M I L L E N N I U M IT... HAS... BEGUN... NOTHING IS FORSAKEN... Virtual Season Episode #413. "Iso Bet Din" Written by: Anne Andrews and Bunny Williams Copyright: (c) 1999 Independent Artist Network TEASER BLACK. FRANK (V.O.) Previously on Millennium. FRANK'S INTERNAL POV (black and white images flash by) -- Millions of tiny white PILLS swirling in a vat heading towards thousands of empty PRESCRIPTION bottles. -- A forest being destroyed by a BULLDOZER. -- A thin man in SHADOWS; placing branches into a strange bucket with hoses. Water and leaves are boiling away within. -- People collapsing on the street, writhing in agony. -- Trees being harvested, the leaves being collected and saved. -- A head impacts a concrete sidewalk, shattering the skull, the body twitches as the brain crumbles from the cavity. CUT TO: INT. ST. MERCY'S HOSPITAL - NURSE'S WARD ROOM - DAY DR. BARAK It's not a regular clock at all. It keeps track of a different type of time. Jordan steps into the wardroom, and regards Dr. Barak. There is a definite loud CLICK as the hand of the School Masters Clock advances a minute. Jordan's mouth forms an "OH" as she sees the clock. When she turns back to Dr. Barak he has knelt down to her level. DR. BARAK You are so young to have been burdened with such responsibilities. Yet you understand the implications, and the timing of the events that will unfold. Things that have happened, and will happen MUST happen. Things that mortal Man will not ever control, despite the misbelief in destiny. You need to be there for your father. THIS journey is almost over. The path chosen today, and tomorrow, may begin a new journey for all. FADE TO BLACK. FADE IN: EXT. RIVER FRONT ANTIQUE MALL - SIDE DOOR - DAY A hot dog vender moves his oversized canopied cart to the sidewalk, kicking aside the clumps of matted leaves. He is in direct view of the incoming crowd of people. They are arriving for the weekly auction, a major revenue event in the economically depressed area. Legend INDICATES: River Front Antique Mall New Philadelphia, Ohio Sunday 9:45 AM His face is caught in a perpetual barker's grin. Inside he scowls at the number of elderly people that walk by him. They wouldn't buy from him, they had their own food in the purses and bags that they carry. He eyes the expensive jeep that has pulled up and sees a man with graying hair and his young daughter get out. The young girl helps an elderly man out of the jeep and places her hand in his to guide him past the obstacles of cars and shopping carts in the lot. The elderly man is dressed in traditional Amish black pants and jacket, with a dark blue shirt and the black felt hat, worn on Sundays. The vender recognizes the elderly man as the owner of a local Amish bed and breakfast. Every Sunday, if the old man has a guest, he will ask them to bring him to the mall's Sunday auction to see what was there. Perhaps finally finding something that he knew he left at some ones house, or waiting for it to, eventually, turn up on the auction block. The vender always wonders how the elderly Amish man could just - do that - on a Sabbath. People are visible, inside the building, moving about in tight groups among the heavily burdened dealer's tables. They search for the cast off trinkets that will enhance their lives for a moment, only to return another day, and begin the cycle again. Jordan glances about the area as she walks with Mr. Bruin. Behind her are tall cliffs that drop down to a slow-moving, wide river. She sees the bent guardrail, and a wreath of flowers marking the site of a recent tragedy. Jordan glances over at a tall, thin man with blue eyes and short black hair. She recognizes him and smiles. The man strides over to them from the other side of the lot and walks with them in silence. HE smiles down at Jordan as she offers her hand to him. His pale hand curls around her ruddy one. They are visibly pleased to see one another. MR. BRUIN My friend, Michael, is saving us seats. We have a moment to look about at what they have... It is very kind of you Mr. Black and of you Miss Jordan to humor an old man like me. FRANK It's the least we could do Mr. Bruin. I've heard every thing, in time, comes to this place. We may be able to find just what we're looking for as well. Mr. Bruin chuckles and leads them past the venders to the inside of the crowded room. He glances at the tables and points out to Frank where the bidder's sign-in table is, at the back of the room. INT. RIVER FRONT ANTIQUE MALL - AUCTION ROOM - DAY The area is crowded with rows of chairs, milling people and cardboard boxes of odds and ends along the wall. Several bedroom sets are crowded in a corner. Dressers are stacked like blocks to afford the maximum amount of display space. FRANK I'm going to register us Jordan, you know to stay with Mr. Bruin... JORDAN Yes Dad... If I find something cool, can I bid on it by myself? FRANK Only if you have the money for it... And IF it fits into the car, okay? He taps Jordan on the nose, lightly. JORDAN (giggling) Okay... Frank makes his way back to the registration line, waiting. He glances back to see where his daughter and Mr. Bruin are. He sees them moving about the tables, Mr. Bruin showing Jordan different objects and she, apparently, listening intently to what ever he is telling her about them. Jordan and Mr. Bruin weave through the rows of tables containing piles of boxes holding trinkets, cups and dishes, toys- every type of clutter. Jordan looks up at her Friend, perhaps in response a silent signal from him. He points at a black, pine-pitched, iron, hand-tooled box that shows signs of having been in an intense fire. She looks in the direction he is pointing and nods towards the box quizzically. THE BOX is deeper than a briefcase, and as long, but not as wide. Most of the detail of the intricate metal work is lost under an accumulation of dirt, and wherever the fire has burned the pitch away, there is damage to it. The keyhole is melted over and the hinges are fused shut. Mr. Bruin, noticing her gaze, looks at what interests her. He sees her attention is directed to the iron box and shakes his head with impatience. MR. BRUIN THAT old thing is back here again? It shows up every so often. There isn't any key for it. It's not worth the bother to pay someone to open it with out destroying it. I don't know where it came from, but I've seen it here every few years or so... Jordan reaches out and touches the box. Carbon comes off onto her fingers. She rubs her thumb over the carbon on her fingers, frowning slightly. JORDAN'S INTERNAL POV (black and white images flash by) -- Soft brown material being woven by a person wearing the same material. -- The strident peel of bells. -- FOREIGN VOICES rising up. -- The same song, sung in a higher, purer tone. -- BLOOD being splashed on the corner of the box as it contacts with a tonsured head. -- A thick burning black mass boiling, POURING over Jordan! Jordan looks to her Friend. He nods gravely. Jordan squares her shoulders in preparation of the burden that she knows she must carry. JORDAN (to herself) We are all his shepherds... FADE OUT. ACT ONE FADE IN: BLACK. JORDAN (V.O.) (read with an appropriate, childish struggle) ... again the kingdom of Heaven is like unto a treasure hid in a field; that which a man hath found, he hideth, and for joy there of goeth and selleth all that he hath and buyeth that field. (a beat) ... again the kingdom of Heaven is like unto a merchant man, seeking goodly pearls: Who, when he had found one pearl of great price, went and sold all that he had, and bought it. (a beat) ... again the kingdom of Heaven is like unto a net, that was cast into the sea and gathered of every kind: Which when full they drew to shore, and sat down, and gathered the good into vessels, but cast the bad away. (a beat) ... so shall it be at the end of the world: The Angels shall come forth, and sever the wicked from among the just, and shall cast them into the furnace of fire: there shall be wailing and gnashing of teeth... A reference FADES UP: -- Matthew 13:44-49 FADE IN: INT. NEW PHILADELPHIA CITY HALL - BASEMENT - DAY HALOGEN LAMPS on floor stands lighting narrow basement walls of city hall. The lamps are obviously doing nothing to raise the temperature of the chilly, damp area. Nor are they improving the mood of the people called upon to be in the area. Legend INDICATES: City Hall New Philadelphia, Ohio Sunday 9:45 AM PEOPLE in hospital greens, with sweaters and coats on underneath, mill around the area. Some pausing to grimly compare notes in whispered conferences beneath the lights. They are chafing their hands together and blowing into them in attempts to warm them or rubbing their arms attempting to increase circulation. SEVEN (7) GURNEYS hold SHEET-COVERED, DEAD BODIES in this makeshift morgue, hurriedly made at the orders of the POLICE CHIEF and the COUNTY CORONER. The POLICE CHIEF is conferring with the COUNTY CORONER and SGT. GIDEON CRAMMER. POLICE CHIEF (to Crammer) The bodies were found by a janitor, making his regular cleaning round, last night. These people were working over-time, in the accounting office, trying to finish up with the property tax forms, so they could be mailed out right after the first of the year. They had planned to work all weekend. They looked like they just dropped where they stood... or sat... We've closed the building until we have more information on the cause of death. CORONER There are no apparent wounds on the bodies and nothing to indicate carbon monoxide poisoning. All seven of them must have died within seconds of each other, since there were no signs of a struggle or panic. POLICE CHIEF There weren't any calls to 911 from here either. (looks expectantly to Crammer) Well? What's your call on this? CRAMMER I haven't even had a chance to view the bodies or look at any of the evidence yet... POLICE CHIEF (impatient, interrupts) But you HAVE had cases like this before? The governor wouldn't have sent you if you hadn't! CRAMMER (placating) Yes, I have solved some strange cases. I WOULD like a little more time and information before I jump to any conclusions, though. COUNTY CORONER The Governor personally assured me that he was sending someone with experience in this type of case. Calm down Chief. The Police Chief turns and walks to the first gurney, maintaining a somewhat huffy silence. Crammer joins him and is followed by the Coroner. Crammer flips back the sheet to expose a YOUNG MAN'S naked upper body. The skin is pale, the fingertips a deep shade of blue. The abdomen appears distended. The Chief flinches at the sight of the dead young man. POLICE CHIEF (gruffly) Known him since he was a kid, I used to chase him off the railroad tracks... Shakes his head and looks down, obviously distressed. Crammer pulls on a pair of surgical gloves and rolls the body on its side. Showing the deep blue and purple, bruise-like mottling from the blood settling in the body. A deep groan issues from the body, followed by the contents of the stomach being discharged onto the floor. POLICE CHIEF Sweet Mercy! But- he's dead! Turns away and covers his mouth with his hand before hurrying away. Crammer gently rolls the body back onto its back on the gurney and covers it again with the sheet. CRAMMER (to the Coroner) Just a hunch, but check it for organic cyanide. Meanwhile, I have a friend who's visiting here. He may be able to give us some help on this. INT. RIVER FRONT ANTIQUE MALL - AUCTION ROOM - DAY Frank makes his way to where Mr. Bruin and Jordan are saving a seat for him. He hands Jordan a numbered paddle to hold up while bidding. FRANK Remember, nothing that we can't fit into the jeep, OK?? JORDAN I already know what I want to bid on. Something really important... MR. BRUIN Don't spend all your allowance at one time Miss Jordan. Not on silly things at least. JORDAN (giggling) I won't. I know exactly what I want... The bidding starts with a bang of a gavel and the sing-song patter of an auctioneer. Lot boxes are dragged forward and their contents are read from an item list. Jordan fidgets in her seat as the Nortek China draws an interested buzz from the spectators. The individual complete place setting sells, finally, at three hundred dollars. Her impatience grows, visibly, as box lots of jewelry are auctioned and then some bedroom furnishings. Sighing with impatience she cranes hers neck and strains to see how many more items are to be auctioned before the one she wants. She manages a glimpse of the box on the table and bites her lip, frowning slightly, appearing to concentrate as the song heard previously drowns out the sounds of the auction. HARD CUT TO: THE IRON BOX on the table surrounded by other items. CHORUS (V.O.) *O salutaris Hostia Quae caeli pandis ostium, Bella premunt hostilia, darobur fer auxilium... Unitrimnoque Domino Sit sempiterna gloria: Quevitam sine termino Nobis donet in patria... A-men.* Mr. Bruin places his arm around Jordan's shoulders and gives her a half hug which brings her back from her semi-trance. He digs deep into his pocket and withdraws several wrapped mints. He slips one into her hand. JORDAN (murmers) Thank you. She sits up straighter and stops fidgeting. She doesn't place the candy in her mouth, rather, she slides it into her pocket, appearing to save it for later. Something's will have to wait... JORDAN'S POV -- A MAN dressed in a powder blue polyester leisure suit moves to the front of the auction room. MAN hands the AUCTIONEER a note after he finishes with a set of bids. The Auctioneer straightens his glasses and speaks into the mike. AUCTIONEER There is a phone call from the sheriffs department for a Mr. Frank Black... You can take it over there son... The Auctioneer points to a phone at the side of the room. Frank stands, looking puzzled, and makes his way through the crowd. Casting glances back over his shoulder at Jordan trying to keep an eye on her. Although his brother knows where they are staying, there is no phone at the Bed and Breakfast. It being a traditional Amish - type home with no modern conveniences. Any emergency calls would have to be routed through the local police dept. His heart is pounding in his chest as he reaches for the phone being held out to him by a THIN YOUNG BOY. JORDAN looks at Mr Bruin. Time is critical now. Bruin pats her hand reassuringly. The Auctioneer shuffles up to the table and waits for the next few lots to be placed up on the block. He starts to reach for a hand-hewn CARPENTER'S TOOL BOX. Instead he turns and picks up the item behind it and places it on the podium for all to see. AUCTIONEER Well, this beauty's back again folks. It is from the Thompson estate, and is made of wrought iron. Weight, 15 pounds. Dimensions, 9&1/2 deep, 20 inches wide and 16 inches breadth. (a beat) Approximate age is known to be at least from the 12th century AD. It is rumored to have been a gift from a bishop to Mr. Thompson Sr. for his assistance in building the Chapel of the monastery. The AUCTIONEER'S ASSISTANT holds the Iron Box out for display. The Auctioneer continues with his introductory patter for the *Local Celebrity Piece* AUCTIONEER (CONT'D) The items inside, and it does have SOMETHING inside, are not known. There isn't a key that can open it. It has been used mainly for show, and the last record of bidding shows the value at two hundred dollars. (a beat) In the interest of history, do I have an opening bid of two hundred dollars? Across the room a tall Plump Man with gray hair and a fine sheen of sweat flicks his paddle to confirm the opening bid of two hundred. Jordan looks at Bruin, then raises her paddle to bring up the bid. It isn't about the money. She knows that will be taken care of. Her heart is pounding in her chest as each time the bid is raised. The Plump Man casts a glance over in her direction. PLUMP MAN'S POV -- Mr. Bruin. -- Jordan's with a numbered paddle. -- TWO EMPTY SEATS between them. The Plump Man raises the bid by another twenty-five dollars, obviously hoping to scare off the competition. Jordan's smiles and meets the bid with a raise of his own. Frank glances over at Jordan and sees she is watching the auction. She is holding her paddle in her hand, and is leaning forward. Of all the people in the room, two stand out. One stands against the far wall with a raised paddle, the Plump Man, the other sits beside Jordan. FRANK'S POV -- The back of the other man's head with its short dark hair, and that he is wearing an expensive looking dark blue suit. This is . Facial features aren't visible. The auctioneer asks if someone wanted to raise the bid to two seventy five and Jordan raises her paddle. Frank looks horrified. Three others immediately out-bid her. Jordan lowers her paddle. With a relieved look, Frank places the telephone to his ear. FRANK Hello, Frank Black speaking. CRAMMER'S VOICE Mr. Black, sorry to bother you, but we have a situation at the court house that we would like your help on... FRANK And you are? PEOPLE move between Frank and Jordan so that he loses sight of her for just a moment. He cranes his neck and sees the Auctioneer point to someone in her general direction as the bid goes to three hundred dollars. CRAMMER Sergeant Gidion Crammer. We met after your accident. While you were at St. Mercy's Hospital. I understand that you're on vacation here with your daughter. If the situation wasn't urgent... FRANK (interrupts) This isn't quite the best time now... CRAMMER Yes, I know, but this involves the man who tried to kill your daughter... Seven more people have died...and it looks as if it is the same drug as was used before. If you could just come by the court house... The auctioneer's patter is going higher and higher in the background. Frank can see that there are five people that are involved in the bidding. Jordan raises her paddle again, and the Auctioneer acknowledges the bid before turning to ask for another increase. The hubbub in the room increases to the point that even if he yells, Jordan won't be able to hear him. He cranes his neck to see what is being bid on, but cannot. The Auctioneer acknowledges a bid from Jordan for four hundred dollars. Frank groans deeply. CRAMMER Mr. Black??? Mr. Black?? It IS urgent that you come. Many more lives could be in danger if this is not stopped here and now! FRANK I will get back to you on this... The bid for Jordan's mystery item jumps from four to eight hundred dollars in a matter of fifteen seconds. He has no idea why Jordan is bidding on the item. He remembers that she said she had found something very cool... Frank corrects his memory. Jordan had said it was something very important. The bidding between Jordan and the Plump Man is intense. The Plump Man wipes his face with a handkerchief. The man seems to be stressed, and his face reddens in anger over the repeated challenges to his bids. CRAMMER Mr. Black, Somehow the poison is being redistributed... Frank steps out the full length of the telephone cord. He is able to catch a glimpse of the item on the podium. He sees the BOX, and frowns at it, obviously trying to fathom the WHY the BOX is so important to Jordan. CRAMMER We knew the source last time, but there is no indication that... Jordan raises the bid to nine hundred dollars and glances over at the Plump Man. JORDAN'S POV -- The Plump Man's WIFE tugs at his sleeve, and shakes her head at him. She is arguing with him and waving her hands around obviously alarmed and angry with his reckless bidding. CRAMMER Pharmaceutical Research is involved, at this time. We do know that there were some ampoules that the company couldn't account for, but there isn't any record of any of the victims being prescribed that drug. The Plump Man jerks his arm away from his wife angrily and starts to raise his paddle. His wife takes the paddle from his hands and then shakes her head negatively to the Auctioneer. There are some things that money can buy. Today, was just not the day for his money to buy the BOX. FRANK Check the victim's fingertips for traces of the drug. I'll see what I can do.... afterwards. The Auctioneer's gavel falls and the sale closes. He hands the box to his Assistant, and calls for the bidder to come forward to pay for the item. Frank hangs up the telephone and wades through the crowd of PEOPLE. He catches up with Jordan as she hands over the money to the clerk, JAKE. Jordan pays with a large wad of money. Mr. Bruin is standing beside her. He looks at Frank. MR. BRUIN Mighty generous friend you have there, Mr. Black. He gave Miss Jordan all she needed to buy that old thing. Frank frowns, puzzled, and looks at Jordan. Jordan ducks her head and flashes a telling glance at Mr. Bruin, that labels him a tattletale. Mr. Bruin is oblivious to the by-play of the whole thing. Perhaps it was for the best that only Jordan recognized the importance of the box. Perhaps her "gift" as her father called it, wasn't as horrible as she first thought. Frank turns to look back at where they had been sitting. FRANK (anxious) Where is he now? MR. BRUIN Said he had some other matters to tend to... that box has a history. Don't remember all of it, but you can get most of the information from Jake here. Indicates the clerk at the table. MR. BRUIN (CONT'D) (a beat) No one has ever been able to get it open. Every locksmith in town, and some from out of state, has tried. Some fire melted the hasp, and to remove it, would devalue the box. Should be in a museum... FRANK We'll keep that in mind... (to Jordan) So is this the important thing you had to bid on? Jordan nods, but her gaze doesn't leave the box. For now the box is silent, the singing and images are gone. JORDAN (absently) Can you carry it Dad? I think it's a bit heavy for me. FRANK (studies the box) Well, at least it will fit in the jeep. You and I will have to have a LONG discussion young lady... starting with, who... JORDAN (interrupts) I know Dad... She looks around at the number of people crowding around. JORDAN (CONT'D) Please, later, okay? FRANK (calm and curious) Okay. Frank picks up Jordan's copy of the RECEIPT, placing it in his shirt pocket. He slips his hand under the bottom of the box to lift it. Some of the carbon crumbles off beneath his hand. He tries to lift it one-handed and looks surprised that it is far heavier than he judged. Frank has to use both hands to lift the box. They turn as a group to find the Plump Man behind them. His face is still red, and he is breathing hard. His wife is at his elbow looking as if she has been chastised by her husband. PLUMP MAN You don't know what to do with it, and you never will. You won't ever get your money out of it. If you sell it to me, you won't be out at all. Frank looks at Jordan. She is not shrinking back. He raises his eyebrows at the unexpected sight of her, standing her ground. FRANK No, thank you... The plump man's wife tugs at his sleeve. He glares at her then turns back to Frank. PLUMP MAN I will double what you paid for it, here and now. Frank realizes the man is desperate. The Plump Man is visibly sweating. Streams of sweat are running off of his face. His face is becoming redder and his breathing more labored. The man moves his right hand to his left shoulder and rubs it, grimacing. Frank turns to Jake at the table. FRANK This man needs medical assistance. He's having the symptoms of a heart attack... can someone call an ambulance and find somewhere he can sit down? Jake nods and motions to his HELPERS, who assist the Plump Man to a chair. One of the helpers begin to check the man's pulse. PLUMP MAN (weaker) You don't know what to do with it, it's no good to you, it can't be any use to you at all... MR. BRUIN (comforting tone) It's an old box, son. That's all it is, and ever will be. It's not worth any distress, or what you are putting yourself through. He turns to Frank and Jordan. MR. BRUIN (CONT'D) I think we have had enough excitement here today... and it's near lunch time... Best we head back to the house. The three of them walk in single file out the side exit after turning in their paddles. The auction continues behind them. The murmur of voices of the crowd nearly drowns out the weak words of warning from the man in the chair. PLUMP MAN You can't understand, you don't know... It can't do you any good if you don't know what it was made for... Someone steps in front of him. PLUMP MAN Who are you? Oh, you're the one... They don't know what they are getting into... PLUMP MAN'S WIFE He's delirious... When will that ambulance get here? All this fuss over some stupid box... EXT. RIVER FRONT ANTIQUE MALL - PARKING LOT - DAY Frank's JEEP is parked outside. The wind has picked up, flakes of snow have begun to swirl about the cars and the PEOPLE. Smoky plumes can be seen from their breathing. Frank shivers, suddenly, as if an icy cold hand had just gripped his heart. He looks down at the box, and then to Jordan. FRANK Could you do the honors Jordan? My hands are full right now. JORDAN (giggling) Sure! Can I drive too? FRANK (shaking his head) Not until you're 90, and then you would be too old to drive. Jordan fishes the car keys from her fathers pocket and opens the door for Mr. Bruin. She helps him in, first, before she scurries around the jeep to let her father in. She opens her door last and places the keys back into Frank's pocket. He waits until Jordan climbs into the back seat of the jeep and has her seat belt on. Jordan places a newspaper over her legs to keep the dirt and carbon from getting on her clothes. She reaches out to Frank who puts the box on her lap, then checks that her seat belt is fastened properly. JORDAN Will you help me clean it up? It looks like someone buried it for a long time. Frank looks down at the box her lap. It looks as if the box had never had a proper cleaning. He wondered if that could be the reason why it couldn't be opened. FRANK (mock seriousness) Wait until we get back to the house and ONLY IF you are willing to sweep up the dirt when you're finished. If Mrs. Bruin says it's OK, and ONLY with newspapers to catch the dirt, deal? JORDAN (giggling) You worry too much! Frank, gives her a stern look. FRANK AND you have to have everything put away before sunset. Deal? Jordan looks down at the box, then back up to Frank. JORDAN Okay, deal. SO? Will you help me clean it up? Frank cups Jordan'S face with his hands gently. He bends forward and gives her forehead a kiss. Jordan gives him a puzzled look, before frowning. JORDAN (whining) You have to work, don't you? You said this was OUR vacation. I never get a chance to spend any time with you dad! (a beat) We only have one day here, today, and we have so much to do - you PROMISED!! Jordan's shoulders sag. Her features show her disappointment. She crosses her arms and closes her eyes. Frank gives her shoulders a small shake. FRANK All I am going to do is speak with someone, I haven't said I would help him. JORDAN But you HAVE to, and you will any way. Jordan turns her head away from Frank and looks out the window in silence. She sighs, then her expression changes, as if she has seen something. The far away wail of an ambulance interrupts Frank's reply. He regards Jordan'S very thoughtful expression and follows the direction of her gaze to the wreath of flowers by the slow-moving river. Her next words chill him. JORDAN Some things have to happen. Some things people believe have to happen. Some things people want to happen... THIS, has to happen. FRANK'S INTERNAL POV -- Rain POURING down upon the earth, high waves COVERING the plants and trees. -- An ILLUMINATED vellum parchment being slid into a velvet case. -- Jordan, being buried beneath an avalanche of millions of white PILLS, her arms outstretched to him. FADE OUT. ACT TWO FADE IN: INT. BRUIN BED AND BREAKFAST - PARLOR - DAY The Bruin's Bed and Breakfast parlor is furnished in the classical Shaker furniture, with a few comfortable Victorian accents. A tall tiffany style oil lamp stands in the corner. Deep mahogany wood paneling has been polished to a high gloss. Hand-carved animals, in pairs, are set about on the hand-tatted doilies. Legend INDICATES: Sunday 1:45 PM A sleek cream-colored police car is seen through the parlor window. The driver of the car, Crammer, is with Frank in the parlor. Both men appear grim. Frank paces in the room. His clothing is rumpled and his fingers muss his hair, obviously not for the first time. He stops his pacing to look at Crammer. Concern etches his face. FRANK You said there is no trace of the organic cyanide on the fingertips of any of the victims, and it doesn't show up on any of the other items recovered in the room where the bodies were discovered? CRAMMER Nothing. Either it was inside something, or there is some other way they all got it at the same time. There wasn't anything in the room to indicate what it might have been, nor did we find anything in the trash outside the building. Crammer picks up one, of a pair, of hand-carved ebony jaguars and slides his fingers along the smooth, highly polished figure. He looks up at Frank when he speaks. FRANK The source of the poison should be there. Unless someone had cause to remove it after they were dead. Which might narrow the field of suspects a bit. The poison could easily have been coated with something, but it would have to have been fairly close to the surface, to work so quickly and they still would have had to ingest it together at nearly the same time for all of them to have died so close together that way... do you think it's a copycat or a cult suicide pact? Crammer shakes his head and moves in front of Frank to stop his pacing. His face is weary. CRAMMER You know, If you keep pacing like this, you will wear out Mrs. Bruin's hand-made rugs... I could really use your help with this Mr. Black... and your daughter's help as well. (a beat) No, It isn't quite like the Tylenol murders. Those people had a profit motive... They won't be out of prison for a long time. There isn't any indication of cult activity either. At least, well... Maybe it's been placed in an entirely different product... but what's the motive? (a beat) I could really use your help with this Mr. Black... and your daughter's help as well. Frank shakes his head and opens his mouth about to object to Crammer's suggestion Jordan become involved. He pauses in his pacing, a transfixed look suddenly on his face. FRANK'S INTERNAL POV -- The back of a man in an expensive-looking dark blue suit, with dark short cropped hair, carrying a limp Jordan away in his arms. -- Hands outstretched, covered in sores and blood holding a wooden box upward. -- A wall of water rushing towards him. -- Voices CHANTING in prayer. -- Fields of ash covered flowers. -- A mob of angry people chasing and overtaking Jordan. -- The chanting becomes more defined. CHORUS (V.O.) *O salutaris. Hostia Quae caeli pandis ostium, Bella premunt hostilia, darobur fer auxilium. Untrinoque Domino sit sempiterna gloria: quivtam sine termino Nobis donet in patria. Amen.* CRAMMER is standing in front of him, waiting, as Frank shakes off the vision and swallows, as if his mouth is dry. He is trembling with fear for Jordan's safety. CRAMMER I understand the request to have someone as young as your daughter assist in this matter may seem unusual. I know your thoughts must be for your daughter's safety. (a beat) That will be a paramount consideration in my intentions. She WILL, however, be involved in this investigation, but only by her own actions. FRANK (shakes his head) I don't want her to go through what I did as a child... CRAMMER She has already begun that path Frank. The best that can be hoped for is for you to work with her, help her to understand her gift. Denying what you see, what she sees, won't help her. INT. BRUIN KITCHEN - DAY A typical Amish style kitchen. A large wood cooking stove with a built-in boiler for hot water, a sink with a hand pump, an old fashioned icebox that uses ice to keep the food cold, along with a large wooden work table are the main furnishings of this room. Mrs. Bruin is finishing placing the lunch remains in the icebox and Jordan is at the sink doing the dishes from lunch. Jordan is carefully drying each dish with a hand woven cloth. Her glance keeps straying to the box that sits on the counter with a newspaper spread beneath it. Mrs Bruin moves over to begin putting away the dishes, taking them from Jordan one by one. Jordan hands the last dish to Mrs Bruin and watches as she places the dish in a corner cupboard. MRS. BRUIN There now, we're finished. I suppose you will be wishing to fiddle with that box of yours. Filthy dirty it is and it could use a proper scrubbing to get the dirt and pitch off of it... Jordan shakes her head. She walks over to the box that sits on the counter next to the icebox. She squints at the amount of embedded dirt that encrusts the pine pitch coating on the worked iron. JORDAN No, I think we need to take a more science, uhm ... scientifical approach. It's an HISTORICAL box. Smiling with satisfaction at managing to spit out the big words, Jordan straightens her shoulders, turns on her heel and marches into the parlor. Frank sees his daughter enter the room with a determined look in her eyes. Jordan strides up to the two men and waits for her presence to be acknowledged. FRANK Yes, Jordan? What is it? Jordan looks at Crammer, then Frank before asking. JORDAN Dad, would you happen to have any evidence bags with you? Frank bends his knees and gets down to Jordan'S eye level. He sees that she is totally serious in her request. He takes her small hands, still pruney and wrinkled from the dishwater, in his. FRANK Why do we need evidence bags? Is this for the box? JORDAN (thoughtfully) Because the outside of the box has just as much to say as what's inside of the box... Crammer begins digging in his overcoat pocket, confident he will find what she needs. He withdraws his hand from his pocket and holds out several bags to Frank and Jordan. CRAMMER Here you go Jordan... I have more in the car if you need them. Jordan reaches out to accept them. JORDAN (politely) Thank you... Would you happen to have a black light? CRAMMER In my pocket? No. At the station? Probably. But, you don't have Electricity, here... how would you use it and why do you need it? JORDAN (shrugging her shoulders) Just something that my friend said I could use... are you going to make my dad spend our whole vacation helping you? He only gets serious like this when his job keeps him away from me... and mommy. Crammer sits down on the brocade-covered love seat by the Tiffany oil lamp. The seat cushion sags beneath his body slightly. An embroidered pillow falls against his back and he pauses to pull it out and lay it beside him on the seat. Frank remains silent. Joining Jordan in waiting for the answer. CRAMMER What I would like is for your father, and you to help with this case. Your father feels that you're a bit young to do this work. (a beat) I know that you would be of great assistance in solving what is going on. If you want to be involved. You have a gift Jordan, like your father's, perhaps even more refined because you have accepted it at your very tender age. (a beat) I can't ask that you help, or that your father helps, me. I can only ask that you consider helping. More people may die unless we discover who is creating this evil, and why. JORDAN'S INTERNAL POV -- Women holding their newborn infants up in the air, blood splashing down upon them. -- A field of brightly colored flowers covered in an instant with gray ash. -- Children collapsing where they stand in a school lunch line. -- Frank being pulled away from Jordan by an angry crowd. -- The Bruin barn in flames, the animals laying bloated in the field left to rot where they fell. JORDAN That's not a very fair choice, is it? What I would have to leave behind, and what it would cost me, and my dad. CRAMMER No. Some choices are never fair. Jordan looks out the parlor window onto the front porch. JORDAN'S POV -- The empty wicker rocker slowly moving back and forth -- The wind chimes not moving. She turns back to Crammer. JORDAN I have my own path this time. Jordan chews her bottom lip thoughtfully before turning to face her father. She sees Frank wearing a pensive frown. She turns back to Crammer who answers for the both of them. JORDAN We have to stay here though. Dad might be able to help you, but I need him to help me too. I won't find my answers any other place except here... My friend said so. FRANK Your answers? And you still haven't informed me about this FRIEND of yours. Who is he and haven't I told you not to take money from strangers? Jordan shakes her head, smiling. She holds her hand up to stop Frank's lecture. JORDAN But you DO know who he is Dad, You worked with him, and he's one of the good guys, not like that bad group... Jordan is interrupted by the sound of a vehicle approaching the house, its tires squealing as it rounds the curves at a high rate of speed. EXT. BRUIN BED AND BREAKFAST - DAY A sleek black Porsche roars up the packed stone driveway. It comes to a screeching halt as it slides into the parking space reserved for visitors' carriages. The driver's door opens smoothly revealing a tall, slim, young woman with blonde hair and wearing jeans with an off-white, cable knit sweater exits the car and walks to the front porch. Her knuckles tap the glass pane of the front door. The door opens, and Mrs Bruin escorts the young woman to the parlor. INT. BRUIN BED AND BREAKFAST - PARLOR - DAY Frank glances up at the attractive young woman who flicks an appraising glance over him and then flashes a flirtatious, impudent grin. She directs her attention to Crammer next and extends her right hand to him. CHRISTINA Sgt. Crammer? I'm Chris Allison. I was informed that you might want to speak to me in view of the current events at City Hall. I'm a business management consultant and I was in and out of there all yesterday. JORDAN (looking out the window to Chris's Porsche) How fast were you going? I see a speeding ticket on your dash. Is that why you're really here? To get out of the ticket? CHRISTINA (to Jordan) I'm here, because I knew a couple of the people who died. OK? (a beat) Yeah, I was going at a creative velocity. I would STILL be here though. That and I was one of the bidders of your box. We have to talk about that... (turning to Frank and Crammer) ... but first things first. The Chief said to fill you in on what I know. I had been in and out of City Hall all Saturday, doing some research for the Historical Society on my house. I own the old Thompson place. (a beat) I also spoke with the tax office about the property assessment on my house. Repairing from the fire isn't the same as restoration that we are planning to do after the Millennium, although the tax bill seemed to indicate otherwise. When I left the City Hall around 8:30 that night they were all still alive and sucking down the coffee to keep them going. That's all I really know. FRANK Did they have anything else there? Food or drink? Was there anything else, besides the coffee, that they were consuming? CHRISTINA Only just about everything that the Mini-Mart and the deli across the street could provide. Pizza, candy, soda, hot dogs, chips, they had a break room set up in the office adjoining them, they were running back and forth for stuff constantly. Crammer groans loudly. CHRISTINA (CONT'D) What? What did I say? You guys didn't know the Tax Office spends our hard earned money that way? Crammer shakes his head. CRAMMER He lied. Christina looks at Crammer, then to Frank Black, and then to Jordan seeking a answer CHRISTINA (confused she turns to Jordan.) Who lied? Jordan shrugs her shoulders, not knowing the answer herself. FRANK The janitor stated he discovered the bodies as soon as he came onto their floor to clean up. He said there was no food nor any beverages around. He may have lied about the time of the discovery as well. CHRISTINA (nodding her head in agreement) I'll say! City Hall doesn't have a male janitor, and the cleaning ladies were given the weekend off so the staff wouldn't be in the danger of tossing the wrong records - which they did last year... Crammer closes his eyes and pinches the bridge of his nose as if in pain. Frank shakes his head. CHRISTINA You didn't know that either? (a beat) Oh... (a beat) Well, I guess I'll be going now. Just Please tell the chief that I helped in every way that I could and remind him about the points... JORDAN You're not done here... Christina looks at Jordan and tilts her head. Then raises her eyebrows as if to say "Oh yeah?" CHRISTINA How do you figure that Missy? Jordan inclines her head towards the kitchen. The box can be seen through the doorway that leads from the parlor to the kitchen Jordan looks back at Christina. JORDAN The BOX, from the auction. You said You were bidding on it. Why did you want it? CHRISTINA Oh, that. It's a cool box, and I thought I might put it at the foot of my steps once it's cleaned up. Historically, it has some value, but It's not worth what you paid for it. (a beat) What? You think that's the real reason why I came? Jordan shrugs again. She looks up at the tall blond. JORDAN (stern) Maybe. Jordan folds her arms across her chest and taps her foot. CHRISTINA Like I said, it'd be a cool box and it Would look nice at the foot of my stairs. I would have bought it if the price had been reasonable. It does have sort of a legend attached to it, rather than a history. It's been called the chest of Gilgamesh, and Pandora's box, among other things. (a beat) Personally? I think the monks were trying to fake a relic so that they could get more money for their coffers. I don't believe for a moment that "an iron box that was found buried in a potters field in Jerusalem" Story. Christina walks to the kitchen followed by Jordan and Frank. They walk up to the box. Christina pulls up a chair and sits so that she is on eye level to the box. She studies it for a moment, glances at Crammer, then turns her attention back to the box. Crammer seats himself as well. At his elbow is a crystal dish that holds some small factory made hard tack candies, wrapped in pale blue paper with friendly balloon lettering. Crammer regards the candies and takes one from the dish. JORDAN Why don't you think that it's as old as they say it is? Frank is watching Christina, observing her interest in the box. She doesn't touch it. She leans forward in her seat so that her face is about six inches from the surface of the box. Christina moves in her seat, peering around the corner of the box studying the seams. CHRISTINA Iron should have rusted many years ago, given the conditions that it has been reputed to have been in. Granted the soil may have been applied to back up the potter's field story. A weekend in the ground would do it. This box could tell us a lot of stories if it was analyzed properly. There is more in the box than we may ever know. Crammer slowly unwraps his candy. The humidity of the home has made the candy wrapper stick to the sugar coating. Crammer licks his finger, like a kid, and uses it to wet the cellophane wrapper and slide it away from the candy. CHRISTINA (CONT'D) No one has ever looked at the box and proved, or disproved its age. No one has ever done any carbon dating, or sampled the soil on it. All they have ever done is take it to Locksmiths, who tell them that there isn't any key in the world... Crammer wrinkles his nose as if he smells something. He looks at the wet candy in his hand then around the primitively furnished room then at the bowl of candy on the table. A look of sudden realization dawns on his face. Jordan moves to the side looking at the area Christina is examining. Her hand brushes her pocket and there is a rustle paper. She smiles and sticks her hand in her pocket. Jordan pulls the piece of candy that was given to her that morning out of her pocket. It is in a pale blue wrapper identical to the candies in the bowl on the table. Jordan grasps both ends of the wrapper and gives a pull. CHRISTINA (CONT'D) They suggest drilling. Since that would devalue the box the owners put it out on display, as a curio, until they get tired of falling over it, and then it winds up at the auction again. Christina glances at her wristwatch and gets up from her seat. She turns towards the door of the parlor. CHRISTINA Crammer, I have to go and get dinner started for my kid and hubby. If you can think of any thing else I can do to help, my office is right around the corner from City hall... Crammer glances up. Jordan's hand moves toward her mouth. The same hard tack candy as Crammer was studying is poised in her fingers, being directed to between her lips. The wrapper tumbles in slow-motion into a wastepaper basket. HARD CUT TO: Crammer's horrified expression. CRAMMER (shouting) Jordan! NO!!! HARD CUT TO: The small hard tack candy disappears into Jordan's mouth. FADE OUT. ACT THREE FADE IN: INT. CITY HALL - ACCOUNTING DEPARTMENT - DAY Legend INDICATES: New Philadelphia City Hall Accounting Office 6:40 PM A series of images: -- The accounting office door stands open, flickering light is visible inside the room. -- The yellow police tape, hangs down, fluttering a bit against the doorframe. -- A desktop halogen hall lamp and a computer monitor that is scrolling through lists of names illuminates an office cubical. -- A pair of thin black gloves that lightly touch the keyboard in response to password inquiries. -- The computer printer kicks into life, spitting out sheets of mailing labels. -- The same black-gloved hands gathering disks and printed records into a black leather briefcase. -- A CD is inserted into the drive. Enter is pushed and the light on the hard drive flickers as a program loads itself into the computer. -- The computer screen suddenly goes dark. -- A single candy wrapper lays on the floor near one of the casters on a wheeled office chair. The candy wrapper flutters a bit from air movement as the door is heard closing. The sound of footsteps retreating down the hallway. -- A shadowy figure moving into the stairwell, disappearing into the darkness. The sound of a door opening and closing in the distance. INT. BRUIN BED AND BREAKFAST - KITCHEN- DAY Jordan withdrawing the candy from her mouth. She glances inquiringly at Crammer. JORDAN What? Jordan wrinkles her nose and grimaces. JORDAN Ewww!! This thing stinks. She looks down at candy. CLOSE ON - Jordan's fingers holding the candy, the sugar just beginning to melt. Crammer rushes across the room and snags an evidence bag from the counter, holding it out and open for Jordan to drop the candy into. Jordan drops the candy into the bag and hurries to the sink to wash her hands. Frank follows Jordan to the sink and operates the hand pump for her while she washes her hands. Frank hugs Jordan from behind when she finishes, holding her close for a few seconds, fear plain on his face. Mrs. Bruin rushes into the kitchen in alarmed response to the disturbance. Crammer turns to her still holding the evidence bag now containing both pieces of candy. CRAMMER (demands) Where did you get this candy? Mrs. Bruin looks down at the table. CLOSE ON - A bowl full of candy. CUT TO: CLOSE ON - The evidence bag, in Crammer's hand, containing two bubbling masses of sugar and cyanide. Mrs. Bruin lifts her hand to cover her mouth stifling a scream of horror. Cammer picks up the candy bowl in his free hand and shoves the bag and the candy dish onto the counter. He then uses both hands to give Mrs. Bruin's shoulders a shake and repeats the question. CRAMMER Where did you get this candy, Mrs. Bruin? MRS. BRUIN From the postman! It comes in the mail. It comes every week, as free samples. We do not eat it. We only put it in the dish for our guests. I thought no harm could be in that. Christina nods her head in confirmation. She pulls a chair away from the table for Mrs. Bruin and motions her to sit down on it. Then she fetches a glass of water for and hands it to her. CHRISTINA Flavor of the week. The town was picked to do a survey to see what flavors are the most popular. Parents usually just put the packets in their kids' lunch boxes. The company said they were going to have the candy out in time for the holidays. EXT. BRUIN'S BARN - DUSK The barn doors are open, the sound of Mr. Bruin singing can be heard from one of the stalls of the Amish built barn. TRACKING SHOT: Through the Dutch half-doors past the horses' stalls to the grain bin. INT. BRUIN'S BARN - DUSK Mr. Bruin scooping a mix of oats and corn into a feed bucket taking few steps to the feed trough and emptying the feed into it, dividing it between two bay geldings. Then pausing to stroke the horses' necks, before hauling water for them. CUT TO: Long shot down the aisle of barn showing approximately twenty cows lined up in front of the feed trough, lowing, flicking their tails, wagging their heads making feints at each other, and shifting their weight from side to side, in a restless manner. Stream is rising from their flanks due to the cold weather. Mr. Bruin carries several long bails of hay to the trough and places them in it. Then he gathers up several buckets of feed and spills them out one at a time down the length of the trough. Mr. Burin returns to the front of the barn, in front of the horses' stalls. He reaches in his pocket and removes a packet of pipe tobacco, opening the foil pouch and extracting a plug that he separates three ways. The geldings stretch their necks, interested. Mr. Brui chuckles before offering a plug from each hand to both horses at the same time. Mr. Bruin removes his pipe from hid pocket and gives it a sharp rap against the stall, knocking out the burned out dottle of tobacco. Letting the carbon fall on the ground. Mr. Bruin packs his pipe, lights it, being careful to dip the match in one of the horses' water buckets to make sure it is out. He steps up to the hand pump and begins drawing water for the cows, pumping it into a homemade sluice. His arms move the handle up and down pumping it vigorously. He draws another puff from his pipe. Discovering that it has gone out he reaches into his pocket for the matches. He withdraws the matches and a sound is heard, something bounces into the flowing water, sounding like marbles. Mr. Bruin walks out of the barn and around to where the stable doors lead to the cows stalls drawing in a deep breath of fresh air before entering and picking up a pitchfork to begin mucking out the stalls. INT. BRUIN BED AND BREAKFAST KITCHEN Legend INDICATES: 6:40 PM Mrs. Bruin is on her knees on the floor digging through the rubbish in the waste paper basket. She glances towards the candy dish, frowns at it, then shakes her head. CRAMMER Are you sure this is where you threw away the mailing wrapper? Mrs. Bruin rises and looks around the room trying to spot where else she might have put the package that the candy came in. Christina has resumed studying the BOX while Jordan uses evidence bags to collect the dirt and muck she is cautiously scraping off of the BOX. She is very carefully to labeling each bag of the dirt, naming each layer and noting the corner that it came off of. Most of the dirt and carbon is coming off in larger sheets, sometimes taking patches of the burnt pine pitch tar that was used to waterproof the BOX and protect it against the elements. Jordan is quickly reaching the final layers and in a few areas metal is beginning to show through. Frank stands in the corner next to the door, watching his daughter at work. His face shows parental concern for her near miss. FRANK Almost bedtime, Kiddo. We have a long day tomorrow and this can wait. JORDAN (not looking up from her work) Dad, it's not even 7:00 P.M! Only babies go to bed this early. I'm eight years old! I don't have school tomorrow... Just half an hour more? PLEASE??? CHRISTINA 7:00! Hubby's going to be really hungry. Gotta go folks. Umm, Jordan, take this slow, OK? Not all of these mediaeval boxes were well made. Christina gathers her small purse and waves goodbye to the group before stepping onto the porch. EXT. BRUIN BED AND BREAKFAST -DUSK Christina slips her hands into her sweater pockets as she strolls up the path to her car. There is a rustle of plastic from her pocket. She stops and sniffs, there is whiff of something hanging heavy in the air. CHRISTINA (to herself) Skunk? No... Road kill?... Breathes in deeply through her nose, sniffing again, and looks away into the distance. CHRISTINA Slaughterhouse?... Nope, too early for that... Christina stops her journey to her car and turns slowly to find the source of the smell. Her journey ends at the barn, somewhat visible through the trees, illuminated by a flickering growing light inside. INT. BRUIN BED AND BREAKFAST KITCHEN - DUSK The outside, back door the kitchen flies open. Christina comes barreling through it, and stops suddenly uncertain for a moment what to say to the surprised and startled onlookers that are all staring at her. CHRISTINA (candidly) Did you know your barn is on fire? A series of images: -- Mrs. Bruin showing Jordan how to ring the large triangle bell on the back porch to call the neighbors. -- Frank, Crammer and Christina forming a bucket brigade, throwing water on the burning wood attempting to douse the flames. -- The FLAMES roar upward blocking the passageway into the barn -- Mrs. Bruin pumping water onto quilts, soaking them so they can be used to beat against some of the burning areas to smother the flames. -- Neighbors arriving by wagon and on horseback. They surround the barn in a well-schooled drill trying to bring the blaze under control. -- The flames spreading, engulfing the tinder dry interior of the barn, roaring up and licking at the sky in angry tongues. -- Jordan, still ringing the bell with tears streaming down her face. -- The still, charred and bloated body of Mr. Bruin being dragged around the corner of the barn by Frank and Crammer. -- Frank, weary-looking and coated in ashes and soot turning to look at his daughter -- Jordan still ringing the bell, a tall thin man... her ... standing behind her, his face concealed in the shadows, his hand on her shoulder. A heartbeat later, the man is gone. EXT. BRUIN BED AND BREAKFAST - BARN AREA- NIGHT Legend INDICATES: Monday 3:30 AM The hulking, burned out, remnant of the barn looms against the night sky. It has been reduced to smoldering beams and cooling embers. Seen within the ruins of the barn's foundation are the charred remnants of the iron pump and the brass from the horses harness fittings. The animals, which had stumbled out of their stalls, lay on the ground. They are bloated, covered with ash and their burnt hides. The neighbors are working at dragging the dead animals out of the way. The corncob bowl of Mr. Bruin's pipe is discovered in part of the trough that is still holding water for the cows. Mrs. Bruin is shepherded into her home by a group of Amish women. She is accepting the death of her husband with blank calmness. She shows no sign of grief, or anger, or outrage. Crammer walks over to where Frank leans wearily against a fence post. Frank makes no attempt to straighten up at Crammer's approach, he only turns his head and nods to him. Crammer leans against the fence as well. They watch the movements of the neighbors in silence for a moment. CRAMMER (to Frank) Almost everything that can be done, has been taken care of. The local Dr. is coming to pronounce Mr. Bruin. I have asked him to, perhaps, check up on Mrs. Bruin as well. The local Fire Marshal should be here soon to attempt to discover what started the fire. I've notified the school superintendent And the state police about the candy. The state police will be doing a door to door search for the packets, and make the families aware of the danger... The school superintendent has promised to do locker searches, alert the teachers and make the children aware of the danger. FRANK None of that will stop it. Until we discover who is doing this and why, they will continue to find other ways to introduce this poison into the population. (a beat) Who ever is doing this feels that they are benefiting the people. Even attempting to bring immortality to the people they feel are worthy to receive it. It is a misguided attempt at humanitarianism. (a beat) I have to go check up on my daughter... She went inside a while ago, it's been a difficult night for her. CRAMMER Of course. It's been a difficult night for both of you. (a beat) For all of us. (a beat) I will let you know what the chemical analysis of the candy turns up. Although, I am pretty confidant that It's the same poison as was used before, And I think you are too. Frank strides to the house and enters the darkened kitchen. INT. BRUIN BED AND BREAKFAST - KITCHEN- NIGHT Frank fumbles cautiously in the dark kitchen. He finds and lights the oil lamp on the table. Holding the lamp up and looking around the kitchen he notices the BOX is missing from the counter next to the icebox. A muffled noise is heard. Frank moves to the door that leads to the parlor and walks slowly through it. INT. PARLOR - NIGHT The lamp that Frank holds in his hand illuminates the parlor. He places it on a lowboy, and lights the parlor lamp. Another noise is heard, a raspy choked back sob. Frank cocks his head and listens a moment, then turns. Jordan crouched in the corner of the parlor with the BOX beside her. She is partially concealing herself behind the love seat. She has her coat over her legs and is crying softly, trying to muffle her sobs with her hands and remain hidden. Frank scoops Jordan up into his arms and gives her a long hug. FRANK It's OK to cry sweetheart... It's over now. The fire is out. Jordan shakes her head and sniffs back more tears. She turns her head to Frank's ear and tells him in private rush of words. JORDAN I could have stopped it Dad, I could have and Mr. Bruin would still be alive. I saw the fire ... the ash is going to cover all the flowers, and the kids at the school are going to die... I could have stopped it. I'm just a kid, but I could have stopped it, somehow. No one would have listened at first and I would have had to tell them HOW I know things. I don't want to do that, but I could have and now it's my fault that all of this is going to happen cause I don't know how else to stop it Daddy... I can't do this! I don't know what to do to stop all the bad stuff that I see from happening... Jordan starts to cry again. Deep heartbreaking sobs expressing all of the grief inside her. Her body shakes and she each gasps for air, between each bout of racking sobs. Frank sits down carefully in the Shaker rocker, cradling his weeping daughter in his arms. He pulls her legs around into a more comfortable position. He takes up a quilt that is draped over the arm of the love seat behind them and wraps her in it. FRANK We can't always stop the bad in the world. Some of the things that we see may never come to pass. (a beat) We can't give up or stop trying, though. We can't give up on the world because of the things we see and we can't give up seeing these things, because sometimes, we will see the good that will someday come. (a beat) We can't give up on the chance to hope. We have to keep looking for that hope... every day, in all the things that happen. Jordan shakes her head negatively and wipes her tears with the heels of her hands. She looks up at him. Her dirty face is streaked with tears that have left clean patches and tears are leaving fresh tracks as they trickle from her world weary eyes. JORDAN Hope is gone Daddy. That's not what people are looking for any more. That's not what is left for people to believe in. Like that man at the auction house. He believed that the box was what he needed. Christina wants the box too, for a different reason. FRANK Why did you want this box? What makes it so important to you, to all these other people? Frank sees a single tear run down Jordan's cheek. He brushes it away with his thumb. Jordan looks down at the box in the corner. JORDAN It's not the box itself, or how old it is, or where it's been. It's what it holds. People have died trying to get that box, and to protect that box. some of them never even knew what was in it. (wearily, repeats) It's only a box... (a beat) on the outside... Frank shifts Jordan in his lap so that she is facing him, her features bathed in the lamplight. Her face looks weary and aged far beyond her tender years. Frank brushes a wisp of her hair from her forehead. The wisp of hair he is brushing away from her face appears to be gray. He pauses to study the lock of hair before he opens his mouth to speak. FRANK (softly) What's on the inside Jordan? Do you know? JORDAN It's not the what exactly, Dad. It's like... Well... where and the why that the people are still searching for. They don't know that they don't have to search at all because it will find each and every one of them. That's why nothing that we do or do not do will ever change things. I don't know how to explain it any better than that. Jordan vents a frustrated sigh. FRANK And you happen to know this how? From what you have seen? Or has your friend been telling you things? Jordan shakes her head and snuggles back against him. She gives another softer sigh. JORDAN I just... know this Dad... Do you believe me? FRANK Yes. I will always believe you. I will always listen to you, and as your father I do will everything that I can to protect you from things that will harm you. Another sigh from Jordan. For a moment Frank believes that Jordan has fallen asleep The parlor lamp grows just a bit dimmer. He is resigned to the fate of again carrying Jordan up to bed. JORDAN (softly) Dad? FRANK Yes, sweetheart? There is a long pause from Jordan before she continues in the same soft voice. JORDAN I dropped the box getting it in here, and it dented the floor... FRANK That can be fixed... Are you OK? You didn't drop it on yourself or get hurt did you? She shakes her head, curls bobbing and twists to look at him. Her face is dry of tears, still weary, and devoid of emotions. JORDAN It came open. It doesn't open at the hinges at all... The top sort of slides off like a puzzle box. It hurt to look inside... (her voice becomes more faint) It hurt worse than when I had that tube in my chest. I had to close it so that I could breath again. But I know how to open it now... It's old inside Dad... The iron was just to protect it... FRANK It's your box Jordan. What do you want to do with it? There is no answer from Jordan. She has drifted off to sleep. Frank rocks the chair forward and rises, shifting her weight. He lifts her higher in his arms, and carries her to the adjoining bedroom. INT BRUIN'S BED AND BREAKFAST - JODAN'S BEDROOM- NIGHT The bedroom is furnished with a plain twin-size poster bed, a ladder back chair and a nightstand that holds an oil lamp. Under the bed is a chamber pot, a wash basin and a bed warmer. The fireplace has wood laid for a fire. Frank readies a half- asleep Jordan for bed and tucks her in tenderly. Kissing her good night and smoothing her hair back from her forehead then pulling the covers up to her chin. Frank kneels in front of the fireplace and roots around for a match, then reconsiders, shaking his head. INT BRUIN'S BED AND BREAKFAST - PARLOR- NIGHT Frank enters the parlor scoops up the BOX into his arms and takes great care to extinguish the parlor lamp. TRACKING SHOT: Frank carries the second lamp back to the kitchen and places it on the kitchen table and extinguishes it, before he climbs the kitchen staircase to the second floor. The BOX sheds bits of burnt pine pitch leaving a trail up the steps to his room. INT. BRUIN'S BED AND BREAKFAST - SECOND FLOOR - FRANK'S ROOM- NIGHT Frank enters a bedroom nearly identical to the one that Jordan is sleeping in downstairs. He places the BOX on a chair by his bed, sits down on the side of the bed and looks at it. FRANK'S INTERNAL POV -- People gathering up candy of all different brands and putting it in trash bags. -- A TV news announcer reading the warning about the poison. -- The channel being changed suddenly, while children laugh in the background. -- A young boy hiding his supply of candy under his mattress. -- Store clerks clearing the shelves of the candy aisle, throwing all the candy into large plastic trash cans. And carrying them out to a dumpster behind the store and emptying them there. -- A woman packing a lunch in a brightly colored lunch box with cartoon figures on it and putting in a sample sized package of candy with the friendly blue balloon lettering on the label. Children would die. Jordan was correct. There was nothing that could be done to stop things from happening. He knew that hope, however faint, was something that everyone should have. Jordan had lost hope. Something she had seen. Frank looks at the BOX again. CUT TO: INT BRUIN'S BED AND BREAKFAST - JORDAN'S ROOM - NIGHT Jordan's dirty clothes are draped over the back of the chair. Her coat is hanging on a hook on the back of the bedroom door. She lays curled in a fetal position, still well tucked in, under the fluffy quilts. Only a bit of her face and her curly hair are exposed. Her Friend steps from the shadows of the room and walks to where she is sleeping. Silently, he watches her sleep. FRIEND'S POV -- Jordan on the bed sound asleep and dreaming her chest rising and falling as she breathes deeply and evenly. Dreams send flickers of emotion across her face then she begins to frown a bit and stir. MATCH CUT TO: Her Friend turns and picks up Jordan's doll, which has been left on the nightstand. He pulls aside the quilt and places the doll under her arm. He carefully tucks her back in. His hand wanders to a stray lock of her hair and he gently smoothes it behind her ear before he sits on the side of her bed holding her small grubby hand in his coldly pale one. EXT. ARIAL VIEW OF NEW PHILADELPHIA - EARLY MORNING Legend INDICATES: New Philadelphia Monday 6:30 AM A traffic jam is backed up from the center of town in all four directions. It goes back quite a distance. The center of the traffic jam is a frantic mass of activity. As people move systematically from car to car pausing and moving on. Only letting one vehicle through at a time. At the rear of the traffic jam some cars are turning back or cutting out of traffic and turning onto small side roads determined to avoid the delay. EXT. NEW PHILADELPHIA - MAIN STREET- EARLY MORNING Legend INDICATES: Monday 6:30 AM State Police cars and yellow and black striped barricades are blocking the cross-streets. State Police move from car to car questioning each motorist. Cars are being hurriedly searched. Local School buses are stopped and searched. Officers moving up and down the aisles checking lunch boxes and backpacks. All suspicious candy is being confiscated and placed in trash bags. A Delivery Truck is being efficiently searched while an officer questions the driver. A small crowd has formed in front of the local TV and appliance story watching a news announcer read the public service announcement about the candy. The same message is being broadcast over a number of car radios combining with horns honking and numerous other voices and creating a general cacophony. INT. NEW PHILADELPHIA CITY HALL - MAYOR'S OFFICE - EARLY MORNING Legend INDICATES: Monday 6:30 AM The Mayors office is on the third floor in the corner of the building over looking the City Square. It is furnished with a rich mahogany desk and comfortable oversized leather chairs. The file cabinets are built into the wall next to bookshelves with etched glass door panels. Exotic hand-carved figurines are displayed about the office. Opposite the bookshelves is a working fireplace, tiled with jade and Italian marble. Above the fireplace is a solid Ebony mantle piece that has been carved with exotic animals along the front and on the uprights. Crammer stands before the Mayor of the town. He is still in the clothing that he was wearing Sunday night. His face is and clothing is grubby from fighting the fire. He looks very tired as if he has been up all night. The Mayor sits behind his desk leaning forward with his hands pressed into the surface of the desk. He is a thin nervous man with five o'clock shadow on his jaw. His clothing is rumpled and his hair is uncombed. His eyes are red with lack of sleep and there are deep hollows under them. He is in his office, at the request of the governor, to oversee the actions of the state police. He will have to report to him immediately in the event of any discoveries. The decision to call in the state police was made with out informing the Mayor. Understandably, the Mayor who wishes to be kept informed of such emergencies is notably upset. MAYOR Did you think to ASK if it was appropriate to put the entire state on alert for a few bags of Halloween candy? There have NEVER been any cases of tampered with Halloween candy on any scale besides the occasional child seeking attention. (a beat) My phone and the Governors phone are ringing off the hook because of concerned parents calling. The local candy factory is becoming a bit indignant as well. (a beat) This is their second biggest selling season. Your announcement has caused widespread consumer panic and it may be totally unfounded. For all we know, Mr. Bruin himself may have been at the root of all of this. Crammer shakes his head in obvious disagreement with the mayor. Yet he remains calm and unperturbed as he explains his point of view. CRAMMER With all due respect Mr. Mayor, this is not a random act. There is a group out there that believes that ingesting these elements will bring immortality to the people who are worthy... MAYOR Whoa, there! Now we're getting into the constitutional rights arena. Freedom of Religion. We don't have the legal right or moral obligation to forbid them to practice their religion, in any fashion. (a beat) If I were to take on that cause now... When the election is only two weeks away? Why, it would be political suicide... All of this brouhaha is! Both the Governor and I are hoping to be re-elected and serve for the next six years. What are you trying to pull here anyway? Crammer steps forward and places both of his hands palm down on the highly polished surface of the Mayor's desk. He leans forward, looming over the Mayor in an obviously intimidating gesture. He is obviously holding onto his composure with great difficulty as he draws in a slow steadying breath before speaking. CRAMMER I'm trying to save lives here, sir. If I fail, there won't be an election, and maybe no voters, either. The ones that do live and go through the horror of watching their children die, won't be inclined to vote for a man who sat on his BACKSIDE and allowed innocent children to die in the name of political correctness. Shrill screams of terror, rising up from the street, below penetrate the office cutting the tense silence that follows Crammer's speech. The Mayor and Crammer rush to the window. WIDE ANGLE OF THE STREET FROM THE WINDOW OF THE MAYOR'S OFFICE A group of children is milling about in the street. Several of the children are laying crumpled on the ground. Some are screaming in terror at seeing their friends collapse and die before their eyes, others are running away in panic or seeking comfort from adults in the crowd. CUT TO: Crammer grips the windowsill with his hands for support. He closes his eyes for a moment and hangs his head. CRAMMER (anguished) Oh God... We're too late... FADE OUT. ACT FOUR FADE IN: EXT. ALLISON HOME - DAY Frank and Jordan arrive at the Allison home. It is a three story Queen Anne Victorian with red siding and cream colored shutters. Legend INDICATES: 8:45 AM The front porch is made of rough hewn stone and is capped by a copper roof. Frank holds the iron box in his hands. Jordan looks at him, then the box, before ringing the doorbell. A childish giggle is heard from inside before the door is opened by a short three year old plump child with huge blue eyes and a mischievous grin. She is wearing just her underpants, the rest of her clothes have been discarded in an attempt to delay going to day care. Christina comes around the corner and is picking up the trail of clothing. CHRISTINA (scolding fondly) Bumberschnitzel, HOW many times have I told you Society frowns on streaking in public! BUMBERSCHNITZEL (turning to her, shrugging) Me not know... Christina scoops her daughter up into her arms and unlocks the door, motioning for Frank and Jordan to enter then she re-locks the door so that her daughter can't escape outside. INT. LIVING ROOM - ALLISON HOME - DAY The living room is painted a stark white with black velvet curtains in a modern window treatment. The sofa is black leather contemporary, which acts to separate the large living room into two distinct areas. An antique secretary desk sits against the right hand wall near the staircase. The staircase and the dining room are blocked by a long series of child gates that prevent entry. A flat top steamship trunk acts as a coffee table. On the far-left wall is the entertainment center and family area. Toys are scattered about the room. The walls are covered with vintage movie posters, and pencil sketches that have been autographed. From the basement the deep barks of two very large dogs can be heard. They wish to greet the visitors in their own friendly fashion. CHRISTINA Well, this is a surprise... Good Morning. What's up? Frank looks at Jordan who nods, seeming resigned. JORDAN (softly) I got the box open last night. There are things in it that someone else should see too. I can't look in. It... hurts me, us... to look in... In a way that's hard to explain. (a beat) Someone that can be impartial about what is inside has to be the one to look at what's in there. Christina slips a T-shirt over her daughters head and motions for Frank to place the box on the trunk. Frank places it on the trunk. He steps back, allowing Jordan to take her time in speaking. JORDAN (points to Christina's daughter) It, might be best to stay home with your daughter... it's, not a very nice world today... they didn't get all the candy back in tim... Christina looks at Frank concerned. Jordan steps closer to Frank who places his hand on her shoulder. CHRISTINA Oh... okay. Wel... Jordan, I don't know what to say to you to make things better or right. I know that this has been a rough twenty four hours for you and all. I can't even promise you that things will be better tomorrow. I don't quite understand how looking in a box can hurt you and your dad. I don't know if I want to know the why of that. (a beat) You trust me enough to look in the box itself, and tell you what's in it? Jordan nods her head then moves from her father's side to the trunk where the box rests. Christina has manages to wrestle the pants onto her daughter and sets her down on the floor. The little girl wanders over to her toys. Shooting her mother a backward glance she gives a giggle and plops her backside down on the floor. Placing both hands on the top corners of the box, Jordan pushes her small thumbs into the natural grooves of the side. There is a click before the flat lid on the top begins to slide off. It is being held in place by a decorative lip molding on the lid. The last of the pitch crumbles away allowing the lid to slide completely off. Beneath the tooled iron lid is a thin sheet of soapstone that has been fitted in as a insulating layer. A teakwood coffer is nestled inside the inner stone protective layer. Jordan steps back from the box closing her eyes. She retreats to her father's arms. She begins to tremble, shaking like a leaf from head to toe. Christina reaches into the box, and is able to remove the teakwood coffer. The wood is hard, the hinges and the lock are sealed with wax. The wax seal has a slightly melted look, from the heat that the box has endured, but the wax is intact. CHRISTINA It's a box Jordan. That's all. Christina sees Jordan shaking her head. Jordan is clearly frightened, and strained. JORDAN It's like you said. It's the chest of Gilgamesh. He wanted to live forever. He did things and ate things to do that. It didn't work. He died anyway. What he was eating was OK, and maybe it even helped him to live longer. Maybe because he was eating such healthy foods. FRANK Someone else believed it had worked. They got others to believe it. Maybe there were other things in this box, or maybe someone just pretended to be able to open it and get to the secrets. Someone substituted what was really inside with something that was quite deadl in any form. Christina's face pales. She looks at Jordan, then over to her daughter who is innocently playing with her toys. She begins slowly shaking her head in denial. FRANK (CONT'D) But the people who did try the secret to stay alive forever died. Those who told them the secret didn't want to lose what control they did have. So they kept the lie going. Until even those who knew it wasn't true began to believe that it would be the best way for humanity to enter into the new millennium. Christina's hand hovers over the lid of the box. She pulls her hand back and then places her hand in her lap, hesitating. Jordan looks out onto the porch. She recognizes the person standing outside, looking in. She draws in a breath and says softly to Christina. JORDAN Sergeant Crammer spoke with the other people at the auction. You and the man who had the heart attack were the only ones who knew where the box had traveled from. You both had to have knowledge of what had been, or could have been, inside to want to have it so much. CHRISTINA (angry) I'm a historian, it's my job to know those things. I didn't have anything to do with who ever is doing this. Christina moves her hand back over the top of the box and lifts it upward. The wax seal breaks, crumbling to the floor. Christina uses both hands and opens the box. The hinge is old and delicate, it resists the movement at first, then the lid swings back revealing vellum packets of seeds. On the outside of each packet is a sketch in ink of the plant. Writing in different tongues identifies the use. Frank regards each of the packets. Christina's nimble fingers flip through each one - looking for one she didn't know. They see that the packets are split into two different groupings. There are sketches of lambs on the one group, and goats on the other. One of the packets that is in the box, but nearly empty has a goat drawn on the outside. At the bottom of the box is a flat velvet letter case, and a threadbare leather pouch that snuggles into the side of the box. Christina picks up the pouch in her hand. There is a definite sound of metal being struck together. She pulls open the bag and spills silver coins out onto the trunk top. The coins are well worn and struck on both sides, with an irregularly shaped collar. On the face of the coin, is Caesar, on the other side of the coin is an owl. There is Greek lettering on both sides. Christina looks up at Jordan and holds out the coins to her. CHRISTINA No horrible monsters. Just a farmer's seed box... a few coins. Some scraps of paper. There doesn't appear to be much here to get excited about in here. So what is it, exactly, about all of this that concerns you? JORDAN Things that I see when I look at the box. The fire, the monk that was killed for the box... the angry people who're after me... things I don't understand now, but soon I will find out about. Things that only grownups should ever have to go through. Jordan draws in a deep breath She has to think a moment to get exactly what needs to be said out without getting into too much detail, and time. JORDAN (CONT'D) My teacher told me that a long time ago they spoke with drawn pictures. Sometimes you have to know the... mythology... to find out what the drawings really mean. Jordan shrugs one shoulder upward then lets it down. JORDAN (CONT'D) Even I know the difference between what a sheep and a goat meant a long time ago. Goats were bad, the sheep were good. Someone didn't know that. Someone thought that what they saw was a sheep. Maybe they didn't care, or maybe had a lie to get rid of people who were in the way... Christina regards her daughter and then looks at Jordan. She closes her eyes for a moment. CHRISTINA (sharply) So what do you want me to do about this? The box is your responsibility. Yes, you're a kid, but your father has the political influence. Why involve me? Jordan looks at Christina and then her daughter. She is confused and a bit hurt at the sharpness of Christina's voice. JORDAN Do you want a better world for your daughter? Then tell them that they are wrong. Tell them that what they have is just poison, and NOT something that is going to make every one live longer. You can tell them and they will believe YOU, but I'm just a kid... Christina springs from the sofa and begins pacing the short distance in the living room. She stops in front of Jordan and Frank. She places her hands on her hips and shakes her head. CHRISTINA You're right. You ARE just a kid. You have no idea what you're asking me to do. Tomorrow, or the next day when you think you find who is doing this, you and your father will be gone. (a beat) I will be here with my daughter and my husband, and all the neighbors for the rest of our lives... unless the neighbors decide to run us out of town. We have no idea who these people are, or how large their group is, or where their base is, but I DO know this... they have my name, and my address, and they know that I have a daughter. Christina turns on Frank and glares angrily at him. He sits back in the chair reflexively seeking refuge from her anger. CHRISTINA Well you're a lot of help in this matter. This is YOUR daughter. She is YOUR problem. You do something about this mess. Frank shakes his head sadly. He tells her with deep regret FRANK They wouldn't listen to us. Not because of our age, or experience, but because there would be others that would see to it that what we say would be silenced. (a beat) We were wrong about the motive. The people knew when they removed the seeds what would happen, and they planned to use the other, good, seeds after all the GOATS were removed from the flock. They would have the seeds to replant all they needed to survive... and create a new world... Jordan moves to the trunk and begins to pick up all the seed packets and the items, placing them back in the teakwood coffer to go back into the iron box. She sees Christina begin to panic a bit. CHRISTINA Wait! what are you doing? We didn't finish, we still have to categorize them and if we do some testing we can reproduce all the seeds as they are, and improve on them. DO you know how much genetically fresh seed stock can go for? If it is one of the original strains, or a few generations off of the original... Jordan picks up the last of the seed packets and places them into the teakwood coffer. She shakes her head. JORDAN That's not why the seeds were put there in the first place. They were placed in this box, for when the future has destroyed itself. There is a chance that someday these seeds will grow on a parched earth. A sacrifice greater than expected will have to be made for humanity to survive what is to come. (a beat) Those who made the box knew that, and those who hid the box from others knew as well. They didn't know what they searched for was their own Final Judgment... Jordan slides the teakwood coffer with the seeds back into the stone and iron box. Frank picks it up and carries it out to the car. Jordan is hesitant about leaving the home just yet. More should be said, but what the more would be, should have been far different than what was said. Christina walks over to her daughter and sits on the floor. She gathers her squirming daughter into her arms and holds her closely, not really wishing to let her go and face the world ever too soon. EXT. BRUIN FAMILY CEMETERY - DAY The cemetery is on the hill behind the ruins of the barn and shared with several of the connecting farm families. Legend INDICATES: Monday 4:30 PM The Bruins have a small corner of the cemetery. A stone fence surrounds their plot, an old wooden gate is propped open on the north side of the stone wall. Frank, Jordan and Mrs. Bruin stand at the graveside of Mr. Bruin. Flowers that were blooming in the field are covered in gray ash and are dying. Mrs. Bruin looks at Frank with tears in her eyes. MRS. BRUIN What good came of this? What life was saved... what sense did this make? There is no life, no hope... Mrs. Bruin begins to weep softly. She leans on Frank for support, and understanding. Jordan walks over to her and takes her hand. As Mrs. Bruin weeps, Jordan sees the Owl faced clock that kept special time. She sees the minute hand of the clock, slowly slide to the right, and the deep resonating CLICK as the clock advances a full minute. The scrape of the shovel behind them makes Jordan turn. Crammer has a second, smaller hole dug down fairly deep. Beside the edge is the iron box newly covered with a thick pine pitch so that all of the design is obscured. CRAMMER You're sure about this Jordan? It's worth a lot of money to be doing this to it... Jordan draws in a breath and nods. Her father walks over to the newly dug hole and helps Crammer place the box inside the hole. It takes the men a good half hour to refill the hole and plant a rose bush on top of it. As the group walks down the hill Crammer asks. CRAMMER So, what were all those bits of writing on the papers in the box? Jordan stops to look back at the graveyard on the hill. She sees her friend standing beside the freshly planted rose bush. She hears Crammer's question. Frank sees Jordan look back at the graveyard. He turns to Crammer and answers him FRANK Just what we already knew. That which will see us through the difficult times will be found in our own hearts... Are you ready to head home Jordan? Jordan looks back to her father, then to Crammer, then back to her father. JORDAN (sadly) We won't find who put the poison in the candy, will we? CRAMMER No. Not today... INT. US POST OFFICE DISTRIBUTION CENTER - DAY A canvas bin is dumped onto a conveyer belt so the items can be sorted. From the bin falls several hundred small packages of sample breath mints ready to be delivered to every home on the bulk mail list. The packages are shrink-wrapped with a pale blue bag with friendly balloon lettering on the labels... FADE OUT. THE END