M I L L E N N I U M IT... HAS... BEGUN... NOTHING IS FORSAKEN... Virtual Season Episode #422. "Revelation" written by: Dan Owen and Matt Asendorf TEASER BLACK. FRANK (V.O.) Previously on Millennium. There follows a one-minute recap of the events in "The Swords Of Armageddon", concluding with: INT. LIVINGROOM - BLACK RESIDENCE - NIGHT The dark screen of the television is switched on and soon a picture appears: it's a 24-hour news channel. Frank reclines in an armchair and closes his eyes. On the screen an ASIAN REPORTER is standing outside a subway station building, talking into camera. ASIAN REPORTER The incident occured on the capital's Metro system at approximately 1 p.m. this afternoon. Frank's eyes open wide at the mention of this stations. A legend at the foot of the screen reads: 'SUSPECTED SUBWAY GAS ATTACK ON WASHINGTON METRO" Frank sits up. ASIAN REPORTER Given the fatalities - almost twenty bodies, we're told - authorities are understandably investigating the very real possibility of a terrorist nerve gas attack on the capital. The Asian Reporter's words fade into the background as Frank's expression is overcome with awe and shock. The sound of HISSING breaks his expression, and he glances up to see that the TV picture is breaking up. As the Reporter speaks, wavy lines flutter across the screen and momentary bursts of snowy static HISS into the room. Frank stands up and crosses to the television set. Not being technically minded, he just taps it on the side a few times. This seems to do the trick, and the picture returns to normal... but as Frank steps back a SQUEALING wails from the TV and the picture vanishes. The dark screen envelops the room with silence. Frank SIGHS and is about to try something else when -- TSSSSSHHHHHHH! -- the screen turns completely snowy. TSSSSSHHHHHHH! Frank senses something to his left and turns towards the curtained window. INT. STAIRS - BLACK RESIDENCE - NIGHT Jordan is slowly descending the stairs, her feet making no noise on the soft carpet. As she walks downward, she passes a large photo-frame with three circular shapes displaying photos of Tom, Helen and Charlie. Each circular photograph descends in size (largest to smallest). Jordan reaches the foot of the stairs and stands in silence - just staring at the door frame to the livingroom; which resembles a large rectangle due to the light shining through the gaps in the frame. INT. LIVINGROOM - BLACK RESIDENCE - NIGHT Frank rushes over to the window and pulls the curtains open! He stares outside, his hands cupped to the window to limit reflection. In the distance, beyond the houses, a sudden and terrible BLAST of bright light flits across the sky - illuminating *eveything* ten times brighter than a lightning bolt! Frank jerks back from the window, grabbing his eyes and MOANING in intense pain! He stumbles backwards and falls onto the floor. Through a crack in the curtains... we see an odd reflection of a nuclear mushroom cloud rising in the distance! A surreal tension and prickling sensation occurs, and we notice some candle-sticks are beginning to melt around the room. Suddenly, small fires start erupting around the room as flammable objects begin to cook! Frank's eyes are half-open and his head drooped to the left. He seems to be having spasms, as his shoulders and arms twitch against his sides. A THUNDEROUS sound of unstoppable devastation is heard outside - as the approach of a raging shockwave approaches! INT. HALLWAY - BLACK RESIDENCE - NIGHT Jordan licks her dry lips, as her slight body stares at the lit rectangle of the doorway ahead of her. The light around the doorframe turns a strange red/yellow as the sound of CRASHING is heard outside! INT. LIVINGROOM - BLACK RESIDENCE - NIGHT Frank's body isn't twitching as much now... and his flickering eyes stare down at his cell phone - which is resting on the floor. Through the din, it audibly begins to RING. But nothing matters now... The room's windows EXPLODE, showering glass everywhere as the entire room explodes into an inferno of fire before Frank's dying eyes. FADE TO BLACK. FADE IN: EXT. DESERT LANDSCAPE - DAY A desolate vista of sand sprawling for miles in every direction, disappearing into a distant horizon. A light wind kicks up sand, which throws itself across this nightmarish apocalyptic sight. CAMERA PANS right slowly and finds an assortment of building, totally unscathed and eerily silent. These two homesteads are situated parallel to a water tank and some telegraph poles (its wires cut). Loose fragments of litter are caught in the breeze and join a few tumbleweeds in rolling across the scene. Suddenly, SNORTING breaks the silence! HARD CUT TO: A PIG PEN Which contains six large pigs, SNORTING and rubbing their tusks against the pen's fencing. The view changes - becoming more grainy (as if being filmed by a camera). The swine begin SQUEALING for no apparent reason, kicking at their fencing and bucking their tusks in futile escape. A crescendo of SNORTING is heard as-- FWWWOOOMMM! The entire pig pen is obliterated as a tremendous shock-wave simply blasts them away in an instant! HARD CUT TO: THE HOMESTEAD Again, viewed with a grainy picture, the homestead sits in earnest. Waiting. It's time comes too, as the same shockwave CRASHES into the wooden buildings and SMASHES them to the floor! The telegraph poles bend in the blast, and the water tank is driven away by the impact! In seconds, the homestead has been levelled to a flat pile of broken wood. CAMERA TRACKS amongst the debris and find what appears to be a DEAD BODY in amongst a pile of corrugated steel. As we grow closer, the legs and torso of the body become clearer... until we arrive at the face... and find it's features are merely melted plastic! A mannequin. WIDER ANGLE The destroyed buildings lay wasted on the desert floor, as a CRACKLING noise grows - like a Geiger's counter's output CLICKS. The sound grows louder and louder, as a Legend INDICATES: Trinity Test Site, Alamagordo July 16, 1945 5:29:45 AM, Mountain War Time JORDAN (V.O.) (whispering) Dad? Dad? Da-ad...? DISSOLVE TO: INT. WARD 10 - HOSPITAL - DAY FRANK BLACK is lying upright in bed, a pillow placed behind his head. He has some cuts around his temple and some slight bruising on his jaw. Legend INDICATES: December 26, 10:32 AM 6 days remaining... Frank's eyes are closed. Jordan, sitting at his bedside, has her head resting on his chest. JORDAN (whispering) Time to wake up... Frank's eyes slowly begin opening, and he slowly regains consciousness. Immediately, he notices Jordan and makes an attempt to sit up. A firm adult hand presses him back down - it's TOM BLACK. TOM Whoa, whoa, whoa, steady there, Frank. Frank focuses on his brother's concerned face. Jordan is sitting upright now, beaming wide. Frank smiles weakly at her, and holds her close, kissing the top of her head. FRANK I had a... strange dream. Tom raises his eyebrows. TOM Nightmare? Frank merely raises his eyebrows, nodding slightly. TOM (CONT'D) I'm no expert, but I'd say that's natural given the circumstances. Frank's eyes look down at his daughter, and he holds her tighter. FRANK (to Jordan, low) I'm so sorry for all this. TOM Have you heard the results of the MRI scan yet? Frank EXHALES audibly, closing his eyes - just grateful to be alive. FRANK Not yet. DR. ELIZABETH LUNDER (30s) walks up to Frank's bed behind Tom. She smiles down at him. DR LUNDER Good morning, Mr Black. Frank nods his acknowledgment. FRANK Have the results come back yet, Doctor? DR LUNDER Please. It's better if we leave all that till you've eaten. One step at a time. FRANK'S INTERNAL POV Frank remembers-- LE SAUX (V.O.) One step at a time, Monsieur Black, and all will be revealed. Then a visually violent sequence of images rock Frank's mind - each one flashing by at incredible speed and re-ordering themselves into different sequences-- -- A nuclear MUSHROOM CLOUD rising from a desert landscape! -- A LARGE EXPLOSION! -- A sequence of letters; "G", "O", "M", "I", "S", "O" -- The sound of BUZZING flies! Frank looks stunned by the sensory overload, but from outward appearance looks simply dazed and disorientated. Dr Lunder moves in and checks his pupil dillation with a light-pen. Everything seems fine. DR LUNDER You need to rest now. JORDAN One step at a time, dad. Lunder smiles at Jordan, while Frank can only wrinkle his brow slightly at the intensity in Jordan's eyes as she speaks. FADE OUT. ACT ONE BLACK. "To make an End, is to make a Beginning." -- T.S. Elliot FADE IN: INT. SUBWAY TRAIN - DAY White outlines mark where dead bodies were sprawled down the carriage gangway. The windows are all closed, some smeared with blood. The interior lights are on, causing reflections of the carriage to appear along the dark windows. THREE HAZMAT-SUITED MEN are walking down the gangway, their faces hidden behind dark visors. One man approaches a seat and bends down underneath it. A small packet filled with white powder is seen on the floor. HAZMAT MAN #1 Hey, over here, I found something. His colleague approach quickly as he shuffles out onto the gangway with the packer between some metal tweezers. HAZMAT MAN #2 Drugs? HAZMAT MAN #3 Probably. We should take it with us. Anything else? Hazmat Man #2 shakes his head. HAZMAT MAN #2 Nothing. Doesn't make sense. HAZMAT MAN #1 Come on, let's get going. Hazmat Man #2 places the drug packet into a larger plastic bag and ties the end with clips. All three men begin walking back up the gangway, stepping past dried puddles of red/brown blood. As their booted feet pass, we notice a remaining fly - hunched over one of the blood spills... and drinking. INT. FBI BRIEFING ROOM - DAY EMMA HOLLIS is standing with a clipboard, addressing a team of ten FBI AGENTS, including JANE LESKY. EMMA Okay, as you know, yesterday's gas attack on the Washington Metro is our main priority. Twenty people were taken to the George Washington Hospital... they're now all dead. A low MURMUR of amazement fills the room, as Emma pauses. EMMA (CONT'D) Due to the lack of incriminating evidence at the crime scene, and no first-hand witnesses, we have to summise that all twenty victims had somehow been infected with a chemical agent *prior* to boarding that train. LESKY What have the CDC said? EMMA Nothing yet. They're doing tests on the dead as we speak. They should have a definite ID on the toxin within hours. Lesky nods, then digs out a file. LESKY Oh, and... the Hazmat team mentioned something about a "buzzing noise"? Like flies or wasps? EMMA Yes. There was some mention about an insect problem, or something. I doubt that's pertinent to the situation. We're not even sure if these two things occured at the same time. LESKY I thought flies hibernated in Winter. EMMA (frowns) Is something bothering you, Agent Lesky? LESKY No, ma'am. I'm just finding this whole thing... bizarre. EMMA (a beat) That's because it is. Lesky and Emma share a wistful expression across the room. INT. DR GLENDALE'S STUDY - DAY The body of the murdered Dr Glendale has been removed, leaving just a pool of dried blood on his desk. Legend INDICATES: Glendale Residence, 12:02 PM INVESTIGATORS are still searching around the room. DETECTIVE ARMSTRONG sighs as he stares around the room, frustrated by this case. RYAN (O.C.) Hey, Armstrong! Armstrong turns and walks out of the room to see RYAN FROST pulling down an attic ladder from the corridor's ceiling. ARMSTRONG What are you expecting to find up there? RYAN I don't know. Ryan begins clambering up into the attic. Armstrong tuts at Ryan's strong-headedness, but goes after him. INT. GLENDALE ATTIC - DAY Darkness. A square of light from the attic hatch lluminates the rafters, as Ryan clambers up and stands. His hand finds a chain, which he pulls. The large attic is filled with dim light from a sequence of light-bulbs. RYAN Welcome to the Bat Cave... Armstrong appears in the hatch and is helped up by Frost. He stands and dusts himself down. ARMSTRONG (cynically) Hm, looks like an attic to me. Let's go. RYAN Hang on... Ryan walks carefully over to a large pile of old cardboard boxes. He takes out a pen-knife and slices open the tape holding one of the boxes closed. He pulls the boxes lid open and stares inside. RYAN (CONT'D) (to himself) Jackpot. (louder) Hey, take a look at this. Armstrong walks over quickly, and stares inside. ARMSTRONG What are they? RYAN Secrets. Inside the boxes are dozens of file-folders, video cassettes, binders, forms, audio-cassettes, books and blueprints. EXT. BLACK RESIDENCE - DAY The White Van is still parked outside Tom and Helen's house. The neighborhood is quiet. INT. WHITE VAN - DAY Nielsen is asleep, slightly reclined in his seat with a map over his chest. His wrist-watch begins to BEEP and he slowly wakes up. Looking at the clock on his dashboard the time is found to be 9:00 AM precisely. He shifts round in his seat we see he has stacks of equipment in the back: wires, screens, consoles and a few keyboards. He hits a button and ejects a CD from a panel. An inscription in fine ink reads "BF #101" on its top. KNOCK, KNOCK, KNOCK! - someone raps on Nielsen's window. Nielsen twists round in his seat to see HELEN BLACK outside his window with CHARLIE in her arms. She smiles as Nielsen winds his window down. HELEN Good morning. NIELSEN Hi. HELEN Lost? NIELSEN No, no everything's fine now. HELEN (frowns) Weren't you parked here all of yesterday? NIELSEN Uh, yeah. I had some mechanical problems with the van. Sorry if I'm spoiling your view. HELEN (smiles) No, that's okay. I just wanted to make sure, y'know, that everything was all right. I'm on the Neighborhood Watch committee. NIELSEN (smiles) Right. Sorry, I fell asleep last night. I'll be out of your way in a few minutes. HELEN There's no rush. Well, nice meeting you. NIELSEN You too. Um, hope you don't mind me asking but... I noticed an ambulance outside late last night. I hope everything's okay. HELEN Yes. Um, my brother-in-law had some kind of seizure we think. He's fine now. NIELSEN Oh. Well, so long as it's nothing serious. HELEN I hope not. Thanks. Bye then. NIELSEN Goodbye. Helen smiles again and walks back to her house. Nielsen's smiling face twists back to a stoney stare as he watches her cross the street. INT. DR LUNDER'S ROOM - DAY Dr Lunder is seated across a table from Frank, who is now dressed in the same clothes he had on last night. He looks a little pale, his hair's messy and the bruising on his face is more visible. DR LUNDER I'm afraid our test results aren't good, Mr Black. But there's good news along with the bad. FRANK Tell me the bad news first. DR LUNDER We can now say you definitely had a seizure brought about by epilepsy. Frank's face cracks and he stares down for a second. As he does so, Dr Lunder continues: DR LUNDER (CONT'D) I'm sorry. FRANK What, uh, what exactly is epilepsy. Does it mean I have a-a tumor? DR LUNDER It can do, yes. But not in your case, don't worry. (a beat) Um, brains consist of millions of nerve cells, called neurones. Each one receives electrical signals from fellow neurones, and pass them on to others. Touch, sight, thinking, movement... all depend on this communication. The brain is constantly generating electrical rhythms in an orderly fashion, even in sleep. Frank looks up. FRANK But not mine. DR LUNDER In epilepsy this order is occassionally disrupted by some neurones discharging their signals incorrectly. There may be a kind of brief electrical "storm" arising from nuerones which cause these seizures. FRANK And... and it's only ever happened *now*? DR LUNDER It's rare for someone to have a problem manifest late in life. Only 4% of epilepsy sufferers have their first seizure after forty. FRANK How did I get it? You said it wasn't a tumor. DR LUNDER Right. We can already rule that out thanks to the MRI. But there are three other ways people contract epilepsy. Injury is one. Have you had a bad fall recently? Frank shakes his head. DR LUNDER Uh, do you drink often? FRANK No. DR LUNDER Good. We've also tested you for a low blood glucose level, but everything seems fine. Which only leaves... an inherited defect. Does your family have a history of epilepsy? Frank stares at Dr Lunder, his mind racing and finding bad news. FRANK My... I think my grandfather had it. I'm pretty sure. I'll have to check with my brother, but... yeah, I think so. DR LUNDER If you can confirm that, then that's the reason for your seizure. FRANK I-I can't even believe this is... it's so hard to take in... Frank SIGHS, and rubs his face in his hands. Dr Lesky waits patiently. INT. EMMA'S OFFICE - DAY Emma is pouring over some files and reports. She stops and holds her head in her arms, exhausted. Someone KNOCKS at the door. EMMA Come in. Finley enters and quickly closes the door. FINLEY (courteously) Assistant Director. EMMA What do you want? FINLEY You've had a day to think. I'm here for an answer. The last initiations take place on New Year's Eve, and we need to prepare. EMMA Does this intiation involve accepting scrolls and making speeches? Finley sits, SIGHING. FINLEY It's a little early for wise-cracks, Emma, and frankly I don't have the time. EMMA (exhales) I'm sorry. I'm just exhausted dealing with this gas attack on the Metro. Finley nods. FINLEY So your answer is..? EMMA (frowns) Why the sudden pushiness? FINLEY You've had six months to see we're not the "monsters" Frank Black had you believe. Will one extra day of thought *really* make any difference now? EMMA I guess not. FINLEY Well then...? Emma glances down, then up. She smacks her lips, then turns firm and outstretches her hand. EMMA Yes, okay. I'm in. Finley can't hide a smile as she shakes Emma's hand firmly. But then she turns cool again. FINLEY Excellent. You've made the right choice. I'll let you know more about the initiation later. Finley leaves Emma is alone to ponder. INT. DR LUNDER'S OFFICE - DAY Dr Lunder brings out some paperwork and slides them across to Frank. DR LUNDER I've prepared some leaflets and booklets for you to read, which I suggest you do. You actually had what's known as a Tonic-clonic seizure. It starts with a sinking or rising feeling in the pit of the stomach, then you may groan before losing consciousness. Frank nods, remembering, his eyes blink slowly. DR LUNDER Your limbs became stiff and rigid, and breathing stopped, causing your lips to turn blue. Your eyes rolled upward upward, and your jaws clenched. This "tonic phase" is followed, about a minute later, by what we call the "clonic phase"; whereby your body shook with a series of rhythmic jerkings of the limbs. These ceased after a couple of minutes. You then recovered consciousness, and were confused for several minutes, then slept for a few hours. Do you have a headache and soreness of any muscles right now? FRANK Uh, a slight headache, yeah. There's some soreness in my left arm, too. DR LUNDER They may persist for a few days. FRANK (laughs low) I really need that good news now, Doctor. Lunder smiles. DR LUNDER Yes. There *are* many treatments and drugs you can take. All have a good success rate. People *can* live with their epilepsy, Mr Black, and seizures can be rare occurences. Give your age, this *could* be put down to a one-off. Just your genetic past exacting itself on you for some reason. We still don't have all the answers, I'm afraid. Epilepsy is a mysterious realm. But it's not the end of the world by any means. FRANK You said it was hereditory. DR LUNDER That's right. FRANK My daughter Jordan... could she have it too? DR LUNDER It's possible. But unlikely, actually. By all accounts it seems the epilepsy totally skipped your father's generation, and has only affected in later life. How old is Jordan now? FRANK Eleven. DR LUNDER (nodding) Almost half of epileptic patients have their first seizure by the age of nine. That's a very good sign for Jordan. It's more than likely she'll have no problems, and once she hits 19 you can practically wave goodbye to any anxiety on the matter. Mind you, being the father of a teenager brings a whole new world of anxieties. Dr Lunder smiles. Frank smiles thinly. FRANK Thank you, Dr Lunder. DR LUNDER Please read the leaflets, and do contact someone for any advise and guidance. I've written plenty of helpline numbers for you to call, as well as support groups. It's all confidential and very professional. Dr Lunder passes over some leaflets and booklets. Frank takes them as he stands. FRANK I can just go? DR LUNDER There's no reason not to. Your MRI and EEG scans showed your in no immediate danger. Frank nods slightly. FRANK Thank you. Frank slowly leaves the room with his booklets, pausing at the door to confront his family beyond it. INT. FBI CRIME LAB - DAY PROFESSOR DEAN MYERS (a toxicologist) is talking with Emma Hollis, who has had to dress in some protective clothing (apron, gloves, hairnet). He has the powder the Hazmat team found in the subway carriage contained in a glass box. EMMA Any luck, Doctor? MYERS Indeed. What you're looking at is, essentially, tainted drugs, and definitely the cause of all the subway fatalities. It looks like normal cocain to the naked eye, but... EMMA It's not. MYERS No, no, no. No, this stuff ranks on the "FBI's Top 10 Most Dangerous Toxins" list. Placed behind plutonium and botulism, at number 3. EMMA What's in it? MYERS Lethal amounts of something called Ricin. A protein toxin which acts as a poison, readily produced from castor beans. When inhaled or absorbed through the skin, the victim would suffer fever, cough, dyspnea, nausea, and chest tightness, together with profuse sweating - all within eight hours. EMMA That matches some reports from what the paramedics saw when they arrived at the scene. MYERS (nods) What follows are the development of pulmonary edema, cyanosis, hypotension, and finally respiratory failure and circulatory collapse. Death usually occurs between 36 and 72 hours, depending on the dose received. EMMA 36 *hours*? That can't be right - they were all dead within 18. Were they exposed to an extreme amount? MYERS No. In fact, the drugs had just a 4% trace element of Ricin in them. Those people should have lasted... oh, easily 50 hours, I'd say. EMMA Fifty? Then what happened? MYERS This isn't your typical Ricin. This is... well, I don't know *what* this is. It's Ricin... but it's not. It's been altered on a molecular level. Professionally. Obviously to increase the speed of its effects. (a beat) I'd say our toxin chart has a new number 2. EMMA But there's an antidote... MYERS There's no cure for being exposed to *normal* Ricin, let alone this "new breed." EMMA (a beat, sighs) So we're dealing with organized people. Educated men... with the money, resources, and time, to produce something like this in a laboratory. Myers nods gravely. Emma just stares in awe at the small mound of white powder in the containment box. EXT. COASTAL BEACH - DAY An overcast day. A high wind whips sand into the air and churns waves onto the shores of the beach. Legend INDICATES: Newport, Oregon Coastline 8:13 AM, PST The sound of rotor blades become audible over the noise of the crashing surf, and a helicopter begins to lower from the sky. INT. HELICOPTER - DAY The same men from Russia in "The Swords Of Armageddon" are seated around the lead cases they stole from the Black Train. Amongst them is Mabius. He leaps down onto the sandy beach, to see three FBI vans and six squad cars racing towards the helicopter. EXT. COASTAL BEACH - DAY Mabius's expression shows no concern as the approaching vehicles slow down and brake to a stop. A QUARTET OF AGENTS spill out of a blue van marked "FBI" and run up to him. The AGENT-IN-CHARGE speaks: AGENT-IN-CHARGE Daniel Mabius? MABIUS Yes. AGENT-IN-CHARGE We have orders to make sure your cargo arrives at Portland International Airport. You have a private jet waiting. Uh, just where exactly are you taking this stuff? MABIUS The capital. The side of Mabius's mouth raises in a half-hearted smile. The A-I-C just nods and feigns a low LAUGH politely, not fully understanding. Mabius is deadly serious. FADE OUT. ACT TWO FADE IN: INT. MEDIA ROOM - BALTIMORE PD - DAY The contents of Dr Glendale's attic are piled up on a large table. Five DETECTIVES are going through the evidence; watching videos on TV's, clicking through slides, reading journals and blueprints, etc. Legend INDICATES: Baltimore PD Media Room 4:12 PM Ryan is with Armstrong, both watching color images of a remote bridge. The bridge is serene and spans across a green valley. The amateur video jerks slightly as MUFFLED WORDS are spoken, and -- FPHWOOOM! -- the bridge is destroyed, the shockwave rocking the camera. ARMSTRONG Yow. RYAN There's more on every one of these tapes; bridges, dams, underground detonations - you name it, it'll be blown up on one of these tapes. ARMSTRONG Dr Glendale *was* a weapons analyst for a time. RYAN D'you know what weapon destroyed that bridge? Armstrong looks blank. RYAN (CONT'D) Something called a Special Atomic Demolition Munition - or S.A.D.M. ARMSTRONG Atomic? RYAN (nods) Weighing 80-100 pounds, small enough to fit in a bag, and used for sabotage missions by Navy SEALS. Airfields, bridges, dams, you name it. It's got an explosive charge of 1000 tons of TNT. (a beat) The film on that tape was declassified in '97. It's *not* some wild conspiracy theory. This type of portable destruction is a fact... and Dr Glendale was practically the brains behind it all. ARMSTRONG Okay... uh, we already know Glendale was suspected of passing nuke secrets to the Russian Mafia and KGB... so what are you saying? RYAN I'm saying that Glendale was killed by someone who never forgot the near-hysteria the Glendale court case would have brought. Someone actively against nuclear energy. ARMSTRONG An anti-nuke campaigner? RYAN Why not? The threat of nuclear war's loomed over everyone for decades now. We've just become accustomed to it... while others haven't. Maybe someone who was affected by one of Glendale's projects... ARMSTRONG (thinks deeply) Well, it kinda makes sense, I guess. Pretty extreme way to make a point, though. Murder. RYAN It's just a theory. Armstrong EXHALES deeply and rubs his weary eyes. ARMSTRONG Okay, okay, we'll snoop around for radical extremist with heavy agendas. Won't be the first time. RYAN Thanks. And in the meantime we should start getting collating feedback from the Glendale's neighbors. Armstrong nods - he's already ahead of Ryan on that score. Ryan brushes past to examine another table filled with stolen Government materials. EXT. BLACK RESIDENCE - DAY The White Van has vanished. Tom Black's car swings into the driveway and parks. INT. HALLWAY - BLACK RESIDENCE - DAY The door is opened to reveal Frank and Tom on the doorstep. Helen is there to greet them, with Charlie in her arms. She flashes a broad smile and widens the door. HELEN Good to see you, Frank. I had a feeling they'd let you out soon. FRANK You can't get rid of me that easy. Helen LAUGHS to herself as Tom and Frank step inside, followed by Jordan - who's holding on to the back of Frank's jacket. Helen closes the door. INT. LIVINGROOM - BLACK RESIDENCE - DAY Frank cautiously enters the livingroom - his face betraying a wavering thought that total desolation may greet him. Of course, the room is totally normal and festooned with Christmas decorations. Tom and Helen hover near the door as Frank gently sits in an armchair, with Jordan settling on his knee. HELEN I'll make us some drinks. TOM Uh, yeah, I'll help. They both leave. Frank smiles, even after they've gone. He takes a deep BREATH as he stares round the livingroom. FRANK'S INTERNAL POV Another frighteningly fast sequence of images pound through Frank's mind: -- The entire room ablaze! -- The cushions exploding into flames! -- Window glass SMASHING! -- Christmas decorations melting! Frank's breath hitches from the shock. Jordan also shifts and stares up at her father. Frank meets her gaze. JORDAN It won't happen, you know. You won't let it happen. FRANK Let what happen? JORDAN I saw it, too. The fires. Frank's face registers bewilderment as he sits up and holds Jordan firmly. FRANK How did you see that? Jordan shrugs. Frank holds her tightly. FRANK I'm so sorry, Jordan. You shouldn't be seeing those things. Jordan's face is buried in Frank's arm as he rocks her gently - his eyes closed. INT. THE ELDER'S STUDY - DAY The Elder is seated across from Ms Finley, listening closely. FINLEY You gave a good speech yesterday, sir. THE ELDER Thank you, but I doubt that's why you made an urgent appointment to see me, Carol. FINLEY No, sir. You'll be pleased to know that Emma Hollis has agreed to become a member. THE ELDER Hm. I thought as much. FINLEY You did? THE ELDER It was only a matter of time. Curiosity is a strong emotion, especially in someone so naturally inquisitive like Miss Hollis. Tell me, do you think she's joining for the right reasons? FINLEY I think so. She's only seen the tip of the iceberg, of course. THE ELDER She wouldn't be the first Assistant Director of the FBI to become a member... or the last. She's nothing special, Carol. FINLEY I believe all members are special. They may not all be blessed with "gifts", but all are unique. THE ELDER The last initiation ceremony takes place on New Year's Eve. Ten o'clock, followed by a three hour vigil by candlelight. FINLEY She'll be there. I don't think she had any plans for the millennium. Not after her father's death. THE ELDER Hm. Good. Is that everything? FINLEY Uh, no, actually. The Elder sits back, his eyes intense. FINLEY Somebody contacted me yesterday. THE ELDER Who? FINLEY I don't know. Someone who seemed to know a lot about the Group. Maybe an ex-member, I'm not sure. He... made me curious. THE ELDER There's that word again. A smile flickers across Finley's face, but her seriousness subdues it quickly. FINLEY He mentioned a ritual known as "The Walk"? THE ELDER The what? FINLEY I know it sounds stupid, but he said the Millennium Group practiced it. Actually, he said it's only been performed once before. A thousand years ago. THE ELDER Sorry, it doesn't ring any bells. FINLEY Why would someone give me misinformation like that? The Elder shrugs. THE ELDER I wouldn't let it bother you. Probably just a crank caller. FINLEY He spoke with a French accent. The Elder's eyes narrow slightly and he bites the corner of his lip. THE ELDER I see. (a beat) Well, I'll look into it if you want. But remember, Carol, there are many people out there with misconstrued grudges against us. Their inability to understand our complexities leads to fear. People *always* fear what they don't understand. I'd take any mysterious phone calls with a very large pinch of salt. Finley nods and smiles thinly as she stands and leaves the room. The Elder's features darken as the door closes. INT. LIVINGROOM - BLACK RESIDENCE - DAY Frank is holding a newspaper with a main headline which reads: "20 DEAD IN METRO GAS ATTACK" The headline is accompanied by a photograph of the subway station, which has been cordoned off with yellow tape. Frank massages the bridge of his nose. TOM (O.C.) Another headache? Frank looks up to see Tom passing him a cup of coffee. He takes it, smiling meekly. FRANK Just some bad news. Tom notices the headline. TOM Oh. Yeah, the Metro attack. Possible terrorist act, I heard. FRANK I was on that train, Tom. TOM What?? When? FRANK Yesterday. Someone called me and made me get on that train. I got off just in time; according to this twenty people died after being exposed to some kind of toxin at one p.m. That's *minutes* after I got off, I'm sure. TOM Why did you get on the Metro? Who told you to? FRANK Someone I know. TOM And how well do you know him? FRANK Not very well. But... just thinking about it now, in hindsight... it's almost as if he *knew* those people would all die. Tom can't fathom the complexity of Frank's thoughts clearly, and instead just sits back in his sofa and SIGHS. FRANK Something's happening, Tom. Events are being set in motion. The gas attack on the Metro... my epilepsy... TOM Hey, hey now just stop right there, Frank. It's, uh, it's madness to think there's a connection here. You're just being paranoid. FRANK I haven't told you everything. Tom waits. FRANK (CONT'D) The case Ryan was involved with was the apparent murder of a retired nuclear physicist, who was likely associated with the Millennium Group. And last night I *saw* a... a disaster. Tom shakes his head jerkily, wanting more clarity. Frank wrestles with his words. FRANK (CONT'D) A nuclear explosion. It looked like it'd hit somewhere in Washington D.C. - in the distance. (looking round) This whole room just... exploded into flames and heat. TOM (slow, firmly) You had an epileptic fit, Frank. I'm *certain* this must be part of the symptoms. An hallucination. All those neurones misfiring in your brain just... tricked you into a... living nightmare. Your subconscious mind just picked up on murder case's nuclear connection and... filled in the rest. FRANK No. No, you don't understand. TOM Who can then? Tell me, and I'll call them. What, a therapist, or something? FRANK Jordan understands - as best she can. Lara Means understood. (a beat) For years now I've accepted something in my life which would send most people to suicide or a straight-jacket. An ability. For whatever reason - spiritual or scientific - I have a gift. And I've chosen to use it. It's brought swift ends to dozens of crime cases... and misery to my family life. But it's been there for me. I could almost depend on it to help me... to guide me. I can't ignore what I've seen so clearly. My gift's never failed me. TOM And you don't think it's even a slight coincidence that you had this "vision" seconds before you had an electrical storm buzzing through your head? Spirituality's one thing, Frank, but facts are another. I have more faith in what qualified doctors say. FRANK I can't ignore it, Tom. I'm sorry, but I can't. TOM So now what? FRANK I need to have answers. I'm tired of stumbling around in the dark - making small progress, which tends to be snatched away. I thought the Bureau could help me a year ago... but it turned out the Group have them under their thumb. I have to take the next step. TOM (sighs) Do what you want, Frank. It's obvious your mind's made up, and I won't force you to change it. I just ask you to remember you have Jordan to think about. Now more than ever. I hope to God this epilepsy somehow... vanishes. But if it doesn't, you have to take care of yourself. Low stress. It may even be a good idea for you to... permanently quit your work as a consultant. Frank jerks his head up to stare at Tom. They both share a silent gaze which communicates compassion and sympathy more than any words. EXT. FINCH RESIDENCE - NIGHT Ryan and Armstrong are standing in the porch of the large home. At the door stands ERIC FINCH, mid-30's. The three men are talking. FINCH Well, y'know, it was dark and almost a week ago now. I can't remember exactly what he was wearing. But I got a good look at his face. Kind of average-looking. RYAN And this was a Sunday night. FINCH Yeah, almost ten at night. I was standing out on the street changing a flat when I saw him. ARMSTRONG How was he acting? FINCH Completely normal. Just walked up to the Glendale's front door. RYAN Did you see him enter? FINCH I don't make a habit of watching peoples' every move like a hawk. He was just someone I noticed, that's all. May not even be the guy you're looking for. ARMSTRONG Could you describe the man to a police sketch artist? FINCH Uh, yeah, I guess. May not be totally accurate, but-- RYAN Anything you can give us could prove vital. Mrs Glendale's announced a $10,000 reward which you may be eligible for should your sketch lead to a convicted arrest. Mr Finch's eyes widen a little, obviously finding this an attractive offer. EXT. PORTLAND INTERNATIONAL AIRPORT - DAY Mabius's team of men are boarding their private jet. As they walk up the boarding stairs we see the lead crates being loaded into the cargo hold. Two FBI VANS are parked close by, with some AGENTS observing. Mabius stops as he reaches the hatch and takes a final glance down at the lead crates, before boarding the jet. INT. BALTIMORE PD - NIGHT A computer screen is spooling through dozens of photo-fits of male faces. A hand is holding a sketch pad which has a suspect's face pencilled on it. To us, it's obvious the suspect is Mr Nielsen (the White Van driver). RYAN (O.C.) Nothing. The computer screen signals: "NO MATCHES FOUND." Armstrong is revealed to be holdng the pad, with Ryan at the computer terminal. ARMSTRONG Like Mr Finch said, this may not even be the guy. RYAN That face looks familiar to me. I've seen him somewhere before. ARMSTRONG His face's going to be all over the capital by morning, don't worry. If he's in the area, someone's bound to rat on him for a ten grand Christmas bonus. RYAN Any luck with the anti-nuke campaigners? ARMSTRONG Nothing. We've checked four campaign HQ's in the past few hours - nobody has anything useful to say. Ryan GROANS. He checks his watch. RYAN God, it's almost six. Where the hell's Frank? ARMSTRONG We don't need him. RYAN If there's a connection to the Group - we do. Armstrong turns away, totally unconvinced. He gruffly walks away. Ryan watches him go, before taking out his cell phone and beginning to dial. FRANK (O.C.) Ryan. Ryan stops and puts his phone away. He twists round to see Frank approaching. RYAN Frank? What's kept you? (notices Frank's bruises) What happened to your face? FRANK I've been in hospital all night. RYAN What??! What the hell happened - you okay? FRANK Later. First I need to be brought up to speed on this case... then we're going to Quantico. RYAN Quantico? FRANK I think we're going to need the Bureau's help on this one. And there's only one person there I trust. INT. BUCKSNORT FOREST - NIGHT The thick, dark trunks of the forest obscure our view. All around the sounds of SNAPPING, HOWLING and BARKING dogs drift in the Winter air. Suddenly, a DOG rushes past and joins three more in a rush up a well-trodden lane. The animals filter in to a pack of thirteen and sit on their haunches in front of The Old Man's Shack. The familiar circle of small obelisks (each stamped with an ouroboros) stick out of the ground, keeping the dogs at bay somehow. The animals sit perfectly still, smaching their lips and staring at the shack door. INT. OLD MAN'S SHACK - NIGHT An ancient manuscript it being read. Light from a gas lamp on a table illuminates the rough paper. The wrinkled hands of the OLD MAN turns the page and an illustration greets us. It's an old ink drawing of a wizened old man walking down a forest lane - a gas lamp dangling from a Shepherd's crook. The man wears a fedora hat and has a long beard. All around him, dark trees with frightening faces cut into the trunks leer at him. A caption handwritten below the image reads: Wait for the Sign, then Walk before Time The Old Man looks sharply up as a particular loud HOWLING snaps his concentration. EXT. OLD MAN'S SHACK - NIGHT A low GROWLING is heard O.C., as the Old Man's shack door opens. The Old Man himself steps outside, carrying his Shepherd's crook in one hand. He closes the door and walks out toward the circle of obelisks. The pack of dogs, bare meters away from him, do not attack. Instead, they sit up in an fearsome posture and bare their teeth - SNARLING, GROWLING and drooling. The Old Man shows no fear, and stands before the leader of the pack. OLD MAN I haven't got time for this. Do you hear me? The dog simply stares and SNARLS. The Old Man looks up at the starry sky overhead. OLD MAN (CONT'D) Do you hear me!!?? His voice echoes into the forest canopy and the night sky. Silence. The Old Man's tired face turns away from the GROWLING dog and heads back to his shack. FADE OUT. ACT THREE FADE IN: INT. EMMA'S OFFICE - NIGHT Emma is typing at her desk computer, leafing through some toxicology reports on the Ricin/cocaine concoction. She's obviously tired and reclines in her chair, stretching her arms. A KNOCKING on the door makes her sit up. EMMA It's open. Agent Lesky enters, holding a bundle of files. She closes the door. EMMA (CONT'D) Agent Lesky, how can I help you? LESKY More a case of me helping you. EMMA Oh? Lesky holds out her folders. Emma takes them. EMMA (CONT'D) What are these? LESKY Information on all twenty victims of the Metro attack yesterday. EMMA We already have all the information we need. LESKY No you don't. Take a look at each victims' CV. Emma begins glancing through them, but can't find anything. Lesky takes a seat and opens a folder. She indicates the relevant page on a file. LESKY (CONT'D) Here; Abraham Donner, 58. Between '70 and '74 he was on the Board of Directors for the Rotarin Corporation. EMMA Ri-ight. Lesky tuts, and grabs another file. She opens it at a similar page. LESKY Joseph Becker, 42. Between '65 and 73 he was on the Rotarin executives Board, too. Emma's mouth opens, slightly in awe. She snatches another folder and reads. EMMA Carl Bremner. Worked for Rotarin - 1976 to '89. Emma looks at Lesky, who raises her eyebrows. EMMA (CONT'D) My God. *All* twenty were ex-employees for this Rotarin Corporation? LESKY 12 were executive members, 8 were research scientists. EMMA What were they all doing on the same subway train? Did they all know each other? LESKY I doubt it. Most worked for the company at different times, or in different departments. They wouldn't have known each other. But they all had Rotarin in common. And they were all coerced into being on that train. EMMA What d'you mean? LESKY We've searched four of the victims' houses. We found anonymously typed letters at all four locations. I'm betting that's a trend for the remaining sixteen. Lesky passes Emma an example letter - it's been skrewed up, but it still readable. One segments reads: Urgently requested presence at the Stratton Lecture Hall, 1:20 PM. Important: attendees are to travel by subway due to lack of proper facilities. Emma frowns. The headed paper is from "The Rotarin Corporation." EMMA What is Rotarin? LESKY A Government nuclear research facility. EMMA Nuclear? Lesky nods. LESKY We rang them. Apparently the Stratton Lecture Theater wasn't being used by them. They admit the headed paper is their own stationery, but anyone could steal that. (a beat) So it looks like someone duped them all into boarding that train. EMMA If that's true, it doesn't explain how Ricin was exposed to them all. LESKY I talked to the CDC people, they said Ricin can penetrate the skin. Like with, say, an aerosol... EMMA What're you getting at? LESKY We're checking all home products that may have been infected with the toxin: colognes, deodorants, stuff like that. EMMA Anything yet? LESKY Not yet. EMMA (nodding slowly) Good work, Agent Lesky. *Very* good work. LESKY (with pride) Thank you. EMMA I'll keep these for now. Keep me informed. (smiles) Any more successes like this, and I don't think it'll take me long to pick my Agent-In-Charge. Lesky gives a broad smile, which she clamps down with professional reserve. She nods once in acknowledgment. INT. RYAN'S CAR - NIGHT Ryan is driving with a stunned expression, while Frank sits quietly in the passenger seat. RYAN Epilepsy? Frank just lets out a small breath, turning to watch the traffic outside. RYAN (CONT'D) And they can't do anything? FRANK There are treatments. Medications. Drugs to keep it under control. RYAN I know, but I mean... damn it. How's your daughter taking it? FRANK I don't think she really understands. (thinks) Maybe that's not true, I don't know. Ryan's shaking his head, totally stunned. RYAN Life just isn't fair. This sentiment strikes a chord in Frank, but he hides it well. FRANK I'm thinking of retiring from consultancy. Completely. Ryan takes his eyes off the road. Frank is facing away from him. FRANK (CONT'D) To try and make the most of however much time I've got left. RYAN You're talking like it's the end of the world. Frank can't suppress a snort at the double-meaning in Ryan's words. His cell phone begins to RING and Frank jumps to it, grabbing the phone from his jacket pocket. Ryan watches the sudden rush of movement from the corner of his eye. Frank answers the phone: FRANK Frank Black. LE SAUX (V.O.) Good evening, Monsieur Black. FRANK I'm ready. LE SAUX (V.O.) For what? FRANK Step two, or whatever you want to call it. I just want this over with. Once and for all. Where can I meet you? LE SAUX (V.O.) I'm a difficult man to reach. Especially now. I have to keep a low profile now Millennium have a price on on my head. FRANK You know we have to meet. The attack on the Metro, all those people killed. Why didn't you stop that? You knew about it, but why didn't you *do something*? LE SAUX (V.O.) Because they were deadmen walking. They were beyond my help. Their presence on that subway was planned with military precision. There was nothing I could do. It was merely an opportunity to give you a first hand example of the calluous and cold acts the Group have become capable of. FRANK What about Dr Glendale? Where does he fit into all this? LE SAUX (V.O.) To tell you the truth... I don't know. I only learned of his death in the evening news. He was a Group member, you know. FRANK I know. He worked for Rotarin - one of the Groups endeavours. LE SAUX (V.O.) Since the days of the first nuclear detonation at the Trinity test range, Rotarin have helped inadventely shape the entire future. Their ideas, their innovations, their knowledge, and their mistakes have affected every nation on Earth. FRANK Then they have to be stopped. LE SAUX (V.O.) No. What's done is done. Nuclear technology is here to stay. Mankind progresses, it doesn't backtrack - no matter what perils lie ahead. We just have to make sure good hands are in control. I'll make every effort to ensure we meet - soon. Auvoir. Le Saux hangs up. INT. EMMA'S OFFICE - NIGHT Emma is leaving for the night. She turns off her computer terminal and tidies away some files. The phone RINGS and she answers. EMMA Assistant Director Hollis. LESKY (V.O.) It's Lesky. EMMA What's up? LESKY (V.O.) I got some results back from the CDC lab scientists - about the deodorants and-- EMMA What did they say? INT. CDC LABORATORY - NIGHT Agent Lesky is wearing protective clothing, looking through a protective screen at CDC SCIENTISTS. On a table inside the room are an assortment of deodorants, aerosol cans, colognes, etc. LESKY Trace elements of Ricin was found in one product per person. What's more, each product was an early Christmas present - supposedly from Rotarin. INTERCUT BETWEEN SCENES: EMMA So someone arrange for them to become infected... then for them to all die together in a subway carriage. LESKY (O.C.) Looks like it. EMMA That's not the work of people bothered about efficiency - they could have left each man to die at home. They wanted to make a point - a statement, maybe. LESKY (O.C.) Could be. I'm heading home now. I'll get back to you tomorrow. EMMA See you tomorrow. Lesky hangs up, and so does Emma. She then grabs a stray file and stands to put it away in a drawer. She places the file toward the back of a drawer, before noticing something. She bends down slightly and cranes for a better view. A metal panel with a combination lock is at the rear of the drawer. It has a lock on it. Emma frowns, confused. She tugs at the compartment, but it doesn't open. Emma takea a step back and thinks. She suddenly turns and goes over to a stack of unwanted files in the corner. She searches down the pile, then pulls out one labelled: 'McGREEVEY, Kenneth James" Emma opens it and the front page lists the details of McGreevey: date of birth, staff number, etc. Emma takes the folder and heads back to the lock. She twists in the number: 3, 2, 6, 5, 7 Which equals March 26th 1957. She tugs at the compartment, but it doesn't budge. She groans and twists in the number: 1, 0, 2, 2, 1, 3, Which was McGreevey's staff number. She tugs at the compartment, and is a little surprised when it opens! Inside the secret compartment is a small audio cassette (the one McGreevey hid in "The Third Eye"). Emma takes it out and notices it has blank labels. INT. FBI ACADEMY CAR PARK - NIGHT Emma is walking briskly to her car, her handbag rhythmically slapping against her waist. INT. EMMA'S CAR - NIGHT Emma clambers inside and inserts her car keys. She turns the electric on, and inserts one of the audio cassettes into her car radio. She presses 'PLAY': TITUS (V.O.) (filtered) It's me. Have arrangements been made regarding the Russian shipments? BLAYLOCK (V.O.) (filtered) Yes they have. TITUS (V.O.) (filtered) And if there are problems with coastal patrols? BLAYLOCK (V.O.) (filtered) Our position in the FBI will be secure by then. They can provide adequate cover. TITUS (V.O.) (filtered) Understood. The tape HISSES, just as someone RAPS on her window! Emma jumps round to see Finley standing outside. She winds down her window. EMMA You scared me. FINLEY Sorry. What were you doing? EMMA Nothing. Problem with the radio, that's all. Finley doesn't look totally convinced, but continues: FINLEY Initiation takes place at Crooked Creek, Tennessee. New Year's Eve at 10 o'clock. EMMA Tennessee? FINLEY Travel expenses will be paid for. It's best to go by train. EMMA Is all this really necessary? Can't I just sign on a dotted line somewhere? FINLEY (laughs quickly) No. No, there's tradition involved. The Millennium Group we know is just a modern incarnation of something much, much older. Don't worry - as your Patron, I'll be your escort. EMMA Right. FINLEY Good night, Emma. Emma nods, as Finley stands straight and leaves. EXT. FBI ACADEMY PARKING LOT - NIGHT Finley is walking away as Emma's car ROARS into life and reverses. Finley's cell phone rings and she answers it. FINLEY Finley. LE SAUX (V.O.) Have you spoken with your superiors since we last spoke? Finley's face turns serious and concerned, as Emma's car passes her. All turns silent and ominous. FINLEY Who are you? LE SAUX (V.O.) Avoiding a question won't deter me. FINLEY I've spoken to someone, yes. Nobody knows what you're talking about. The Walk isn't anything the Group knows about. ANGLE - A CONCRETE PILLAR ALEXANDER LE SAUX is standing up against the pillar, a few hundred meters away from Finley in the distance. He has a cell phone pressed to his ear, and takes occassional glances to Ms Finley. INTERCUT BETWEEN LOCATIONS: LE SAUX (scoffs) Hm, easily put off the scent, aren't you. I'd have thought someone with 24 years in the Bureau would be more persistent. I'm telling the truth, you know. I knew The Elder's predecessor. Do you remember him? FINLEY What of him? LE SAUX Exactly what I was wondering. Where has he got too...? His promotion seems to have afforded him less priviledges. *He* should be the one giving the orders. Especially now that the time is so close. FINLEY The Old Man is only disturbed in exceptional circumstances. LE SAUX Don't be so blind, Madame Finley. If you're seriously suggesting *now* is not an exceptional time... you're deluding yourself to an extreme I find embarassing. FINLEY I don't have to listen to this. Finley hangs up with frustration. She takes a moment to collect her thoughts, then continues her walk. ANGLE - THE CONCRETE PILLAR Le Saux raises his eyebrows, then hangs up. He skulks away from the pillar carefully. EXT. FINLEY'S CAR - NIGHT Finley approaches her car and disengages the security alarm with her keys. She opens the door and gets inside. INT. FINLEY'S CAR - NIGHT Finley takes a deep breath and then notices something in her rear-view mirror: some reversed writing on the back window. She frows. EXT. FINLEY'S CAR - NIGHT Finley walks round to her back window and inspects it closely. Easily visible in a thin layer of grime is the word: O G M I O S She turns round to stare up and down the empty parking lot. Nobody can be seen. She reaches out and wipes away the written word. FADE OUT. ACT FOUR FADE IN: INT. EMMA'S APARTMENT - NIGHT Emma is sitting on her sofa wearing a walkman. She is listening to McGreevey's tape again - we hear the muffled words through her ear-phones: TITUS (V.O.) (filtered) It's me. Have arrangements been made regarding the Russian shipments? She clicks 'STOP' and stands up. Taking off her walkman, she approaches her computer screen which already shows the familiar golden ouroboros symbol and the words: Welcome Emma, there are 6 days remaining She hits a button on her keyboard and speaks aloud: EMMA "We all go a little mad sometimes." A voice-recognition box proclaims a 97% accuracy result and a Group intranet search site appears. Emma types in: Russian news A message appears saying: 12,879 matches foumd. Then a long list of websites appear, most internet versions of Russian newspapers, or news-stories relating to Russia in some way. Emma sighs in frustration of such a mass of possibilities. INT. MAIN DESK - FBI ACADEMY BUILDING - NIGHT Frank is standing at the reception counter, waiting for a RECEPTIONIST who's on the phone. Some SECURITY GUARDS are on night watch in the room. Frank leans forward as the Receptionist finishes her call. RECEPTIONIST (into phone) Okay, thanks, bye. She hangs up and turns to Frank. RECEPTIONIST (CONT'D) I'm afraid Assistant Director Hollis left the building about an hour ago, sir. FRANK Thank you. A little annoyed, Frank turns and leaves through the main doors. EXT. PARKING LOT - FBI ACADEMY BUILDING - NIGHT Frank is walking across the dark parking lot, moving between parked cars. Some distance away, a pair of feet are seen moving - visible from a low angle. Frank hears the sound of FOOTSTEPS approaching behind him, and quickly spins round to see Le Saux, half-obscured in shadow. The Frenchman takes a step forward. LE SAUX Monsieur Black. Frank reacts without surprise, simply readying himself. FRANK So much for keeping a low profile. The Group have a stronghold over the Bureau, y'know. LE SAUX There was no other way. I was in the neighborhood and I thought you'd come here - to speak with Emma Hollis. FRANK I trust her. LE SAUX She's accepted an offer to join them. On the eve of the millennium she'll become a member. FRANK She thinks she can learn more from the inside. LE SAUX She's right. But at a cost greater than she can imagine. I myself was a member for fifteen years. Frank looks stunned, his mouth opens slightly. LE SAUX (CONT'D) That's right. I'm one of very few people to have successfully *left* the Group after being initiated. It gives me a certain notoriety. FRANK Why did you leave? LE SAUX Same reason you did: because the Group *I* trusted and respected had changed. They ceased to aspire to good ideals and instead participated in corrupt endeavours - using their history and reputation as a cover. Some of us realized the change in attitude and parted company with them. Much to Mr Swanson's annoyance. FRANK Mr Swanson? LE SAUX The Group Elder. The man who handles the daily running of Millennium. You've met him once, I'm told - he chaired the committee that approved your application for membership. Frank's expression shows recall of the event. LE SAUX (CONT'D) Those of us that left the Group in protest formed a kind of underground resistance to their schemes - calling ourselves Ogmios. FRANK Ogmios? LE SAUX (nods) As you've suspected for a few years now, the Group were not always the power-crazed fantatics they've become. And we believe they're not beyond redemption. Yet. FRANK Where do I fit into all this? LE SAUX (smiles) Not so fast. This is merely the second step. FRANK (sighs) Why can't I get straight answers?! LE SAUX Because *finding* answers instead of being *told* answers makes them more believable. Frank chews his lip. FRANK Tell me one thing. Honestly. Le Saux nods. FRANK (CONT'D) I've been diagnosed with epilepsy... was that because of you? Or the Group? LE SAUX I'm sorry for your predicament. The Lord works in mysterious ways, doesn't he... (a beat) Rest assured your epilepsy is a purely natural turn of events. FRANK What about what I saw? My vision of the nuclear disaster. LE SAUX Unfortunately, that was our doing. We stole a technology that subliminally manifests images in people's minds. A kind of hallucinagenic. However, *what* people see is mostly up to them. The Group began to use such techniques for advancing the stages of remote viewing and for trying to recreate Biblical visionary experiences in gifted Group members. Lara Means was one of their first guinea pigs. The signal was delivered to her laptop computer. But it was her own instability that led to her insanity... and tragic death. Frank looks away, holding his head in sheer bewilderment. LE SAUX (CONT'D) We sent a similar transmission to *you* via your television... I'm afraid there's a possibility we triggered your seizure by accident. By confusing genetically deficient neurones in your brain. But your epilepsy would have manifested itself at a later stage, regardless of our intervention. We did not intend to harm you, and I promise we won't use the same technique again. FRANK (angry) How can you stand there and say that?? You've been *beaming* images into my mind??! LE SAUX Believe me, Monsieur Black, it's *not* as a bad as it sounds. Think of it as an artificial recreation of your own natural ability to see the non-linear. The Owls have been perfecting the process for some time now. Do you remember the white noise audio cassettes you encountered last year? FRANK People were committing suicide due to hallucinations triggered by them. LE SAUX Same technology. But used in a much more dangerous manner by the Roosters. A picture is worth a thousand words and so, having effectively "lived through" a nuclear attack... I'm sure you now have an insight on things that should only increase your persistence to help us stop your *vision* of a possible future... from becoming a very real event. FRANK'S INTERNAL POV Another distressingly power and almost incoherant series of images: -- A nuclear mushroom cloud! -- A blast front bending back a row of palm trees! -- Clouds being thrown aside in the air! -- A Homestead being obliterated! -- An LCD number display reading '20:00' Frank closes his eyes and holds his head. He takes a moment: FRANK The Group are planning to start a nuclear war? LE SAUX It's a possibility. Let's hope it doesn't come to that. Here - if you need to contact me - this is my personal number. Le Saux passes Frank a business card. Frank takes it, eyeing Le Saux - his heart trusting the Frenchman, but with enough experience to still keep a suspicious mind. INT. EMMA'S APARTMENT - NIGHT Emma's computer screen downloads an online Russian newspaper, with three black-and-white images: -- A stationery Black Train on a snowy track -- A line of dead bodies lying in bloody snow -- An overhead shot of the train and dead crew The text is in Russian. Emma presses an icon on her web-browser marked "TRANSLATE." After a few seconds the newspaper is translated into English. The headline reads: TRAIN CREW MASSACRE COMPUTER COMPONENTS STOLEN Emma scrolls down and reads a line of text in the accompanying article: rumors persist amongst local villagers that the train was carrying dangerous shipments to the East, which would be sold to Alaskan Black Market traders. Emma looks intrigued. INT. THE ELDER'S STUDY - NIGHT BLAYLOCK is seated across from The Elder, his face intense. The Elder reclines in his seat. THE ELDER Our FBI contingent successfully made sure the Oregon coastal patrols evaded Mr Mabius's helicopter. BLAYLOCK They boarded your private jet a few hours ago. Which means they should arrive with the shipments by noon. THE ELDER Just make sure Customs don't ruin everything. Things are delicate enough as it is. What about Dr Glendale's murderer? BLAYLOCK The Baltimore PD suspect an anti-nuclear campaigner. They've issued this artist's impression. Blaylock hands The Elder the sketch drawing of Mr Nielsen that Mr Finch helped draw up. The Elder instantly recognizes the face. THE ELDER Andrew Nielsen. A face I haven't seen in a long, long time. Blaylock nods gravely. BLAYLOCK It appears that "Ogmios" have changed tactics. Less the saboteurs and more the vigilantes. THE ELDER They've never killed before. Killing Glendale was hardly a logical decision. It makes no sense... Le Saux doesn't work this way. He sabotages covertly. Like he did the First Prophet Gallery. BLAYLOCK Maybe they wanted to make a point this time. THE ELDER Maybe. But with or without Glendale, it doesn't change anything. His creation in the 60's will usher in a clean slate for the world. A Baptism by fire. With us fanning the flames. The Elder gently folds the sketch of Nielsen into a neat package. INT. JORDAN'S BEDROOM - NIGHT Jordan is lying on her bed, wearing her pyjamas. She has her drawing book open and is drawing something: first a large circle, then a medium circle, followed by a small circle. She stares down at the finished circles, her teeth gritted. EXT. SKY - NIGHT The private jet is soaring through the inky black clouds, its lights flashing and engine DRONING. INT. PRIVATE JET - NIGHT Mabius is seated in a window seat, staring straight ahead. The rest of his team are seated in other seats, not speaking. Mabius slowly turns to look out the window at the dark clouds racing past... and we notice a perfectly round birth-mark on the back of his neck. No bigger than a penny. The BUZZING of a fly is heard faintly - then stops abruptly. Mabius faces forward in his seat, then raises his hand to watch a black fly crawl across his palm. He stares at the insect with fascination. INT. CARGO HOLD - PRIVATE JET - NIGHT The DRONING of the plane is louder here. The lead crates rattle around slightly, draped in plastic netting. CAMERA CREEPS CLOSER to one lead box in particular and sees a very familiar symbol... ... three circles in descending size. FADE OUT. ACT FIVE FADE IN: EXT. ITALIAN ALPS - NIGHT CAMERA PANS across a mountain incline, covered with light snow, which gently slopes down to the ground. A HIGH WIND spits snow-flakes up the rockface, with the HOWLING of wolves all around. The CAMERA FINDS some human foot-prints on the ground. Legend INDICATES: Italian Alps December 31, 999 A.D A few hundred meters in the distance the cause of the prints is visible; the frail silhouette of a man holding a Shepherd's crook. CLOSER This ITALIAN OLD MAN is bracing himself against the sharp winds, trekking down the last slope of the mountain. A gas lamp hangs from his crook - the light almost dying. The wind blasts his long beard across his left shoulder as he stops, hearing the sound of wolves HOWLING behind him. He continues to stare down at a large town below (Verona); the light from dozens of fires flickering alluringly. EXT. VERONA OUTSKIRTS - NIGHT Many townsfolk have gathered with lanterns, similarly bracing themselves from the high winds. The Italian Old Man approaches, and the crowd rush forward to greet him - all CHATTERING in Latin. The Italian Old Man is met by dozens of people, all fussing over him. Warm furs are thrown across his back, and he is hugged and led forward. The Italian Old Man is walked toward one man - the ITALIAN ELDER. The Elder makes the sign of the cross on his chest, then kneels before him. ITALIAN OLD MAN (in Latin, subtitled) The time is near, my friend. We must await the new day. Together. (a beat) Stand. The Italian Elder stands, head still bowed. The Italian Old Man turns to address the townsfolk. ITALIAN OLD MAN (in Latin, subtitled) And the new day *will* come! We have prepared well... and the high winds of Evil could not extinguish my Light. He holds up his flickering gas lamp, hanging from his crook. The gatherers MUTTER joyously in Latin, as the Italian Old Man smiles reassuringly. INT. JORDAN'S BEDROOM - BLACK RESIDENCE - NIGHT Jordan's face is squinting, before she opens her eyes wide. She swallows hard, blinking. WIDER Her bedroom is dark, with moonlight causing her curtains to almost glow a hazy blue tone. Jordan sits up in bed and drags out her drawing book from underneath her pillow. She opens the book at a clean page. Using the ample moonlight to see, she takes out a pencil and begins drawing. INT. EMMA'S APARTMENT - NIGHT Emma is asleep on her sofa, curled up beside the photo of her father. A KNOCKING on her door causes Emma to awakens. She slowly stands up and crosses to her door. It KNOCKS again. EMMA I'm coming... hang on. She unlocks the door and pulls it open to reveal Frank and Ryan in the hallway outside. FRANK Can we come in? EMMA Frank, what are you doing here so late? FRANK What we have to say can't wait. Emma looks intrigued. INT. EMMA'S APARTMENT - NIGHT - A SHORT TIME LATER Frank and Ryan are seated on the sofa, waiting. Ryan has notices Emma's ouroboros on her computer screen. He nods toward it to Frank. RYAN Haven't seen that in a long time. Emma returns with four coffees on a tray. She places it down on her table and takes one herself. EMMA So, what's up? RYAN Frank thinks the Group are planning something. Something big. EMMA (confused) Like what? FRANK I've been in contact with someone. Someone who believes the Group may be plotting a nuclear incident. EMMA Does his have something to do with Rotarin? Ryan sits forward, intensely interested. RYAN You've heard of them? EMMA It was brought to me attention, yeah. I presume you know about the Metro attack? Ryan and Frank nod. EMMA (CONT'D) Well, all the victims were retired Rotarin workers. Most were even on the Board of Directors. They wouldn't have known each other, but they were all employed for the same company at some stage. RYAN 'Board of Directors', you say? Emma nods, puzzled. Ryan looks to Frank. RYAN "The Board", Frank. The people we investigated that have some kind of vendettea against the Group. EMMA You're saying the Group killed a rival company's retired executives. FRANK Probably the most prominent Rotarin staff during the 60's and 70's. RYAN Y'see, the Group were investors in their company - Rotarin. Helping to pay for research into atomic energy. Nothing illegal in that, but by the late-70's they practically owned Rotarin, having bought out the other investors. Once they had a majority share-hold, they most likely sacked the original Board of Directors in the processs. FRANK But the fired Rotarin staff didn't just disappear... they moved into different areas. Their political presence is felt strongly throughout the capital. It's taken twenty-odd years, but they've become a threat to the Group. And there's a lot of bad blood between them. EMMA I don't see how the Group managed to get all twenty businessmen on the same subway train, at the same time. On Christmas Day! Frank and Ryan are at a loss. Emma SIGHS... then Frank speaks in a low tone. FRANK I was on that train, Emma. I got off moments before the attack took place. Emma's mind wrestles with the information, before clearing her thoughts. EMMA Why were you on the Metro? RYAN (interrupting) Does the word 'Ogmios' mean anything to you? Emma looks sharply to Ryan, desperate to keep ahead of the questioning. EMMA No. Should it? FRANK The man I'm in contact with - Alexander Le Saux - is the leader of Ogmios - an underground resistance to the Group. EMMA And this Le Saux knew for sure the Group would kill the Board of Directors on the Metro. RYAN How did they die - exactly? News reports were pretty vague. EMMA We found a real nasty toxin blended with a packet of cocain aboard the carriage. Something called Ricin. Only this stuff's... well, it was *much* more lethal. Genetically altered we think. RYAN Then the Board of Directors were all junkies? EMMA No, most were infected through aerosols delivered to them as Christmas gifts. RYAN There's someone else. Another retired Rotarin employee named Dr Glendale. He was found murdered a few days ago in his home. Executed. EMMA And it's connected? FRANK Somehow. RYAN Glendale was a... difficult character. By all accounts brilliant - a pioneer - but hardly loyal. FRANK He was once suspected of smuggling nuclear secrets to the Russians during the Cold War. EMMA (quickly) Wait... did you say *Russians*? FRANK Yeah - why? Emma's head droops in reserved amazement as she SIGHS. INT. EMMA'S APARTMENT - NIGHT - A SHORT TIME LATER Emma's walkman is on her table, amongst some empty coffe mugs. Frank, Ryan and Emma all listen to the tape which is playing: BLAYLOCK (V.O.) (filtered) Our position in the FBI will be secure by then. They can provide adequate cover. TITUS (V.O.) (filtered) Understood. Emma stops the tape. Frank sits back in his seat. FRANK That's it. This is proof. RYAN Where did you get this tape? EMMA I found it in a secret compartment in my office. I think Ken must have hidden it there before he died. FRANK Died? EMMA (a beat, correcting) Was murdered. Frank looks heartened to have Emma totally on his side at last. FRANK We can use this. RYAN (scoffs) It's interesting listening, but hardly proof the Group are plotting to kickstart World War III. EMMA (to Frank) He's right. RYAN (to Emma, slightly sarcastic) Thank you. FRANK Maybe not. But they talk about Russian shipments on this tape. I'm willing to believe the robbery of that Russian train of computer components was their target. It certainly fits the time-frame. RYAN I've read about these Russian trains before. They're illegal carriers of ICBM's and other nasties, operated by the Russian Mafia - sometimes without the train crew even realizing. EMMA So what could have been stolen? Frank thinks. FRANK There's no way a train of that size could be carrying a nuclear warhead... but, maybe the components o make one? RYAN Or portable nukes... Frank and Emma look at Ryan. RYAN Like the S.A.D.M good ol' Uncle Sam came up with. Nowhere near as deadly as a full-on warhead, but... a few of those babies amd you could cause some serious problems. EMMA If the Group did steal some kind of doomsday technology from that Russian train... I don't see why. Aren't *we* supposed to be the worldwide leaders in atomic weapons? Why not steal from the best? FRANK American security's unbelievably tight. I doubt even the Group have enough sway to get their hands on atomic weapons. But Russia's a fractured nation, still struggling to reaffirm itself. In recent years it's become a breeding ground for murder and crime. The perfect chaotic society to buy or steal nuclear weapons. Emma is shaking her head slowly, astounded by the conversation's grim overtones. INT. JORDAN'S BEDROOM - DAY Frank is standing in the doorway, watching Jordan shift position in her bed. Legend INDICATES: December 27th, 9:15 AM 5 days remaining... Frank smiles as Jordan turns to face him - her eyes closed. As he turns to leave, Jordan opens her eyes. JORDAN Dad? Frank stops and turns back to face Jordan. FRANK Morning. JORDAN Where've you been? Frank walks forward and sits on the edge of her bed. Jordan begins sitting up. FRANK Nowhere special. Frank notices a corner of paper under Jordan's pillow. He squints and reaches for it. Jordan shifts to allowing him to take her drawing book out. FRANK (CONT'D) What's this? Jordan swallow as Frank opens the book. The first page shows a childish, yet competent drawing of a faint yellow beach house. Frank smiles. FRANK (CONT'D) Hey, this is good. Very good. Did you really draw this? Jordan nods, smiling and proud. FRANK (CONT'D) You imagined this house all yourself? JORDAN It's where we should live. FRANK (laughs) Well... I'd like that, too, but there aren't many beaches in Baltimore. Jordan nods, a little disappointed now. Frank notices, but hands back the book. He kisses her quickly on the forehead. FRANK (CONT'D) Come on, time to get up. JORDAN 'Kay. Jordan begins getting out of bed. EXT. HARBOR - WASHINGTON D.C. - DAY Across the river we see the skyline of the East-side of the capital. In the b.g. a barge CHUGGS its way down the river, while in the f.g. the White Van seen outside the Black's Residence pulls to a stop beside a Black Mercedes. The White Van's side door SLIDES open and Mr Nielsen steps out and crosses quickly to the Mercedes' rear window. He TAPS on it twice. A beat, before the door is opened. Mr Nielsen glances round before getting inside. INT. BLACK MERCEDES - DAY Le Saux is seated on the right, with Nielsen now sitting on his left. The leather interior is very luxurious and comfortable. LE SAUX The signal you sent to Monsieur Black triggered an epileptic fit. NIELSEN I told you that yesterday. How were were we to know? He still experienced something, didn't he? LE SAUX Yes. He foresaw a nuclear disaster. As I'd feared. NIELSEN But the future is ours to shape into whatever we want. What he saw doesn't mean anything necessarily. Vague prophecies and accounts of visions can always be made to fit events... but visions of clarity are *extremely* unlikely to come true. LE SAUX I'm glad you feel that way. I share your opinion, obviously, but it doesn't make it any easier. At least we've got his attention. (a beat) I can almost feel the New Year approaching... can't you? Nielsen doesn't reply, not honestly "feeling" anything. LE SAUX (CONT'D) The Group disposed of twenty enemies on the Metro. An attack based purely on vengeance, and serving to highlight the depths to which they've... plunged in recent times. Le Saux says the last sentence with distaste. He looks out of his Merceded window at the harbour. LE SAUX The New World... it gets harder each day to understand what the first Group settlers saw in this place. The highest murder rate in the world, easy access to guns, laws that contradict each other... Nielsen waits patiently as Le Saux turns back to face him. LE SAUX (CONT'D) Any news on Mabius? NIELSEN Nothing. Just some Russian reports on the train robbery. Computer components they're saying. Le Saux snorts slightly, turning back to look out the window. LE SAUX Never forget who he is. It's vital his increasing corruption of the Group and its members be stopped. Whatever the cost. It's taken us years to trace it all back to him. NIELSEN Yes, sir. LE SAUX You can go. Nielsen nods, opens the door and leaves. He SLAMS the door shut, rocking the Mercedes. LE SAUX (CONT'D) Drive. EXT. HARBOR - DAY Le Saux's Mercedes starts and drives away, being watched by Nielsen at the side of his White Van. Nielsen's closes his eyes and brings his hands up in prayer - he begins MUTTERING something under his breath. INT. MILLENNIUM GROUP COMPUTER ROOM - DAY Rows and rows of identical computer terminals, all displaying a revolving Ouroboros symbol. CAMERA PANS ACROSS to find Finley is seated at one. Alone. CLOSER Finley glances around as she taps a key. The familiar MG search-engine appears. Finley types in 'The Walk' and hits Return. The search finds nothing that matches directly. Finley doesn't look surprised. Instead, she into her jacket pocket and takes out a CD. She inserts it into the hard-drive. INT. MONITORING ROOM - DAY A Group member - DARIUS SPENCER - is in an isolated observation floor, also filled with computers. A long one-way mirror in front of him overlooks the Millennium Group Computer Room below - where he can see the top of Finley's head. Spencer is alone, and drinking a hot styrofoam cup of coffee. On his computer is a screen which displays every workstation in the facility. Finley's station is colored green (in use). The rest are red. INT. MILLENNIUM GROUP COMPUTER ROOM - DAY Finley glances up at the one-way mirror where Spencer is stationed - only able to see a reflection of the room she's in. She swallows hard, and takes out a small hand-held device. She makes sure it's pointing to her left, and presses a button-- -- FZZZTT! A computer monitor on her far left CACKLES with static and pops inside! INT. MONITORING ROOM - DAY A CHIME sounds and a workstation on Spencer's screen begins flashing yellow. Spencer puts down his drink and stands, peering down at the HISSING workstation. Finley stands up, looking across at it. INT. MILLENNIUM GROUP COMPUTER ROOM - DAY Finley watches as a metal door flies open and Spencer rushes in, flustered, heading straight for the smoking computer. SPENCER What the hell happened here? FINLEY I was just over here, and it suddenly just... blew up. SPENCER Damn it... Spencer kneels down under the workstation's desk to disconnect the power. Finley turns quietly back to her monitor and sees a window appear, saying: COMMAND/LEVEL/SECURITY CLEARANCE CODES --DISABLED-- She quickly types in 'The Walk' on the search-engine and finds just 1 matchs. She opens the document, which downloads at high-speed. Finley takes out a floppy disk from her jacket and inserts it. She hits 'SAVE ALL to A:/', then ejects the floppy and her CD. Putting them away, she walks over to Spencer. FINLEY Anything I can do? SPENCER Uh, no, that's not necessary. I can't understand it... FINLEY Maybe Y2K came early. Spencer CHUCKLES as Finley leaves him scratching his head in confusion. INT. KITCHEN - BLACK RESIDENCE - DAY Frank is standing looking out the kitchen window at the back garden. His head is thrown back and his swallows a pill with some water. Tom enters, reflected in the window glass. Frank turns to face him. TOM Taking your medication? FRANK (nods) Epilim. It should help, but I may feel nauseus for a few days. TOM (nodding) Are there any other side-effects? FRANK Nothing serious. Months from now I may notice slight hand tremors... possible weight fluctuations, too. A, uh, rare chance of liver disease - nothing to worry about, though. TOM Right. Well, that's not so bad. When things are put into perspective. FRANK Yeah. TOM I just wanted to ask something. Frank raises his eyebrows. TOM (CONT'D) Got anything planned for the millennium? Frank CHUCKLES quickly, then rubs his face in quiet amusement. TOM (CONT'D) There's going to be a huge street parade in downtown D.C. Thousands of people will be there. It would be a great experience for Jordan. Something for her to remember when she gets older. FRANK To be honest, Tom, I'm not keen on Jordan being in the city over New Year. TOM (frowns) Why not? FRANK (a beat) You hear about a lot of scary stuff in my line of work. The police are on full standby for all kinds of possibilities; none of them good. TOM Well... it's up to you; but the police are paid to be overcautious, remember. FRANK I'll give it some thought. Tom nods, not entirely happy with Frank's non-commitment. EXT. THE ELDER'S RESIDENCE - DAY A different house to the one seen in "Rapture", this one much smaller and less expensive, yet still hasan old-fashioned air of class and sophistication. Finley's car is parked in the driveway. INT. HALLWAY - THE ELDER'S RESIDENCE - DAY Ms Finley is being led down the hall by Blaylock. Blaylock stops and KNOCKS three times on a door. THE ELDER (O.C.) Come in. Blaylock opens the door, stepping back to allow Finley inside. She pushes past, as he follows behind her. INT. LIVINGROOM - THE ELDER'S RESIDENCE - DAY A very large room, effectively a dining room and livingroom joined together. Amongst the array of ancient artefacts are examples of modern luxuries; widescreen TV, a grand piano, a hi-fi system, etc. The Elder stands from an armchair to greey Finley. They shake hands. FINLEY Sir. Finley turns silent, looking uncomfortable. Blaylock lingers behind her, and is noticed by The Elder. THE ELDER Thank you, Mr Blaylock. That will be all. Blaylock obediently turns and leaves quickly. The door shuts. Finley speaks almost immediately. FINLEY You lied to me. THE ELDER Excuse me? FINLEY Why did you lie? THE ELDER I don't follow you. FINLEY "The Walk." It's a ritual the Group should be performing. The Elder's expression fluctuates between shock, subdued outrage and annoyance. THE ELDER What did you discover? FINLEY The Italian Alps; 999 A.D. Seven days before the turn of the century, a wise old man trekked from his mountain lodge to the town of Verona. Finley unrolls a computer print-out of a sketch drawing. She passes it to The Elder, who takes it. The drawing is identical to the one the Old Man was looking at; depicting a wizened old man in a dark forest, with a gas lamp dangling from a Shepherd's crook. FINLEY (CONT'D) It was a journey he took on foot, through trecherous surroundings. He did it as a symbol of his courage and Faith in the eyes of a possible doomsday. At the end of his walk he was greeted in Verona by a crowd of three hundred followers. Together they watched the sun rise over a new day, secure in the knowledge that an apocalypse would not occur. (a beat) The Walk was a tradition intended to be re-enacted the next millennium. 1999. Only it's been forgotten. THE ELDER (a beat) I... I don't know what to say... thank you for bringing this to my att-- FINLEY No more lies! Please. Information on this ritual had been password protected in *your* name. You've kept it secret - intentionally. (shaking her head in disbelief) This is part of our heritage! How dare you keep it from us! THE ELDER There's good reason, Miss Finley. FINLEY This should be good... THE ELDER (ignoring her) The... Old Man is unavailable. FINLEY Unavailable? He's been "unavailable" all year. Surely you're in contact with him. THE ELDER When I say "unavailable", I mean "unattainable." FINLEY (eyes narrow) What do you mean? THE ELDER The Balance has been upset in recent months. It's now unlikely the Old Man would survive The Walk. Therefore, we mutually decided it would be best to... ignore tradition. Finley goes silent, thinking. THE ELDER (O.C.) It's better this way, believe me. EXT. THE ELDER'S RESIDENCE - DAY Finley is leaving the house, striding across to her parked car, a solemn expression on her face. She gets insider her car. INT. FINLEY'S CAR - DAY Sitting inside, Finley runs her hand through her hair, unsure what to think. She catches sight of herself in her rear-view mirror; seeing the seeds of insurrection in her eyes. THE ELDER (V.O.) I think she believed me. Just about. But the more time she has to think about it, the more against us she'll grow... INT. LIVINGROOM - THE ELDER'S RESIDENCE - DAY The Elder is speaking to Blaylock. THE ELDER (CONT'D) ... take care of her. Blaylock nods once, slowly. The Elder looks almost ashamed at giving the order. EXT. ABANDONED AIRSTRIP - DAY A flat wasteland of overgrown grass and barely level tarmac. Five black Sedans are parked to one side, with a dozen men waiting beside them - Titus amongst them. Legend INDICATES: 3:13 PM The ROAR of a plane's engines breaks the silence as Mabius's private jet SCREAMS down to land - its wheels SCREECH on the tarmac. INT. CARGO HOLD - PRIVATE JET - DAY Darkness. Then the interior lights flicker on, just as the cargo door is opened, unfolding some steps down to the tarmac. Mabius, followed by Titus, walk up into the belly of the plane. Mabius strides over to one of the lead cases - marked with 3 circles - and undoes the latches. He slowly lifts the lid to reveal the inside to Titus. Titus can't repress an overwhelming sense of excitement and fear. He glances at Mabius. TITUS How many? MABIUS Ten. All in perfect working order. Titus takes a DEEP BREATH, nodding slowly. We finally see what he's looking at: Inside the case, resting in a thick mould of lead, is a portable nuclear device (or backpack nuke). It's small enough to fit inside the trunk of a car, or inside a rucksack. The device itself is black/gray and consists of 3 cylindrical chambers (decreasing in size). MABIUS (CONT'D) Agreement upheld. Typically, Mabius sneers a smile up at Titus... but Titus's eyes haven't moved from the case... fascinated. FADE OUT. ACT SIX FADE IN: INT. CITY LIBRARY - DAY Frank is walking back to an empty table, carrying a large pile of books in his arms. He places them down and sits. Delving into his top pocket, he takes out his reading glasses and puts them on. Legend INDICATES: December 28th, 9:58 AM 4 days remaining... Then Frank opens the first book to the Index and looks under the 'O' column. SIGHING he puts the book to one side and does the same with the next tome. This time he stops under: Ogmios............ Pages 2, 3 Frank quickly turns to Page 2 and scans the page for 'Ogmios'. He finds the passage: Ogmios drew behind him a band of men, attached to him by thin gold chains linking their ears to the tip of his tongue Frank considers this, then begins skimming the text to Page 3, where another passage reads: FRANK (V.O.) (quietly) Ogmios is the counterforce to the Antichrist and will help tear down tyranny and balance the universe in a way that is harmonious to man's central spiritual source. He will arise from an underground movement. In one of the countries conquered by the Antichrist the underground will be tightly organized. Ogmios will arise from it, and confront he who perverts Good. Frank stops, looking up and swallowing. He returns to the passage: FRANK (V.O.) Ogmios is prepared spiritually for the task, because his opponent is very powerful - with a strong aura of negative powers. (a beat) Ogmios will be "of the people." He will have worked up through the ranks from a simple background, attaining his accomplishments through honest work. He will have technical training but will rely mainly on his practicality. He has his priorities straight and can see the root of matters. He is one who will help pave the way for the "Great Genius." (a beat) Ogmios realizes he is not the one to lead the world to ultimate peace, but he is the one to help bring down "the one who would destroy the world" - the Antichrist - to open the way for the one who will guide the world to ultimate peace. Frank tails off, totally enthralled and awestruck... yet showing concern for the time ahead. INT. ELEVATOR - DAY Finley is standing inside, waiting. The door HISSES open and she steps out into her apartment block's hallway. INT. HALLWAY - DAY She walks up the hall, delving into her handbag for her keys. She retrieves them, stops at apartment '10' and opens the lock. Finley steps inside, and her door closes. CAMERA TWISTS to the left - looking back up the hallway. The elevator's doors open again. This time Blaylock and his accomplice, TRENT, step out into the hallway. The elevator HISSES closed behind them. INT. FINLEY'S APARTMENT - DAY Finley is pacing the room, thinking desperately. She finally sits down heavily in an chair - which spins her to face her computer screen. The ouroboros symbol declares: Welcome Carol, there are 4 days remaining Anger grips her, and she grabs a coffe mug from a table and hurls it at the screen! The monitor FLASHES as glass implodes. Finley takes a few seconds to calm down, then hears three KNOCKS at her door. Concerned about the broken monitor, she nevertheless stands and strides over to the door. As she is about to answer, she has second thoughts and peers through her peep-hole. ANGLE - TROUGH THE PEEP-HOLE Finley sees Blaylock and Trent waiting outside. SIGHING she opens the door, and is stunned when it's BURST open. Blaylock marches inside, pushing her over. Finley falls on the floor, looking up in horror as Blaylock and Trent stand over her. FINLEY What do you think you're doing?! GET OUT - NOW!! Blaylock calmly takes out a silencer, and slowly twists it onto the muzzle of a handgun. Finley is rooted to the spot in fear, swallowing in a dry throat. BLAYLOCK Just relax. It'll all be over in an instant... Blaylock's silencer is attached and he bears his weapon down on Finley, aiming straight for her forehead. PFFST! The sound of a silenced gunshot rings out! Finley YELPS... as Blaylock collapses to the floor. Finley watches as Blaylock's head-wound begins leaking across her carpet... then up at Trent, who is holding his discharged handgun. FINLEY Oh my God... Trent holsters his weapon and holds out his hand. Finley cautiously takes it and is pulled to her feet. TRENT Are you okay? Finley attempts to clear her head. She eyes Trent suspiciously. FINLEY Who are you? TRENT Trent. Michael Trent. I'm with Ogmios. FINLEY (confused) You don't sound like the man who called me. TRENT (smiles) No, that was our leader - Alexander Le Saux. FINLEY Le Saux...? I know that name from somewhere... TRENT He used to be a member of Millennium. But not anymore. FINLEY I don't understand - why? Just because I found out about The Walk... they try and *kill* me? TRENT You were a threat. (a beat) But don't blame yourself for not knowing how impulsively they would act. Your knowledge of the Group only goes so far. There's a hidden depth to them few people - even members - see. The root of the problem is a man you know - Daniel Mabius. FINLEY Mabius? What has *he* got to do with anything? TRENT More than you could possibly imagine. Come on. Trent turns to leave, but Finley remains still. She looks down at Blaylock; the blood stain from his head already drying. FINLEY Wait, what about him? TRENT It doesn't matter now. You know something that's vital to the success of our campaign. You *must* come with me. Finley swallows, nods... and is led away. CAMERA TURNS back to take one final look at Blaylock. EXT. FROST RESIDENCE - DAY Silence. Christmas decorations have been strung around a small tree in the front garden. Inside, we can hear John Barry's "We Have All The Time In The World" is being sung by Louis Armstrong. INT. LIVINGROOM - FROST RESIDENCE - DAY The MUSIC is louder now. CINDY MILTON is lying across the length of the sofa, her head resting on Ryan's knee. Ryan is drinking some wine, listening to the music. CINDY Well, better late than never, I guess. RYAN I'm sorry - there weren't too many detectives available. They needed someone to start a preliminary investigation. CINDY And your number at the top of the list... RYAN Something like that, yeah. Christmas is for kids anyway - New Year's for the adults. CINDY So... what's your New Year's Resolution? RYAN (thinks) To spend more time with you. Cindy sits up, SIGHING. CINDY I'll believe that when I see it. RYAN What's wrong? CINDY Everything. We moved here as a compromise - you wanted to continue working, yet still be your own boss. Sort of. The whole idea was that we'd get the best of both worlds: more time together, but you can still keep working. But after meeting Frank Black... it's just re-energized you back into your old routine. RYAN I have an old routine? CINDY The late nights, the early starts, overtime, weekend stakeouts, missing Christmas Day... RYAN Yeah, I-I know. I'll try and calm it down a touch. Hopefully the millennium will come and go without incident and I can relax. CINDY (grunts) "Without incident?" Just what are you expecting to happen? (fake dramatic voice) The end of the world? Ryan stands, about to walk away. Cindy grabs his hand. CINDY (CONT'D) No, wait. I'm sorry. Stay. Ryan slowly turns and sits back down. CINDY (CONT'D) Wanna know what *my* New Year's resolution is? RYAN Surprise me. CINDY (matter-of-factly) I'm going to make an honest man out of you. Ryan wrinkles his brow, looking at her sharply. CINDY (CONT'D) Well, *someone* had to set a date. It's been a year. RYAN A date? CINDY (elaborately) Cindy Frost... kind of has a glamorous ring to it. RYAN You want to get married? Cindy shakes her head, eyes roll. CINDY Well done, Sherlock. Well...? Ryan looks surprised still... CINDY (CONT'D) Aren't you going to kiss me? It properly sinks in and Ryan leans across and kisses Cindy. Cindy then pulls away smiling, then takes his wine glass from his hand. She puts it on a table behind them. She stands, holding Ryan's hand. CINDY (CONT'D) Now for a late Christmas present. It's upstairs. Ryan smiles back, as Cindy provocatively leads him out of the room. INT. MILLENNIUM GROUP CONFERENCE ROOM - NIGHT The Elder is staring through a window at Washington D.C below. O.C. the sound of a door opening is heard... then it closes. THE ELDER You're back. MABIUS (O.C.) On time. The Elder nods slowly. THE ELDER All twenty Board members were killed exactly as planned. MABIUS The Ricin developed was full-proof. Their deaths were foregone conclusions. Have the authorities been causing you problems? THE ELDER They know *how* they were killed, but not why, or by whom. MABIUS That's why you can rest assured your precious Group will prosper in the New Age - as the only source of stability and control in a world of disorder. THE ELDER Where are they? The devices. MABIUS Safe. THE ELDER How many? MABIUS Enough. The Elder nods, not wanting to know much more to ease his conscience. THE ELDER Someone murdered Alfred Glendale. Mabius frowns. MABIUS He had it coming. The Elder twists round, slight rage in his eyes. THE ELDER You??! MABIUS (laughs low) No. Sorry to disappoint you. His death doesn't change anything, anyway. Glendale's helped enable the KGB to design - and later perfect - a new breed of weapon. Small devices with enough atomic charge to obliterate anything within a 2 mile radius. Totally. THE ELDER It's saddening such steps must be taken to ensure a new beginning. MABIUS Humanity is at its best when engaged in conflict. Wars are regrettable events, but a lot of good emerges from spilt blood. What people *need* is the potent threat of their own death to resurrect principles lost to them. Human nature cries out for violence to counterbalance weak souls... but when faced with the harsh reality of The End... outlooks and actions will change. The New Era *will* dawn. The Elder reaffirms his expression, growing more certain and steady. MABIUS (CONT'D) In a few days the first sunlight of the second millennium will break across Australia. (a beat) It's time you took a little trip of your own. THE ELDER What? I-I can't. There's the Last Initiation ceremony at Crooked Creek, I have-- MABIUS Don't worry. Mr Titus can take handle that. It's your *duty* to witness the very beginning of the next century... personally. The Elder warms to Mabius's suggestion. Mabius sees it. MABIUS (CONT'D) I'll chair a meeting with the senior Roosters - informing them of our new plans. THE ELDER All Group members and candidates must evacuate the city before midnight New Year's Eve - Roosters *and* Owls. MABIUS Of course. Now isn't it time you were going? The Elder looks at his wrist-watch, then nods. INT. FRANK'S JEEP - NIGHT Frank clambers into his parked jeep and sits. He looks a little pale and nauseus, taking controlled breaths and widening his eyes to fight a mild headache. FRANK'S INTERNAL POV Another wild frenzy of images - deeply confusing and erratically paced. -- A logo of three circles on a lead case! -- A Homestead being blown apart by an atomic blast front! -- A muschroom cloud rising into the air! -- The CLICKS of a Geiger counter! -- Brief flashes of Mabius's face, and neck (with small birthmark) Frank's grabs the sides of his head, squeezing his eyes closed in some amount of pain. He slowly opens his eyes and looks disoriented. After a beat, he takes out Le Saux's business card, together with his cell phone. He dials a number, which RINGS before being answered. LE SAUX (V.O.) Le Saux. FRANK It's Frank. LE SAUX (V.O.) What's wrong? FRANK I know who you are - or what you think you are. Ogmios. LE SAUX (V.O.) Don't question my beliefs. Unlike some, I don't force you to share them. FRANK So who is it? Who's your Antichrist it's your "destiny" to kill? Swanson? LE SAUX (V.O.) (snorts) He's merely the puppet in all of this. We're after the one who pulls at his strings. FRANK Who? LE SAUX (V.O.) (quickly) Mr Mabius. Uh, I'll call you back. Sorry. Le Saux hangs up. Frank drops his cell phone onto the passenger seat in aggravation. EXT. THE ELDER'S RESIDENCE - NIGHT The iron gates of the premises draw open and a Black Sedan pulls out onto the road. Nobody is visible through the one-way windows. INT. BLACK MERCEDES - NIGHT Nielsen is at the wheel, with Le Saux in the passenger seat, both watching from behind as the Sedan turns round a corner. Nielsen starts his engine and begins following. INT. TRENT'S CAR - NIGHT Michael Trent is driving, with Finley in the passenger seat. It's raining lightly as they travel through downtown Washington D.C. Christmas decorations are strung across the street, together with illuminated signs proclaiming slogans such as: '2 0 0 0', 'MILLENNIUM' and 'HAPPY NEW YEAR'. FINLEY Next left, then immediate right. Trent follows her directions. Finley looks at him through the corner of her eye. FINLEY (CONT'D) So, which faction are you with? TRENT The Owls. Finley looks surprised. FINLEY I see. TRENT We were the only ones willing to believe the treacherous theories Le Saux and his original uprisers told. That the Roosters were involved in a campaign to self-fulfill their own doomsday rather than be proved wrong. FINLEY That's ridiculous. Who in their right mind would *want* the world to end? Nobody wants that. TRENT Many people consider the new millennium to be a clean slate for the world to build on. A fresh start. But if nothing spectacular happens in 2000, give it a few years and people will just... forget their idealistic dream. The same way people forget to keep New Years' Resolutions. (a beat) But if the world were to be threatened with doomsday, or at the very *least* a devastating time of hostility -- it would help affirm peoples' aspirations for a better future. People would take take real *action* to *make* their dreams come true. FINLEY And senior Group members are involved in such a campaign? TRENT Yes. I'm afraid they are. Trent wanders a glare across to Finley, who looks uncomfortable with Trent's words. EXT. EMMA'S APARTMENT BLOCK - NIGHT Trent's car pulls to a halt outside the main entrance. FINLEY (V.O.) This is it. INT. TRENT'S CAR - NIGHT Trent looks disappointed as he stares up at the tall building. TRENT I was expecting something more elaborate for an Assistant Director. FINLEY Emma's always been practical-minded. Finley opens the door and steps out into the rain. INT. MILLENNIUM GROUP CONFERENCE ROOM - NIGHT The twelve senior Roosters are entering the room and assuming positions around the long table - they include Titus and DUSCHAMPE. All TALK in hushed tones, unsure why there's a meeting. Eventually, everyone is seated and WHISPERING to one another. A door, hidden discreetly at the far end of the room, opens. Mabius steps into the room and walks slowly up to the head of the table. The Roosters view him with suspicion - except for Titus, who remains impassive. Mabius notices an empty seat. MABIUS Where is Mr Blaylock? The Roosters begin shrugging and MUTTERING comments. Mabius raises his hands to stop them from talking - they do so within seconds. MABIUS (CONT'D) Never mind, I'll catch up with him later. ALBRECHT What is this about? Where's The Elder? MABIUS (checks his watch) On his way to Bondai Beach, Australia. DUSCHAMPE Australia?? Why? MABIUS "Ours is not to wonder why, ours is but to do and die." DUSCHAMPE (contempt) *What* are you talking about? Duschampe stands up in protest - Mabius swiftly takes out a handgun and calmly shoots him in the upper-left arm! Duschampe falls to the floor, clutching his wound. The other Roosters all stand up in horror and fear, eyes wide at Mabius. Even Titus looks astonished. Then, the Conference Room door opens and Mabius's team from Russia enter, all with handguns ready. We see MR WING is the leader. Within seconds, all 12 Roosters have guns aimed at them. MABIUS I'm afraid your time has come. The Roosters exchange looks of horror, as Mr Wing's trigger is pulled back with a CLICK. FADE OUT. ACT SEVEN FADE IN: INT. RYAN'S BEDROOM - NIGHT Ryan is lying on his side in bed, with Cindy spooned up against him. CINDY How do you feel about children? Ryan turns to face her. RYAN Kids? We're not even married yet. CINDY Time's passing us by, Ryan. You're nearing the big four-oh, I'm only four years younger than that. Most of my friends had kids in their twenties. RYAN Well, I, don't know. CINDY You'd *like* kids, wouldn't you? RYAN Yeah. Sure. A few. CINDY Boys or girls? RYAN Uh, one of each, I guess. CINDY If it's a girl, I'd call her Jane - after my mother. RYAN If it's a boy? CINDY Jack. Cindy smiles, which causes Ryan to smile. RYAN I don't think so. Cindy leans forward for a kiss, just as Ryan's cell phone starts to RING. Both GROAN in annoyance, before Ryan reaches over and picks up his phone from his dresser. He answers. RYAN Frost here. FRANK (V.O.) Ryan, it's Frank. Listen, I know it's late, but there's no time. RYAN What's up? Cindy SIGHS and turns away from Ryan. FRANK (V.O.) Ogmios. If they're right... and I'm not sure if they are, but... *if* they are... I'm going to need all the help I can get. (a beat) Listen, I'll be at your place early tomorrow morning. RYAN Okay, see you then - bye. Ryan hangs up, then turns to see Cindy's naked back turned toward him. INT. LIVINGROOM - EMMA'S APARTMENT - NIGHT Emma enters the room, wrapped only in a towel with wet hair being rubbed dry. As she heads to her sofa, the door KNOCKS. She moves to the door and opens it - in the hallway stands Finley and Trent. EMMA Uh, hi. Finley looks faintly unsure of her being here. Emma's expression looks deeply curious. INT. LIVINGROOM - EMMA'S APARTMENT - NIGHT - A SHORT TIME LATER Emma is now dressed, standing with Finley and Trent, with an expression of bemusement across her face. EMMA Bucksnort? You're making that up. FINLEY We have to go there, Emma. There's only one person who can stop all this madness. The Old Man. TRENT Ogmios never learned where the Old Man could be found. Otherwise we'd have contacted him months ago. EMMA Why do you need me? FINLEY The forest around Bucksnort is a dangerous place. Even more so as the millennium approaches. EMMA I still don't see why it takes three of us. TRENT When the Group find Blaylock dead in Carol's apartment, they'll go looking for both of us. The first place they'll think of looking is here. That makes it imperative you join us - for your own safety. And I think the FBI can manage without you for awhile. FINLEY Even if you convince them I never contacted you, they'll take you to Crooked Creek for your initiation. Who knows what will happen then. Trent looks enquirinly at Emma, as he defences collapse. EMMA Okay, I'll come. What about Frank? TRENT Mr Black? Emma nods. TRENT (CONT'D) He has work to do here, believe me. We have to leave now - you can call him later if you want. Emma nods, understanding. EXT. FROST RESIDENCE - DAY Frank's jeep is parked outside. Ryan rushes to the passenger door and gets inside. Legend INDICATES: December 29th, 7:35 AM 3 days remaining... INT. FRANK'S JEEP - DAY Ryan gets comfortable, with Frank watching him settle. RYAN So what's wrong? Frank leans across and hands Ryan some xeroxed copies of the book he was reading in the library. He's circles some segments. FRANK Read this. Ryan starts reading. FRANK (CONT'D) Ogmios - prophecized slayer of the Antichrist. Le Saux thinks his underground movement against the Group *is* the Ogmios of prophecy. With someone called Mabius being the Antichrist. Ryan finishes reading and looks across to Frank. Frank holds up another piece of paper. FRANK (CONT'D) Nostradamus has a Quatrain which upholds Le Saux's theory. Relating to the Third Antichrist mankind will come up against - following Napoleon and Hitler. In Century 2, Quatrain 62 it says: "'Mabus' will soon die, there will come a horrible slaugher of people and animals: at once vengeance is revealed coming from a hundred hands, thirst and hunger when the comet will run." RYAN So he *does* die? FRANK If this is to be believed - yes. But at what cost? A slaughter of people and animals, famine... RYAN So, this Mabius is a Group member responsible for stealing Russian backpack nukes and smuggling them into the United States? FRANK (nodding) Given the time-frame between the Russian train robbery and New Year, it's likely the nukes are already here. In Washington. RYAN Washington D.C. FRANK The capital's a prime target - home of the Government, the President, the White House... RYAN It's unlikely the robbed train was only carrying one nuke, Frank. There could be ten... maybe even twenty. FRANK Then perhaps this is just the beginning of a much bigger campaign. First the capital, then - what? - New York, Chicago, L.A...? RYAN Where's Le Saux? FRANK (shrugs) I don't know. I'm not sure what he's up to, or why he even needs my help. RYAN Maybe we can get Emma's Group contact to listen to us. Tell the enemy some home truths. FRANK Finley? It's possible... Frank's cell phone RINGS - he snatches it and answers. FRANK (CONT'D) Le Saux? INT. TRAIN STATION - DAY Emma is holding her cell phone, standing on the platform with Finley and Trent close by. She speaks in a loud tone due to the RUMBLING of an approaching train. EMMA Frank? It's Emma. INTERCUT BETWEEN SCENES: FRANK What's that noise? EMMA I'm getting a train to somewhere called Bucksnort. FRANK Bucksnort? EMMA It's okay, Frank. You were right - the Group are behind all this. The Russian train robbery, smuggling bombs into the country... (a beat) I'm with Carol - she's turned against them. Something to do with a ritual the Group's leader should have performed by now. The Old Man. We're going to see him now. FRANK Hang on, we'll be right there. EMMA No time. Train's here already. Oh, one more thing: Carol's told me where the Millennium Group are based - Washington, D.C, the industrial park on third. You know it? FRANK I can find it. EMMA (wry smile) If I don't see you - Happy New Year. Before Frank can answer, Emma hangs up. Trent leads Finley and Emma into the train carriage. INT. WASHINGTON INTERNATIONAL AIRPORT - DAY The Elder is in line at the Departure Lounge, carrying a suitcase. He looks in two-minds about being here, yet impatient to get going. He checks his watch nervously. LE SAUX (O.C.) Mr Swanson. The Elder turns round quickly, seeing Le Saux is standing directly behind him. His eyes widen and he looks fearful. THE ELDER Le Saux. Le Saux nods his confirmation. The Elder swallows. THE ELDER (CONT'D) What do you want? LE SAUX Just to talk. The Elder turns back indignantly. THE ELDER I have a flight to catch. Le Saux steps forward slightly and jabs something into the small of The Elder's back. LE SAUX Feel that? If decide to board that plane, you'll be dead before they serve the inflight meal. The Elder seeths with anger, yet his face can't contain faint trembles of fear. FADE OUT. ACT EIGHT FADE IN: INT. LIVINGROOM - BLACK RESIDENCE - DAY Jordan is playing with some of her Christmas toys, spread out on the carpet in front of the TV. Helen and Tom sit anxiously on the sofa, watching. TOM (whispering to Helen) This is ridiculous. Where the hell did he go? HELEN I'm sure he has good reason for leaving so early in the morning. Jordan picks up a Nativity figurine of a shepherd, crook in hand. TOM (scoffs) He should be resting. He was diagnosed with... (quieter) ... with epilespy. It's like he doesn't care, won't accept it. HELEN His condition's not life-threatening, Tom. Jordan picks up a small sheep, holding both figurines in her hand. TOM And what about Jordan? Some Christmas this turned out to be for her. Jordan turns slowly round to face Tom. JORDAN (firmly, slowly) Dad's on a journey. HELEN What's that, Jordan? JORDAN It's nearly over, don't worry. Tom shakes his head slightly, perplexed - but before he can answer... the front door opens O.C. and the sound of two people entering is heard. Jordan stands up quickly as the livingroom door opens: Frank and Ryan enter. TOM Frank! FRANK Tom. You have to leave. All of you. HELEN Why, what's wrong? FRANK Trust me; we have about two days, but if this isn't stopped... TOM Hang on, just hang on! Tom stands and raises his arms for silence. TOM (CONT'D) Now. Frank. Just tell us *exactly* what's going on. FRANK (a beat) The Millennium Group are behind a plot to smuggle a nuclear weapon into Washington D.C. It may even already be there. If it is, they'll detonate it on New Year's Eve unless we stop them. Tom's face drops. Helen looks agasp. HELEN We're, uh, but we're in Baltimore. RYAN That won't matter. Nuclear fallout's the biggest killer. And... well, we're not even sure if it's just the one bomb. They may have over a dozen. TOM Jesus... I'm calling the police. Tom begins to move, but Frank stops him. TOM (CONT'D) What the hell are you doing?! FRANK We don't have *any* proof, Tom, and the authorities are already prepared for terrorist attacks in the capital. RYAN We'd just cause unnecessary panic. TOM But they could evacuate people! FRANK The whole of Washington D.C and the surrounding area? That's millions of people. And just a few days before New Year's Eve? It would cause more problems than it would solve. HELEN Then what are you going to do? FRANK We're going to try and stop the people who are doing this. It's not too late, and there are others working on it. HELEN (deep breath, to Tom) We should go, Tom. Take Jordan with us. TOM Where? There's nowhere we can go. RYAN If you leave now, you'd make it to the coast. That's the safest place. Uh... East coast, obviously, but as far south as you can. Nowhere near a major city. Jordan nods once, slowly. Frank notices and kneels down to her. FRANK That okay, honey? Going on a special vacation with Uncle Tom and Aunt Helen? Jordan nods. JORDAN Do you have any paper? FRANK Paper? Jordan nods again - Ryan takes out a folded sheet from his jacket and passes it to Jordan. She takes it, grabs a pencil from the floor, and draws the 3 decreasingly sized circles on it. She passes the paper to Frank. JORDAN I don't know why... but it's important. It's the way it ends. Frank looks perplexed as he stares at the paper... before-- FRANK'S INTERNAL POV Brief, chaotic and LOUD-- -- The 3 circle symbol on a lead case! Frank stands with the paper, then Helen notices something. HELEN Wait! Turn that over. Frank turns the paper over and we see the photofit of Mr Nielsen that was made to fit Mr Finch's description. HELEN (CONT'D) I know that man. Helen takes the paper and studies the face. Ryan looks interested. RYAN I thought I recognized him, too. He's a murder suspect. HELEN (tapping the paper) That man was outside the house. In a white van. He said it broke down. FRANK Right outside on the street? Helen nods. RYAN When was this? HELEN A few days ago. Uh, the morning after Frank... y'know. Ryan's eyes widen, remembering. RYAN Yeah, yeah I remember now. Damn, I knew I recognized him! He was parked outside when I left. (to Frank) What's the prime suspect in Glendale's murder case doing outside your house, Frank? Frank swallows, thinking hard. His expression distant. INT. AIRPORT RESTROOM - DAY Le Saux pushes The Elder, flinging him onto the counter. The Elder stares at Le Saux's reflection in mirror before him - anger growing. THE ELDER (seething) I don't talk to traitors. The Elder turns to face Le Saux properly. LE SAUX *You're* the one perverting a once respected society! Turning it into some money-making conglomerate; pumping investments into dangerous research, assassinating those who turn against you... you even started recruiting Bureau Agents *before* retirement. Why all the changes? THE ELDER (correcting) Improvements. LE SAUX Stem-cell research - engineering people to withstand nuclear fallout, and time itself...? THE ELDER I'm sure the residents of Chernobyl would appreciate our efforts. LE SAUX As if you have any intention of letting the world see the fruits of your work. Just loyal members. THE ELDER We have to protect ourselves from whatever disasters God decides to throw at us next. LE SAUX Is that what you tell yourself at night? To keep your conscience clean? To silence the screams of innocent Chinese test subjects? THE ELDER I don't have to explain myself to you. Now... it's not your style to beat up an old man, so... if you'd kindly let me catch my flight... The Elder steps forward, but Le Saux twists his arm - sending him spinning to face the restroom's mirror. He puts him in a head-lock. LE SAUX Look at yourself. Look! Can't you see what you've become?! The Evil the Millennium spent centuries trying to balance is tipping the scales! Because of *you*! The Elder is CHOKING slightly, and perspiring greatly. THE ELDER It's a necessary evil. Le Saux tightens his grip. LE SAUX You really believe that, don't you... he's got inside your head *so* far... THE ELDER (choking) Who..? LE SAUX Daniel Mabius. The Antichrist. Le Saux lets go of The Elder, who crumbles to the floor - WHEEZING. THE ELDER What, what are you talking about? LE SAUX "And out of one of them came fourth a little horn, which waxed exceeding great, toward the south, and toward the east, and toward the pleasant land." The Elder looks interested, eventually rising to his feet. LE SAUX (CONT'D) The Book of Daniel; Chapter 8, Verse 9. The Elder's face begins to express comprehension and awe. LE SAUX (CONT'D) Sometime this past century a child was born with two adult teeth, a birthmark at the base of his neck. A mark placed on his skin by Satan himself, and on which he feels no pain. He's been been known by many names and seen with many faces... this is just his latest facade. The Elder swallows in a parched throat, his eyes searching for answers, as he takes steps backward to perch on the restroom's counter. THE ELDER No... you're mistaken... LE SAUX Go catch your flight. Run from the millions of individuals you've sentenced to die. I hope you'll still be at peace with yourself when you see the destruction you've brought upon the world. (a beat) No. Actually, I don't. Le Saux snatches the restroom door open and leaves. The Elder SIGHS, catching his breath and rubbing his sore neck. He catches sight of his face in the mirror again -- and for the first time in a long time... sees who is has become. EXT. AIRPORT PARKING LOT - DAY Le Saux strides up to his Mercedes, opens the door and gets inside. INT. BLACK MERCEDES - DAY Le Saux calmly exhales a deep breath, thinking. Nielsen, sitting at the wheel still, cautiously waits. NIELSEN Did he give you much trouble? Le Saux doesn't answer. EXT. INDUSTRIAL COMPLEX - NIGHT Large blocks of old buildings, modernized at great expense. The expansive area contains many different company signs, car lots and parked cars. Frank and Ryan are walking briskly across to an alcove containing a double-door. Legend INDICATES: 8:02 PM FRANK Have you warned Cindy? RYAN Packing to stay at her mothers for a few days. I hope. You heard how long an argument it was. Frank tugs at the double-door and is surprised to find it open. He cautiously steps inside, followed by Ryan. INT. MILLENNIUM GROUP FACILITY - NIGHT Frank and Ryan approach an automatic door, which HISSES open. Now inside a large reception, Frank stares round at the totally inconspicous surroundings. RYAN (O.C.) Frank! Over here! Frank wheels round to see Ryan leaning over a reception counter. Frank joins him and both see the dead bodies of two RECEPTIONISTS, lying on the floor together - blood visible from their heads. FRANK What happened here? Ryan looks round and sees an elevator. He heads for it, followed by Frank. Ryan presses the 'call' button and the doors immediately HISS open. Both men step inside. FRANK'S INTERNAL POV Delirious flashes, uncontrolled, sparodic, intense-- -- Mabius's face, sneering - as it contorts into a different face; someone familiar, but too brief to recognize properly! -- An LCD display - green digits reading '20:00'! RYAN Frank? Frank opens his eyes - to see Ryan a few meters ahead of him. They're on a different level now. Shakily, Frank steps out of the elevator and into a hallway. The elevator HISSES closed. RYAN (CONT'D) You, uh, you didn't have a, y'know... Frank shakes his head. FRANK Don't worry. I'm on medication for that. Ryan nods, embarassed at mentioning anything. RYAN Yeah, uh... FRANK I'm fine, Ryan. RYAN (a beat) What are we doing? Shouldn't we be calling the police? FRANK In a minute. Frank walks past Ryan, more determined. INT. MILLENNIUM GROUP FACILITY - NIGHT The Elder is here. He's taking steps backward from the reception counter, having seen the dead bodies. Still in a state of disbelief, he heads for the elevator. INT. CORRIDOR - GROUP FACILITY - NIGHT Frank steps over another DEAD GROUP MEMBER - seemingly mowed down by bullets while carrying some folders. Frank moves past quickly, while Ryan lingers on the blotches of blood across the fallen man's paperwork. INT. HALLWAY - NIGHT An elevator opens and The Elder steps out into a different level of the building. He walks slowly toward a large wooden door, marked in dark brown with an ouroboros symbol. His hand reaches for the door handle... INT. MILLENNIUM GROUP CONFERENCE ROOM - NIGHT Albrecht is slumped over the conference table, his mouth open in a death scream. His teeth are smeared with blood, which has pooled slightly on the varnished conference table. Behind him, the conference room door opens and The Elder steps inside. The full horror of the room is revealed to him-- All 12 senior Roosters lie dead around the room. Some are slumped in their chairs, some across the table, others on the floor. All have been shot in the chest or head. Numerous times. The Elder's door hits something - the pale hand of Duschampe, his eyes still wide with fear. A black fly crawls across his forehead, as The Elder fails to restrain a gagging reflex - biting into his sleeve arm to suppress it. CLINK! His head darts up toward the sound of the noise. The Elder sees his chair, turned away from the massacre. A plume of cigarette smoke rises from the seat. The Elder, his eyes now wet with tears, pulls himself together and kneels down. He fishes inside Duschampe's jacket and takes out a handgun. His hand shaking, he aims the gun at his chair and advances slowly... ANGLE - MABIUS Who is seated in the chair, holding a Zippo lighter and cigarette in both hands. He knows someone is in the room behind him, his wry smile betraying this. The Elder stops directly behind the chair, gun pointed at the head rest. He licks his dry lips, hand still quivering. THE ELDER (with effort) Mabius? No answer. The Elder feels his courage deserting him, trying to maintain his bravery. THE ELDER (CONT'D) Too scared to face me? A cigarette is flicked onto the floor, causing The Elder to jump slightly. He reaffirms his grip on the handgun... as the chair begins to swivel round... INT. GROUP CRIME LAB - NIGHT The laboratory is also the scene of extreme violence; files, equipment, chairs and books all litter the area, amongst dead GROUP SCIENTISTS. Frank and Ryan walk past workbenches, surveying the carnage. A faint whisper of BUZZING flies can be heard all around. Frank finds a computer screen displaying the ouroboros symbol and the message: Good evening there are 3 days remaining Frank checks his watch - it's true. The confirmation causes him to close his eyes in distress. INT. MILLENNIUM GROUP CONFERENCE ROOM - NIGHT The Elder is speaking to Mabius, although we only ever see his face - wracked with fear and guilt. THE ELDER (anxious, stuttering) This isn't t-the way. We had an agreement. The research... these past few years... stem-cells, the effects of r-radiation. The necessary evil... to wake-up mankind... shape the future for the, for the *ultimate* good. Maintain the equilibrium. Now we see Mabius. He playfully flicks a flame from his Zippo lighter and watches the sparks dance into the air. THE ELDER (CONT'D) Are you listening to me??! Mabius stops what he's doing. His face shows an anger is boiling inside. The Elder sees it and steadies his hand - pointing the gun at Mabius's forehead. MABIUS You can't kill me. I'm the only one who knows where the devices are kept. When my campaign of terror begins on New Year's Eve, it will form the catalyst for a much greater campaign. Careful manipulation of facts will drag nations into a period of fear and paranoia - ultimately leading to a devastating global conflict. Lasting many decades. (a beat) The Swords of Armageddon have already been drawn, and when they are unleashed...? (sneers) In a modern war on this scale, with todays weaponry, imagine how many countries would *pay* for treatments to reduce radiation poisoning, or to manufacture cutting edge lethal contagiants. In wartime, whoever controls and manufactures such advancements ultimately direct the fortunes of war. (gazing around) The achievements made here will not go to waste. Trust me. The Elder's face cracks, realizing the devastating extent of his actions. Mabius stands up, The Elder seemingly locked in a personal hell - vacant and not responsive. With one last pitiful look, Mabius passes by. A few seconds later, The Elder collapses into tears -- and stumbles into his chair. He sits there, WEEPING loudly. INT. CORRIDOR - GROUP FACILITY - NIGHT Frank and Ryan are continuing their search, but now Ryan has his cell phone out. RYAN Enough of this, I'm calling the cops. He's about to begin dialling, when -- BANG! -- they both hear a single gunshot! Forgetting about his call, Ryan joins Frank in running toward the noise. INT. MILLENNIUM GROUP CONFERENCE ROOM - NIGHT Frank is first to appear in the open doorway, instantly seeing the massace around him. Ryan is close behind, similarly appalled. As Ryan's eyes wander around the room, Frank approaches The Elder's chair, which has spun around - a pair of legs and a hand holding a smoking handgun can be seen. Frank hesitantly approaches the chair and turns it to face him - dropping his eyes when he sees the chair's occupant. CLOSE ON - THE ELDER'S GUN thin traces of smoke spiralling from its spent barrel. FADE OUT. ACT NINE FADE IN: EXT. BUCKSNORT FOREST - DAY A canopy of trees provide a horizon to the morning sky. It's a scene duplicated from Act 1 of "Rapture", strangely. Legend INDICATES: Bucksnort, Tennessee December 30th, 9:32 AM 2 days remaining... TILT DOWN to see a 4x4 LAND ROVER trundling down a dirt track into the trees. INT. LAND ROVER - DAY Trent is driving, with Finley in the passenger seat, and Emma in the back. The vehicle lurches around due to the uneven ground, the engine ROARING. TRENT Uh, left? FINLEY I think so. I've only ever been here once before - at night. Trent shakes his head, disgruntled. Emma sits forward, peering between their seats. EMMA Seems a funny place for the leader of the Millennium Group to live. FINLEY Powerful ley-lines criss-cross the forest. Group settlers from Europe made that discovery in the mid-16th century, and so they designated the forest a "Chosen Place." A metaphysical microcosm. Emma doesn't follow Finley's explanation, just looking passive. EMMA So what does The Old Man do all day? FINLEY He waits. (turning to face Emma) He's only disturbed in times of great disharmony for the Group, or to judge special candidates. EMMA Has Frank been here? FINLEY Yes. Emma looks interested, just as the Land Rover lurches to a sudden stop. EMMA What's wrong? Trent is staring straight ahead through the windshield. Emma and Finley join his line of sight to see-- A pack of dogs, all on their haunches, a hundred meters into the forest. Watching. Twenty of them. EMMA (CONT'D) Wolves? FINLEY Dogs. (to Trent) Drive on. I don't think they'll do anything without being provoked. EMMA (chuckles) It's just a few wild dogs... Trent puts the vehicle into gear and continues forward. EXT. BUCKSNORT FOREST - DAY The pack of dogs don't move as the Land Rover approaches. They just sit watching with glassy eyes. INT. LAND ROVER - DAY Trent picks up speed, changing gear. The Land Rover moves faster toward the dogs, until they're incredibly close... at which point they all stand and rush off into the forest. Emma watches four of them disappear into the woodland, leaping over fallen tree trunks. Finley looks relieved - as does Trent. EXT. BUCKSNORT FOREST - DAY The Land Rover continues onward - watched by the pack leader, behind a tree... staring. EXT. BLACK RESIDENCE - DAY Tom is loading the open trunk of his car with cardboard boxes. Helen holds Charlie as she slings a few bags into the car herself. Frank is helping Tom load up the car, with Jordan close by. TOM Okay, that's it. All the bare necessities taken care of. FRANK Thank you, Tom. I know it must take a lot of trust to just go like this. TOM It's not worth the risk. Especially with kids involved... and... I know you're not the type to over-react. Just... if it *is* true, and you can't stop it... promise me something. Frank is listening. TOM (CONT'D) No heroics. Just get out of the city as quickly as you can. For Jordan. Frank looks down at Jordan, who smiles. He scoops her up and kisses her cheek. FRANK You ready, kiddo? Jordan nods furiously. Frank LAUGHS, putting her back down and holding her close to his leg. Tom unfolds a polaroid from his breast pocket... TOM (to Jordan) Well, we'd better be making tracks if we're going to get to this beach house of yours. He shows Frank the photo - which shows a beach house strikingly similar to the one Jordan drew earlier. It almost resembles a lifeguard's hut, but is much larger and painted a faint yellow. He smiles. FRANK It's nice. TOM Yeah... a beautiful spot on the coast and far from any cities. We should be safe. Tom gestures for Jordan to get moving as Frank holds out the polaroid. TOM (CONT'D) Keep it. The phone number and address are on the back. I hope to see you there soon, Frank. He SLAMS the trunk closed and jogs round to the driver's side. Frank kneels before Jordan. FRANK It'll only be a little while. Then, we'll be together again... to start a new life... in a whole new century. JORDAN Things are meant to be like this. FRANK (imploringly) What do you mean? HONK! HONK! Tom's horn breaks the moment and Jordan kisses Frank on the cheek and hugs him tightly. Then she rushes over to her door, opens it, gets inside and sits. Frank walks slowly to her window. She winds it down. JORDAN You can't make an end, because you just make a beginning. FRANK Who told you that? Jordan shrugs. TOM We'll call when we get there! FRANK Okay. Frank stands back, Jordan winds her window up, and Tom's car rolls out onto the road. Frank waves at Jordan - who sits waving back through her window - smiling serenely. Frank's family slowly drive off into the distance. EXT. MILLENNIUM GROUP FACILITY - NIGHT The whole area has been cordoned off, and the complex is filled with POLICE CATS, DETECTIVES, PHOTOGRAPHERS, FORENSIC SCIENTISTS and REPORTERS. One FEMALE REPORTER in particular stands talking into a camera. FEMALE REPORTER It's been speculated that the motive for this attrocity was the millennium. That the Millennium Group crime consultancy firm was targeted simply because of its name. Of course-- Ryan is walking across the scene, passing a BLACK REPORTER - also talking to camera. BLACK REPORTER --forty-four victims have been accounted for - all shot dead while working late. It's also known one man - possibly the killer - had committed suicide in a conference room. However, we're told one man has survived and-- Ryan approaches Frank, who is watching the mayhem. RYAN Not good news, Frank. There's no record of involvement by anyone named Mabius. The police are at a loss for a suspect. FRANK Were there *any* survivors? RYAN One. Derek Titus. He's in intensive care at Washington University Hospital, but should pull through. Suddenly, a WOMAN in the b.g ducks under some police tape, dodges two COPS, and runs up to Frank. WOMAN The Signs are before us! Gas attacks on subways! Mass murders! It's only a matter of time before the spawn of Satan brings chaos and misery to billions! As Frank and Ryan restrain her, two COPS wrestle her back to her crowd. She stares directly at Frank as they do so. WOMAN (CONT'D) The time is near! The time is near! Frank watches her with mixed emotions as she's pushed back to her fellow bystanders - who all carry billboards with messages like "TOMORROW - THE END", "SAVE THE MILLENNIUM", "SAY 'NO' TO WAR", and "IT HAS BEGUN!" The now silent Woman continues to stare at Frank, her stare penetrating - as if trying to communicate something. Frank seems mesmerized. The Woman nods slowly, as if accepting he understands. INT. THE OLD MAN'S SHACK - DAY The foreboding forest seems less hostile in daylight, with the Old Man's appearing quaint and oddly picturesque inside its circle of small obelisks. O.C. the SOUNDS of a vehicle approaches - the Land Rover. INT. LAND ROVER - DAY Through the windshield the land rover nears the rickety old shack. Finley holds up her hand. FINLEY Stop. Trent pulls the vehicle to a standstill a hundred meters from the circle of obelisks, his face awe-struck. Emma looks on - incredulous. FINLEY (CONT'D) This area's a recognized burial site for senior Group members. Ones who attained notoriety in their work. It's disrespectful to continue - unless on foot. Trent opens his door and gets out, followed by Finley and Emma. EXT. MILLENNIUM GROUP FACILITY - DAY Frank and Ryan are rushing across the street, away from the media hysteria behind them. Frank's jeep is parked opposite, but as they approach it - Frank sees Le Saux walking toward them. He waits for Le Saux to reach them... FRANK You heard what happened? Le Saux nods, then turns to acknowledge Ryan. LE SAUX Mr Frost. Ryan is a little unnerved that Le Saux knows his name, but doesn't say anything. LE SAUX (CONT'D) I never truly believed it would come to this. So many people needlessly killed. FRANK Unless we find Mabius there's going to be a lot more needless death. LE SAUX You're right. At least we have a target to work towards - Mabius won't detonate any device until the stroke of midnight. That we can be sure of. RYAN Where would he hide them? LE SAUX That's where Monsieur Black comes in. Frank looks puzzled. LE SAUX (CONT'D) To "work your magic", as you might say. The same way to did in France when you located the First Prophet Gallery. Frank glances away, hiding something. Le Saux sees. LE SAUX SAUX (CONT'D) I understand your ability cannot work on command, but-- FRANK There's something I think you should know. Le Saux is listening. FRANK (CONT'D) It wasn't really me who found the Gallery in France. Le Saux looks lost. FRANK (CONT'D) It was my daughter Jordan. I received a drawing she'd drew which matched the landscape of the gorges in the area. I didn't have anything to do with it. LE SAUX Where is your daughter now? FRANK Half-way to the south-east coast of Virginia by now. Le Saux considers things quietly. Bewildered, but thoughtful. LE SAUX She has a *keener* ability than you? FRANK I see things. Abstract rushes of... images... sounds... feelings... (a beat) Jordan can... focus. It's a more natural thing for her. LE SAUX What has she dreamed of recently? Frank looks perplexed for a second, then remembers something. He takes out the piece of paper Jordan drew 3 circles on, and passes it to Le Saux. Le Saux studies it quickly. LE SAUX (CONT'D) Do you have any idea what these circles mean? FRANK No. But I've seen it, too. It's a sign, a logo. RYAN Maybe it's a business emblem, or something. LE SAUX We should check all possibilities. Three circles can signify thousands of things... RYAN And what about the authorities? They have a right to know the threat of nuclear disaster is, what, fourteen hours away? LE SAUX My men have connections with the Secret Service, the CIA, FBI, bomb disposal units. An alert will be given. But... it's still a needle in a haystack trying to find the device. Le Saux turns the drawing of the 3 circles over and sees the face of Nielsen on the back. LE SAUX What's this? RYAN That's our number one suspect for Dr Glendale's murder. FRANK He was also hanging around my house a few nights ago. When I had my seizure. D'you know him? Le Saux shakes his head... staring down at the face. He looks up at Frank with a sealed smile. LE SAUX He's, uh, vaguely familiar. Perhaps a Group member. One of Mabius's men. Frank nods, suspicious but mollified. EXT. OLD MAN'S SHACK - DAY Finley, Emma and Trent are walking briskly toward the perimeter obelisks of the old shack. Finley eagerly passes the perimeter, while Emma seems less keen. She notices one of the small obelisks in the ground has a carved ouroboros on its side. Finley and Trent approach the old shack's door and Finley KNOCKS twice. Emma hangs behind, staring around at the strange forest clearing. As she does so, she notices one of the dogs appear at the top of an incline, closely followed by three more. The shack door is opened quicky and the Old Man appears, instantly glancing at Finley, Trent and Emma in turn. OLD MAN Who are you? Why did you come here? FINLEY We're from the Group. The Old Man holds his tongue, suspicious and confused. TRENT It's almost time. You have to come with us. OLD MAN Where? FINLEY Washington D.C. TRENT A man named Daniel Mabius, the third and final Antichrist, has been oppressing the hierarchy of the Group. He plans to begin a period of global hostility. When that's underway, he'll come here... to kill you. The Old Man stares around the forest, then up into the air. OLD MAN How were you able to get here? The Dogs are about, even in daylight. FINLEY They allowed us to pass. The Old Man looks unsatisfied, then nods to Emma - who is further back still. OLD MAN Is she a member? FINLEY No. Just a candidate caught up in everything. I realized the Group had deserted their ideals when it became clear they'd chosen to ignore "The Walk." I knew you would never consent to disregard such a symbolic ritual. OLD MAN (nods) No, I would not. But I'm unable to go beyond the perimeter. The Dogs won't allow it and swarms of Flies are everywhere. Emma begins taking steps forward. EMMA Did you say flies? The Old Man nods. EMMA (to Finley) Flies were reported inside the subway train where The Board members were killed. OLD MAN They are the eyes and ears of Satan, Lord of the Flies. The harbingers of damned souls. Anthropoids of the Evil in the world. TRENT If there's one man who can redeem the Millennium Group and impose changes, it's you. But less than two days remain... we haven't much time. OLD MAN The Sign has come and gone now. The full moon of Winter Solstice was supposed to signal the beginning of my journey. FINLEY Maybe that was a false sign. TRENT Maybe *we're* the Sign. The Old Man looks in two-minds about their theory, but nods slowly. OLD MAN I'll get my things. The Old Man disappears into his shack. Emma hears a GROWL and turns round to see five dogs some distance away, teeth bared. INT. BRIEFING ROOM - FBI BUILDING - DAY Dozens of FBI AGENTS are gathered, with Frank, Ryan, Le Saux and Agent Lesky present. Assistant Director DOUG ADAMS is presiding. ADAMS I'm sure you're all aware of the Bureau's "Project Megiddo", which details our assessments on doomsday scenarios for the new millennium. One of our prime concerns, besides Y2K, has been the smuggling of explosives into the U.S. Although borders have recently been tightened, America is so vast it's nearly impossible to stop everything entering the country. Especially if it's a smooth operation. Easily concealed devices such as these 'back-pack' nukes make it even easier. They can be as small as a crate, a suitcase, even a holdall. (a beat) Now... Washington's a big city, approaching the height of millennium fever - this is *not* going to be easy, and nothing would make me happier than for all of this to simply be a cruel hoax or misinformation. But we *must* take this warning seriously. (a beat) Here to speak with us is a nuclear weapons research scientists from the Rotarin Corporation - Professor Rudolph Schmidtt. Adams sits down as RUDOLPH SCHMIDTT stands - he's a German-American in his fifties with a gray bear and small spectacles. He clears his throat. SCHMIDTT During the Cold War it was thought the Russians had somehow created the world's first portable nuclear weapon. Although its yield would have been minimal compared to typical warheads, the advantages were apparent. In retaliation, the Rotarin Corporation helped the Government create two opponent creations for self-defense. The S.A.D.M and the mini-neutron bomb. Despite Russia signing the START treaty in '92, it's always been suspected that at least 20 of their "suitcase" or "back-pack" nuclear devices were somewhere inside the ex-Soviet Union. Possibly being sold to terrorist groups across the world - in Iraq, Libya, North Korea, to name just a few. (a beat) After examining the evidence presented by Mr Black and Mr Frost, it's my opinion that at *least* one of these weapons could be in the capital as we speak. To be detonated during the New Year celebrations. The gathered Agents look at each other in morbid amazement. MURMURING fills the room. EXT. OLD MAN'S SHACK - DAY The Old Man is standing with a rucksack on his back, wearing a dark green jacket and holding his Shepherd's crook. OLD MAN Let's go. The Old Man cautiously walks toward the perimeter with Emma, Finley and Trent. As he nears some obelisks, GROWLING increases and all four look up to see dogs - dotted around the trees, watching. OLD MAN They're here. I knew they would be. TRENT The Land Rover's not parked far away - if we run we could make it. OLD MAN I'm not as young as I used to be, Mr Trent. EMMA We could distract them maybe. OLD MAN They're only after me. They don't care about you unless you're a threat to them. Trent takes out a handgun then SLAPS in a fresh cartridge of bullets. TRENT I'll cover us. Just make sure you get there. The Old Man and Emma both look nervous and unsure. Finley chews her lip. TRENT (CONT'D) Count of three. One... two... three! All four rush over the obelisks and out of the perimeter. Immediately, dozens of dogs appear from all around the forest - running down from inclines and between trees. Trent twists round and FIRES three shots! The WHINE of a shot dog is heard as one tumbles into the ground. Finley and Emma crowd the Old Man as they continue to run - Trent SHOOTING! YELPS and GROWLS surround them as they approach the Land Rover. Emma snatches open the passenger door just as a dog leaps up onto the car's roof! It bares its teeth at her before lunging forward! Emma dodges clear of its jaws. BANG! The dog WHINES as it clatters down the roof and onto the floor. Trent is standing, herding the Old Man into the back-seat - SHOOTING randomly at approaching dogs - around thirty of them. The Old Man dives inside and SLAMS the door shut. As Trent continues SHOOTING a BUZZING is heard and a fly lands on his cheek - he shakes it away. INT. LAND ROVER - DAY The Old Man looks scared, sitting in the back. Emma's in the passenger seat, as Finley jumps in the driver's seat. Trent can be seen through the windshield, SHOOTING at some approaching dogs. FINLEY Trent! GET IN NOW! EXT. LAND ROVER - DAY Trent has had enough. He rushes round the front of the Land Rover to get to the back seats himself. As he does so, a DOG bites hold of his leg. He SCREAMS in pain as the animal's fangs break his flesh! In agony, he aims his gun and - CLICK! - no more bullets. He pitifully tries to shake the animal off, as a further three dogs appear in front of him, advancing stealthily. Suddenly, one jumps up onto his chest, clamping down on his throat! INT. LAND ROVER - DAY Finley watches in horror as Trent's body is covered with four dogs, all SNAPPING and GROWLING! One dog leans up against the back window, staring in at the Old Man - BARKING! Another jumps onto the trunk, similarly BARKING through the rear-window. EMMA Oh my God! We've got to GO! Finley finds the presence of mind to twist the key in the ignition! The engine ROARS loudly, as another dog leaps on to the hood. The Old Man sees Trent's dead body laying outside, his back soaked with blood. OLD MAN He's dead - it's too late, anyway! DRIVE! Finley puts the vehicle into gear and lurches forward. The dog on the hood jumps off, while others run alongside the Land Rover, BARKING! EXT. BUCKSNORT FOREST - DAY The Land Rover ROARS through the forest, heading toward the Old Man's shack, thirty or forty dogs running after it! In the f.g Trent's body lies face down in the dirt. We CLOSE IN on him... and see some black flies crawling around his head. FADE OUT. ACT TEN FADE IN: EXT. MARYLAND FREEWAY - DAY Tom Black's car is speeding down the freeway, the lanes full but thankfully not jammed despite the New Year rush. Legend INDICATES: December 31st 1 day, 11 hours remaining... INT. TOM'S CAR - DAY Charlie is seated in the backseat, strapped into a child restraint. Jordan sits next to him, staring out the window at the traffic. Tom drives steadily, with Helen reading a map. Jordan looks ahead at Helen and Tom, then to Charlie - who's drifting asleep. She picks up her drawing pad from the floor of the car and opens at the page with her 3 descending circles. She frowns - perhaps not quite understanding the drawing herself - before turning to look out the window again. INT. BRIEFING ROOM - FBI HEADQUARTERS - DAY The lights are dimmed, with a map of Washington D.C being projected on the wall. Frank and Ryan are present, together with the FBI AGENTS, alrthough Le Saux is absent. AD Adams is using a pointer to indicate the areas of the city as he speaks: ADAMS We'll be teaming up with practically every other agency associated with law-enforcement for this: CIA, NSA, Secret Service, police, even local PD's from Baltimore and Philadelphia will be helping. (using pointer) We'll all break off into "zones." The Secret Service have been alerted and will be taking care of almost everything around Pennsylvania Avenue. Obviously, it's been decided the east side of the Potomac should be our priority. But the Pentagon and all airports will be patrolled and searched. FRANK It may be a wasted effort searching world-famous landmarks for the bomb. ADAMS And why's that? Terrorists are just itching to attack the White House, the Pentagon... FRANK This isn't like any bomb you've had to deal with before. *I* don't even what type of bomb we're dealing with. But I *do* know that it won't have to be inside a building to destroy it. This thing could be a half mile away from the target in the trunk of a car. ADAMS So you expect us to search the trunk of every vehicle in the capital, Mr Black? FRANK I just think it's pointless searching buildings that have security protocols. Adams nods, considering this. ADAMS Then it appears we're at an impasse... because it's just impossible to look *everywhere*. We need to focus the search somehow. Any suggestions? The room is quiet. Adams takes this as confirmation of his original plan, then throws a "see?" expression to Frank, before turning back to his map display. RYAN Derek Titus. Adams turns back, indigant. ADAMS Who? RYAN A survivor from the Millennium Group massacre downtown. ADAMS What has that got to do with anything? RYAN We think he may have been involved. ADAMS How d'you figure that? FRANK Just a hunch. RYAN We should talk to him... It's at least worth a try. Adams has to agree, and nods solemnly. EXT. WASHINGTON CITY STREET - NIGHT The Black Mercedes is parked at the side of the road. Le Saux jogs across the busy street, past a crowd of drunk people already wearing party hats. He snatches open the Mercedes passenger door and clambers inside. INT. BLACK MERCEDES - NIGHT Nielsen is at the wheel, watching Le Saux SLAM the door shut. NIELSEN So now everyone knows. LE SAUX Knows there's a chance a smuggled atomic weapon will detonate, yes. We didn't think they'd swallow the Antichrist part. Nielsen smirks, about to start the engine - but Le Saux grabs his wrist, and bends it backwards. Nielsen GASPS at the pain, as he's almost punched in the chest with a piece of paper. Le Saux lets go, and Nielsen furiously begins rubbing his wrist - stunned. NIELSEN What the hell was that for?! Le Saux quietly seeths behind a steel glare, until Nielsen takes notice of the paper and picks it up. He sees the accurate sketch of his own face. NIELSEN (CONT'D) What's this? LE SAUX (wryly) It looks like you, doesn't it. But it couldn't be - could it? I mean, this is a sketch of the man suspected of *murdering* Dr Glendale last week. Isn't that strange? Nielsen turns introverted, looking down sheepishly. LE SAUX Explain yourself. NIELSEN You... I mean, we all knew this threat began with Glendale. Passing secrets to the enemy in wartime - unwittingly allowing their scientists to create suitcase nukes. He deserved everything he got, and I don't regret it. Especially after the Group sabotaged his court case - bribing the witnesses and tampering with evidence. He should have been serving a life sentence, not consulting with the people he conspired against. It's shameful enough that Americans brough atomic weapons weapons into the world, but at least there *was* a reason: the end of Hitler's reign. There was never any need for portable nukes. It was just an exercise in greed and malevolence. Le Saux, despite his initial anger, turns away to stare out the window. He contemplates before turning back to Nielsen. LE SAUX There's no place in Ogmios for people who participate in personal vendettas. NIELSEN (scoffs) Don't be such a hypocrit, Le Saux! Ogmios have a vendetta against the Group - just like The Board did. LE SAUX That's different. It's a vendetta governed by the greater good for Millennium. You killed Glendale for no reason other than petty revenge. NIELSEN Let's just agree to disagree and find Mabius. LE SAUX He could be anywhere. NIELSEN I thought Ogmios was foretold by Prophets that we would - that's it's destiny for us to win. Le Saux doesn't reply. INT. WASHINGTON UNIVERSITY HOSPITAL - NIGHT Frank and Ryan are being led down a corridor by NURSE STEVENS. NURSE STEVENS He's very weak. And confused. Something like this causes a great deal of mental stress, not just physical discomfort. FRANK We won't be long. FRANK'S INTERNAL POV -- The LCD display of green numbers is at '20:00', then BEEPS and increases to '20:01'! Stevens stops outside a private room, just as Frank fumbles for his watch. It reads '8:01' - meaning '20:01 hours'. Stevens opens the door, and allows Frank and Ryan to step inside. INT. TITUS'S ROOM - NIGHT Titus is awake, propped up on his pillow. He looks terrible, with a visible bandage running across his chest to mask his wound. He sees Frank and noitceably readies himself. NURSE STEVENS Some people to see you, Mr Titus. From the Baltimore P.D. Do you feel well enough to speak with them? Titus doesn't answer, just turning away slightly. Ryan turns to Nurse Stevens. RYAN Don't worry. We've dealt with traumatized people before - we'll go easy on him. NURSE STEVENS Well, uh, I'll give you five minutes. FRANK Thank you. Nurse Stevens leaves, closing the door. Ryan and Frank approach Titus's bed. Titus doesn't move one inch. FRANK (CONT'D) I think you know why we're here. TITUS I know nothing. RYAN But you know Daniel Mabius, don't you? Titus's eyes move at the mention of that name - Ryan sees this. RYAN (CONT'D) We thought so. Not exactly the best way to pay someone back was it? To shoot them and murder all their colleagues? Titus swallows, unable to hide his amazement. TITUS All of them? FRANK Tell us where he's hid the bombs? How many are there? One, five, ten? Titus MUMBLES something, plainly irritated and annoyed at this questioning. RYAN We already know about his crazy scheme - how he's played the Group for fools these past few years. FRANK It's in your own interest to help us. If you don't - when that clock over there strikes 12 tomorrow-- (indicates a wall clock) --I hope you think keeping quiet was worth dying for. RYAN Got your excuses prepared for St Peter? Titus sits up straight, thinking. He stares at Frank. TITUS You want to know how many weapons he stole from Russia? Frank nods very slightly. TITUS (CONT'D) I'll tell you. Twenty. Frank's expression shrivels. TITUS (CONT'D) Each one capable of levelling a radius of almost *two* miles. Within one year, the United States will be reduced to a state of wanton paranoia and poverty, fuelled by propaganda and misinformation. The seeds of World War III. RYAN How many will be detonated tonight? TITUS Just one. FRANK Where? TITUS (chuckles) Somewhere built in tribute to a man. A man involved in the Group's clear interests during the forties. Realization dawns across Frank's face, and he jerks his full attention onto Titus. FRANK J. Edgar Hoover? Titus's lack of response clinches it. Ryan and Frank stand, and Titus turns his head away from them. RYAN The J. Edgar Hoover Building? Frank's too busy thinking. He checks his watch, which reads: '8:14." INT. TRAIN STATION - NIGHT A train glides into the station and HISSES to a halt. Hardly anyone boards, but a flood of people disembark. As dozens of feet step out of the exit -- the end of a Shepherd's crook CLANKS onto the ground... ... and The Old Man makes his appearance. Finley and Emma walk behind him as he leaves the train. EXT. TRAIN STATION - NIGHT Finley, Emma and The Old Man are walking to Trent's parked car. The Old Man has a pocket watch held in his palm, which reads: '8:32'. Finley begins frisking her own suit, searching for something. EMMA What's wrong? FINLEY I don't have the keys. Trent had them. OLD MAN Fortunately for you two an old man like me knows how to hotwire a car when he needs to. Emma throws Finley a half-amused glance as they walk up to the car. With one swift movement the Old Man SMASHES the driver's window with his crook, snakes his hand through the broken glass and undoes the door. OLD MAN (CONT'D) I'll drive. Emma raises her eyebrows as they all get inside. EXT. WASHINGTON CITY STREET - NIGHT Frank's jeep cruises down a street lined with colored lights, streamers, posters, confetti and PARTY-GOERS. All SHOUTING and LAUGHING, many with beer cans in their hands. INT. FRANK'S JEEP - NIGHT Ryan is on his cell phone, with Frank driving. RYAN That's right, The J. Edgar Hoover Building. I know. Yeah. Ryan hangs up. He turns to Frank. RYAN (CONT'D) They're on their way there right now, and an evacuation should be underway. Frank nods, then changes into a higher gear. Frank's cell phone begins to RING. It's on the dashboard, so Ryan picks it up and answers. RYAN (CONT'D) Hello? EMMA (V.O.) Ryan? RYAN Ah, Assistant Director... This gets Frank's attention... INT. TRENT'S CAR - NIGHT The Old Man is driving, with Emma in the passenger seat and Finley in the back. EMMA Where are you? Is Frank with you? INTERCUT BETWEEN SCENES: RYAN He's here. We're on our way to the Hoover Building. EMMA What's happening? RYAN That's where the bomb is. We've got three hours till it blows, taking a 2 mile chunk of D.C. along with it. EMMA Oh my God... Frank gestures for the phone, and Ryan passes it across to him. FRANK Emma? EMMA Frank! Are you okay? FRANK Fine. How about you? EMMA Finley and I found the Old Man. He's here with us now. FRANK I'm not sure what good that'll do. EMMA Makes two of us. FRANK The Group are gone, Emma. Well, those in Washington, anyway. EMMA What?! How? FRANK (wryly) Mabius's way of showing his gratitude. And now he's going to destroy the FBI... so there will be no opposition when he seizes control. EMMA I don't believe it... FRANK I've gotta go. Get to the Hoover Building if you can. Bye. EMMA Bye. Emma hangs up and turns to Finley, who's looking on expectantly. FINLEY What did he say? EMMA The bomb's in the Hoover building downtown, apparently. FINLEY We have to try and talk The Elder round. Make him see sense. EMMA No. Uh, we can't. The Group's... OLD MAN Gone. Finley looks at the Old Man, then glances to Emma. FINLEY (to Old Man) What do you mean "gone"? OLD MAN I knew it had happened. Sensed it. EMMA (to Finley) It's true. Finley takes a second to gather her thoughts. FINLEY Mabius. OLD MAN There's still time to restore the Balance. Finley and Emma consider his words, both doubtful now. INT. WASHINGTON CITY STREET - NIGHT The roads have been closed off, and the entire area is filled with CROWDS of people - throwing streamers and confetti. People are leaning out of their windows, waving and SHOUTING. MUSIC blasts around the buildings: THE ARTIST (V.O.) (singing) "Tonight we're going to par-ty like it's 19-99!... Two-thousand-zero-zero--" We PAN ACROSS to a NEWS REPORTER speaking into camera. NEWS REPORTER This is the scene right now in downtown Washington D.C.! There's a real air of anticipation everywhere, and it seems *everyone* has flooded the streets to celebrate the end of the 20th century and the dawning of the 21st... and, indeed, a new millennium. CHEERING literally drowns out his words, as a few fireworks EXPLODE close by. EXT. J. EDGAR HOOVER BUILDING - NIGHT Quieter here, with the road outside jammed with police vehicles. Legend INDICATES: J. Edgar Hoover Building 3 hours, 10 minutes remaining... A S.W.A.T TEAM are running into the main entrance, weapons ready and wearing protective clothing! INT. CORRIDOR - HOOVER BUILDING - NIGHT The SWAT Team systematically run down the corridor, checking round corners and aiming their guns at air vents. As they do, we can hear the whisper of BUZZING flies... EXT. HOOVER BUILDING - NIGHT Frank's jeep SCREECHES to a halt outside. Ryan and Frank leap out of the vehicle and jog across to Assistant Director Adams, who's crouched behind some parked cars - expecting possible attack. FRANK What's happened? Adams looks surprised to see them. ADAMS A SWAT Team is inside right now. You never know what these terrorists have up their sleeves. An FBI AGENT approached them, bending down. FBI AGENT Sir, they've cleared the Ground floor. Nothing. ADAMS (sighs) God Almighty, the Hoover Building of all places. Right under our noses! How's that even possible? FRANK Mabius's people tricked the Bureau. They probably smuggled one of the bombs into the building. ADAMS Ingoing deliveries are checked. Always. RYAN Then maybe there's an insider. People involved who work for the Bureau. ADAMS Federal Agents assisting in a doomsday plot? Are you serious? FRANK Derek Titus was our tip-off. He practically confessed his involvement earlier. ADAMS Titus? (realizes something) Oh damnit... Derek Titus is Head of Security for this facility. Making sure tourists can't go anywhere they shouldn't. RYAN Mystery solved. Adams chews his lips; extremely annoyed and guilty. All three turn back to watch the building with bated breath. INT. CORRIDOR - HOOVER BUILDING - NIGHT A silver elevator's doors slide open and Mabius steps out. The building has been evacuated, and eerie moonlight causes slanted shadows along the corridor walls. Mabius turns left and nonchalantly walks down the corridor toward a far window. He peers through the blinds and sees the gathered masses of police cars outside. His face betrays nothing... but we again notice the circular birthmark on his neck. RUNNING FOOTSTEPS are suddenly heard behind him somewhere - he turns to hear them better. INT. STAIRWELL - NIGHT The S.W.A.T Team are rushing up the stairs in an orderly fashion. Their footsteps echoing. INT. CORRIDOR - HOOVER BUILDING - NIGHT Mabius lightly runs up the corridor and turns to see a green double-door, which is suddenly kicked open! The S.W.A.T Team appear, and their flashlights instantly catch Mabius's face. SWAT MEMBER #1 THERE! Straight ahead! SWAT MEMBER #2 FREEZE!# Too late. Mabius has darted away from their clear shot. They all pile down the corridor in pursuit. Mabius runs quickly down a different corridor, taking out a hand-held device from his jacket pocket. He approaches a fire-exit - the sound of FOOTSTEPS in hot pursuit. Mabius opens the exit door quickly and steps out. EXT. FIRE ESCAPE - NIGHT Mabius presses himself against the building's side, staring down at the street below. The authorities are mostly camped out at the front of the building, with just a few police cars visible here. Mabius begins a stealthy descent, his dark clothes hiding him in the shadows. EXT. HOOVER BUILDING - NIGHT Frank is watching intensely, growing impatient. Adams has a walkie-talkie raised to his lips. RYAN (to Frank) What will Mabius do when he knows the S.W.A.T are inside? FRANK Try to take a hostage, probably. RYAN So a standard hostage situation with bigger stakes - effectively. FRANK Only you can't reason with him. He *will* detonate that bomb at midnight. Or before if he has to. INT. CORRIDOR - HOOVER BUILDING - NIGHT The SWAT Team are fanned out, covering a greater area. One stands near the elevator Mabius stepped out of. SWAT Member #2 speaks into a walkie-talkie. SWAT MEMBER #2 Suspect sighted, but pursuit was unsuccessful. No sign of any hostage. Or the bomb. As he continues talking to his superior, SWAT MEMBER #3 presses a button on the elevator panel. He readies his weapon, flanked by two other men... but the elevator is empty. He steps inside, looking around... then notices the escape hatch above hasn't been sealed properly. INT. ELEVATOR SHAFT - NIGHT The hatch is slowly removed, sliding across the metal roof of the elevator. Flashlight beams illuminate the dark shaft and the assortments of cables. SWAT Member #3 heaves himself up through the hatch. Mabius's nuclear device - the infamous back-pack nuke - is resting on the elevator roof. An LCD display is illuminated on '21:03'. SWAT Member #3 sees it, and swallows. SWAT MEMBER #3 It's here! Call bomb disposal! SOUNDS of controlled panic can be heard below the elevator, as the SWAT Member watches the device silently. EXT. HOOVER BUILDING - NIGHT Trent's car joins the police vehicles and parks. The Old Man, Finley and Emma step outside. Emma begins flashing her FBI ID to approaching men, as they make their way forward. Finley sees Frank and heads over to him. FINLEY Mr Black. Frank turns to see Finley, and almost stands up straight in surprise. Ryan watches as Emma joins them, together with the Old Man. RYAN (to Finley, re: Old Man) Who's your friend? FINLEY The true leader of the Millennium Group. OLD MAN Mr Black, I need to speak with you. Frank nods, then stands to walk with the Old Man. Emma and Finley nestle down with Ryan. EXT. EAST STREET - NIGHT The Old Man and Frank are walking along the sidewalk, the police vehicles across the street behind them. FRANK I knew your predecessor. OLD MAN I know. He would be similarly displeased at the current state of affairs. In the early days of Christianity, following the death of the Messiah, his followers split into two factions - those who followed St Paul and those who were closest to the earthly Christ himself. The latter, whose testimonies were never fully accounted for... became the Group. A noble and trusted organization. But now? Something to be feared. When I was Group Elder, I found it difficult to juggle the duality of Millennium. But, on the whole, I like to think I succeeded. FRANK Do you know Alexander Le Saux? OLD MAN Very well, yes. I knew his father, too. When appointing my own predecessor, he was in competition with Mr Swanson. And lost due to inexperience. Swanson, though, had been a member for thirty-three. Prior to that he worked for the Rotarin Corporation which the Group helped finance when times were tough. (a beat) I realize now that areas of research he was involved with for them spilled over into the Group's agenda. FRANK Like the Marburg Virus released in '98. OLD MAN Swanson's partner at Rotarin was a Doctor Alfred Glendale. Obviously, their dealings with Russians led to their undoing. Marburg was developed by Russian scientists and tested by extremists in 1986, then later perfected at the behest of Swanson once he gained status in the Group. INT. ELEVATOR SHAFT - NIGHT Three BOMB DISPOSAL MEN are on the elevator, kneeling round the nuke with toolboxes and flashlights. BOMB DISPOSAL MAN #1 Holy... what the hell *is* this thing? BOMB DISPOSAL MAN #2 Russian. BOMB DISPOSAL MAN #3 The uranium must be in the middle chamber, with the electrical components in the lower half. It looks like they unskrew. The men hold their breath as their colleague reaches out to touch the device. INT. CITY STREET - NIGHT Frank turns toward the Old Man, stopping their walk. FRANK Le Saux's underground movement - Ogmios - they think Mabius is the Antichrist. Is he? OLD MAN "Antichrist." Such a powerful word - word - but really it just means "someone against Christ." Which would mean there are thousands of antichrists in the world. FRANK So Mabius is just a man. Le Saux's wrong. OLD MAN It's all down to personal opinion. But I think the events taking place behind us - in that building - *can* begin a very real apocalypse. Frank agrees, nodding his head - understanding. The Old Man turns and begins heading back. EXT. SIDE STREET - HOOVER BUILDING - NIGHT Some police cars are parked, with officers seated inside on their radios. All waiting for orders. One POLICE OFFICER steps out of his vehicle, holding his radio in one hand. He's about to speak when - Mabius suddenly appears behind him with a bowie knife and slits his throat! The Officer tumbles to the floor, as Mabius aims a silenced hangun into the car and - PFFFT! - shoots his Officer's PARTNER dead. Mabius picks up the radio... and speaks into it. MABIUS Good evening. This is the owner of the device, you're no doubt attempting to dissarm, speaking... EXT. HOOVER BUILDING - NIGHT Frank and the Old Man are approaching the cars, just as commotion starts up ahead. They quickly approach a police car, where Ryan, Finley and Emma are present. Adams is seated inside with his radio on, listening: MABIUS (V.O.) Russian technology - originally based on American schematics, it has to be said - is surprisingly well equipped to deal with every situation. ADAMS What the hell's he talking about? How did he get a police frequency?! Nobody answers, all with shocked faces. EXT. SIDE STREET - NIGHT Mabius sits inside the dead Officer's cruiser, holding the radio. MABIUS (V.O.) I hold in my left hand a detonator. With one push of a button, a shockwave surpassing the speed of sound will demolish a two mile area within a few seconds. *Thousands* of people will be instantly vapourized. INT. HOOVER BUILDING - NIGHT Frank looks alarmed, as Adams yells to anybody who will listening. ADAMS Get everybody outta that building - NOW!! A rush of activity as one FBI AGENT grabs a direct-line walkie-talkie. FBI AGENT This is Agent Smithson, stop what you're doing and vacate the building immediately! The bomb can be activated by remote detonation. I repeat-- INT. ELEVATOR SHAFT - NIGHT The bomb disposal men have just twisted off the first portion of the nuclear device, as: FBI AGENT (CONT'D) --the bomb can be detonated *remotely*! They each stare at each other - stunned. INT. CORRIDOR - HOOVER BUILDING - NIGHT The S.W.A.T Team are running down the corridor, together with the Bomb Sqead scientists. Together they approach the main entrance. EXT. HOOVER BUILDING - NIGHT Adams still has the radio on for everyone to hear. MABIUS (CONT'D) It's ten-hundred-hours. Two hours before the deadline. I'm growing impatient with waiting. I think I'll start the festivities early. Everyone - absolutely everyone - turns pale. Motionless. EXT. SIDE STREET - NIGHT Mabius, blankly, hangs up the radio, his finger hovering over the remote detonator and... EXT. HOOVER BUILDING - NIGHT The SWAT Team and Scientists pour out of the main entrance! Frank closes his eyes, accepting quietly. The Old Man seems to be MUTTERING a prayer. Finley and Emma just look amazed, and Adams has clasped his head. EXT. SIDE STREET - NIGHT Mabius's finger... presses the remote detonator's button!!! INT. ELEVATOR SHAFT - NIGHT The LCD display reads: '22:02', and -- BOOOOOOOOMMMMMPHHHSSSTTT! -- a tremendous plume of fire rockets up the elevator shaft! EXT. HOOVER BUILDING - NIGHT A window toward the top of the building EXPLODES and a fireball leaps out into the night air! Bricks and slabs of mortar rain down, SLAMMING onto a few police cars and SMASHES onto the sidewalk! Then... silence...? Everyone is either on the flooor, or huddled into a ball. Slowly, people starts moving again. CLOSE ON - Adams's radio: as we hear Mabius LAUGHING slowly and mockingly. Frank stands up, staring up at the smoke billowing from the top of the Hoover building. FRANK It wasn't nuclear. EMMA A decoy? Where's the real one? Frank shakes his head, then wanders away from the crowd, deep in thought. He ducks underneath the police line and walks across the street, stepping back occassionally as FIREMEN rush past. Frank looks to the Hoover building again and sees two large banners draped across the sides of the building. They read: 2 0 0 0 With the 3 zero's descending in size. Frank begins a leisurely run across the street toward the side street. He reaches the banner and stares up the street at the parked police cars. The sound of a door SLAMMING shut turns his attention to one particular police vehicle. A man in shadows pockets something before half-running up the street away from the Hoover building. Frank winces for a better view, but begins running in pursuit on instinct. EXT. SIDE STREET - NIGHT The man, never properly seen, starts running at a brisker pace as he rounds a corner into another street. Frank can be seen in the b.g., approaching fast. Frank turns the corner onto another street, and is stunned to see an empty sidewalk stretching into the distance! He scans the area, looking for his suspect... when -- WHACK! -- he's clubbed round the head by someone! He picks himself up off the pavement and staggers, trying to regain some sense of his surroundings. But his attacker has dissapeared from view once again. Then, a man steps into the light from a streetlamp... it's Le Saux! He casually walks across the street, a gun at his side. FRANK Le Saux? Suddenly, a SQUEAL of tire rubber breaks the tension as a white van careens from around the corner. FRANK'S POV - THROUGH THE VAN'S WINDSHIELD Mabius is at the wheel. Nielsen is sitting beside him in the passenger seat, as still as a dead man! Because he is. Blood trickles from his forehead where a bullet has left a gaping hole. The van speeds past Frank and back toward the J Edgar Hoover building but -- BANG! BANG! -- Le Saux shoots out the rear tires and the van twists wildly in the street until it SLAMS into a streetlamp. Nielsen, already dead, is half sprawled through the windshield, his face completely slashed with glass. The hood of the van has buckled against a streetlamp. Mabius opens the driver's side door and stumbles out. He raises his gun at Frank and reaches into his jacket pocket, taking out another remote detonator. As Mabius is about to press the detonator -- BANG! -- another shot rings out! Mabius gasps and collapses against the side of the van. MABIUS (confused) How? This isn't the way it ends... FRANK I think your fate was sealed long before today. Mabius sneers and with his last, dying breath: MABIUS It's not over. Not yet. In that van... is the power of God Himself! A seed from which a new World Order will grow. I only wish-- (coughs) --I could witness the glory myself... A beat, before Frank bends down next to Mabius's body and turns his head to see his bullet's entrance wound inches above Mabius's birthmark. LE SAUX Just a few inches lower and he wouldn't be dead... He cautiously takes the detonator from Mabius's clenched fist. FRANK Who was he? Really. LE SAUX The Antichrist... he has many faces and many names. To that Russian train crew he was known as Yaponchik, to most he would be termed "The Beast" from the Book of Revelation. Le Saux walks to the rear of the van. He looks pitifully at Nielsen - his traitorous colleague - before opening the rear doors. Inside is one of the real nuclear devices, its LCD display reading: '22:32'. FRANK We've got 88 minutes. But there should be nineteen more devices. LE SAUX (nods) He'd have to transport them across America in the morning. Frank runs round to the white van, opens the passenger door, then searches around inside. After a few seconds he pulls out the map Nielsen was reading in "The Swords of Armageddon." Union Station is circled. FRANK Here. Union Station. Le Saux takes the map, seeing for himself. EXT. TRAIN DEPOT - UNION STATION - NIGHT A team of FBI AGENTS are filtering out across the tracks, each with a flashlight. They're pulling open carriage doors, searching. Legend INDICATES: 46 minutes remaining... Amongst them is Agent Lesky, who clambers into an open carriage. Inside is a big pile of goods, covered in a tarpaulin. She throws it aside to find nineteen suitcase-sized lead crates - each marked with 3 circles. LESKY Over here! I found them! Behind her, beams from flashlights dance across the depot as she's quickly joined by her colleagues. EXT. DOWNTOWN WASHINGTON - NIGHT The streets are filled with PEOPLE, all CHEERING and SHOUTING as a lazer light show projects images on the surrounding buildings. MUSIC fills the air along with the confetti and balloons. We FOCUS ON Emma, Frank and Ryan. Together in the crowd, watching a large digital clock on a SuperScreen - which reads: '23:52'. EMMA Time marches on... RYAN What d'you think will happen to the Group now? FRANK The Millennium Group's survived for two thousand years. I have a feeling it'll be around to witness the year 3000. In whatever form. RYAN But they've been proven wrong - for a *second* time. FRANK Only the Roosters believed we'd face the threat of armageddon in 2000. They were correct... but the danger passed. RYAN Maybe it's time for a new philosophy. FRANK The Owls will want their turn in power, so the religious origins of the Group won't be so prevailant from now on. Ryan turns to watch the SuperScreen, which now reads: '23:57. RYAN Here it comes... EMMA I hope my promotion isn't going to be revoked. I was kind of getting used to ordering people around. Frank CHUCKLES, then digs into his pocket and takes out the photo of the Beach House Jordan should be in now. RYAN What's that? FRANK Where Jordan's staying. EMMA I think you'll have plenty of time to make things up to her now. I take it you're still retiring? FRANK Good things don't last forever. It's time to finally move on with my life. EXCITED VOICES begin to SHOUT all around them... and they all turn to watch the SuperScreen clock, which reads: '23:59:00' EXT. OLD MAN'S SHACK - NIGHT A circle of THIRTY GROUP MEMBERS are present, including Finley. They all stand around the circle of obelisks, with candles. In the center is The Old Man, standing outside his shack. He stokes the fire with his Shepherd's crook. OLD MAN With Balance restored, together we greet the New Era with open arms... and never forget the sins of the past, nor the dark road travelled. (a beat) Stand, he who seeks to guide us. Le Saux steps forward from the crowd. OLD MAN Who here is willing to attest this man's destiny as Elder? Everyone in the circle raises their candles into the air. OLD MAN Then it shall be. Alexander Le Saux - do you sanctify yourself to our cause, to uphold our society's integrity, to keep sacred our knowledge and keep safe our secrets? LE SAUX I do. OLD MAN Then take this as a token of your promise to us, and as a reminder to yourself. The Old Man produces an old-fashioned pocket watch, and passes it to Le Saux. Le Saux opens it to see the clock-face, an ouroborous running around the Roman Numerals and with an elaborate 'MM' in the center. OLD MAN (to Le Saux) It keeps good time. Le Saux closes it, nodding with pride. The Old Man looks up to the sky and raises his crook high. The gathered member close their eyes... EXT. DOWNTOWN WASHINGTON - NIGHT The SuperScreen clock is on '23:59:58', people are EXCITEDLY TALKING as the digits roll over to '23:59:59:', then... '00:00:00'! A tremendous CHEER sweeps through the crowd as the sound of a grandfather clock CHIMES! Streamers, balloons, confetti and fireworks pepper the cold night air... as we focus on Emma, Ryan and Frank. All stand together, watching the confetti rain down. FIREWORKS shoot into the night sky, as Emma smiles, turning to Frank. EMMA Happy New Year, Frank. FRANK Happy New Year, Emma. Ryan shakes Frank's hand, then kisses Emma on the cheek. EXT. OLD MAN'S SHACK - NIGHT The Old Man bends down and lifts up a gaslamp. He shows it to the gathered members. OLD MAN We have fared well... and the high winds of Evil could not extinguish our Light. And with that The Old Man turns and walks into his shack, the gaslamp in one hand, and his crook in the other. Le Saux turns and joins his gathered members. A few seconds of quiet reflection, as - one by one - each member turns round and walks into the forest - away from the shack. Le Saux leads, and we notice dozens of dogs, all lying on the floor, their eyes closed... as the Group members pass by safely. EXT. BEACH HOUSE - NIGHT The sounds of the ocean O.C., being pulled onto the sandy shore. The Beach House (painted a faint yellow) sits on the edge of the beach. Stars twinkle in a jet black sky all around. Legend INDICATES: January 1, 2000 The front door of the beach house opens and Jordan steps outside with Tom and Helen. The sound of a CAR'S ENGINE can be heard O.C. Excited, Jordan rushes down some wooden steps onto the sand, then round to a cement path leading to a road behind the house. Frank's jeep is there. The engine cuts and Frank steps out, opening his arms for Jordan. Jordan rushes into them, and they embrace tightly. Over Jordan's shoulder, Frank sees Tom and Helen watching - holding each other. He smiles to them. EXT. BEACH - NIGHT - A SHORT TIME LATER Frank walks with Jordan, holding her hand, down to the ocean. As they walk MUSIC begins to play over the scene; Louis Armstrong singing "We Have All The Time In The World." LOUIS ARMSTRONG (V.O.) "We have al-ll the time in the world... Time enough for life to unfold all the precious things life has in store." JORDAN Does this mean we can live here? FRANK Didn't I promise we'd have a new home for a new century? (a beat) Of course... it'll be a big adjustment, living so far from your aunt and uncle after so long... (a beat) But it'll mean we can spend a lot more time with each other - now that I'm *officially* retired. Jordan smiles, as Frank stops. They both sit down in the sand next to each other, staring out at the dark ocean. JORDAN I knew it wouldn't end. There's no such thing. Things just... change. FRANK I know. Jordan and Frank sit quietly a few seconds, until we see Jordan has absently drawn 3 circles in the sand beside herself. JORDAN What are we doing here? LOUIS ARMSTRONG (V.O.) "And every step of the way we'll find us with the kiss of the world behind us." FRANK I want to show you something. (checks his watch) It'll be here any minute. Jordan wrinkles her brow, a little puzzled. WIDER As Frank and Jordan sit on the beach, the tide gently sliding up toward them, the dark horizon of water miles in front... a crack of orange light breaks the darkness... ...and the first slant of sunlight twinkles across the waves. Frank and Jordan's faces are bathed in a gorgeous red/orange hue as the sun rises over the calm waters. JORDAN It's beautiful. Frank just nods. As the MUSIC enters its final stages of instrumentals-- FRANK AND JORDAN'S INTERNAL POV: -- the sun rises completely into the sky, much faster than normal. Clouds rush over the beach at a startling rate. The tide quickly recedes, then the sun arcs across the sky at incredible speed, and the scene is plunged into darkness... then the moon appears, together with the stars... as the sun again breaks the darkness. Frank and Jordan watch this curious phenomena, not scared - just in awe. Their faces turn red/orange, then normal, then blue/black, as the days seemingly rush past at incredible speed. -- now the sun is much larger, and redder. The sea has receded into the distance, and what little land there is has turned red and rocky. EXT. BEACH HOUSE - SUNRISE Tom and Helen stand on the veranda, watching Frank and Jordan sit on the beach. To them, the sun is still only partially visible on the horizon. EXT. BEACH - SUNRISE Jordan squeezes Frank's hand, as they both share their vision without fear or distress. -- the sun is massive in the sky, and blood red. The sea has vanished, leaving behind a cracked and dead seabed. The clouds are sparse and the sun seems to just grow larger and larger as it disappears and appears in the sky: night to day, day to night, night to day, faster and faster. HIGH ANGLE We leave Frank and Jordan, sitting together hand-in-hand, and PULL AWAY into the sky. To us, too, the landscape has altered. There is no sea, just red dryland... looking like Hell on earth...we fly past whisps of cloud... Frank and Jordan getting smaller and smaller... until we're at such a height we can only see the continent of America. We continue our rapid ascent, until we reach space, where Earth looks a very different place. The continents are much smaller and wider apart, clouds and blue sea have practically disappeared, and our "blue planet" has become red. The moon flashes past us, and we twist round to view it properly - now almost demolished by crater impacts... but still watching over the Earth of the future... ... and then the awe-inspiring sight of the red he Sun grabs our full attention. It's impossibly close to the Earth and deep red in color. As we're pulled back into outer space, the new trio constellation is brought into understanding: The Sun The Earth The Moon Three celestial circles of descending size. The MUSIC fades out... ... then... FLASSSH!... the dying Sun goes supernova and fills the screen with an explosion of brilliant light. It instantaneously collapses in on itself and engulfs our solar system. FADE OUT. THE END dedicated to: Lance Henriksen Chris Carter Megan Gallagher Glen Morgan and James Wong Brittany Tiplady Chip Johannessen and Michael Duggan Terry O'Quinn Erin Maher and Kay Reindl Klea Scott Michael R Perry Kristen Cloke Patrick Harbinson Stephen James Lang Thomas J Wright Bill Smitrovich Mark Snow and the talented cast and crew of Millennium...