M I L L E N N I U M IT... HAS... BEGUN... NOTHING IS FORSAKEN... Virtual Season Episode #410. "Akuma Odori" written by: Eric Davis TEASER DARKNESS. Muted screams drift in and out as LIGHT slowly permeates our view. The iron SOUNDS of mechanisms at work filter in and out of the screams emanating from a few doors away. The LIGHT fills frame to reveal: The metal mesh of a CAGE. We are inside it, TRAPPED. A gnarled, twisted hand reaches out a grasps the frame of the cage. The hand shakes and quivers as it tries to keep hold. We hear the SUDDEN CLANG of a metal door as its kicked open and SMACKS the wall. We turn and look and see a row of similar cages, some empty, some filled with the pale, emaciated faces of those we do not know. The faces seem to scream at us without sound. SUDDENLY, the cage next to us is open, and a CHINESE MAN is being shoved in by a JAPANESE GUARD carrying a rifle. We reach out to the badly abused chinese man in the next cage, but then the guard opens our cage door. He shoves in the butt of his rifle. CUT TO BLACK. FADE IN. A SLEEPING MAN'S eyes. He's in full R.E.M. mode, his orbits fluttering about beneath his eyelids. We move out to reveal him in his bed. He is TAKAYO NAKAGAWA (73), a thin, well-preserved Japanese man. INT. NAKAGAWA'S BEDROOM - NIGHT Nakagawa squirms about, fitfully sleeping. Then, A SHADOW brushes past his face. He continues to squirm restlessly, apparently tortured by whats in his dreams. He AWAKENS, bolting upright in his bed. His eyes WIDE and his mouth agape. He looks down at his quivering hands and arms. It's as if an unseen force has him in its grasp. NAKAGAWA'S POV The skin on his arms begins to BLEED, as if slight incisions were made by the skillful touch of a master surgeon. The CUTS form into Japanese KANJI characters, each symbol sprouting anew on his skin. He holds his shaking arms out in front of him and stares in disbelief at what hes seeing. NAKAGAWA'S FACE: His forehead is now being cut open by an unseen blade as well, each new Kanji character spelling out a message. Nakagawa slides off his bed onto the floor. He is awash with fear. He glances around, but sees no one. He turns and watches as the walls surrounding him each begin to BLEED similar Kanji characters. He rises up on wobbly knees and gaits out of the room and down the hall. The Kanji letters follow him in succession down the walls of the hallway and out into the: INT. LIVING ROOM - NIGHT He dashes into the living room and falters, flailing to the floor. He gets up and sees the walls of this room being cut open and bleeding. With each new character, he shudders. He tries to scream, but he can only muster an open mouth. He begins shaking his head "no" over and over. He cries and clutches at the curtains that adorn a SLIDING GLASS DOOR. Then, the characters stop. Everything is silent, save for Nakagawa's rapid-fire breathing. We HOLD on his terrified face, before we hear the sound of GLASS being etched. Nakagawa turns to see one word cut BACKWARDS into the glass door: AOUNABARA. He slowly moves and opens the door out onto the balcony. EXT. BALCONY - NIGHT Nakagawa's 17th-floor apartment overlooks the shimmering lights of downtown Baltimore. Nakagawa steps out onto the balcony. Tears well up in his eyes as he reaches out to touch the word. NAKAGAWA (in Japanese, subtitled) I'm sorry. I'm sorry. A beat. Then the entire glass door EXPLODES! The force sends Nakagawa HURTLING over the edge of the balcony. He plummets 17 floors and lands with a slick thud on the street below. FADE OUT. ACT ONE BLACK. "REST IN PEACE. THE MISTAKE SHALL NOT BE REPEATED." -- Cenotaph Hiroshima, Japanese Inscription "There is no evil in the atom; only in men's souls." -- Adlai Stevenson FADE IN: INT. KITCHEN - BLACK RESIDENCE - DAY The Black Residence is up early this morning. HELEN BLACK, dressed in a robe is busy pouring cereal for CHARLIE. JORDAN BLACK sits at the kitchen table, looking morose. Legend INDICATES: Black Residence Baltimore, MD September 17, 6:58 AM Tom slides in still tying his tie. Helen pulls him off to side and begins tying it for him. HELEN Is everything all right? TOM Yeah. Fine. I'm going straight to my office after I stop at the hospital. I thought I'd take Frank with me. Helen's expression sours slightly. HELEN I thought he was dropping Jordan at school. (flustered) Look at me! I've barely got time for everything else around here! What am I supposed to do with Charlie? TOM Listen. Take him with you. Jordan can watch him while you get ready. HELEN You don't understand, Tom. Since Frank and Jordan have moved in, I feel sometimes like I've gained a daughter... someone else's daughter. TOM You should be happy about that. She's been through a lot. She doesn't have a mother. HELEN And sometimes a father, too. TOM Honey please, it's not everyday I have to go to a hospital and see one of my associates... (pause) I thought Frank could help. Tom turns as Frank enters the kitchen. He smiles at Jordan. She looks away. Frank approaches her. She barely acknowledges him. FRANK Hey, kiddo. Nothing. FRANK (CONT'D) I promise I'll be there to pick you up at three-thirty sharp. Got it? JORDAN (distant) Yeah. Jordan gets up, taking Charlie by the hand. JORDAN (CONT'D) C'mon Charlie, lets help you get dressed. ANGLE ON Frank. Deep in thought. Tom stirs him by touching his shoulder. TOM Ready? FRANK Yeah. Frank heads out of the kitchen. Tom lingers with Helen. Helen pecks Tom on the cheek. Tom turns to go. HELEN Pick up some Real Estate guides, ok? Tom pauses with a silent, solemn nod, then leaves. EXT. SUBURBAN HOUSE - DAY A older ranch home in dire need of a paint job sits on a lawn in dire need of a good trim. INT. LIVING ROOM - SUBURBAN HOME - DAY A quaintly cluttered living room featuring a plastic-covered sofa and an easy chair. An old Magnavox sits in the corner, snow playing on the screen. A pair of samurai swords adorns the wallspace above the fireplace. In the easy chair sits CALE YEALY (70). He's fallen asleep in the chair, his grasp slipping on a cup of warm coffee. CLOSE on his eyes. Beneath the lids, his eyes bounce around like lotto balls. His body jerks and buckles. His hand spasms and his cup falls and spills coffee all over the scratched wooden floor. Cale's mouth widens and his eyes explode OPEN. On the TV, channels start to change before his eyes. He tries to rise from the chair, but can't seem to pull himself up. The walls SHIMMY and the samurai swords CLATTER. The TV stops switching channels. Onscreen Kanji characters begin to appear. Cales eyes grow WIDER with each character. CALE No'no' INT. HOSPITAL HALLWAY - AY Nurses and orderlies move about in an almost pedantic fashion. Legend INDICATES: John Hopkins Hospital Baltimore, MD 7:48 AM A SIGN off to the left indicates the hallway to the MORGUE. Two investigators, DEBRA MORSE (44) and GLEN TSUNAI (34) move around the corner and into view. Morse looks the part in her non-descript navy suit. Tsunai doesnt look a day over 25. They meet up with a uniformed HOSPITAL SECURITY GUARD. From our distance away, their voices are inaudible. The guard turns and points in our direction. Morse and Tsunai move toward us. We pull back revealing two men standing against the wall waiting. One is Tom Black looking drained in a hastily pressed shirt and tie, and the other is Frank, busy studying the activity around him. Morse and Tsunai approach both FRANK and TOM. MORSE I'm Debra Morse, Baltimore PD, and the lead investigator on this case. This is my interim partner Glen Tsunai... He's on loan from DC's Special Crimes Unit. GLEN (stepping forward) I specialize in Pan-Asian crimes. MORSE Which one of you gentlemen is Mr. Black? Frank and Tom share a look. Tom speaks up. TOM I am. Tom Black. I was Professor Nakagawa's associate at U of B. Tom hesitates. He's having trouble with this. TOM (CONT'D) This is my brother Frank. He's an investigator himself. Ex-FBI. Tsunai perks up. TOM (CONT'D) I understood what Officer Watley relayed to me on the phone, but I can't quite believe it... MORSE You're one lucky guy. Apparently Nakagawa kept his phone book in alphabetical order... you were first on the list. We just need your assistance to confirm I.D. TOM I'd be glad to help in anyway possible. MORSE (to Frank) Uh, Mr.Black? Go ahead and make yourself comfortable. We won't be long. TOM Excuse me, Detective Morse, but I believe Frank might be of help here. MORSE (interrupting) That's okay, like I said, we won't be long. Morse turns on her heel and makes her way back towards the corridor. Tom follows. Tsunai lingers. He eyes Frank, who offers a feeble smile as he takes a seat. Tsunai raises his finger as if to speak, but resists. He turns and catches up. INT. CORRIDOR - DAY Harsh flourescent lights fill the hallway as Tom and the two detectives make their way to the morgue doors. Both Morse and Tsunai step ahead and engage in a low-key discussion. GLEN Do you know who that was? Frank Black. MORSE I don't care if it's Franki Valli, I'm not allowing some civilian "investigator" access to crime specifics. GLEN You don't get it do you? His record is amazing, his work for the bureau top drawer. The profiles Frank created, the work on the Georgetown Strangler case back in '87 had a huge impact on my life. MORSE In what way? TSUNAI The Georgetown Strangler was my roommate. MORSE Well, I'm glad your a big fan of his. (a beat) This is a walkthrough. Frankly, I don't know why you're here. The two stop walking as they come to the morgue doors. Tom steps up from behind. MORSE (CONTD) (whispers) This guy dove off his 18th floor balcony. I don't know what having a "panasian" expert has to do with that. GLEN He lived on the 17th floor. The double glass morgue doors WHOOSH open. Tsunai steps inside. Tom follows, leaving Morse in the hall. INT. MORGUE - DAY The two detectives approach the attending physician, DR. LAYTON BOWLES (50s). Bowles removes his spectacles and wipes his brow. MORSE We need to see the suicide that came in early this morning. BOWLES Oh yes. Bowles moves over to a second table. On the table is a body covered by a white sheet. Tom steps up towards the table BOWLES (CONT'D) (to Tom) I'll have to warn you sir, he was quite a mess when he came in. We've done our best to clean him up. Bowles removes the top of the sheet to reveal: NAKAGAWA'S HEAD AND NECK. Gone are the Kanji characters that had previously been etched into his skin. There are no signs of them, only the brutal marks of his fall. BOWLES (CONT'D) Obviously, there's been some severe trauma, but most of the distinguishing features are intact. Tom offers a quick "yes" shake of the head and backs away, clearly disturbed. INT. TOM'S CAR - MOVING Tom drives while Frank is seated uneasily in the passenger seat. Tom looks lost, like his mind is wandering. TOM I don't get it Frank. Why? FRANK That's not an easy question to answer. When Catherine died, I think I asked myself that question a million times. TOM (matter of fact) It's almost inconceivable. He was 73. Semi-retired. His T.A.'s did most of his legwork. He and his research were revered. *Are* revered. FRANK Personally, I don't think it makes much sense either. And I don't think it did much to Tsunai. TOM Sorry to pull you away from Jordan like that. Today's her official back to school day. FRANK We've had a few too many of those. She'll get over it. I'm hoping we can stay here in Baltimore for awhile. TOM Helen and I certainly hope you can. EXT. UNIVERSITY OF BALTIMORE PARKING LOT - DAY Tom's Sedan pulls into the lot. Both doors open. Tom walks around to the passenger side. He offers Frank the keys. FRANK (eyeing the campus) No thanks. I thought I might stick around. Frank steps up to the curb. He takes a deep breath. FRANK (CONTD) Do you think we could get access to his office? Both men move towards the entrance. TOM Well, I have what they call a master faculty key. Tom holds aloft the keyring he offered to Frank seconds before. TOM (CONT'D) It gets me into the smaller research library. From there we can get into Nakagawas office - he never locks the door to the library. What do you think? FRANK (serious) I think somethings wrong. I'd just like to take a look. We won't disturb anything. INT. INDUSTRIAL BUILDING - DAY (MOVING) We follow a DARKSUITED MAN carrying a briefcase through a maze of hallways lit by harsh green fluorescent lights. It's difficult to make out his features, but he has ASIAN CHARACTERISTICS. He stops at a makeshift checkpoint manned by a ARMED GUARD. The guard is dressed in relatively ordinary military fashion: olive fatigues and black boots. However, his uniform lacks any indications of his name or rank. The fatigues are devoid of any markings. The Dark-Suited man flashes a laminated ID card. The guard takes the card. GUARD'S POV A photo of a Japanese man adorns the upper right corner. The rest of the ID card is blank. WIDER The guard takes close inspection of the card. He unholsters a black light from his belt and waves it over the card. GUARD'S POV The name "Stephen Takahashi" appears on the card. WIDER The guard hands over the card, nods, and waves the man on through. CONTINUE ON the Dark-Suited man as he winds his way past doorways and around a corner. He comes to a HEAVY METAL DOOR and slides the ID card through the card reader off to the right of the door. The card reader light remains red. It makes a "rejected" BUZZ. The Dark-Suited man huffs. He tries the card again. RED LIGHT. His hand begins to quiver. He slides the card through hastily. RED LIGHT. The near-silence of his harried breathing is replaced with the VOICE of another GUARD. GUARD #2 Hey there. Can I help you? The Dark-Suited man doesnt budge. He doesnt even turn around. He slides the card through again. Guard #2 curiously begins to move closer. GUARD #2 (CONT'D) Excuse me. You. Where are you going? The Dark-Suited man reaches into his jacket. Guard #2 tenses up, brandishing his rifle. GUARD #2 (CONT'D) All right there, mister, let me see what youve got in your hand. Slowly. The Dark-Suited man slowly turns around. He holds out a second ID card. DARKSUITED MAN (calmly) I was just having trouble with the card reader. I thought perhaps I would use a secondary card. The guard drops his rife. He smiles. GUARD #2 Secondary cards won't work on this level. Here, let me give it a shot. The guard takes the first ID card out of the Dark-Suited Man's hand. He slides it through the card reader: GREEN LIGHT. The guard hands the card back to the Dark-Suited man. GUARD #2 (CONT'D) Gotta have the touch. DARKSUITED MAN Thank you. The metal door WINDS open and the Dark-Suited man steps through and out into-- INT. WAREHOUSE STORAGE ROOM -- DAY The area is filled with various sized cardboard boxes and littered with semi-dressed and undressed mannequins. Unsold and unworn clothes, some still with tags are stacked from floor to near the ceiling in some areas. The Dark-Suited man walks between some of the boxes. His shoulders drop with a large sigh of relief. INT. NAKAGAWA'S OFFICE - DAY The office is a literal font of information. Books are scattered everywhere, two larger wipe-off boards containing a myriad of fantastic equations stand in front of overloaded bookshelves, buried beneath encyclopedias and research journals. Frank is seated at Nakagawas desk, studying his computer. His back is to the door and the rest of the room. Tom is sifting through papers on a separate table. TOM Any idea what were looking for? FRANK Anything that would reveal purpose. TOM What do you mean by that? FRANK Why would a man choose to take his own life... (a beat) ... so drastically. So suddenly. There's got to be something here. A head bobs around the door to the adjoining library. It's WILL (28), a shaggy but intelligent looking younger man. WILL Dr. Black? Tom looks up from his futile search. TOM Yes Will? WILL We've got a little problem down in C-Lab. TOM What's up? WILL Well, Jessie forgot to lock-down the cooling cabinets last night. So everything's not so cool. TOM (rising) Great. Oh, by the way, Will - meet Frank, my brother. He's looking into what happened to Professor Nakagawa. (to Frank) Frank, meet Will - the department's most capable resource. He's what we call an in-betweener, he's done some great work for both Professor Nakagawa and I. He's a T.A. Who pulls double duty. FRANK (still intent on the computer screen) Hi. Nice to meet you. WILL I've, uh, heard a lot about you. Nice to meet you too. TOM Well, I have to run, but I'll be back. Don't try and dig too deep, okay? I'm not sure the admins would be too crazy about this. FRANK Don't worry. Tom moves to the doorway. FRANK (CONT'D) Did Nakagawa ever talk about his past? TOM Not much. I know his wife passed away about five years ago.. she had cancer. FRANK (in thought) Hmmm. Tom leaves the room. We see the computer screen through Franks eyes. There is a window open listing several different files. Frank highlights one entitled 8C731. He double-clicks on it. A dialog box appears. It reads: PLEASE ENTER USER-DEFINED PASSWORD TO CONTINUE. Frank pauses. He rests on his hands. A SHADOW moves across his back. He rubs the back of his neck with his hand and turns. A DRY-ERASE MARKER rolls across the tile floor to a resting place at his foot. Frank looks up at the one wipeoff board. The dozens of equations are gone, wiped clean. They have been replaced by one word: AOUNABARA. Frank rises, looks around. He slowly works his way up to the board. He reaches out to touch it, much the same way Nakagawa did. He stares intently at it. FADE OUT. ACT TWO FADE IN: INT. BALTIMORE POLICE PRECINCT/STORAGE ROOM - DAY Glen Tsunai is seated at a beat-up two-ton metal desk. He's trying in vain to use a a seafoam green IBM Selectric typewriter to file a report. Legend INDICATES: Baltimore Southeastern Police Precinct Fells Point, MD 1:03 PM No one else is in the room. Suddenly a HAND slaps a piece of paper up against the glass window across from where hes sitting. Written on the note paper is the word AOUNABARA. Lingering above the hand and face is the intent stare of Frank Black. Glen, puzzled, gets up and opens the door. Frank enters. GLEN The door was unlocked. FRANK I wanted to get your attention. GLEN Well, you have it. What can I do for you Mr. Black? Frank holds aloft the paper. FRANK This word, what is it? GLEN Aounabara? Blue Sea. Like ocean. FRANK Any significance? GLEN To me? No, none. FRANK What about the number 731? GLEN Maybe it was my school gym locker number. (a beat) Listen, Mr. Black, if you're here about the suicide case you can forget it. It's not a case... at least not anymore. Morse is off on a priority detail, and I'm headed back to DC. FRANK That's it? You have no suspicions about the circumstances of the death? GLEN Oh, I might have suspicions... I just don't have a case. Although I will admit, my brief tour of Baltimore was a breath of fresh air. Now I get to go back to tracking Japanese and Korean gang activity which is what most panasian crimes amount to. Glen retrieves his jacket from the back of his chair. He tugs the now-completed report from the stubborn IBM and rips it in half. He sighs and plops down on the creaking desk. He crumples the half-sheet and tosses it towards a trash can. Frank takes a seat on the edge of the desk. FRANK I want you to listen to me. There is something going on here which doesn't add up. (producing the note paper) This word, or the meaning behind this word is the key to why Nakagawa took his life. Or was driven to take his life. GLEN Driven? FRANK A 73-year old man hurls himself from his 17th floor balcony? I've been known to have an open mind, and what some would call an uncanny intuition, but even I have my doubts about Mr. Nakagawas demise. GLEN I have tremendous respect for you, Mr. Black. I mean, I studied your work while I was undergrad criminal psych. But even if I could get some kind of extension from my superiors at Special Crimes, I think I'd have trouble getting you, a consulant, on the case. Frank produces an envelope from his jacket pocket, unseen to Glen. FRANK What if I told you the University has hired me to look into his death? GLEN I'd need some sort of authoriza- Frank flips the envelope to Glen, cutting him short. GLEN (CONT'D) (purveying the letter) Well, I might as well make the most of the rest of my day here. FRANK Let's go talk to Owen Hagardy. With Morse out of the way, he may be able to get us access to Nakagowa's condo. EXT. HIGH-RISE CONDOMINIUM - DAY Establishing shot of Nakagawas high-rise condominium complex. Legend INDICATES: The Promenade at Inner Harbor East 1001 Aliceanna St. 1:49 PM INT. NAKAGAWAS APARTMENT/LIVING ROOM - DAY An amazing transformation has taken place. Gone from the walls are the bleeding Kanji characters of the night before. The glass sliding door leading out to the balcony is in pristine condition, not a scratch. Frank and Glen are led in the front door by a SECURITY GUARD. Frank takes a cursory look around but nothing registers. Everything here seems eerily normal. GLEN So, what do you think we'll find here? Frank doesn't answer. He moves slowly through the living place until he gets to the hallway entrance that leads back to the bedroom. He turns to look at Glen. FRANK Something happened here. GLEN Yeah. He went out onto the balcony and never looked back. FRANK No. Inside. Frank begins slowly down the hall. Glen is busy looking through a stack of Nakagawa's mail. INT. HALLWAY - DAY Frank carefully makes his way towards the bedroom. He squints. Hears something odd. The sound of waves, surf POUNDING the beach. The OCEAN. INT. BEDROOM - DAY Nakagawas bedroom, still in the same condition as the night before, the sheets rumpled, the nightstand slightly askew. Again, gone are the markings that previously adorned the walls. The SURF continues to ROLL. Frank reaches the bed and moves towards the wall behind it. He presses his ear against the wall, listening: FRANK'S INTERNAL POV -- Nakagawa twisting and turning! -- Kanji characters bleeding through his skin! -- A Chinese man lying on a metal operating table! -- Men in radioactive suits! Frank's vision is shattered by Glen's voice. GLEN Hey! Find anything? Frank bolts up and sits on the edge of the bed. FRANK Did the victim have uh... marks of any kind on his skin? Scars, cuts? GLEN No. Not that I recall. Why? Frank returns a puzzled look. FRANK I think we might want to take a closer look at the body. GLEN (flipping through mail envelopes) Sure. So far, all I was able to gather is that Mr. "Tokyo" Nakagawa may already be a winner. He tosses the envelopes down on the nightstand. They spill off and onto the floor. Frank bends to retrieve them and looks under the bed. He sees AN INTERESTING-LOOKING CASE Frank slides his arm under the bed and pulls out the case. Glen bends down to take a closer look. The two men are hunched over the metal case. Frank presses the spring-loaded locks. They don't budge. FRANK Locked. Glen fumbles through his pockets. He pulls out a lockpick. Frank looks at him, curiously. GLEN (handling the pick) I used to be in one of those Japanese gangs a long time ago. (working the pick into the lock) My specialty was this. And on "this", the case lock pops open. Glen smiles. Frank doesnt react. GLEN (CONT'D) It comes in handy. Frank opens the case. Inside is a cluttered pile of photos and papers. Several of the photos feature the Professor with his students. Some are newer polaroids, some are older, faded photographs. Frank sifts through the documents, until he comes across AN OLDER BLACK AND WHITE PHOTO. The photo shows a group of younger Japanese men in white coats. There also appear to be two American men. Several of the men's faces have been crossed out. Only a few remaining have been circled. A small white sign in the photo features Japanese writing. Frank shows the photo to Glen. He points to the writing. Glen studies it for a second. GLEN Senkaku. Probably referring to the Senkaku Islands. It's a wonderful place to vacation, especially if you like territorial disputes. FRANK What do you mean? GLEN China and Japan have disputed the waters around the Senkaku Islands for years. I remember a, uh... Chinese oil drilling ship being confiscated by Japanese officials about 3, maybe 4 years ago. It was a big deal then. I don't particularly know what it has to do with this photo exactly. Glen flips the photo over. He recognizes something instantly. He shows the backside to Frank. Scrawled on the back of the photo is the word AUONABARA - followed by a series of dates. GLEN (CONT'D) Looks like you were right on track. Frank takes the photo, and studies the front. He runs his finger along the faces of the men until he stops at one. Its been circled, but contains no X. It's a much younger version of Nakagawa. He shows Glen. FRANK Here's our man Takayo. Frank studies the photo some more. FRANK (CONT'D) So who are these men? Frank picks out the two American-looking men. GLEN I have no idea. This was probably taken sometime in the 50's, early 60's. Check out the white boys high and tights. With cuts like that, I'd bet they're either Army men or rocket scientists. FRANK That's a good place to start. GLEN What? FRANK (dismissive) Nothing. (checks his watch) We'd better get moving on this if we want another look at that body. GLEN Sure. Frank places the other documents and photos back in the case. On top of the pile he sees a faded bent portrait of a young GEISHA. She's beautiful, but not smiling. He looks over the picture of the girl, and admires it. He carefully places it back on top of the others and closes the case. FRANK We'll make better time if we split up. I'm going to see an associate who might be able to help identify some of these people. I'll meet you at John Hopkins by three. GLEN Sounds good. I'll see if I can't get some detailed photographs of the body. What kind of markings are you looking for? FRANK (pointing out the Kanji characters on the photo) Symbols, like these. GLEN Like tattoos? FRANK Perhaps. GLEN All right. See you soon. Glen exits. Frank lingers on the case. He touches it. It's as if he's seen it before. FRANK'S INTERNAL POV -- A Bhuddist monk praying over a diseased man. -- Severed hands packed in ice in the same kind of case. -- The anguished face of Stephen Takahashi on his death bed! Frank slowly rises, takes another look around. Something catches his eye. He walks back over to the wall behind the bed. He looks closely at the wall. He SQUINTS and can barely discern: KANJI CHARACTERS. A multitude, lightly evident on the walls. INT. YEALY RESIDENCE/ LIVING ROOM - DAY Cale Yealy is kneeling on the floor of the living room facing the television set. On the TV screen are similar Kanji characters to those we had seen previously on the screen. Yealy appears pensive. In his arms he cradles one of the samurai swords that had been mounted above the fireplace. He rocks his upper body up and down, whispering to himself in japanese, the same phrase over and over. He UNSHEATHES the sword and holds it up to his face. In the REFLECTION, we can see the strain in his eyes. Light TEARS begin to fall. Sweat beads up on his brow. He places the blade flat against his forehead, closing his eyes. A SHADOW falls across his face. He looks up and sees nothing but the television, flickering the same Kanji characters. He holds the blade out in front of him and places the tip against his stomach. He is in the proper position to perform Hari Kari A RINGING TELEPHONE shatters the silence. The TV switches OFF. Cale, badly shaken, drops the blade on the floor. FADE OUT. ACT THREE FADE IN: EXT. CAMDEN YARDS - DAY Workers are busy loading and unloading cartons, crates, and boxes in and around the shipping area. The Dark-Suited Man is here, walking alongside an unknown JAPANESE MAN. They speak quietly in Japanese as they walk along. JAPANESE MAN (in Japanese, subtitled) Your work this morning was well timed. DARKSUITED MAN (in Japanese, subtitled) It was almost a disaster. JAPANESE MAN (in Japanese, subtitled) What lies next? DARKSUITED MAN (in Japanese, subtitled) I return tonight to finish the project. JAPANESE MAN (in Japanese, subtitled) Do you have the device? The Dark-Suited man takes a look around, and nods. JAPANESE MAN (CONT'D) (in Japanese, subtitled) You understand your mission will be your last. The Dark-Suited man looks down, nodding. DARKSUITED MAN (in Japanese, subtitled) If not for honor, then for country - if not for country, then for humanity. JAPANESE MAN (in Japanese, subtitled) History changes. Tonight. Both men bow towards each other. They have said all they need to say. INT. SCAIFE'S OFFICE - DAY A closet-sized office that comfortably would seat two. Three computer monitors display varying levels of information. Crushed Mountain Dew cans litter the desktops and overstuffed cabinets. Legend INDICATES: Data Retrieval Systems Essex, MD 2:43 PM Printer readouts cover the floor. DOUG SCAIFE is here, looking quite different than he did in his bureau days. No more suits, now it's rumpled polo shirts and riped jeans. He's wearing headphones, and listening to a CD. Heıs also staring into a small digital video camera mounted to a monitor. On the screen, a small window shows a live video feed from a similar-looking techie. He even has a little goatee. Frank Black's head peeks around the corner. SCAIFE (throwing off the headphones) Listen, man, backwards-masking or not, theres nothing goin' on here. I mean, I even re-processed this stuff this morning. (examining the CD) If Lennons got something to say here, he's not saying it to me. Frank knocks. Scaife turns. His eyes grow in surprise. He slowly rotates in the computer chair. FRANK (taking a look around) You look - comfortable. SCAIFE Yeah, different huh? Well, there's still the insane amounts of security, but its a little bit different environment. Surprised to see you here, though. FRANK I took some time off. SCAIFE I take it you're no longer with the bureau. Scaife extends his hand. Frank shakes it. FRANK No. There were complications. Ultimately I decided to go back to freelance. I'm staying with my brother and his wife for awhile. SCAIFE Any news on Hollis? Last I heard She was up for a promotion. FRANK (a slight bit embittered) She's primed to climb the ladder. McGreevey's set to be A.D. after McLaren retires. SCAIFE (a laugh) I never got the chance to climb the ladder. FRANK What are you working on? SCAIFE (absently) Moving data. FRANK I was wondering if you might be able to move a little data for me. SCAIFE Sure. What kind? FRANK (hesitant) Uh. Defense. Scaife holds out his hands, as if to say "take it easy". SCAIFE Whoa. This isn't the Bureau. I don't do that kind of stuff anymore. FRANK I'm sure you dont. But let's face it, I don't know anyone else who can. Scaife ponders the flattery for a second. SCAIFE Whattya got? Frank holds out the photograph. Scaife looks it over. Frank fingers an American-looking gentleman. The only one without an 'x' over his face. FRANK Him. His name, a current address, if you can. Frank flips over the photo. FRANK (CONT'D) You may want to use this word and these dates for reference. Also, the geographic region "Senkaku". SCAIFE Japan? FRANK I'm working on a case - it's got International ramifications. SCAIFE I'll bet. (wheeling back over to a terminal) D-O-D Here we come. (to Frank) You know, I could be breaking the law a teensy bit here. Scaife holds up a finger and thumb to indicate "teensy" SCAIFE (CONTıD) But, I guess I can let it slide. I mean, you're a good guy, and this must be important. Right? Frank nods. FRANK How long do you think it will take? SCAIFE (laughs) Well, I'm running on pure caffeine about now, so it might take a little longer than normal. Scaife checks his watch. SCAIFE (CONT'D) Give me about forty-five minutes. I'll get back to you. Frank's eyes pop a little at disbelief. He hands Scaife a card. FRANK Here's my new number. Frank exits. Scaife adjusts the "WILL RETURN BY" plastic clock on his door to reflect the next 45 mintues. He SLAMS the DOOR SHUT. EXT. ELEMENTARY SCHOOL - DAY A relatively normal looking elementary school. Leaves begin to filter down to the expansive green from the full maples, drawn out by a steady breeze. The SOUNDS of children laughing and running can be heard. Frank stands alongside his Jeep Cherokee, waiting. He was his hands clasped in front of him, and a slight grin perched on his face. He scans an oncoming CROWD of school children, looking for a familiar face. He spots JORDAN and his smile grows wider. But Jordan doesnıt look happy. She brushes past Frank and starts to open the passenger door. Frank frowns. He stops her with his hand on her shoulder. FRANK Hey. Frank spins her around to reveal a frown on her face. FRANK (CONT'D) So, how'd everything go? JORDAN (easing up) Not bad. FRANK Did you get along with Roy okay? JORDAN Do you have to ask me that every day? FRANK I just want to make sure everything is going well. JORDAN It will, but then things will change and we'll have to move all over again. FRANK Not this time, honey. I promise. I'm trying my hardest so we can stay here. Jordan melts a little, and gives up a hug. She climbs into the passenger side of the Jeep. Frank gets in the other side. FRANK (CONT'D) I'll drop you home, then I have to go back to the hospital. Jordan opens her mouth, about to speak.. Frank stops her. FRANK (CONT"D) I'm helping your Uncle, understand? I promise we'll spend all weekend together, got it? Jordan smiles. FRANK (CONT'D) What? JORDAN You've got a lot of promises to keep. Frank smiles. INT. HOSPITAL - DAY Glen and Frank stand in front of a large lightbox, normally used for displaying X-rays. The lightbox is turned off, which allows Glen to place three 8 x 10 black and white magnification photographs on the lightbox. Close inspection of the photos reveal: KANJI CHARACTERS lightly impressed or affixed into Nakagawas skin. Frank eyes the photographs keenly. FRANK They're the same as those I saw on the walls of the apartment. (a beat) What do they mean? Glen steps up next to Frank and points out 2 or 3 of the more visible characters. GLEN These are accurately portrayed, although I'm not sure about the order of the "story" being presented. They're covering the entire body. The earth is represented here. Fire here. Some are relatively primitive, some others as far as I can see are more complex. (a beat) Here. This combination is repeated many times. It's translation is "Never forgiven". FRANK I recognize these two. (a beat) "Apocalypse of our own creation". GLEN (shaking his head yes) Apocalypse. Do you think this has something to do with that photograph? FRANK I checked out Nakagawa's computer while I was in his office earlier. In a subdirectory under "Radiation Efficacy Testing" there was a file named "731". It was password-encoded. GLEN 731. Wait a minute. (thinking) I wasn't thinking before. Unit 7318A World War II. I heard they made the Nazis look like boy scouts. They conducted extensive experiments dealing with biochemical warfare. FRANK On Chinese and American prisoners. Recenlty uncovered reports have them killing at least 3,000 innocents directly, and affecting many more with the contamination they left behind. ANGLE ON Frank, staring at the photos. FRANK (CONT'D) Could these marks have been made long ago? GLEN Perhaps. Maybe only time was able to render them invisible to the naked eye. FRANK But-- Frank turns away, silenced. GLEN But what? FRANK (chewing his tongue) Nothing. FRANK'S INTERNAL POV -- Kanji characters sweating FRESH BLOOD on Nakagawas maddened face! -- The word "Auonabara" scrawled on the glass sliding door. FRANK (CONT'D) (away from the photos and Glen) Those marks were made just prior to the time of death. I'm sure. GLEN You think Nakagawa was part of 731? FRANK If he was, its certainly been well-hidden. Frank turns back to Glen. GLEN But the photo was taken well after the end of Word War II. I mean, just like certain Nazi scientists, certain Japanese members of 731 were offered immunity for their secrets. FRANK They eventually ended up here. GLEN Nakagawa emigrated in 1971 with his wife. A little late for immunity. FRANK Maybe there was something else he had to do. Franks cell phone RINGS. He answers it. FRANK Frank Black here. Yeah. Frank checks his watch. SCAIFE'S VOICE (V.O) Ye ask and ye shall receive. I've got an ID on that photo. FRANK (impressed) Great. Frank motions to Glen to hand him some paper and a pen. SCAIFE'S VOICE (V.O) Enlisted 1947. Name, Cale Attenborough, Saw some action in a MASH unit in Korea. I wonder if he knew Trapper John8A Frank flinches. He obviously doesnt have time for this. SCAIFE'S VOICE (V.O, CONT'D) Seems he stuck around the Far East for awhile, I dont have much detail on that though, but Ive got a recent addy here. Seems he's at least filed his tax returns. FRANK Go ahead with the address. Frank jots it down. EXT. YEALY RESIDENCE - DUSK Re-establish outside of Yealys house. Franks red Jeep pulls up. Inside are Frank and Glen. Legend INDICATES: 6:02 PM INT. FRANK'S JEEP - DUSK Frank eyes the handwritten address on the note paper. ANGLE ON the house number. The two match. Frank notices the mailbox. Faded, crooked type reads 8C YEALY. FRANK Different name. House numbers a match. Frank shuts off the engine and he and Glen exit. INT. LIVING ROOM - DUSK Cale Yealy is sitting half-dazed, half-asleep in the easy chair. He's still cradling the sword across his lap. The DOORBELL RINGS - Yealy awakens. He turns towards the front door which is partially visible from his position. He squints. Slowly rises. The sword CLATTERS to the floor! He makes his way into the foyer and to the FRONT DOOR. Yeely unlocks it, and opens it. Frank steps up. Glen holds aloft his badge. YEALY Whatta ya want? FRANK We're looking for a Mr. Cale Attenboroough. Are you him? YEALY (scoffs) Can't ya read. It says Yealy on the mailbox. Yealy goes to shut the door. Glen stops it with his hand. He holds up an older wallet-sized portrait of Takayo Nakagawa. GLEN We're looking for some information on this man. Do you recognize him? Glen throws Frank a look from the corner of his eye as if to say "follow through" YEALY What? Some Jap? Glen bristles. Frank looks aside Yealys body and sees THE SAMURAI SWORD on the floor. Frank pulls his notepad from his pocket. He holds it in front of Yealys face. It reads AOUNABARA. FRANK Does this word have any meaning to you Mr. Yealy? ANGLE ON Yealy's face, a solemn realization. FADE OUT. ACT FOUR FADE IN: INT. LIVING ROOM - DUSK Yealy plops down in his easy chair, flustered that these two men have chosen this time to come talk to him. Frank and Glen sit on a sofa directly across from him. Frank's eyes scan the walls, taking in all he sees. His eyes follow to the sword, lying on the floor. FRANK (pointing to the sword) Beautiful blade. YEALY (caught off guard) I had it down... I was... cleaning it. Frank nods. GLEN "Aounabara," Mr. Yealy. Any meaning? YEALY Why do you want to know? FRANK Because Nakagawa is dead, as are others. YEALY We're all getting old. We'll *all* die. FRANK But God will pick the time and place, not someone else - someone from your past, perhaps? Yealys balloon deflates. YEALY So you want a history lesson, eh? Yealy glances up at a clock on his mantle. YEALY (CONT'D) I fear I haven't got much time. So I begin... As Yealy talks-- DISSOLVE TO: INT. THE CAGE Trapped inside again; the thick HARANGUE of machinery around. Saws WHIRRING, blades CUTTING. Generators CHARGING and RECHARGING. Suddenly, a JAPANESE GUARD is upon us, SHOUTING! He unbolts the cage door and charges in at us TOSSING us out to the stone floor. He shoves us ahead towards a large METAL DOOR. As if on cue, the door opens. He drags us down a long hallway. We can hear the screams of OTHERS in the distance. YEALY (V.O.) Aounabara. Blue Sea. As in Project Blue Sea. We were on a damn island. Nothing around but the beautiful blue sea... Our guard manhandles past an open door, in the brief moment that we pass by it, we can see outward to-- EXT. THE SEA. A pristine, impossibly blue ocean framed by an equally impossibly blue sky. The sunlight crosses our face, but only for a second. Now we're on another DOOR. And shoved in. YEALY (V.O.) It was a convenient arrangement between the Nipponese Government and our own beloved U.S. government. It basically grew out of the aftermath of Hiroshima, Nagasaki. I returned to Japan from Korea in 1951, and there I was recruited to be a part of the project. The mission from the outset was clear and simple: make an atomic war a winnable proposition. Men in hazmat suits filter by us. And finally the FINAL DOOR. The bolt opens, the door creaks ajar. Inside, is a metal box of a room, detached from the outer room were in. As if in slow motion we are lead into the room -- and then BRIGHT, SEARING WHITE LIGHT FILLS THE FRAME. We return to the conversation. ANGLE ON a thoughtful Frank. FRANK How? YEALY Re-engineer mankind. From the ground up. GLEN What?? YEALY Create a human being that was capable of withstanding not an atomic blast, but the aftermath, the fallout. Soldiers or civilians capable of occupying a targeted area just days after impact. Glen scoffs. This all sounds like pure fantasy. Frank soaks it in. YEALY (CONT'D) Nakagawa came in around 1955. He was nothing short of brilliant. FRANK Did you use live subjects? Yealys head sinks. He breathes hard. YEALY We called them patients. As if we were doctors. The first full year of operation was 56. Twenty-seven Chinese shipping sailors. We kept them in cages. Tears form in Yealys eyes. Years of guilt unfolding. GLEN Senkaku Islands. Yealy slowly nods. YEALY It supposedly sank. At least that's what we told the Chinese. Yealy takes a look around. He looks lost. Frank gets up from the couch. YEALY (CONT'D) (looking up) Don't you understand what its like living with something for this long? I've been haunted. Everyday. Frank walks over to the mantle and stares at a framed needlepoint design. It READS: "Koji Ma Oshi" Glens behind him, looking over his shoulder. GLEN (O.C) Kotowaza. Japanese proverbs. Koji Ma Oshi. It reads "good things, many devils" FRANK Have you been having nightmares, Mr. Yealy? YEALY Almost every night. Do you know it's still happening? I know it is. Frank turns to look Yealy in the eye. FRANK The project? Yealy nods his head - "yes". FRANK Where? Yealy gets up slowly from his chair. He walks out of the living room and down a hallway. Frank turns towards Glen. GLEN I can't believe this. FRANK Believe it. About 5 months ago I came in contact with a research scientist named Steven Takahashi. He worked for a company named Emergen. The work Takahashi was doing with Emergen led to his death. GLEN How? Yealy returns, carrying a few black and white photos. He hands the photos to Frank. Frank flips through them, each one a succession of angles of a gated entrance to a warehouse shipping area. YEALY Nakagawa contacted me about three months ago. We went for a ride. He took these photos... told me that Aounabara wasnt dead... that it still went on inside this place. I wasn't sure if he was telling me the truth, but I guess any man with a guilty conscience... FRANK You realize now that your life may be in greater danger. YEALY It already has been. Besides, our government would rather treat me the same way they treat a lot of old men - we're invisible. Yealy pulls an odd-looking talisman on a necklace out of his shirt and rubs it between his hands. His glance shifts from Frank to Glen and back. YEALY (CONT'D) The oni come... they speak to me. I know what they say. "Never forgiven". Over and over and over and over. I know what they want... and they'll get it, soon. If not tonight, maybe tomorrow. The souls of the innocent are not so easily satisfied. Yealy points to the photos in Franks hand. YEALY (CONT'D) There is an address on the back. If you find anything, please, let someone know... someone... important. Frank nods. Yealy replaces the talisman back into his shirt. EXT. JEEP - NIGHT (MOVING) Dusk has settled in Baltimore. Frank is at the wheel and Glen puruses the photos with the passenger vanity light turned on. GLEN (studying the photos) Why do you think he divulged all that information? Doesn't he know the ramifications? The secrets? FRANK You heard him. Atonement. For his past sins. Only he knows he won't be able to atone. Not for what he did. Not for the others. Frank keeps a steady eye on the road. FRANK (CONT'D) In the recent past, I worked for an organization. The Millennium Group. They had an avid interest in Mr. Takahashi's death. I wouldn't be surprised if they have an equal interest in Nakagawa and Yealy's deaths. GLEN But Yealy's not.. Frank gives Glen a knowing look. Silence. EXT. YEALY RESIDENCE - NIGHT Cale Yealy puts a few belongings into the back of a late-model pickup truck. He looks up longingly at the night sky. YEALY Oh, Katie, I'm so glad you're not here. Yealy opens the passenger door and gets in the truck. EXT. WAREHOUSE - NIGHT The Dark-Suited Man walks briskly from his car to an entry point. INT. YEALYS TRUCK - NIGHT (MOVING) Cale Yealy drives along, tapping his fingers on the wheel, nervously. INT. WAREHOUSE - NIGHT The Dark-Suited Man shows his badge to the ARMED GUARD. It's the same route in as before. The guard lets him pass. INT. FRANK'S JEEP - NIGHT (MOVING) Frank slowly pulls the jeep up to the edge of a CLEARING about a football field away from the WAREHOUSE. INT. WAREHOUSE - NIGHT The Dark-Sited Man stands alone in a service elevator. He looks up at the floors changing before his eyes. INT. YEALY'S TRUCK - NIGHT (MOVING) Cale Yealy PERSPIRES. He restlessly shifts in his seat. Suddenly, the RADIO BLARES on. INT. WAREHOUSE - NIGHT The Dark-Suited Man exits the elevator. He passes by two men in hazmat suits without their hoods. He flashes a cutting smile. INT. YEARLY'S TRUCK - NIGHT (MOVING) Yealy fiddles with the radio knobs. His seatbelt UNLATCHES and RETRACTS. He swerves! EXT. CLEARING - NIGHT Frank and Glen slowly creep their way closer to the fence around the warehouse. INT. YEALY'S TRUCK - NIGHT (MOVING) The truck BUCKS and SHUDDERS under Yealys grasp. Then, Kanji Characters are etched into the WINDSHIELD with a PIERCING noise. Yealy tries in vain to control the truck. INT. WAREHOUSE - NIGHT The Dark-Suited Man purposefully walks up to a large, strong-looking metal door. He takes out an ID CARD. EXT. CLEARING - NIGHT Frank and Glen take cover in some OUTGROWTH by the FENCE. GLEN This is insane. We should put a call into Hagardy. Frank doesn't answer. He keeps his eyes locked on the warehouse. INT. YEALY'S TRUCK - NIGHT (MOVING) ANGLE ON the gas pedal. Yealy pulls his foot off, but the pedal remains PRESSED TO THE FLOOR. The SPEEDOMETER needle creeps over the 100 MPH line. YEALY'S EYES are wide with terror. INT. WAREHOUSE - NIGHT The Dark-Suited Man runs the ID CARD through the reader: RED LIGHT. He frowns. He slides the card back through quickly: GREEN LIGHT. DARKSUITED MAN (whispers, in Japanese, subtitled) Green light means go. He steps inside the room. The door closes behind him. We slowly MOVE OUT from the door. EXT. CLEARING - NIGHT Glen and Frank are still in the brush. Glen grows impatient. GLEN What are we waiting for? We should just go in now! Glen unholsters his handgun. Frank turns to him. Glen studies Franks face. Glen does a once-over of Frank's body. Realization sets in. INT. YEALY'S TRUCK - NIGHT THE SPEEDOMETER tops 120. The WINDSHIELD SHATTERS! INT. WAREHOUSE - NIGHT THE METAL DOOR. We linger... before Yealy's truck SKIDS off the road and SMASHES headlong into a large oak tree! Glass SHATTERS everywhere! INT. WAREHOUSE - NIGHT Nothing but the quiet, low hum of generators. A small window in the metal door suddenly fills with a BRIGHT SEARING WHITE LIGHT. YEALYS TRUCK, buckled and torn, wrapped around the oak tree. A suspended wheel SPINS lazily. The radio plays LOUDLY. FADE TO BLACK. FADE IN. INT. WAREHOUSE - NIGHT A throng of hazmat suited men wander about outside the LARGE METAL DOOR. Several other hazmat suited men carrying equipment move O.S. As they move out of the way, they reveal THE DOOR Emblazoned with a SINGLE KANJI CHARACTER. A LONE MAN in a hazmat suit moves in closer to the door. He removes his hood. He's clearly Asian. He looks on in wonder at the mark of the character. Several of his co-workers try to stop him, but he runs his fingers along the edges of the impression. The character registers in his cognition. LONE MAN (in Japanese, subtitled) Hope is renewed. Hope is renewed. EXT. WAREHOUSE - NIGHT Frank and Glen stand bewildered in the parking lot. Alarms SOUND and several lights around the lot FLASH. A group of MEN IN SUITS mill around. One brushes past Frank. He turns. MAN IN SUIT I'm sorry sir, but you're going to have to clear this area. FRANK Why? MAN IN SUIT (prodding) A small fire started inside, sir. Nothing to worry about. Frank becomes frustrated. FRANK And you are...? MAN IN SUIT (annoyed) That's not important, sir. What we need you to do is to clear this area immediately. You're trespassing on private property. Frank pushes past the man and keeps his gaze on several PEOPLE coming out of the warehouse. He begins to walk towards them. The Lone Man exits the building. Frank spies him from afar, he doesnt recognize him, but something about his expression affects Frank. The Lone Man works his way through the crowd, in a slight daze. Frank tries to make his way through the crowd, but his progess is blocked by the ARMS of SEVERAL MORE MEN IN SUITS. Frank STRUGGLES to break through, but can't. Glen catches up behind him, he spins Frank around. Frank faces him, furied. Glen shakes his head in dismay. GLEN (solemnly) There's nothing we can do here. Frank walks past him, grim. Glen turns. GLEN (CONT'D) Makeru Ga Kachi, Frank. Frank stops. GLEN (CONT'D) Sometimes to win, we must first lose. (a beat) Believe me. I've seen enough gangland murders to know what the odds are... Frank turns back to face Glen. FRANK What if we never win? Frank turns back and starts walking. FADE TO BLACK. FADE IN. INT. JORDAN'S BEDROOM - NIGHT. Jordan is fast asleep in her bed, a storybook tucked under her arm. Frank stands at the edge of the bed, pondering the sleeping child. He eases himself onto the bed and lays back, next to Jordan. He rubs his eyes and drops his head back on the pillow. He gazes upward, looking outward, thinking. He turns and looks upon Jordan with sad eyes. FRANK (V.O) Admist the darkness of our sleeping dreams the unknown history of our own damnation is forever forged. We lie, unaware, captive to our own frail imaginations, supplanting the need of the greater good with the wants of an only present tense. We lie, unaware that somewhere in time we let tainted men become their own gods, stealing fate from the hands of those who cherished it most, those who protected us from this unknown history, those watchful enough that we could keep forever our faith within them. But like time, they too have betrayed us. We lie, unaware and fear and doubt seep slowly into our subconscious We lie, unaware that there may be only 104 days remaining... FADE OUT. THE END