M I L L E N N I U M

"THE FOURTH HORSEMAN"

Ep. # 2.22  [MLM-222  (5C22)]

Written by Glen Morgan & James Wong
Directed by Dwight Little
Edited by George R. Potter & Jill Thompson

Transcribed by Dan Owen

[ Second Season ]  [Complete Transcript]

U.S. Air Date: May 8, 1998 

=====================================================================


TEASER


Trademark music cue as we:


FADE IN TO BLACK.

The SOUND of a horse whinnying.


FADE IN TO OPENING QUOTE:

The quote is read by Peter Watts. During it we hear the sounds of a STORM... 
WIND howling..

				PETER (V.O)
		So I looked, and behold, a pale horse.
		And the name of him who sat on it was
		death, and Hell followed with him.

		And power was given to them over the
		fourth of the Earth, to kill with sword,
		with hunger, with death... and by the
		beasts of the earth.

The quote is attributed to: Revelation 6:8

A LIGHTNING bolt sounds loudly, followed by a gentle BREEZE. 


								FADE OUT.


FADE IN:


EXT. DEAVER FARM - SUNRISE

Waterloo, Wisconsin
1986


A beautiful sunrise on an innocent farm, the beams of light filter through black 
branches on a mighty tree. We move across the farmyard and our attention falls 
on the farm house.


INT. FARMHOUSE KITCHEN - SUNRISE

A pot is coming to boiling point.

Someone's hand places some bread in a silver toaster... then pours some hot 
coffee into a mug.

Through a window we can see someone is driving a green tractor up a field... 
below, on the windowsill, two white eggs are waiting.

Someone cracks both eggs into a frying pan and watches them cook.

That someone is FARMER DUFFY. He now sits at his breakfast table eating, while 
reading a newspaper. Slightly bored, he puts down his paper and swallows a 
mouthful of coffee. Then stops.

Duffy senses something's wrong; glances out of his kitchen window.


EXT. FARM HOUSE - SUNRISE

Duffy walks down the wooden steps, smoking a cigarette. A concerned expression 
on his face. He drops the cigarette and crushes it underfoot.

He notices something: splashes of blood on the ground. Very worried Duffy walks 
a little further and bends down again... more blood, this time mixed with straw.

The trail leads to the chicken warehouse a few yards away. He follows it.


INT. CHICKEN WAREHOUSE

Farmer Duffy stares through a glass panel in the door. He can't see anything 
unusual inside. He opens the door and enters inside.

At first nothing seems wrong, but then he sees them - two dead chickens on the 
floor, covered in blood and straw. Duffy goes to them and bends down, shocked.

Looking up, he sees true horror... his entire factory of chickens are dead. They 
lie in messy piles of blood and straw inside their metal cages - that stretch 
back into the distance.

Heart pumping in shock, he grabs a telephone from the wall behind him.

As he dials a number, he sees a black papule on the back of his hand. He drops 
the phone on terror and sees his other hand, slightly swollen in blood.

Farmer Duffy staggers backwards in terror. In a dirty mirror he sees a large red 
welt on his neck. He stares in disbelief before he drops to his knee, breathing 
with difficulty.

He crashes to the floor amidst his dead fowl, and dies quickly.


EXT. FARM - SUNRISE

The golden morning breaks on the area. Tranquil and peaceful.


								FADE OUT.
--------------------------------------------------------------

ACT I


Trademark music cue as we:


FADE IN TO BLACK:

Another quote. Peter Watts reads it aloud:

				PETER (V.O)
		How long, Lord - how long will the
		wicked triumph?

The quote comes from: Psalms 94:3


								HARD CUT TO:

PETER WATTS sitting in an undetermined location. Thinking. Remembering.


EXT. RIVER - DAY

Two POLICE OFFICERS are lifting a plastic water cooler out of the water. 
Watching them is Peter Watts - younger, with a thicker moustache and wearing an 
FBI jacket. Behind him, more police officers wait on a bridge.

The cooler is heaved onto shore, and Peter gives them a signal to open it. The 
men prise the cooler's lid ajar with a CLICK!


								HARD CUT TO:

The present-day Peter, still sitting. He gulps down a glass of alcohol. 
Remembering.


								CUT TO:


INT. INTERVIEW ROOM - NIGHT

The younger Peter sits on the far side of a desk, listening to a Millennium 
GROUP MEMBER.

				GROUP MEMBER (O.C)		
		Like yourself, Mister Watts, the
		Millennium Group is not content to sit
		around... waiting for a happy ending.


								CUT TO:

The present Peter Watts sits. Contemplating.


EXT. RIVERSIDE - NIGHT

A small waterfall. The rushing water is given a blue-glaze by the moonlight. 
Standing on some rocks is a white-haired GROUP ELDER and the younger Peter 
Watts.

The Group Elder talks in Latin, with English subtitles:

				GROUP ELDER		
			(in Latin, subtitled)	
		And some of those understanding shall
		fail...

The Elder takes out a sharp knife.

				GROUP ELDER
			(in Latin, subtitled)
		To refine them, purify them...

He takes Peter's palm and slices it diagonally. Peter winces slightly.

				PETER
			(in Latin, subtitled)
		Until the time of the end...

Peter drops blood from his sliced palm into the cold water.

				PETER
			(in Latin, subtitled)
		... because it is still the appointed
		time.


								CUT TO:


The modern-day Peter again, sitting. The SOUND of a horse whinnying.


								FADE OUT.


FADE IN:


INT. FRANK'S BEDROOM - MORNING

Frank lies asleep in his bed, a sunbeam across his chest.

SMASH!

Frank jumps awake! He gets up quickly and goes to the window. A CRACK! He hides 
to the side a second, before he peers through the curtains...

... a cracked hole in his window pane. Looking down he sees the culprit: a dead 
crow laying dead on the grass. A gentle BREEZE.

Frank relaxes. The time on his radio-clock reads 6:02.


INT. FRONT ROOM - DAY

Frank is sat on his sofa. RICHARD GILBERT places a silver folder on a table 
marked "THE TRUST".

				RICHARD
		We're calling it "The Trust", and we
		have two ex-KGB, two ex-MOSSAD agents
		working alongside an old company man - 
		who'd have thought it. Of course the
		rest of us you know from the old Bureau
		days. Duncan, Vitaris, Brian Dixon. We
		feel Frank that we have taken the best
		elements of these organizations and
		dumped the worst, and put together a
		corporate security consultation dream team.

				FRANK
		That sounds great, Rich. I'm really
		happy for you and those guys, and--

				RICHARD
		I tell you what, Frank - we've taken off
		like a rocket. And it's not disgruntled
		employees and stalkers. Y'see, we're
		working with Western corporations in
		Moscow harassed by Russian gangsters.

				FRANK
		Threat assessment.

				RICHARD
		Yessir. And we've worked with, uh, the
		Japanese officials about the Aum Shinri Kyo
		Sect... even governments in Columbia.

				FRANK
			(smiles)
		Rich, you don't have to pitch me, you
		don't have to sell me.

				RICHARD
		I just can't tell you how many times one
		of us from the Bureau says "well, we could
		sure use Frank on this one."

				FRANK
		You want me to come and work for Brian
		Dixon?

				RICHARD	
			(chuckles)
		No, even Dix didn't want that - no, you're
		his idol. Now we all agree that the only
		way to do this if for you to come aboard
		as a full partner.

Frank is intrigued, and sits closer.

				FRANK
		What?

				RICHARD
		My hunch is you're tight on funds--

Frank looks slightly embarrassed.

				RICHARD
			(continuing)
		--so the company will take care of
		the buy-in money. And you can work
		against it. Now I don't know what the
		Millennium Group pays you, but... I'm
		sure we'll be in the ballpark... and,
		the advantage... is this one's yours.
		So you know what it is, and we're all
		upfront about everything. Hell, you'd
		have more time to spend with Jordan...
		and the potential to make more for her
		future.

Frank's cell-phone rings a short distance away. For a second Frank is lost in 
thought, but then snaps out of it and gets up.
	
				FRANK
		Hold on just one second.

He goes over to a table and picks up his phone.

				FRANK
		Hello.

				CALLER'S PHONE VOICE
		Frank Black, please.

				FRANK
		Uh, may I ask who's calling.

				CALLER'S PHONE VOICE
		This is Dan Sullivan, I'm a public
		relations administrator at Saint
		Sebastian's hospital.

Frank becomes concerned.

				FRANK
		I'm Frank Black

				SULLIVAN'S PHONE VOICE
		Mr. Black, I apologise for the delay
		in notifying you... however it took some
		time to find the next of kin.

				FRANK
		Next of kin?

				SULLIVAN'S PHONE VOICE
		Our deepest condolences, Mr. Black...
		your father Henry passed away in our
		Intensive Care at 6:02 this morning.

Shocked, but holding back his emotions, Frank hangs up.


EXT. GRAVEYARD - DAY

Frank stands, dressed entirely in black, in front of his father's freshly dug 
grave.

Catherine and Jordan, also in black, approach.

The gravestone reads:

		BLACK
	"For Thou Art With Me"

It's a double grave for LINDA ANNE and HENRY FRANKLIN.

Jordan looks up at her father.

				JORDAN
		You can't die when it's your birthday.
		Right?

				FRANK
		I'm afraid no-one gets any free days,
		sweetheart.

				JORDAN
		What happens when you die?

				FRANK
			(shaking his head)
		I don't know. I know it sounds scary,
		but no-one knows. Maybe that's the
		beautiful part of it.

Jordan opens Frank's hand and places a small white figurine of an angel in his 
palm.

				JORDAN
		Kids don't die. Right?

Frank looks down at her, as Catherine bends next to Jordan.

				CATHERINE
		Actually, some do. So that's why we
		have to appreciate - remember that word?

Jordan nods. Frank walks closer to the grave.

				CATHERINE
			(continuing)
		If we appreciate each other, and take
		care of each other while we're alive...

As Catherine talks Frank places the angel figurine on the grave.

				FRANK
			(to Jordan)
		Grandpa will appreciate this.

				JORDAN
		Are you lonely without your mommy and
		daddy?

Frank and Catherine exchange looks. Then Catherine takes Jordan and leads her 
away... as Frank looks back to the gravesite.


				FRANK
			(to himself)
		Very lonely.


INT. FRANK'S STUDY - DAY

Frank looks at the cover of The Trust folder. He's wearing glasses, and slams it 
shut. He places it on the table at arm's length. Not sure.

The computer is turned on, and Frank uses his mouse to position his cursor over 
a "MILLENNIUM INTRANET" window. He clicks MEMBERS, and types in the word MEANS 
before selecting SEARCH.

Frank picks up his phone, and takes off his glasses. He waits as the number is 
dialled. It rings and is picked up.

				LARA'S PHONE VOICE
		This is 555-0114, please leave a message.

BEEP!

				FRANK
		Lara, this is Frank Black, here's my
		thing: I've been trying to reach you - I
		don't know if you're getting my messages.
		Could you please call me back, I would...
		I need someone to talk with. I hope you're
		all right, bye-bye.

He hangs up. Relaxes in his chair... before he notices something on his computer 
screen. Sitting forward we see the familiar MILLENNIUM GROUP start-up screen 
with the flashing ouroboros symbol.

The words 'Welcome Frank - there are 602 days remaining' blink on the screen. 
Frank focuses on the 602 digit.


EXT. RIVERSIDE - DAY

Police officers are combing a sparsely wooded area. Yellow tape runs through the 
trees. Peter Watts is walking with Frank through the area.

				PETER
		Jason Molgilny, he's 32. His roommate
		reports he left his residence two days
		ago to come up here fishing. He was
		discovered by a ranger this morning.
		Crime scene team didn't find any new
		tyre tracks on the dirt road a mile
		away...

They both stop walking.

				PETER
			(continuing)
		... there's no footprints in view, no
		disturbance in the foliage. The only,
		uh, sign of resistance were these two
		trails leading up to the body.

Frank looks and sees two drag marks leading up to the lake shore. A body, it's 
face bloodied, lies in the dirt. A man is wading through the lake for clues in 
the distance.

				PETER
		The body appears to have been
		exanguinated. However, a precursory
		early exam indicates no puncture or
		weapon wounds large enough to expel
		that much blood. An entire six pints.

Frank bends down to the dead body.

				PETER
		No abrasions or lacerations... no
		sign of any struggle whatsoever, except
		for these drag marks.

Frank looks at the body's feet, and its position from the river.

				PETER
		There are several one-inch diameter
		holes in the area about the body.

				FRANK
		Why stop at the riverbank? Why not
		just toss him into the river?

Peter looks at the river... he remembers: the water cooler being dragged out of 
the water by officers. Unlocked with a CLICK-CLICK, then prised open...

Frank notices Peter's vacant expression.

				FRANK
		Peter?

Peter is lost in thought: his cut hand dripping blood into the river.

Frank ignores him, grabs a half-buried trowel from the ground and walks off. 
Peter snaps out of his daydream and turns to see Frank a few yard away, knelt 
down and digging with the trowel.

He digs up a patch of dirt, laced with white maggots.

				FRANK
		These are not drag marks of the victim,
		these are maggot migrating trails.

Peter comes over.

				FRANK
			(continuing)	
		Close-feeding larvae leaving the body.
		That means that there's no evidence of
		a struggle whatsoever.

				PETER
			(taking out a cell-phone)
		I'm gonna have the Group send out a
		pathologist to extract meta-congrial
		D.N.A because of the extreme degradation.

Peter turns away as Frank stands.

				FRANK
		Have you been in touch with Lara? I've
		been trying to get a hold of her for
		several days. Is she on assignment for
		the Group?

				PETER
		Last I heard she was at home awaiting
		assignment.

				FRANK
		Let's get her here.

Peter simply stares at Frank, obviously holding something back.

				FRANK
		We're gonna need all the help we can
		get.

Peter dials a number and turns away. Frank is annoyed, and looks back at the 
dead body. Then he notices something in the river, floating down stream: two 
black crows - dead.

Frank closes his eyes--

FLASH ON: FZZZT! A burst of television screen static, very abrupt.

The dead birds continue drifting downstream with the current.


								FADE OUT.


ACT II


FADE IN:


INT. LABORATORY

Zager and Evans' "In The Year 2525" hit song plays as a LAB TECHNICIAN wheels in 
a trolley containing a container marked BIO-HAZARD.

DR SCHROEDER, the pathologist, is dressed in blue overalls and stands at a metal 
table. Frank Black is in the background with his cell-phone.

Frank opens a small notebook: the words LARA MEANS 555-0114 has been written in. 
He dials the number.

It rings... and rings...

				AUTOMATED PHONE VOICE
		We're sorry, the number you have dialled
		is no longer in service. Please dial
		again or ask the operator for assistance.

Frank hangs up.

We now see that Peter is present. Dr Schroeder opens the bio-hazard container 
and lifts out a smaller container marked JASON MOGILNY. Peter is watching as 
Schroeder slices the container's lid open with a knife.

He remembers: the water cooler's lid being prised open with a CLICK-CLICK.

In reality, the container contains Jason Mogilny's brain. Schroeder carefully 
places the organ on a silver scale.

				SCHROEDER
		This was not a homicide, but all
		indications point to a sudden and
		horrible death. Dementia, severe blood
		loss. Status-epilipticus; it's uh,
		continuous state of seizure. Impaired
		swallowing reflex. This man drowned in
		his own blood.

				FRANK
		What caused this?

				SCHROEDER
		I'm familiar with all of what we've
		found, but I've never heard a report of
		it occurring simultaneously. There is
		evidence of transmissible spongeaform -
		that's T.S.E.'s... it's a blanket term
		covering a number of brain diseases. You
		might be aware of it as "Mad Cow
		Disease"? Now this is transmissible, but
		the infectious agent isn't believed to
		be either viral or bacterial, but, uh,
		a protein - called a prion. It's not
		even alive.

Schroeder walks to a monitor showing numerous black spots against a white 
background; a microscopic close-up of the tissue.

				SCHROEDER
			(continuing)
		And although these diseases can produce
		estreleosis - it's the enlargement of
		the cells in the brain that fight
		infection - T.S.E's produce no sign of
		infection. There's no fever, there's no
		detectable antibody activity. And the
		incubation period can be decades. But in
		the case of this victim - there was
		antibody activity. Evidence of viral
		infection as well. Just like an ambush.
		I would guess the incubation time to
		be... minutes. Nearly all of the tissue
		cells were attacked - including the
		brain, causing his blood vessels to leak.
		His blood was unable to coagulate. He
		literally sweated blood. I've never seen
		such a thing.

Frank goes to leave, but Peter grabs his arm.

				FRANK
		Have you, Peter?

				PETER
			(a beat)
		I've read reports of such a thing.
			(takes a deep breath)
		Connected to a mutant strain of the
		Marburg virus.

Dr Schroeder is visibly shocked.

				SCHROEDER
		Ah...
			(clears throat)
		... I'll, uh, immediately contact the
		C.D.C and send a sample to, um, Mill Hill
		in Britain as well. As, uh, a precaution
		... I strongly believe that everybody
		exposed to this victim - uh, the Park
		Ranger... the crime team members, you two
		gentleman and myself - should be
		quarantined. Pending, um, blood and cell
		sample analysis.

A close-up of the black cells on the monitor.


								CUT TO:


INT. QUARANTINE CELL #1

Two SCIENTISTS dressed in blue bio-hazard suits and masks (haz-mat suits) enter 
the cell. An eerie blue light fills the area.

Frank is standing dressed in a night-gown and slippers. The scientists walk up 
to Frank and he sits down on his bed.

A plastic cord is knotted around Frank's arm and a needle inserted into a vein. 
They draw blood.


INT. QUARANTINE CELL #2

Peter has just had blood drawn, too. The SCIENTISTS in his cell stack the blood-
filled tube into a rack.

				INTERCOM (V.O)
		Thank you, Mr. Watts.

The scientist with the rack stands at the door, as his partner opens it for him. 
Both leave.

				RUSSELL (V.O)
		The baby has been floating in the cooler
		for weeks.


								HARD CUT TO:
	

INT. INTERVIEW ROOM (FLASHBACK)

The young Peter Watts sits listening his FBI superior, RUSSELL.

				RUSSELL
		Marks on the first cervical vertebrae
		confirm the head was cut off. Probably
		with a kitchen knife.

Younger Peter just sits listening.


INT. QUARANTINE CELL #2

Peter sits remembering. BLEEP! Peter turns at the sound - it's coming from a 
phone on the wall. He picks up the receiver.

				FRANK'S PHONE VOICE
		You have seen it before, haven't you.
		The Group knows what this is.

Scene intercut between Frank in cell #1 and Peter in cell #2:

				PETER
			(a beat)	
		The Group knows what it could become.

				FRANK
		Don't, don't... don't speak to me
		that way.

Frank gets up, agitated.

				FRANK
			(continuing)
		I'm alone in a cell. I'm away from my
		family. I'm in a danger, but I don't
		know what it is. But you do. This
		really sums up my involvement with the
		Group... as far as I can see it does
		for you too, Peter.

				PETER
		I know.

				FRANK
		Then why? Why d'you do this?

Peter has a flashback: the cooler lid opening; CLICK-CLICK.

				FRANK
			(continuing)
		Why?

Peter shoots up from the bed, very annoyed.

				PETER
		I don't know, Frank! Maybe I just have
		to have faith in something!

He bangs on the cell wall.

				FRANK
		Faith fills in the holes of uncertainty.
		Elements that are never meant to be
		known: God. Death. The Group creates
		uncertainties with their secrets: that's
		not faith... that's control. They know
		the sickness that killed Mogilny, but if
		they won't inform anybody outside the
		Group, they are not seeing prophecy
		fulfilled... they are fulfilling their
		own... for the purpose of control.

				PETER
		"And behold a Pale Horse. And the
		name--

Frank gets up, extremely upset at Peter's ignorance.

				PETER
			(continuing)
		--of him who sat on it was death, and
		Hell followed with him. And power was
		given to them over the fourth of the
		Earth, to kill with sword, with hunger,
		with death, and by the beasts of the
		earth. When he opened the Fifth Seal..

				FRANK
			(as Peter continues)
		Peter, Revelations is not a prophecy--

Frank and Peter talk over each other: Peter continuing his quotations as Frank 
attempts to persuade him otherwise.

				FRANK
			(eventually)
		There is no millennium!!!

Peter stops. Confused. Unsure what to say, or do. Then he hangs up. Frank hangs 
up... and relaxes on his cell bed.


INT. QUARANTINE CELL #2

Peter sits silently on his bed...

				PETER
		And they called out in a loud voice:
		"how long, Lord? How long will you
		judge? And avenge our blood on those
		who dwell upon the earth?"


								FADE OUT.


BLACK.

El Cajon, California


A doorbell RINGS.


								CUT TO:


INT. DAVIS RESIDENCE - DAY

BARBARA DAVIS answers her front door. Standing outside is her daughter, SUSAN, 
with a bouquet of flowers, and her son, GREG DAVIS. Both in their late-teens, 
early twenties.

				SUSAN & GREG
		Happy Mother's Day!

				BARBARA
		Oh, thank you!

Susan hands her the bouquet, kissing her mother.

				BARBARA
		They're beautiful.

Barbara kisses her son Greg.

				BARBARA
		Well, what are you doing ringing the
		doorbell?

				SUSAN
		It's not our home anymore.

				BARBARA
		Oh, don't you ever say that - it'll
		always be your home.

All three walk into the house...

				GREG
		Dad watching the Padre game?


INT. FRONT ROOM - NIGHT

The Davis household is very clean and bright. Barbara leads her children through 
the room, down some steps.

				SUSAN
			(looking O.C)
		Hi, Dad!

				BARBARA
			(to son)
		It's over.

				GREG
		Oh yeah, I spaced. They played Atlanta.


INT. BACK GARDEN - DAY

All three exit outside, where their father, GORDON DAVIS is cooking with the 
barbecue.

				BARBARA
		God, all morning it's your father
		swearing at the Braves' announcer.

Susan hugs her father.

				GORDON
		You ever hear those guys?

Behind him, Greg meets with his older brother, TIM. Tim play-punches his younger 
brother's stomach.

				GORDON
			(continuing)
		The Braves could be down by ten with two
		gone in the bottom of the ninth and
		they're goin' "well, if Cresco could hit
		one out.. or Chipper Jones hits one out..."
		You never hear Jerry Coleman do that.

				SUSAN
		It's Mother's Day - no sports.

				BARBARA
		Oh, you know I don't mind.	

				GORDON
		And I'm cooking now.

Gordon and Greg now have beers.

				GREG
			(referring to barbecue food)
		They ready to go?

Gordon lifts the barbecue lid: inside are two levels of freshly cooked chicken 
legs. The family "aaah" in appreciation at the sight and smell.

				GORDON
		Oh yeah.

				BARBARA
		Oooh, I'll get the rest of the stuff
		ready.

				GORDON
		Yeah.

				SUSAN
		I'll help.

Greg is stood drinking his bottled beer. He HEARS some whimpering and looks 
across the garden to see... the Davis' sandy-coloured DOG, holding something 
black in its mouth - WHIMPERING.

Greg bends down and WHISTLES. The dog runs over and drops a dead crow onto the 
ground. Greg reacts in surprise.


INT. DAVIS' DINING ROOM - DAY

Soft MUSIC is playing, the type heard in elevators: pleasant, but annoying. It's 
"I'll Never Fall in Love Again" by Dionne Warwick.

The Davis family are all seated round the large table, crammed with food. Greg 
grabs a chicken leg from a bowl.

				GREG
		I love you, mom, but don't you ever
		get tired of this music?

Barbara passes a bowl of corn cobbs to her daughter.

				BARBARA
		Be quiet, it's Mother's Day.

				SUSAN
			(referring to the music)
		This stuff's getting big again.

				BARBARA
		See, I'm hipper than you think.

Greg LAUGHS, then begins to CHOKE. The family watch as he COUGHS... and 
COUGHS... eventually stopping.

				GREG
		Oh, wrong pipe.

The family resume their meal.

				GORDON
		Tim, pass me a ear of corn, would you?

Tim passes his father some corn. It's smeared with red on one side. Gordon 
notices.

				GORDON
		Barbecue sauce get on the corn?

Now we see Barbara is feeling her face. Looking bemused. Nobody answer's 
Gordon's question and continue with their meal.

				GORDON
		This chicken cooked enough?

				SUSAN
		Actually, it's a little overcooked.

Greg notices his mother feeling her face and neck with her fingers.

				GREG
		Mom?

Barbara SLAMS her fists down on the table, we can see she has red welts around 
her neck area.

				BARBARA
		I'll listen to whatever music I damn
		well please!!

Everyone is shocked by her behaviour.

				TIM
		We were just joking around, mom.

Tim winces in pain. Susan dips a corner of a cloth into a bowl of water and 
carries it across to her mother.
	
				SUSAN
		You have some ketchup on your blouse.

As Susan daubs her mother's chest, a dozen blots of blood appear through 
Barbara's blouse. Susan SCREAMS!

Barbara begins convulsing, her chest and neck area red with blood. Gordon and 
Greg stand up in shock. Tim begins CHOKING.

Susan SCREAMS again!

Barbara is still in painful convulsions.

				GORDON
		Oh God!!

Greg is deeply shocked. He looks down at his leg: his trouser leg, shoe and 
carpet is stained with fresh blood. He becomes light-headed and falls to the 
floor.

Tim now falls backwards onto the floor. Half-conscious on the floor, his 
forehead quickly sweats blood.

Barbara is grabbing at the table-cloth in pain, dragging cutlery to the floor. 
Susan now falls to the floor.

Gordon, in pure horror, backs away from the table. The telephone is on a high 
counter a few yards away... Gordon now on the floor, crawls to reach it. He 
manages to grab it and it falls to the floor with him.

His finger presses the automatically saved 911 button -- a blot of blood appears 
around his index finger as he presses.

But Gordon loses strength, rolls over, and dies... his family also dead behind 
him - at various positions around the table.

				EMERGENCY OPERATOR (V.O)
		Hello? Anyone there? Hello? Hello, you've
		reached 911...

Closeup: a Mother' Day decoration from the table... the tranquil MUSIC continues 
to play.


								FADE OUT.

	
ACT III


FADE IN:


INT. QUARANTINE CELL #1

Three bio-suited men are present in Frank's cell. One places a test tube of 
blood into a rack.

				BIO-SUIT MAN #1
		Thank you, Mr Black.

All three leave, taking the tube rack. Frank is sat on his bed, watching them 
leave.


INT. QUARANTINE CELL #2

Peter sits on his bed. He reaches over to the wall telephone, picks up the 
receiver. Listens.

				FRANK'S PHONE VOICE
		Peter? You were right.

				PETER
		Lara is safe, Frank.

			
INT. QUARANTINE CELL #1

Frank is stood with his phone to his hear.

				PETER'S PHONE VOICE
		I don't think it's right you be made
		to worry about her - she's safe.


INT. QUARANTINE CELL #2

Peter hangs up.


INT. QUARANTINE CELL #1

Frank hangs up and takes a step back.


INT. QUARANTINE CELL #1 - LATER

Two bio-suited scientists are present.

				BIO-SUIT MAN #1
		Blood test, Mr Black.

Frank wakes up in bed.

				FRANK
		You just took some about a half hour ago.

The scientists take a blood sample from Frank's arm.

				FRANK
			(groggy-voiced)
		Huh, what do they do - pay you by the
		hour?

The scientists finish their task and all leave the room. Frank looks at his arm 
and then rests back in bed. Thinking.

The quarantine cell door opens again.

Three more bio-suited men enter.

				FRANK
		You guys just took some.

A bio-suited man rolls up Frank's sleeve again for another blood sample.


INT. QUARANTINE CELL #1 - LATER

Frank is sat on his bed, wrapped in a white sheet. A PHYSICIAN, holding a black 
clip-board paces around his cell.

				PHYSICIAN
		I was quite worried for a while, Mr
		Black. You're, uh, T and B cell count flew
		up there. Your body temperature was
		increasing: all signs of infection, but...
		we couldn't identify any known infectious
		agent. I was prepared to administer
		antibiotics and other anti-infectious
		medicine but, uh, all of a sudden you
		returned to normal.

				FRANK
			(a beat)
		Peter Watts the same?

				PHYSICIAN
		Yes - very similar, nearly identical 
		pattern for Mr Watts, the entire
		crime team, Dr Schroeder, everyone who
		was in quarantine. I think we're out of
		danger.


								FADE OUT.


EXT. DOCKLANDS - NIGHT

A dark and wet night. Richard Gilbert stands waiting amidst some debris as a car 
approaches. It's Frank Black; he walks over to Richard.

				FRANK
		I'm here to accept your offer.

They shake hands, begin walking together.

				FRANK
			(continuing)
		I'm really grateful for you guys. And
		I'm anxious to begin working with you.

Richard stops.

				RICHARD
		But we have to wait.

				FRANK
		We can no longer communicate by phone.

				RICHARD
		The Trust understands the danger you're in.

This surprises Frank.

				RICHARD
			(continuing)
		We've heard about the Millennium Group.

				FRANK
		There are people involved. I can't leave
		them behind. I've got to get them out.

				RICHARD
		Investigating the Millennium Group will
		be the most difficult case you've ever had.
		They don't tolerate enemies.

				FRANK
		I've been involved in that ritual.

				RICHARD
		So how can we help you get out?

				FRANK
		I need your skills to find someone.

				RICHARD
		Lara Means?

Frank is stunned at Richard's depth of knowledge.


INT. FRANK'S STUDY - NIGHT

The ouroboros start-up screen on Frank's computer. A window entitled:
VAS 1624-A SECURE LINK appears.

				FRANK
		Soylent Green is people.

A voice-pattern is displayed and Frank gained access to the Millennium Group's 
computer system.

A new window opens. A SEARCH window - Frank typed MARBURG VIRUS AND PRIONS in 
the space provided and clicks SEARCH.

Seconds later a fresh window appears, declaring:

	This area designated COMPARTMENTALIZED

	BLUE level access required.

Frank looks solemn. His phone RINGS. Frank looks upset, already guessing who it 
will be. He rests his hand on the receiver a second, before snatching it up.

				FRANK
		Yeah.

				PETER'S PHONE VOICE
		Don't. Don't pursue this.

Frank SLAMS the phone down angrily. O.C a door CLOSES - Frank turns to see 
Catherine walk into the room.

				CATHERINE
		We have to talk.
			(a beat)
		Um... Jordan... has been having these
		intense, reoccurring nightmares.

Frank sits to listen.

				CATHERINE
			(continuing)
		Uh... she says that there's a jungle. A
		wall of trees and there are these men -
		who she calls "bad men", although she
		can't say why. And they go into the
		jungle... but then all these angry,
		screaming monkeys come out of the trees--

Frank senses the approach of a vision... it happens: the abrupt image of a 
SCREECHING tree monkey.

Frank gets up, shaken.

				CATHERINE
			(continuing)	
		-- the monkeys are covered with blood.

Frank now has his back against a window's venetian blind. Catherine has followed 
him as she speaks.

Another abrupt vision: a microscopic view of a vein, large blood cells PUMPING 
their way down.

				CATHERINE
		I don't know where a six-year-old gets
		such images.

Another vision: FZZZT! An abrupt screen of TV static.

				CATHERINE
		She dreams that we are the only ones left
		in the world. And then suddenly we - you,
		me, and her - are in a cabin in the woods.

Frank is now supporting himself to a table with his hands.

				CATHERINE
			(continuing)
		And then she sees me walk off into the
		woods - leaving her and you alone.

Frank has a vision: WIND... a forest, with a figure walking into it.

				CATHERINE
		She sees your father chasing after me. I
		have talked to her... and listened to her
		- suspecting separation anxiety because
		of her first experience of loss and death.

Frank suddenly holds Catherine's arms.

				FRANK
		Catherine, at your hospital - I need to	
		speak to a physician. One with a background
		in research. Someone I can trust.

				CATHERINE
		Is this for an assignment? A Group
		investigation?

Catherine scoffs, not believing her ears. She moves away as Frank makes a grab 
for her arm --

				FRANK
		Hey!

-- she shakes him off.

				CATHERINE
		Look at what they have done to you. You
		care more about their concerns than about
		your own daughter. How could you let this
		happen?! These nightmares are occurring
		because you are gone.

She gently pushes Frank's chest.

				CATHERINE
			(continuing)
		And you are gone because of them. They
		have so engulfed your life... you don't
		even care about your own daughter. These
		are the psychological tactics--

				FRANK
			(grabbing Catherine)
		--of a cult!!

Catherine is stunned.

				FRANK
			(calmer)
		Listen, I'm not just making up some kind
		of simple deal here - I'd never lie to you.

Frank hugs Catherine.

				FRANK
			(continuing)	
		I can't take... the heartache of not
		watching Jordan grow up right in front of
		my eyes. Or being there every day. Do this
		for me without question.

He looks deep into Catherine's eyes.

				FRANK
			(continuing)
		I'll leave the Group.

Hugs her.

				FRANK
			(continuing)
		We'll go back to the yellow house as a
		family. As a family.

Catherine says nothing; shocked by the sudden change in her husband's behaviour.


								FADE OUT.


FADE IN:


INT. MEDICAL ROOM

A bright lamp is positioned over Frank's face, as he sits on a medical bed. DR 
MARIAM GREENWALD is present.

				GREENWALD
		Okay. Open up.

Frank opens his mouth and Greenwald looks inside with a silver instrument.

				GREENWALD
		Only a prick.

Frank closes his mouth, SIGHS.

				FRANK
		When you get the results could you please
		not phone, fax, or email me. Just seal the
		results and give them to Catherine.

				GREENWALD
		Okay.

				FRANK
		Thank you.

Frank gets off the bed and leaves. Greenwald watches him go.


EXT. CAR LOT - DAY

Frank is walking along the rows of cars. He reaches his jeep, opens the door, 
glances around and gets inside.


INT. FRANK'S JEEP - DAY

Frank notices a thin envelope on the passenger seat. Intrigued, he checks the 
back-seat, before picking up the envelope. Opening it he takes out a black file.

He opens it. The front sheet is marked THE TRUST.

As Frank reads:

				RICHARD (V.O)
		The last phone call made from her
		apartment in St. Louis was on April 23rd
		to Peter Watts. Her apartment has been
		sublet to a couple with no prior history
		to Miss Means. On April 25th Lara Means
		vacated the residence.


EXT. FOREST ROAD - NIGHT

Frank's jeep is driving down the dark country road.

				RICHARD (V.O)
			(continuing)
		She left no forwarding address.


INT. FRANK'S JEEP - NIGHT

Frank drives fast, adjusts his rear-view mirror.

				RICHARD (V.O)
			(continuing)	
		The investigation at this juncture proved
		difficult.


EXT. FOREST ROAD - NIGHT

The jeep drives slowly round a bend in the road.

				RICHARD (V.O)
			(continuing)
		No credit card transactions, no presence
		on airline passenger manifests. Miss Means
		appeared to have vanished. Acting upon
		information provided by Mr Black, regarding
		Peter Watts' statement that Miss Means was
		safe--


INT. FRANK'S JEEP - NIGHT

Frank checks the file using a flashlight. He gets a gun out of his glove 
compartment and checks its readiness.

				RICHARD (V.O)
			(continuing)
		--the investigation turned towards Mr Watts,
		under the possibility he may be in contact
		her. Via the use of electronic audio and
		video surveillance it was confirmed that	
		Mr Watts was aware of her location.

Frank pockets his gun.

				RICHARD (V.O)
			(continuing)
		Attached, please find a detailed report of
		Mr Watts' activities--


EXT. FOREST ROAD - NIGHT

Frank steps out of his jeep, checks the door is tightly closed.

				RICHARD (V.O)
			(continuing)
		--and various travel destinations. The
		purpose of his travel remains undetermined.

Frank heads off into the woods.

				RICHARD (V.O)
			(continuing)	
		But evidence indicates the location may
		indeed be the current whereabouts of Lara
		Means.


EXT. FOREST - NIGHT

Frank, silhouetted in the gloom, heads through the thick woodland. Stepping over 
fallen trees and branches. He reaches a decline and looks down as a running 
river.

He hears CHANTING coming from a short distance away.

Frank moves closer... the CHANTING gets louder. Then, an ATTACKER lunged at 
Frank from behind - SNAPPING a twig. Frank hears and expertly diverts his 
attacker's lunge into a throw.

The attacker lands on top of Frank and they struggle. The attacker has a knife 
and is trying to stab Frank... Frank grabs a rock and whacks the man over the 
head.

The attacker loses his grip and Frank escapes, getting up. His attacker regains 
his stance and goes for Frank, but Frank has already grabbed a small branch -- 
and WHACKS the attacker across the head.

Frank goes over to the unconscious man, his gun barrel pointed at the attacker's 
chest. He unravels a lead from around the man's neck... it's an earpiece. Frank 
listens:

				RADIO VOICE (V.O)
		Section four - no sign of him here.

Frank continues into the woods. After a few seconds he arrives on a ridge... 
looking down he sees a campfire. Sitting round it are about half a dozen people, 
each holding a candle.

CHANTING.

Frank nestles down on the ground and looks through a pair of binoculars.

THROUGH BINOCULARS: he sees the candle-bearers more prominently... then notices 
one man has a small knife... looking up it's Peter Watts. Peter speaks a verse 
in Latin.

Frank lowers the binoculars, quite amazed. He raises them again.

THROUGH BINOCULARS: Peter slices someone's palm.

Frank lowers the binoculars, then quickly looks again.

THROUGH BINOCULARS: it's Lara Means who's palm was sliced. She turns and speaks 
a passage of Latin.

Lowering his binoculars, Frank is stunned - he's too late.


								FADE OUT.



ACT IV


FADE IN:


EXT. A RED SKY

Filled with red clouds. Blue lightning CRACKS!


EXT. JUNGLE

Flying over a luminous green jungle, with red sky.

			FEMALE VOICE (V.O)
			Someone is after me--


INT. JUNGLE

Tall jungle trees below the brilliant red sky. CRIES for help, as some men come 
stomping through the jungle undergrowth. SHOUTING. The faint sound of Morse Code 
BEEPS...

--A monkey lets out a long SCREEEECHHH!

--Closeup of a blood canal system, pumping blood.

--Inside a blood vessel, the huge blood cells pouring down the narrow vein.

--FZZZT! Abrupt TV static fills the screen.


INT. FRANK'S BEDROOM - NIGHT

Frank awakens. The dream has clearly unnerved him.


INT. CATHERINE'S FRONT ROOM - DAY

A TWITTERING. Jordan is stood on a chair looking inside a cage. A parakeet sits 
on a perch inside... Jordan cheerful talking to it.

A few metres away, Frank has a phone to his ear.

				FRANK
		Peter, this is Frank - this is the last
		message I'm leaving, I'm not gonna page
		you - but we have to talk.

Frank hangs up. As he turns round, Jordan jumps down from her chair.

				JORDAN
		Hey, dad - how come people can talk and
		animals can't?

				FRANK
		That's just the way it worked out, I
		guess. That doesn't mean they can't
		communicate, though.

Frank sits in a sofa, putting Jordan on his knee.

				FRANK
		I mean if you take care of Kenny, you're
		gonna know if he's happy, or sad, or
		scared.

				JORDAN
		'The way it works out'... does that mean
		it's the way it's supposed to go?

				FRANK
		Jordan - can I talk to you about the bad
		dreams you've been having?

Jordan looks away, but Frank holds her face and eases her back to face him.
		
				FRANK
		Jordan, Jordan - listen. Come on.

				JORDAN
		We should leave the monkeys in the trees.

This intrigues Frank.

				FRANK
		What did you say?

Catherine arrives home, closing the door. Jordan hears and leaps off her 
father's knee.
		
				JORDAN
		Mom! Dad bought me a parakeet, just like
		I wanted.

Catherine comes over to Jordan.

				CATHERINE
			(pleased)
		Oh, wow!

Jordan taker her mother by the hand and shows her Kenny's cage.

				CATHERINE
		Ooooohh.

				FRANK
		She asked for it and I thought taking
		care of something that was alive would
		help her feel better about what she's
		going through.

Catherine nods her agreement and turns to the cage again.

				CATHERINE
			(to Jordan)
		He's pretty.

				JORDAN
		Yep.

Catherine goes over to Frank, who sits up.

				CATHERINE
		Maybe I oughta buy you a bird.
			(remembers something)
		Oh...

She digs into her coat and brings out a sealed envelope. Frank takes... knowing 
the importance of the results inside.


INT. FRANK'S STUDY - DAY

The same computer screen window declaring:

	This area designated COMPARTMENTALIZED

	BLUE level access required.

Frank sits at the console wearing his glasses. He types something from a file at 
his side:

A new window appears - SYSTEM FILE. A series of commands appear and he gains 
access: SYSTEM EVENT, ACCESS PERMITTED.

Frank takes off his glasses and purposefully waits. Right on cue the phone 
RINGS. He throws the file to one side and picks up the receiver.

				FRANK
		Hello, Peter.

				PETER'S PHONE VOICE
		How did you get access to Blue Level?

				FRANK
		Roedecker was so disgruntled when you
		fired him he showed me this trick to make
		it look like I got in - it's the only way
		I could contact you.

		
INT. PETER'S STUDY - DAY

Peter is on the phone... he holds it away slightly now, gripping it. He decides 
to continue the conversation:

				PETER
		Talk.


INT. FRANK'S STUDY - DAY

				FRANK
		I know that you don't want to talk to me
		and that you're afraid - and believe me,
		you have every reason to be - I ran some
		tests of my own... and they have done
		something to us... that may affect everyone.


INT. FRANK'S FRONT ROOM - DAY (LATER)

Peter sits at a table, reading a medical report headed GENERAL BACTERIOLOGY.

				FRANK
		Do you understand this?

				PETER
			(reading)
		The blood test you were given indicate
		the presence of genetically altered Ebola
		virus.
	
				FRANK
		Yeah.

				PETER
			(reading)
		There is also evidence of prions, which in
		nature have no R.N.A; they're not alive. But
		in your body there are prions with R.N.A.

				FRANK
		Exactly.

Peter looks up at Frank.

				FRANK
		Someone gave these prions life.

				PETER
		But the report says they're inactive.

				FRANK
		Life was taken away from these creatures
		to render a vaccine. It's a D.N.A vaccine
		against the disease that killed Mogilny by	
		the river. And it's out there - spreading.
		But you and I were given a vaccine... by
		the Millennium Group.

Peter stares at Frank.

				PETER
		In quarantine?

Frank nods.

				PETER
		I don't recall anything but blood being
		drawn.

				FRANK
		All right - a team came in. They weren't
		hospital doctors. They gave us the vaccine
		while appearing to be taking blood from us.
		So we wouldn't suspect. It's an old 
		magician's trick. It's all an illusion,
		Peter.

Peter gets up...

				FRANK
			(continuing)
		The Millennium Group's an illusion.


INT. FRANK'S FRONT ROOM - NIGHT

Peter enters and sits on the sofa as Frank follows him inside...

				FRANK
		Ceremonies and secrets that only certain
		members can understand?

Frank has sat in an armchair opposite Peter.

				FRANK
			(continuing)		
		Collecting the Cross of the Crucifixion?
		Ancient text for future prophecies? It's
		all a diversion - sleight of hand. 
		Distraction from the problems they're
		trying to control. This is not about the
		end of the world, it's about controlling
		the world... and that's not who I am, and
		- I believe - not who you are, Peter.

				PETER
			(a beat)
		They came to me at a time in my life when
		evil... there's no other word for it...
		had lost all proportion with the rest of
		the world around me. I was witness to
		crimes that had no basis in human motivation.
		There has to be something more to it than
		just us! There has to be! It all has to
		lead in some inevitable direction, Frank -
		I believe that. Their answers touched on
		all my questions. I believe it then, I
		believe it now!

				FRANK
		The Group, Peter, knows that their is an
		infectious man-made agent. And if reports
		are correct, it's a plague that can travel
		the world in a matter of days, killing
		people in seconds!

				PETER
		You said we were vaccinated against this
		agent.

				FRANK
		Why didn't they want us to know that?

Peter gets up, turning away from Frank to think.

				FRANK
		The Group is not the solution, it's the
		problem, Peter.

				PETER
			(a beat)
		I'm not gonna leave the Group.

Peter walks round behind the sofa, in front of the venetian blinds.

				FRANK
		Then investigate it with me... question
		your faith. If I'm wrong - and it's
		confirmed - you're stronger.

				PETER
		If they found out that I was doing that
		- a made member investigating the Group...
		they would kill me.

				FRANK
		If I'm right we'll save lives.

Peter looks down, thinking.

				PETER
		Tomorrow morning... at 4:13 AM... a 5.2
		earthquake will hit the Seattle area.

				FRANK
		How can you know that?

				PETER
		The same way we knew the Kobe, Japan quake
		would occur a year to the day after the
		Northridge quake. We knew where to look.
			(quoting)
		And there shall be great earthquakes in
		various places--

Frank turns away, having had enough of Peter's Biblical quotations.

				PETER
			(continuing)
		--and famine, and pestilence, and there
		shall be fearful sights. And great signs
		from Heaven.
			(a beat)
		If this occurs will you accept an offer
		to become a full member of the Millennium
		Group? No more questions. No more doubts.

Frank stares at Peter.


INT. FRANK'S HOUSE - NIGHT

A few nightlights are on.


INT. FRANK'S BEDROOM - NIGHT

A photo of Jordan rests on Frank's bedside table, along with his radio-clock, 
which reads: 4.12 AM.

Frank is asleep on his bed, his coat resting at his side. The phone RINGS. Frank 
wakes up and grabs his cell-phone from the table. Answers it.

				LARA'S PHONE VOICE
		It's all right. It's all right, Frank.
		There's no need to doubt - they're right.
		The things I've seen - oh! - the things...
		the things they show me? The secrets you
		will learn.

Lara hangs up.

				FRANK
		Lara?! Lara?!!

Annoyed, Frank hangs up and puts the phone down. He quickly puts his coat on and 
lies back down on his bed. Waiting. He turns the radio-clock to face him.

It's 4.12 AM.

Suddenly, a LOW RUMBLE is heard... it quickly grows to a gentle ROAR. An 
earthquake.

It's 4.13 AM.

Frank sits in bed watching as the room begins to rock. A painting falls off the 
wall and the sound of SMASHING plates can be heard elsewhere.

The bedroom continues to rock wilder as Frank gets out of bed and heads for the 
bedroom doorway.


INT. HALLWAY - NIGHT

At the doorway, Frank looks out down the hallway. Lights flicker all along the 
walls. RUMBLING.

Large cracks snap across the house's walls. A plume of smoke drifts across the 
hallway, as a bookcase falls to the floor. Sounds of SMASHING.

Then... silence.

A car ALARM sounding outside. Frank looks around hesitantly, knowing what to 
expect...

He's right: a second aftershock ROCKS the room and then dies.


INT. CATHERINE'S FRONT ROOM - NIGHT

Similar signs of earthquake damage in the room: cracked walls and fallen 
paintings, ornaments.

We focus on the parakeet cage, still gently rocking. Inside, Jordan's parakeet 
Kenny lies dead on the cage floor.

Sounds of ALARMS from outside.

								FADE TO BLACK.


CAPTION: TO BE CONTINUED...



								FADE OUT.


==============================================================
The story concludes in "THE TIME IS NOW" (part 2 of 2)
==============================================================


Cast
Lance Henriksen (Frank Black)
Megan Gallagher (Catherine Black)
Brittany Tiplady (Jordan Black)
Terry O'Quinn (Peter Watts)
David Longworth (Farmer Duffy)
Bill Dow (Dr. Schroeder)
Leslie Hopps (Susan Davis)
Boyan Vukelic (Greg Davis)
Anna Hagan (Barbara Davis)
Terence Kelly (Gordon Davis)
Curtis Bechdholt (Tim Davis)
Gerry MacKay (Physician)
Glenn Morshower (Richard Gilbert)
Eileen Pedde (Dr. Mariam Greenwald)
Max Wyman (Group Member)
Fred Henderson (Russell)


Copyright(c) 1998
Twentieth Century Fox Film Corporation
All Rights Reserved

Twentieth Century Fox Film Corporation is the author of this motion
picture for purposes of copyright and other laws. 

The characters and names depicted in this photoplay are fictitious. Any
similarity to actual persons, living or dead, is purely coincidental.

Ownership of this motion picture is protected by copyright and other
applicable laws, and any unauthorized duplication, distribution or 
exhibition of this motion picture could result in criminal prosecution
as well as civil liability.

==============================================================
Millennium
Copyright and TM, 1998
FOX Broadcasting Company
==============================================================

First Created: November 4, 1998
Last Updated: November 4, 1998