Diana

Previously on the 4400:

Tess

(scene of Tess and Kevin in the Sanitarium)  You’re so sweet.  I wish I could take you with me when I go, but I can’t.

Diana

(scene of the hospital patients working on a project to contact the future)  Yesterday, a few patients were compelled to work on this thing, and today, it’s the entire hospital. 

Tom

If we get Tess out of here, do you think this compulsion will fade?

Kevin

(to Diana in his room/laboratory)  I’m injecting myself with a modified version of the promicin serum.  I will have taught my body how to produce promicin, and then I will be the first non-returnee to develop 4400 abilities.

(scene of Richard discovering his telekinesis ability)

(opening scene: Dr. Burkhoff is running through a forest area)

Agent

Enough running, Dr. Burkhoff.  You need to come with us now.

Kevin

No.  Stay back.  I don’t want to hurt anyone.

Agent

That’s very reassuring.  We’ll keep that in mind.  (other agents grab Kevin)

Kevin

No!  No!  (gasping)  No!  (he is subdued)

(scene change: in Richard’s office; he is practicing his telekinetic ability by trying to toss paper wads into a wastebasket)

(scene change: Heather’s office; Richard knocks and enters)

Heather

Mr. Tyler.  Come in.  What can I do for you?

Richard

I wanted to ask you about your work with the students here.

Heather

Sure.  I teach three classes, history, art, and—

Richard

I’m not talking about your teaching.  I was talking about the “counseling” that you do.  I understand you use your ability with the kids?

Heather

That’s right.  My ability is to help them focus their abilities.  It’s pretty much what I’ve been doing ever since I came back.  If a student has a talent—like all of our kids here do—I help them learn how to use it, gain control of it, build their confidence.

Richard

Does it work with adults?

Heather

It didn’t used to, but I haven’t tried it since I’ve been off the inhibitor.  Why?

Richard

(closes the door)  I developed this ability a few months ago: telekinesis.  (sighs)  What a word, huh?  I can’t even say it with a straight face.

Heather

That’s fantastic.

Richard

I’ve just been pretending it isn’t there.  I mean, I know a little bit about it.  So far, it only works with inanimate objects, little stuff.  But when I’m mad or excited, I can do a lot more with it.

Heather

And you’re looking to control it when you’re calm?

Richard

Yeah.  That’s why I’m here, I guess.

(scene change: Kevin in an interrogation room)

Kevin

How many times do I have to go over this with you people?  I have not been injecting promicin into anyone but myself.

Agent

You’re certain of that?  You’re a world-class scientist.  I find it difficult to believe you wouldn’t build a redundancy plan into your experiment.

Kevin

This isn’t your basic sleep study.  I mean, look at me.  Do you think I’d have an easy time finding volunteers?

Agent

No.  I do not.

Kevin

(breathes)  Oh.

Agent

You look like you’re in quite a bit of discomfort to me.

Kevin

(chuckles bitterly)  Yes.  As a matter of fact, I am.

Agent

Well, you can relax now.  The experiment’s over.  This will only hurt for a minute.  (he fires six bullets into Kevin’s body; to the other agents)  Bag him.  We’ll take him back for the autopsy.  (later, after transporting the body to a laboratory)  Get Dr. Burkhoff up there quickly.  They promised results by the morning.  (Kevin has disappeared; he is running for his life: his wounds are healing)

(scene change: Diana’s apartment; Maia runs into Diana’s room and bed))

Maia

Mommy?  Mommy?  Are you okay?

Diana

Of course, Sweetie.  I’m fine.  Why wouldn’t I be?

Maia

I had a bad dream, and you were in it.

Diana

Well, you get in and tell me about it.

Maia

You turned into a monster.  It was horrible.  It seemed so real.  It was you.  But you were different.

Diana

What kind of a monster?

(scene change: NTAC; Tom and Diana walk)

Tom

(looking at Maia’s picture of a monster)  Nice.  Something for the refrigerator door.  You don’t think there’s anything to this?  It’s not a prediction, right?  Just a bad dream.

Diana

Well, I hope so, but when your daughter’s a precog, you don’t want her giving you a picture like this.  (answers her cell)  Hello.  This is Skouris.  Well, thank you for calling me back.  Let me know if you see him, all right?  (she hangs up)

Tom

Everything okay?

Diana

Maybe.  I’m not sure.  I mean, that was the 4400 Center.  I was hoping maybe they’d seen Dr. Burkhoff.  I stopped by his apartment yesterday, and he wasn’t home.

Tom

Uh, Diana.  Why would you be stopping by Dr. Burkhoff’s apartment?  (later)  You actually saw the wound in Kevin’s hand heal over?

Diana

Yes.  He pulled the scalpel out, and it was gone within seconds.  He’s developing an ability.  I mean, he’s close to it, anyway.  He said it comes and goes.  What?

Tom

Anyone else developing a 4400 ability I should know about?

Diana

I should have told you earlier.

Tom

You’re damn right you should have.  Got to hand it to you, Diana: some people play racquetball in their spare time, maybe collect old records, but you?  You play Igor to the one man who—(sighs)  Well, if he has developed an ability, like you say, maybe he really is the father of 4400 technology. 

Diana

Just like the future predicted.

Tom

Are you two the only ones who know about this experiment?

Diana

I thought we were, and now I’m not so sure, and that’s what I’m worried about.  Tom, what if someone else finds out what he’s up to?

Tom

Well, if he succeeds, we could be talking about the mass marketing of 4400 abilities.  I’m sure a lot of people would like to keep that genie in the bottle.  Wouldn’t make our jobs any easier.  Are you—are you okay?

Diana

(wiping her nose)  It’s just my allergies are acting up.  I’ve already spoken to his family.  They haven’t heard from him in months.

Tom

Okay, so who else is he close to?

(scene change: Tess Dorner is reading to children in a library)

Tess

(using a reading voice)  “I didn’t know that Cheshire cats always grinned.  In fact, I didn’t know that cats could grin,” said Alice very politely.

“You don’t know much,” said the duchess.  “And that’s a fact.”  (she sees Tom and Diana approaching)

We’ll finish this chapter tomorrow.  I hope you all can make it.  (talking with Tom and Diana)  I’ve been living in a halfway house for about three months.  And, I got this job here two weeks ago.

Tom

That’s great, Tess.  So they found a medication that works for you?

Tess

So far, so good.  I still have my disease.  Schizophrenia never goes away, but I haven’t had any symptoms for a while.  Hopefully I won’t.

Diana

So these kids you’re reading to, they’re not going to try and build a tower to contact the future, are they?

Tess

(laughs)  I don’t think so.  I can barely remember all that now.  I’m still not sure how I could compel people to work or why they put those blueprints in my head.  I’m glad it made Kevin better, but it was still so weird.

Diana

That’s actually why we’re here.  Have you been in touch with Kevin lately?

Tess

No.  I called him when I first got out of the institution.  But—  We met for coffee, but I haven’t seen him in months.  Is he okay?

Tom

Well, we’re not sure, but we’d like to talk to him.  So, if he contacts you, would you let us know?

Tess

Well, of course.  When you find him, will you have him call me?

Diana

Sure.  It’s nice to see you again, Tess.

Tom

Bye.

Tess

(under her breath)  Bye.

(scene change: in a makeup room; Shawn is preparing for an interview)

Devon

I just spoke with the program coordinator.  She says the first segment will be interviews with some of the people you’ve healed, and then they’ll bring you out after the break.  She says the emotional stuff also plays well with her audience, so feel free to cry or—

Shawn

We’ll see about that.

Devon

They’re also curious about the wedding.  She’d love it if you answered some questions—

Shawn

Let’s keep the private life private, okay?

Woman

(outside in the hallway)  Nick!  Nick, please, wake up!  (Shawn responds)  Nick!  Nick, please, wake up!

Shawn

Oh, Jesus, that’s Nick Crowley.

Woman

Oh, my God.  You’re that 4400, the one with the hands.  Help him, please!  Nick!  Nick!  Come on; wake up.  Please!

Shawn

(heals him)  If you’re okay, say something.

Nick

Well, Jim Morrison says hello.  (scattered laughter; as he is helped up)  Easy.  Easy, boys, easy. 

Woman

You just saved Nick Crowley.  On behalf of millions of rock and roll burnouts all over the world, allow me to thank you.  Any time you want to lay these on me, you just let me know.

(scene change: Isabelle’s room; trying on her mother’s wedding ring)

Isabelle

It was a little bit big, so I just had it resized.  It’s perfect now.  I think Mom would be really happy, don’t you?

Richard

Lily gave you that ring.  I guess you can do what you want with it.

Isabelle

I think it’s perfect.  Have you thought about what you’re going to say at the wedding?  Usually, the father of the bride gives a toast. 

Richard

I’m—  Well.  It’s all been so sudden.  I haven’t had much time to really plan it yet.

Isabelle

That’s okay.  I have a few thoughts.  There’s an article in this magazine on toasts.  Read it.

Richard

I think I can handle that on my own.

Isabelle

Dad, I want you to read it.  Tonight.

(scene change: Kevin’s country safe house; Tess comes in; Kevin pulls his hood over his face)

Tess

Hi.  I bought some food.  Let me help you with that.

Kevin

Thank you.  My joints are a little stiff.

Tess

Kevin, why did you put your hood up when I came in?

Kevin

You shouldn’t have to look at me like this.

Tess

Like what?  (she pulls the hood off)  Diana Skouris and Tom Baldwin came by the bookstore today.  They were asking about you.

Kevin

I figured Diana would be worried.  How did she look?

Tess

Okay, I guess.  A little sick.  Kevin, I felt bad seeing her.  I don’t like what we’re doing to her.  What I’m doing to her.

Kevin

I don’t like it much, either, but we are on the cusp of changing the world —(pauses)—for the better.  We have to keep going, even if it gets ugly.

Tess

Kevin, it’s already ugly.  Someone shot you yesterday.

Kevin

I know, but the experiment is worth the risk.  They woke me up to do this.  You woke me up to do this.  I have to move forward.  And to do that, I need Diana.  And I need you.

(scene change: 4400 Center; Nick enters)

Nick

Is Shawn Farrell around?  I have something for him.

Shawn

(looking at a guitar)  Oh!

Nick

I played that when we were recording my first album.  I’ve been holding onto it for years.

Shawn

You’re really giving this to me?

Nick

You saved my life.  Seems like a fair trade to me.  So this—uh—ability of yours: it works every time out of the gate?

Shawn

Yeah, pretty much.  (amazed by the guitar)  Oh, my God.

Nick

I wish they brought you back fifteen years ago.  A career in rock ‘n’ roll: sometimes it feels like you’re living in a war zone.  You lose a lot of people along the way.  One day you look up, and you’re the last man standing.

Shawn

You should take better care of yourself.  I’m not always around.

Nick

I feel like I owe you more than a guitar.  We’re playing tomorrow night, and I wanted to invite you backstage.  You can hang out, watch the show from the wings.

Shawn

Really?

Nick

Sure.  I figure it’ll be handy having you around.  If I keel over, you can always come out and do your “hands of God” thing for an encore.

(scene change: Diana’s apartment; 3 a.m.; Diana gets up and opens the door to Tess)

Tess

It’s cold.  You should bring your jacket. 

Kevin

(in the safe house)  She didn’t say anything on the way over?

Tess

Of course not, Kevin.  She hardly ever does.

Kevin

(to Diana)  You’re so brave.  I always wanted to give it to you first.  I thought you deserved an ability.  I’m sorry it has to happen without your permission.  (to Tess)  Can I get this started?

Tess

(to Diana)  Give Dr. Burkhoff your hand.

(scene change: back in Diana’s apartment)

Maia

Mommy, I’m gonna be late for school if we don’t leave soon.

Diana

I’m sorry, Baby.  I slept through my alarm.  I’ll be ready in a few—  (reacts in pain)

Maia

Mommy, are you okay?

Diana

I’m fine.  I just broke a nail is all.

Maia

Ew.

Diana

Ew.

(scene change: Kevin’s room/laboratory)

Marco

Hi.

Diana

Hey, Marco.  What are you doing down here?

Marco

Tom asked me to check out Dr. Burkhoff’s computers.  Uh, you okay?  I heard you had the flu.

Tom

(entering; to Diana)  Hey.  I thought you were taking a sick day.

Diana

Would everyone please stop treating me like a plague patient?  I’m fine.  Have we learned anything here?

Marco

Dr. Burkhoff’s computers are clean.  Like, completely clean.  I mean, there’re no saved files, no records of anything.  It’s like someone took out his hard drives and swapped them for new ones.

Diana

So either he took them somewhere—

Marco

—or someone else has them. 

Tom

Diana.  Look at this.  Is that—Kevin?

Diana

Yeah.

Tom

My God.  These are the side effects of the injections?

Diana

I haven’t seen him in a couple of weeks.  I had no idea he’d gotten so bad.

Tom

So, who drew this?  Think it’s a self-portrait?

Diana

No way.  Kevin’s hands weren’t steady enough to make coffee.

Marco

Didn’t Tess like to draw?

(scene change: Richard with Heather in her office)

Richard

I feel like I’m in a staring contest.

Heather

It’s okay.  I know it can be a little awkward at first.  So, sometimes when I’m having trouble getting started with a student, I’ll take their hand.  It helps everything get rolling.  You up for it?

Richard

Yeah.  I guess.

Heather

Just relax, okay?

Richard

Um.  (pulls his hand away)  Oh.  I’m sorry.  I—uh—to be honest, I felt a little awkward.  I—uh—I haven’t had someone touch me like that since—uh—my wife passed, and—

Heather

It’s okay.  Sometimes it takes more than one session to make headway.

(scene change: Tom and Diana in a car, waiting for Tess to arrive)

Tom

(distorted voice)  Diana?  Diana?  (normal voice)  Should I just call you a cab?  I can handle this if you want.

Diana

No, I’m okay.  Any sign of Tess?

Tom

No, she hasn’t come out yet.

Diana

Look, Tom.  I made an appointment with the doctor for tomorrow morning, but, for now, I’d just like to stick with it, okay?  I have to say, this does not feel like the flu.  It’s like I’m dragging myself around.  (seeing Tess enters her car)  Here she is.

(scene change: Shawn’s apartment)

Shawn

(responding to a knock on the door as he dresses)  Come in.  (Divon enters)  Hey.  What?

Divon

Different look for you.

Shawn

“Look?”  I dressed like this for ten years.  Hey, you’re not going to ask about the wedding, are you?  I am officially taking the night off from all planning.

Divon

This has nothing to do with the wedding, unless Nick Crowley’s invited.  He’s downstairs.

Shawn

Really?  No, I’m getting ready for his show.  Maybe he wants to give me a ride or something.

Divon

Uh, I don’t think that’s it.

Shawn

Well, what?

Nick

(lying on a couch)  I never get enough refills.  I mean, look at me.  Why is this happening to me?

Shawn

What’s he saying?

Woman

Nick has a prescription for antabuse.  They’re these pills that are supposed to help him cut back on his drinking. 

He finally tried some.

Shawn

I guess he overdid it, huh?

Woman

It’s the same thing he does with everything.  He insisted on coming here instead of the hospital.

Nick

(pointing at Shawn)  Do your worst.

Woman

Please?

Nick

Come to my arms, my beamish boy.

Shawn

Lie down.  Lie down.

Nick

You’re my little lifeline.

(scene change: Tess enters the safe house, watched by Tom and Diana)

Tess

(seeing Tom and Diana enter)  Kevin.

Diana

Dr. Burkhoff, I’ve been worried about you.  What are you doing, hiding up here?  My God.  Look at you.

Tom

Dr. Burkhoff, you need to come with us.  We’re going to get you some help.

Kevin

I can’t do that.  People are trying to kill me.

Tom

What people?  Who’s trying to kill you?

Kevin

I think they work for the government.

Tom

No.  They don’t work for NTAC.

Kevin

Are you sure about that?  Because I’m not.

Tom

Listen, Kevin.  You know us.  If you come in, we’ll protect you.  And, besides, I’m not taking no for an answer.  Come on.

Kevin

(as Tess stares at Diana)  Actually, I think you’re going to have to.

Tom

Diana?  What the hell are you doing?

Diana

I don’t know, Tom.  I’m sorry.

Kevin

Diana’s not quite herself right now.  She’ll do whatever Tess wants her to.  Tess, will you get his gun, please?  (exiting)  Please.  I am so close to finishing.  Stop trying to find me.  I have no desire to hurt you.

Diana

(breathes)  Tom.  (she collapses)

Tom

Diana.  Are you okay?  Are you all right?

Diana

I don’t know.  What happened?

Tom

You pulled your gun on me.

Diana

Tess?

Tom

Yeah.

Diana

(groaning)  Oh, God.

Tom

What?

Diana

Something’s wrong.  I just feel weird.

Tom

Oh, my God.  What are those?

Diana

They’re lesions.  They’re just like the ones Kevin had when he started taking promicin.

Tom

We need to get you to NTAC medical.

(scene change: NTAC; Nina’s office)

Nina

We want him brought in unharmed.  If there’s anything at all to these experiments Dr. Burkhoff has been conducting, a lot of people in D.C. are going to want to look over his notes.

Tom

These pictures have already been circulated to local law enforcement.  We’re going to distribute them around the neighborhood near Dr. Burkhoff’s apartment and the vacation home where he was hiding.  Maybe we’ll get lucky.

Garrity

So, what—we’re supposed to tell people that there’s some kind of monster on the loose?

Nina

No.  If anyone asks, we tell them Dr. Burkhoff has Werner syndrome.  It’s a rare wasting disease.

Garrity

Okay.  But do you really think we’ll be able to bring this guy in safe and sound?  I mean, some cowboy cop sees this stumbling towards him, you don’t think he might shoot first and ask questions later?

Tom

That’s why we have to get to him first.  Whatever Dr. Burkhoff is guilty of, he saved thousands of lives during the inhibitor scandal.  The good thing about his condition is: it shouldn’t make him too hard to spot.

(scene change: party)

Woman

(to Shawn, holding his hands)  I don’t know.  They’re nice hands, but they don’t look magical or anything.

Nick

Making friends already?

Shawn

Hey.

Nick

You’ve chosen wisely.  I speak from experience.

Shawn

The show was amazing.  Thank you so much for having me.

Nick

What are you thanking me for?  The show would’ve been canceled if not for you.  Listen.  I just had the best idea during the encore.  Why don’t you come out on the road with us?

Shawn

And do what?

Nick

Well, you could start with Mischa and work your way onward from there.

Shawn

[Chuckles]  Okay, yeah, it’s tempting, but I kind of have a lot on my plate here in Seattle, you know?  I’m supposed to get married soon.

Nick

Well, in that case, you have to come with us. 

Mischa

It’ll be like an extended bachelor party.  We’ll take good care of you.  Promise.

Nick

And a promise from Mischa is money in the bank.  Besides, I like having you along with us.  You keep me limber.

Shawn

You mean upright.

Nick

Well, yeah, that too.  I’m—it’s just—

Shawn

I’m not your personal physician, you know?

Nick

Of course you’re not.  You’re a hell of a lot better than any doctor I’ve ever met.  (a woman whispers in his ear)  Oh.  (he rises to go with her; to Shawn)  Think about it.  But not too long.  What’s to think about?  Who could say “no” to all of this?

(scene change: music “Mr. Sandman”; Kevin is in a restaurant)  “Mr. Sandman bring me a dream—bom, bom bom, bom—make him the cutest I’ve ever seen—bom, bom bom, bom—”

Waitress

So, what can I get you this morning?

Music

“—then tell him that his lonesome nights are over—”

Kevin

Could I have the steak and eggs?  Could you make the steak extremely rare?

Music

“—nobody to call my own—bom, bom bom, bom—please turn on your magic beam; Mr. Sandman bring me a dream—”  (having unveiled his face, people are turned off)

(scene change: NTAC)

Tom

Thanks.  Dr. Burkhoff was spotted at a diner in Beacon Hill.  He’s there right now.

Nina

Bring him in quietly, if you can, but bring him in.

(scene change: NTAC goes to the diner; Tess looks at a picture of a guest speaker, Dr. Anapurn; Diana is seen in a hospital bed)

Dr. Anapurn

Diana, wake up.

Diana

Dr. Anapurn.  I thought I was supposed to sleep.  You gave me drugs—

Dr. Anapurn

You’re being discharged.  You need to come with me.

(scene change: in the diner; Tom and Garrity talk to the waitress)

Waitress

I don’t know.  I guess he left about fifteen minutes ago.

Tom

Did he say where he was headed?

Waitress

No.  I mean, he didn’t even touch the food he ordered, right? He just left in a hurry.  Left a good tip, though.

(scene change: Dr. Anapurn puts Diana in Tess’ car)

Diana

Where are we going?

Tess

Thank you.  You can go back to your office now.

Diana

Tess, don’t do this.

Tess

I’m sorry.  I wish it didn’t have to be you, but there’s no one else.  We’d better go.  He’ll be waiting for us.

(scene change: in the hospital; Tom interviews Dr. Anapurn)

Dr. Anapurn

How could I have done that?  I don’t remember any of it.

Tom

Diana doesn’t remember going to Kevin’s apartment at night, either.  If Dr. Burkhoff’s willing to break her out of here, he must be getting desperate.  Feels like he’s running out of time.

Nina

Which means he has to complete the experiment.

Tom

He’s going to up her dosage.  If we don’t find Diana soon, she’s going to wind up in the same shape as Kevin.

(scene change: in Heather’s office with Richard)

Heather

I think it’s the silence that’s messing us up.  It’s too awkward.  So instead of us just staring at each other, I thought we’ll talk.

Richard

Okay.  I’m—is there something specific you wanted to talk about?

Heather

No.  You pick.

Richard

Well, I’ve been thinking about my parents a lot lately, what they’d think of all this: this place, me, sitting here trying to figure out how to use my—

Heather

Telekinetic ability?  You know, you can say it out loud.  It’s nothing to be embarrassed about.

Richard

Yeah, you can say that, but when I first got back, I was a 4400, but I didn’t have an ability.  I felt normal.  It was something I could hold on to.

Heather

Now you have to get used to the idea that you’re special.

Richard

Is that what my parents would think if they were here?  Or would they just think that their son had become a freak?

Heather

(takes his hand)  Richard.  When you got taken, you were one of the first black pilots in all of the military.  You were at the vanguard.  Now you’re part of a different vanguard.  There’s a reason they picked you.  I think your parents would be proud.

Richard

Yeah.  Uh, maybe that’s true.

Heather

(drawing to his attention that their chairs are now floating off the ground)  Richard?  (they fall heavily to the ground)  Whoa.

Heather

Well, I guess that worked, huh?  (they both start laughing)

(scene change: inside the Raja theater)

Kevin

This will be fine.  We can work here for a while.  (referring to a manager)  Tell him he can go home.

Diana

(grabbing the man’s hands)  Please.  You have to help me.  Say something.

Tess

Don’t bother.  He’s not going to remember any of this.  Thank you.  You can go home now.

Diana

(coughing violently)  Kevin?

Tess

(to Kevin)  Can I get you some water?

Kevin

I’m fine.

Diana

Kevin.  You’re dying.  You’re killing yourself.  And now you’re going to kill me, too.

Kevin

No.  You will not die.  My work is valid.

Diana

Are you sure?  Look at yourself.

Kevin

If it isn’t working in me, the fault isn’t with the experiment.  It’s with me.  All those years, the shock treatments, the fistfuls of medications: they must have changed me.  I’m not a good subject.

Diana

There is no good subject.  Kevin, you’re brilliant, but you’re wrong.  You failed, and you’re not thinking clearly enough to see that.

Kevin

My mind is not compromised.  We are at a point, Diana, where it would be easy for the timid to turn back.  We have to be braver than that.  And, if necessary—  (he pulls out a hypodermic needle)

Diana

(pleading)  Oh.  No.  Oh!

Kevin

I’m prepared to be brave enough for both of us.

(scene change: Shawn in Nick’s apartment)

Shawn

Working on a song?

Nick

The end of one.  Can’t nail it, though.  (he takes a drink)  Inspiration.  What?  Are you shocked I’m drinking my lunch?

Shawn

I didn’t say anything.

Nick

Good, because this is—   

Shawn

Listen.

Nick

This—this here is called “maintaining a base level.”

Shawn

(sits down)  That’s kind of scary, actually.

Nick

Shawn.  Don’t worry.  I’ve made a solemn vow not to over-indulge—unless, of course, you’re around.

Shawn

Yeah, that’s kind of the thing.

Nick

You’re not going to be around, is that it?  You’re not coming on the road?

Shawn

I wanted to.  It’s just—you know, even if it was for a little while.  This gift I have, though, it’s kind of a responsibility, you know?  And, I don’t mean to be harsh, man, but I don’t think it was meant to be used as a rock star’s personal safety net.

Nick

(strums a few bars; Shawn rises to go)  You don’t know that.  Maybe they sent you back to keep me alive so I could finish my album.

Shawn

Nick, if you go down again, I can’t be there for you.  (Nick continues to play and drink; he exits)

(scene change: the theater manager finds Diana’s medical bracelet in his pocket with a message to call NTAC)

(scene change: in the theater)

Diana

(to Tess)  There’s still time, you know.  We can save him.

Tess

I think maybe you don’t have enough faith in Kevin.  He can do this.  He’s special.  That’s why they had me wake him up.

Kevin

Tess?  I packed an adrenaline shot when we left the cabin.  Have you seen it?

Tess

No.

Kevin

I need it.  It has to be here in case I slip under.  (he finds the adrenaline)  Ah.

Tess

Ah.  Kevin?  (holding her neck)  I think I got stung by a bee.  (she holds out the dart)  What is this?

Tom

Don’t move, Dr. Burkhoff!

Kevin

(holding Tess as she collapses)  Tess?

Tom

There’s nowhere to go.  We’ve got this place surrounded.  (Kevin tries to escape)  Nobody fires.  He’s not going anywhere.  (to Diana)  Diana, are you all right?

Diana

Tom.

Garrity

(confronting Kevin, still carrying Tess, at the rear of the theater)  Whoa.  Hold still, Burkhoff.  Put your hands up.  (Kevin stabs Tess with the adrenaline)  Burkhoff!  (she wakes up; the agents drop their weapons and let them pass)

(scene change: NTAC, Nina’s briefing room)

Nina

They won’t be able to hide for long.  Tess will run out of meds.  Dr. Burkhoff is not exactly inconspicuous.  They’ll show themselves; we’ll find them.

Marco

You mean we’ll find Tess.  It doesn’t sound like Dr. Burkhoff’s gonna live out the week.

Tom

I don’t get it.  He was supposed to be the father of 4400 technology.  That’s why they woke him up.

Nina

Well, that’s just our theory.  Maybe you’re putting too much faith in the future.  (she exits)

Marco

Diana’s okay?

Tom

Yeah, she’ll get there.  She’s down in NTAC medical.

(scene change: a way station; Kevin washes his face: it is completely healed)

Kevin

(to Tess)  You got us a ride.

Tess

(holding up keys to a truck)  Someone let me borrow them.

(music interlude as the two get into the pickup and drive off)  “All this feels strange and untrue—and I won’t waste a minute without you—my bones ache my skin feels cold—and I’m getting so tired and so old—  (Maia and Diana destroy her monster picture)  —tell me that you’ll open your eyes—  (Richard practices his telekinesis)  —tell me that you’ll open your eyes—all this feels strange and untrue—and I won’t waste a minute without you.”

(scene change: in the Haspel Corporation’s laboratory)

Agent

Mr. Ryland wants a status report on the promicin.

Technician

We’re good.  Great, actually.  We have enough of a stockpile to last us for almost two years.  (camera pans to show rows and rows of vials filled with Promicin)

(to be continued)