"( 4400-S3E03-Gone Part 2 ) ( dramatic theme playing )" "We're not a threat." "We're salvation." "The world will have to deal with us." "Previously on  The 4400:" "MATTHEW:" "I see you've been spending a lot of time with Shawn." "People see her, they see a woman." "A beautiful woman." "And they might forget that inside she's just a little girl." "I'm glad she has you around, to be a friend." "You killed people." "That's not what we discussed when you approached me." "We are in a war." "It's gonna cost money." "( gasps )" "You sold us out." "I'm very disappointed in you, Shawn, but I'm afraid I can't forgive you." "Diana Skouris, your adoption of Maia Rutledge is hereby complete, legal and binding." "Ms. Skouris, my name is Sara." "I'm Maia's sister." "Do you see the future more clearly since you stopped the inhibitor?" "Who are you?" "I'm Lindsey." "I'm a part of her collection." "We all are." "( wails ):" "Tyler!" "Duncan!" "SARA:" "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." "( sobbing ):" "Please, don't!" "SARA:" "They'll forget you too." "( knocking on door )" "( slow piano theme playing )" "Hey." "Oh." "Marco, they're beautiful." "How did you know I like anemones?" "You remember that bad Italian restaurant?" "I asked you what your favorite flower was, and you said:" "Anemones." "Most guys don't even listen to table talk." "You not only heard me, you remembered." "Do you know how lucky you're gonna get tonight?" "Ahh, then my plan is working." "I thought it was just gonna be the two of us." "It is." "Then who's the other plate for?" "Di?" "I don't know what I was thinking." "( scoffs )" "( KT Tunstall's "Black Horse and the Cherry Tree" playing )" "¶ Woo-hoo ¶" "¶ Woo-hoo ¶" "¶ Woo-hoo ¶" "Are you having fun?" "( laughing ):" "Of course, I'm having fun." "You sure you don't want a turn at the wheel?" "It's your fantasy." "Okay, honey." "Hold on." "¶ Woo-hoo ¶" "( engine revving )" "¶ I came across a place In the middle of nowhere ¶" "¶ With a big black horse And a cherry tree ¶" "¶ Woo-hoo ¶" "¶ Woo-hoo ¶" "Look out!" "( brakes screeching )" "You all right?" "Oh" " I think so." "You saw her too, right?" "Of course I did." "Why would a little girl be standing in the middle of the road?" "I have no idea." "A joy ride in the country." "That's what we agreed on, right?" "A great car, a deserted road." "Hitting some kid at 80 miles plus?" "Where the hell does that come in?" "What happened to her?" "Thomas." "Hey!" "Hey." "Hey." "Hey, what--?" "You..." "You okay?" "( mysterious theme playing )" "Who was she?" "I have no idea." "( Amanda Abizaid's "A Place In Time" playing )" "¶ La, la, la, la ¶" "¶ La, la ¶" "¶ La, la ¶" "¶ So long ago ¶" "¶ Another life ¶" "¶ I can feel your heart beat ¶" "¶ It's not a dream ¶" "¶ Remember us ¶" "¶ I can see it in your eyes ¶" "¶ We'll find Our place in time ¶" "¶ A place in time ¶" "¶ Beyond the sun ¶" "¶ We'll find Our place in time ¶" "¶ A place in time To call our own ¶" "¶ La, la ¶" "¶ La, la, la, la ¶" "¶ La, la ¶" "¶ La, la, la, la ¶" "How many times have we done this, Alana?" "Gone away in one of these fantasy worlds you create?" "A dozen times?" "Two dozen?" "At least." "And these worlds, they always feel real." "Except this time, a girl without a face appears outta nowhere." "It felt more like a nightmare." "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." "A" " A fragment of something." "A sort of mental hiccup." "Okay, but this girl?" "Is she part of my memory or yours?" "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." "Yeah, we just don't remember her face." "It might have just been a glimpse." "Yeah, well... that glimpse pretty much ruined our night." "Well, tomorrow night will be better." "I promise." "Anywhere you wanna go, anywhere we wanna go and anything we wanna do." "Hmm." "You know, for his 12th birthday," "I took Kyle fishing up at the Dosewallips River." "I thought maybe the three of us could go there." "That sounds great." "And maybe this time we could actually catch some fish." "( laughs )" "Okay." "I don't know what's wrong with my bedroom." "Or yours, for that matter." "( gasping )" "We've already done it there a bunch of times." "Experts say you should do adventurous things to keep relationships more interesting." "They say that, huh?" "Mm-hmm." "What could be more adventurous than a quickie in the staircase?" "Did you...switch from Encyclopaedia Britannica to Cosmo magazine or something?" "What--?" "Well, I read lots of stuff." "Uh" "I'll take the elevator." "Devon." "How embarrassing for her." "( giggles )" "Isabelle, just stop!" "Just" "( sighs )" "What's the matter, Shawn?" "What's wrong?" "She's not gonna tell my father." "She'd be too afraid of me." "Isabelle." "She's gonna tell someone, and then they'll tell someone else." "And then, everybody's gonna know." "( phone ringing )" "Where's your partner?" "Late." "A 4400, Christopher Dubov, was attacked outside his home last night." "I wanna know if we're looking at a hate crime." "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." "Yeah, which makes him a high-profile 4400." "An easy target for somebody looking to make a point." "No, it makes him a corporate raider who's put a lot of people in the unemployment line." "His 4400 status isn't the only motive someone might have to attack him." "Just talk to him." "See if he can write you up a list." "Oh, alarm clock need new batteries?" "No, it's a crappy morning." "You opening up a newsstand?" "No." "Just a project that I'm working on." "So, what do we got?" "( dramatic theme playing )" "Yeah, you could call it a hate crime." "My son Michael certainly hates me." "Your son did this to you, Mr. 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." "I'm not sure I follow." "It's my ability." "It showed up once I stopped taking the promicin inhibitor." "I can smell pheromones." "You mean the stuff people put out to attract other people?" "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." "Let me guess." "Love at first sight." "Sight, smell, whatever." "You and your son look very happy together." "Those were taken when Michael was 10." "Ten." "That's a" "That's a great age." "Mr. Dubov, do you want us to talk to Michael?" "Explain to him that assault is a serious crime?" "No, forget it." "I-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." "One of the waitresses, she smells just like my kid." "Let's hope she's not married." "Amen to that." "You know, I bet if that guy quit his job and opened up a dating service, he'd make a fortune." "I'm not sure how turning a corporate lawyer into cupid is gonna help save the future." "Wha--?" "Hey." "Honey, what's going on?" "( sobs )" "You all right?" "Dubov was gone for like, five years, right?" "I..." "I bet his son really missed him." "Probably." "I mean, every 4400 left someone behind." "Are you sure it's not something else?" "No." "It's fine, really." "It'll pass." "( sniffles )" "Okay." "( dramatic theme playing )" "Physical." "You and Isabelle?" "You wanna explain that?" "I asked you a question!" "What exactly is going on between you and my daughter?" "We never planned on going behind your back." "In fact, we never planned it at all." "It just kind of happened." "Friendship!" "Remember?" "We talked about that." "That's as far as it was supposed to go." "I don't know what to say." "I'm sorry." "I'm sorry too." "I'm sorry I ever trusted you." "Isabelle is just a child." "No, Richard, she isn't." "She's emotionally immature, and you took advantage of that!" "That's what you think?" "You know me better than that." "That's not fair." "I know your judgment stinks." "That's what I know." "You're gonna stay away from my daughter." "I'm not gonna make that promise to you." "I am not giving you a choice here, you understand me?" "This thing between the two of you" "It is over." "( knocking on door )" "I don't recall saying "come in."" "I thought perhaps a referee might be in order." "May I advise you gentlemen to go to your neutral corners?" "This is a private conversation, 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." "I thought referees didn't take sides." "If I were you, Shawn," "I'd take this opportunity to make a graceful exit." "Think about what I said, Shawn." "I'm expecting you to do the right thing." "( serious theme playing )" "( door closes )" "What's for lunch?" "( laughs )" "Prosciutto with figs." "Rosemary chicken, couscous and raspberries." "Wow." "When Kyle and I used to go fishing we'd take half a dozen peanut butter-and-jelly sandwiches, and think we were living like kings." "Well, I like to think the reality I create is a little bit tastier than that." "Ha, ha, ha." "Good." "Hey, we gotta get going." "Hey, Kyle!" "Come on, buddy!" "( claps )" "Come on, Kyle." "Let's go." "Come on" "( mysterious theme playing )" "It's you." "The girl on the road." "That's right." "You remember." "Maia." "Maia." "Have we met before?" "Don't be silly." "No, no, I'm sorry, I-I" "I don't remember you." "Sure you do." "Think harder." "Is that why you keep showing up?" "'Cause you want me to remember?" "I'm here, because you brought me here." "( gasps )" "There has to be a reason why this girl keeps showing up." "There was nothing familiar about her?" "Nothing at all?" "No." "But she kept acting like we knew each other." "And if she's right-- If I did bring her there." "then I must know her from somewhere." "( knocking on door )" "Tom." "Shouldn't you be at work?" "Jarvis said you called in sick." "Well, I'm allowed." "Thanks for checking in on me." "Diana, talk to me, will yo--?" "What the hell's all this?" "Just a project I'm working on." "I mentioned it to you." "Who's this supposed to be?" "I wish I knew." "I know this might sound creepy, but I was up all night last night cutting up pictures of little girls, and none of them seemed to be the right one." "I mean, I think I'm going crazy." "Then we both are." "You know those little dream vacations I take with Alana?" "This little girl keeps showing up in them." "This little blond girl." "Says her name is Maia." "Maia?" "Oh, Tom." "What?" "You have to come with me." "I have to show you something." "( mysterious theme playing )" "Who is she, Tom?" "Who is Maia?" "I don't know." "No, I've already checked." "There's no mention of someone named Maia in any of our case files." "Okay, well, maybe we met her together someplace else?" "Maybe at one of Garrity's barbecues?" "No, that does not feel right." "I didn't just meet this girl once at a barbecue." "I know her better than that." "All right, just calm down." "Well, there's a reason this girl is haunting us, Tom." "Okay?" "She's out there somewhere, and she wants us to find her." "Right now, the only place I know she exists is in one of these dream worlds Alana and I create." "Well then, I need for Alana to take me there." "I need to meet this girl." "Talk to her." "No, but you wouldn't really be talking to her, Diana." "You'd just be talking to whatever your subconscious remembers of her." "Well, maybe that would be enough for me figure out who she is." "( playing classical music )" "( stops playing )" "How do I sound?" "( resumes playing )" "Like you've been playing for years." "But I haven't." "It's my first time." "I kind of figured that." "Isabelle, you have a minute?" "Have a seat." "( sighs )" "( both sigh )" "Isabelle, you know I'm proud of you, don't you?" "This is about Shawn and I having sex, isn't it?" "T-That's part of it, yeah." "Yeah, but-- But only part of it." "Right now, everything's new to you." "You're learning so much, so fast." "How to be a" " A daughter." "A friend." "A lover." "That part you might be learning too fast." "You don't want me to get my feelings hurt." "I would just like if you and Shawn slowed down." "Stop sleeping together?" "For the time being." "There's no reason to stop." "Shawn cares about me." "I care about Shawn." "The sex is wonderful." "( groans )" "It makes us both very happy." "It should make you happy too." "Maybe it should, but it doesn't." "I suppose that's normal." "But everything is gonna be okay." "Shawn would never do anything to hurt me." "He's way too smart for that." "Mwah." "So you see?" "You have nothing to worry about." "I wonder if anyone at the Center has a cello." "( plays three notes )" "So, what do I have to do?" "The main thing is to relax." "Oh, my God." "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?" "We usually have a destination picked out." "Well, wherever Maia is." "I mean, you can do that, can't you?" "You can take me to her?" "She seems to show up anyplace we go." "So it's really up to you." "Well, let's just keep it simple." "How about my apartment?" "All right." "Now, let's begin." "( mysterious theme playing )" "Alana" " Heh." "This is-- I-It's not my apartment." "I know." "I'm not quite sure what just happened." "( lock turning in door )" "You done talking to your friend?" "You're Maia." "Stop fooling around." "Come on." "He's waiting for us." "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." "( mellow theme playing )" "You still wanna do this, don't you?" "Diana Skouris, your adoption of Maia Rutledge is hereby complete, legal and binding." "So witnessed by me, Henry Biederman, of the 10th 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." "( reflective theme playing )" "Oh, my God, Maia." "Oh, my God." "Oh, my God." "Diana, what happened?" "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?" "No." "No, I don't." "So this woman took these children, and somehow made everyone forget they ever existed?" "Yes, but they existed." "Maia Rutledge disappeared from Crescent City, California, March 3rd, 1946." "So wait, you're saying she was abducted, then returned with the other 4400, then taken again." "And none of us remember this, but you." "It's like they've wiped all our memories." "But why?" "Because they didn't want us looking for them." "The 4400 were taken and returned t-to change the future in some way." "And maybe" " Maybe Maia and the others were taken so that they could change it again" "I don't know and I don't care." "All I know is that four days ago she was here with me." "But I" " I need you to believe that I have a daughter named Maia, and that she's been taken from me." "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 outta me." "But after everything we've been through with the 4400, yes, Diana, I believe you." "( cell phone ringing )" "Hello?" "MAN ( over phone ):" "Richard Tyler?" "Yes, who's this?" "My name is Daniel Armand." "You know who I am?" "With the Nova Group?" "I think it's time you and I met, Richard." "We have a lot to discuss." "I have a lot I'd like to say to you too, but I don't think you're gonna wanna hear it." "Well, now you see, that's the problem right there." "We should be allies, not adversaries." "My group and your organization have the same goals." "We're advocating for the rights of the 4400." "Except you advocate through assassination and intimidation." "We lack the strength in numbers, Richard, so we use the tools at our disposal." "Is that what you called me for?" "To have a debate?" "I called to arrange a truce, and to talk about Shawn Farrell." "You gonna make more threats against him?" "No, we need to discuss his future, Richard." "Because unless you and I can come to some kind of agreement," "I'm not sure he's gonna have one." "( phone hangs up )" "He says I should meet him on the corner of Pike and Gorch" "Thursday at 4:00." "And then?" "A car will be there to pick me up and take me someplace for a face to face with Armand." "Sounds to me like the Nova Group's been reading too much John le Carré." "What did you say?" "I told him I'd think about it." "What is there to think about?" "You're not going." "Let's not rush to judgment." "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 will die." "People have already died." "Maybe I can stop him." "What, are you gonna make him see the light?" "No, but maybe I can stop him from killing you." "How?" "How?" "By putting this place and everything that we've worked for in jeopardy?" "I won't let you do that." "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." "Thank you for the pep talk, Matthew." "I'm just being realistic." "RICHARD:" "So am I. If I don't show, it's 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." "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." "( ominous theme playing )" "JARVIS:" "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." "I've explained that:" "They've been erased." "From the records." "From our memories." "Someone has tried to wipe out every trace of them." "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." "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 kinda out of our jurisdiction." "I've seen Maia." "I've spoken to her." "We both have." "Look, you're asking me to commit manpower and resources to find a little girl that only exists in some shared fantasyland you guys play around in." "Look, I'm sorry, but I can't do it." "MARCO:" "Uh, you guys through?" "'Cause I think I found your kids." "( dramatic theme playing )" "MARCO:" "Uh, here we go." "Watch this." "That's him." "Th-that's Tyler." "It's dated September 19th, 1893." "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." "Yeah." "I knew I'd heard the name before." "In 1915, he helped develop synthetic petroleum." "You drove to work this morning 'cause of this guy." "Uh, Lindsey Hammond." "June 11th, 1918." "This is from the estate of Robert Goddard." "You know, the, uh, 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." "Okay, so, what about Maia?" "Did you find any photos of her?" "Uh, no, she" " She was a little harder to track down." "But, uh..." "I finally found something." "DIANE:" "That's Maia's handwriting." "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." "I'm sorry." "She crossed the Rockies in a covered wagon?" "Uh..." "No." "She died of smallpox in October of '47." "She was 25." "( somber theme playing )" "ISABELLE:" "No." "I'm sorry, Shawn." "It's not my father's decision." "It's mine, and I'm not breaking up with you." "It's got nothing to do with your dad." "Not really." "You and I made some decisions." "We did some things." "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 it." "That's not gonna 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." "You are so sweet the way you worry about me." "Mmmwah." "( sighs )" "I don't want this relationship to end." "So it's not going to." "( ominous theme playing )" "( thunder rumbles)" "( knocking on door )" "I need to see her." "Please, can you take me to see my daughter?" "Diana, you know it's not really Maia you'd be seeing." "Oh, I don't care." "Today I found out that my daughter, who I loved, was sent back into the past and died 150 years ago." "I'm sorry, but that's gonna take me a while to come to terms with." "I just..." "Please let me do this." "I need to say goodbye." "Give me your coat." "I'll put some coffee on." "( gasps ) Ready?" "MAIA:" "Mommy?" "Mommy, I'm starving." "Can we have pancakes?" "I'll help make them." "Okay." "Well, I'll need the eggs from the fridge." "And bring me the big plastic bowl." "( thunder rumbles )" "Oh, my God." "Alana." "Alana." "Alana!" "Honey, my God, you're bleeding." "You okay?" "I" " I th-- I think so." "Diana." "Diana, can you hear me?" "Diana, look at me." "What the hell happened?" "I thought I was bringing us out." "Well, why isn't she awake?" "I couldn't hold onto her." "It's as if she pulled away." "Thomas, I think she's still inside the dream world." "Wait, how can she be in there without you?" "I'm not sure." "When you and I separate, we-- We let go of the illusion." "But she's not letting go." "Wha--?" "She--?" "She's not coming out?" "I think she's happy there with her daughter, and she has no intention of ever leaving." "Oh, come on." "( dramatic theme playing )" "DOCTOR:" "At first, I thought she'd suffered some kind of intracerebral hemorrhage." "But the MRI didn't show any bleeding in the brain." "So she hasn't suffered any damage?" "Not yet, but the EEG 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're" " They're all redlining, if you will." "Any idea what's causing it?" "I really can't say at the moment." "Her metabolic rate can't stay at this level for very long." "Eventually her organs will fail." "What, she could die?" "Unless we can slow down her rates, we're looking at a very poor outcome." "Does she have any family?" "( sighs )" "Yeah." "You should call them." "( melancholy theme playing )" "I need to talk to her, Alana." "Can you do that?" "Take me to see Diana." "( suspenseful theme playing )" "Push me a little, Mommy." "Okay, I'm pushing you." "Then make it higher." "Look, not too high." "But that's the whole fun." "She has a point." "I thought I'd be seeing you two." "I didn't hurt you, did I?" "It felt a little jarring when you left." "No, I'm fine." "You, on the other hand, are not." "Well, that's where you're wrong, 'cause I feel great." "You're in an ICU, Diana." "I thought I might end up there." "What's my heart rate?" "Is it 170?" "175?" "Higher." "That still probably gives me, what, anywhere from... three weeks to two months?" "That could be forever in here." "You're talking about suicide." "I appreciate your concern, Tom." "I do." "But really, I'd like you to leave now." "Both of you." "Listen, Diana, believe-- Don't walk away." "The first time I came to these places," "I never wanted to leave." "But I came to realize, this is not the world." "None of this is real." "Including..." "Maia." "Mommy, push me a little harder." "She's real enough for me." "Oh, she's not coming back, is she?" "She's going to die in there." "That seems to be her plan." "( both sigh )" "I can't help but think this is my fault." "I took her there." "No, don't do that to yourself." "You didn't take Maia away." "The people who did that, they're to blame." "Maybe." "But these people in the future?" "They don't seem to care who they hurt, do they?" "No, they don't." "( elevator dings )" "I'm sorry." "Four o'clock is fast approaching." "Have you come to a decision?" "Do I wanna get in bed with a terrorist, or go to war with one?" "That does appear to be the question." "Whatever you decide, you can count on my support." "Isabelle?" "Isabelle?" "My relationship with Shawn has nothing to do with you." "That's not true." "I just care about what happens to you." "You can care about me all you want, just stay out of my business." "I'm not gonna do that." "Yes, you are." "( inhales )" "( gasps )" "( choking )" "Isabelle...?" "( ominous theme playing )" "( gasping, retching )" "Daddy?" "( gasps then pants )" "Daddy?" "I'm sorry." "I'm sorry." "( indistinct whispering )" "MATTHEW:" "Okay, move on." "It's all right, baby." "( chattering )" "( breathing heavily )" "( beeping )" "I don't know if you can hear me, but I've been thinking." "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 gonna work." "It might be the stupidest thing I've ever done." "I kinda 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." "The job wouldn't have been any fun without you." "( ominous theme playing )" "Oof." "( exhales )" "( grunts )" "( sighs )" "Okay, okay." "Okay." "This is gonna work, right?" "Okay." "( sighs )" "It worked, right?" "I'm" " I'm not dead." "SARA:" "Not this time, no." "Next time, you might not be so fortunate." "The children you took." "Maia and the others." "I want them back." "You were never meant to remember them." "We went to great lengths to erase them from your memory to spare you any pain." "It didn't work." "It appears we underestimated the bonds they had forged." "It's called "family."" "Are you familiar with the concept?" "You had no right to take them, and treat people like that." "Maia was only 25 when she died." "Now, either return the children, or put that rope back around my neck." "'Cause I'm done." "In that case," "I need to show you something." "( dramatic theme playing )" "They're alive." "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." "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?" "Our enemies are more resourceful than we imagined." "TOM:" "Enemies?" "There are those among us who would prefer history to remain unchanged." "That the 4400 fail in their mission." "You mean they want humanity to die out?" "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 have done in the past will be negated." "The 4400 and everything that they were meant to achieve will be in jeopardy." "This evil, there has to be some other way to deal with it." "There is." "You." "You are the other way." "It's a burden that we had hoped not to place on you." "If you return Maia and the others," "I'll do whatever you want." "What we want, you may not be willing to give." "Do we have a deal or not?" "We do." "But it's a deal I'm afraid you'll come to regret." "( gasps )" "( dramatic theme playing )" "Hello?" "Hello?" "Is there anyone here?" "Maia?" "Tom." "Maia." "Maia." "It's okay." "He works with my Mom." "DUNCAN:" "We were kidnapped!" "Where's Sara?" "Did you catch her?" "TYLER:" "Can we go home now?" "Yes." "Yes, you guys." "MAIA:" "Where's my Mom?" "You're all going home." "It's over." "You're all safe now." "Is my Mom here?" "She's not here, but I'll take you to her, okay?" "( suspenseful theme playing )" "( cell phone ringing )" "DANIEL:" "Hello." "Has he arrived yet?" "Then he's made my choice for me." "( exhales )" "( indistinct whispering )" "( ominous theme playing )" "Where are you hiding?" "Come on!" "VOICE:" "He knows it." "He knows it." "I know you're watching me." "I know you're listening." "( voices speaking indistinctly )" "Where are you?" "I found you." "I found your bug." "I found your stupid little bug." "VOICE:" "No, no." "What are you doing?" "Ow, what are you doing?" "Help, help." "Okay, sweetie, lights out." "But it's still early." "It's 9:30, and it's time for bed." "Okay, but first I need you to do something for me." "Maia, no stalling." "Mommy, please." "It won't take long." "All you have to do is shut your eyes." "All right." "Okay." "Well, they're shut." "Now what?" "Maia?" "I'm here, Mommy." "You can open your eyes now." "Mommy?" "Wake up." "It's okay." "I'm back." "Everything's fine." "But you have to wake up." "Mommy, please." "Wake up." "Please." "Maia?" "Maia?" "( somber theme playing )" "( spooky theme playing )"