M I L L E N N I U M IT... HAS... BEGUN... NOTHING IS FORSAKEN... Virtual Season Episode #408. "Twilight Years" story by: Marcus Dixon, teleplay by: Andrew Denst TEASER INT. DREEDLE HOUSE - BEDROOM - NIGHT The bedroom is very dark. The only light comes from moonlight shining through an open window. An elderly woman, PHYLLIS DREEDLE (90's), is sleeping in her bed. The sound of a fly buzzing can be heard O.C. A legend INDICATES: Seattle, Washington 1:19 AM After a minute of peaceful rest, Phyllis starts to toss and turn violently. She sits straight up in bed. PHYLLIS (startled) No! Not my baby! EXT. FOREST - NIGHT Phyllis runs out of her house. She enters the thick woods with her blue nightgown flowing behind. She trips on an unseen root, due to the darkness of the surrounding forest. After some time, she runs into a clearing in the woods. Standing in the middle of the clearing, there is a cabin. PHYLLIS (shrieking) God no! Please no! Phyllis rips the cabin door open! She cries out in pain and begins to sob as she falls to hear knees and begins to pray. PHYLLIS (hysterical) Lord no! Please let this still be the dream! Please Lord! PAN TO: INT. CABIN - NIGHT The light coming from the open door reveals nothing except for a medium-sized pool of crimson blood that is growing from drops falling from a higher source. The only other light comes from a large crack in the wall. A small dark FIGURE is swinging from the rafters. When the Figure swings into the sliver of light, it is revealed to be a young GIRL (5). Her lifeless body has been mutilated to the point it is almost unrecognizable as human. EXT. CABIN - NIGHT Phyllis is still on her knees, praying and sobbing. A SHADOWY MALE FIGURE steps out of the darkness behind Phyllis and pulls out a large butcher knife. MAN It was my mistake. I'm sorry, this must be done. The MAN then plunges the knife deep into Phyllis's neck. She falls to the ground, dead. He pulls the knife out of her neck and cleans it off on her blue nightgown. INT. CABIN - NIGHT The Man drags Phyllis's lifeless body into the shack. Her body is placed on the ground near where the Girl is hanging. The two pools of blood join. The sound of the door closing can be heard O.C. Darkness falls in the room. Now the crack is the only source of light in the room. Under the beam of light is a table. The shadow of the swinging dead Girl's body moves to the side revealing a syringe that is laying on the table. It has been used and there is a small, paper label with an ouroboros printed on it. Next to the ouroboros, it reads: "Lara Means." FADE OUT. ACT ONE BLACK. "There is no such thing as old age, there is only sorrow." -- Edith Wharton FADE IN: EXT. FORREST - DAY A HUNTER (30's), dressed in khaki pants and a flannel shirt under a bright orange vest, is teaching his identically dressed SON (10) how to hunt deer. Legend INDICATES: 8:09 AM The Hunter crouches low behind a fallen tree. He gestures to his SON to do the same. SON (whining) Daaad! HUNTER What Billy? SON (whining) Why do we have to be out here so early? HUNTER Because, the deer are easier to shoot. SON Are you sure? HUNTER Yes. The Hunter points at a deer by the cabin. HUNTER (CONT'D) Look, there's one over there! Get your rifle! The Son picks up his rifle and shoots at the deer. The bullet misses and hits the cabin and the deer runs away. The Hunter and the Son run toward the cabin. They see that an old, weathered piece of wood has been hit and there is now a foot wide hole in the side. SON What's that smell? It smells like the time the class hamster got caught in the heating register at school! The Hunter looks through the hole. His knees begin to shake as if he would fall at any moment and his breathing become shallow. HUNTER Billy! Go home! Call the police! Quick! The Son runs off! The Hunter sinks to his knees and face turns pale. HUNTER (CONT'D) Sweet mother of God! INT. CABIN - DAY The hole causes a great deal of sunlight to shine in. There are flies buzzing around the decomposing bodies of Phyllis and the Girl. The sound of the Hunter vomiting can be heard O.C. EXT. CABIN - DAY Little has changed except the sun is higher in the sky and the area is swamped with Seattle Police Department officers. Legend INDICATES: 12:07 PM Amongst the sea of suits there is the familiar face of DETECTIVE GIEBELHOUSE, who is talking to the still-shaken Hunter. GIEBELHOUSE So, what were you doing that you found the bodies? HUNTER (shocked) ...I was just hunting with my kid, and... and my son missed a shot and we found this shack with the bodies inside. GIEBELHOUSE Is that all? The Hunter didn't say anything, he just shakes his head "yes." GIEBELHOUSE Thank you for your time. Giebelhouse walks away. The Hunter sits there, trying to comprehend what has happened. He swats at a fly that buzzes by. HUNTER (calling after Giebelhouse.) Why do people do this? What makes them want to do these things? GIEBELHOUSE I don't know. Quite frankly, I'll never know. INT. CABIN - DAY Most of the activity inside are from coroners. They are wearing masks to negate the putrid smell of rotting flesh. They work carefully to try to keep the fragile bodies intact. Giebelhouse enters. GIEBELHOUSE (gagging) Oh man! That smell! It's worse than that guy's puke! A coroner, DR. JESSICA DONNELLY (30's), hands Giebelhouse a mask which he promptly puts on. GIEBELHOUSE Thanks (a beat) Do you know anything yet? DONNELLY No. The bodies are in such bad shape that we'll need dental records to make a match. GIEBELHOUSE Any idea who it is? DONNELLY No. We haven't found any ID yet. It appears to a little girl and a old woman, but we'll have to do an autopsy to know for sure. GIEBELHOUSE Do you know the cause of death? DONNELLY Well, it looks like it was a stabbing, however, we will need more evidence. An autopsy on the remains should give us what we need. GIEBELHOUSE Tell me when you find something. Giebelhouse looks around at the interior of the cabin and wanders around. DONNELLY Anything wrong? GIEBELHOUSE Nothing, nothing at all. (muttering) It's just this place looks familiar. Giebelhouse was about to leave when he notices a syringe laying on the table. He walks over to the table while snapping on a pair of latex gloves. He picks it up and puts it in a plastic bag marked 'Evidence.' He reads the label. GIEBELHOUSE (quietly) Lara Means? Huh? He looks up, finally making the connection. GIEBELHOUSE (CONT'D) (quietly) Frank. EXT. CABIN - DAY Giebelhouse runs out of the cabin towards his car which is parked just outside of a few trees. He takes the mask off and throws it to the ground. He reaches his car and opens up the door to get his cell phone. He begins to dial, however, he is interrupted by DETECTIVE SHAUN RAY (30's). RAY (shouting) Giebs! GIEBELHOUSE What? RAY You know that missing persons case that I'm on? GIEBELHOUSE Yeah, the old geezer, umm... what's her name? RAY Phyllis Dreedle GIEBELHOUSE Yeah, that's it. How's it going? RAY She's still missing. GIEBELHOUSE Then way are you here? You should be lookin' for the old bat. RAY Well, she lived not far from here. Also I heard that one of the bodies were of a old woman. GIEBELHOUSE The bodies are in bad shape. I can't even tell that it's a woman. It's the coroner that told me that. RAY Well, it's worth a shot. GIEBELHOUSE Your case will be over if it's her. RAY You know me Geibs, I like to find some closure in my cases. I better get going. Ray runs off into the woods towards the cabin. INT. GIEBELHOUSE'S CAR - DAY Giebelhouse sits down on the driver's side seat. The sound of a car door slamming can be heard O.C. He takes his cell phone out and dials. A busy signal can be heard O.C. GIEBELHOUSE Damn it! Come on, Frank! Giebelhouse hangs his cell phone up and puts it into his coat pocket. He takes his car keys out and goes to put them into ignition. When he turns the key, his cell phone rings. He takes it back out and answers it. GIEBELHOUSE (annoyed) Giebelhouse. Whadda ya want? CALLER (V.O.) Frank is at his brother's, Tom Black's, house in Baltimore Maryland. GIEBELHOUSE Who are you? Why are you telling me this? CALLER (V.O.) I'm a friend of Frank's. I want him to know what they are up to. Goodbye, detective. GIEBELHOUSE Wait! What's going on? There is a dial tone sound as the man hangs up the phone. Giebelhouse hangs his phone up and puts it in his pocket. He starts his car up and drives away. CUT TO: INT. BLACK RESIDENCE - KITCHEN - NIGHT TOM and HELEN BLACK are cleaning up the dishes. Lightning bugs flashing on and off in the b.g. through a window. The telephone rings. Tom puts his towel down and picks the phone up. Legend INDICATES: 9:02 PM TOM Black house, Tom speaking. The person talking on the other head cannot be heard. TOM (CONT'D) I'm sorry, but I'm pleased with my current long-distance carrier. Thank you. Tom hangs up the phone. Noticing that the dishes are clean he walks out of the room. EXT. BLACK RESIDENCE - BACK GARDEN - NIGHT JORDAN and CHARLIE BLACK are catching fireflies. FRANK BLACK is sitting on the grass, making sure nobody gets hurt. He looks up at the stars, fascinated as if it was the first time he saw them. He's interrupted by his brother. TOM Are they still there, Frank? FRANK (a little dazed) Huh? What? TOM The stars. Your looking at them like their different. FRANK I just feel like I'm looking at them through new eyes. Like I'm a new man. I'm away from The Group, away from the FBI. TOM Away from any income. FRANK That too. Frank points at the beer in Tom's hand. FRANK (CONT'D) Are you going to share? Tom hands Frank an unopened can that was next to him. Frank pops it open and begins to drink. A few minutes pass and a lightning bug lands on Frank's arm. He watches it for a while. TOM (shouting) Charlie! Jordan! It's getting late. Time to go in! Jordan and Charlie run towards Tom and Frank. JORDAN Daddy? Why would old women want babies? FRANK I don't know. What makes you ask that? JORDAN I just thought of it. Jordan runs off into the house, followed by Charlie. Tom and Frank get up and start to walk towards the house. TOM That kid sure asks strange questions sometimes. FRANK (laughing) Too much Learning Channel I guess. HELEN (V.O.) (shouting) Frank! There's a Detective Giebelhouse on the phone. He wants to talk to you. INT. BLACK RESIDENCE - LIVING ROOM - NIGHT Helen gives the phone to Frank. Giebelhouse can be heard on the phone. GIEBELHOUSE (V.O.) Frank? We need you to come to Seattle ASAP. FRANK Why? What's wrong? GIEBELHOUSE (V.O.) We found two dead bodies at your cabin in Seattle. FRANK Really? When? GIEBELHOUSE (V.O.) We found them today, but it looks like they have been around for a month. FRANK What do you want from me? GIEBELHOUSE (V.O.) I need you to come down here and answer a few questions. Frank Sits down on a chair and rubs his temple. GIEBELHOUSE (CONT'D) Frank? Hello? FRANK I'm here. (a beat) I don't want to go back. I'm needed here. I have a daughter to look after. I can't just drop everything and come down there. GIEBELHOUSE (V.O.) You have to Frank. You have no choice. If you don't then I'm afraid I'll have to get a warrant and force you down here. FRANK Why do you even need me to go down there? GIEBELHOUSE (V.O.) We want to know why there might be some dead bodies there. Basically to clear your name. FRANK Look, you know I wouldn't do anything. GIEBELHOUSE (V.O.) I do, but they don't. It wouldn't look good on the report that I didn't question the owner, 'just 'cause he said he was innocent.' FRANK (reluctantly) Fine. I'll leave tomorrow. GIEBELHOUSE (V.O.) Thank you. Bye, Frank. FRANK Bye. Frank hangs the phone up. He looks tired and completely drained as he slowly gets up from the chair. Helen is standing behind him. HELEN (concerned) What cabin. What's going on? FRANK They found two dead bodies in a cabin that is owned by me. They are calling me down for questioning. I need you to watch Jordan for a while, OK? HELEN Of course. CUT TO: INT. INTERROGATION ROOM - DAY Giebelhouse is sitting alone in the barren room. He gets up from his chair that is located at one end of the table, walks over to the coffee maker pot and pours a cup. He sits back down and waits. Legend INDICATES: Seattle Police Department 12:25 PM The door opens, it's Detective Ray. Ray sits down on the chair next to Giebelhouse. RAY I just got back from the morgue. GIEBELHOUSE And? What did they find? RAY They ran the dental check on the girl. Ashley Johnson, age 5. Ray passes the a file to Giebelhouse. It contains Ashley's dossier, the autopsy report, and crime scene photographs. Giebelhouse flips through it quickly. GIEBELHOUSE There's no birth certificate? RAY She was adopted. Those things are sealed up tighter than Fort Knox. GIEBELHOUSE What about the other Jane Doe? RAY We don't know. They're checking with her now. They just did the dental check and the autopsy on the girl. GIEBELHOUSE Well, what did they find when they hacked Ashley up? RAY She was killed quickly. No signs of a struggle. Most of the wounds were done post-mortem. The body looks like it has been rotting for a little less than a month. GIEBELHOUSE That's about the same time the old chick you're looking for disappeared. I'll bet a bottle of 20 year old whiskey that she's the stiff. RAY So, it's now a homicide investigation. Because of the lack of evidence, I called in the FBI for help. GIEBELHOUSE Well, I wish you told me first because it *is* my investigation, but we should get help from anywhere we can. RAY Yeah. I did a little research on that Frank Black guy. (a beat) Interesting life. Joined the FBI, went nuts, left the FBI a few years later, joined the Millennium Group, wife dies in that outbreak over a year ago, goes nuts again, re-joins the FBI, then quits again. GIEBELHOUSE Yep, that poor guy was never the same after the second breakdown. He now thinks that the Group is up to no good and that they killed his wife. The door opens and Frank Black enters with a police officer escort. Frank sits on the chair that is on the end of the table opposite of Giebelhouse and Ray. Giebelhouse gestures for the escort to leave. He does so. GIEBELHOUSE Want anything Frank? FRANK No thanks, I'm fine. GIEBELHOUSE You know the drill Frank, why did we find two stiffs in your shack? FRANK I don't know. I haven't been there in a while. RAY How can we trust you? FRANK Call my brother Tom. He's the one you called to contact me. I was at his house at the time of the killings. RAY Fine, we'll call him down too. In the meantime, I'm placing you under arrest. GIEBELHOUSE What? I don't think so. This is *my* case, not yours. RAY Look Giebs, he's a suspect, you know this must be done. GIEBELHOUSE We have no evidence to prove that. Hell, we have more proof that he didn't do it. RAY (reluctantly) Fine, whatever. GIEBELHOUSE Frank, since you are down here, I want you to help us on this investigation. You've been nothing short of remarkable in past cases. And we need as much help as we can get now. RAY Sorry, Mr. Black. You can't. Giebelhouse turns to Ray with a confused look on his face. GIEBELHOUSE What the Hell? I just told you it's *my* investigation! I can do what I like! It's not like he's a suspect. Giebelhouse turns to Frank. GIEBELHOUSE (CONT'D) We're still getting the results for the autopsy on the old woman. The other... FRANK (interrupting) Is a 5 year old girl, stabbed repeatedly. Found a little over a month after her death. GIEBELHOUSE (snickering) Sure haven't lost your touch, have ya? FRANK Unfortunately, no. RAY (stunned) The Hell? How did you know that!? GIEBELHOUSE It's his gift, it's his curse. Right Frank? Frank smiles a little and nods his head. GIEBELHOUSE (CONT'D) Now, I'm guessing you will help us. FRANK (softly) No. GIEBELHOUSE (stunned) Huh? What? Why not? FRANK You know why. I don't want to go back there I never want to go back there. GIEBELHOUSE Frank, I know you are still upset about Catherine. She was a great gal and is missed. But we have a killer out there. We have to find him, or more people may die. You don't want that, do you? FRANK No, I don't. GIEBELHOUSE Then help us. I promise we won't be there long. Frank looks down at the table. GIEBELHOUSE (CONT'D) (losing patience) Come on Frank. We need you. You're the best. FRANK (reluctantly) All right. GIEBELHOUSE Good. Now, this is the only piece of evidence we found there. Giebelhouse passes the syringe that is sealed in the bag. FRANK This isn't linked to the dead bodies. Frank rubs his fingers and stares at it. FRANK (CONT'D) Lara Means gave this to me that day. She gave this to me because she knew it would do her no good. I used it to protect my daughter from the Marburg virus. Lara saved her life. I owe her everything. We can't do anything for her now. GIEBELHOUSE What do you mean? FRANK A few days after she was committed, the hospital was hit by the outbreak. Everyone, including Lara, was killed. Frank says nothing. He swallows hard and bites his lower lip as he looks upwards. FRANK (softly) Thank you, Lara. RAY Mr. Black? Can you step outside for a moment? I need to talk to Giebelhouse. Frank gets up and leaves. RAY (CONT'D) He did it. GIEBELHOUSE Did what? RAY The double homicide. GIEBELHOUSE No, he didn't. It's not like him. You don't know Frank like I do. RAY He had two mental breakdowns. He's mentally unstable. GIEBELHOUSE He has *never* showed violence towards anyone. He would never kill anybody he never met before. RAY I hope you're right. GIEBELHOUSE What's wrong with you anyway? You've been acting strange. You're doing things without my permission and you seem to want to blame everything on Frank. Why? RAY I have my reasons. Ray exits the room. CUT TO: INT. McCLAREN'S OFFICE - DAY Assistant Director ANDY McCLAREN is sitting at his desk. Sitting on the chair in front of him is KEN McGREEVEY. There is a knock on the door. Legend INDICATES: FBI Academy Quantico, Virginia 1:43 PM McCLAREN The door's unlocked. EMMA HOLLIS opens the door and sits on the empty chair next to McGreevey. EMMA Yes, sir? McCLAREN I called you both down because I received a call from a Detective Shaun Ray in Seattle, Washington today. He wants help in the investigation of a double homicide. EMMA And you are going to send us... McCLAREN Yes. EMMA (puzzled) Why us? Can't the field agents in the Seattle branch take care of it? Besides, we're in the with the McGraw case. McCLAREN You're almost *done* with the McGraw case. We're ready to make a arrest. We can do that without you. McGREEVEY I still don't know why you would send us. McCLAREN Because Detective Ray asked for you two in particular and I said so. Now, I expect for you both to be there by tomorrow. EMMA Yes, sir. Emma and McGreevey leave. They close the door behind them and McClaren continues his paper work. EXT. McCLAREN'S OFFICE - DAY McGREEVEY I don't get it. Why does that detective want us? What have we done that would cause us to get requested like this? EMMA I don't know... This is odd. CUT TO: INT. MORGUE - DAY Donnelly is wearing a mask and a scrubs while she does her autopsy on Phyllis. Frank, Giebelhouse and Ray are wearing masks and standing some distance from the cold, steel slab that the decayed corpse of Phyllis is on. Legend INDICATES: 3:21 PM DONNELLY You boys missed the start of the show. GIEBELHOUSE We had to question someone. Have we missed anything? DONNELLY Oh yeah! Detective Ray, you were looking a missing an old woman. RAY Yes. Phyllis Dreedle. DONNELLY Mr. Ray, let me be the first to congratulate you on your solved case. Mr. Ray, meet Ms. Dreedle, Ms. Dreedle, meet Mr. Ray. RAY You're upbeat for a coroner. DONNELLY In this business, you have to be. If you don't take things in stride, you'll go insane. Frank smiles a little at this last comment. Donnelly finishes the Y-incision and spreads the layers of skin, mussel, and fat back. FRANK Can I get a closer look at the body? DONNELLY Sure, just wear some protection. Frank takes a pair of latex gloves out of the box. He moves closer to the body. He stares into the open chest cavity. Donnelly is removing the liver. GIEBELHOUSE See anything interesting? FRANK No. It all looks normal. Well, for this advanced state of decay. DONNELLY I could have told you that! Donnelly hands Frank the liver. DONNELLY Here, make yourself useful and weigh this. Frank looks at her a little puzzled, but takes it and weighs it. He puts the liver into a pan. FRANK'S INTERNAL POV -- Phyllis pregnant. -- A newborn basking in light. -- A fly buzzing. DONNELLY Well... FRANK Well what? DONNELLY How much did it weigh? FRANK 67 oz. (a beat) Have you checked to see if was pregnant? DONNELLY Well, her hips show that she did give birth sometime late in her life because of how far apart the bones are spread apart. FRANK No, I mean, now. GIEBELHOUSE (stunned) Huh? I'm no doctor, but even *I* know that this woman dried up *long* ago! DONNELLY Yeah. She was 96 when she died. Her baby-making years were over. FRANK Not if she was receiving hormone treatment. (a beat) Check the uterus. DONNELLY I was about to do that anyway. Donnelly takes the scalpel and slits the uterus open. She pries the sides open. DONNELLY (disbelief) My God! Look! Frank goes over to the opened-up body and looks inside. Inside the uterus there is a small floating mass of tissue. FRANK That's a fetus. DONNELLY Yes, it is. How... how did you...? FRANK I just knew. (a beat) Is there anyway that I can check to see who a mother is? DONNELLY Yeah, a mitochondrial DNA test. Why? FRANK Run one on Phyllis and Ashley. GIEBELHOUSE You mean that you think that Phyllis is Ashley's mother? FRANK Yes. Her hips bones she gave birth later in her life, and she was pregnant when she killed with Ashley. Somebody wanted to keep this under wraps by killing them. RAY I'm going to call the station to tell them that we found Phyllis. Ray leaves the morgue. CUT TO: INT. FINLEY'S APARTMENT - NIGHT CAROL FINLEY is sitting alone eating popcorn and watching a old black and white movie on TV. She sits peacefully, all is quiet except for the TV and an occasional fly buzzing. Legend INDICATES: 11:21 PM Her cell phone rings. She answer's it while she turns the TV off. FINLEY Carol Finley speaking. Who is this? THE ELDER (V.O.) I need you to go with Emma Hollis on an investigation to Seattle. FINLEY Yes, sir. THE ELDER (V.O.) I want you to leave early tomorrow. FINLEY Is this the same case involving Frank Black? THE ELDER (V.O.) He may be involved, but he's not why you're going. We have other reasons to be there. Goodbye, Finley. FINLEY Goodbye, Sir. Finley hangs up. She gets up and starts to walk to her bedroom. She finds a lost lightning bug and catches it. She gently takes it to a open window and lets it go. CUT TO: INT. THE ELDER'S OFFICE - NIGHT THE ELDER is sitting at his desk. He leans back in his chair. WIDER MABIUS is standing behind him with his hands behind his back. THE ELDER There. That should take care of everything. Should I send someone there in case things need to be 'cleaned up'? MABIUS No need for you to do that. We already have someone there. THE ELDER Our informant? MABIUS (pleased) Yes. THE ELDER If we already have a man down there, why send more? MABIUS Because Frank knows that we will be involved. I want him to think it will only be Finley and Hollis. He won't look for anyone else. The Elder smiles. FADE OUT. ACT TWO FADE IN: INT. GIEBELHOUSE'S OFFICE - DAY Giebelhouse is working at his desk. He leafing through the file on Ashley Johnson. He looks at the crime scene photos and wonders what would make someone do that to a child. Legend INDICATES: 2:21 PM There is a knock on the door. Giebelhouse closes the file. GIEBELHOUSE Yeah, it's open. The door opens and Detective Ray enters. He closes the door behind him. GIEBELHOUSE (CONT'D) What's up? RAY The FBI arrived today. I'm going to assist them on their investigation of the deaths of Ashley and Phyllis. You can come along, of course. GIEBELHOUSE Frank won't work with the FBI. RAY So? Ditch him. We have the FBI. The PD won't go along with this, Giebs. I don't know why you defend him. GIEBELHOUSE Because I know him. He's never wrong. I can't explain why I do, I just do. RAY It's your job, screw it up however you like. GIEBELHOUSE (getting angry) Look, you go with the FBI. Right now, I'll to go with Frank! Just share the info you get. RAY (annoyed) Fine. GIEBELHOUSE Speaking of which, do you have your file on Phyllis with you? RAY That's the second reason why I came. I went to my desk to get it to make copies, but, I can't find it. GIEBELHOUSE What do you mean, 'missing'? Somebody stole it? Why would somebody want to steal it? RAY It wasn't stolen. I just misplaced it. There isn't a huge price for information on a 96 year-old woman. GIEBELHOUSE Well, *if* you find it, call me. RAY I will. Good luck. Ray leaves the office. Everything is perfectly quiet. Moments later, there is another knock at the door. GIEBELHOUSE Come in. The door opens and Frank enters. GIEBELHOUSE (CONT'D) Ah, Frank sit down. I have bad news. Frank obeys and sits down. FRANK (concerned) What? GIEBELHOUSE Ray's file on Phyllis Dreedle is missing. FRANK Stolen? GIEBELHOUSE We don't know. He says it isn't. FRANK (interrupting) Or he's lying and he does have it. GIEBELHOUSE I know he has been acting odd lately, but he wouldn't do something like that. Frank shifts a little in his seat. FRANK I hope you're right. (a beat) So, where are we going? GIEBELHOUSE I know you don't want too, but we should go to the cabin. FRANK You're right, I don't want to, but I have to. Giebelhouse gets up and walks towards the door. GIEBELHOUSE Let's go then. EXT. SEATTLE POLICE DEPARTMENT - DAY Ray is standing on the sidewalk, waiting. A black sedan pulls into the parking lot. It's occupants, Emma Hollis and Ken McGreevey, get out and meet Ray. McGREEVEY Detective Shaun Ray, I presume. RAY Yes, I'm the detective who called you down. Thanks for coming down. McGREEVEY That's our job. I'm Ken McGreevey and this is Emma Hollis. RAY Here are the files on the child, Ashley Johnson and the old woman, Phyllis Dreedle. EMMA Where are we going? RAY The morgue, I ordered a mitochondrial DNA test on Phyllis and Ashley. EMMA Why? RAY I'll tell you in the car. Let's go. Emma, McGreevey and Ray enter the black sedan and leave. CUT TO: INT. CABIN - DAY Frank and Giebelhouse enter the cabin. Due to the cloudy weather, there is little light inside. They both have to rely on flashlights to see. Frank is very tense. FRANK (mumbling) I wish I never had to be here again. Frank walks toward the blood stain on the ground where Ashley's and Phyllis's blood pooled up. He runs his latex-covered fingers over it. FRANK'S INTERNAL POV -- Ashley's freshly killed body, hanging. -- Close-up of her neatly cut neck. -- Phyllis's freshly killed body. -- Close-up of her slit neck. FRANK The killer was a doctor. The cuts were clean and deliberate. Each cut was meant to be deadly. GIEBELHOUSE Yeah. The autopsy reports said that the cuts were small, but were in such a place that they bleed quickly. Frank then walks around the room, making sure nothing is missed. He finds a few dried blood drops on the ground. Frank's expression grows ever more sullen. FRANK This wasn't from the two people you found dead. This was here when I left before. Frank then walks over to a dark corner of the cabin. He kneels down and examines the floor. Meanwhile, a storm outside begins. Rain hitting the wood can be hears O.C. and the wind blowing through the cracks in the wood can be heard. GIEBELHOUSE We should get going pretty soon. Giebelhouse looks out of the door at the sky. There are large, storm clouds rolling in. GIEBELHOUSE (CONT'D) It looks like it's going to get bad. FRANK Just a second. Frank finds a tried stain on the ground with bits of food scattered about. FRANK (CONT'D) This is the killer's first killing. He didn't like it either, he got sick. He had a purpose why it was Ashley and Phyllis. It wasn't random. GIEBELHOUSE Look, we better get going before this shack lands on some old hag and we're surrounded by a bunch of midgets. Frank smiles for a second at this comment, but it soon fades. FRANK I want to check out Phyllis's house before we call it a day. GIEBELHOUSE But it's pour like there's no tomorrow out there! FRANK Well, I still want to know what happened, even if there is no tomorrow. GIEBELHOUSE Fine. CUT TO: INT. MORGUE - DAY Hollis, McGreevey and Ray walk into the morgue's lobby. The sound of rain hitting the building and the occasional sound of thunder crackling can be heard O.C. Also, an occasional flash of lighting can be seen in the b.g. The trio step up to the RECEPTIONIST's desk. RECEPTIONIST Can I help you? RAY Yes, I would like to find the results of a mitochondrial DNA test performed on two murder victims. RECEPTIONIST I'm sorry, but you'll have to wait. Dr. Donnelly will be with you as soon as she is finished with the autopsy she is doing right now. RAY How long might that be? RECEPTIONIST I can't tell, an hour at the most. EMMA Well, we should settle in. Emma, McGreevey, and Ray sit down on a few chairs that are in the waiting room. Emma and McGreevey are flipping through the files on Ashley and Phyllis, while Ray is reading a copy of "Time" magazine about the fall of the Berlin wall. Emma's cell phone rings. EMMA Hello, Emma Hollis speaking. FINLEY (V.O.) The Group called me down here to assist you on your investigation about the dead bodies found. Where are you? EMMA I'm at the morgue on Broad street. FINLEY (V.O.) I'm close by, I'll be there soon. Emma hangs her phone up. McGREEVEY (stunned) She was pregnant?! EMMA (disbelief) What?!? Who? McGREEVEY Phyllis Dreddle. EMMA The old woman? Well of course she was. She was 96 and was bound to have a few children. McGREEVEY I mean, she was pregnant when she *died*. EMMA You're kidding. McGREEVEY No, I'm not. Why would I? EMMA Let me see that. McGREEVEY Fine, here. McGreevey hands Emma Phyllis's autopsy report. EMMA (reading) Examination of the uterus shows that there was a decaying fetus, approximately 4 months old. McGREEVEY Told you. EMMA Why would she be pregnant? McGREEVEY I don't know. She wanted to have more money from the government? EMMA What doctor would give her the hormone treatments? She would not be able to care for the child, this would have to be a *very* immoral person. McGREEVEY Or she had a lot of money. RAY No, her house is not much better than the shack we found her in. It only has a living room, a bathroom, and a bedroom. All of which are incredibly small. McGREEVEY Well, she could have been hoarding her money. RAY Her bank account had $75 in it. EMMA Well, why would she get pregnant again since she doesn't have the money to give birth to, let alone support, a child? McGREEVEY Perhaps it was done for free. RAY No doctor would do that. EMMA Not unless he was getting something out of it too. RAY Like what? What would be the upside of getting some old woman knocked up? I bet it was some cult thing. You know, getting a woman pregnant than killing her. EMMA I don't know. Everyone fell silent. Emma went through the rest of Phyllis's autopsy report. EMMA She gave birth recently too. McGREEVEY How long ago? EMMA It doesn't say, it just says 'child birth was recent due to the hips being spread apart.' RAY Yeah, that's why Frank wanted to test to see if Ashley was Phyllis's daughter. EMMA Frank? Frank Black was the one who ordered the test? RAY (reluctantly) Yes. EMMA He's involved with the investigation. Ray nods his head. EMMA (CONT'D) Why did you tell us? Where is he right now? RAY He's with Detective Giebelhouse. I didn't want him on the investigation because I don't trust him. He seems to know too much about the killings. EMMA He always knows a lot. He didn't do it. RAY How do you know? EMMA Trust me, I know. RAY I don't even know why we're doing this. I really don't think that investigating under the belief that the old gal is a slut will tell us why she was killed. EMMA It may lead us to why she was killed. RAY I still think we're barking up the wrong tree. EMMA I don't. I've been doing this a long time. I think we're onto something. RAY You don't want to get into this Hollis, it's way over your head. EMMA Try me. They are interrupted by Finley entering the room. She folds her black umbrella up and hangs her trench coat on the coat hanger that is next to the door. FINLEY Boy. It's raining cats and dogs out there. I guess it's just the Seattle weather. RAY Who are you? FINLEY I'm Carol Finley, member of The Millennium Group. RAY You work for The Group? I didn't ask for The Group to be involved. FINLEY Well, no you didn't, but a came along just to make Hollis was doing well on the case. She's like my student in The Group. RAY (startled) I didn't know Hollis is a member of The Group. EMMA Not quite a member yet. FINLEY Have I seen you before? RAY Who? FINLEY You. You seem awfully familiar. RAY No, I don't think so. I don't know where I may have seen you before. FINLEY Oh... must have been someone else. The door to the autopsy room opened. Dr. Donnelly comes into the waiting area with a file in her hand. DONNELLY Well, hello, Detective Ray, three people whom I never met before. (a beat) Where's Giebelhouse and that grumpy guy? RAY Well, Giebelhouse and Frank Black are busy with something else. DONNELLY (disappointed) Oh... well, anyway the mitochondrial DNA test on Phyllis Dreedle and Ashley Johnson. EMMA And... DONNELLY Well... see for yourself. Donnelly hands Emma the file. Emma opens it up and looks at the test results. EMMA There is a 99.9% chance that Ashley Johnson is Phyllis's daughter. RAY Well, now we know that, what to do now? McGREEVEY I feel we should go to the adoption center, maybe find out more about Phyllis. EMMA We should check the local fertility clinics too. RAY Hollis and I will check out the clinics while Finley and McGreevey check out the adoption centers. FINLEY No, I want to go with Hollis to the clinics. Ray, you'll go with McGreevey to the centers. RAY Why? Why do you have to go with Hollis. FINLEY Because, it's my job. RAY Uh huh... CUT TO: INT. DREEDLE HOUSE - LIVING ROOM - DAY Giebelhouse and Frank enter through the front door. The furniture is worn out with protective plastic covers, In one corner, there is an old, black and white TV complete with rabbit ear antenna. GIEBELHOUSE Oh man, you can sure tell this is an old woman's house. Last time I smelled something like this was when I visited my mom in the nursing home. FRANK (not paying close attention) Uh-huh. Frank looks at an old bookcase against the wall, it's filled with large-print versions of classic books and a Bible. He flips through the Bible, hoping to find something, anything. Nothing. He puts it back. GIEBELHOUSE So, what are you hoping to find? FRANK I'm not sure yet. GIEBELHOUSE (looking out the window) Hurry, it's getting bad out. Frank ignores Giebelhouse and continues his search. He moves across the room, looking at starving artist paintings that hang on the wall. Small shelving over a chair display a few "Precious Moments" figures with their sickeningly cute eyes. FRANK I'm going to check out the bathroom. GIEBELHOUSE Fine. Frank walks off into the bathroom. Giebelhouse turns the TV on to see the weather radar. He can't tell the colors apart though because of the monochrome screen. GIEBELHOUSE Oh great. INT. DREEDLE HOUSE - BATHROOM - DAY The bathroom is very small and cramped. Near the door is the bath tub, complete with handrails on the sides. The toilet is next to the tub and across from the sink. Frank opens the medicine cabinet that is above the sink. It's filled with the usual pain killers and nothing else. INT. DREEDLE HOUSE - LIVING ROOM - DAY Giebelhouse is laying on the plastic covered couch. Frank walks in. GIEBELHOUSE Find anything? FRANK No. I'm going to check the bedroom. GIEBELHOUSE Fine. (a beat) I found something. FRANK What? GIEBELHOUSE This. Giebelhouse hands Frank a plastic bag with a syringe identical to the one he found in the cabin. Only the label reads "Phyllis Dreedle." FRANK Where did you find this? GIEBELHOUSE It was just lying on this table. I guess you don't bother to put things away when you get old. FRANK Did Ray look at this house? He was investigating her disappearance. He should have found this. GIEBELHOUSE Yeah. Come to think about it, it looks like he never touched this place. He's been acting odd during this case. It's almost like he has some other agenda other than finding the killer. FRANK This contained the vaccine for the Marburg Virus, identical to the one in the cabin you found. Only this one went to who it belonged to, Dreedle. She had some connection to the Group. They wanted her to survive the outbreak. GIEBELHOUSE Why? Why would they want save an old woman. Frank's eyes open wider as he realizes what has happened. FRANK The tests. This woman was a test case for the Group. GIEBELHOUSE For what purpose? FRANK I don't know. We need to find out who conducted the tests. Giebelhouse's cell phone rings. He answers it. GIEBELHOUSE Yeah, it's me. DONNELLY (V.O.) It's me, Dr. Donnelly. I think you want to know that the test for finding out that Phyllis is Ashley's mother came back positive. GIEBELHOUSE OK, that's good, I guess. Thanks. DONNELLY (V.O.) No problem. Goodbye. Giebelhouse hangs the phone up and puts it back into his pocket. GIEBELHOUSE Well, now we know that it was her daughter. Now what? FRANK I need to find an address book or something. We need to find the fertility doctor. He would know why the Group would want her to give birth. GIEBELHOUSE I'll look in here. FRANK I'll look in the bedroom. INT. DREEDLE HOUSE - BEDROOM - DAY The room has numerous "Precious Moments" figures scattered around. There is an old, twin sized bed next to a night stand with several drawers. Frank sits on the bed. FRANK'S INTERNAL POV -- Phyllis tossing and turning in bed. -- Ashley's swinging dead body. -- A man dressed in doctor's clothes wielding a scalpel. Frank then starts to search the night stand drawers. In the first two, he finds nothing of use, just matchbooks, decks of cards, a half-empty bottle of Tums, and a can of insect repellent. In the last drawer he finds a small, crumpled-up piece of paper. It reads: "Meeting with Dr. Belzil on Monday for check-up." INT. DREEDLE HOUSE - LIVING ROOM - DAY Frank walks into the living room. Giebelhouse is looking through some drawers. FRANK Look at this. Frank hands Giebelhouse the piece of paper. He reads it. GIEBELHOUSE We should check it out. (a beat) Let's go back to my office, I have a phone book. CUT TO: INT. GIEBELHOUSE'S OFFICE - NIGHT Frank watches as Giebelhouse goes through the phone book, looking up fertility doctors. He comes across an ad that reads: "Dr. Yannick Belzil, 'We believe in God's Will.'" FADE OUT. ACT THREE FADE IN: INT. GIEBELHOUSE'S OFFICE - DAY Giebelhouse is reading the local newspaper. He drinks his steaming hot cup of coffee while there is a knock on the door. Legend INDICATES: 10:13 AM GIEBELHOUSE Yeah? The door opens and Frank enters. GIEBELHOUSE (CONT'D) You're early today. (a beat) Have you seen the newspaper yet? FRANK No. GIEBELHOUSE I hope you weren't planning on going back to your cabin or Phyllis's house. Less than an hour after we left, it was hit by a tornado. There's *nothing* left over there. There is a moment of silence as Frank looks down for a bit. He looks back up. FRANK We should go to Dr. Belzil's today. GIEBELHOUSE Just let me get my coat. Giebelhouse gets his coat and heads for the door. Frank opens the door to find Ray with Hollis, McGreevey and Finley. GIEBELHOUSE Oh! Good morning Ray. Have you found anything? RAY (startled) Oh, um... no, not really. GIEBELHOUSE You didn't hear anything from the morgue? RAY We went there yesterday. The test came back negative. GIEBELHOUSE (puzzled) It did? oh, that's bad. RAY Yeah, it is. See you later. GIEBELHOUSE Later. Ray, Emma, McGreevey, and Finley leave. GIEBELHOUSE (CONT'D) What!?! The Hell does he mean, negative! Donnelly herself told us it was positive. How can that be? FRANK The Group. GIEBELHOUSE Who? Who's with the Group? Donnelly? FRANK No. She's doesn't know what's going on. Emma is with them. GIEBELHOUSE So? She's with the FBI, not The Group. FRANK She's with both. She joined The Group when I quit the FBI GIEBELHOUSE I'm out of the loop for a few months and everything goes to Hell. FRANK I also saw another Group member, Carol Finley. What we are dealing with is bigger than just a double murder. We dealing with something that The Group wants to keep under wraps. GIEBELHOUSE So, The Group knows something about why Dreedle was knocked up and gave birth to Ashley and was pregnant when she was killed. FRANK They don't *just* know why, they were the ones who got her pregnant twice. (a beat) They know why she was killed too. And if we find out why, it could be disastrous for their plans. GIEBELHOUSE Like one big puzzle. FRANK And Dr. Belzil may be the answer. Let's go. CUT TO: INT. BELZIL FERTILITY CLINIC - WAITING ROOM - DAY Frank and Giebelhouse enter the waiting are of Belzil's office. They walk up to the receptionist's desk. There's no one there, so they ring the bell to call for help. Legend INDICATES: 11:15 AM The room is interchangeable from any other waiting room that ever existed. White walls with Christian paintings hanging on them. Hard plastic chairs next to table with old copies of "Modern Maturity," "Highlights," and a few Bibles. The RECEPTIONIST (20's) answers. RECEPTIONIST May I help you two? GIEBELHOUSE Yeah, I'm having problems getting pregnant. RECEPTIONIST (sarcastically) Very funny sir. Why are you really here? FRANK One of your patients was killed a month ago. We would like to ask Dr. Belzil a few questions. RECEPTIONIST Really? That's a shame, you see, at The Belzil Fertility Clinic we view everybody as family. GIEBELHOUSE Uh-huh, that's nice. Now, can we please so Dr. Belzil. RECEPTIONIST Well... can you at least tell us who it was who was killed. FRANK Phyllis Dreedle. RECEPTIONIST Phyllis Dreedle... I don't remember her. And I remember everybody's name because we are all... GIEBELHOUSE Yeah, yeah, yeah. Family, I know. Just tell the doctor that we want to speak with him. RECEPTIONIST All right, I'll be right back. The receptionist exits the room and enters through a black door with a gold nameplate attached that reads: "Dr. Yannick Belzil. I do care." After about a minute, the receptionist returns. RECEPTIONIST I'm sorry, but the doctor is busy right now. Can you speak with him later? GIEBELHOUSE No, go back there and tell him that he speaks now, in his office, or he speaks now, in an interrogation room. RECEPTIONIST I'm sorry, but he is working, I can't just barge in there and... GIEBELHOUSE (losing patience) Look, either you go in there and tell him, or I do. And I'm *sure* you'll swear less than *I* will. RECEPTIONIST Fine. The Receptionist exits through the black door once again. After a while, she reappears. RECEPTIONIST He will see you now. FRANK Thank you. INT. BELZIL FERTILITY CLINIC - BELZIL'S OFFICE - DAY The room is very neatly kept. The walls chairs and desk are all made of fine mahogany wood. There are Christian pieces of art scattered throughout the room. A balding man with glasses, DR. YANNICK BELZIL (40's), is sitting at his desk. He looks up at Frank and Giebelhouse as they walk into the room. BELZIL Hello. Belzil stretches out his hand, offering Frank and Giebelhouse a friendly handshake. Frank shakes it. FRANK'S INTERNAL POV -- Newborn, basking in light, then in complete darkness. -- A fly buzzing. BELZIL (CONT'D) What can I do for you gentlemen on this fine day? GIEBELHOUSE One of your patients were killed about a month ago. We were wondering if you could help us find the killer. BELZIL (upset) Really? Oh, that's a shame. I view every couple as the son and daughter I never had. GIEBELHOUSE That's kinda sick, isn't it? FRANK Don't you have any kids? BELZIL No. Belzil picks up a picture of a woman that is in a frame on his desk. BELZIL (CONT'D) We never had any. FRANK Is she barren too? Is that why you got into this job because you want kids? BELZIL (softly) No, she wasn't. She died in that viral outbreak about two years ago. FRANK I'm sorry. BELZIL Well, I'm sure she is still with me. Belzil puts the picture down and lightly runs his fingers on a angel statue next to it. BELZIL (CONT'D) Who was it? GIEBELHOUSE Phyllis Dreedle. BELZIL I don't remember someone by that name, I'm sorry. GIEBELHOUSE Yes you do, an old woman. A very old woman that you helped get pregnant. BELZIL I do not recall treating a woman in her twilight years. FRANK You seem to be a very religious man. BELZIL Yes, I am. I've been to church every Sunday since I was a small child. FRANK What are your views of the end of the world? BELZIL I believe that there will be a second coming, a new Messiah, soon. Doesn't every God-loving Christian? FRANK So, you believe that the time is near, and that a new Messiah will save us. BELZIL Of course. With the amount of children being born these days, the chances are good that a righteous, pure man will be born. GIEBELHOUSE That's why you got into the practice? So you would expand the playing field? Belzil tenses up and beings to sweat a little. BELZIL (stuttering) What... what do you mean by that? GIEBELHOUSE I was just joking with you. Relax. (a beat) Have you ever heard of the Millennium Group? BELZIL No. Why do you ask? GIEBELHOUSE Just that you believe in the end of the world and all that crap. FRANK We found this at Dreedle's house. Frank hands the piece of paper that Dreedle had with the appointment reminder on it. FRANK (CONT'D) Now, tell me that you don't know her. Belzil doesn't say anything, he just sits in the chair staring at the paper. BELZIL (quietly) You got me. I got her pregnant both times. FRANK Why did you do it? Was it for the money? BELZIL No, I wasn't paid. I did it because I wanted too. Giebelhouse smirks and shakes his head at this last comment. GIEBELHOUSE You wanted to get some old broad knocked up? Come on! Nobody does anything for free these days! BELZIL Well, *I* do, detective. FRANK Why did she put the first child up for adoption? BELZIL She didn't. I did. I thought she wouldn't have taken proper care in the child. I told her it died. (a beat) Can you leave now? I have clients coming in soon. GIEBELHOUSE Don't you mean a son and daughter? FRANK Her daughter was found dead too. Why were they killed? BELZIL I have no idea, now will you please leave? FRANK Thank you for your time. I just want you to know that The Group is involved with this case too. And we are required to tell them about this. You may have to deal with them soon unless you become more corporative. Frank and Giebelhouse exit. CUT TO: INT. GIEBELHOUSE'S CAR - DAY Giebelhouse is driving while Frank is sitting in the passenger's side. FRANK This doesn't add up. GIEBELHOUSE What? FRANK First, why would Belzil put the child up for adoption because he felt Phyllis wouldn't have been a suitable mother, then five years later, get her pregnant again. He has some other reason than 'just because she's nice.' GIEBELHOUSE You think he's involved with The Group? FRANK Maybe, either that or The Group is interested with his experiments. Giebelhouse's cell phone rings. GIEBELHOUSE Detective Giebelhouse speaking. BELZIL (V.O.) (crying) I... I... GIEBELHOUSE Dr. Belzil! Why are you calling? BELZIL (V.O.) I... I... can't take it any more. GIEBELHOUSE What? BELZIL (V.O.) I... I did it. Dear God... GIEBELHOUSE Did what? BELZIL (V.O.) I... killed... them. GIEBELHOUSE Who? Phyllis and Ashley? BELZIL (V.O.) Yes... Oh God! (a beat) What came over me? What? Dear God! Giebelhouse puts his hand over the phone. GIEBELHOUSE Frank! It's Belzil! The bastard just confessed to killing of Phyllis and Ashley. FRANK Let me speak to him. Giebelhouse hands the phone over to Frank. FRANK (CONT'D) Dr. Belzil? It's me, Frank Black. Why did you kill them? BELZIL (V.O.) I know what I was doing wasn't right. God made it so for those women to stop having kids, and I wasn't letting that happen. I knew what I did, making her pregnant was a mistake, so I killed her and her child. I didn't want to, I didn't like it. But I did it. Now, I must face what's gong to happen. FRANK Are you at your office? BELZIL (V.O.) Yes, I'm at my office. FRANK Stay there. We're coming to arrest you. BELZIL (V.O.) I won't think of running. I want this nightmare to end just as much, if not more, than you do. Goodbye, Mr. Black. Frank hangs the cell phone up and hands it back to Giebelhouse. FRANK He's at his office. Let's go pick him up. EXT. GIEBELHOUSE'S CAR - DAY The car makes a sudden U-turn and takes off in the opposite direction, towards Belzil's Clinic. INT. GIEBELHOUSE'S CAR - DAY GIEBELHOUSE (laughing) Well, well, well. It looks like I solved the case without the help of the Feds! That's gotta make Ray jealous! I gotta call him! Giebelhouse takes his cell phone out and dials. RAY (V.O.) Detective Ray, who is it? GIEBELHOUSE Hey Ray! How is it coming? RAY (V.O.) Not good, I just checked out the adoption center and they aren't talking. We can't find a doc who will claim that they helped get pregnant either. How about you? Did you and Frank find anything. GIEBELHOUSE Just one thing. RAY (V.O.) What's that? GIEBELHOUSE The killer. RAY (V.O.) What? What about the killer? GIEBELHOUSE We caught him. RAY (V.O.) (surprised) You did? Who was it? GIEBELHOUSE Dr. Yannick Belzil. RAY (V.O.) Dr. Belzil!? Really? GIEBELHOUSE Yeah, you know the guy? RAY (V.O.) He's a fertility doctor, right? GIEBELHOUSE Yep, he was the one that got the old bag pregnant. We're going to arrest him now. RAY (V.O.) All right, bye. CUT TO: INT. RAY'S OFFICE - DAY Ray hangs up the phone. RAY Well, we warned him about coming forward. A fly buzzes by. FADE OUT. ACT FOUR FADE IN: INT. BELZIL'S JAIL CELL - DAY Dr. Belzil is sitting on the cot in his small, cold cell. Standing outside the cell s Detective Giebelhouse and a guard. Legend INDICATES: 9:23 AM BELZIL Is Frank coming? GIEBELHOUSE Yeah, yeah, yeah. I called him. BELZIL Good, there are things I *must* tell him. A few moments later Frank walks into the room. BELZIL (CONT'D) Good to see you again. FRANK What do you need to tell me? BELZIL I want to tell you in private. FRANK Giebelhouse, could you please leave us alone? GIEBELHOUSE We can't leave you Frank. FRANK I need you to leave, I need to know what this man knows. GIEBELHOUSE Frank, I can't leave you. My ass would be toast if something happens to you and I didn't have any guards around. FRANK If something happens, I'll take the blame, now please leave. GIEBELHOUSE Fine. Let's go. Giebelhouse and the guard leave. BELZIL I'm with the Group. The test were a Group project. FRANK I know. BELZIL How? FRANK We found a Marburg virus vaccine needle in Dreedle's house. Also, you said your wife was killed, by the virus, but not you because you got the vaccine from the only people who had it. The Group. BELZIL I turned myself in because I didn't want the Group to catch me. I know what they would do. FRANK I won't tell anyone. BELZIL Thank you. I don't want anybody else to know what I know. (a beat) Six years ago, shortly before I met Phyllis Dreedle, I was approached by a man from The Millennium Group. FRANK Who was this man? BELZIL I forgot his name. Anyway, he asked me if I would be willing to impregnate older women to increase the chances of a Messiah being born. FRANK And that's why you impregnated Dreedle. BELZIL Yes. I was sure what I was doing was right, and I was glad that perhaps all mankind would be saved because of my actions. FRANK But you found out that they were doing this for another purpose and killed Dreedle and Ashley. BELZIL No, I stopped and killed them for the same reason I told you before, I knew what I was doing was wrong. FRANK Now, what about the cabin that you killed them in? It was mine. Why? BELZIL I didn't know it was yours. They told me to use it for the treatments. FRANK Why did you use your office for the treatments and birth? It would be a lot cleaner and your equipment would be better. BELZIL Because, I can't just go into my office with other people around. It needed to be performed in secret. I would put the project and my career in jeopardy if I did it in my office. FRANK Is that all? BELZIL Yes. FRANK Thank you for your time. BELZIL Thank you for listening. I didn't have much time left to tell you. FRANK What do you mean? BELZIL I don't have much time left. They will kill me soon. I thought I would be safe here, but I was wrong. They are in every part of law enforcement. Be careful who you confide in, Mr. Black. Ray walks up to Frank. RAY Come on Frank. We gotta give him some time to write his confession. FRANK OK, I have everything already. Frank leaves. Belzil just glares at Ray. BELZIL I know. RAY So? CUT TO: INT. THE ELDER'S OFFICE - NIGHT The Elder is sitting at his desk, flipping through some files on his desk. Legend INDICATES: 9:46 PM The phone on his desk rings. He picks it up. THE ELDER Yes? MAN (V.O.) They caught Belzil. THE ELDER Oh? That's a shame. MAN (V.O.) Should I do the normal? THE ELDER Yes. Make it look like an accident or suicide. We don't want any more people snooping around. MAN (V.O.) Yes sir. THE ELDER Does he still believe the story. MAN (V.O.) Yes, he still feels we are looking to create a new Messiah. THE ELDER Good, good. Is there anything else? MAN (V.O.) Yes. Frank Black spoke to Belzil. I believe he may know something. Should I take care of him too? THE ELDER No. There is no need to. Frank is of no concern to us. MAN (V.O.) But, sir... THE ELDER Don't touch him. That's an order. You have had a *very* good record, in fact, if you pull this off I'm asking you to become a full-fledged member and take care of bigger problems. MAN (V.O.) What about my job here? THE ELDER Quit it. You'll be better off here. MAN (V.O.) I will, sir. THE ELDER Good. You could be a valuable asset to The Group. MAN (V.O.) Thank you sir. I have one more question. THE ELDER What is it? MAN (V.O.) Why did you involve Finley in the case? She really didn't cover for much. THE ELDER Yes she did. Frank knew The Group would be involved. He just thought it would be Hollis and Finley, not you. MAN (V.O.) Very good, sir. THE ELDER Now, go on and take care of the problem. MAN (V.O.) I will, sir. The Elder hangs up the phone. He turns to Mabius who is standing behind him. THE ELDER It looks like we're getting another protege. MABIUS Excellent. CUT TO: INT. BELZIL'S JAIL CELL - NIGHT Belzil is sitting in on his cot. He struggles to use whatever light that may be in the dark room to see what he's writing on his confession. The sound guards talking can be heard O.C. BELZIL (sobbing) Why, why God? Why did I do this? What have I done to deserve this? Then there is a clanging sound of the cell door opening. Ray steps into the cell. RAY It's time. BELZIL (pleading and sobbing) No! Please no! I won't say a word about it! I swear! RAY (coldly) You knew what is going to happen. This must be done. Ray then advances on Belzil who is frozen in fear. RAY (CONT'D) This is who we are. A fly buzzes by while Belzil lets out a scream. CUT TO: INT. GIEBELHOUSE'S OFFICE - DAY Giebelhouse takes his coat off and hangs it on the coat rack in the corner. He places the bag of doughnuts and cup of coffee on the table. Then, he notices a file placed on his desk. Legend INDICATES: 8:32 AM Giebelhouse flips through the file and finds pictures of Belzil hanging from the sink from his underwear. Also included is a copy of Belzil's suicide note. GIEBELHOUSE (softly) Poor bastard. RAY (V.O.) Yes he is. Startled, Giebelhouse looks up to see Ray standing in the doorway. RAY (CONT'D) I see you got the file. GIEBELHOUSE Yeah. Is that why you came? RAY No, I came to tell you I am quitting. GIEBELHOUSE (surprised) You are? Why? RAY Let's just say I got a better job out east. GIEBELHOUSE Doing what? RAY (laughing) Taking on the world. GIEBELHOUSE (sarcastically) Very funny. RAY I know. Goodbye, Giebs. GIEBELHOUSE Just wait a damn minute you son-of-a-bitch! I know what you did to Belzil, and I know what you are up to. RAY Oh? Is that so? Well, Holmes, how did you come to this dumbass conclusion? GIEBELHOUSE Well, the first thing is that look at the way Belzil is hanging. He would have to try very hard to kill himself from that height. You were in charge of watching him. RAY He wanted to kill himself real bad, I guess. He must have done it so fast and quiet that we didn't catch him in time. GIEBELHOUSE You also lied about the test results. Also, you seemed eager to blame Frank for the deaths and you didn't want him to be involved. You also hired Group members and the Feds without telling me beforehand. RAY Are you sure you want to bark up this tree, Giebs? Because I would hate to see you in one of those pictures. I would keep quiet if I were you. Ray walks out of the room and closes the door behind him. CUT TO: EXT. BLACK RESIDENCE - FRONT LAWN - DAY Tom, Helen, Jordan, and Charlie Black are sitting on the porch, awaiting Frank's return. Legend INDICATES: 10:21 AM Frank's Red Cherokee pulls up to the driveway. Jordan runs up to the car while Frank gets up. JORDAN (squealing) Daddy! Frank picks Jordan up, both have smiles on their faces. Tom casually walks up to them. FRANK How did you behave? TOM She was fine as usual. How did it go Frank? FRANK Well, they cleared me of having anything to do with the murders, and I helped solve the case. TOM You never quit, do you Frank? Frank just laughs and shakes his head. JORDAN Daddy? FRANK Yes, honey? JORDAN Did you find out why old women want babies? FRANK No, not yet. JORDAN Oh... (a beat) I have to show you this drawing I drew! Frank puts Jordan on the ground and she runs off into the house. TOM She never stops asking those questions, does she? FRANK Nope... and she'll never stop. TOM How do you know? FRANK She has a lot of me in her. They are interrupted by Frank's cell phone ringing. FRANK Hello? CALLER (V.O.) You'll know why soon enough. Keep up the good work. FRANK Who is this? Who are you? CALLER (V.O.) A shepherd, like yourself. Goodbye, Mr. Black. Frank hangs the cell phone up. FADE OUT. THE END