M I L L E N N I U M IT... HAS... BEGUN... NOTHING IS FORSAKEN... Virtual Season Episode #419. "In Adventu Dominae" written by: Jason Walsh with thanks to: Bunny Williams TEASER BLACK. FRANK (V.O) Previously on Millennium. Scenes from "Darwin's Eye," "Via Dolorosa," and "Goodbye to all That" -- Emma sitting at a computer. EMMA Most likely DIA. My dad was in that world. A research scientist. James Hollis writhing and fighting on a bed as doctors and nurses try to restrain him. Emma watches on. JAMES You did this you little BITCH! WATTS His deterioration is not inevitable. He can be healed. FRANK They got to you didn't they? Your father, did they say they could fix him? EMMA Daddy! A crumpled up picture of Emma's sister Melissa - unfolded after being turned into origami roses. EMMA That's my sister Melissa... JAMES You shouldn't have done what they asked... CUT TO BLACK. FADE IN: INT. PENTAGON HALLWAY - DAY (1952) The hallway is bustling with activity. People in suits and uniforms rush to and fro; Some carry cases, manila folders, and other like objects; Some meander with no particular direction. They all wear identical laminated ID tags marked: "ALPHA PLUS." Legend INDICATES: September 24, 1952 United States Pentagon We TRACK DOWN the hallway following a short balding man, early twenties, wearing a white lab coat. He holds an envelope in his hand and has a slight look of excitement on his face. On the front of the envelope is a large, black Japanese Kanji character. His ID tag identifies him as: 'STEVEN BALL: RESEARCH SCIENTIST' He turns and proceeds down a smaller corridor, stopping for the security checkpoint. The uniformed SECURITY OFFICER stands. SECURITY OFFICER 'Morning, Mr. Ball. Mr. Gebhard is in a meeting right now and asked not to be disturbed. STEVEN I just need to speak with James. SECURITY OFFICER I'm sorry, sir. I have my orders. STEVEN BALL (disappointed) Oh, all right... Steven turns around disappointedly and walks back down the hallway to a set of heavy doors marked: 'RESEARCH LAB 14a - ALPHA PLUS CLEARANCE REQUIRED' INT. CHARLES GEBHARD'S OFFICE - DAY (1952) We see CHARLES GEBHARD (early 60's) sitting behind his dark mahogany desk, sitting back in his leather reclining chair pressing the tips of his fingers together. The rest of the office matches in style: lots of natural colored woods, many dark earthy tones. A single window streams in the rooms only light, save a small desk lamp. Across the top of Gebhard's Desk is the contents of a file: pictures, reports, etc. The open folder is titled "HOLLIS, JAMES." A young, healthy looking JAMES HOLLIS (late 20's) is sitting across from Gebhard with his hands rubbing up and down the arms of the chair nervously. James, just like Steven Ball, is wearing a white lab coat with an attached laminated ID card reading "ALPHA PLUS." Sitting slightly behind him is a man partially obscured by the shadows. He is wearing a dark suit and smoking a cigar. Gebhard adjusts himself in his chair to address the man across from him. GEBHARD James, have you been enjoying your stay here? (a beat) You came highly recommended. James relaxes slightly. GEBHARD (CONT'D) I trust you have everything you need? The shadowy SUITED MAN adjusts himself and takes another puff on his cigar. The bench creeks in response. James turns, glances quickly at the man, and then responds. JAMES Yes, sir. And thank you, sir. It's been a wonderful experience so far. The staff have been wonderful and my wife loves the accommodations. Gebhard scans the file before him. He reads: "WIFE: MARIE HOLLIS, 26." GEBHARD Ah, it says here that you and your wife Marie don't have children yet. I love kids, have 6 myself. Yep, the first grandkid is due any day now. JAMES That's wonderful sir. (awkward beat) I look forward to that myself. GEBHARD (smiles) Well, I just wanted to meet with you briefly before you begin your work. I guess I'll be seeing you in about a month for your first progress report. JAMES Yes, sir. James stands, leans forward, and shakes Gebhard's hand. The two share a cordial good-bye. Turning toward the door, he nods to the suited man. James exists the room. Gebhard closes the file on the front of which is stamped an ouroboros. SUITED MAN Do you think he'll do the right thing? GEBHARD If he doesn't... (a beat) we can see that he does. The suited man gets up and walks toward Gebhard's desk. His face is exposed in the light. We see that it is FBI director J. EDGAR HOOVER. HOOVER I hope you're right. INT. PENTAGON HALLWAY - DAY (1952) James walks past Gebhard's secretary and turns down the corridor to the main hallway. We HOLD ON the lobby and slowly PAN RIGHT. Sitting in one of the chairs is MABIUS, looking no different than he presently does aside from wearing a dark charcoal suit. He gets up and walks into Gebhard's office. The door closes behind him. FADE OUT. ACT ONE BLACK. "On that day the deaf shall hear the words of a book; And out of gloom and darkness, the eyes of the blind shall see." -- Responsorial Psalm 27 FADE IN: CLOSE ON - A PHOTOGRAPH on the back of which is written: "July 1978." The photo FLIPS OVER to reveal the Hollis family (James and Marie, daughters Emma and Melissa) standing with Steven Ball -- the balding man from the TEASER. They're in the backyard of the Hollis homestead, enjoying a summer barbecue. We PULL OUT to reveal EMMA HOLLIS sitting in her apartment, holding the photo in one hand, a glass of scotch in the other. She puts the photo aside and rises to adjust the picture on her television set which is playing quietly in the b.g. The television throws light errantly around the room. Suddenly, a vague FIGURE begins to form in the screen, the reflection of something standing behind her -- seemingly a child with long, dark hair. Emma turns! but sees only her computer across from her. It beeps as the Millennium Group's ouroboros fills the screen. INT. JAMES HOLLIS'S APARTMENT - DAY We see the same photograph Emma was looking at, framed and hanging on the wall. The camera PANS ACROSS the wall past all sorts of various family photos and mementos. James Hollis, much aged since the TEASER, is sitting on a couch watching the local news. The round scar on his right temple is very pronounced. CLOSE ON - A TELEVISION The REPORTER, a young man in his 20's, stands in a dockyard. Several police and forensic investigators move behind him as well as ambulance and coroner personnel. REPORTER (emphatically) The police aren't saying much, but it appears that a body has been pulled from the harbor. ANCHOR Can you tell us anything else? Did you get a look at the body? REPORTER Yes, a male -- wearing a suit -- with heavy trauma to the head. Possibly from a shotgun or large caliber holopoint-- The screen goes black as James turns off the television. He looks at the telephone, then stands, and walks towards the wall with all the photos. He stops at the photo of the family barbecue seen earlier and touches it with fond memories. EXT. CRIME SCENE - DAY The crime scene seen on television is still bustling with activity as the investigators continue measuring, taking photographs, and collecting samples. The sand leading to the lake is disturbed by the large number of feet and pieces of equipment. The body is sprawled on the beach, just out of reach of the water, covered in plastic. Legend INDICATES: Smith Mountain Lake, Virginia Agents SEAN DOUGLAS (35) and Emma Hollis walk around the scene taking it all in. Douglas is clean cut, wearing a navy blue suit, rain coat and small round glasses. He exudes intellect and wisdom. SGT. BELL (54) is standing by, holding off reporters, and surveying the work. He's soft featured and pleasant looking with jet white hair and a large moustache. Emma approaches him and flashes her credentials. EMMA Agent-- (a beat) Assistant Director Hollis, FBI. Sgt. Bell extends his hand. He's puzzled, unsure as to why the FBI is interested in this homicide. EMMA (lying) Weren't you notified that we were coming? This is something of a routine thing. We go to nearby crime scenes to give our newer agents experience. She gestures toward Douglas who is watching the investigators sift the beach sand for evidence. SGT. BELL No, I didn't... (a beat) What can I help you with? EMMA Can you tell me what you found? SGT. BELL Well, a white male, seemingly middle aged from what we could tell... They begin to walk toward the bodies. EMMA Sean! She waves him over and all three of them walk. SGT. BELL A motorist passing by noticed the body washed up on shore. He has extensive projectile trauma to the head. And judging by the size of the entrance wounds, probably a .45. But we'll do an autopsy to be certain. The investigator tending to the bodies look up as the three approach. He stands and pulls the latex gloves off his hands. SGT. BELL This is Eric Foster. He's actually one of yours. On loan from the FBI's labs. Emma and Douglas shake FOSTER's hand. He is somewhat thin and rather pale. EMMA AD Hollis. This is Agent Douglas. FOSTER Pleasure. So what can I do for you? EMMA How would you describe the state of the body when you found it? FOSTER Well, it was fairly distended from the water damage; larval infestation was minimal; and the body shows signs of sea life scavenging activity. (a beat) A preliminary guess on the PMI would be about a week in the water and a few days on land, somewhere moist. EMMA Has there been any identification? SGT. BELL Yes, he had a wallet and a government ID; Department of Agriculture I think. The name on it is Steven Ball but we couldn't make a match due to the degree of trauma. Emma pauses, remembering the man from her childhood -- her father's colleague and friend. EMMA (hurried) Thank you, I think we've seen enough. Emma walks briskly toward her car with Douglas following behind, confused. She gets in and stares blankly ahead. Douglas looks on waiting for some explanation. DOUGLAS (annoyed) Hollis? Hollis? Hello? Do you mind telling me why we wasted all that time to drive out here? (a beat) Hollis! What is it? She turns to Agent Douglas, trying hard to choke back tears. EMMA Steven Ball. I knew him. He's a friend of my father's. Emma reaches into her pocket and pulls out her cell phone. EMMA (a beat) Dad, this is Emma. We need to talk. INT. BLACK RESIDENCE - DAY FRANK BLACK is sitting in the kitchen drinking a cup of coffee. He's looking out the window at JORDAN, CHARLIE, and HELEN playing in the backyard. Frank sips from his cup and smiles to himself. TOM walks in from the other room. TOM Hey Frank. FRANK Hi Tom. TOM There's some mail here for you. Tom walks over to Frank and hands him the letter. The envelope is official FBI stationary. TOM What's with that letter? I thought you were done with the FBI. FRANK I am. Frank looks at the envelope. The return address is simply "FBI Academy, Quantico, VA." He opens the envelope and pulls out the single page letter. FRANK It doesn't say who it's from. Frank slowly scans the page reading. TOM What's the news? FRANK It seems that Emma got the Assistant Director position after all. INT. EMMA HOLLIS'S APARTMENT - DAY Emma is at her computer, writing a report for the Group regarding Steven Ball's murder. There's a knock at the door. Emma rises to answer it. James is standing on the other side, a look of concern on his face. JAMES I got your message. You sounded upset so I thought I would pay you a visit. EMMA Come in. Emma closes the door behind her father and gestures for him to sit. EMMA Can't I get you anything Dad? JAMES No thanks. What's the problem sweetheart? EMMA Dad, I've got some bad news. (a beat) Umm... Steven Ball is dead. James sinks in his chair, stunned by the news. He searches for the words. JAMES Steven? How? When? EMMA His body was found in Smith Mountain Lake. JAMES (nods, recalling the newscast) Do you have any leads? EMMA I don't know. It's not my case. I just went to observe and report on what I found. James stands, growing annoyed at his daughters evasions and misdirection. JAMES Report to who? EMMA Dad. JAMES (growing angry) To who Emma? (a beat) That Millennium Group? Is that who you're working for? Those people that did this to me? James points to the scar on his temple. Emma is beginning to get visibly upset. JAMES (CONT'D) I told you shouldn't have done it, didn't I? And now you're working for them?! I don't believe this. EMMA I didn't have a choice Dad. I had to. JAMES (calmer) We always have a choice, Emms. EMMA Dad, maybe you should leave. JAMES I'm not leaving 'till we talk about this. EMMA (a beat) Then I'm leaving. Emma grabs her coat and storms out of her own apartment. James stands alone in the apartment and looks around. A white card next to Emma's phone catches his attention. It has a hand scribbled phone number on it with a Maryland area code: 443-555-7361. He turns over the card. It's an FBI business card with an embossed gold FBI seal. The card gives Frank Black's information and address. James pockets the card then turns and notices the computer. He walks over to it, knocking over an half empty forty ounce bottle of scotch. He sits down and begins to read Emma's report which is still open in her word processor. INT. THE ELDER'S OFFICE - DAY THE ELDER is sitting behind his desk talking on the phone. INTERCUT BETWEEN SCENES: MABIUS is sitting in a car. THE ELDER So, do we have problems with Hollis? MABIUS No. I believe she has simply been frustrated with being out of the loop. And now with the involvement of her father I believe the time for her further testing has come. THE ELDER How involved has her father been? He can hurt our plans. He's done it before. MABIUS I don't think he's even sure of what he knows just yet. CAROL FINLEY walks into The Elder's office. He takes notice of her and cuts the conversation short. THE ELDER Good. Keep me apprised. He hangs up the phone. FINLEY You wanted to see me sir? THE ELDER Yes, Carol. Sit down. Finley sits in the chair opposite The Elder. THE ELDER (CONT'D) Carol, how are things with candidate Hollis? FINLEY She still has misgivings due to the death of Peter Watts and her former association with Frank Black... but she's open to our ideas and eager to learn more. (a beat) These are trying times for all of us. THE ELDER Yes, indeed. (a beat) Prepare for the first election. FINLEY Already? THE ELDER Yes, that will be all. Finley pauses briefly before standing and leaving the room. INT. BLACK RESIDENCE - EVENING Frank sits on the couch reading "Without Conscience" by Robert Hare. Jordan is sitting on the floor watching a rerun of "The Tick." The telephone can be heard ringing in the background. A few seconds later Helen walks into the room. HELEN Frank, phone's for you. FRANK Thanks Helen. Helen hands Frank the cordless phone. FRANK Frank Black. INTERCUT BETWEEN SCENES: JAMES Mr. Black. This is James Hollis, Emma's father. FRANK Yes, hello. What can I do for you Mr. Hollis? JAMES Well, Mr. Black, I know you and Emma were close. She respects you and looks up to you. She's gotten herself into some trouble with this group she's working for and I fear for her. FRANK I know. I have tried to dissuade her from working with them but she won't listen. Do you think she's actually in danger? Why? JAMES I'd rather not say over the phone. It has to do with her current case -- the drowning at Smith Mountain Lake. Will you look into it for me and try to get through to her? FRANK I will. I'll contact you when I get to Virginia. JAMES Thank you, Mr. Black. James hangs up the phone as does Frank. Frank sits their silently engaged in thought before his concentration is broken by Jordan. JORDAN Is Agent Hollis in trouble Daddy? FRANK Her dad thinks she is. FRANK'S INTERNAL POV -- James Hollis sobbing hysterically. -- A gun shot and muzzle flair. -- Palm trees being blown over in an atomic blast. He smiles at his daughter and picks her up over his head. He carries her into the hallway where he sets her down. FRANK Dinner time. Go wash up. JORDAN Daddy, can we put up the Christmas tree soon? FRANK You'll have to ask Aunt Helen and Uncle Tom. She tries to push by him. He pushes her toward to bathroom. FRANK (CONT'D) Go... EXT. EMMA HOLLIS'S APARTMENT - EVENING Mabius sits in the darkened automobile outside Emma Hollis's apartment, watching as James leaves the building and walks across the street to his car. CLOSE ON - MABIUS'S STERN FACE as we hear the sound of James driving away in the b.g. INT. FRANK BLACK'S CHEROKEE - DAY Frank is talking to RYAN FROST over his cell phone as he heads down the interstate. FRANK Ryan, Frank Black. How ya doing? (a beat) I'm calling about that homicide at Smith Mountain Lake. Do you know anything about it? FROST (O.C.) Well, only what everyone else knows. It's been plastered all over the news. Some guy in a suit? Is that all it takes? Gees. I've seen weirder stuff than that. FRANK I need a favor. (a beat) Do you think you can dig up something for me on the victim? I would really appreciate it. RYAN (O.C.) Sure. I can do that. Let me know if you need anything else. FRANK Thanks. I owe you one. RYAN (O.C.) (sarcastically) We're way passed one. (a beat) Take care Frank. Frank hangs up the phone and refocuses his attention on the road as he changes lanes to move towards his exit. INT. FBI RECORDS ROOM - DAY Emma has buried herself in boxes and old files. She pulls down two files marked CLASSIFIED. They're labeled "86-49-4-0-3/D.O.D./T-7" and "84-24/4-0-8/D.O.D./T-7," respectively. She opens one of them to find a picture of her father JAMES with STEVEN BALL and another man, KIERAN DOYLE, in a lab. Most of the file is blacked out with the exception of a date: "1952-1985." She moves across the room to a computer terminal. She looks at the photo again and types "Doyle, Kiernan" in the search box. His files come up on the screen. CLOSE ON - A COMPUTER SCREEN as Emma scrolls down to the list of known associates. She sees her father and Steven's name. She clicks on Family History. "DAUGHTER: CASSIE DOYLE." Emma nods to herself, recalling her investigation of Cass Doyle, a mental patient who was accused of murdering her parents. She pauses in contemplation. INT. A MOTEL - DAY Frank is sitting at the desk in his motel room talking on the phone. On the other end is Sgt. Bell of the Virginia State Police. They're in the middle of a conversation. INTERCUT BETWEEN SCENES: FRANK Did anything strike you as odd about the body? SGT. BELL Well, for one the suit. Which is a little strange in itself. FRANK Yeah... SGT. BELL He had a government ID card. Steven Ball, Department Of Agriculture. How's that for irony? Sgt. Bell laughs at his own private joke. FRANK Anything else? SGT. BELL Well, those two FBI agents who were poking around seemed kinda misplaced -- Hollis and Douglas. That Hollis really isn't much of a liar. FRANK Ok, I think that'll do. I'll come in and see you if I need anything else... SGT. BELL All right Mr. Black. Glad to help and tell Ryan hello for me. FRANK I will. Thanks. As Frank hangs up the phone there is a knock at the door. On the other side is the HOTEL MANAGER. HOTEL MANAGER Mr. Black? FRANK Yes. HOTEL MANAGER A fax came for you. The manager hands Frank the package of paper, about ten pages thick. FRANK Thank you. Frank returns to the desk and drops the papers down. Frank sits and begins reading. He turns to the section on the victim. Reading Steven Ball's employment records, he's drawn to the section left blank: "1952-1985." FRANK'S INTERNAL POV -- The sound of a whirring drill over James Hollis. -- A nuclear blast. He picks up the phone and dials Ryan's number. INTERCUT BETWEEN SCENES: RYAN Frost. FRANK Ryan, it's Frank. RYAN Hi Frank. Did you get my Fax? FRANK Yes, yes I did... but I need more. I'd like you to dig up anything you can on James Hollis. RYAN Sure. Okay. I'll see what I can get. Anything specific you want? FRANK See what you can dig up on his employment record. He worked for the military when he was younger. Frank thinks for a moment, seeing if there is anything else he needs. FRANK (CONT'D) Oh, Sgt. Bell says "Hello." RYAN Ah, he's a good guy. Department of Agriculture; what a joke. FRANK Thanks again. RYAN No problem Frank, take care. INT. EMMA HOLLIS'S OFFICE - DAY The office is still much the same as McClaren left it -- barren with little personal effects and mementos. Emma is sitting at her desk hunched over her keyboard. She is going through various databases searching for info on Steven Ball and what could have lead to his death. Agent Douglas comes across into Hollis's doorway. He gently taps on the door. DOUGLAS Have you made any progress? EMMA Yeah. Steven Ball's employment record is full of deletions but that's to be expected. He and my dad both worked in the intelligence world... And apparently he was a biologist for the Department of Agriculture. He chaired on a committee for genetically engineered food. DOUGLAS Genetically engineered food? Is that a possible connection to Ball's death? EMMA I'm not sure... Douglas nods sympathetically and walks away as Emma continues to stare at her monitor, trying desperately to piece everything together. FADE OUT. ACT TWO BLACK. "Strengthen the hands that are feeble, make firm the knees that are weak, Say to those whose hearts are frightened." -- Responsorial Psalm 85 FADE IN: INT. FBI CONFERENCE ROOM - DAY The room is filled to capacity. About 40 special agents try to cram themselves into the meager accommodations, the lucky dozen getting to sit. They stir and make idle conversation. A small artificial Christmas tree sits in the center of the conference table. In the f.g. are ERICSON and CHAMBERLAIN. ERICSON Why did they give it to her? I'm way more qualified and have almost twice the seniority. CHAMBERLAIN She was McClaren's protege. He made a special request to get her here in the first place. ERICSON Me thinks I smell a little politicking. Emma walks through the conference room doors with a stack of paper and files in her hands. Chamberlain and Ericson get a little closer, trying not to be overheard. EMMA (O.C.) All right, seeing as this room was only designed to hold half this many people, I'll get through this as fast as I can. Everyone continues to chatter completely ignoring the presence of the new Assistant Director. CLOSE ON - CHAMBERLAIN AND ERICSON whispering. CHAMBERLAIN No. The powers that be were originally going to give it to Ken. She drops the files and papers down on the table with a loud THUD. Chamberlain pulls back to the realization that everyone is looking at them. EMMA You have something you want to share with the rest of the class, Chamberlain? CHAMBERLAIN No, Ma'am. EMMA Good. Now onto business. (a beat) First, we've started a collection for Ken's family. The holidays are coming so be generous. She turns around and attaches a piece of paper onto a cork board. EMMA (CONT'D) Now, case updates. Johnson, how's the Baltimore multiples coming along? Johnson can't be seen. His voice wafts in from the back of the room. JOHNSON (O.C.) It's going to trial. We're currently advising the D.A. on interviewing techniques. EMMA Good, Good. Ericson, Chamberlain, Wagner. Have you made any progress on the Chinese smuggling case? ERICSON No. We've really hit a brick wall trying to get records out of their government. EMMA Lean on them. Don't be afraid the use the State Department. That's what they're there for... EXT. JAMES HOLLIS'S APARTMENT - DAY Frank knocks and waits for an answer. He looks around; waiting. James answers, a little surprised to see him. JAMES Mr. Black? FRANK Yes, Frank Black. Nice to meet you sir. The two shake hands. JAMES Come inside. INT. JAMES HOLLIS'S APARTMENT - DAY JAMES Just sit down wherever you'd like. Can I get you anything. Coffee? FRANK That would be great, thank you. Frank sits down. James comes out of the kitchen and hands him the steaming cup. He sits down across from Frank. JAMES So. Have you made any progress? Talked to Emma yet? FRANK No. Actually I wanted to talk to you. JAMES Me? What for? FRANK Well, I've been looking into this murder Emma's been working on.... And it appears that you know more than you were willing to say over the phone. (a beat) First of all, you knew the victim. You worked together on some sort of classified government project. JAMES Yes, I knew him. We were good friends. We worked together at the Pentagon. FRANK Do you think his death had anything to do with your work? JAMES Don't go looking for any insidious conspiracies here, Mr. Black. FRANK So why did this case lead you to think Emma would be in danger? JAMES Bad memories. FRANK. What does that mean? (a beat) James... I can't help you unless you tell me everything. James takes a deep breath and readies himself. JAMES Have you ever heard of Project Aounabara, Mr. Black? FRANK'S INTERNAL POV -- Chinese shipping sailors in cages, rattling the bars. -- Kanji characters bleeding through a man's skin! -- A Chinese man lying on a metal operating table. -- Men in radioactive suits. FRANK Yes, I have. JAMES Steven Ball and I had worked on the project throughout the fifties, sixties, and seventies. FRANK (sits forward in surprise) Really? How did you become involved with them? JAMES I believe the Millennium Group arranged for me to get transferred to the project after my military stint in Korea. I was a biologist brought on to do genetic work. (a beat) I would meet with a man named Gebhard once a month and, after a while, he told me they were going to be applying my research to other experiments... experiments on people. (a beat) I was never explicitly told what the goal of Project Aounabara was, but I suspected it had something to do with nuclear weapons. Steven and I were just hired hands, kept out of every conceivable loop. I do know that the Department of Defense funded it. FRANK'S INTERNAL POV -- Palm trees being blown over in an atomic blast. -- A silhouette of a man standing in an atomic blast, his arms outstretched. -- The word "Aounabara" scratched in a glass door. JAMES It was insane; It was unethical; But they held all the cards and I was just a young kid eager to be out of the war. James Hollis begins to get visibly upset. JAMES (CONT'D) I wanted out... but my superiors threatened to harm my family if I didn't cooperate. FRANK What did you do? JAMES I gathered my things and left anyway... Then a man named Michael Wynters murdered my daughter one month later. It was too much of a coincidence to think anyone but the Group was responsible. I bit my tongue and kept quiet about the project... to protect Emma. James rests his head in his hands as he begins sobbing quietly. JAMES And the ultimate irony. They used the research I pioneered to cure me of my Alzheimer's twenty years later. (a beat) They hoarded my condition over Emma's head to get her under their sphere of influence. Now they have her. FRANK Why are you telling me this? JAMES Because, like you said, you need to know everything. FRANK Then why do you think Emma's in danger? JAMES Why wouldn't I? She's working for these people who are capable of such terrible things. (a beat) Find her, Mr. Black. Help her. INT. EMMA HOLLIS'S OFFICE - DAY Emma is sitting at her computer terminal looking at Steven Ball's records. She's reading an overview of Steven Ball's work in genetics. Her phone rings. EMMA (answering) Assistant Director Hollis. On the other side of the phone is FBI security. SECURITY (O.C.) Director Hollis. This is the front desk. You have a visitor. EMMA Carol Finley? SECURITY (O.C.) Yes. Emma does a double take toward her computer screen. EMMA All right. Send her up. She continues her research as Douglas comes through the door. DOUGLAS Hollis. You owe me one. I pulled in a few favors over at D.O.D. and managed to get a hold of Steven Ball's classified records. Hollis grabs the folder Douglas is holding. DOUGLAS (sarcastically) You're welcome... Emma quickly looks through the file and looks back up Douglas in surprise. EMMA It seems that Mr. Ball used to develop bio weaponry. Emma continues to scan as she reads more. EMMA (CONT'D) And so did my father... Carol Finley walks into frame. As she does, Hollis quickly closes the file and hands it back to Douglas. Douglas, taking the hint, takes the file and walks away. FINLEY Emma, walk with me. Emma nods, rises from her desk, and walks with Finley out of the room. EXT. FBI ACADEMY GROUNDS - DAY Emma and Finley walk together in an awkward silence. Emma suddenly speaks. EMMA Why was I given this assignment? FINLEY You know why you were given this assignment. Certainly you've made the connections by now? EMMA What's the Group interest? Finley pauses, attempting to pick her words carefully. FINLEY Steven Ball was a loyal colleague and a valuable asset. EMMA Steven Ball was a member of the Group? FINLEY Yes, since the mid eighties. Finley notices Emma's mental wheels spinning. FINLEY The Group wasn't involved in his death Emma, despite what Frank Black would want you to believe. We're not in the business of political assassination. (a beat) That's what this was. EMMA Has the Group been pursuing a suspect? FINLEY We've been pursuing various avenues but nothing has come to light. We have members working with the Virginia State Police. (a beat) It was your father they wanted. EMMA What? Who did? FINLEY The Group. EMMA My father never worked for the Group. What are you talking about? FINLEY Yes, he did, but left for some reason. He was offered membership but refused. Emma is shocked and unnerved by the revelation. EMMA Why? What did you want him to do? FINLEY It was before my time Emma. I couldn't tell you. Finley takes notice of Emma's frustration. FINLEY (consolingly) I know this must be hard on you... The loss of an old friend, this news about your father and the conflict you must be in. You have so many conflicting viewpoints about us from me, Frank Black, Peter Watts... (a beat) All I can say, is wait and have faith. Answers are forthcoming. (a beat) And the Group appreciates your work... You'll make a fine member... INT. VIRGINIA STATE POLICE HEADQUARTERS - DAY Frank is sitting at a computer terminal, deep in thought, reviewing the file of MICHAEL WYNTERS. He scans the list of known associates trying to find a connection to the Group. He takes notice of a particular entry -- his military record: "...honorably discharged for psychiatric problems in 1974..." "...1975-1979: CLASSIFIED..." "...arrested for the murder of Melissa Hollis in 1979." EXT. JAMES HOLLIS'S APARTMENT - DAY Emma stands at the door and knocks. She waits a beat, no answer. She knocks again, no answer. A look of fear comes across her face and she tries the door. It's unlocked. She opens the door slowly and draws her sidearm. EMMA'S POV She slowly makes her way down the long narrow hallway. The hallway opens onto the living room. An arm can be seen protruding from the left, limp, and lifeless. Emma cuts across the corner as she enters the living room. Clearing it with her Sig Sauer pistol - low then high. Entering the room, Emma discovers her father... dead. James is cold, slumped in a heap. On the adjacent table: an empty bottle of Tylenol 3, a note, and an empty video cassette box. On the television is the familiar footage of palm trees being blown over by an atomic blast. Emma kneels next to her father. She checks his pulse along the coratid artery. No pulse. She slumps to her knees and begins crying. She pulls herself to her feet and turns toward the table. She picks up the piece of paper -- a suicide note. It reads: "NEVER AGAIN. I LOVE YOU." INT. THE ELDER'S OFFICE - DAY The Elder is seated at the head of a large, flat black conference table. His image is reflected in the table's finish. Around the table sit senior members of the Millennium Group: Mabius, Blaylock, Finley, Albrecht, and Titus. THE ELDER What are we to do about candidate Hollis? I think she may be too great a risk. Her faith seems to lie elsewhere and her opinions are clouded. (a beat) Carol? FINLEY She's very distraught. I think now is an opportune time. She will be responsive to the answers we give her. (a beat) I think-- TITUS (interrupting) I think she's a liability, an unknown variable. We have to know exactly where people's loyalties are, especially now. I don't need to explain to anyone here how important these times are. There are less than thirty days remaining... ALBRECHT We risked curing her father to get her into the Assistant Directory position. Now she is. MABIUS Her father won't be a hindrance any longer. I'm told she found him dead in his apartment. ALBRECHT Were we responsible? MABIUS His guilt was his own undoing. THE ELDER It's a shame. James Hollis was a brilliant man, a gifted scientist with ideas seminal in the achievement of our goals. I want to know everything regarding his death. EXT. SMITH MOUNTAIN LAKE - DAY Frank and Sgt. Bell are revisiting the scene of the grisly find. The area is now eerily empty. All the remains is the disturbances in the sand and ground ghosting the locations of man and machine. SGT. BELL As I told those FBI agents, a passer-by reported seeing the body in the water. We sent out a boat. Frank kneels down on the beach, over where the body used to be. FRANK Have you made any progress? Any suspects? SGT. BELL Yes. We've made an arrest in fact. FRANK (shocked) Really? Who? SGT. BELL Some kid named Tommy Ganelli. A small time hood trying to make his name in the Santo crime family. (a beat) I wish they were always this easy... Frank nods in agreement as his cell phone rings. FRANK Excuse me. Frank turns and walks a few feet away. The phone beeps as he flips it open and places it to his ear. FRANK Frank Black. A FEMALE VOICE billows out of the receiver. VOICE I'm ready to do something about it. FRANK Emma? FADE OUT. ACT THREE BLACK. "He will be gracious to you when you cry out, as soon as he hears he will answer you." -- Responsorial Psalm 85 FADE IN: INT. A CAFE - DAY The cafe is extremely busy. The cacophony of conversations of the many busy customers. Cutlery clinking against dishes, orders being yelled to and fro. Emma and Frank sit opposite each other. Emma moves her fork slowly through he food, mostly uneaten. She sits uncomfortably and continues to shift her position. Frank, as though he hasn't eaten in days, veraciously works through his ham and cheese omelet. EMMA My father's dead, Frank. I think the Group killed him. FRANK What? How? EMMA An apparent suicide. A drug overdose -- pain pills. Frank reaches across the table and places his hand on hers. FRANK I'm sorry. I really am... EMMA Thank you. FRANK Why do you think the Group's involved? This doesn't have any of their usual calling cards. (a beat) A suicide by overdose is a very personal event. Your father, despite his age, was still very strong. I doubt any Group operative could have force fed him. (a beat) What about staging? EMMA A note. She reaches into her pocket and pulls out an evidence bag. Enclosed is a piece of paper. She hands the bag to Frank. He quickly reads the note, knowing immediately what it means. He hands it back to her. FRANK "Never Again." Does it mean anything to you? EMMA I think my father had some involvement with the Group... and their experiments. His friend, Steven Ball, was recently found dead. FRANK I know. EMMA (shocked) What are you talking about? FRANK Emma, I was contacted by your father and asked to look into your current assignment. (a beat) He felt you were in danger. EMMA Danger? From the Group? (a beat) What did he tell you? Did he say *why* he felt that way. FRANK Did your dad ever tell you anything about his work? About what he did at the Pentagon? EMMA (shaking her head) No. Although I have discovered some things about him and his past. FRANK Your father told me about being approached by the Group. They wanted to apply his research to other, questionable, areas. (a beat) He blamed himself for the death of your sister. EMMA He had nothing to do with Melissa's death. Why would he think that? FRANK He thinks by refusing the Group he killed Melissa. He thinks they killed her to get him to stay silent about his work. EMMA (agitated) No. Michael Wynters killed my sister... FRANK For the Group... EMMA Michael Wynters was a nobody who broke into the wrong house. (a beat) If there was any connection between Wynters and the Group I would have found it... Unless... (a beat, thinking) Do you remember Cass Doyle? Her father worked with mine at the Pentagon. I always believed she wasn't solely responsible for murdering her parents. FRANK Yes, it's possible that the Group applied the same research they used on Lucas Barr to both Cass Doyle and Michael Wynters... They created assassins in a plot to conceal their heinous work. EMMA (shaking her head) This is all too unbelievable. (a beat) I appreciate your help, Frank. Emma quickly makes her way toward the door. Frank chases her down. He grabs her by the arm to stop her from leaving. She turns around. FRANK Emma. Don't let them get to you. She leaves the restaurant and he returns to his table. FRANK'S INTERNAL POV -- Pills spilling over the side of a table. -- Gunshots. -- A young Emma screaming. When Frank refocuses, the WAITRESS is standing over him, watching as Frank focuses intently on something that's seemingly not there... WAITRESS Sir? Are you all right? Can I get you anything? FRANK I'm fine. Just the check please. EXT. JAMES HOLLIS'S APARTMENT - DAY The apartment is cordoned off by police tape. People line the sidewalks watching slack jawed and wide-eyed. The two police officers, guarding the crime scene blockade, chat to break the boredom. OFFICER #1 Man. It's gotta be tough to investigate your own father's death. OFFICER #2 (slightly annoyed) Yeah, but I don't know why *we're* still here. The coroner pulled out the body yesterday and forensics have already been done. OFFICER #1 Apparently she's a real all-star in the Bureau. (a beat) But cut her some slack. How would you feel? Her father just died! OFFICER #2 I know, but the FBI is up the Lieutenant's ass dealing with this guy's death and we're getting the blunt end of his frustration. OFFICER #1 Your compassion knows no bounds... Their conversation is broken as an approaching car peaks their interest. A red Jeep Cherokee. It slows to a stop, behind the marked police vehicle, and parks. They place their hands at their hips, guns at the ready. The door cracks open and FRANK exits. He walks toward the two officers, they look him up and down, unsure what to make of him. FRANK Is AD Hollis here? OFFICER #1 Who's asking? FRANK My name's Frank Black. I'm a colleague of hers. OFFICER #1 We were told you might be coming. Yes, go on in. (a beat) I suggest caution. She's a little out of sorts. Frank nods as he passes them, on his way through the door. He buttons his jacket up to the top button. INT. JAMES HOLLIS'S APARTMENT - DAY Emma sits on the edge of the couch, her head down, sunken and sullen. She holds a family photo in her hands: a professional portrait of the entire Hollis family. The TV's gone to static. FRANK How are you holding up? Emma snaps back, startled by his presence. She answers tritely and quickly. EMMA I'm fine. Contemplating yesterday's conversation, actually. FRANK A guilty conscience is a large burden to carry Emma. She nods. The front door opens and FOOTSTEPS are heard making their way down the hallway. Emma and Frank turn to see Finley coming around the corner. FINLEY Emma? FRANK (politely) Carol. FINLEY (glances at Frank) Frank. FINLEY (to Emma) Can we talk in private? EMMA I don't think we need to. FRANK Perhaps she's not as easily swayed as you thought. Finley becomes agitated but holds her tongue and pushes past Frank toward the door. She stops abruptly and turns around. FINLEY Frank, when are you going to come to your senses? FRANK What? FINLEY You imagine the Group as this evil force, lurking in the shadows, working the sticks and strings of the world. (a beat) We're not responsible for most of the things you accuse us of. FRANK (interrupting) You just carry out God's good work steeped in the arrogance that you know his mind... Finley concedes and walks out the door, leaving Frank and Emma alone again. EMMA What are you doing here Frank? FRANK Well, I thought you might need someone to talk to. You were there for me... after Catherine died. (a beat) And I didn't get a chance to deliver the news about the Steven Ball case. Emma springs to her feet. EMMA What? FRANK The State Police have arrested their prime suspect -- someone named Tony Ganelli. Theory is he killed Ball to make himself known to his Mafia associates. EMMA Why this guy? What evidence do they have? FRANK Canvassing the park they found bullet casings with his fingerprints on them. They match with the estimate the M.E. made on the cause of the wounds. Emma pauses to ponder all the information she has just taken in.... FRANK (CONT'D) It's just a theory. Everybody has one. EMMA So a Mafioso wanna-be becomes the catalyst for... (looks around the apartment) all this? Talk about fate. (a beat) Did you have a chance to look at the evidence I gave you? FRANK Yeah. The note doesn't tell us much... aside that your father was lucid and calm when he wrote it. EMMA And this? Emma picks up the VCR remote and presses the play button. The television flickers to life: palm trees being blown over by an atomic blast. FRANK Test footage of an atomic blast from the 1950's. He and Ball worked out of the Pentagon on a project called Aounabara. The Group was interested in re-engineering humans to survive the aftermath of a nuclear holocaust. (a beat) He never wanted to forget what his research cost him, so even through his Alzheimer's, he fought to keep the memory of Melissa alive. EMMA Every once and a while I would come home and startle him. He would be sitting in front of the TV, playing this video. I never knew why... until now... CLOSE ON - TELEVISION and the Aounabara footage, as we FADE OUT. ACT FOUR BLACK. "All who are alert to do evil will be cut off, those whose mere word condemns a man, Who ensnare his defender at the gate, and leave the just man with an empty claim." -- Responsorial Psalm 27 FADE IN: INT. JAMES HOLLIS'S APARTMENT - DAY Frank is talking into his cell phone. Jordan's cheery voice is on the other line. FRANK Hi sweetheart. Is something wrong? JORDAN (O.C.) No. I just wanted to talk to you. I miss you... FRANK I miss you too. Emma's cell phone is heard ringing in the b.g. JORDAN (O.C.) What are you doing? FRANK I'm working with Agent Hollis right now. JORDAN (O.C.) Is she all right? Tell her to feel better. FRANK Why? JORDAN (O.C.) (changing the subject) When are you coming home? FRANK Very soon. JORDAN (O.C.) Bye daddy. FRANK Bye-bye. Frank turns back towards Emma. FRANK Jordan says "Hi." EMMA Oh, that's nice. (a beat) Frank I have to go. I'm needed back at Quantico. FRANK Sure. I'll call if anything breaks. EMMA I don't think that will be necessary, Frank. Go home and be with your family. (a beat) And thanks for all your help. FRANK It was good to see you again. He places his hand on her shoulder. FRANK (CONT'D) I'm sorry again about your father. (a beat) Take care of yourself Emma. I'm only a phone call away if you need me. Emma watches him leave before sitting back down on her couch. She sits in silence. INT. THE ELDER'S OFFICE - DAY The Elder sits behind his large desk across from him sits Finley. THE ELDER Once again we meet to discuss Ms. Hollis... What news? FINLEY She called Frank Black just as we thought she would. THE ELDER And what of her investigation? FINLEY Well, she's beginning to understand her ties to the Group... that everything in her life has been predetermined for her. She will either become stronger by this knowledge... or be destroyed by it. THE ELDER Excellent! Then everything is unfolding as planned. Assemble the senior members. (a beat) It's time to see where Ms. Hollis's faith truly lies. FINLEY Sir??? She hasn't even been to see the Old Man yet. THE ELDER Yes, but time is growing short and the Old Man is... occupied. INT. EMMA HOLLIS'S OFFICE - DAY Emma sits quietly at her desk, her head buried in papers. Her phone rings. EMMA (answering) Assistant Director Hollis. INTERCUT BETWEEN SCENES: Carol Finley sits in her car, parked on the side of the road, talking into her cell phone. Traffic flies past. FINLEY Hello Emma. EMMA What do you want now, Carol? FINLEY We need to meet. It's important. EMMA (a beat) Where? FINLEY 1616 Pandora Avenue. I'll be waiting for you on the ground floor. The phone goes dead as Finley hangs up on the other end. A beep on her computer alerts her of new email. She double clicks on the icon and retrieves her messages. Over her shoulder we see the screen: "Director Hollis, the files you requested are classified. Request denied." She catches a glimpse of Agent Douglas walking past her door, towards the elevator. She sprints out of her office in pursuit. EMMA Sean!... Sean! DOUGLAS (turning around) What is it, Emma? EMMA You wouldn't happen to have any more favors in the D.O.D. would you? DOUGLAS No, sorry. I used them all to get Ball's employment records... EMMA Damn! DOUGLAS Why? What do you need? EMMA I made a request under the Freedom of Information Act to get my father's employment records, but it was one solid black marker line. I was hoping for more information but it's "request denied" at every turn. DOUGLAS That big, huh? EMMA Apparently so. DOUGLAS Sorry. I can't help you... EXT. 1616 PANDORA AVENUE - DAY Emma pulls up outside a seemingly abandoned warehouse and sighs nervously before getting out. She approaches the front entrance and is surprised to find that the doors are unlocked. She briefly places a hand on her sidearm for assurance before stepping inside. INT. 1616 PANDORA AVENUE - DAY The interior is an empty, dark, expansive space. Emma takes notice of the dusty floor and the aged light fixtures above her that look ready to collapse. Suddenly, the cargo elevator across from her DINGS! The doors opens slowly... Finley is standing inside. FINLEY Good, you're here. I was beginning to think you weren't coming... EMMA I almost didn't. Finley approaches and hands her a manila folder she had concealed in her overcoat. FINLEY I've heard through the grapevine you were looking for this. Emma takes the file, opens it and begins reading. EMMA (shocked) This contains all the information on my father's work! FINLEY Yes. EMMA How'd you get this? Finley doesn't respond. Emma nods in understanding and conceals the file in her own coat. FINLEY Come. There are people waiting to see you... EMMA Who? Finley ignores her question and they step into the cargo elevator. The doors shut tight. INT. CARGO ELEVATOR - DAY Emma and Finley stand next to each other, quietly waiting for their destination as if speech in elevators were prohibited. Emma begins to shift her feet. She obviously has something on her mind. EMMA (breaking the silence) Who are we going to see? Why can't you tell me? FINLEY The less you know the better. Emma is puzzled by that loaded comment. The elevator slows to stop and DINGS as the doors open on the 7th floor. They step out into a HALLWAY that is partitioned by numerous anonymous and unassuming doors. Finley stops at an unmarked room and turns to Emma. FINLEY A little tip: just try to be yourself. EMMA What? FINLEY You'll see. INT. A WELL FURNISHED ROOM - DAY An INTERIOR SHOT of the door as it begins to open - Emma enters cautiously. Greeting her is an empty chair encircled by nine Group members. She stands still, almost paralyzed -- unsure what to do next. THE INQUISITOR, an older graying woman, radiating wisdom, beckons. THE INQUISITOR Ms. Hollis, please sit. She points toward the chair in the center of the circle. Emma sits and looks around, taking in the faces, confused. EMMA What is this? INQUISITOR We'll be asking the questions. (a beat) And seeing as we all have pressing business to attend to, I'll try and make this brief. A voice in the back perks up. Emma turns toward a white male, 40's -- Albrecht. ALBRECHT Tell us, who founded the Millennium Group? Hollis struggles attempting to twist herself toward the man sitting directly behind her. EMMA I don't know. (a beat) I was told I would learn when the time was right. Titus, sitting next to the Inquisitor, interrupts. TITUS And did you? EMMA (chuckling) I guess not. TITUS (annoyed by the rather flippant answer) You guess, Ms. Hollis? (a beat) What we do requires a respect and demands a conciseness of thought and action. (a beat) Now, do you wish to rephrase your answer? EMMA No. I don't know who founded the Group. THE INQUISITOR Ms. Hollis, why did you choose a career in the FBI? EMMA I wanted to make a difference... I wanted to help people. THE INQUISITOR Spare us the textbook answer here. We don't accept platitudes. (a beat) Now, we would appreciate if you gave us the *real* answer. Hollis looks down at the floor, as if the answer was written on her shoes. She adjusts herself in her chair and sighs. The wood creeks and groans in response. EMMA When I was young, a man broke into my home and murdered my sister. I joined the FBI to try and understand... what motivates a person to do something so terrible... (she gives the Inquisitor a sharp look) He killed her right in front of me. THE INQUISITOR And do you understand? EMMA I think... I'm finally beginning to. INT. A HALLWAY - DAY Finley is waiting outside, leaning against a wall. The door opens and Emma exits the room without word. She pauses before walking past Finley to the elevator. INT. CARGO ELEVATOR - DAY Emma turns around and presses the button for the ground floor. The elevator doors close and Finley can be seen through them... watching. Suddenly, emotion washes over her and she begins to sob. Again, she sees the FIGURE reflected in the steel doors! She turns to see her little sister MELISSA looking up at her, smiling. Emma gasps... then smiles back... INT. 1616 PANDORA AVENUE - DAY The cargo elevator DINGS as it opens on the ground floor... only Emma is inside. She walks out, flipping through the manila folder all the while. EXT. BLACK RESIDENCE - DAY Frank's red Cherokee pulls into the driveway. He steps out, goes to the back, and begins unloading his luggage. He turns as he hears the door fly open. Jordan comes darting out of the house, arms open wide. JORDAN Daddy! Frank puts down his stuff and meets her halfway. She jumps into his arms. FRANK Hey! How have you been munchkin? JORDAN Munchkin?! I'm almost five feet! FRANK Sorry. I stand corrected... They begin walking to the back door. JORDAN How was your trip? Is agent Hollis all right? FRANK (a beat) She will be. Jordan runs into the house with Frank following. INT. EMMA HOLLIS'S APARTMENT - DAY Emma sits at her desk, hunched over, and engrossed in the file she received from Finley. She still wears the day's work clothes, her hair is matted, and she's not answering her phone which is ringing in the b.g. The lighting in the room suddenly changes as her computer monitor changes. She looks up. CLOSE ON - A COMPUTER MONITOR as the Millennium Group's ouroboros fills the screen. Emma stares at it for a moment before looking back down. She continues her reading... FADE OUT. THE END