EPISODE 9 ‘COLLABORATION’
Written by Laurence Andries, Directed by Ian Toynton
Original Airdate: 11-JUN-1998
THE SHOW OPENS IN ATTWOOD’S DIM OFFICE. ATTWOOD STANDS BY THE DOOR AS SLOAN, TOM, AND ED ENTER. TOM REMOVES HIS COAT AS HE WALKS THROUGH THE DOOR. HE’S WEARING A NICE GREY V-NECK SWEATER WITH A WHITE T-SHIRT UNDERNEATH. (VERY NICE SWEATER!) ATTWOOD FLIPS THE BLINDS ON HIS WINDOW FLAT TO REVEAL PICTURES OF RANDALL LYNCH AND LEWIS ON THE OVERHEAD PROJECTOR.
Attwood: Hello people. Tom. Have a seat.
Ed: Slide show...
Attwood: So far this is what the enemy has thrown at us. All different tactics in an attempt to destroy the human race. The date we derived from the pillar, October, 1998, logically has some bearing on their plan. This you knew. What you didn’t know is what is taking place in Bardsdale, California.
Ed: Bardsdale? I used to go out there on family picnics when I was a kid. It’s nothing but a bunch of orange groves.
Attwood: And people. People who may be under attack.
Sloan: What kind of attack?
Attwood: Unfortunately that’s not clear. A reliable source has informed us that some elementary school children there are being tampered with or altered in some manner. So the question is, whether all these events are random, or part of a methodical plan.
Ed: Maybe more DNA altering.
Attwood: That’s what we have to find out.
Ed: We’ll be ready to go in five.
ED SLOAN AND TOM EXIT THE OFFICE AND WALK THROUGH THE LAB AREA. TOM IS PUTTING HIS NICE BLACK SPORT-TYPE COAT BACK ON.
Tom: (to Sloan) I’m not going with you.
Sloan: Why not?
Tom: I’m gonna find out who Attwood’s reliable source is.
Sloan: Do you think you could do that?
Tom: I have a good idea where to start.
HE TOUCHES HER ARM AND WALKS OFF.
NEXT SCENE
A LARGE SHINY OFFICE COMPLEX. INSIDE, THROUGH A CRACK IN THE DOOR, WE SEE LIMO LADY WALK BEHIND A DESK. TOM EMERGES FROM THE ELEVATOR. HE LOOKS GOOD. HE WALKS OVER AND STANDS JUST INSIDE THE DOOR, LOOKING TOWARDS LIMO LADY.
Limo Lady (turning) Tom. Come in.
Tom: You're not surprised to see me?
Limo Lady: No, I've been waiting for you. I’m impressed you found me so easily.
NEXT SCENE
AT A SCHOOLYARD. ED AND SLOAN FOLLOW A DARK-HAIRED WOMAN, OBVIOUSLY A SCHOOL OFFICIAL.
Woman: I’ve been a principal here at Merango school for fourteen years, and this is the first time I’ve had a visit from the State Department of Health.
Sloan: Well, it may just turn out to be nothing. We’re sorry for any inconvenience.
Principal: Well, as you can see the children are all very happy and healthy.
Ed: How’s your absenteeism this year?
Principal: Average. On any given day between three and six children are out sick, usually for no longer than a day.
Sloan: Have you noticed any erratic behavior on the part of any of the kids?
Principal (smiling) This is grade school. All of their behavior is erratic.
Ed: What about violence? Has there been an increase in schoolyard fights or--
Principal: No, that’s not tolerated here at Merango. Children know it, so they don’t even try.
Sloan: Well, Principal Cook, certainly sounds like you have everything under control.
Principal Cook: Well thank you. These are my kids, Dr. Parker, and I think I take care of them very well. That’s why I don’t understand why you're here.
Sloan: Just a routine visit. I assure you it’s nothing to worry about.
Cook: Well, I hope so.
A LITTLE BOY COMES RUNNING UP TO THE PRINCIPAL.
Cook: (smiling at the boy) Oh, Dustin!
Dustin: Hi.
Cook: Hi.
NEXT SCENE
AT LIMO LADY’S OFFICE. LIMO LADY SITS AT HER DESK, TOM SEATED BEFORE HER.
Tom: Your information about what’s taking place in Bardsdale must’ve come from someone on the inside. A confederate.
Limo Lady: Not only a confederate, Tom. But a member of your own species.
Tom: I wanna meet him.
Limo Lady: Why?
Tom: To make sure we’re not being set up. How can you trust this source?
Limo Lady: I’ll be the judge of that.
Tom: Don’t you think I’m more qualified?
NEXT SCENE
AT A SMALL MOTEL. SLOAN SITS ON THE BED READING A REPORT WHILE ED SITS ON A LOVESEAT.
Sloan: Nothing out of the ordinary. On paper, Merango is filled with healthy, normal average middle-class kids.
Ed: Maybe Attwood’s tip was bogus.
Sloan: (standing) He hasn’t been wrong yet.
SLOAN SITS ACROSS FROM ED.
Sloan: So, what’s our way into this?
Ed: Okay, uh, ok, Attwood said kids were being altered. That’s what they were doing to Kelly, altering her blood, changing her DNA.
Sloan: So we’ve gotta start by analyzing the children’s blood. We’ve got to do DNA testing.
Ed: Come on, we’d have to take samples from every kid, it would be impossible. I mean, parents, media, they would all want to know what’s going on.
SLOAN SITS BACK DEJECTEDLY. AFTER A BRIEF THINKING PAUSE, SHE QUICKLY SITS UP.
Sloan: Hold on!
Ed: What?
Sloan: Are any of the sick kids that Principal Cook told us about in the hospital?
ED AND SLOAN START RIFFLING THROUGH THE REPORTS ON THE TABLE IN FRONT OF THEM.
Ed: Now, now here it is.
ED LIFTS A PAPER.
Ed: Looks like three. One with a broken arm, one having her tonsils out, oh, and another having plastic surgery after an automobile accident.
Sloan: Perfect.
Ed: C’mon, how do you plan on getting near these kids?
Sloan: Hey, Attwood got us credentials from the Department of Health. How hard could hospital badges be?
NEXT SCENE
NIGHTTIME. A CAR CRESTS A HILL. IT’S TOM IN HIS BIG OLE LINCOLN. HE KILLS THE HEADLIGHTS AND GETS OUT, WALKING OVER TO A RAILING. HE’S LOOKING OUT OVER OIL FIELDS, THE PUMPS METHODICALLY RAISING AND LOWERING IN THE BACKGROUND.
CUT TO ANOTHER CAR DRIVING UP, LIMO LADY’S CAR.
CUT BACK TO TOM. HE’S GETTING IMPATIENT. HE CHECKS HIS WATCH, THEN TURNS TO SEE THE LIMO PULL UP. TOM WALKS OVER TO IT. THE REAR WINDOW LOWERS.
Limo Lady: Hello Tom.
TOM BENDS DOWN AND PEERS INTO THE CAR. A TEENAGED BOY SITS FORWARD AND LOOKS UP AT TOM.
Tom: May I talk with him?
LIMO LADY HUFFILY OPENS THE DOOR AND GETS OUT OF THE LIMO. TOM TAKES HER SEAT INSIDE THE VEHICLE AND RAISES THE WINDOW. HE TURNS TO THE BOY AND OFFERS HIS HAND.
Tom: Tom Daniels.
THE BOY SHAKES IT.
Boy: Shane. I’ve heard about you. They want you dead.
Tom: Does that scare you?
Shane: Hell yeah. They find out about me, they’ll try and kill me too.
Tom: (gesturing toward Limo Lady) Maybe you shouldn’t be risking your life helping her.
Shane: You are.
Tom: I’ve been around a lot longer. Done things. Seen things.
Shane: Well I’ve seen enough. I don’t want to see any more.
TOM NODS SLOWLY.
NEXT SCENE
AT A HOSPITAL. SLOAN AND ED ENTER A ROOM AND SMILE DOWN AT A YOUNG GIRL LYING IN A BED.
Girl: Hi.
Sloan: Hi. My name’s Sloan. Shouldn’t you be asleep?
Girl: I’m not tired.
Sloan: We just talked to your mom outside. She said you’re pretty excited about getting your tonsils out tomorrow.
Girl: Yeah.
Sloan: How long have your tonsils hurt?
Girl: I don’t know. A while.
Sloan: Is that the only thing that hurts you right now?
Girl: When I swallow. I don’t really feel sick.
Sloan: That’s good. This is Dr. Ed Tate.
Girl: Hi.
Ed: Hi. I have to take some blood out of your arm. Have the other doctors done that to you?
Girl: (nodding) They said it would hurt but it didn’t.
Ed: Well, I’ll make sure it doesn’t hurt either. Hey, can you do that?
ED MAKES A FIST AND THE GIRL APES HIM. HE SITS ON THE BED NEXT TO HER WHILE SLOAN CLOSES THE BLINDS ON THE WINDOW, PREVENTING ANYONE IN THE HALL FROM SEEING INTO THE ROOM.
NEXT SCENE
ON THE HILL ABOVE THE OIL FIELDS. TOM AND SHANE WALK DOWN THE ROAD, CONVERSING, WHILE THE LIMO SLOWLY TRAILS BEHIND THEM.
Shane: I’m living with my parents. Pretty soon they’re gonna be sending me away.
Tom: For training.
Shane: Yeah. They say in a few years they’re going to plant me in the mayor’s office.
SHANE GIVES A SMALL LAUGH.
Tom: I went to the FBI.
Shane: Well, they said that you were one of their best, and that I should be like you. Before you turned.
Tom: But you can’t do it.
Shane: I know what they’ll want me to do. I don’t think I can. I know I shouldn’t feel this way.
Tom: It’s not wrong to feel, Shane. They say it’s a weakness but it’s not.
Shane: (sighing) I think they know.
Tom: Well then you’re in danger.
Shane: That’s why I went to her.
THEY STOP WALKING. TOM TURNS TO FACE SHANE.
Tom: How’d you find her?
Shane: Well, they’ve known about her for a long time but they haven’t been able to get near her.
Tom: Does she know that?
Shane: She does now.
THEY LOOK BACK AT THE CAR.
Shane: Can I trust her?
Tom: I really don’t know.
NEXT SCENE
AT THE BIO LAB. SLOAN PLACES A TRAY OF SAMPLES ON A COUNTER. ED IS SEATED IN FRONT OF A MICROSCOPE.
Sloan: I performed DNA testing on all of these samples. One thing we know for sure is that they’re not one-point-six.
SLOAN HANDS ED A SLIDE.
Sloan: Here’s the first sample. Ten year old boy.
ED LOOKS INTO THE MICROSCOPE. ATTWOOD STANDS BEHIND HIM, WATCHING.
Ed: This is the kid with the broken arm?
SLOAN CHECKS HER NOTES.
Sloan: Yeah.
ED LOOKS AT THE SLIDE AGAIN.
Ed: Gimme the next slide.
SHE HANDS HIM A SLIDE.
Sloan: This is the kid undergoing reconstructive surgery. He’s eleven.
ED PULLS BACK FROM THE SCOPE.
Sloan: See something?
Ed: (distractedly) Uh, let me see the last one.
SLOAN GETS IT.
Sloan: This is the girl we saw who’s having her tonsils taken out.
ED PLACES IT UNDER THE MICROSCOPE AND LOOKS AT THE SAMPLE.
Sloan: Well?
ED STEPS BACK AND WALKS OVER TO THE COMPUTER. HE TYPES AND A PICTURE OF CELLS COMES UP ON THE SCREEN.
Ed: Our immune systems operate in a delicate balance, and part of that balance are the T helper cells, which includes the CD4 cells. In each of these kids, the CD4 cells are being destroyed.
ATTWOOD WALKS OVER.
Attwood: Of course, attack our next generation.
Sloan: What kind of time frame are we looking at Ed? How immediate is the danger?
Ed: There is no time frame. The immune systems of these kids is literally disappearing, and sooner or later, maybe next week or next year, they’ll get strep or mumps or pneumonia. And they’ll die.
Attwood: Death from the common cold.
Sloan: It’s genocide.
Ed: I don’t know what we can do to stop it.
NEXT SCENE
AT SLOAN’S APARTMENT. SHE SITS ON A STOOL AT HER CENTER ISLAND, LOOKING OVER REPORTS WHILE ED SITS AT HER COMPUTER.
Ed: I’ve gone over these results for hours. There's no mistake. I mean, in all these kids the CD4 cells are being eaten away. Look.
HE WALKS OVER TO SLOAN AND SHOWS HER A REPORT. SHE SHAKES HER HEAD.
Sloan: We need an immunologist.
Ed: Actually I know one. Yeah, in Med school I did an internship with Dr. Ian Copeland. I mean, this guy, he’s one of the top immunologists in the country, and he’s right here in L.A.
Sloan: You think he’ll help us?
Ed: Well, I don’t know but I think we should find out.
ED PICKS UP THE PHONE.
NEXT SCENE
AT LOS ANGELES MEMORIAL HOSPITAL. ED AND DR. IAN COPELAND (WHO LOOKS AMAZINGLY LIKE WHITNEY FROM ‘THE STAND’ AND PRESIDENT BUTTERFIELD FROM ‘BOSTON COMMON’) WALK TROUGH THE LOBBY. (ED IS ACTUALLY DRESSED UP! NICE BLACK SLACKS, GREY COAT WITH A LIGHT GREY SWEATER UNDERNEATH. HE LOOKS NICE!)
Copeland: Five years ago you were one of my sharpest students, Ed. I wish you’d stayed in medicine. Lord knows I twisted your arm.
Ed: I wish you’d twisted harder.
Copeland: What's the matter, you not enjoying all the notoriety at the lab? You’ve made some impressive headlines.
Ed: I could live without ‘em. I think we all could.
Copeland: I don’t follow.
Ed: Look, I don’t know if you believe in this new species or not, but uh--
Copeland: That’s not an issue.
THEY’VE MADE THEIR WAY OVER TO A BANK OF ELEVATORS.
Copeland: Tell me what your problem is. Why are you here?
Ed: This new species, they’ve devised a way of compromising the immune system of children.
Copeland: By compromise you mean...?
Ed: Devastate. I mean, they won’t be able to fight off even a simple virus or bacteria. If they can get to the children, in fifty years there won’t be that many humans alive.
Copeland: New species or not, do you have any idea how the children have been compromised?
Ed: Wish I did. Was hoping you could help.
Copeland: Do you have some blood samples I could see?
Ed: Actually I do, back at the lab. I could bring ‘em over here, if it would be better for you.
THEY GET ON THE ELEVATOR.
Copeland: I’m sure your lab is better equipped and more qualified for that kind of work, besides I’d like to see it.
THE ELEVATOR DOORS CLOSE.
NEXT SCENE
NIGHTTIME, AT THE LIMO LADY’S OFFICE BUILDING. LIMO LADY WALKS ACROSS HER OFFICE AND OPENS THE DOOR. TOM IS IN THE DOORWAY. (HEL-LO!) SHE MOVES TO LET HIM ENTER. HE’S CHANGED CLOTHES. HE’S NOW WEARING A WHITE RIBBED T-SHIRT, BLACK 3-BUTTON SHIRT AND HIS BLACK WINDBREAKER JACKET. (SIGH)
Limo Lady: So, what do you think of our friend?
Tom: He’s a good kid. And he’s very young. Too young to know exactly what he’s getting himself into by associating with you.
Limo Lady: I disagree. I find him quite mature for his age. It’s one of the hallmarks of your species, is it not?
Tom: What are you planning to do with him?
Limo Lady: He could provide us with invaluable information, especially with this Bardsdale matter.
Tom: It could get him killed.
Limo Lady: You’ve managed to stay alive.
Tom: He doesn’t have the experience. Let me get the information!
Limo Lady: I’d be realistic. Shane’s on the inside. You’re marked.
Tom: What if he were able to get you more information on Bardsdale?
Limo Lady: Then we can talk.
TOM TURNS AND WALKS OUT OF THE OFFICE. LIMO LADY WATCHES HIM AS HE LEAVES. (CHECKING HIM OUT, NO DOUBT.)
NEXT SCENE
AT THE BIO LAB. ED SITS AT THE COMPUTER WHILE SLOAN AND DR. COPELAND STAND BEHIND HIS SHOULDER.
Copeland: I’ve never seen anything like this. These children have no idea what's happening to their bodies.
Sloan: We’re open to suggestions.
Copeland: Believe me, I wish I had one.
Sloan: Three out of three samples show the same CD4 cell damage. Statistically it’s something many children must’ve been exposed to. Any idea where to look for the cause?
ATTWOOD WALKS INTO THE LAB AREA.
Copeland: Well, it’s hard to say. It could have been injection or...ingested.
Attwood: I've had access to vaccination records. These children were vaccinated at different times by different doctors.
Sloan: And they're all different hospitals. So it most likely was ingested.
Ed: Hey, look at this. I’ve been time-delay taping the degeneration of the protein layer. Watch.
ED BRINGS UP THE CELLS ON THE SCREEN.
Sloan: Hunhh. Whatever it is it’s working its way through the CD4 cells in a circular pattern.
Copeland: It’s very methodical.
Ed: See if I can catch up to exactly where it’s working. Maybe we could get a look at it under stronger magnification.
Copeland: Ah, that’s good, Ed. That’s very good.
ED TYPES A BIT ON THE KEYBOARD AND THE SCREEN CHANGES.
Ed: This is just one blood cell. It's impossible to see what’s happening with the CD4s. I’m gonna magnify it a hundred times.
MORE TYPING FROM OUR LANKY SCIENTIST. THE SCREEN MAGNIFYS.
Ed: There. What’s that?
MORE TYPING. THE SCREEN IS MAGNIFIED AGAIN AND WE SEE A BLACK, RECTANGULAR OBJECT WORKING ITS WAY THROUGH THE BLOOD CELL.
Ed: What the hell?
Sloan: That’s not biological.
Ed: I don't believe it. A nanite.
Sloan: They've never been proven to exist. Nanotechnology, artificial life forms, it’s all still theoretical.
Ed: Not anymore. We need to know how it got into these kids.
Attwood: Sloan, I want you to take Ray back to Bardsdale. Now that we know what we’re looking for, maybe we can find its source, and who’s behind it.
SLOAN GETS UP FROM THE COMPUTER DESK.
NEXT SCENE
AT THE OIL FIELDS. TOM AND SHANE WALK ON THE HILL ABOVE THE PUMPS.
Shane: Sounds like I have to earn my freedom.
Tom: Assuming she keeps her word, it’s the best I could do.
Shane: So what do I have to do?
Tom: Well we figured out what’s happening to the children in Bardsdale.
Shane: I already told her everything I know about that. You know, it’s not like I was involved or anything, it’s just I’ve heard things, you know?
Tom: Look, we now know an artificial device created to work on a cellular level is attacking children. Now this is highly advanced biotechnology, not something we at our level would’ve ever been involved with.
Shane: So...
Tom: So you have to do what you can to find out who’s behind it. Who created it.
Shane: If they know.
Tom: Be careful. You're smart. The information is there. You just--
SHANE AND TOM BOTH SENSE SOMETHING.
Shane: We’re being followed.
Tom: Go! Go! Get out of here!
SHANE RUNS OFF. A MAN GETS OUT OF A CAR AND COMES RUNNING AFTER HIM. TOM TAKES OFF AND INTERCEPTS THE MAN, KNOCKING HIM TO THE GROUND. SHANE CLIMBS OVER THE RAILING AND HEADS DOWN THE HILL. TOM AND THE MAN TUSSLE A BIT, THEN THE MAN RUNS OFF, BACK TOWARDS HIS CAR. TOM RUNS OVER TO THE RAILING AND LOOKS DOWN THE HILL. SHANE HAS GOTTEN AWAY.
NEXT SCENE
AT THE ELEMENTARY SCHOOL. CHILDREN SIT OUTSIDE AT TABLES EATING LUNCH. (BUT THEY’RE ALL WEARING COATS, SO IT’S OBVIOUSLY COLD. WHY ARE THEY EATING OUTSIDE??) SLOAN AND RAY WALK UP AND LOOK AT THE CHILDREN. PRINCIPAL COOK STRIDES ACROSS THE GROUNDS TO THEM.
Cook: Dr. Parker! I’m going to have to ask you to leave.
Sloan: Mrs. Cook, please. This is Ray Peterson, he’s assisting me.
Cook: I called the state health department. They say there’s no Dr. Parker or Tate working for them and they didn’t send anyone to check out my school.
Sloan: I’m sorry for the confusion.
Ray: We’re investigating a matter involving the health of these children. You’re cooperation--
Cook: The welfare of these children is my responsibility. I don’t know who you people are and as far as I’m concerned, you’re trespassing. So now, please go.
THE PRINCIPAL WALKS OFF.
Ray: She seems a little defensive, don’t you think?
Sloan: Maybe. I think it’s interesting that she didn't say she was gonna call the police.
Ray: You think she doesn’t want to attract attention?
Sloan: Maybe. But to what?
SLOAN AND RAY OPEN THE CAR DOORS. SLOAN TAKES ONE LAST LOOK AT THE KIDS, EATING. SHE NOTICES SOMETHING AND RAY TURNS TO LOOK AS WELL.
Ray: What is it?
Sloan: Look at what they're drinking!
Ray: Juice boxes. So what? My kid drinks ‘em all the time.
Sloan: We know the nanite had to be ingested. All these kids are drinking the same juice. Same brand. Same flavor.
NEXT SCENE
BACK AT THE SMALL MOTEL FROM BEFORE. RAY ENTERS, CARRYING A JUICE BOX FROM THE SCHOOL. HE TOSSES IT TO SLOAN.
Sloan: ‘Orange Max’. Hunhh. The label says its all grown, processed and packaged on location.
Ray: Right here in Bardsdale.
SLOAN GRABS HER COAT FROM THE BED.
Ray: Where we going?
Sloan: Now that we have the box, we need a sample of the juice before it goes into the box, as well as an orange.
RAY GIVES HER A LOOK.
Sloan: (with a smile) Just covering all the bases.
NEXT SCENE
NIGHTTIME. RAY DRIVES DOWN A DIRT ROAD BETWEEN ROWS OF ORANGE TREES. HE PARKS THE CAR AND TURNS OFF THE ENGINE.
Ray: I need backup if I’m gonna try and get into the processing plant for a sample.
Sloan: Not if you can get one out of that truck.
SLOAN POINTS AT A TANKER TRUCK PARKED NEXT TO THE JUICE PLANT.
Ray: (rolling his eyes) I got a thermos in the trunk.
Sloan: Hey, I’m the one who has to slog through the mud.
THEY BOTH EXIT THE CAR. RAY MAKES HIS WAY DOWN THE HILL TO THE TANKER AND SLOAN WALKS DOWN A ROW OF TREES. SHE CHECKS TO SEE IF ANYONE IS FOLLOWING HER. RAY APPROACHES THE BACK OF THE TRUCK. HE OPENS THE DOOR AND COLLECTS SOME JUICE IN HIS THERMOS. SLOAN IS UP THE HILL, SNIFFING THE ORANGES SHE’S PICKED. SHE GRABS ANOTHER ONE AND NOTICES THE BEAMS FROM FLASHLIGHTS COMING HER WAY. SHE TURNS AND STARTS RUNNING.
Sloan: RAY!
RAY TURNS AND LOOKS UP THE HILL. HE SEES THE BEAMS OF LIGHT. SLOAN IS HAVING A TOUGH TIME. THOSE BIG FEET OF HERS HAVE CAUGHT HER AGAIN, AND SHE FALLS. SHE GETS BACK UP AND STARTS RUNNING AGAIN. THE MEN ARE STILL FOLLOWING HER. SHE LOOKS OVER HER SHOULDER AND RUNS STRAIGHT INTO RAY’S ARMS, LETTING OUT A GASP. THEY SCAMPER OVER TO THE CAR AND GET IN JUST AS SHOTS ARE FIRED. THEY SPEED OFF.
NEXT SCENE
AT SLOAN’S APARTMENT. SLOAN ENTERS TO SEE TOM STANDING IN HER KITCHEN, POURING HIMSELF SOME HOT TEA. SHE SMILES AT HIM.
Sloan: I was hoping you’d be here.
TOM GIVES HER THE TINIEST LITTLE GRIN. (VERY SWEET.) TOM IS IN A BLACK, LONG SLEEVE MOCK TURTLENECK. (AND HE LOOKS FIIIINE!)
Sloan: Where did you go?
Tom: I um, met someone....someone like me.
TOM WALKS OVER AND SITS ON A STOOL AT THE ISLAND. HE FACES SLOAN.
Sloan: Are you crazy? You can’t--
Tom: I mean REALLY like me. But a kid. Seventeen.
Sloan: He’s the reliable source?
Tom: Yeah.
Sloan: Are you sure you can trust him? I mean, this could be a set up to get you. I doubt they’ve forgotten what you’ve done.
Tom: I trust him.
Sloan: Based on what?
Tom: What made you trust me?
THEY GIVE EACH OTHER POINTED STARES, THEN NOD.
Sloan: Where is he now?
Tom: Hopefully he’s alive. Attwood’s boss has him figuring out who’s behind the tampering.
SLOAN’S DOOR MONITOR BUZZES. WE SEE RAY ON THE SCREEN. SLOAN WALKS OVER AND PRESSES THE BUTTON TO LET HIM IN. TOM STANDS.
Sloan: I hope your source can find out something fast.
Tom: Believe me, it’s in his best interest to find out quickly.
A KNOCK SOUNDS ON THE DOOR AND SLOAN OPENS IT. RAY ENTERS.
Sloan: Hi. Did you find out anything?
Ray: Sure did. The grove’s owned by a corporation. One of the board members is Sandra Cook.
Sloan: The principal.
Ray: She’s also the primary stockholder, and she bought it five years ago from a family that owned it since the Dodgers were in Brooklyn.
SLOAN TURNS TO LOOK AT TOM.
Sloan: Have you heard of her?
Tom: No.
Sloan: She’s gotta be one of them.
Tom: Let’s find out.
NEXT SCENE
AT THE BIO LAB. ATTWOOD MAKES HIS WAY OVER TO ED AND COPELAND, STANDING AT A COMPUTER IN THE LAB AREA.
Attwood: (to Ed) I understand Sloan gave you something to work with.
Ed: Oh, yeah I got the juice from the box. Dr. Copeland’s dealing with the orange.
Copeland: Let’s see what we got.
COPELAND AND ED BOTH WALK OVER TO MICROSCOPES, AND LOOK THROUGH THE LENSES.
Attwood: (to Ed) What did you find?
Ed: Juice from the box, has the same nanites that was in the blood samples. So does this juice from the tanker truck.
Copeland: And so does the orange.
Attwood: I have to make a phone call and have all that juice in the boxes confiscated and the orange groves destroyed. A.S.A.P. Excuse me.
NEXT SCENE
DUSK, AT THE ELEMENTARY SCHOOL. TOM IS IN PRINCIPAL COOK’S OFFICE.
Cook: So, you and your family are moving into the area?
Tom: That’s right.
Cook: And you have some questions about the school.
Tom: Yes, I’m uh, concerned about my children. For all intents and purposes they’ll be coming into a new world here. I’m afraid that world might be hostile.
Cook: What gave you that idea? We uh, please--
SHE MOTIONS FOR HIM TO SIT AND HE DOES.
Cook: We try to do our best to provide a protected and nurturing environment here at Merango.
Tom: Then you don’t prepare the kids to compete?
Cook: No, we do that too.
Tom: Good, because their survival depends on it. Wouldn’t you agree?
Cook: Yes. I would.
Tom: Very good.
HE STANDS AND OFFERS HER HIS HAND. SHE SHAKES IT.
Tom: Thank you so much for your time.
NEXT SCENE
SLOAN DRIVES DOWN A WET CITY STREET. SHE PULLS INTO A PARKING SPOT AND LOOKS OVER AT TOM, IN THE PASSENGER SEAT, DEEP IN THOUGHT.
Tom: She’s not one of them.
Sloan: You’re sure she’s not masking? Blocking, like Lisa could?
Tom: No, she’s human.
Sloan: But why would she own a company that grows tainted fruit?
(TAINTED FRUIT--THAT SOUNDS LIKE A BAND.)
Tom: Maybe she didn’t know.
Sloan: Is there any chance that she’s just being used by them somehow? Without her even knowing?
Tom: It’s possible. Or she’s helping them.
Sloan: A collaborator.
Tom: Just like me.
Sloan: Except you're doing the right thing.
HE GIVES HER A LOOK THAT SAYS, ‘MAYBE’ AND THEY GET OUT OF THE CAR. TOM AND SLOAN CROSS THE STREET AND START WALKING DOWN THE SIDEWALK.
Sloan: She’s been school principal for fourteen years. She seemed so caring with the children. So protective.
Tom: What’s the matter?
TOM PLACES HIS HAND ON SLOAN’S SHOULDER BLADE.
Sloan: Nothing. I’m just freezing.
TOM PUTS HIS ARM AROUND SLOAN. SHE WRAPS HER ARM AROUND HIS WAIST AND THEY CONTINUE TO WALK DOWN THE SIDEWALK. (AND THOSE ARE SOME REALLY UNATTRACTIVE PANTS SLOAN HAS ON.)
NEXT SCENE
AT THE BIO LAB. ED SITS BEFORE A COMPUTER. DR. COPELAND ENTERS THE LAB AREA. ED MOVES OVER TO A MICROSCOPE.
Copeland: Any progress yet?
Ed: Uh, yep, maybe. Have a look.
ED GETS UP FROM THE MICROSCOPE AND DR. COPELAND SITS DOWN TO LOOK.
Copeland: I don’t see....
ED FLIPS SOME SORT OF SWITCH ON THE MICROSCOPE.
Ed: Now watch.
WE SEE THE NANITE TRAVELING THROUGH THE CELL. SUDDENLY IT GLOWS BRIGHTLY, THEN STOPS MOVING.
Copeland: How did you do that?
Ed: Electricity. I shorted it out. It's basic science. It’s running on some sort of power source. A small electrical charge seems to disable it.
Copeland: That’s brilliant.
Ed: Maybe. But, at least it wasn’t as hard to stop as we thought.
COPELAND CONTINUES TO PEER INTO THE SCOPE.
NEXT SCENE
AT SLOAN’S APARTMENT. SHE ENTERS WEARING TOM’S JACKET, AND FLIPS ON THE LIGHT. TOM REMAINS IN THE HALLWAY. SLOAN DISARMS THE ALARM SYSTEM AND TAKES OFF HIS COAT. SHE NOTICES HIM STILL STANDING OUTSIDE.
Sloan: (smiling at him) Aren’t you gonna come in?
Tom: No.
Sloan: (crestfallen) Oh.
SHE WALKS TO THE DOOR AND HANDS HIM HIS JACKET.
Sloan: Thanks, I would’ve frozen without it.
Tom: Sure.
Sloan: Good night.
AFTER A MOMENT’S HESITATION, SLOAN QUICKLY STEPS FORWARD AND GIVES HIM A SMALL KISS ON THE LIPS, THEN STEPS BACK AND CLOSES THE DOOR ON HIS INQUIRING EXPRESSION.
CUT TO TOM, PUTTING HIS JACKET ON AS HE LEAVES THE ENTRANCEWAY TO SLOAN’S APARTMENT. HE FLASHES ON AN IMAGE OF SHANE, STANDING IN FRONT OF A VEHICLE. TOM WALKS AROUND A BLACK SUV AND SEES SHANE.
Tom: Shane. What are you doing here?
Shane: I’ve got a name. I found out who created the nanite. How to transmit it, a place to test it, the people who run it, everything.
Tom: Who is it?
Shane: A doctor, named Copeland. Dr. Ian Copeland.
TOM STARES AT SHANE IN SHOCK.
NEXT SCENE
AT THE BIO LAB. COPELAND SITS BEFORE ED’S COMPUTER, ERASING ALL THE FILES. ED WALKS IN CARRYING TAKEOUT FOOD. (HE MUST ALWAYS BE THINKING ABOUT FOOD. HE SURE DOES WALK IN WITH TAKEOUT A LOT.)
Ed: It’s gonna be a long night. Now that we can actually stop this thing all we have to do is--
HE TURNS AND LOOKS AT DR. COPELAND.
Ed: What the hell are you doing?
Copeland: (coldly) Sit down, Ed. I’ll be through in a minute.
ED RUSHES OVER TO THE COMPUTER. COPELAND MOVES TO THE SIDE AS ED SITS AND STARTS TYPING AT THE KEYBOARD.
Ed: Why would you do this?
Copeland: Mainly because I underestimated you. I didn’t think you could possible figure out how to stop what was happening.
Ed: (engrossed in the computer screen) I don’t understand.
Copeland: Well, it’s like you said, Ed. Five years ago things were different. My job then was to establish myself as a doctor, professor, mentor. Things have changed.
ED TURNS AND LOOKS UP AT DR. COPELAND.
Ed: So you're one of them. A killer.
Copeland: (with a laugh) No, my job is to help my species survive. We’re no different.
Ed: Like hell. See I am trying to save the lives that you are destroying.
Copeland: I’m confident that soon I’m going to have to try and save the lives that you destroy. Unless....
Ed: Unless what?
Copeland: You join me. Help me. You're a brilliant scientist, I could use your help.
Ed: No thanks.
Copeland: There’s so much I would love to show you.
Ed: (firmly) It won’t happen.
COPELAND GIVES A NOD OF ACCEPTANCE AND MOVES AROUND THE BACK OF ED, WHO HAS BECOME FOCUSED AGAIN ON RETRIEVING HIS LOST FILES. HE DOESN’T SEE COPELAND PULL OUT A SYRINGE.
Copeland: We’ll see.
COPELAND STICKS THE NEEDLE INTO ED’S NECK. ED RISES FROM THE CHAIR AND TRIES TO GET AWAY, BUMPING INTO THE COUNTER IN THE PROCESS. HE SLUMPS TO THE FLOOR.
NEXT SCENE
AT SLOAN’S APARTMENT. TOM BURSTS THROUGH HER DOOR.
Tom: Sloan!
SLOAN EMERGES FROM HER BEDROOM AREA AND WALKS TO TOM.
Sloan: (warmly) I’m glad you came back.
SHE NOTICES HIS INTENSE EXPRESSION.
Sloan: What’s the matter?
Tom: Where’s Ed?
Sloan: At the lab, I guess. Why?
Tom: I know who created the nanite. It’s Dr. Copeland.
Sloan: Oh my God.
SLOAN RUSHES OVER TO THE PHONE AND DIALS. TOM LOOKS AT HER, THEN TOWARDS THE DOORWAY. SHANE ENTERS. SLOAN TURNS.
Sloan: He’s--
SLOAN SEES SHANE.
Tom: Sloan, this is Shane.
SLOAN LOOKS AT THE BOY, THEN DIRECTS HER ATTENTION BACK TO THE PHONE.
Sloan: (her panic rising) He’s not answering. We-we’ve gotta get over to the lab.
SLOAN RACES ACROSS THE ROOM AND TOM TURNS TO SHANE.
Tom: You stay here until we get back. You don’t move, you don’t answer the door, nothing. You just stay here.
Sloan: Let’s go.
Tom: (to Sloan) I’m leaving him here.
Sloan: Fine.
THEY HURRY OUT THE DOOR.
NEXT SCENE
AT THE LIFE SCIENCES BUILDING. TOM PULLS HIS CAR INTO A PARKING SPOT OUT FRONT AND HE AND SLOAN GET OUT.
Tom: I’ll try masking myself but Copeland may know I’m coming like Lewis did. Just in case, you might create a distraction so I can get to him.
Sloan: Don’t worry, I’ll distract the hell out of him.
CUT TO TOM AND SLOAN, WARILY ENTERING THE BIO LAB.
Sloan: Ed wouldn’t leave without locking the lab.
TOM MOTIONS HE IS GOING TO CHECK OUT THE OFFICES. SLOAN WALKS ACROSS THE LAB AREA. SHE STANDS IN FRONT OF THE COMPUTER, ITS SCREEN SAVER A DARK BLUE PATTERN. SHE TOUCHES A KEY AND THE SCREEN COMES UP, ‘All files on this drive have been erased’. SLOAN LOOKS AROUND.
Sloan: Tom!
TOM LEAVES ED’S OFFICE AND WALKS OVER TO SLOAN, SEEING WHAT SHE’S STARING AT. THE TAKEOUT FOOD IS SCATTERED ON THE FLOOR BY THE COUNTER ED FELL AGAINST.
CUT TO LATER AT THE BIO LAB. ATTWOOD APPROACHES TUGGING ON HIS GOATEE.
Attwood: I’ve contacted the local authorities. They’re aware that Ed’s missing. I’ve sent them photos of both Ed and Copeland.
Sloan: We should call Ray.
Attwood: It’s already done. He was on his way in anyway. He said he had a new lead about the juice boxes.
SUDDENLY RAY SPRINGS AROUND THE CORNER, OUT OF BREATH.
Ray: Look, I got here as fast as I could.
Attwood: I suppose now it’s a waiting game.
Ray: Well, maybe not. Now that we know Copeland is one of them, some things are starting to make sense. After the school principal talked with Tom, she made one phone call. Principal Cook called Copeland.
SLOAN TURNS TO TOM, SHOCKED.
Sloan: She is working for them.
TOM GIVES HER A SMALL NOD.
Sloan: Best tactic of all. Get us to turn on ourselves. She may know where to find Copeland. And maybe Ed.
SLOAN GRABS HER COAT AND HEADS FOR THE DOOR.
Sloan: I’m going back out there to talk with her.
Ray: No, we’re going back.
Sloan: (turning to Tom) You coming?
Tom: No. I think I should go back to your place.
Sloan: Right. I’ll see you later.
Tom: (nodding) Mmm.
SLOAN AND RAY LEAVE.
NEXT SCENE
TOM DRIVES DOWN A DARK STREET. HE TURNS TO SHANE, IN THE PASSENGER SEAT.
Tom: I never had this chance. Take it.
Shane: I don’t know where to go. Why can't I stay with you?
Tom: If you stay we’re both at risk.
Shane: The government will protect me.
Tom: Until it’s not in their best interest.
Shane: So why did I risk my life? Why was I trying to prove myself to you?
Tom: It’s not about me, it’s about you. I wanted you to see that you could live you own life on your own terms. And now you know you can be free.
Shane: Why don’t you leave? Go somewhere they can’t find you?
Tom: I have reasons to stay.
SHANE DUCKS HIS HEAD AND GIVES A SHY SMILE.
Shane: Dr. Parker.
TOM TURNS TO LOOK AT SHANE.
Tom: Yes.
Shane: You’re lucky to have someone.
Tom: I know you’ll find a life for yourself. You’re not going to be alone.
TOM PULLS UP TO A BUS STOP. HE PUTS THE CAR IN PARK AND TURNS TO SHANE.
Tom: Bus is gonna come through here in about fifteen minutes. You stay on it until the last stop.
HE OFFERS SHANE AN ENVELOPE.
Tom: There’s some money in here. Enough to keep you going for at least a month. When you’re near to running out you give me a call at the lab. By then I’ll come up with a safe place to stay.
Shane: Thanks. Hope to see you again some day.
Tom: I do too.
TOM THUMPS SHANE ON THE CHEST AND SHANE GETS OUT OF THE CAR. HE TURNS BACK AND LOOKS IN THE WINDOW AT TOM, THEN GIVES HIS A CASUAL WAVE. TOM DRIVES OFF.
NEXT SCENE
DAYTIME. AT THE ELEMENTARY SCHOOL. PRINCIPAL COOK WALKS ACROSS HER OFFICE TO HER DESK. RAY ENTERS AND COOK LOOKS UP. SLOAN IS BEHIND HIM. PRINCIPAL COOK STANDS AND FACES THEM.
Ray: Mrs. Cook, we’d like to talk to you.
Cook: What do you people want now? Why can’t you leave me alone?
Sloan: We know you're cooperating with Dr. Copeland.
Cook: I don’t understand.
Sloan: We know you called him. You’re cooperating with them, aren’t you?
Cook: (after a thoughtful pause) Yes, I am.
Sloan: (incredulous) Why? Why would you harm these children?
Cook: The world they know isn’t going to exist much longer. We’re not strong enough to fight this, you should know that better than anyone. You’ve seen what they can do, they’re stronger, ruthless. More determined to win. And they’re everywhere.
Sloan: So because you’re afraid, you’re willing to let all these children die?
Cook: (another thoughtful pause) Yes.
SLOAN’S EYES WIDEN IN SHOCK AT THE WOMAN’S COLD ANSWER.
Cook: But you don’t understand, you see they needed me. They needed someone to manage this test project. Report the results. Someone had to watch the children.
Sloan: To make sure none of the kids got sick. So that no one would find out.
Cook: They needed me.
Ray: Where do we find Copeland?
Cook: I don’t know.
Sloan: (insistently) He’s got a friend of mine.
Cook: I have no idea where he is. We spoke on the phone periodically.
RAY TURNS FORM THE WOMAN. SLOAN LOOKS OVER HER SHOULDER AT HIM, THEN HUSTLES OVER TO HIS SIDE.
Sloan: We can’t let her go!
Ray: We have no choice. Attwood is having the grove and the orange juice company destroyed. Even if I were to arrest her, we have no evidence. I’m not sure there’s even a crime.
Sloan: What she did to these kids can’t be reversed. That’s a crime!
Ray: Sloan, there’s nothing we can do with her.
SLOAN PURPOSEFULLY STRIDES OVER TO PRINCIPAL COOK.
Sloan: One thing about collaborating with the enemy, Miss Cook. Sometimes, they turn on you.
COOK GIVES THEM A SMUG LOOK AND SLOAN AND RAY LEAVE. THEY WALK ACROSS THE PLAYGROUND. CHILDREN SQUEAL WITH DELIGHT AS THEY PLAY.
Sloan: What better person to have on your side than someone as trusted as a school principal.
Ray: The problem is, I’m starting to think they have even more trustworthy, even more important people on their team.
A LITTLE BLONDE GIRL RUNS UP TO SLOAN.
Girl: Hi! Remember me?
SLOAN TURNS AND SEES THE GIRL FROM THE HOSPITAL.
Sloan: I sure do! How’s your throat?
Girl: The doctor says I’m all better. Bye!
SLOAN’S SMILE DISAPPEARS AND SHE WALKS THROUGH THE CHAIN LINK FENCE.
Sloan: Let’s get out of here.
NEXT SCENE
NIGHTTIME. TOM DRIVES DOWN A DARK ROAD. HE PULLS UP NEXT TO LIMO LADY, IN THE BACKSEAT OF HER LIMOUSINE. SHE LOWERS HER WINDOW. (THESE ARE GOOD TOM SCENES! LOOKS GREAT.)
Limo Lady: I’ve been waiting to hear from you. How did our boy do?
Tom: I don’t know, he never came back.
Limo Lady: So discovering Copeland’s identity was pure coincidence?
Tom: Looks that way.
Limo Lady: Where is he?
Tom: I told you, I don’t know.
Limo Lady: He was a valuable resource. You shouldn’t have let him go.
Tom: Like I said, he disappeared.
Limo Lady: It’s alright. There’ll be others.
LIMO LADY GLARES AT TOM THEN RAISES HER WINDOW. SHE’S DRIVEN OFF. TOM SITS FOR A MOMENT, THINKING. (GREAT PROFILE. THAT’S NOT WHAT HE’S THINKING. THAT’S WHAT I’M THINKING. DON’T WANT YOU TO BE TOO CONFUSED...)
NEXT SCENE
AT SLOAN’S APARTMENT. SLOAN ENTERS AND TOM FOLLOWS HER IN. (MAJOR YOWZA! HE’S WEARING HIS BLACK OVERCOAT OVER A GREY V-NECK SWEATER AND WHITE T-SHIRT. BLACK PANTS AND BLACK SHOES.) THEY BOTH REMOVE THEIR COATS AND SLOAN SITS DOWN ON HER LOVESEAT. TOM WALKS OVER TO HER, CROUCHES BEFORE HER (!), AND EXTENDS HIS HAND TO HER. SHE PLACES HER OWN IN HIS.
Tom: If it makes you feel any better I don’t think Ed’s been killed. If that’s all Copeland wanted he would’ve left his body at the lab.
HE PLACES HIS OTHER HAND ON TOP OF HERS.
Sloan: I guess. If he’s alive, we-we can find him.
SHE LOOKS AT TOM FOR REASSURANCE, THEN TURNS AND LOOKS AT HER ANSWERING MACHINE ON THE TABLE NEXT TO HER. SHE PRESSES A BUTTON AS TOM STEEPLES HIS HANDS. A DIGITALIZED VOICE RESPONDS ‘No Messages’.
Sloan: (worry filling her voice) If Ed’s alive he’ll contact me, I know he will.
TOM SITS NEXT TO SLOAN ON THE LOVESEAT. HE PUTS HIS HANDS ON HER SHOULDERS.
Tom: C’mere.
SHE TURNS TO LOOK AT TOM AS SHE LETS HIM PULL HER INTO HIS ARMS. (OH MY.) HE STROKES HER HAIR.