M I L L E N N I U M IT... HAS... BEGUN... NOTHING IS FORSAKEN... Virtual Season Episode #401. "Genesis" written by: Dan Owen, Kevin Patterson, and Matt Asendorf (August 2002, re-edited version) TEASER BLACK. Frank Black narrates a quote: "In the beginning, God created the heaven and the earth." -- Genesis 1:1 CUT TO: DARKNESS. FRANK (V.O., CONT'D) And the earth was without form, and void; and darkness was upon the face of the deep.... Strange RIPPLES in the darkness suddenly emerge. CUT TO: EXT. OCEAN - NIGHT We're traveling across the dark ocean surface, faster and faster with amazing speed. There is a frightening sound of TURBULENT WAVES everywhere. FRANK (V.O., CONT'D) And the Spirit of God moved upon the face of the waters. And God said, let there be light... Now we rise up to see a magnificent SUNRISE on the ocean's horizon. The flaming orb sends BEAMS OF LIGHT sparkling across the large waves. FRANK (V.O., CONT'D) ...and there was light. And God saw the light, that it was good. PAN ACROSS to reveal a darker version of the same ocean scene. Now the waves have settled and a pure white FULL MOON hangs in the sky -- devoid of gray craters. FRANK (V.O., CONT'D) And God divided the light from the darkness. And God called the light Day, and the darkness he called Night. DISSOLVE TO: EXT. FOREST - NIGHT The ocean has since dried up into a large forest landscape but the MOON, now peppered with gray craters, continues to shine across the tall trees. A more familiar sight. FRANK (V.O., CONT'D) And the Evening and the Morning were the First Day. After an establishing beat we CUT TO: EXT. OLD MAN'S SHACK - DAY Where a SHEPHERD'S CROOK is being held by THE OLD MAN. He has his fingers interlinked over the ornate crook's head (which has been carved into the shape of a double-headed creature: an OWL and a ROOSTER). WIDER We see The Old Man sitting on the edge of his shack's door. A circle of small, white obelisks loop his decrepit home. In the distance we can HEAR a few DOGS, all HOWLING somewhere in the forest. Silence. Then a low BUZZING noise is heard, growing LOUDER and LOUDER... CLOSE ON - THE OLD MAN as a large, black FLY lands on his face. The BUZZING stops. The Old Man quickly flicks the fly away with the back of his hand. WIDER The Old Man sits in silence again. Waiting. FADE OUT. ACT ONE BLACK. FRANK (V.O.) Last season on Millennium. There follows a one-minute recap of the events in "Via Dolorosa" and "Goodbye To All That," ending with Frank and Jordan's jeep driving into a sunset. FADE TO BLACK. Six weeks later FADE IN: EXT. BLACK RESIDENCE - BACK GARDEN - DAY JORDAN BLACK is sitting cross-legged on the grass, playing with CHARLIE BLACK (her cousin, aged 3). Dozens of toy figures and building bricks lay on the floor, which Jordan is holding to show a GIGGLING Charlie. Both look very happy. Legend INDICATES: Black Residence Baltimore, Maryland July 2, 8:35 AM We PULL BACK to reveal a large GLASS CONSERVATORY, overlooking the long garden. Inside, FRANK BLACK and his younger brother TOM BLACK are seated at a round table, watching their children. INT. BLACK RESIDENCE - CONSERVATORY - DAY Frank smiles. Tom notices. TOM They play well together. Frank continues to watch Jordan and Charlie outside, happy. FRANK Yeah. I think Catherine always planned on Jordan having a little brother. (a beat) It would have been nice to have a son. TOM Funny, I always wanted a daughter. Not that I'm complaining, but... Frank LAUGHS a little, turning to face Tom squarely. FRANK You shouldn't, Tom. Charlie's a great kid. TOM Of course. He has the Black genes. FRANK (chuckles) You make it sound like a disease. Tom LAUGHS as his wife, HELEN BLACK, enters with a tea-tray. HELEN Wow, I'd never have thought I'd ever see *both* of you enjoying yourselves. TOM This is Frank's first holiday in four years, Helen. If there's one guy in the world that deserves a little relaxation - it's Frank. Helen sits at the table with them. Tom drinks from his cup. HELEN (to Frank) Well, you're welcome to stay with us for as long as you like. You know that. I've come to realize that after what you did three years ago... Tom falls silent and turns to stare out the window again, cradling his drink. Frank sees his brother's reaction. FRANK (slightly embarrassed) Yeah. HELEN I'll never be able to thank you enough for... finding me. I can't imagine Charlie without a mother and... Helen realizes what she's said. She's already stirred up painful memories for Frank about Catherine - judging from his somber expression. HELEN Oh, I'm-I'm sorry, Frank, I didn't mean... Frank holds Helen's hand. FRANK That's okay. Charlie's very lucky. Helen touches Frank's arm in return, smiling. HELEN And so is Jordan. EXT. BLACK RESIDENCE - BACK GARDEN - DAY Jordan is still playing with Charlie's toys; both enjoying each other's company. HELEN (V.O., CONT'D) She's such a polite little girl... and amazingly intuitive. EXT. FBI ACADEMY BUILDING - DAY The familiar concrete building, with important-looking MEN IN SUITS walking past. Legend INDICATES: FBI Academy Quantico, Virginia 9:02 AM INT. FBI OFFICES - DAY FBI AGENTS are going about their business; typing at computers, filing reports, talking, etc. Our attention falls on one work desk in particular... and seated in front of a monitor is EMMA HOLLIS, viewing a crime report. CLOSE ON - MONITOR where the screen shows a PHOTO of Peter Watts, his name typed underneath, together with birth and death dates. In the "Cause of Death" field is the word 'MURDER'. Emma is staring at the word on the screen. She SIGHS and then notices McCLAREN'S OFFICE DOOR which is ajar. Inside we can see ANDY McCLAREN, seated at his desk, talking calmly and expressively to an unseen visitor opposite him. EMMA watches McClaren a second, before returning to her work. EXT. FOREST - DAY GREG (19) is walking through the thick forest. He's a striking 6"2' and very well-built and athletic. The forest is obviously his territory, as he negotiates branches and nettles with ease. The BABBLING tone of a river is heard up ahead. Greg soon reaches the perimeter of the trees, and stands at the foot of a high river bank. He sits on the bank, staring across the small river. A FEW YARDS UPSTREAM where we see Greg in the b.g., sitting at the river's edge. In the f.g. is a small gold finger ring, resting on the mud. GREG gets to his feet and continues his walk. He begins passing the ring, which GLINTS in the sunlight suddenly. Greg notices. He stops, and jumps down onto the river bank. He gently picks up the ring, and studies it in his palm. Then he feels something on his feet, he looks down and is shocked to see two HUMAN FINGERS sticking out from the mud! Greg's jaw drops, but he kneels down and hesitantly touches the fingers. They're not severed. He digs a few inches down into the mud and finds he's quickly uncovering a FULL HAND. A body is buried there. The impact finally hits home, and Greg stands up quite unnerved. He swallows with fear, and rushes off into the forest SHOUTING for help. CLOSE ON - THE PALE FINGERS a visibly paler loop is around the index-finger, where a ring was once worn. INT. BLACK RESIDENCE - JORDAN'S BEDROOM - DAY Jordan stands, staring out of her window. A HAND creeps into frame and touches her shoulder. Jordan wheels round, smiling. Frank grabs her and hoists her into the air. They both stare out at the GARDEN below. FRANK Do you like Uncle Tom and Aunt Helen's house? Charlie's grown quite a bit since you last saw him, huh? Jordan nods, but isn't enthusiastic. JORDAN How long are we staying here for? Frank thinks a few seconds, unsure himself. FRANK Not long. Think of this as the next step in our vacation. JORDAN So will we go to another motel, or get another house soon? FRANK I don't know yet. We'll have to wait and see. JORDAN I liked our Yellow House. Frank stops. Then smiles somberly. FRANK I did too. Both turn their attention to stare out the window together. Father and daughter. Inseparable. EXT. FOREST - DAY Dozens of COPS are in the area, all attention focused on a small group of men busy excavating the dead body from the river bank - the CRIME SCENE UNIT. DETECTIVE HART (mid-40's) climbs up the small embankment away from the team of men, carrying a plastic evidence bag. He notices RYAN FROST - a tall man in his mid-30's, very professional, with an upbeat and somewhat off kilter attitude. Frost stands above him on the embankment, watching proceedings, and sucking on a peppermint. HART There you are. RYAN Here I am. So what happened here? Hart clambers up and stands opposite Ryan. HART Looks like a professional hit - guy shot in the head execution-style. RYAN Time of death? HART The body's hardly decomposed. Dead only a week by my estimate. RYAN Buried in a shallow grave. The work of someone inexperienced, or impatient. Do we have a name yet? HART Yep. Milton Harris. Written on a page of his pocket diary. Speaking of which... Hart holds up the plastic evidence bag. Inside is an open 1999 Diary - underneath the date marked "June 25" is a handwritten message: CONTACT FRANK BLACK HART That's his last entry. RYAN June 25th. Seven days ago. HART So I was thinking this Frank Black can shed some light on all this. Ryan nods and begins chewing his mint quicker. RYAN (nods) We'll need the addresses of every Frank Black in the area. I want some info on Mr. Harris too, then we need to see which Frank Black is most likely to have a connection to him... and begin enquiries. Hart nods and leaves. Ryan continues sucking his mint as he watches THE MUD-COVERED BODY dressed in a suit, being heaved out of the ground by MEN wearing latex gloves, blue overalls and face-masks. INT. BLACK RESIDENCE - GARAGE - DAY Tom is leaning under the hood of his CAR, fiddling with the engine. His face is smeared with oil. Behind him, Frank appears. FRANK Hey. Tom stops what he's doing and turns to face Frank, grabbing a CLOTH to clean his hands as he does so. TOM Hi. Has Helen started dinner yet? FRANK Yeah, I think so. Jordan loves her cooking... well, anyone's other than mine. TOM (laughs) Yeah, it's why I married her. Frank smiles - but there's obviously something else on his mind. FRANK Listen, Tom... I made some mistakes with Catherine before she died. I kept secrets from her, and I don't want to lie to my family anymore. TOM Don't worry, Frank. After what you told me last week about the Millennium Group... well, I'd have probably kept quiet too. FRANK (nodding) I think that, for a long time, they were honestly working for good ends... but something changed last year. (a beat) Working for them was the biggest regret of my life. It cost me my home, my wife... and now my job. TOM You needn't stay in any more motels. Helen and I don't often get visitors, and Charlie enjoys Jordan's company. Frank nods his gratitude. FRANK I'm just about to head back to Falls Church. I have some unfinished business with the house, but I'll be back later. Frank smiles, turns around, and leaves. Tom watches him go, sad for his brother's situation. EXT. BLACK RESIDENCE - DRIVEWAY - DAY Frank's jeep is parked outside. Frank opens the door and gets inside. INT. FRANK'S JEEP - DAY He settles into his seat, and fastens his seatbelt. Then his gaze falls on the passenger seat. He reaches underneath and fishes out the thick FOLDER Peter Watts gave him. He opens it up and glances inside, considering the contents a second... just as Tom appears, walking towards the jeep. Frank notices and quickly stashes the folder back under the seat. Tom reaches the window, which Frank rolls down. TOM Uh, Frank... FRANK Yeah. TOM I'd like to keep what you told me between just you and me, y'know. Don't tell Helen just yet. She had a difficult time after you saved her life three years ago... got a little crazy... thinking it was your fault, and everything. So, I'd hate for anything to happen that, y'know, sets her back again. Okay? FRANK (nods) That's fine, Tom. I won't say anything unless you want me to. Tom smiles, then taps the door with his hand, standing back. TOM Okay, drive carefully. Frank smiles as he starts the engine. EXT. BLACK RESIDENCE - DAY Frank's jeep pulls out into the road, with Tom watching. Frank changes gear, and it drives away. WE PULL BACK to reveal Jordan watching from her bedroom window. EXT. CHURCH GRAVEYARD - DAY A GREEN WREATH encircled with flowers is placed on the headstone, which reads: Barry Baldwin October 22, 1966 - May 21, 1999 Son of Mary and Brian, Brother of Julie WIDER Emma Hollis has placed the wreath on his grave. She kneels in front of the headstone, staring at the inscription. EMMA Remember the shooting range? (laughs) Nine agents all gathered there for assessment training at Quantico. You and me among them. (shakes her head) I remember you being so cocky, having gotten the best score four years running. You couldn't even *comprehend* the idea someone could beat you. (laughs slightly, a beat) When the results came back... and our scores tied... I'll never forget your face. Emma SIGHS, this has brought back many memories for her - and the pain of Baldwin's death hits home. EMMA (CONT'D) (a beat) I wasn't there for you, Barry. Sometimes there can't be joint-winners. And I'm sorry. Emma remains silent, contemplating the death of her colleague. And friend. INT. McCLAREN'S OFFICE - DAY McClaren is seated at his desk, writing on some documents. There's a KNOCK at his door. McCLAREN Come in. The door opens and Emma enters apprehensively. McCLAREN Agent Hollis, have a seat. Emma quickly sits opposite McClaren. McClaren finishes a sentence and puts down his pen. EMMA You wanted to see me? McCLAREN That's right. McClaren takes a dramatic pause, clearly savoring the moment and beaming broadly. McCLAREN (CONT'D) As you know, I'll be retiring in five months time. Ken McGreevey has replaced Barry Baldwin as Agent-In-Charge. And, he's now been penciled in to take over my position. Now, I recommended *you* to replace me, but my superiors think otherwise. However there *is* good news. When McGreevey takes over, he'll need his own Agent-In-Charge. Emma stares in astonishment at McClaren, already guessing the next sentence. EMMA And you've chosen me. McCLAREN Got it in one. It's not the A.D. position, but a significant step up the ladder. You've earned the respect of those around you in the Bureau - including me. There's nobody else I'd rather have in the position once McGreevey takes over my reigns. I think you'll be ready for promotion. Emma looks uncomfortable. EMMA That's great, but... McCLAREN But? Uh, I always thought this is what you aspired to ever since training. EMMA But when McGreevey takes over, he can override your wishes... get someone else to be Agent-In-Charge. McCLAREN True. Which is why I've spent the morning praising you to high heaven. (smiles) And it's also why I've decided to partner you with McGreevey in the meantime - give you time to work your charms on him. Build a rapport. Emma can't fathom a credible complaint now, but something doesn't feel right. After a beat, she manages to pull her worries back inside herself. EMMA Okay. Thank you, sir. McCLAREN And who knows... some day... it could even be you sitting where I am now. Emma feigns a smile. McClaren is a little concerned over Emma's reaction to his news, but smiles back as best he can. EXT. FRANK'S HOUSE - DAY The neighborhood is quiet as Frank's car swings into his drive. Legend INDICATES: Falls Church, Virginia 3:18 PM INT. FRANK'S HOUSE - HALLWAY - DAY Unopened MAIL is piled on the floor. EXT. FRANK'S HOUSE - PORCH - DAY Frank takes out his key to open the door, but stops. The door has been forced - the side splintered with a crowbar and the lock twisted apart. He frowns, and cautiously pushes the door open. INT. FRANK'S HOUSE - HALLWAY - DAY The front door pushes open and Frank steps inside carefully. He notices the MAIL on the floor, then listens for movement inside the house. INT. FRANK'S HOUSE - LIVING ROOM - DAY The room is a mess; chairs have been tipped over, tables broken, bookcases lay on the floor, documents are littered everywhere. PULL BACK to reveal Frank, standing in the doorway, surveying the wreckage. He GROANS at the destruction. An insect's BUZZING noise can be heard somewhere in the room. INT. FBI CAR LOT - DAY Rows of cars stretching into the distance, most hidden from sunlight under the concrete ceiling. An ELEVATOR door glides open and Emma steps into the lot, walking to her car. She takes out her car keys, presses one and - EEH-OOH! - her car lights BLINK as its car-alarm is disengaged. As she opens her door... FEMALE VOICE (O.C.) Emma Hollis? ... she stops, and turns to see MS. FINLEY (mid-40's) - a wise-looking woman, wearing spectacles, with long dark hair and an air of calm authority and experience. Finley stands a few meters behind her, dressed in a dark business suit. EMMA Yeah. Finley smiles and begins walking forward, her hand outstretched. FINLEY I'm Carol Finley. Emma shakes hands, staring at her suspiciously. EMMA Hi. FINLEY I'm with the Millennium Group. This surprises Emma, but she does her best to contain it. EMMA Right. Finley smiles again, making the whole scene look very well rehearsed. FINLEY I've been assigned to "show you the ropes," as it were. If you have any problems or worries concerning the Group - I'm the person you call. Anytime. Finley passes Emma a white business card. Emma looks at it. FINLEY'S BUSINESS CARD is stamped with a small, black ouroboros. Underneath is written: Caroline Finley (555) 651-6715 FINLEY (O.C.) Do you *have* any concerns? EMMA looks up at Finley, the answer "yes" screaming from her face - she decides to act on her inner impulse. EMMA Yes. Yes I have. FINLEY Excellent. What's your problem? EMMA Peter Watts. Finley reacts, interested. EMMA (CONT'D) He was killed a few weeks ago. Shot in the head. We're no closer to finding his killer - over a month later. There were no prints found in his home, no witnesses. The case is pretty much closed. Finley turns serious, concerned. FINLEY I know. The Group couldn't believe it when they heard. Many of us attended his funeral. He was a close friend of mine... and a highly skilled professional. But above all I'll always regard him as the eternal family man. EMMA (nods, agreeing) You see... She can't get the words out. Finley can tell already what Emma's concerned about, and speaks on her behalf. FINLEY You're worried about what Frank Black has been telling you. Emma nods, embarrassed. Finley takes her time to explain. FINLEY Frank Black was a candidate for two years - well, you know that. He was an exceptional person for us to nurture, due to his gift. He solved many cases conventional policing would never have solved. But... after his wife died... he changed. He had another nervous breakdown which - together with Survivor Guilt from his wife's death - made him paranoid. He couldn't accept the simple fact that anomalous contagions *do* happen. He started inventing wild theories of his own - in an attempt to find meaning behind the viral outbreak. Seeing patterns that weren't there. I guess the Group was the only thing he could find to blame. Emma's expression changes - she's never thought of it in that way. Finley notices she's getting through to her. FINLEY His first breakdown was in '96 - which the Group helped him through. We gave him a focus, and a professional life again. But, the truth is, he's a very unstable man. EMMA He's so sure the Group has some "master plan." That they use the FBI as a recruitment center? Finley LAUGHS beside herself. FINLEY The Group have a respected and trusted association with the Bureau dating back to the days of J. Edgar Hoover. It's a two-way commitment that benefits both parties. We use our vast resources and expertise to help with investigations, while they supply the manpower. Usually only after retirement, but there are exceptions. Like yourself. Emma has completely fallen under Finley's spell. Finley exudes calm authority and has a coherent answer for every misgiving she had. Emma LAUGHS a little. FINLEY What's so funny? EMMA I've been going out of my mind recently about all this. Finley smiles again. FINLEY There's no need, Emma. Now remember my private number - call me day or night. Oh, and your home computer will be fitted with voice-recognition software, and a special link to the Group Intranet soon. Many candidates find it useful for research into cases. We're linked up to VICAP and-- EMMA (interrupting) That sounds great. FINLEY This is your pass-phrase to gain access. Practice it. Finley passes her a small piece of paper. Emma glances at it, reading it in her head. She looks up at Finley. EMMA Is that a joke? FINLEY (chuckles) Unfortunately not. I'll be seeing you, Emma. Finley shakes hands with a much happier Emma, and leaves. Emma watches Finley awhile, before glancing at her note again - smirking. INT. FRANK'S HOUSE - KITCHEN - DAY Cutlery has been smashed on the floor, the fridge has been pushed over and cupboard doors are ripped from their hinges. Frank SIGHS as he idly picks up pieces of ornaments, before tossing them aside in annoyance. He closes in on a PICTURE FRAME. It shows the smiling faces of himself and Catherine, locked in an embrace together. Happier times. The glass is smashed. Frank picks it up, and rescues the photo from the ruined frame. He stares at the image of happier times a second - his thumb rubbing Catherine's face. As he does so, the BUZZING noise returns and a FLY lands on his hand. He wafts it away quickly. INT. FRANK'S HOUSE - HALLWAY - DAY Frank is making his way to the stairs, and stops at the pile of old mail. He picks them up and begins leafing through the letters; mostly bills and leaflets. Eventually he comes to a plain WHITE ENVELOPE, his address elaborately inked in italics. He rips opens the seal and unfolds the letter. It's an invitation to a funeral: CLOSE ON - ONE PARTICULAR SENTENCE "You are invited to the funeral of Peter John Watts, on Thursday 27th May, 1999, at 10:30 AM." FRANK stares at the words, chewing his tongue as a mixture of emotions rushes through him. A BUZZING noise can be heard in the distance. FADE OUT. ACT TWO FADE IN: INT. MORGUE - DAY The head of Harris has been shaved, and his pale body is up on a metal slab being inspected by a CORONER. Ryan and Detective Hart are present, both staring at the body as the coroner snaps on some gloves. CORONER (to Hart) I'd say you were right, Detective. He's been dead about a week. RYAN We're suspecting the work of a hired hit man. CORONER Yes, the gunshot wound to the head is a typical trademark of a professional killer. Efficient, with no chance of survival. The coroner moves to Harris's shaved head and indicates the dark circle of a bullet's entrance. He looks up at Ryan. CORONER Are you new here, Detective? HART He's not a detective. Mr. Frost is a P.I., just consulting with us. CORONER (to Frost) Oh, so you have special experience with hit men? RYAN Not especially. I usually deal with religiously-motivated cases. CORONER Interesting. Cults, Satanists, occult practices, that sort of thing? RYAN Usually. But there's always the occasional "normal" murder. HART Better than trippin' teens with tales of snakes up their ass. The coroner's face turns sour. CORONER Quite. Ryan gives Hart an icy, disparaging look. HART I, uh, checked out the Frank Black connection. The coroner's ear prick up. RYAN What did you find? HART There are eight in the local area, two sound promising. One worked eighteen years for the Postal Service, the other's now a crime consultant for the Feds. RYAN (interested) FBI... CORONER Frank Black you say? RYAN You know him? CORONER Well, I know *a* Frank Black. The FBI one it sounds like. He'd be in his late-50's now, was kind of craggy-faced, seemed a bit of a loner. RYAN "A bit of a loner." How many times have I heard those words... CORONER (laughs) No, but it can't be him! I've dissected more bodies for him than anyone else. Used to come to me all the time in the 70's and 80's. HART So maybe the 90's tipped him over the edge. The coroner thinks a second. CORONER Well, I'll tell you, if you're right I'll eat the contents of a kidney bowl. HART That I gotta see. RYAN (to Hart) Check him out. Hart nods and leaves. The coroner pulls a white sheet over Harris's pale body. INT. FRANK'S BEDROOM - DAY Frank is collecting some things from his bedroom, placing them in a small cardboard box which he has on the bed. Like the rest of his house, his room is a mess. As Frank works, he HEARS cars pull up outside. Concerned, he goes to his window and stares outside. THROUGH FRANK'S WINDOW Three POLICE CRUISERS are parked directly outside. Police OFFICERS - four in total - are getting out; including Detective Hart and Ryan Frost. Frank watches a second, puzzled. INT. FRANK'S HALLWAY - DAY Frank walks down the stairs carrying his box of possessions. There's a KNOCK at his door. He puts the box down on the floor, and opens the door. Ryan and Hart stand outside, two officers behind them. Hart flashes his badge. HART Police. Are you Frank Black? FRANK Yeah. HART We need you to come down the station with us. FRANK (confused) Why? RYAN Just a few questions we'd like you to answer. Hart notices Frank's box on the floor behind him. HART Were you going somewhere, Mr. Black? Frank realizes Hart has seen his packed box behind him. FRANK No, well yeah, actually... HART Do you know a Milton Harris, sir? FRANK (shaking his head) No. HART Well he seems to know you. He had your name written in his diary on the day he died. Now... do you mind answering our questions? You don't have anything to hide, do you? Frank looks confused at all this, but the insistence and tone of Hart's voice seems totally genuine and urgent. FRANK No. I haven't done anything wrong. I've been out of town over a month. Hart nods, not really believing him. HART Okay, come on. Frank steps out with the officers; puzzled, but intrigued. The door SLAMS closed, leaving his house silent. EXT. FRANK'S HOUSE - DAY The police cars drive off, leaving Frank's jeep the sole vehicle in the area. A few seconds of silence, before a BLACK LEXUS pulls up behind it. THE LEXUS'S door opens and a well-built man steps out. This is BLAYLOCK, and as he opens the door we notice he wears a GOLD RING on his finger - identical to the one Greg found earlier in the mud. Blaylock checks his surroundings, before casually walking up to Frank's jeep. He peers inside and can just about make out Watts's folder under the passenger seat. SMASH! The window is broken with a small metal bar. Blaylock reaches inside and retrieves the folder easily. He opens it and glances inside. Satisfied, he marches off. THE LEXUS SCREECHES away at high speed down the road. INT. BLACK RESIDENCE - DINING ROOM - DAY Tom, Helen, Jordan and Charlie are all seated round a circular table eating dinner. Charlie is being spoon-fed his meal by his mother. Jordan isn't eating very much, preferring to pick at her food. TOM Not hungry, Jordan? JORDAN (shaking her head) When's dad coming home? HELEN He just has to pick up some things he forgot to bring for your vacation. JORDAN Why? HELEN Well, I expect he has some important work and has a deadline to meet. Tom looks guilty. Jordan wrinkles her nose, agitated. JORDAN Do you think we're going to live in Baltimore now? TOM Uh... HELEN (smiles) You've only just moved back to Virginia again, sweetie. JORDAN But we left weeks ago. Helen LAUGHS. Jordan remains serious. HELEN It's only been eight days! JORDAN No, before-- TOM (interrupting) I think what Jordan means is that... Tom sees it's no use pretending. He puts down his cutlery and faces Helen. TOM (CONT'D) Frank has left the FBI... and so he's been staying here while he gets things sorted. Helen stops paying attention to Charlie. She stares at Tom, and then at Jordan. HELEN He left? TOM I don't know the details. JORDAN We've been living in a motel. The Shady Grove. HELEN A motel?? JORDAN Dad said we had to have "breathing space" while he made sure things were okay. HELEN Tom? Tom shrugs. HELEN Well. It seems I'm the last person to know anything around here. JORDAN Sorry. HELEN It's not your fault, honey. JORDAN So, *can* we live in Baltimore, you think? TOM (smiles reassuringly) Maybe. Jordan looks happy enough and returns to her food. Helen and Tom share a critical look at one another - both have lost their appetites. INT. INTERVIEW ROOM - DAY Frank is seated with his LAWYER across a table in a room containing just two chairs. There is a two-way mirror along one wall, and a GUARD posted at the door. Someone KNOCKS at the door, and the guard opens it. In walks Ryan with a clipboard. LAWYER Can my client go now, Mr. Frost? RYAN He may be a minor celeb in the business, but that doesn't mean you can evade the system. Frank SIGHS, finding the whole situation ridiculous. Ryan sits opposite him. FRANK I was fired from the Bureau, I've been staying in some motels, then Baltimore, all over the past six weeks. I returned only to collect a few things, and found my home had been broken into. RYAN Oh, yeah, "burglarized." And they didn't even take the TV? Place looked *vandalized* to me. Ryan has him - Frank looks resigned, then he takes a deep BREATH. FRANK I've given you an alibi. RYAN We're checking the Shady Grove Motel's guest book, don't worry. LAWYER I should think so. You have no forensic evidence my client did anything. RYAN He's not under arrest. I'm sure he just wants this cleared up as fast as I do. FRANK I hardly left the room for almost three weeks, just for walks in the countryside. RYAN What were you doing in a motel? Frank remembers: INT. FRANK'S JEEP - NIGHT He's driving fast, with an agitated stare. Jordan is fast asleep in the backseat. EXT. SHADY GROVE MOTEL - NIGHT Frank's jeep pulls into a parking lot, which is mostly deserted. He parks the jeep near the lobby of the motel. It's a small building, one floor with about forty rooms. A sign reads: 'SHADY GROVE MOTEL - 24/7'. INT. INTERVIEW ROOM - DAY Frank looks up at Ryan. FRANK I had to get away. Get things in perspective. RYAN A Mrs. Barrett - that's your daughter's teacher - said you ran out of school with her. She said your behavior was... (quotes from clipboard) "... inappropriate, and upsetting for the other children." LAWYER That happened weeks before this Mr. Harris died. RYAN (to Frank) You were mentioned in his diary. On the day he died he'd made a note to meet with you. FRANK Maybe he tried. I was out of town. Ryan throws the clipboard on the table and SIGHS. RYAN Okay. Truth time. (a beat) I don't think you did it... and I think your story will check out. FRANK Thank you. RYAN But you *do* know something. So what are you holding back? Frank judges Ryan closely. He thinks to himself. FRANK If you check Harris's background... you may find he was a member of a crime consultancy organization called the Millennium Group. Ryan smacks his lips, his interest in this conversation is suddenly raised at the Group's mention. The Lawyer similarly looks interested. RYAN We already checked. He was. So? Frank shakes his head, a painful smile creeps across his face. His instincts were right. He looks Ryan straight in the eye. FRANK You won't solve this case, Mr. Frost. RYAN Why's that? FRANK Because the Group is always one step ahead. RYAN You think the Millennium Group did this? So, uh, why would they kill an employee? FRANK Employee? No, *members*. Disloyal members... who have become unstable elements. RYAN Members. Plural. Frank smiles, appreciative of Ryan's listening skills. FRANK You'll find four more bodies near the river. The Lawyer looks exasperated at Frank's behavior. RYAN How the HELL DO YOU KNOW THAT??! FRANK Because I used to work for them! And a friend died giving me that information! Ryan pauses. Both men considering each other closely. RYAN You're still our only suspect right now. We can hold you for 24 hours, which is what Detective Hart wants to do, while the forensic team get to work. Frank nods, understanding. INT. PRISON CELL - DAY White walls, a sink, a small window and a wooden bench. Frank is lying on the bench - he is not wearing his jacket, has no belt, and no shoelaces. CLOSE ON - FRANK'S FACE fast asleep... his eyes move behind their lids... dreaming.... FRANK'S INTERNAL POV -- Frank driving his jeep at night, Jordan asleep in the back -- A pen being used to write something on a hand - numbers. -- The SILHOUETTES of two men, standing on the bank of a river. -- A gun being FIRED! -- A body SPLASHING into the river! -- A man's face, SCREAMING in pain. A BUZZING insect noise. INT. JORDAN'S BEDROOM - NIGHT JORDAN'S FACE peaceful for a beat, before she snaps awake quickly, eyes wide! WIDER Jordan sits bolt-upright in bed, BREATHING HEAVILY. She reaches over and turns on her nightlight. Then she looks at her BEDSIDE CLOCK '9:49 PM'. A BUZZING noise suddenly begins somewhere in her room... Jordan stares around, trying to get a fix on the noise. Just as suddenly, the noise stops, and her bedroom door opens. Tom enters. TOM Jordan, you awake? Jordan nods, wearily. TOM Why's your light on? JORDAN I had a bad dream. A man falling in a river, and a... a loud bang. Tom sits on her bed, and settles her back to sleep, fluffing her pillow and straightening her sheets. TOM Well, it was just a dream, that's all. JORDAN Is dad home yet? TOM No. No, I think he probably got held up at work. He'll be here tomorrow. Jordan nods, happy enough. Tom smiles. TOM (CONT'D) Okay, now you get to sleep, then. I'll see you tomorrow. Tom pats her shoulder, turns off the light, and leaves quickly. The room is left in darkness. EXT. EMMA'S APARTMENT - NIGHT It's similarly dark and quiet. Only a few LAMPS provide light. The sound of RUNNING WATER can be heard O.C., somewhere in the house. The sound stops, and a bathroom door opens. Emma Hollis steps outside, straightening her hair. She is still wearing her FBI uniform, but unfastens her GUN-HOLSTER and drops it on the sofa. Then she catches sight of a framed photo on a small table - it's of James Hollis, her father. Emma considers the photo for a second before picking up the nearby REMOTE CONTROL and switching on the TV, sitting down with a BIG SIGH of relief. Exhausted. Behind her, there's a KNOCK at her front door. Emma doesn't quite hear it the first time, but it KNOCKS again. This time she hears it, and turns the volume down on the TV. Emma gets up and heads for the door, which KNOCKS again almost on cue. Emma quickly looks THROUGH THE PEEPHOLE to see Carol Finley outside, waiting. EMMA seems surprised, but quickly opens the door. Finley smiles. FINLEY Good evening. EMMA Evening. FINLEY May I come in? Emma nods, stepping aside. Finley enters casually, instantly looking around the apartment. Emma closes the door and both women turn to face one another. EMMA Is something wrong? FINLEY Did you get your computer upgraded? EMMA Yeah, a man came earlier. FINLEY That's good. (a beat) Anyway, the reason I came over was to give you your first assignment. EMMA Oh? FINLEY Quite a distressing one for us. We've been informed by the Baltimore PD that a Group member - Milton Harris - was shot dead last week. He'd been reported missing by his family... and a young man found his body earlier today. Shot point-blank in the head just outside Washington, and buried beside a river. EMMA Any suspects? FINLEY No. Not really. We suspect an ex-con with a grudge. It happens sometimes. I'm sure you've investigated similar grudge killings before. EMMA Yeah, sure. Do you need me now? FINLEY No. It can wait till morning. I've cleared it with McClaren. He doesn't expect the Peter Watts case to be solved anytime soon, so yourself and Agent McGreevey have been reassigned. I would have rung you, but I was passing by anyway. Finley produces a folder for Emma. FINLEY (CONT'D) This tells you everything you need to know about the case. Emma takes the folder, opening it to see a photo of Milton Harris - in stark contrast to the pale, shaven headed victim we've been accustomed to. EMMA I'll be there bright and early. FINLEY Thank you. How's your father by the way? EMMA He's fine now. FINLEY Is he here, I'd love to meet him. EMMA No. He's moved out. FINLEY Oh, too bad. (glances around) Nice apartment you have, anyway. Finley turns and leaves. EMMA Thanks. Bye. Emma closes the door and stares at the folder in her hands. EMMA'S COMPUTER is switched on and it begins loading. She opens the folder again and begins reading Milton Harris's file: NAME: HARRIS, MILTON DAVID D.O.B.: 01/02/64 It goes on to describe his career - giving dates and achievement merits. One sentence reads: CLEARANCE FOR - 5312 Ogden Parkway Archive/Research Facility, Arlington, WA Emma's computer CHIMES with the familiar BOOM-BOOM sound effect, and she looks up to see her loaded screen. She clicks an ouroboros icon and a voice-recognition screen appears. EMMA Oh, God... She fumbles in her pockets and finds the scrap of paper Finley gave her. She reads it, half-rehearsing it under her breath. She clears her throat. EMMA "We all go a little mad sometimes." A '97% accuracy' message appears. Then a large ouroboros fills the monitor, with an infamous message in its center: "GOOD EVENING, EMMA. THERE ARE 183 DAYS REMAINING." FADE OUT. ACT THREE FADE IN: INT. PRISON CELL - DAY Frank is asleep on the bench, morning sunlight pouring through his window. The JANGLING of keys awakens him. Legend INDICATES: Police Holding Cell Baltimore, Maryland July 3, 8:15 AM Frank sits up as Ryan Frost enters with his belt, jacket and shoelaces. RYAN You're free to go, thanks to a statement from a Mrs. Thurman at the Shady Grove. Add her to the Christmas Card list. Ryan places Frank's belongings on his bench and Frank starts putting them on. FRANK What about the other bodies by the river? RYAN The Crime Unit have just began making sweeps. We'll know if they find anything soon. Frank looks annoyed, desperately wanting his theory confirmed. Ryan looks a little embarrassed about the bad treatment Frank has received. RYAN (CONT'D) Come on, I'll give you a lift back to your house. FRANK I need to call my brother, tell him what's happened. Then I want to see the crime scene. RYAN Why? I've already got the Crime Unit digging around. FRANK I can help. They *will* find more bodies. RYAN (takes a deep breath) You're so sure the Millennium Group did this, aren't you. Frank nods. RYAN (CONT'D) Well, I must admit... I had my suspicions once. Frank stops what he's doing. Looking puzzled at Ryan. RYAN (CONT'D) I was a candidate for five months. This gets Frank's keen interest. EXT. BALTIMORE PD - CAR LOT - DAY Frank and Ryan are walking down the rows of cars. RYAN I was fired from the Vancouver P.D. in November '97. Almost immediately I was contacted by the Millennium Group. They didn't seem to mind about my "bad conduct" and offered me a consultancy position. I accepted in December '97, and was abruptly fired in May the same year. Frank works out the dates. FRANK That was the time the Marburg Virus struck the North-West. RYAN Uh, yeah, the epidemic. FRANK I had an acquaintance who was fired that month. Brian Roedecker. Just dismissed for no real reason. RYAN Snap. FRANK Last year the FBI uncovered a mass burial ground where a freeway was to be built, dating back to 1984. It was full of skeletons. One of which was the remains of a Group member I knew. She'd been killed elsewhere, then boiled down to her bones, and placed in the same grave to avoid detection. RYAN Those members that aren't fired, they kill? Extreme measures. FRANK If you're just fired they obviously don't count you as a threat to their ideals. Those killed are higher-ranking members, who could cause them a lot of trouble if they went public. RYAN *You* could go public. FRANK No, I don't have any real proof. Just theories. RYAN Theories that fit the puzzle. FRANK Theories can be *made* to fit puzzles. They reach Ryan's car. Ryan stop and opens the door, Frank goes to the passenger side. They talk over the roof. FRANK (CONT'D) There's a conspiracy theory for everything these days. RYAN Perhaps they're hoping you'll reconsider and accept membership. Frank stops a second, dismissing the notion. Ryan notices. Frank then gets in the car, quickly. Ryan considers Frank's reaction. EXT. FOREST - DAY The whole area is sealed off with POLICE TAPE. A few POLICE CRUISERS cars are still on the scene. A BLACK CAR pulls up behind one. INT. BLACK CAR - DAY Inside, KEN McGREEVEY tugs the handbrake on. Emma Hollis sits in the passenger seat. McGREEVEY Here we are. Let me do all the talking. Emma nods. EXT. FOREST - RIVERSIDE - DAY Detective Hart is talking to a Police Officer, as McGreevey and Emma approach behind him. McGREEVEY Excuse me, are you Detective Hart? Hart stops talking and turns to see McGreevey and Emma - he notices their FBI name-tags. HART Ah, the Feds. You took your time. McGREEVEY I'm Agent McGreevey, this is Agent Hollis. I've been told the victim here was ex-FBI. HART Which one? EMMA You've found another body? HART Worse than that - we found two more. That's three, which means a whole lot of paperwork. EMMA (smirks) You're all heart. HART By name *and* reputation. McGREEVEY We'd like to see all the bodies, please. HART All sent to the morgue. I'm on my way there right now. McGreevey nods. All three are about to leave when-- CRIME UNIT MAN (O.C.) Hey, we got another! McGreevey is first to act - he dashes down the incline, followed by Emma and Hart. RIVERBANK a fenced-off area, containing three large but shallow PITS. Five Crime Unit Men are digging up another body - the LEG clearly visible under the dirt. As the mud is shifted, we notice another GOLDEN RING on the victim's finger. INT. RYAN'S CAR - DAY Ryan is driving, with Frank in the passenger seat. RYAN So what made you rush off like that with your daughter? Frank turns to stare out his window: INT. MOTEL ROOM - NIGHT Frank sits at the table, wearing his reading glasses, busy reading through Watts's folder. He flips through some of the pages, eventually he comes to a page with a heading in bold, underlined letters: "CODE BLUE INDIVIDUALS." FRANK (V.O) As I said, a friend gave me some information that put me in the firing line. A folder, containing a death list. The next page simply states: "CONFIDENTIAL: TO BE SEEN ONLY BY THOSE WITH HIGHEST-LEVEL ACCESS." Frank turns the page and finds a list of names, as he flicks through some are highlighted, six in total: Milton Harris Robert Shaw Vincent Lewis Peter Watts Duncan Leonard Frank Black FRANK It had reports on every Group member, candidate and associate in the state. Hundreds of people. Six names had been highlighted: targeted for execution by the Millennium Group. INT. RYAN'S CAR - DAY Ryan is listening carefully. RYAN Your man who gave you the folder? Frank nods. FRANK And Milton Harris... three others, shot like him... and me. RYAN But you escaped. So why come back? FRANK I don't know... Frank remembers: EXT. MOTEL PLAYGROUND - NIGHT Frank sits on a bench, looking off into the distance - Watts's folder is open on his lap. Behind him, Jordan is chasing FIREFLIES and LAUGHING. FRANK (V.O) I did a lot of thinking while I was away... it didn't seem right that they'd want to kill me. INT. RYAN'S CAR - DAY Frank turns back to face Ryan. FRANK (CONT'D) I don't have any real proof. The folder Watts gave me wasn't stamped with an official seal or signature. It looked like it had been downloaded and printed direct from a computer. So as far as the Group are concerned, I'm just an occasional annoyance. Killing someone like me, who's well-known for speaking out about the Group, just risks others asking difficult questions. (a beat) But I won't risk the life of my daughter. RYAN Where is she? FRANK Safe. EXT. FOREST - RIVERBANK - DAY The latest body is being carried out of the riverbank on a stretcher. The victim's clothes are damp and clogged with dirt. McGreevey and Emma watch as the body is lifted into a body-bag resting on another stretcher. In the b.g. Frank and Ryan appear walking through the trees. Emma notices Frank and chews her tongue, not sure why he's here. FRANK and RYAN are met by Detective Hart. HART What the hell is *he* doing here? RYAN His story checked out. He can help us. Hart GRUNTS, dissatisfied. RYAN Might I remind you that it was his hunch that started the search for more bodies to begin with? Frank watches the latest body being carried away in a zipped up body-bag. FRANK How many have you found? HART Four. FRANK That's all you'll find. HART And how do you know that, Mr. Black? RYAN You read his file too, Detective. He's... uh, psychic. Frank winces; not really caring for that description. He stares around at the crime scene. FRANK'S INTERNAL POV A quick succession of images: -- The numbers '5312' written on a hand -- A gun's barrel FIRING! -- A man's body hitting cold water! -- A gold finger-ring falling into the dirt -- A dead body (Harris) being buried in mud. Frank turns back round to face everyone. HART Oh, well excuse me, Mr. Frost, but I don't think a crystal ball should be a standard crime-fighting tool these days. McGreevey and Emma suddenly appear. Frank instantly sees Emma and the two share a very uncomfortable gaze. McGREEVEY Mr. Black, nice to see you're still around. Frank hardly raises his stare from Emma. HART (to Frost) Y'see, it's gone past consulting now. The Feds have shown up. RYAN Mr. Black knows who did this. Hart stops dead. He's listening. McGreevey is similarly intrigued. Emma looks on, incredulous. FRANK The Millennium Group. Emma turns away, half-embarrassed. McGREEVEY What??! HART Uh, I've already alerted the Group on this one. FRANK All the victims were members, weren't they? HART The first three, yeah - Milton Harris, Vincent Lewis, and Robert Shaw. RYAN You'll find all four to be consultants working for the Group. HART Yeah, okay, that's why the Group's interested! Some nutball's offing their employees! FRANK They Group killed these people. EMMA Why would they do that? Frank stares directly at Emma. FRANK Because they outstayed their usefulness... or showed signs of disloyalty. Just like Peter Watts. HART Who? FRANK You won't catch the people who did this, because the culprits are helping with the investigation. EMMA Frank, the man who did this wasn't very methodical. He buried them in a shallow grave, next to a strong river current! Hardly the sign of a professional. FRANK Oh, he was professional. He just didn't have the time to prepare a burial ground like they usually do. Harris was already on his way to contact me - probably to pass me information on the Group. The other three probably had intentions of going public about something, too. They had to act quick to kill them, luring all four here somehow - one after the other. Except Watts, who was killed at home. McGREEVEY What "information" was Harris going to give you? FRANK We'll never know now. McGREEVEY Myself and Agent Hollis are heading down to the morgue. See what the coroner has to say. Hopefully he'll talk some sense. HART I'm coming too. RYAN Frank? FRANK I have to get something first. Frank and Ryan leave. McGreevey heads off, together with Hart. Emma watches Frank go a second, thinking about what he's said. INT. THE ELDER'S OFFICE - DAY THE ELDER is seated alone in his eccentric and elaborate office. He has a cigarette-lighter which he absently flicks to produce a FLAME. He CHUCKLES to himself, and throws the lighter to one side. Someone KNOCKS at the door. THE ELDER Yes. The door opens and Blaylock appears, holding the FOLDER he stole from Frank's car. BLAYLOCK Sir. I have the folder you wanted. The Elder stands immediately, his face now fully concentrated. Eager. THE ELDER Give it here. Blaylock passes the folder. The Elder snatches it quickly, opens it, and begins flicking through to a specific page. We see the page he is looking at - the long list of names, with six highlighted. He frowns, puzzled. THE ELDER Why is Frank Black's name highlighted? BLAYLOCK That was how I found it. I think Watts must have added Black's name when he received the folder from Harris. The Elder goes quiet, thinking to himself. THE ELDER Ye-es. (to Blaylock) Well done, you can go. Blaylock nods and leaves quickly. The Elder looks again at the highlighted names. He smiles to himself as he reclines in his chair. THE ELDER Very clever, Mr. Watts. If the lamb won't return to the flock, scare it away with the threat of slaughter. He shakes his head, gaining a perverse delight from this revelation. FADE OUT. ACT FOUR FADE IN: EXT. FRANK'S JEEP - DAY Frank's unlocks his door and ducks inside. Ryan stands watching. INT. FRANK'S JEEP - DAY Frank stares in disbelief at the BROKEN GLASS on the passenger seat. The folder is missing. He checks the glove compartment - it's not there of course. Frank SLAMS the compartment shut. FRANK Damnit! RYAN (O.C.) What's wrong? EXT. FRANK'S JEEP - DAY Frank rises up and allows Ryan to see through the window. RYAN Oh. FRANK It's gone, they've taken it. RYAN Well, on the bright side, it was never going to be the great evidence. Anyone can faked documents. Maybe someone round here saw something... FEMALE VOICE (O.C.) Uh, Mr. Black, sir? Frank turns to see a neighbor (MARTHA, mid-70's) hurrying down her path toward them. She's carrying a SMALL PARCEL in one hand. MARTHA I got this for you. Martha arrives and hands Frank the parcel. MARTHA (CONT'D) I was told to hand-deliver it to you, but you haven't been home in over a month. Frank looks at the parcel. It simply says: "To Frank Black" on the front. FRANK Who gave you this, Martha? MARTHA Oh, I don't know. Some man who said he was your friend, although he was forever snooping around your house last week. RYAN (to Frank) What is it? Frank rips open the package and finds an unmarked CASSETTE TAPE. MARTHA Oh, *that's* what it is! My husband and I had a bet going. (sighs) We both lose. FRANK Thank you. MARTHA No problem, dear. She happily walks away back to her house. Ryan raises his eyebrows. Frank ducks inside his car with the tape. INT. FRANK'S JEEP - DAY He turns the electric on with his IGNITION KEY, and inserts the TAPE into his cassette player. Ryan watches, leaning on the open door. Frank hits PLAY... and listens. WHITE NOISE is heard for a second, before a MALE VOICE speaks - the quality isn't very good, but audible. MALE VOICE (V.O) 2, 4.... 6, 12. (a beat) Good and just the first time, Evil intent the second. (a beat) Find 5312. (a beat) The flies are buzzing. It has begun. More WHITE NOISE. Frank SIGHS. RYAN (wryly) Very cloak and dagger. What does it mean? INT. FRANK'S HOUSE - LIVING ROOM - DAY Frank tips over a DRAWER, which has already been thrown to the floor, and begins searching through the contents. Ryan is watching keenly. Frank finds what he's looking for - a black BIBLE, marked with a golden cross. Frank opens the book. THE BIBLE The Book of Genesis. Frank's finger traces the different sentences down until he reaches Chapter 2, Verse 4. FRANK (V.O) 2:4: "These are the generations of the heavens and of the earth when they were created, in the day that the Lord God made the earth and the heavens." RYAN Genesis. The final day of Creation. Read 6:12. Frank turns a few pages. He reads: FRANK "And God looked upon the earth and, behold, it was corrupt; for all flesh had corrupted His way upon the earth." RYAN (thinks) That's when God decided to send a Great Flood. FRANK "Good and just the first time. Evil intent the second..." God destroyed all sinners soon after the beginning of the world. RYAN So whoever recorded the tape - probably Harris - thought it's happening again. God's seeing the flesh, us, corrupting his earth. FRANK No - the tape said "Evil intent the second." This time the cause *isn't* just. The Group are bringing about the end of the world - an apocalypse of their own creation. And it's begun. Ryan shakes his head, not quite believing it. RYAN Is 5312 another chapter? Frank isn't listening, he's staring ahead, gripped. FRANK'S INTERNAL VISION -- a pen writing '5312' on a hand Then Frank remembers... INT. MOTEL ROOM - NIGHT Watts's folder - the page header is marked: "Archive: 5312" FRANK (V.O) Maybe an address. It was typed on the folder Peter gave me. INT. FRANK'S HOUSE - LIVING ROOM - DAY Frank closes The Bible quickly. FRANK We need to find it. Can you search all addresses in the Washington area? RYAN (nods) I think so. What do you hope to find there? FRANK Proof. Frank looks satisfied. INT. GROUP CONFERENCE ROOM - NIGHT A luxurious room, with a LONG TABLE and ornate fittings along the walls. Numerous chairs are vacant, except one at the head of the table. The Elder sits there reading a LOCAL NEWSPAPER the main headline reads: 'CRIME CONSULTANT MASSACRE' - together with a photo of the small excavation site set up by the Crime Scene Unit. WIDER there's a KNOCK at the door. The Elder raises his head. THE ELDER Enter. The door opens and Ms. Finley enters, carrying a FILE. She closes the door and stands still. FINLEY Sir. The Elder glances at his watch. THE ELDER Ms. Finley, punctual as usual. FINLEY I have completed my assessment of Emma Hollis, sir. THE ELDER Excellent. Finley walks towards The Elder, who folds his newspaper neatly. She passes him the folder, which he instantly opens it and begins scanning the pages. THE ELDER Very good, yes. (to Finley) I'll read it later. Your summary? FINLEY Well, she's headstrong, professional, slightly naive, practical, independent-- THE ELDER (interrupting) The best type of candidate. FINLEY I think so. Her previous connection to Frank Black seems to be the only concern. But his fantasies about the Group are easily explained. Basically, another lost lamb, seeking support and answers the Group can give her. THE ELDER (smiles) Very good. I look forward to reading your assessment in full detail. Finley returns the smile. THE ELDER You may leave us. Finley wrinkles her brow a little, noticing The Elder's use of a plural. She turns and leaves. As she walks to the door, she notices a seat at the bottom of the conference table - the occupant facing away from The Elder. She leaves quickly. The Elder watches the door close, and then moves to see the chair ahead of him slowly spin around to reveal MABIUS. MABIUS I still say you were wrong to take Hollis on. She only adds confusion to a delicate time. THE ELDER The likes of Frank Black and his occasional hindrances are easily taken care of. In the grand scheme, his "crusade" hardly registers. MABIUS Like a fly in a hurricane. Mabius smirks at The Elder, enjoying his own private joke. The Elder simply returns to his newspaper. THE ELDER (without looking up) Something like that. (he looks up) I thought you had urgent business to see to. MABIUS Don't worry. The facility's almost taken care of, as I take of everything... and everyone. The Elder returns to his paper. INT. MORGUE - NIGHT The Coroner now has four PALE BODIES, each one bald with a bullet wound to the head. Emma, McGreevey, and Hart are present. The Coroner lifts Harris's hand and turns it so we can see the PALE PALM. CORONER I found some writing on this one's hand. Not very clear - thanks to the moist grave he was dumped in. Emma is inspecting it closely. Almost-indecipherable NUMBERS have been written on the skin. EMMA Numbers. 5... 3, 1... 2. I can't read the rest. Og-something? HART Those numbers could mean anything. Emma remembers something, her face lights up. EMMA It's an address for a Group research and archive facility. HART How do you know that? EMMA An investigation involving human stem cell research led me there once. And Harris's career record showed he had Group clearance to it. McGREEVEY So it's *just* a medical archive? EMMA I don't know. INT. RYAN'S APARTMENT - NIGHT Ryan is typing at his KEYBOARD, with Frank hovering behind his chair. FRANK Anything? RYAN This looks like it. 5312 Ogden Parkway, Arlington. It's listed as abandoned, but remains leased to the Millennium Group by the Government. Frank leans forward to inspect Ryan's findings. EXT. ARCHIVE FACILITY - NIGHT A small building in a large industrial complex. The whole area looks abandoned, since there are no cars or people visible. Legend INDICATES: 5312 Ogden Parkway Arlington Industrial Estate 9:12 PM McGreevey's black car glides through the open main gate. INT. FACILITY ROOM - NIGHT The room is completely barren. FILING CABINET drawers are open and empty, while worktables show clean spaces indicating computer equipment has been taken. A door opens and Emma enters with McGreevey close behind. McGreevey flicks the light switch - nothing. McGREEVEY No power. Looks like this place has been abandoned a long time. I don't see how this has any bearing on the Group murders, Emma. Emma wipes her hand along a worktable, rubbing the dust with her fingers. She notices a clean square - without a dust-covering. A FLY buzzes past her face, causing Emma to lurch back slightly. EMMA Not such a long time. This place has only recently been cleared. McGreevey wafts away the same fly, before he starts noticing the patches of clean areas around the room. McGREEVEY So the Group decided to move premises. What's the big deal? The sound of a CAR'S ENGINE outside grabs both their attentions. EXT. ARCHIVE FACILITY - NIGHT Ryan's car pulls up next to McGreevey's, next to the facilities main door. INT. RYAN'S CAR - NIGHT Ryan notices McGreevey's car. He looks at Frank. RYAN Someone's already here. Frank nods. INT. FACILITY HALLWAY - NIGHT The main door swings open, revealing Frank and Ryan as they enter. Ryan has a FLASHLIGHT, which he uses to scan across the walls - revealing lighter spaces where picture frames used to hang. RYAN Everything's gone. FRANK They've had a month to move since Harris downloaded their hit list from the computer system. RYAN Then the proof you're after has gone. They really are one step ahead. Suddenly, a door up ahead opens quickly. Ryan goes to draw his gun, but is slow thanks to carrying a flashlight. MALE and FEMALE VOICE (O.C.) FREEZE, FBI!!! Frank raises his hands. Then lowers them when he sees EMMA and McGREEVEY stand together, with their guns aimed at Frank and Ryan. FRANK It's just us! Emma is surprised. She lowers her gun, as does McGreevey. FRANK (CONT'D) What are you doing here? The Group making you clean out their trash? EMMA No, Harris had this address written on his hand. He gained clearance for this facility before he died. McGREEVEY Everything's gone, anyway. What were you hoping to find, Mr. Black? RYAN More of what Harris uncovered here, and managed to smuggle to Peter Watts. FRANK Proof that the Group are killing disloyal members. What did *you* hope to find? Emma can't reply, she looks embarrassed. EMMA Nothing. Just following a lead to a dead-end. FRANK If you have your suspicions, why don't you just admit it? EMMA I don't. I have questions, that's all. And they'll be answered. FRANK They'll lie to you to secure your obedience... (a beat) ... and if they lose that...? EMMA (shaking her head) You don't quit, do you. FRANK Not when innocent people can be saved. I can't quit. Emma holsters her gun and turns to McGreevey. EMMA Come on, we're wasting our time here. McGreevey nods and they both walk past Frank and Ryan, heading out the main door. Frank SIGHS, frustrated he can't talk sense into Emma. He makes one final comment. FRANK You won't find who did this, Emma. Those murders will remain unsolved. Emma and McGreevey have left. RYAN They've really gotten to her. FRANK Her father's life was saved to gain her obedience. But she's not in too deep yet. There's still hope. Come on. Frank and Ryan both turn and leave. INT. FACILITY OFFICE - NIGHT Through some Venetian blinds we watch Ryan car leave the complex, its headlights momentarily sweeping across the room. CAMERA TURNS to reveal someone stood watching the vehicle leave. It's Mabius. He has a cell phone to his ear... MABIUS 5312 has been taken care of. On time. We notice he wears a GOLD RING on his hand, before he lowers his phone and hangs up. EXT. ARLINGTON NATIONAL CEMETERY - DAY Frank stands before the grave of Peter Watts, which is very large and expensive. The engraved epitaph reads: R I P Peter John Watts March 26, 1952 - May 21, 1999 Loving husband of Barbara, caring father of Erin, Chelsea and Taylor. Frank places some flowers on the grave, then stands before it. FRANK I always suspected - feared - it would end like this. It's not fair to condemn you for your involvement with the Group. We all make mistakes, we all misjudge people to our cost. The important thing is that you died with your eyes open with question... and not blind with faith. (a beat) I'm sure your family will find their way through the pain, and one day... they'll find justice for what happened to you. *I'll* find them justice. (a beat) We *are* all shepherds. Shepherds of our own futures - making decisions, making mistakes, with our own free will. We shouldn't be seen as sheep, ready to be led to slaughter against that will. (a beat) I failed this time. But I'll succeed. I'll expose them for what they've become. I promise you. (a beat) It can't always end like this, Peter. Frank turns solemn; memories of past grievances stirring to the surface. Then, after a beat, his cell phone RINGS. Frank GROANS, but takes it out from his jacket pocked and answers it. FRANK (annoyed) Yeah. CALLER'S VOICE (V.O) There were five intended names, not six. All five were dealt with. Have no fear. Frank looks puzzled, knowing the relevance of the words, but at a loss to imagine who the caller is. FRANK Who is this? DIAL-TONE. Frank frowns, concerned and intrigued. EAST SIDE OF GRAVEYARD We see the lonesome figure of Frank Black, standing over his friend's grave, putting away his cell phone. Someone is watching from a safe distance. It's THE ELDER sitting in the back of a limousine, staring through a rolled down black-tinted window. After a few seconds he winds the window up. INT. THE ELDER'S LIMO - DAY The elderly man settles back in his seat, and opens a folder. We notice now that The Elder is wearing a GOLD RING. The folder is Finley's report on 'AGENT HOLLIS, EMMA MARIE', together with two photos of her (front and profile). The Elder begins reading... EXT. THE OLD MAN'S SHACK - NIGHT The Old Man himself stands outside, holding his SHEPHERD'S CROOK in his right-hand. A GASLAMP hangs from the crook, its gloomy light attracting a few FIREFLIES and MOTHS. He just stares ahead with a forlorn and lost expression... listening to the ferocious sounds of DOGS - HOWLING, BARKING and SNARLING close by. THE ELDER (V.O) "... and the earth will be without form once more, and void; with darkness upon the face of the deep..." The Old Man opens his left hand and stares down at a crushed, dead, FLY in the center of his wrinkled palm. FADE OUT. THE END