Maia

Previously on the 4400:

Matthew

(scene of Shawn and Isabelle in bed)  I see you’ve been spending a lot of time with Shawn.

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.

Shawn

(to Daniel)  You killed people.  That’s not what we discussed when you approached me.

Daniel

(on his cell phone)  We are in a war.  It’s going to cost money.

T. J. Kim

(accusing Shawn after she has been shot)  You sold us out.

Daniel

(to Shawn)  I’m very disappointed in you, Shawn.  I’m afraid I can’t forgive you.

Biederman

(in a judge’s chambers)  Diana Skouris, your adoption of Maia Rutledge is hereby complete, legal, and binding.

Sara

(in Diana’s home)  Ms. Skouris, my name is Sara.  I’m Maia’s sister.  (while abducting Maia)  Do you see the future more clearly since you stopped taking the inhibitor?

Maia

(in the prison house; to Lindsey)  Who are you?

Lindsey

I’m Lindsey.  I’m a part of her collection.  We all are.

Maia

(being taken by the large man)  Help!  Tyler!  Duncan!

Sara

(in the future’s operating room; to Maia)  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.  Before we put you back in your new time, we’ll make you forget your mother.

Maia

Please, don’t!

Sara

They’ll forget you, too.

(episode begins: Diana’s apartment; there is a knock on the door)

Marco

(as Diana opens the door; hands her flowers)  Hey.

Diana

Oh, Marco.  They’re beautiful.  How did you know I like anemones?

Marco

You remember that bad Italian restaurant?  I asked you what your favorite flower was, and you said—

Diana

(putting her arm around him)  —anemones.  Most guys don’t even listen to table talk.  You not only heard me, you remembered.  Do you know how lucky you’re going to get tonight?

Marco

Ah, then my plan is working.  (looks at the table set for three)  I thought it was just going to be the two of us.

Diana

It is.

Marco

Then, who’s the other plate for?  Di?

Diana

(confused)  I don’t know what I was thinking.

(scene change: Tom’s house; he and Alana are sharing an experience)

Tom

(driving a sports car along a two-lane road)  You having fun?

Alana

Of course, I’m having fun.

Tom

You sure you don’t want a turn at the wheel?

Alana

It’s your fantasy.

Tom

Okay, Honey.  Hold on.  (he drives faster)

Alana

Look out! 

Tom

(he hits Maia as she runs across the road)  You all right?

Alana

I think so.

Tom

(exiting the car and looking for Maia)  You saw her, too, right?

Alana

Of course, I did.

Tom

Why would a little girl be standing in the middle of the road?

Alana

I have no idea.

Tom

A joy ride in the country: that’s what we agreed on, right?  A great car.  A deserted road.  Hitting some kid at eighty miles plus—where the hell does that come in?  What happened to her?

Alana

(seeing Maia walk down the road behind them)  Thomas.

Tom

(running after Maia)  Hey!  Hey!  Hey.  Hey.  Are you okay?  (Maia turns around, but her face is just a mask)

Alana

(she and Tom break off contact)  Who was she?

Tom

I have no idea.

(scene change: later, in the living room)

Tom

How many times have we gone away together in one of these fantasy worlds you create?  A dozen times?  Two dozen?

Alana

At least.

Tom

And, these worlds: they always feel real.  Except this time: a girl without a face appears out of nowhere.  It felt more like a nightmare.

Alana

But something like that was bound to happen sooner or later.  I build these worlds out of our memories.  I guess this time I dredged up something incomplete.  Uh, a fragment of something.  A sort of mental hiccup.

Tom

Okay.  But this girl: is she part of my memory or yours?

Alana

Yours, mine, both: there’s no way to know, is there?  One of us might have seen her picture in a book, or seen her in the street.

Tom

Yeah.  We just don’t remember her face. 

Alana

 It might have just been a glimpse.

Tom

Yeah, well.  A glimpse pretty much ruined our night.

Alana

Well, tomorrow night will be better.  I promise.  Anywhere you wanna go, anywhere we wanna go, and anything we wanna do.

Tom

You know, for his twelfth birthday, I took Kyle fishing up at the Dosewallips River.  I thought maybe the three of us could go there.

Alana

That sounds great.

Tom

And, maybe this time, we could actually catch some fish.

Alana

(laughs)  Okay.

(scene change: 4400 Center, in a stairwell; Shawn and Isabelle are making out)

Shawn

I don’t know what’s wrong with my bedroom, or yours, for that matter.

Isabelle

We’ve already done it there a bunch of times.  (she starts undressing him)  Experts say you should do adventurous things to keep relationships more interesting.

Shawn

(not resisting)  They say that, huh?

Isabelle

What could be more adventurous than a quickie on the staircase?

Shawn

Did you switch from Encyclopedia Britannica to Cosmo Magazine or something?

Isabelle

Well, I read lots of stuff.

Devon

(entering and seeing)  Uh, I’ll take the elevator.

Shawn

Devon!

Isabelle

How embarrassing for her.  (she laughs and starts fondling Shawn again)

Shawn

Isabelle!  Just stop.  Just—

Isabelle

What’s the matter, Shawn?  What’s wrong?  She’s not going to tell my father.  She’d be too afraid of me.

Shawn

Isabelle, she’s going to tell someone, and they’ll tell someone else, and then everybody’s going to know.

(scene change: NTAC; Tom is trying to sketch Maia’s face)

Nina

(approaching)  Where’s your partner?

Tom

(checks his watch)  Late.

Nina

A 4400, Christopher Dubov, was attacked outside his home last night.  (she lays a folder on Tom’s desk)  I want to know if we’re looking at a hate crime. 

Tom

It says here he’s a lawyer at Teller and Dutch.  That’s a major mergers and acquisitions firm.  They’ve been all over the financial pages this year.

Nina

Yeah.  Which makes him a high-profile 4400, an easy target for somebody looking to make a point.

Tom

No.  It makes him a corporate raider who has put a lot of people in the unemployment line.  His 4400 status isn’t the only motive someone might have to attack him.

Nina

Just talk to him.  See if he can write you up a list.  (sees Diana arriving)  Oh.  Your alarm clock need new batteries?

Diana

No.  It’s a crappy morning.  (she drops several newspapers on her desk)

Tom

You opening up a newsstand?

Diana

No.  Just a project I’m working on.  So, what do we got?

(scene change: in Dubov’s office)

Dubov

[Christopher Dubov, disappeared June 29, 1999]  Yeah.  You could call it a hate crime.  My son, Michael, certainly hates me.

Tom

Your son did this to you, Mr. Dubov?

Dubov

His mom and I split up.  He blames me.  I’m the one who introduced her to Bob, her new husband.  I knew they belonged together.  I could smell it.

Tom

I’m not sure I follow.

Dubov

It’s my ability.  It showed up once I stopped taking the promicin inhibitor.  I can smell pheromones.

Tom

You mean the stuff people put out to attract other people.

Dubov

Weird, huh?  Things between my wife and I haven’t been too good for a while.  Then I met Bob.  He’s my new dentist.  Right away, there was something familiar about him.  Then I realized what it was.  He smelled just like Caroline.  So, I made her an appointment.  I had to know whether or not they belonged together.

Tom

Let me guess: love at first sight.

Dubov

Sight, smell, whatever.

Diana

(looking at photos)  You and your son look very happy together.

Dubov

Those were taken when Michael was ten.

Diana

(trying to remember something)  Ten.  That’s a—that’s a great age.

Tom

Mr. Dubov, do you want us to talk to Michael?  Explain to him that assault is a serious crime?

Dubov

Forget it.  I’m sorry my secretary called you.  Besides, I think I know a way to get him to forgive me.  There’s a new bar around the corner.  And, one of the waitresses: she smells just like my kid.

Tom

Let’s hope she’s not married.

Dubov

Amen to that.

(scene change: Tom and Diana in the car)

Tom

You know, I bet if that guy quit his job and opened up a dating service, he’d make a fortune.  Though I’m not sure how turning a corporate lawyer into Cupid is going to help save the future.  (Diana starts crying)  Hey!  Honey, what’s going on?  You all right?

Diana

Dubov was gone for—like—five years, right?  I—I bet his son really missed him.

Tom

Probably.  I mean, every 4400 left someone behind.  Are you sure it’s not something else?

Diana

No.  (shakes her head)  It’s fine.  Really.  It’ll pass.

Tom

(uncertain)  Okay.

(scene change: 4400 Center; Richard’s office)

Richard

Physical.  You and Isabelle.  (Shawn nods assent)  You want to explain that?  (Shawn hesitates; angry)  I asked you a question!  What exactly is going on between you and my daughter?

Shawn

We never planned on going behind your back.  In fact, we never planned it at all.  It just kind of happened.

Richard

(furious)  Friendship!  Remember?  We talked about that.  That’s as far as it was supposed to go.

Shawn

I don’t what to say.  I’m sorry.

Richard

I’m sorry, too.  I’m sorry I ever trusted you.  Isabelle is just a child—

Shawn

No, Richard.  She isn’t.

Richard

She’s emotionally immature, and you took advantage of that!

Shawn

That’s what you think?  You know me better than that.  That’s not fair.

Richard

I know that your judgment stinks.  That’s why I know you’re gonna stay away from my daughter.

Shawn

I’m not going to make that promise to you.

Richard

I’m not giving you a choice here.  You understand me?  This thing between the two of you: it is over.  (Matthew knocks on the door and opens it)  I don’t recall saying: “Come in.”

Matthew

I thought perhaps a referee might be in order.  May I advise you gentlemen to go to your neutral corners?

Shawn

(angry)  This is a private conversation, Matthew.

Matthew

It may have started out that way, but I assure you, it’s becoming very public.  I could hear you out in the hallway, and for the record, I happen to agree with Richard.  This relationship with Isabelle is ill-advised at best.

Shawn

I thought referees didn’t take sides.

Matthew

If I were you, Shawn, I’d take this opportunity to make a graceful exit.

Richard

Think about what I said, Shawn.  I’m expecting you to do the right thing.  (Shawn exits)

(scene change: Tom’s home; he and Alana are having an experience)

Tom

(coming up from behind Alana)  What’s for lunch?

Alana

(laughing)  Prosciutto with figs, rosemary chicken, couscous, and raspberries.

Tom

Wow!  You know, when Kyle and I used to go fishing, we’d take a half a dozen butter and jelly sandwiches and think were living like kings.

Alana

Well, I like to think the reality I create is a little bit tastier than that.

Tom

(laughing)  Good.  Hey, we need to get going.  (calling)  Hey, Kyle!  Come on, buddy!  Let’s get moving!  Come on!  (he sees Maia, who now has a face, on the stairs)  It’s you: the girl in the road.

Maia

That’s right.  You remember.  Maia.

Tom

Maia.  Have we met before?

Maia

Don’t be silly.

Tom

No, no.  I’m sorry.  I—I don’t remember you.

Maia

Sure you do.  Think harder.

Tom

Is that why you keep showing up?  Because you want me to remember?

Maia

I’m here, because you brought me here.

(scene change: back in Tom’s home; he and Alana break apart)

Tom

There has to be a reason why this girl keeps showing up.

Alana

There was nothing familiar about her?  Nothing at all?

Tom

(perplexed)  No.  But she kept acting like we knew each other.  And, if she’s right—if I did bring her there, than I must know her from somewhere.

(scene change: Diana’s apartment; Diana opens the door to Tom)

Diana

(surprised)  Tom!  Shouldn’t you be at work?

Tom

Jarvis said you called in sick.

Diana

Well, I’m allowed.  Thanks for checking in on me.  (she starts to close the door)

Tom

(barges in)  Come on, Diana.  Talk to me.  What are you—what the hell’s all this?  (the apartment living room is strewn with magazines and newspapers)

Diana

It’s just a project I’m working on.  I mentioned it to you.

Tom

(he picks up a picture of a little girl)  Who’s this supposed to be?

Diana

I wish I knew.  I know this might sound creepy, but I was up all night last night cutting out pictures of little girls, and none of them seemed to be the right one.  I mean, I think I’m going crazy.

Tom

Then, we both are.  You know those little dream vacations I take with Alana?  This little girl keeps showing up in them.  This little blonde girl, says her—her name is Maia.

Diana

(startled)  Maia?  (upset)  Oh, Tom!

Tom

What?

Diana

You have to come with me.  I have to show you something.  (she leads him into what once was Maia’s room; the wall is plastered with pictures of a little girl)  Who is she, Tom?  Who is Maia?

Tom

I don’t know.  (later)  There’s no mention of someone named Maia in any of our case files.

Diana

Okay.  Well, maybe we met her together someplace else.

Tom

Maybe at one of Garrity’s barbecues.

Diana

No.  That does not feel right.  I didn’t just meet this girl once at a barbecue.  I know her better than that.

Tom

All right.  Just calm down.

Diana

Well, there’s a reason this girl is haunting us, Tom.  Okay.  She’s out there somewhere, and she wants us to find her.

Tom

Well, right now, the only place I know she exists is in one of these dream worlds that Alana and I create.

Diana

Well, then, I need for Alana to take me there.  I need to meet this girl, talk to her.

Tom

No.  But you wouldn’t really be talking to her, Diana.  You’d just be talking to whatever your subconscious remembers of her.

Diana

Well, maybe that would be enough for me to figure out who she is.

(scene change: 4400 Center; in the auditorium, Isabelle is playing the grand piano; Richard enters)

Isabelle

How do I sound?

Richard

Like you’ve been playing for years.

Isabelle

But I haven’t.  It’s my first time.

Richard

I kind of figured that.  Isabelle, you have a minute?

Isabelle

Have a seat.

Richard

(sits beside her)  Isabelle, you know I’m proud of you, don’t you?

Isabelle

This is about Shawn and I having sex, isn’t it?

Richard

That’s—that’s part of it.  Yeah.  Yeah.  But only part of it.  Right now, everything is new to you.  You’re learning so much, so fast.  How to be—uh—a daughter—a friend—

Isabelle

A lover.

Richard

That part you might be learning a little too fast.

Isabelle

You don’t want me to get my feelings hurt.

Richard

I would just like it if you and Shawn slowed down.

Isabelle

Stop sleeping together?

Richard

For the time being.

Isabelle

There’s no reason to stop.  Shawn cares about me.  I care about Shawn.  The sex is wonderful.  (Richard rises, not wanting to hear this)  It makes us both very happy.  It should make you happy, too.

Richard

Maybe it should, but it doesn’t.

Isabelle

I suppose that’s normal.  But everything’s going to be okay.  Shawn would never do anything to hurt me.  He’s way too smart for that.  (she kisses Richard’s cheek)  So, you see.  You have nothing to worry about.  I wonder if anyone at the Center has a cello.  (she walks away)

(scene change: at Tom’s house; Diana wants to have an experience with Alana)

Diana

So, what do I have to do?

Alana

Well, the main thing is to relax.

Diana

Oh, my God.

Tom

(stumbling)  Well, I usually close my eyes and count backwards from ten.  Before I reach zero, we’re somewhere else.  Do you have any idea where you want Alana to take you?

Alana

Ah.  We usually have a destination picked out.

Diana

Well, wherever Maia is.  I mean, you can do that, can’t you?  You can take me to her.

Tom

She seems to show up any place we go.  So, it’s really up to you.

Diana

All right.  Well, let’s just keep it simple.  How about my apartment?

Alana

All right.  Now, let’s begin.  (she puts her hands on Diana’s neck and closes her eyes)

(scene change: the two of them are in a federal courts building)

Diana

Alana.  This is not my apartment.

Alana

I know.  I’m not quite sure what just happened.

Maia

(exiting a room)  You done talking to your friend?

Diana

You’re Maia.

Maia

Stop fooling around.  Come on.  (she takes Diana’s hand)  He’s waiting for us.  (she leads her into Judge H. Biederman’s chambers)

Biederman

(although this time he is black)  There you are, Ms. Skouris.  The documents are all ready.  If you’ll just have a seat and sign where indicated, we can finish up.

Maia

(because Diana hesitates, reading that this is an adoption form)  You still want to do this, don’t you?  (the judge clears his throat; Diana signs the papers)

Biederman

Diana Skouris, your adoption of Maia Rutledge is hereby complete, legal, and binding.  So witnessed by me, Henry Biederman of the Tenth Circuit Family Court of Seattle.  You know, some of us have to look far and wide to find the people we’ll call family.  You two had to look clear across time.  Diana, let me introduce you to your daughter, Maia.  Maia, say hello to Mommy.

Diana

(remembers visions of Maia and her together)  Oh, my God.  Maia!  Oh, my God!  (then she has visions of Sara; she breaks contact with Alana)  My God!

Tom

Diana, what happened?

Diana

She was kidnapped, Tom.  She was taken by a woman pretending to be her sister.  She took Maia, Tyler Downing, Lindsey Hammond, and a whole bunch of 4400 kids.  Do you remember any of this?

Tom

No.  No.  I don’t.

Alana

So, this woman took these children and somehow made everyone forget they ever existed?

Diana

Yes.  But they existed.  Maia Rutledge disappeared from Crescent City, California, March 3rd, 1946.

Tom

Wait.  You’re saying she was abducted, then returned with the other 4400, then taken again, and none of us remember this but you?

Diana

It’s like they’ve wiped all our memories.

Alana

But why?

Diana

Because they didn’t want us looking for them.  The 4400 were taken and returned to change the future in some way, and maybe Maia and the others were taken so that they could change it again.  But I don’t know, and I don’t care.  All I know is that four days ago, she was here with me.  And (to Tom) I need you to believe that I have a daughter named Maia and that she’s been taken from me.

Tom

I don’t remember Maia or the kidnapping or any of it.  And, the idea that my memory’s been messed with scares the hell out of me.  But after everything we’ve been through with the 4400, yes, Diana.  I believe you.  (they hug)

(scene change: 4400 Center; Richard answers his cell phone in a corridor)

Richard

Hello.

Daniel

Richard Tyler?

Richard

Yes.  Who is this?

Daniel

My name is Daniel Armand.  You know who I am?

Richard

Of the Nova Group?

Daniel

I think it’s time you and I met, Richard.  We have a lot to discuss.

Richard

I have a lot I’d like to say to you, too.  But I don’t think you’re going to want to hear it.

Daniel

Now, you see, that’s the problem right there.  We should be allies, not adversaries.  My group and your organization have the same goal.  We’re advocating for the rights of the 4400.

Richard

(entering his office and closing the door)  Except that you advocate through assassination and intimidation.

Daniel

We lack the strength of numbers, Richard.  So, we use the tools at our disposal.

Richard

Is that what you called me for?  To have a debate?

Daniel

I called to arrange a truce and to talk about Shawn Farrell.

Richard

You going to make more threats against him?

Daniel

No.  We need to discuss his future, Richard.  Because, unless you and I can come to some kind of an agreement, I’m not sure he’s going to have one.  (he hangs up)

(scene change: later, with Matthew and Shawn)

Richard

He says I should meet him on the corner of Pike and Gorch, Thursday at four o’clock.

Matthew

And then?

Richard

A car will be there to pick me up and take me someplace for a face-to-face with Armand.

Matthew

Sounds to me like the Nova Group’s been reading too much John le Carre.  (author of spy novels, including The Spy Who Came In From The Cold)

Shawn

What did you say?

Richard

I told him I’d think about it.

Shawn

What is there to think about?  You’re not going.

Matthew

Whoa.  Let’s not rush to judgment.

Shawn

I’ve dealt with this guy before, remember?  He wants one thing.  You know what it is.  Money, and probably the names and addresses of every 4400 in our computer.  If they have an ability that he can use, he will exploit it, and people with die.

Richard

People have already died.  Maybe I can stop it.

Shawn

(frustrated)  What?  Are you going to make him see the light?

Richard

No.  But maybe I could stop him from killing you.

Shawn

How?  How?  By putting this place and everything that we’ve worked for in jeopardy?  I won’t let you do that.

Matthew

Noble words, Shawn.  But may I remind you: if the Nova Group wants to strike at you, I don’t think there’s any way we can prevent it.

Shawn

Thank you for the pep talk, Matthew.

Matthew

I’m just being realistic.

Richard

So am I.  If I don’t show, it’s like a declaration of war, and we all know who the first casualty will be.  You and Jordan Collier built this place.  You’re its heart and soul.

Shawn

Then listen to me, Richard.  I tried to deal with these people before.  It was a disaster.  I’m warning you—I’m asking you—please do not make the same mistake.  Please.

(scene change: Nina’s office)

Nina

Skouris, I have a list right here of every 4400 who returned that night to Highland Beach.  There’s no Maia Rutledge; there’s no Tyler Downing; there’s no Lindsey Hammond.

Diana

I’ve explained that.  They’ve been erased.  From the records, from our memories.  Someone has tried to wipe out every trace of them.

Tom

We talked to the families.  In the last week, all of them have been haunted by phantom memories of children they supposedly lost years ago.

Nina

Okay.  Let’s say for a minute that I am buying any of this—and I’m not—but if I did, we don’t even know where they were taken.  The future?  That’s kind of out of our jurisdiction.

Diana

I’ve seen Maia.  I’ve spoken to her.

Tom

We both have.

Nina

Okay.  Look.  You are asking me to commit manpower and resources to find a little girl that only exists in some shared fantasyland you guys play around.  Look.  I’m sorry, but I can’t do it.

Marco

(enters)  Uh, you guys through?  Because, I think I found your kids.  (later, in the Theory Room, looking at an old photograph)  Here we go.  Watch this.

Diana

(recognizing Tyler)  That’s him.  That’s Tyler.

Marco

It’s dated September 19th, 1893.

Tom

They sent him back further into the past?  Why?

Marco

Well, that I can’t tell you.  But Tyler Downing did graduate first in his class from Yale University in engineering.  I knew I’d heard the name before.  In 1915, he helped develop synthetic petroleum.  You drove to work this morning because of this guy.  (shows another picture)  Lindsey Hammond.  June 11th, 1918.  This is from the estate of Robert Goddard.  You know, the rocket guy?  He adopted an orphan named Lindsey Hammond.  She lived with the family, eventually worked in his lab.  And, she invented all the composite materials used in the first lunar colonies.

Diana

Okay.  So, what about Maia?  Did you find any photos of her?

Marco

Uh, no.  She—she was a little harder to track down.  But—uh—I finally found something.  (he shows a diary)

Diana

That’s Maia’s handwriting.

Marco

It’s a diary from Maia Rutledge, dated April 19th through September 2nd, 1847.  It was written while she was part of a wagon train making its way along the Oregon Trail.

Diana

I’m sorry.  She crossed the Rockies in a covered wagon?

Marco

Uh, no.  She died of smallpox in October of ‘47.  She was twenty-five.

(scene change: 4400 Center)

Isabelle

No.  I’m sorry, Shawn.  But it’s not my father’s decision.  It’s mine, and I’m not breaking up with you.

Shawn

It’s got nothing to with your dad.  Not really.  You and I made some decisions.  We did some things.

Isabelle

We did what we wanted to do, and there’s no reason we can’t keep doing that.  We’ll be more careful.  My father won’t know.

Shawn

That’s not going to work.  Not anymore.  Lying to him, going behind his back: we’ve done enough of that.  The truth is, Isabelle, I kind of took advantage of you, and I’m really sorry.

Isabelle

You are so sweet the way you worry about me.  (she kisses Shawn)  I don’t want this relationship to end.  So, it’s not going to.

(scene change: Tom’s house; a rainy night)

Diana

(as Tom opens the door)  I need to see her.  (to Alana)  Please.  Can you take me to see my daughter?

Tom

Diana, you know it’s not really Maia you’d be seeing.

Diana

Oh, I don’t care.  (she enters the house)  Today, I found out that my daughter, who I loved, was sent back into the past and died a hundred and fifty years ago, and I’m sorry.  But that’s going to take me a while.  I just—please, let me do this.  I need to say goodbye.

Tom

Give me your coat.  I’ll put some coffee on.

Alana

(Diana forcefully places Alana’s hands on neck)  Ready?

Maia

Mommy?  Mommy, I’m starving.  Can we have pancakes?  I’ll help make them.

Diana

Okay.  We’ll need the eggs from the fridge.  And, bring me the big plastic bowl.

Tom

(returning from the kitchen, finds both Diana and Alana out on the floor)  Oh, my God!  Alana!  Alana!  Alana, Honey.  My God!  You’re bleeding.  Are you okay?

Alana

I think so.

Tom

Diana!  Diana!  Can you hear me?  Diana, look at me.  (to Alana)  What the hell happened?

Alana

I thought I was bringing us out.

Tom

Well, why isn’t she awake?

Alana

I couldn’t hold on to her.  It’s as if she pulled away.  Thomas, I think she’s still inside the dream world.

Tom

How can she be in there without you?

Alana

I’m not sure.  When you and I separate, we let go of the illusion, but she’s not letting go.

Tom

What?  She’s not coming out?

Alana

I think she’s happy there with her daughter, and she has no intention of ever leaving.

Tom

(to Diana)  Oh, come on.

(scene change: in the hospital; Diana lies unconscious in a bed)

Doctor

At first, I thought she’d suffered some kind of intracerebral hemorrhage, but the M.R.I. didn’t show any bleeding in the brain.

Tom

So, she hasn’t suffered any damage?

Doctor

Not yet.  But the E.E.G. was very troubling.  Her brain activity is far above normal and continues to accelerate.  The same is true for her heart rate, her breathing, her blood pressure.  They are all redlining, if you will.

Tom

Any idea what’s causing it?

Doctor

I really can’t say at the moment, but her metabolic rate can’t stay at this level for very long.  Eventually, her organs will fail.

Tom

What?  She could die?

Doctor

Unless we can slow down her rates, we’re looking at a very poor outcome.  Does she have any family?

Tom

Yeah.

Doctor

You should call them.  (he leaves)

Tom

(to Alana)  I need to talk to her.  Can you do that?  Take me to see Diana.

(scene change: in a park; Diana is pushing Maia on a swing)

Maia

Push me a little, Mommy.

Diana

Hey, I’m pushing you.

Maia

Then, make it higher.

Diana

Look.  Not too high.

Maia

But that’s the whole fun.

Tom

(with Alana)  She has a point.

Diana

I thought I’d be seeing you two.  (to Alana)  I didn’t hurt you, did I?  It felt a little jarring when you left.

Alana

I’m fine.

Tom

You, on the other hand, are not.

Diana

Well, that’s where you’re wrong, because I feel great.

Tom

You’re in an I.C.U., Diana.

Diana

(unconcerned)  I thought I might end up there.  What’s my heart rate?  Is it 170?  175?

Alana

Higher.

Diana

That still probably gives me—what—anywhere from three weeks to two months?  That could be forever in here.

Tom

You’re talking about suicide.

Diana

I appreciate your concern, Tom.  I do.  But, really, I’d like you to leave now.  Both of you.

Tom

Listen, Diana.  (Diana starts to turn away)  Believe me.  Don’t walk away.  The first time I came to one of these places, I never wanted to leave, but I came to realize this is not the world.  None of this is real, including—(pause)—Maia.

Maia

Mommy, push me a little harder.

Diana

She’s real enough for me.

(scene change: back in the hospital room)

Alana

She’s not coming back, is she?  She’s going to die in there.

Tom

That seems to be her plan.

Alana

I can’t help but think this is my fault.  I took her there.

Tom

No.  Don’t do that to yourself.  You didn’t take Maia away.  The people who did that: they’re to blame.

Alana

Maybe.  But these people—the future—they don’t seem to care who they hurt, do they?

Tom

No, they don’t.

(scene change: 4400 Center; Richard exits from the elevator)

Richard

(to someone in the elevator)  Sorry.

Matthew

(to Richard)  Four o’clock is fast approaching.  Have you come to a decision?

Richard

Do I want to get in bed with a terrorist or go to war with one?

Matthew

That does appear to be the question.  Whatever you decide, you can count on my support.

Richard

(seeing Isabelle, who appears angry, walk by)  Isabelle?  (she continues walking)  Isabelle.

Isabelle

(returning)  My relationship with Shawn has nothing to do with you.

Richard

That’s not true.  I just care about what happens to you.

Isabelle

You can care about me all you want.  Just stay out of my business.

Richard

I’m not going to do that.

Isabelle

Yes, you are.  (she attacks Richard with a deep breath)

Richard

(in pain)  Isabelle.  (he falls to the floor, writhing in pain)

Isabelle

(receives a faint smile from Matthew; relents)  Daddy.  Daddy.  I’m sorry.

Matthew

(to the onlookers)  Okay.  Move along.

Richard

It’s all right, baby.

(scene change: in the hospital.

Tom

(to Diana)  I don’t know if you can hear me, but I’ve been thinking.  You know, ever since the 4400 came back, it’s been one sacrifice after another.  You, your daughter, my son: it has to stop.  So, I have a plan.  I’m not sure it’s going to work.  It might be the stupidest thing I’ve ever done.  I kind of wish you were here to stop me.  But, you’re not, and I have to try something.  Maybe this is goodbye.  Maybe it isn’t.  (he kisses her forehead)  The job wouldn’t have been any fun without you.

(scene change: Tom begins to hang himself from a bridge)

Tom

Okay, okay.  Okay.  This is going to work, right?  (he jumps and finds himself in the future operating room)  It worked, right?  I’m—I’m not dead.

Sara

Not this time, no.  Next time, you might not be so fortunate.

Tom

The children you took—Maia and the others—I want them back.

Sara

You were never meant to remember them.  We went to great lengths to erase them from your memory to spare you any pain.

Tom

It didn’t work.

Sara

It appears we underestimated the bonds they had forged.

Tom

It’s called family.  Are you familiar with the concept?  You had no right to take them, treat people like that.  Maia was only twenty-five when she died.  Now, either return the children or put that rope back around my neck, because I’m done.

Sara

In that case, I need to show you something.  (all of the children are present)

Tom

They are alive.

Sara

You forced us to go back, extract them from the timeline.  But returning them to you would be a mistake, for our time and for yours.  The 4400 were an experiment we always knew might fail.  There were so many variables.  It was impossible to predict them all.

Tom

So, you’re telling me everything you’ve done: taking the 4400, sending them back—it hasn’t changed anything?  The catastrophe’s still coming?

Sara

Our enemies are more resourceful than we imagined.

Tom

Enemies?

Sara

There are those among us who would prefer history to remain unchanged, that the 4400 fail in their mission.

Tom

You mean, they want humanity to die out?

Sara

They are convinced that they will survive.  Not only survive, but benefit from the chaos.  If you think we are heartless, I assure you that the other side is unimaginably more brutal, and they’ve let loose a terrible evil into your time.  Sending these children further back into the timeline was an attempt to combat that evil.  If we return them to you, all the good that they’ve done in the past will be negated.  The 4400 and everything that they were meant to achieve will be in jeopardy.

Tom

This evil: there has to be some other way to deal with it.

Sara

There is.  You.  You are the other way.  It’s a burden that we had hoped not to place on you.

Tom

If you return Maia and the others, I’ll do whatever you want.

Sara

What we want, you may not be willing to give.

Tom

Do we have a deal or not?

Sara

We do, but it’s a deal I’m afraid you’ll come to regret.

(scene change: Tom is returned to the present and the house in which the children have been kept)

Tom

Hello?  Hello!  Is there anyone here?  (he picks up an envelope that has his name on it; pockets it, and goes upstairs; the children are there)  Maia?

Maia

Tom!

Tom

Maia!  Maia!  (he hugs her)

Maia

(to the other children)  It’s okay.  He works with my Mom.

Tyler

We were kidnapped.

Lindsey

Where is Sara?

Children

Can we go home?

Lindsey

Did you catch her?

Tom

Yeah, yeah, yeah.  Yes.  Shh.  You’re all going home.  It’s over.  You’re all safe now.

Maia

Is my Mom here?

Tom

She’s not here, but I’ll take you to her, okay?

(scene change: 4400 Center; Richard’s office; it’s four o’clock; switch to Daniel in his car)

Daniel

(answer his cell phone)  Hello.  Has he arrived yet?  (the clock reads 4:20)  Then, he’s made my choice for me.  (he hangs up and begins to concentrate)

(scene change: 4400 Center; Shawn’s room; he is tearing the place apart)

Shawn

(there are voices just audible in the background)  Where are you hiding?  Come on.  I know you’re watching me.  I know you’re listening.  (he slices up the furniture and bedding)  Where are you?  (he rolls up his sleeve)  I found you.  I found your bug.  I found your stupid little bug.  (he cuts deep into his arm)

(scene change: Maia is reading in bed)

Diana

Okay, Sweetie.  Lights out.

Maia

But it’s still early.

Diana

It’s nine-thirty, and it’s time for bed.

Maia

Okay.  But first I need you to do something for me.

Diana

Maia, no stalling.

Maia

Mommy, please.  It won’t take long.  All you have to do is shut your eyes.

Diana

(sitting on the bed)  All right.  Okay.  Well, they’re shut.  Now what?  (Maia takes her hand)  Maia?

Maia

I’m here, Mommy.  You can open your eyes now.  (in the hospital room)  Mommy?  Wake up.  It’s okay.  I’m back.  Everything’s fine.  But you have to wake up.  Mommy, please.  Wake up.  Please.  (Diana begins to open her eyes)

Diana

(weakly)  Maia?  (stronger)  Maia?  (Maia hugs her)

(Tom leaves the room and opens the envelope; inside is a hypodermic needle and the message: “Kill Isabelle.”

(to be continued)