your job, you can. I can make it happen. You can do whatever. Who’s going to say different? Hmm? (she puts Shawn’s arm around her)
|
|
Shawn
|
Thanks, I guess. But—uh—just hold off on the air strikes, okay? We’re talking about your dad and Matthew here. It’s just an argument. They’re not the enemy. Besides, they do have a point, don’t they? I did screw up.
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|
Isabelle
|
Okay. Just so you know: it’s your call.
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|
|
(scene change: Maia’s prison house, kitchen)
|
|
Sara
|
Drink this. (she puts a glass of orange juice on the table in front of Maia) It’ll make you feel better. You’re frightened. It’s all right. I understand, but you don’t have to be. We’re not going to hurt you. Soon, you won’t even be worried anymore. I promise. (she shows some pills) These are just to relax you. They’ll help you get ready. Now, drink up, okay? I’ll give you a brownie for dessert.
|
|
Maia
|
No.
|
|
Sara
|
Maia?
|
|
Maia
|
(scared, looks at Sara and at the big man; the lights begin to flicker; Olivia and Duncan are holding hands in the hallway) They’re doing it. They’re helping. (the large man drops to the floor; Sara’s body is exuding water)
|
|
|
(scene change: Tom and Diana in the car)
|
|
Tom
|
We’ll take Dexter south, swing around for another pass.
|
|
Diana
|
Wait, Tom! Stop! Stop!
|
|
Tom
|
What? (the gate has butterfly relief as decoration)
|
|
Diana
|
Those butterflies: they are in Maia’s journal. She’s here.
|
|
|
(inside the house, Maia is trying to find an open door; outside, more NTAC agents arrive)
|
|
Sara
|
(weakly) Maia.
|
|
Man
|
(Tom and Diana have broken into the house—the wrong house—) What is going on?
|
|
Tom
|
Don’t move!
|
|
Man
|
(a family huddles behind him) Please. Please. This house is for sale. All the valuables are gone.
|
|
|
(scene change: in Maia’s prison house)
|
|
Maia
|
(she manages to open a door and enters a room that resembles the future’s operating center; Sara approaches her) Is this a dream?
|
|
Sara
|
No, Honey. Remember the first time you were taken away from your parents? This is where we brought you.
|
|
Maia
|
No. This isn’t real.
|
|
Sara
|
Yes, it is. We’ve brought you back. You’ve been here ever since you walked through the front door of my house. You’re in the future. We had to bring you here, Maia: you and your friends. We need your help. (later with Maia on the operating bed) — interfering. The 4400 haven’t changed the timeline. The catastrophe: it’s still coming. We’ve found a way to fix it. You and your friends: you’re going to save us all.
|
|
|
(scene change: outside the house)
|
|
Diana
|
We found it all: the circle, the butterflies—she’s here. I mean, she has to be here.
|
|
Marco
|
Come on. I’ll take you home. (he leaves with Diana)
|
|
|
(scene change: 4400 Center; Shawn’s office; Matthew and Richard witness Shawn’s transfer of power)
|
|
Matthew
|
Your signature here. Here. Sign here. Thank you, Shawn. I know this wasn’t an easy decision.
|
|
Shawn
|
(closing up the paperwork) Yeah, well. We all want the same things, right?
|
|
Richard
|
You’re a good man, Shawn. It’s an honor to be working with you. (he shakes Shawn’s hand)
|
|
|
(scene change: Isabelle is putting on a necklace)
|
|
Isabelle
|
Why are you giving this to me?
|
|
Matthew
|
It’s a thank you. You did well. Everything went smoothly with Shawn.
|
|
Isabelle
|
I disobeyed you, Matthew. I told Shawn he should keep his job. I disobeyed you, and you know what? Nothing happened. There wasn’t an earthquake. I didn’t melt. I used to be scared of you, but I don’t think you have any power over me at all. Do you? (she bends him over backwards with her mind, then drops him to the floor like a rag doll) I didn’t think so. I’ll do my own shopping from now on, okay?
|
|
|
(scene change: the future’s operating room)
|
|
Sara
|
Okay, Sweetheart. We’re ready to begin. Don’t cry. You and the other children we took: we tested your abilities, and you are so special. That’s why you were chosen. Now. Here’s what’s going to happen. We’re going to put you all back. Not the same year we took you from, but earlier. Much earlier. We calculated wrong the first time. We have to try again. There’s no other way. There’s no other hope for humanity.
|
|
Maia
|
I don’t care. I don’t want to go anywhere. I want to stay with my Mom.
|
|
Sara
|
I know. It’s hard. I can make the pain go away. Before we put you back in your new time, we’ll make you forget your mother—(Maia shakes her head)—Marco, and your friends.
|
|
Maia
|
Please, don’t!
|
|
Sara
|
They’ll forget you, too. It’s better this way. There’ll be no sorrow, no pain, no loss. As far as the world is concerned, you’ll just be a girl who disappeared in 1946 and was never found.
|
|
Maia
|
That’s a lie. My Mom won’t ever forget me.
|
|
Sara
|
She will. It’s happening already. Now. Just lie still. All the hope we have rests with you.
|
|
Maia
|
No. Don’t do it, please! (screams) Mommy! (a bright light takes her away, and all traces of her in the present disappear; Diana and Marco return home with a pizza; Diana kisses Marco)
|
|
|
(to be continued)
|
