M I L L E N N I U M IT... HAS... BEGUN... NOTHING IS FORSAKEN... Virtual Season Episode #405. "Shophetim" written by: Anne Andrews with thanks to: Bunny Williams and M.J. Wardale (August 2002, re-edited version) TEASER FADE IN: INT. RESTAURANT - NIGHT CLOSE ON - A LOBSTER resting on a white plate with gold band and a leaf garnish. The plate is up on a shelf waiting for more items to be added to it. Legend INDICATES: Pirates Cove Restaurant Baltimore, Maryland August 4, 6:14 PM A RADIO is located on top of a stainless steel shelf in the kitchen of a restaurant. It sits above the lobster dinner that has just had clarified butter added it by a one ounce cup. The plate is removed and a second plate is put in its place for the next dinner. RADIO COMMENTATOR (V.O.) The summer heat has been brutal, baking the earth to packed dusty rock that is cracking from lack of moisture. It has brought the oil up to the surface of the pavement - some slick driving there folks. It has withered the crops in the field. Hardest hit vegetation is tomatoes, melons, and fruit. Expect the vegetable prices to climb high accordingly. A PREP CHEF tosses fresh kale and watercress into a stainless steal bowl to be shredded for a garden salad. RADIO COMMENTATOR (V.O., CONT'D) Local hospitals have reported 173 deaths related to heat stroke occurring mostly among the elderly population. Doctors recommend if you are elderly, or have medical problems, to stay inside. Stay cool and calm. Relief from the heat will come in brief blasts of torrential showers, which will evaporate as quickly as they arrive. This cycle will bring dense humidity as the temperature climbs back up again. COOKS and WAITERS move about the steamy kitchen, carrying dishes in various stages of preparation. BUS BOYS take a moment to wipe their brows with their sleeves before loading another rack of dishes in the washer. RADIO COMMENTATOR (V.O., CONT'D) In local news Pharmaceutical Resources has come under harsh criticism for its recent harvest of raw materials during this climate crisis. Environmentalists have warned that the harvesting of such quantities would not only increase the probability of Earth erosion in the harvest area, but the loss of retained water in the ecological system. Several of the WAITRESSES are folding the cloth napkins for the place settings. Another is sorting the paper drink napkins for the bar shelf. RADIO COMMENTATOR (V.O., CONT'D) Pharmaceutical Resources has given no comment to the potential damage to the environment. Now back to our regular program. KITCHEN WORKER (O.C.) More heat? That's all we need. A CHEF scoops a tender 6-inch slice of baked sea bass onto a watercress leaf and garnishes it with a sprig of dill on to the waiting white china plate edged with a thin gold band. A side order of stuffed mushrooms and oysters packed in heated gravel is placed on a waiters tray. Added to it are a sea club sandwich and a mound of baked batter-dipped potato slices on a separate plate. Both plates and a loaf of fresh baked bread are placed on the waiting tray. WIDER The restaurant is half full of PEOPLE sitting at small rectangle wooden tables and triple rung ladder-back chairs. The exterior walls of the restaurant are glass. They show a panoramic view of the cove, filled with several wooden piers and a boat at every dock. JORDAN BLACK is seated with FRANK BLACK at a table, GIGGLING. She looks up at the waiter and smiles. JORDAN (to the waiter) Thank you. The waiter places the sea bass in front of Frank Black, the Sea Club sandwich is placed in front of Jordan. The mushrooms and oysters are placed in the center of the table. WAITER (indicates the oysters) The dishes are still very hot. Would you like a refill of your drink, sir? Frank is about to say yes, but-- JORDAN (interrupting) Just coffee thank you, and some ice water. WAITER Very good, Miss. The waiter returns to the kitchen. Jordan takes a small piece of meat from the sandwich onto her fork. FRANK Is there a reason why I'm drinking black coffee in this heat, Jordan? Jordan picks apart her sandwich to get the crab meat out to dip in Frank's clarified butter. Suddenly -- JORDAN'S INTERNAL POV Black and white images flash by: -- SOUNDS of a woman SOBBING! -- Jordan SCREAMING terrified! -- MUD and WATER swirling about Frank's head and blood splashed over his face! -- Millions of tiny white PILLS swirling in a vat heading towards thousands of empty PRESCRIPTION bottles -- A SNAKE slithers to an inch of Frank's face. -- A man's voice, says: "Don't speak to any one Jordan. It isn't safe." -- A FOREST being destroyed by a BULLDOZER. -- A thin man in shadows, placing BRANCHES into a strange bucket with hoses. -- People collapsing on the street, WRITHING in agony. Jordan looks up at her father who is studying her. JORDAN (very serious) Daddy... FADE OUT. ACT ONE BLACK. "Yet even then Israel would not listen to the Judges, but broke faith with Jehovah by worshipping other gods instead. "How quickly they turned away from the true faith of their ancestors, for they refused to obey Gods commands. "Each Judge rescued the people of Israel from their enemies throughout his lifetime, for the Lord was moved to pity by the groaning of his people under their crushing oppressions; so he helped them as long as that Judge lived." -- Judges 2:18 FADE IN: EXT. BALTIMORE HARBOR THEATER - NIGHT Legend INDICATES: Baltimore Harbor Theater 7:30 PM INT. BALTIMORE HARBOR THEATER - NIGHT DARRYL MASTERS (tall, blond, middle aged, blue eyed man) shifts in his seat at the Baltimore Theater district. A memory of the afternoon enters his mind -- FLASHBACK TO DARRYL I enjoy Opera as much as the next man. The tickets are an anniversary gift from my partner at the firm. I couldn't say "no" to them. My wife was standing right there. The poker game's off for tonight. Man, this really stinks-- BACK TO: INT. BALTIMORE HARBOR THEATER - NIGHT A bead of sweat trickled down Darryl's temple. His wife CALLIE (shorter, slim, red hair and green eyes) glances with concern at him as he shifts again. Darryl closes his eyes and places his hand on his left side just below his ribs. Callie opens her purse and digs out a slender brown PRESCRIPTION BOTTLE. She unscrews the cap. Callie shakes one of the pearled pills out and handed it to her husband. CALLIE (softly) Ulcer? Darryl nods. He places the pills under his tongue to dissolve. He winces at the chalky bitterness. On stage, an actress dressed as a Geisha in a red Kimono, is on her knees, singing. Darryl's face contorts in pain. He grips his wife's hand as a signal. She gathers her purse and both leave the theater. EXT. BALTIMORE HARBOR THEATER - NIGHT Darryl is leaning on his wife and an USHER from the theater who helps them to their CAR. Callie buckles her husband into the passenger seat. An ominous RUMBLE of thunder hangs in the air. INT. MASTERS' CAR - NIGHT Callie hurries to the driver's side and gets into the car. She scolds her husband lovingly: CALLIE If you weren't in so much pain, I would almost be cross with you. Tickets to "Madam Butterfly" cost a small fortune. Darryl just MOANS in pain. Callie gives her husbands cheek a brief kiss. CALLIE You're more important. Callie closes the car door and adjusts the drivers seat. Tell tale spatters of rain hit the dusty windshield as she starts up the car. INT. FRANK'S JEEP - NIGHT Frank Black is driving and SINGING to Jordan the tune "It's A Sin To Tell A Lie" by the Ink Spots. Jordan has a red plaid wool blanket tucked over her legs and is in the back seat. Legend INDICATES: State Highway 450 They hear the pattering of the rain for a moment and regard the darkening evening sky. Brief FLASHES of lightning ILLUMINATES hillsides of dirt and stumps, which line the roadway. The heavens open and the rains begins to pound on the jeep. Heavy crashes of lightning illuminate the night. Frank slows the jeep to match the conditions of the road. FRANK (singing solo) "It's a sin, to tell a lie... so many, so many hearts have been broken, just because these words were spoken... I love you, yes I do I looovvveee you." Jordan holds the handle of her duffel bag, which contains all her worldly possessions. Her small hands protect it. She looks up at the blurry windshield. JORDAN (screams) Daddy! Look out! Frank glances back at his daughter in the rear view mirror and steps on the brakes. A DARK FORM in the middle of the road blocks their path! EXT. ROAD - NIGHT The jeep skids on the slick tar, oil and water. The impact with the other car sends both of the vehicles tumbling off the edge of the road! The guardrail posts have nothing except mud and bare rocks to hold them in place. Both cars come to a stop at the foot of the embankment. The jeep rests on its roof in the beginnings of a run off stream. The other car is on its side, smoke and steam rising from the engine. Rain POUNDS the overturned vehicles. INT. FRANK'S JEEP - NIGHT The water rushes in with the rise of the run off stream where the windows have shattered. Mud, glass and blood swirl into the roof area of the jeep with a gurgling roar. FRANK (moaning softly) Jordan... JORDAN Daddy! She SOBS in fear, dangling upside down, her small hands pushing against the wet roof of the car to stop from swaying. Jordan SCREAMS again as the jeep shifts. JORDAN (CONT'D) Daddy! Wake up! Jordan GASPS for air. The weight of her body holds the seat belt clasp tighter. She uses both hands to push the release button. Her body makes a small THUD against the rain's roar as she falls onto the roof. JORDAN (CONT'D) Come on, Daddy! Wake up! Please, Daddy! Frank doesn't move. A trickle of BLOOD comes from his ear and runs into his hair. His forehead has a wicked gash. Jordan wiggles her way to the side of the jeep where the window is broken. She drags the duffel bag behind her as she crawls out of the jeep. EXT. FRANK'S JEEP - NIGHT Strong hands lift Jordan up onto her feet. She looks up at the person who has helped her - Eli. He is a kind faced, dark skinned older man who hands her lit road flare. ELI I'll get them out. You need to wave down someone to get an ambulance. Don't speak to anyone. Just show them where we are. Eli places the duffel bag aside. Jordan watches him pull the driver's side door of the jeep open. Frank still hangs upside down. EXT. ROAD - NIGHT Jordan scrambles up the hill and waves the flare. She stands at the edge of the embankment and sees a second flare has been lit down by the cars. EXT. FRANK'S JEEP - NIGHT Eli pulls at Frank's arm as he releases the seat belt. Frank comes out in a sideways heap and is gently removed from the jeep. The mud and his coat makes a sled effect, allowing Eli to slide Frank away from the jeep. Eli places the duffel bag beneath Frank's feet. Eli returns to the jeep and gets Jordan's BLANKET to cover Frank against the rain. INT. MASTERS' CAR - NIGHT A quiet SOBBING from within. Eli stands outside, looking in through the cracked blood splattered windshield. Darryl lies like a broken doll. Callie is covered in blood and is pinned under her husband's body. ELI Don't be afraid. You're not alone. Jordan holds the FLARE away from her body and continues to wave it as the lights of a TRUCK approaches. It comes to a halt by the edge of the road. The driver sees the bent and RIPPED RAIL and the torn branches. Joe, the Driver, grabs his Citizens Band Radio mike. He flips the knob to Channel number NINE - the police channel. JOE Breaker. Breaker. This is KABB4027 at State Highway 450, mile marker 42. Request ambulance and rescue assistance. Multiple vehicles have gone off the bend. Over. STATIC. POLICE OPERATOR'S VOICE Copy that KABB4027. Possible multiple at State Highway 450, mile marker 42. Rescue units will be notified. JOE 10-7. I'm going to the site. EXT. ROADSIDE - NIGHT Joe dismounts from his cab and walks to the edge of the hillside. Two vehicles. Three people lying on the ground. Jordan is beside her father. No one else. Thin drizzle falls on the accident site. Muddy rainwater mixes with blood. The wail of AMBULANCE SIRENS are audible in the distance. EXT. ST. MERCY HOSPITAL - NIGHT Twin AMBULANCES arrive in tandem at the hospital. Three stretchers are pulled out, followed by an attendant, who places Jordan in a wheelchair. EXT. ROADSIDE - NIGHT Several emergency flares are long gutted to small piles of burnt magnesium. The rain diminishes for now, except for a fine cold mist. Fog rises from the hot pavement, swirling three feet thick around the people who move about, searching for clues. A local tow yard removes the two vehicles from the base of the embankment. A tow yard employee hands a form to the State police officer, OFFICER MAXWELL, who appears to be in charge. MAXWELL is a younger man with the form of a body builder, black hair and deep brown eyes. TOW DRIVER License plate is bent - can't make out all the numbers. Looks like you have your work cut out for you if you hope to ID the driver. Officer Maxwell signs the form and shrugs. OFFICER MAXWELL He's a John Doe. (a beat) We have ID on the other car. It belongs to Darryl and Callie Masters. Somebody's gonna pay for having me dragged out in this weather. TOW DRIVER Looks like the other guy's insurance is picking up the tab. Lot of body work to be done on that jeep. No chance that it's stolen? MAXWELL (shaking his head) Haven't had any reports. MAXWELL (CONT'D) (nods to the tow driver) It's all yours. Might be a time-saver to get the paperwork done tonight before the insurance sharks get to it. Officer Maxwell continues to measure skid marks as Frank's jeep is towed away. INT. ST. MERCY HOSPITAL - WAITING AREA - NIGHT VENDING MACHINES stand alone in the corner of the room and emit an endless series of droning HUMS and CLICKS. Some people are murmuring quietly. Some have fallen asleep while waiting for word on loved ones. Callie Masters struggles to fill out the hospital insurance form. Tears blur her eyes. She stops her slow progress to dig a wadded lumpy tissue from her purse. Callie dabs at her eyes and continues to write. ACROSS THE WAITING ROOM Jordan sits, hugging the duffel bag under the hospital blanket in her wheel chair. Her hair contains a mat of mud, muck and twigs. A NURSE sits on a chair opposite her, holding a clipboard with hospital forms. Jordan stares blankly ahead. NURSE (to Jordan) Can you tell me your name, honey? And what your Daddy's name is? No response from Jordan. The Nurse writes 'Jane Doe' on her form. NURSE (CONT'D) How old are you? Do you know that? Still no response. The Nurse writes 'approx. 7 1/2' on the form. NURSE (CONT'D) Do you know if your daddy has insurance? Silence. NURSE (CONT'D) Has your daddy filled out a living will? Only more silence. Jordan stifles tears. INT. ST. MERCY HOSPITAL - NURSES STATION - NIGHT All of the hospital personnel are in green scrubs. The nurses have stethoscopes slung over their shoulders. The on call Doctors wear white lab coats. All personnel wear ID clipped to their collars or on key rings looped around their necks. Officer Maxwell arrives at the desk. The Nurse who was questioning Jordan returns to her station. NURSE May I help you? MAXWELL I'm here about the two-car accident that arrived an hour ago. Any word on the drivers' statuses? NURSE (shaking her head) Both men have left surgery. Blood alcohol levels for both of them were normal. Not enough in either of them to have caused an accident. (a beat) Mrs. Masters has some abrasions. Her blood alcohol level was just below the legal limit. The air bag probably saved her life. (a beat) The little girl is in shock. We can't get anything out of her. Have they found any ID for the John Doe at the accident site? MAXWELL No. Looks like Mr. Masters's car was across the road at impact. The jeep's air bag didn't seem to deploy in time. Do Mr. and Mrs. Masters have medical insurance? NURSE (nods) Yes. A blanket policy for his company. MAXWELL (grins wolfishly) Best you notify the insurance company. They have a few claims coming in. INT. ST. MERCY HOSPITAL - HALLWAY - NIGHT Jordan slips out of her seat, taking the duffel bag with her. She wanders around the hall corner and follows the signs to the seventh floor ICU. Nobody pays attention to her as she leaves the Trauma Unit waiting room. ICU NURSE DEBORAH smiles affectionately at Jordan. DEBORAH Hello, honey. We just placed your daddy in room 703W. Go right in. Jordan lets the steady beeps of the monitor guide her into her father's room. She pauses in the door, taking in everything. INT. ST. MERCY HOSPITAL - FRANK'S ROOM - NIGHT Frank lies within a soft COCOON of blankets. Jordan walks over to the bedside chair and places the duffel bag underneath it. Shivering in the cool air, she RETRIEVES a spare blanket from a nearby shelf. Jordan sits beside Frank's bed. She curls up in the chair and holds Frank's free hand. INT. ST. MERCY HOSPITAL - WAITING AREA - NIGHT A SHADOW falls across the forms that Callie Masters is filling out. A different officer, SGT. GIDION CRAMMER, hands a foam cup of coffee to her. CALLIE Thank you. CRAMMER Mrs. Masters, I'm Sergeant Crammer from the State Police. If you could just tell me what happened? CALLIE Darryl works so hard with his business. We never get the chance to go out but today, when I brought him his lunch at work, his partner surprised us with tickets to the theater as an anniversary gift. (a beat) Darryl became ill in the theater. I got him into the car and I was driving him here. Darryl fell against me. I lost control of the car. We slid into the other lane. There were lights, and brake sounds, and we went over the hill. I remember a light and then I was out of the car, and there was the red glow of the flares, and the rain. Then we ended up here. Callie sips the bitter black coffee. Crammer sits on the edge of the chair and waits for her to continue. CALLIE Will they be all right? The man and the little girl? CRAMMER (shrugs) The other driver is unconscious and the little girl's in shock. Have you seen her around? CALLIE She was with the nurse over there. (points) She may be in the rest room. A tall thin man with sandy blond hair and deep gray eyes in a green scrub suit, DR. BARAK, walks up to them. DR. BARAK Mrs. Masters? I need to ask you what your husband had to eat today. CALLIE (surprised) He has an ulcer - his usual bland meals and his medicines. (a beat) We ate the same dinner - boiled rice and steamed chicken, and some of that herbal green tea they say is good for healing. (a beat) He only started to get ill in the theater and that's when I gave him two of his pills. DR. BARAK Do you have the pills with you? What is he on? Callie digs in her mud stained purse for the PRESCRIPTION BOTTLE and hands it to Dr. Barak. CALLIE Will Darryl be all right? DR. BARAK Your husband arrived here with massive internal bleeding, Mrs. Masters. He was into full cardiac arrest when the paramedics arrived at the accident site. The paramedics used an Ambu bag to force oxygen into his lungs, and applied CPR until his arrival here. (a beat) We stabilized and intubated him. He had unexplained perforation of his bowels and there were the beginnings of peritonitis. We've begun an intensive therapy of antibiotics, but... (a beat) Your husband's EEG indicates he has minimal brain function. I'm sorry but your husband's in a deep coma right now and it's unlikely he will ever regain conciseness. CALLIE Oh, God... DR. BARAK It's doubtful that he will survive past tonight. There's nothing we can do, except make him comfortable. Again, I'm very sorry, Mrs. Masters. Callie drops the coffee and it splashes onto her leg. CALLIE You doctors work miracles all the time. There has to be *something* you can do. You just have to do something. You can't just let him die! Do something! Don't just stand there, do something! Callie closes her eyes and begins to cry. Crammer backs up a few steps. CRAMMER (privately, to Dr. Barak) Sorry, I can't deal with weeping women. With a pleading look to Dr. Barak, Crammer steps away from them and returns to the Nurses Station. INT. ST. MERCY HOSPITAL - NURSES STATION - NIGHT Crammer is trying to speak with the Admittance Nurse. She's distracted by the ringing telephones and people asking for assistance. Crammer catches her hand to get her attention. CRAMMER Can you tell me where they'll place the John Doe brought in this evening? NURSE (waiving her hand in the direction of the elevator) Seventh floor. Down the hall. The double doors on the right is the ICU. INT. ST. MERCY HOSPITAL - FRANK'S ROOM - NIGHT Crammer walks into the room with Deborah. Jordan is fast asleep in the chair next to her father's bedside. A blanket covers her shoulders. A registered nurse is in the room on the other side of the bed hanging another IV bottle. Crammer's well-trained eye takes the room in. DEBORAH (softly) Beyond the accident bruises she's fine. She's well fed, no signs of abuse or reason to call in social services. If they get involved, he may never get her back. (a beat) She's a sweet child. Hasn't been a bit of trouble to us. Crammer notices the duffel bag under the chair, its long strap in Jordan's grasp. CRAMMER (indicates her bag) Has any one checked in there? Deborah shakes her head. DEBORAH She wouldn't let anyone near it. Sometimes it's best not to force the issue in emotional trauma to give them security. (a beat) It's something she can control. Crammer bends over and slides the bag out from under the chair quietly. He unzips and opens it. The first item that Crammer pulls from the duffel is a worn wallet with no ID or driver's license. There are no credit cards, only money and worn photos - Frank, Jordan and Catherine, together. Also: a change of clothes and pajamas for Jordan, two toothbrushes, a shaving kit, and a spare pair of adult socks. He puts everything back into the duffel bag, then slides it under the chair quietly. He glances up, and realizes that Jordan is awake, and watching him. CRAMMER (softly) Hey there. I'm Sergeant Crammer. I'm here to help you. Silence from Jordan. CRAMMER The way I do that is to let the people who love you know you're okay. (a beat) Can you tell me how to get in touch with your mommy or your grandparents? More silence. Jordan clutches the strap of the bag tighter. CRAMMER Honey, I know scary things have happened to you, but they're over and your safe now. You need to let us help you. How about we have Nurse Deborah help you get the mud out of your hair and into some dry clothes? Jordan stares at him coldly. Deborah steps forward and extends her hand to Jordan, who reluctantly takes it. The two of them walk out of the door. As Jordan steps over the threshold of the room-- JORDAN'S INTERNAL POV -- Jordan on a SWING. Frank is behind her, pushing the SWING in the air. -- The sound of dogs HOWLING in the background! -- The sky filled with millions of FLIES in a giant swarm! -- Officer Maxwell lying in a heap, his eyes open, unfocused, BLOOD SPILLING out from a hole in his head! -- The sound of a woman SOBBING. Jordan stops and turns back to look in the room. INT. ST. MERCY HOSPITAL - HALLWAY - NIGHT Jordan gazes at her father wrapped in soft blankets... his monitors softly BEEPING... and the steady rise and fall of his chest with every breath. Jordan takes Deborah's hand and follows the nurse to the hospital showers. INT. ST. MERCY HOSPITAL - FRANK'S ROOM - NIGHT Crammer looks down at Frank Black a moment before pulling out a small white card and a thin flat black box from his pocket. He lifts Frank's left hand... FADE OUT. ACT TWO FADE IN: INT. ST. MERCY HOSPITAL - FRANK'S ROOM - NIGHT Legend INDICATES: August 5, 2:30 AM CLOSE ON - A JUNCTION CATHETER has a needle being withdrawn from the IV tubing. WIDER Deborah discards an empty ampoule, then a needle into the red biohazard box. Frank's features relax. Deborah watches him for a moment before exiting the room. Jordan is freshly scrubbed and wrapped in a fluffy robe as she enters her father's room. The small love seat in the room has been converted to a bed for Jordan. Deborah tucks Jordan into the makeshift bed. DEBORAH Try to get some sleep, okay? Deborah leaves the room and returns to the Nurses Station. Jordan slips out of the makeshift bed and into her father's. Jordan's eyes close as she drifts to sleep. The same dark skinned man, Eli, who had helped them out of the car walks into the ICU and nods to Deborah. He enters Frank's room and sits on the chair by the bed... waiting... INT. ST. MERCY HOSPITAL - HALLWAY - NIGHT A PARAMEDIC (tall and thin with a pale complexion, steel-blue-eyes and blond-haired) strides through the halls of the hospital. He stops briefly at one Nurses Station, scans the names on the charts, then moves on to the next Nurses Station. INT. ST. MERCY HOSPITAL - PATIENT'S ROOM - NIGHT The Paramedic enters a patient's room. He gazes upon the sleeping person. The flicker of a smile tugs at the corner of his mouth. INT. ST. MERCY HOSPITAL - NURSES STATION - NIGHT MONITOR ALARMS begin RINGING - indicating a patient's heart has stopped. There's a scramble of nurses and equipment into the room to resuscitate the patient. At the end of the hallway the Paramedic watches this, then continues his to search through charts at a nearby Nurses Station. INT. ST. MERCY HOSPITAL - HALLWAY - NIGHT The Paramedic moves into the hallway, just as Deborah blocks him with her own body. The Paramedic's face registers some surprise at the Deborah's presence. DEBORAH It's after hours, sir. This ward is closed to visitors. PARAMEDIC I was just checking on a patient that I brought in earlier. I was informed once he was stable that I'd have to transport him to West Chester Hospital for long-term care. He indicates Frank's height with his hand, and then Jordan's height as he speaks. PARAMEDIC (CONT'D) Middle age, brown-gray hair, has a young daughter with him? It was a multiple auto accident? Can you tell me the room he's in? DEBORAH (shakes her head) No one that you brought in is here. You'll have to leave this floor now. The Paramedic scans the ward and sees only three used units. One has Callie Masters standing by her husband's bedside. One has a very old man, clinging to life. The third he starts for, brushing past Deborah and almost entering the room-- --but Eli comes to the door-frame and stops his progress. ELI (quietly) Is there a difficulty with your hearing, son? INT. ST. MERCY HOSPITAL - FRANK'S ROOM - NIGHT The Paramedic sees the bed contains a young woman in her mid-thirties with soft curly blond hair on a respirator. The Paramedic shakes his head and backs up a step. He cast a glance about the ICU unit one more time, then turns and discovers Deborah directly behind him. His eyes widen in fear. A brilliant burst of LIGHT fills the hallway! INT. ST. MERCY HOSPITAL - PATHOLOGY - NIGHT A slide under a MICROSCOPE shows a typical muscle tissue. It's replaced with a second slide that shows the same type of muscle tissue but it appears to be in various states of cellular decay. Legend INDICATES: Pathology Lab 4:45 AM WIDER Two people are reviewing slides under a high powered clinical microscope. The first is Sgt. Crammer. The second is Dr. Barak - Darryl Masters's attending Physician. CRAMMER (indicates the microscope) So what am I looking at here, Doc? Besides a lot of dead cells? DR. BARAK Those are cells from Mr. Darryl Masters's stomach, which were biopsied during the reconstruction operation to repair the internal damage. (a beat) The cells have died from oxygen depravation. His body was not able to receive enough oxygen into the tissues when he went into cardiac arrest. CRAMMER You pretty much told Mrs. Masters that. "The internal injuries took blood away from the brain and the brain was damaged." "Near brain dead" you said. DR. BARAK If it was only that simple. Mr. Masters was poisoned with small doses of organic cyanide. Enough of it built up into his blood stream and damaged his liver and bone marrow. It stopped the blood cells from carrying the oxygen through the body. CRAMMER You're suggesting this is premeditated murder? Doc, I don't need this type of paperwork. (a beat) So how is this organic cyanide different than the black pills on death row? DR BARAK Both have to be distilled. The primary difference is the concentration and the volatile nature of the organic cyanide. It's very unstable and dissipates rapidly once exposed to oxygen. (a beat) Cyanide production is closely regulated. Each manufacturer has their own additive to earmark the source for its patient. This cyanide is mixed with simple inert glucose to keep it stable. Both are readily absorbed into the body. INT. ST. MERCY HOSPITAL - DARYL MASTERS'S ROOM - NIGHT Callie Masters is gently holding her husband's hand. Her eyes have dark circles under them. She's been crying most of the night. The monitors are still giving off a slow steady-paced BEEP as the machines do their work to sustain Darryl Masters's life. Callie reaches up and touches the MEDALLION on the silver chain around her neck. Her eyes close in prayer. CRAMMER (V.O.) So what is the source of the poison Dr.? And do you have a suspect for me to take into custody? INT. MARYLAND STATE POLICE - DAY Legend INDICATES: Maryland State Police Research Department 5:00 AM A card with fingerprints on it rests on a desk beside a computer keyboard. The computer is on. The monitor is displaying search results. The room is dark, illuminated only by the computer monitor. FLY'S POV -- The SOUND of a SQUEAK from a chair is magnified LOUDLY. -- The SOUND of soft SCRATCHES from a pencil on paper is magnified LOUDLY. -- CLOSE ON - MAGNIFIED IMAGE of a PENCIL as it falls onto a desk in slow motion. -- The SOUND of a SNAPPING/CRUNCH as an apple is bitten into is magnified LOUDLY. -- The SOUND of a PENCIL hitting a desk and bouncing twice is magnified LOUDLY. -- CLOSE ON - MAGNIFIED IMAGE of BLOOD washing over the fingerprint cards on the desk. -- The SOUND of BASS DRUMS as each blood droplet impacts on to the desk is magnified LOUDLY. INT. ST. MERCY HOSPITAL - OFFICE - DAY Slow-motion of Officer Maxwell slumping off his chair on to the floor a heap. Blood continues to spurt from the hole on the top of his head. ZOOM IN - a FLY, creeping across the office wall. FLY'S POV -- Expensive black shoes. -- Blood SPLATTERED pants. -- A GLOVED HAND holding a blood-covered awl. -- Officer Maxwell whose unfocused eyes stare unseeing. -- A BLOOD COVERED desk. -- Documents covered in blood. A SINISTER FIGURE tosses the awl onto the desk into the blood. The SINISTER FIGURE reaches into hits pocket with a GLOVED HAND and removes a Compact Disc and inserts it into the computer. In a few seconds, a program is loaded onto the machine. The CD ejects and the GLOVED HAND removes it. Several MORE FLIES gather at the edge of the pooled blood. They feed. INT. ST. MERCY HOSPITAL - FRANK'S ROOM - DAY Deborah enters and sees Jordan is fast asleep. Frank opens his eyes, trying to focus on where he is. DEBORAH Don't be afraid, Mr. Doe. You're both quite safe here. You've been in an accident. You had to have surgery. FRANK'S INTERNAL POV -- A small slender PILL with a dark center. -- TREES being harvested. The leaves being collected and saved. -- A head IMPACTS a concrete sidewalk, SHATTERING the skull. The body twitches as the brain crumbles from the cavity! -- A FOUNTAIN OF BLOOD sprays over a desktop! -- Millions of PILLS spilling over the edge of a metal shelf. Frank looks down at Jordan, seeing her asleep peacefully comforts him. FRANK My name is... DEBORAH We know who you are. But you're too vunerable right now, so the others will know you only as John Doe. It's safer for you and your daughter this way. FRANK (weak, but slightly agitated) Safer? From what? Who are you? (a beat) I have to get word to my family. DEBORAH When the time arrives, your brother and sister in-law will be notified. FRANK (trying to sit up) The other car... are they all right? I couldn't stop... DEBORAH (eases him back onto the bed) We hope the best for both of them. There are choices and decisions that they must make before the matters are resolved. There isn't much time left. Rest now... Deborah slips a slender needle into the IV junction catheter and depresses the plunger. Frank feels his body relax and hears a WHOOSH as he slips back into deep sleep before he could protest. INT. ST. MERCY HOSPITAL - HALLWAY - DAY An empty hall with only the sound of a woman SOBBING that echoes in the stillness. INT. ST. MERCY HOSPITAL - FRANK'S ROOM - DAY Jordan awakens at the sound of the SOBBING. She opens her eyes, sees a NEEDLE being withdrawn from the IV tubing and hears her father's SIGH as he slips back asleep. Jordan sees Deborah's face is very calm. Jordan sits up and looks questioningly. Deborah takes a moment to place the items in the biohazard box. Her free hand strokes away a wisp of hair from Jordan's eyes. DEBORAH It's best, for your father, if he continues to heal as he sleeps. Don't be afraid. Deborah places the palm of her hand on Frank's forehead. FRANK'S INTERNAL POV -- Jordan sleeping in a hospital bed. Catherine is beside her. -- Watching a young man drill a hole into his own skull. -- LARA MEANS, wide eyed on the bed, restrained. -- Jordan in the restaurant giggling. -- The Gehenna Demon sitting inside the yellow house as Frank washes away dried egg from the window. -- A meadow. -- An ocean. -- Singing, softly in the background. -- CHORUS VOICES: pure and sweet. -- The beating sound of HUMMING BIRD'S WINGS overlapping the sound of the CHORUS singing. -- The sound of Jordan's SCREAM of terror! -- Eli's voice: "Don't be afraid." -- A school master's clock against the wall with an owl etched in its face. The white barn owl FLIES from the center of the clock as it strikes MIDNIGHT. Eli reenters the room and nods to Deborah before retaking his place beside Frank's bedside. Deborah resumes her seat at the Nurse's Desk. INT. ST. MERCY HOSPITAL - HALLWAY - DAY People walking through the ICU on their way to other wings of the hospital. There are now two beds filled at this time. They glance into the rooms and peak at the names, searching for their own family. The only two that they find are Darryl Masters, still clinging to life, and a young fair-haired woman who is on life support as well. The third bed is empty. The people move on. INT. ST. MERCY HOSPITAL - NURSES STATION - DAY A CLOCK hangs at the far end of the office. It is an old school master's Regulator version that has etched on its face, the intricate detail of a BARN OWL. The time on the clock is marked at '11:56'. Despite the movement of the pendulum and the sound of the TICKING, the clock hands do not move. A woman SOBBING from somewhere in the ICU ward echoes in the hallways. INT. ST. MERCY HOSPITAL - NURSES STATION - DAY Deborah is still on duty. She's filling out the night's paperwork and the incident report of the evening's new admittance. A NEW NURSE wearing a starched white uniform and a sugar bowl type cap enters the ward. The New Nurse walks up to Deborah. NEW NURSE Good morning. I'm your shift replacement. I'll just read the night report while I'm passing meds. You've had a long night. Why don't you head on home? Deborah looks up slowly and regards the woman before her. Her face masks the knowledge of exactly *who* this person is and *why* she is on the ICU. DEBORAH Did they teach you that protocol at St. Francis? To read while passing meds? NEW NURSE When shift time is an issue, yes. Eli comes from Frank's room to stand behind the New Nurse. DEBORAH I'm not quite done here. I don't make it a practice to go until I have completed what I was *sent* to do. Deborah rises from the chair that she's sitting in very slowly. It's not in a threatening manner, but in a way so that the New Nurse knows she's not falling for her bluff. DEBORAH (CONT'D) And you... you haven't graduated from any Boston nursing school, have you? The New Nurse says nothing. Instead, she draws a gun with a silencer attached from her pocket and points it at Deborah. But she falters. There's a tap on her shoulder and she turns, surprised, and her face registers a flash of anger, then unexpected horror. Her mouth opens to scream, but no sound comes out. The hall is filled with a brilliant LIGHT. The LIGHT disappears and the New Nurse is no where to be seen. INT. ST. MERCY HOSPITAL - HALLWAY - DAY A SINISTER FIGURE in a billowing, dark trench coat walks through the anonymous hallways of the hospital. Like a ghost. Or a demon. ELI (V.O.) How many more will there be? The SINISTER FIGURE turns a corner and vanishes from view... FADE OUT. ACT THREE FADE IN: INT. ST. MERCY HOSPITAL - FRANK'S ROOM - DAY Legend INDICATES: 6:50 AM Frank is still attached to an IV. Jordan is in a chair with a tray table before her. On the tray table is Jordan's breakfast. She and Frank are the only ones in the room. CALLIE (knocking on the door) May I come in? Jordan says nothing. Callie enters the room and sits on the window sill. CALLIE I've made arrangements to have your hospital bills covered and anything else that you need. Callie fidgets with the hem of her sweater nervously. CALLIE (CONT'D) That, and a "sorry" won't come close to what I've done to you, and your father. I don't know how to make any of this right. I don't know what I could have done to make things any different. CRAMMER (O.C.) You could start by telling us who had access to your husband's medicine. Callie turns her head to see Crammer in the doorway. CALLIE His medicine? Darryl carried it in his briefcase. When we went out I placed it in my purse. What does that have to do with anything? CRAMMER The Pathologist found organic cyanide imbedded in the pills that your husband took. Not enough to kill him at one time, but accumulative, it aggravated his ulcer. (a beat) It, and the internal bleeding, placed your husband in his vegetative state. Callie is about to crumble in tears. Crammer feels a small hand tug at his sleeve. Jordan is shaking her head, tears in her eyes. JORDAN'S INTERNAL POV -- Gilead with BLOOD on his shirt. -- A thin man in shadows who holds BRANCHES in his hands. -- BLOOD washing over the fingerprint card. -- The sound of a woman SOBBING. -- The interior of a still with water and leaves boiling away. -- A bony, thin man in shadows dropping leaves into a still. GILEAD (O.C.) Callie? I just heard. I'm so sorry. Jordan turns and sees GILEAD DeSIDON. Jordan steps behind Crammer hiding herself from the interloper. Callie rushes to Gilead. He gives her a brief hug. GILEAD (to Callie) Is there anything I can do? CRAMMER That depends. Who are you? DEBORAH (O.C.) Every one out of this room, please! One family member only! Gilead turns and his expression freezes. He sees the smoldering emotions building on Deborah's face. INT. ST. MERCY HOSPITAL - HALLWAY - DAY Callie leaves first, followed by Gilead, then Crammer. Deborah points them in the direction of the waiting room of the ICU. A telephone rings and draws Deborah away from Frank's room. Eli steps in quietly, unseen, and watches Jordan start on the toast from her breakfast. INT. ST. MERCY HOSPITAL - WAITING AREA - DAY The lounge is brightly lit with beveled glass French doors which lead out to a patio. The patio overlooks the city and the garden walkways, which line the hospital. CRAMMER Now, who are you, and what is your relationship with Mr. Masters? GILEAD My name is Gilead DeSidon. Darryl and I are partners. We run a consulting firm for Pharmaceutical Resources. (a beat) What's this about? I just stopped by to see how Darryl was doing. Where is he anyway? CALLIE They had to take him back into surgery. Gilead, someone did this to Darryl! Someone meant this to happen to him! GILEAD (confused) Why? Why would anyone want to hurt him? Callie shakes her head. The tears that she had been holding back burst forth. Gilead gathers her into his arms. Callie burst into deep SOBS that shake her entire body. Crammer becomes uncomfortable with the raw emotions and backs out of the waiting room. He returns to where Jordan waits at her father's side. Eli stands at guard next to them. INT. ST. MERCY HOSPITAL - FRANK'S ROOM - DAY Crammer considers Jordan a moment. He doesn't detect Eli's presence. CRAMMER (to Jordan) I can read people pretty well and something about that guy scared the daylights out of you. Can you tell me what it was? FRANK (moan of pain) Jordan... Jordan stands up on the chair to get high enough to sit on Frank's bed. FRANK (weaker) Jordan... Frank's eyes are still closed. Frank slips back into a restful state. Jordan turns to face Crammer, her face sad, full of concern. CRAMMER I'm also a good judge of character. I can usually tell when something is *really* wrong. There is no problem in the world that can't be fixed by working it out. Let me help you work out you and your father. Your name wouldn't happen to be... Jordan places her finger over her lips to shush him. CRAMMER I think I understand. Fair enough. Do you know what's going on? JORDAN'S INTERNAL POV -- A thin man adding leaves to a still. -- The sound of a woman SOBBING. -- Eli's voice: "We are all His." -- The face of the New Nurse in stark horror. -- The sound of a school master's clock TICKING. -- Maxwell falling, BLOOD spurting out of his head. A pager in Crammer's pocket BEEPS URGENTLY. Crammer looks irritated at the disturbance, and even more irritated that there isn't a telephone in the room to use. CRAMMER Hold those thoughts, honey. INT. ST. MERCY HOSPITAL - HALLWAY - DAY Crammer exits from the room and pulls out his cell phone. DEBORAH (O.C.) Sign. Crammer shoots her a quizzical look. DEBORAH (CONT'D) (points) Read the sign. Crammer turns in the direction she's indicating and reads aloud: CRAMMER "Do not use cell telephones, electric razors or any electrical retrieval devices on this floor..." (a beat) Just great. Crammer scoots around the Nurses Station and heads directly to a nearby telephone. He picks up the receiver. There is no dial tone. CRAMMER How do I dial an outside number? DEBORAH The pay phone is in the lobby downstairs. You're not authorized to use this one. CRAMMER Keeps gettin' better. Crammer walks down the hall, sulking. Eli leans out of Frank's room and watches the sergeant leave, then... INT. ST. MERCY HOSPITAL - FRANK'S ROOM - DAY ...he sits at the foot of Frank's bed. Jordan regards Eli. Her small face asks just one question: "WHY?" ELI I don't have the answers that you seek. I only have my instructions. INT. ST. MERCY HOSPITAL - WAITING AREA - DAY Crammer is at a pay phone. He dials the number on his pager, then his access code. He listens to the recorded message. Pain constricts his face. He closes his eyes, tears spill from them. Down the hall, a woman can be heard SOBBING... INT. ST. MERCY HOSPITAL - PATHOLOGY - DAY Crammer is pacing around the lab. Legend INDICATES: Pathology Lab 9:50 AM CRAMMER I need to know every thing you do, Doc. Where is this stuff coming from and why did they have to kill Max? DR. BARAK Wild cherry trees, peach pits, almost all fruit has the cyanide in the seed. This was concentrated, distilled very carefully in a lead-seamed copper vessel. There was even some trace of fermented corn... (a beat) How do you know that your friend's death is related to all of this? CRAMMER It's the only case that we're working on. Did someone off him because we were getting too close to something? DR. BARAK No idea but if it's any help, I was able to trace the specific species of the wild cherry tree. CRAMMER Somehow, Doc, trees just aren't on my list of suspects right now. I want to get the guy who did this to my friend. Dr. Barak pours clear liquid from a brown bottle into a clean beaker. He hands it to Crammer, indicating for him to sit down and drink it. CRAMMER It's *sweet*. DR. BARAK It's fruit nectar. (a beat) Gidion, there are some events in life that cannot be changed. Reasons for events that are not known by mortal man, or woman for that matter. Nothing could have been done to change the outcome. Your actions, the case of our Mr. Doe, is not the cause of Maxwell's death. CRAMMER You can't know that for sure, Doc. We don't know who this John Doe is. He could have kidnapped the kid, murdered someone... he could even be upstairs faking, fine this whole time! DR. BARAK (shaking his head) No, our Mr. Doe has a concussion and had a lacerated spleen. I checked out his blood work and we have him on hefty doses of Nebutal. We have to keep him sedated until his body a chance to recover from the to recover from the physical and psychological trauma. The longer he remains asleep, the faster he will heal, but the less he will remember. (a beat) Mr. Doe is not the source of the murder. I do believe you may find *trees* to be your prime suspect. There are some individuals who *do* ingest small doses of cyanide to extend their lives and as part of religious ceremonies. But its use for the most part is in the worship of evil deities. CRAMMER Are you implying that I should go out on a limb here, Doc? To ask Mrs. Masters about their religious practices? DR. BARAK Some things you must discover for yourself. Science and medicine don't hold all the answers. That which logic can't explain - faith can. Crammer places his half-finished drink to one side. CRAMMER You're beginning to get weird on me, Doc. But I understand what you're saying... (a beat) Now, what about these trees? INT. ST. MERCY HOSPITAL - NURSES STATION - DAY Gilead stands next to Callie as Dr. Barak explains the treatment options. Legend INDICATES: 11:11 AM DR. BARAK There is the slim chance that the brain cells may regenerate some function. There have been cases in the very young. Therapy will be necessary for the muscles to remain flexible. (a beat) If nothing is done, there is a probability of fluids building up in his tissues. His cells can't take in sufficient oxygen to counteract this without treatment. GILEAD Without treatment, without the life support, how long does he have? CALLIE (pulls away from Gilead) What are you saying? That I just let Darryl die? You're his best friend and business partner! We have to do everything possible so that he recovers! GILEAD Honey, Darryl is dead. The machines are breathing for him. Therapy would only empty our accounts and bankrupt the business. (a beat) Darryl wouldn't want that to happen to you - his wife turned out onto the streets, destitute. CALLIE Doctor, with the therapy, how long would he live? DR BARAK Darryl could live the rest of his natural life with the proper treatment. (a beat) If it works. Callie looks into the room where her husband lies. Tears fill her eyes. She sees movement in the door frame of the other room - Jordan. Her presence shifts the conflict in Callie's heart. CALLIE I can't just give up on someone that I made a vow to love in all times. I won't give up. (a beat) Dr. Barak, I'm authorizing you to do everything you can to give Darryl every chance he has for the best recovery possible. GILEAD Callie, that will bankrupt the business. Your insurance simply won't cover procedures of this magnitude. You have the stockholders to think of, the investors, and the clients as well. Darryl is dead. You must accept it and move on. (a beat) We have the new product due to hit the open market in two days. Any disruption of the production and we lose the edge to our competitors. Darryl being like *this* would only cause a disruption in the market. The consumers won't buy a product when half of the company is in the hospital on life support. CALLIE No. You can buy out your half of the business and you can keep all the clients. Whatever the insurance pays, and Darryl's investments, will be enough. (a beat) If not, don't be concerned. I'll call the auditors and the lawyers and they'll do the paperwork. GILEAD You can't do that. You're not on the paperwork for the company. Darryl did that to protect your assets. CALLIE I'm his wife, and I do have power of attorney. I can do just that. And Darryl put me as heir to the company. I believe your business here is finished Gilead. GILEAD Callie, you're distraught. It's been a stressful day. Maybe if you eat and sleep awhile, things'll be put in a better perspective. CALLIE My perspective is fine. It's best that you go Gilead. Now. Gilead glances around at those who have just witness this exchange: Dr. Barak, Deborah, and in the door frame of Frank's room, Eli. Silently he turns on his heel and walks off. His face is SEETHING with anger. Callie turns to Dr. Barak, calmer. CALLIE I did the right thing, didn't I? Maybe I'm being selfish about hanging onto Darryl. It's just that we had plans for our life together. I just can't give up on any chance of hope that there will be a happy ending to all this. DR. BARAK I can't tell you what is right or wrong Mrs. Masters. That's a decision you have to make on your own, with your own heart to guide you. (a beat) Now there is some additional paperwork that needs to be signed to begin the treatment. This way, please. Callie follows Dr. Barak to the Nurses Station... INT. ST. MERCY HOSPITAL - NURSES STATION - DAY ...Her attention is drawn to the school master's CLOCK on the wall. The hands are still poised at a few moments to midnight. The face of the owl seems to watch her every move. Confused and a bit startled, she checks the time on her own watch. CALLIE Your clock: It's a bit off. DR. BARAK It's not a regular clock at all. It's quite special as it keeps track of a different type of time. Callie shakes her head, not understanding the meaning of his words, but she feels an obvious warmth in his presence. Jordan is watching the interaction. Dr. Barak indicates various lines on various forms for Callie to sign. DR. BARAK Read, sign and date. We can begin treatment immediately. Callie scrawls her name. CALLIE Is there anything else I can do to make things right? DR. BARAK You've taken the first step. The next ones won't be easy but you won't be alone when you take them. CALLIE Even if the treatment only gives us one day, a week, or an hour, it's worth everything. DR. BARAK I'll notify the physical therapy department to schedule an afternoon and morning session for your husband. (a beat) It's nearly 1:30. Have you had anything to eat? I understand it may seem difficult, even wrong, but you need to care for your own health as well. Callie shakes her head. CALLIE Nothing recently. DR. BARAK (nods in Jordan's direction) Why don't you, and Lady Jane, go to the hospital cafeteria and have a late lunch? The food's much better than what they bring up on those trays. We'll let you know if there's any change. Callie bends down so she's at eye level with Jordan. CALLIE It's up to you, Kiddo. I have to make a quick call but then we can check out the dessert menu. Jordan looks further into the room and regards Dr. Barak. DEBORAH (O.C.) That's a wonderful idea. You can use the phone on the desk, Mrs. Masters. CALLIE (to Jordan) This will just take a moment, okay? Jordan gives a slight nod. Callie straightens up and strides to the telephone. Her fingers gently push the raised buttons. She takes a DEEP BREATH to steady herself as her husband's lawyer answers. Callie speaks softly into the telephone, explaining the situation. The conversation is inaudible to us. Jordan steps further into the Nurses Station and watches the CLOCK. There is a definite loud CLICK as the hand of the clock advances a minute. DR. BARAK (to Jordan) You are so young to have been burdened with such responsibility. Yet you understand the implications and the timing of the events that will unfold. Things that have happened and will happen *must* happen. (a beat) Things that mortal man will not ever control, despite his belief in destiny. You need to be there for your father. (a beat) This journey is almost over. The path chosen today, and today, may begin a new journey for us all. Suddenly, the loud DING-DING of a room call bell is heard. Dr. Barak rushes to Frank's room, with Jordan and Callie following closely behind. INT. ST. MERCY HOSPITAL - FRANK'S ROOM - DAY Frank sits up in his bed. He speaks weakly... FRANK Jordan? She squeezes his hand. FADE OUT. ACT FOUR FADE IN: INT. ST. MERCY HOSPITAL - FRANK'S ROOM - DAY Jordan pushes the chair over to the bed so she can climb up and give her father a careful hug. Her voice is a scratchy, whispery sob. JORDAN Oh, Daddy, I was so scared. FRANK Shhh, I know. Everything is going to be all right now. Jordan shakes her head and whispers to Frank. JORDAN Eli says I shouldn't speak to anyone. A bad man is here and he would know who we are. We're safe, though. They can't find us to hurt us while we're here. Dr. Barak lifts Frank's wrist to take his pulse. DR. BARAK I'm Dr. Barak. You were in an automobile accident and suffered a concussion. We had to perform surgery on your spleen. Are you in any discomfort now? Frank focuses on Dr. Barak for the first time. FRANK'S INTERNAL POV -- Brilliant white, pure LIGHT. -- The sound of a CHORUS. -- Children's LAUGHTER. -- Jordan GIGGLING in the restaurant. -- The steady BEEP of a monitor. -- The sound of a woman SOBBING. Dr. Barak's gentle voice. -- A brilliant SUNRISE of a new day. -- The CHORUS grows louder. DR. BARAK (CONT'D) Sir? Eli puts his hand on Jordan's shoulder. ELI It's not quite finished yet. Jordan nods with some semblance of understanding. But her father is awake and she is overjoyed. EXT. STATE HIGHWAY 450 - DAY The automobile accident site. Legend INDICATES: 12:45 PM Crammer moves up the muddy hillside above the accident site. The trees have all been cut down to three foot stumps. A single leaf escaped the clearing process. Carefully he photographs it and gathers it into an evidence bag. Crammer's face is grim as he walks down to his car with his collected samples of the trees. His car radio SQUAWKS to life, demanding his attention. He tosses the collected specimens onto the passenger side seat. One falls to the floor. Crammer ducks down quickly and reaches into the car for it. As he does this, he spots a razor sharp awl thrust through the roof of his car. Cautiously, he surveys the area, but finds no one. He looks at the awl again, still embedded into the roof. A small trace of blood hangs from its tip. Crammer's heart is pumping. INT. ST. MERCY HOSPITAL - DR. BARAK'S LAB - DAY Dr. Barak is leaning over a microscope. Legend INDICATES: Dr. Barak's Laboratory 1:30 PM DR. BARAK (looking up) The D.N.A. of the samples match. The cyanide in Mr. Masters's body can be traced back to this plant material you've collected. CRAMMER A multi-billion dollar lumberyard owns the property. The trees were collected to make cardboard storage boxes. A representative of the company said they used the trees because the properties of the wood prevents bugs from infesting the boxes. When they say "properties of wood," they mean cyanide, don't they? DR. BARAK Yes. Did they tell you the process? CRAMMER Sure, grind 'em up, toss in post consumer recycles, mix with water, spread it, then extract the water and dry it in ovens. (a beat) But they use an aeration process to keep the smell down and it's all automated. They said there are some pharmaceutical properties that they can get from the bark, but the bark is stripped off before it gets to them. I checked that out too. They have to let the bark ferment for almost two years. It makes an antibiotic, with no trace of the cyanide left. And some sort of Calcium Carbonate product, whatever that is. (a beat) *Someone* else had to have access to the site and to the trees. And that someone must be the same guy who murdered Max, because I found a bloody awl embedded in the roof of my car. As a warning, I suppose. I sent it to my offices to test for prints, but with our luck, I'm not holding my breath. (a beat) But you were right about the trees. I'm impressed. DR. BARAK (grins) I've been told I should have been a detective, but there are all ready way too many armchair detectives out there as it is. CRAMMER (shaking his head at the thought) I'm going to head upstairs but if you think of anything else, just let me know. But watch your back. DR. BARAK Calcium Carbonate you said? CRAMMER Yeah, why? Dr. Barak hands Crammer a copy of the prescription label from Darryl Masters's pill bottle. CLOSE ON - PILL BOTTLE One of the Active Ingredients is Calcium Carbonate. DR. BARAK (O.C.) Anything you recognize? INT. ST. MERCY HOSPITAL - FRANK'S ROOM - DAY Frank is resting comfortably. The IV is still in his arm but the monitors have been detached. Frank can see movement out by the Nurses Station. Legend INDICATES: 2:12 PM FOOTSTEPS patter on the floors of the ICU, GROWING LOUDER as they approach Frank's room. It's Jordan. He squeezes her hand, fondly. JORDAN I love you, daddy. Deborah enters the room carrying latex white gloves and a bandage. She wears a cheerful smile. DEBORAH Well, Mr. Doe, Dr. Barak has gave me orders to remove your IV. You'll be on ice chips for a while, and then, tomorrow, we'll try clear liquids and see how they stay down. (a beat) Dr. Barak has also instructed to get you out of bed and into the lounge for some fresh air. (to Jordan) You'll have to step outside of the room for a moment, honey. FRANK (to Jordan) This wont take long, sweetheart. Why don't you wait for me in the lounge? Jordan nods and leaves the room... INT. ST. MERCY HOSPITAL - HALLWAY - DAY ...She stops at the next room on the way to the lounge. She sees Callie speaking with Crammer in HUSHED VOICES by Darryl's bedside. Callie's face shows disbelief, and then anger. Jordan steps back and bumps into someone behind her. ROUGH HANDS clamp on Jordan's mouth as she is SWEPT UP into Gilead's arms and carried away! Jordan kicks outward and bangs the door frame with her foot! CRAMMER Hey! What do you think you're doing? Crammer rushes out of the room to follow Gilead and Jordan. Gilead LAUGHS as he carries Jordan in the direction of the stairwell, then SNARLS as he finds his path blocked by Eli. ELI Put her down. It doesn't concern her. GILEAD (indicates Callie) You can have *her* and her husband. My work concerning them is done. Fool that he was - he believed the immortality I offered was something he could live with. (a beat) This one will please Them greatly with her gift. You've lost. Gilead draws his revolver and aims it squarely at Gilead. CRAMMER Put her down! Don't make me do this! (a beat) We know about the tainted pharmaceuticals. The D.E.A. has shut your company's production down and it's removing your stockpile of poison as we speak. (a beat) It's over. GILEAD (confident) You won't fire that weapon. It would ignite the oxygen in here and destroy the entire ward. But go ahead if you must. Kill this child and all of these innocents. Gilead sees the hesitation on Crammer's face and bolts through the nearest door that takes them into the lounge. There is no exit, only the doors to the outside patio. EXT. ST. MERCY HOSPITAL - PATIO - DAY Gilead carries a struggling Jordan outside and onto the edge of the patio. Jordan manages to get in some well placed kicks to Gilead's leg. He shakes her roughly. She draws his attention away from the people who have followed them outside. Frank is in his wheelchair, pushed outside by Deborah. He sees Jordan bite Gilead's hand hard. Frank's heart leaps in his chest as Gilead, in anger, dangles Jordan over the edge of the wall. FRANK Stop! It's not her that you want, it's me, isn't it? It has been all along! You want my soul? Well take it! It's yours if you let my daughter go free, and leave her free forever. GILEAD (laughing) You flatter yourself. They no longer want you. They have seen the gifts within this child. They want her. It's begun. Frank sees Eli for the first time standing beside a horrified Callie. Eli's face is calm and sad. Frank wheels himself closer to Gilead - to bait Gilead away from the edge. ELI Not for you. For you, it's ended. Gilead turns, snarling at Eli. His movements swing Jordan back onto solid ground. Frank moves in to rescue his daughter. Then, there's a loud CRACK as Crammer fires his gun. Gilead's body jerks to one side. He falls to his knees, grasping onto the patio railing for support. His temple has been grazed by the bullet. Drawing upon a reserve of energy fueled by anger, Gilead painfully pulls himself to his feet. SNARLING, he continues his advance on Frank and Jordan, as-- --Callie rushes forward, her slight body impacts with Gilead's. Her small fist beats on to his chest in anger. She is unmindful, perhaps even blind to the dark blood that streams down the side of Gilead's temple. CALLIE You did this! You did this to Darryl! Why? How could you? Darryl and I loved you like family! We trusted you! Gilead snarls at Callie. She finally sees the true evil that has manifested from Gilead's soul. Callie backs up, horrified and shocked. Gilead's lips draw back in a sneer. He lunges for her - to throttle her, but he only succeeds in catching the lapels of her shirt and tangling his hands in the silver chain dangling from her neck. Crammer fires his revolver again and this bullet strikes Gilead's shoulder, sending him staggering backwards against the low rail. Callie, terrified of being pulled over the rail with him, tries to back away. She finds something is pulling her over with him. The silver chain snaps, freeing Callie. Gilead gives an unearthly SCREAM as falls over the rail. All of them hear the THUD of impact. Callie stands frozen, in shock, looking over the edge at Gilead's still body. Dr. Barak gathers Callie into his arms, turning her away from the rail and the ugly sight of Gilead's body below. Callie's thin shoulders begin to shake as deep sobs burst forth from her body. Frank holds Jordan tightly in his arms. Jordan's entire body is trembling with fear, tears are streaming down her face. JORDAN (softly, crying) He was an evil man, Daddy. I could *see* how bad he was... and others too... I don't know how to stop bad things from happening... FRANK It's over. It's all over Jordan. You don't have to worry. I'll protect you from the bad things you see. Crammer walks to the edge and looks over the rail at Gilead's body. EXT. ST. MERCY HOSPITAL - SIDEWALK - DAY CLOSE UP - GILEAD'S HAND, palm up, a tangle of silver chain in his fingers. On his palm rests the silver medallion with an image and inscription: "ST. JUDE PATRON SAINT OF HOPELESS CASES, PRAY FOR US." RADIO COMMENTATOR (V.O.) The drought has broken and cooler temperatures have arrived. Heavy lake rains are expected in the upper Mississippi Valley region. (a beat) In other news, Pharmaceutical Resources has recalled their latest wonder drug, used to treat ulcers, citing contamination in their factory. The FDA reports that over a thousand units are still not accounted for... INT. ST. MERCY HOSPITAL - NURSES STATION - DAY Deborah and Eli walk up to the familiar school master's CLOCK. Eli reaches up and opens the glass cover. His weathered fingers hover above the hands of the clock, then moves the minute hand back two full minutes from its perilous perch - two minutes before midnight... FADE OUT. THE END