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Transcript of Millennium episode "Owls"

Presented below is an episode transcript of Owls from Chris Carter's Millennium TV series. These transcripts have been provided thanks to the dedication and time consuming hard work of Millennium fans Libby and Maria Vitale. Millennium - This is who we are is extremely greatful to Libby who has painstakingly checked, updated and edited each one for accuracy to make sure that they are as true to the actual episodes as possible.

 

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Owls - Transcript


Season:

2

MLM Code:

#MLM-214

Production Code:

5C14

Original Airdate:

1998-03-06



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Owls

[MLM-214] (5C14)]

 

Written by Glen Morgan & James Wong
Directed by Thomas J. Wright
US airdate: 6 March 1998

[Transcribed by Dan Owen
Edited by Libby]

[Editor's note: It's probable that Dan's transcript incorporated an early version of the shooting script. There were scenes in his transcript that don't appear on the DVD and there were quite extensive changes to dialogue. Rather than transcribe the episode from scratch, I have amended Dan's transcript in order to keep the excellent scene descriptions and details he provided.]

[Editor's further note: Thanks to Laurent of TIWWA for providing the French line said by Le Fur, subtitled on screen as "This is who we are."]

 

[polaroid fade up]

DAMASCUS, SYRIA

[Above the dome of an ancient mosque, a minaret rises into the dark cold sky of the Syrian desert. Silence: the city sleeps. But there is activity.]

BINANI-YAH MOSQUE
01:23:34

[A van pulls up to the mosque next to an arcade along the side of the building. The van's door slides open and several men, all dressed black with ski-masks, emerge quickly. Some men carrying weapons stand guard. The rest of the team remove cased equipment from the van. The latches on a case are unlocked and the contents removed – various pieces of high-tech ground penetrating radar. Gloved hands attach cables. As the equipment is positioned, Francois Amadou watches intensely, scanning the area. The equipment is placed on the flagstones within the arcade and pulled along. A video display shows the waves of radar information. They continue the radar scan and then the screen shows a rectangular anomaly. Amadou raises his hand.]

AMADOU: Attendez! [subtitles] Wait!

[He checks the data and turns to his crew and nods.]

[A jackhammer pummels a flagstone, breaking it easily, while Amadou watches. A figure, Le Fur, appears at the end of the arcade. The sentries aim their weapons at him.]

LE FUR: [subtitled] This is who we are.

[Amadou and his team return to work. Le Fur consults some documents as he moves to stand next to the excavation. Then Le Fur raises his hand to stop the digging. Amadou and Le Fur drop to the ground and start pulling the rubble away from the object – a piece of wood – which Amadou carefully picks up.]

[Two men, Europeans, armed with handguns, appear a little way off, watching the proceedings.]

[Amadou and Le Fur look at the wood reverently, then Le Fur jerks his head as the signal for them to get moving.]

[One of the European assassins takes aim and shoots a guard standing by the van. The guard falls, letting loose a stream of bullets in the air from his machine gun. There's an exchange of firing and other guards are shot as they try to get to the van. Amadou is shot and falls, dropping the wood. Le Fur sees the wood lying in the dust and dodges between the arcade's pillars and runs to pick it up. From the van, a guard shouts.]

GUARD: Le Fur, non! Pas la voiture!

[The guard himself is shot, leaving only Le Fur and the two assassins out in the open. The two assassins stop firing and walk slowly towards Le Fur. Le Fur is still crouched down by the wood, but then picks it up and holds it close to this chest. The two assassins raise their guns and Le Fur stands up. The guns' laser beams show as two small red dots on the Le Fur's chest. First one assassin pulls the trigger, and the gun just clicks, then the second, equally uselessly. Le Fur raises his gun at arm's length and shoots twice. Both assassins fall.]

[In the van, Le Fur gently puts down the wood next to Amadou's body. The driver looks back.]

DRIVER: Son sang s'est repandu sur le bouis. [subtitles] His blood spilled on the wood.

[Le Fur aims a flashlight at the wood.]

LE FUR: Non. Ce n'est-ce pas le sang d'Amadou. [subtitle] It's not Amadou's blood.

[The wood shows a hole towards the end. Brown bloodstains circle the hole with streaks to the base. Le Fur gently touches the wood.]

LE FUR: Non. C'est le sang de Christ. La tache de sa crucifixion. [subtitles] It's the blood of Christ. It is the stain of His crucifixion.

[fade to black]

[main titles]

[polaroid fade up]

[Frank's house. A child's workbook shows a line drawing of a dog.]

FRANK: Good. And this?
JORDAN: A dog. D – O – G.

[Jordan and Frank are sat at the table in the sitting room. On the table are other books and toys, and Frank's pager.]

FRANK: Good! And that?

[A drawing of a couple of cows.]

JORDAN: A cow. C – O – W.
FRANK: Great! You're on a roll.

[The pager sits silent on the table.]

FRANK: OK, what about this one?

[A drawing on an owl.]

JORDAN: An owl. O – W –-

[The pager buzzes, vibrating.]

JORDAN: –- L.
FRANK: Good. Very good.

[Frank picks up the pager, switching it off, but continues to look at the display.]

FRANK: I'm gonna have to take your word on the next one.

[He gets up and walks towards his desk.]

JORDAN: It's a pig. Trust me.

[Frank smiles. He picks up the phone on his desk and dials a number. The call is answered almost immediately.]

FRANK: Yeah, hello. Listen, I don't know who I'm calling, but I just got a page.
MAN'S VOICE: Roosters crow at the dawn hoping to arouse the barnyard. But the owl knows it is still late at night. The foxes are about. The master sleeps. This is who we are.

[A click. Then the dialtone.]

 

[An office. A small watercolor of a landscape hangs on the wall. This is the office of Clear Knight, Vice President of Personnel Relations, Aerotech, Seattle. She's a pleasant, attractive woman in her mid-30s, dressed in business attire.]

MS KNIGHT: I'm new to the area, so when my supervisor brought up the idea, I didn't even know where to begin. So I took a shot and called your hospital.

[She sits on a chair next to Catherine.]

MS KNIGHT: You were referred to me by Mr Hudson and Dr Thompson. They just think the world of you.
CATHERINE: That hospital deals with highly distressed, psychologically scarred people, which is why I'm a bit puzzled, Ms Knight.
MS KNIGHT: We're an overseas company which just won a small contract with Boeing. Most of our employees are new to Seattle. They're away from their friends, have new homes, and the rain, and all. So most of the problems you'll be helping them with will be nothing like the intensity of what you do day to day at the hospital.
CATHERINE: It's really great that you're willing to help them make that adjustment.
MS KNIGHT: Now, it would only be, who knows, a couple of nights a week. By appointment. I'd like to hire a woman. You're perfect for us. [a beat] For you, I guess, it's something new. Low stress. The pay is good and I understand you and Jordan could use a little extra income.
CATHERINE: Well, you really did your homework.
MS KNIGHT: We only want the kind of people we want.

 

[Lara's apartment, night. Lara is working at her computer, surrounded by papers. Her screen beeps and shows the familiar Millennium Group ouroboros startup screen. Lara double-clicks her mouse.

LARA: Open the pod bay door, please, HAL.

[She waits a second, then the screen shows the words 'WELCOME, LARA, THERE ARE 665 DAYS REMAINING.' Suddenly, the image flickers. Lara looks puzzled as a new image appears: within the ouroboros symbol is a line drawing of an owl. After a few seconds a new window appears stating: 'A GENERAL DEFAULT HAS OCCURRED. THIS PROGRAM WILL BE SHUT DOWN.' The screen goes black. As Lara considers the malfunction, behind her a bright light begins to form. She senses and dreads the light, but slowly turns to see the featureless image of a glowing angel a few meters away. The white light grows wider and wider.]

 

QUEEN ALIA INTERNATIONAL AIRPORT
AMMAN, JORDAN
13:03:25

[A Royal Jordanian Airlines Jet roars down towards the runway.]

[Airport security area. A backpack is placed on a conveyor belt and carried into a security x-ray machine. A blanket roll, tied with twine, and a small case are also placed on the conveyor. Amongst other luggage is a small wooden crate tied with twine which Le Fur places on the conveyor. He now appears unkempt, with a few days stubble. Trying to appear normal he walks forward, attempting to gauge the response by the nearby security personnel. The crate is carried into the x-ray machine. An awkward Security Officer gestures for Le Fur to walk through a metal detector archway. He passes through safely. The wooden crate reappears and slides down to join other luggage. Le Fur casually takes the crate and walks away.]

SECURITY OFFICER: [in Arabic] Istanna!

[Le Fur turns to see the Officer wants him to return.]

SECURITY OFFICER: Feyn intee yisehfir? [subtitled] Where are you traveling?
LE FUR: Ana rayih Landan. yizoor 'akhooya. [subtitled] I'm going to London. Visit my brother.

[Le Fur hands over his documents.]

SECURITY OFFICER: Yiftah! [subtitled] Open it.

[As Le Fur bends down to open the crate, we notice a leather bag slide down the ramp and be retrieved by a man in his late-30's, Helmut Gunsche. As he takes his bag, he looks up casually at the ceiling. Above him, a security camera watches; its red light blinking. Gunsche moves away with his leather bag. Le Fur has opened the crate, allowing the officer to search inside. There's a book and a sweater inside. Gunsche takes up a position near a pillar. He puts down his bag and picks up a newspaper, but he's focusing on the search. Underneath the sweater, the security officer finds a pager.]

LE FUR: Biteh 'akhooya. huwwa yiteeh. [subtitled] It's my brothers. He lost it.

[Gunsche peers over his newspaper, then moves behind the pillar. The security guard has handed the pager to Le Fur.]

SECURITY OFFICER: Yishtaghal. [subtitled] Activate it.

[The device explodes, instantly killing Le Fur and the security officer. Chaos erupts in the security area. The small explosion sends travelers running for cover. In the confusion, Gunsche picks up his bag moves forward carrying a small device in his hand. He heads for the x-ray machine, aims the device at the security camera and presses a button. The security camera fizzes and cuts power. Gunsche continues his stride, as security personnel shout orders through the confusion. Expressionless Gunsche grabs the wooden crate and disappears into the crowds.]

 

[A large house – night]

LAKE YPOA
PARAGUAY

[Silent and serene, the fortified house is situated at the lakeside, next to a dock.]

[This Axmann's house and he is sat in a comfortable armchair in his study.]

AXMANN: (O.C) Ja.
GUNSCHE: (on phone) Wo liegt Rom? (subtitled) Where does Rome lie?
AXMANN: (O.C) Rom liegt am Tiber. (subtitled) "Rome lies on the Tiber."
GUNSCHE: (on phone) Ich habe es gerade getan. (a beat) Und es sind in bestam Zustand. (subtitled) "I've just done it. And it's in good condition."
AXMANN: (O.C) Das ist sehr gut. Danke schon. (subtitled) "That's very good. Thank you."

[The hand of the Rudolf Axmann is revealed; white-skinned, arthritic and criss-crossed with blue veins. On his left sleeve is a cuff link, showing a lightning bolt symbol.]

[He hangs up.]

 

[Warehouse – night. The huge warehouse is vacant of any produce, etc. A solitary overhead light is the only illumination. Half a dozen people are stood in the room. Amongst them are: Mr. Dean, African/American, mid-40's, and Finley . Everyone looks anxious.]

MR. DEAN: Only twice in two thousand years has the Millennium Group been so divided. (a beat) But this is our darkest hour.
MR. JOHNSTON: I never thought members would kill members.

[Watts reacts cautiously.]

WATTS: You think the Owls took the cross? Do you have proof they killed Le Fur?
FINLEY: Well, Peter, who else would know we'd finally found it?
WATTS: We've been searching for the crucifixion cross for eight centuries. As have others. They would never have given it up so easily.

[The group look suspicious of Watts.]

MR. DEAN: Been a change in your ideology, Watts?
WATTS: Of course not. (a beat) But we're working against the hysteria caused by these times. We defeat our entire purpose if we succumb to it.

[Watts looks at the assembled members.]

WATTS: Why would they do it now?
MR. JOHNSTON: I agree, if a theological event does not occur within the next 665 days, then the Owls' belief in a secular Millennium decades from now is correct. They would gain control of the Millennium Group in only 666 days.
FINLEY: Of course, they believe the Roosters create hysteria crowing about the impending dawn; and that our beliefs endanger the world.
MR. DEAN: They know our faith in the power of the cross. Taking it weakens us. (a beat) And in their possession, whether they believe it or not, makes them stronger.
WATTS: You know I believe the time is near. But I will not fight against our own. Unless we have proof. We have to begin our investigation.
MR. JOHNSTON: Yes, yes. Our best people.
WATTS: Maybe we should open the books.

[Everyone looks at Watts, shocked.]

MR. DEAN: The Group is already unstable without initiating candidates who aren't ready.
WATTS: Frank Black. Lara Means. (a beat) They're ready. Their abilities could be of great use to us in this – an investigation that I believe will heal and reunite the Millennium group.
FINLEY: there is only one person who could do that. Who both Roosters and Owls respect. (a beat) And at this moment is our only hope.

 

[The Old Man's shack – night. A fireplace's light dances across a report on events in Damascus and Amman. A shadow moves across the report, and then across the shack's walls, stopping on a framed photograph of a young SS Officer beside Adolph Hitler.]

 

[Watts's office – night. Watts sits at his desk. His fax machine hums. Watts turns to see the incoming fax message. Watts reads the message, disappointedly. The message reads: 'IT IS NOT TIME'.]

[fade to black]

[polaroid fade up]

[Frank's house – night. The owl in Jordan's workbook as the book is closed. Jordan gathers her book and school supplies. Frank helps as he listens to Catherine.]

CATHERINE: Aerotech's a South American company that just won their first big North American contract. They build throttle levers and igniter plugs for jet engines. Ms. Knight told me all about how they work.

[Frank looks at his watch.]

FRANK: Jordan has school tomorrow.
CATHERINE: I know, I'm sorry. I never expected the interview to go so long. We got to talking about our families. She wanted to know all about you and Jordan.

[Frank looks at her.]

CATHERINE: Naturally, I had to hide some stuff, but, overall, I felt like I could really open up to her.

[Frank nods, still helping Jordan. Catherine looks at him, half angry.]

CATHERINE: It was nice to have somebody to talk to.

[Frank is silent.]

CATHERINE: Frank, I didn't anticipate wanting this job. I took the meeting just out of curiosity. I feel like it could be something really good.
FRANK: Something of your own. You should do it. I think it would be really good for you, too.

[Catherine smiles and they hug.]

FRANK: Let me know if there's anything I can do to help.

 

[Catherine smiles/winces...]

CATHERINE: Since you mentioned it...

 

[Later. Frank carries a sleeping Jordan to Catherine's car. He puts Jordan into the front passenger seat while Catherine gets in.]

CATHERINE: So, every Tuesday and Thursday night, from about six to ten. Just until I can find a permanent sitter.

[Frank buckles Jordan into the car seat.]

FRANK: Let Jordan stay over. I'd like that. I'll take her to school in the morning.

[There's a pause.]

CATHERINE: It felt like family there for a minute again.

[Frank smiles a little. The two look at each other. Then Frank kisses the still-sleeping Jordan.]

FRANK: Yeah. Goodnight.
CATHERINE: Goodnight.

[Frank closes the door. Catherine starts up the car and drives away. Frank touches the car briefly as it pulls away. He stands watching the car go off into the distance, then notices another car parked a little way up the road with two people in it. He goes back into his house, checks his watch, takes a pair of binoculars from the hallway and goes over to the sitting room windows. Using the binoculars, he looks through the blinds at the car. The occupants seem to sense this and drive away.]

 

JOHNS HOPKINS SCHOOL OF MEDICINE
BALTIMORE, MARYLAND

[Research library – day. Deathly quiet. Shelves of cardboard boxes, trolleys with artifacts. A small desk. Lara goes over to the desk with a book: Physiological Causes and Psychological Effects of Religious Hallucinations. There's a sound of a door opening and Lara looks up briefly before returning to the book. Then there's another sound. Lara cautiously gets up and walks down the room, checking the aisles. She stops suddenly on hearing a voice.]

MALE VOICE: (O.C) Knowing you, I would have thought you'd have read every article and research paper on the subject. It's all right, Lara, we all have our doubts.

[Lara cannot see the person, and starts walking down an aisle.]

MALE VOICE: (O.C) And we have our certainties. And I am certain the millennium is not imminent. There are others in the Millennium Group that know this as well.

[The man's face is hidden in shadows.]

MALE VOICE: (O.C) The Owls have proof. We've been developing the evidence since Galileo smuggled his work to Group members while under Church arrest.

[Lara is continuing to search.]

MALE VOICE: (O.C) The earth will change, Lara. There will be an event, Lara. But our prophecy is a secular, scientific understanding. In the way I can prophesize that the sun will set tonight and rise in the morning. In the way Einstein's Theory of Relativity prophesized the existence of black holes decades before anyone could observe the natural phenomenon. Think about it, Lara. How many times in history has theological apocrypha created hysteria, been used to assume power, diverted focus from actual vital concerns? How many times must Ezekiel, Mark:13 and Revelation be wrong? To prove we are right.

[Lara has continued to walk through the library and then stops, unafraid.]

MALE VOICE: (O.C) Work with us, Lara.

[She sees a man standing a few aisles down, half hidden. It's Mr Johnston.]

JOHNSTON: Work with us and we'll relieve you of your gift. And prevent you from going completely insane.
LARA: Is that a prophecy?

[fade to black]

[fade up]

[A computer monitor showing the Owls graphic encircled by the ouroboros as before, but underneath is: 'IT IS STILL DARK OF NIGHT.' It's Frank's computer. A man's hands removes the casing of Frank's phone, using a small flashlight to examine the interior. Then the casing is removed from Frank's computer and the insides checked. An electronic surveillance detector is passed over the fax machine and over to the wall where a picture hangs. The machine is switched off at the sound of Frank's jeep pulling into the drive.]

[Outside, it is dark. Frank gets out and helps Jordan out of the car. The figure in the house stands still. Frank picks Jordan up and carries her up the steps. They both giggle as they get to the front door. Frank unlocks and the door and as they enter he goes to flip the light switch, but then pauses, wary.]

WATTS: It's Watts.

[Frank switches on the light. Jordan edges behind her father.]

FRANK: Why don't you run upstairs, sweetheart?

[Jordan runs up the stairs. Frank calls after her.]

FRANK: It's okay. He's my friend.

[He throws his car keys down on to the hall table, angry.]

FRANK: I've had enough of this. You don't ever come to my house again unless I invite you.
WATTS: Your modem line's been tapped.
FRANK: What?
WATTS: For our safety, the only way I could make contact was unannounced.

[Watts pulls Frank into the darkened study. Frank shuts the door.]

FRANK: Did you see her expression on her face?
WATTS: Why didn't you tell me about this?

[He indicates the owl/ouroboros on the computer screen.]

FRANK: I should have called the police.
WATTS: Are you with them?
FRANK: I'm not even sure I'm with you. I don't know who or what you are exactly.
WATTS: Frank, I've wanted to tell you. Right now I need for you to know. There's an investigation I need your involvement in. Lara Means has already agreed to join me, even though the others disagree. It's not the time.

[Frank switches on the lights.]

FRANK: No! The time is now, Peter! Now! The Group, Millennium, convinced me to return to a realm, for the safety of my family, my sanity, I never wanted to experience again. Now, I agreed to work for them because I believed that they were a criminal investigative consulting firm. I was devoted. I respected Millennium. I respected you. Now it's all distorted with hints and intimations. Passwords and candidacies. Centuries-old origins. End-of-the-World prophecies. Secrets and lies.
WATTS: I never lied to you.
FRANK: You knew the identity of the man that stalked my wife. For years. You never told me. That's a lie. You knew that I would kill him. You knew I'd get separated from my family.
WATTS: You left your family. But you didn't leave us. Over the last year of your candidacy this group has shown you a plane of good and evil and a prophetic direction that you have come to understand and accept. Past and future events that we understand can only be known to a select few.
FRANK: There you go again.
WATTS: In order to guide the world through the coming crisis that is inevitable.
FRANK: Guide or control?
WATTS: Can you imagine the effect conclusive evidence would have on a world, in which millions actually believe they've been abducted and experimented on by aliens with the knowledge and co-operation of government officials? A country which obsessed for decades on Elvis sightings? Roswell?
FRANK: It's no more ludicrous than you expecting me to believe that a handful of people, a secret society, can control the destiny of millions.

[Watts keeps eye contact with Frank, as he pulls out a single United States of America dollar bill from his pocket. He turns it over. The symbol on the back is of 'The Great Seal'; an eye is inset within a floating triangle above a 13 step, 4 sided pyramid.]

WATTS: Look at this. This image dates back to 1500 BC. This god in the form of the Egyptian Amen-Re. The ever present eye. Annuit coeptis: The king sees. He watches the actions of his people in life, that they may be judged in death. This is a Masonic Seal. A secret society. Novus ordo seclorum: A new secular order. The long-standing dream of Freemasonry. It's been said of the men that signed the Declaration of Independence that there were so many Masons there they could have formed a Masonic lodge. And the Master of the Alexandria Lodge at the time?

[Watts turns the dollar bill back round to display the image of George Washington. Frank is only slightly unnerved.]

FRANK: It's not enough. I have an idea what those men were about, what they created. The fact is, I know nothing about the man standing in the darkness of my house. Until I know more, I don't want anything to do with Millennium, or you.

[Watts puts the dollar bill on Frank's desk, then walks away and out of the house.]

[fade to black]

[polaroid fade up]

[The Millennium Group computer room. A computer screen is displaying an image from the surveillance camera of the security area in Amman earlier. It shows Le Fur with the crate.]

WATTS: (O.C) Robert Le Fur, based in Paris but did exceptional work for us in the middle-East. The Holy Land.

[Lara is with Watts, studying the image.]

LARA: I examined his dossier, although there were far too many censored lines to get any true psychological understanding of the victim...

[Watts points at the screen.]

WATTS: This is the crate.
LARA: The crate?

[Lara looks at Watts.]

LARA: Peter, I need more information. If you want a profile on who committed this act, knowing what the suspect is after is half the distance to the goal line.
WATTS: A piece of wood.
LARA: A piece of wood. O-kay. Like, an end table? Tony Gwynn's bat?
WATTS: The cross of the crucifixion.

[Watts moves his chair along to another computer terminal and Lara does likewise.]

WATTS: Early in the fourth century, the Emperor Constantine allowed his mother Helena to travel to Jerusalem in search of the cross.

[On the computer screen: an image of the Church of the Holy Sepulcher appears.]

WATTS: Beneath what is now the Church of the Holy Sepulcher, she found three crosses, two marked "thief" and one "INRI" – "one to be mocked or humiliated."

[The computer screen images changes to an ancient image of Helena and the cross.]

WATTS: She cut this cross into three pieces, sending one to Constantinople, one to Rome and leaving one in Jerusalem. The first two pieces were lost. But the third was captured by the Muslims in the Crusades.

[The computer screen shows images of a huge Crusade battle.]

WATTS: Now, the Muslims were prepared to return the cross until Richard Lionheart slaughtered his Arab prisoners. Legend indicated that Saladin then had the cross buried beneath the steps of a mosque in Damascus as a means of humiliating the Christians.

[Watts points to the screen.]

WATTS: Using the Geographic Information System, computer cryptography of ancient Muslim text, and ground penetrating radar, and under the tightest compartmentalized secrecy, what had been hidden for nearly eight centuries, last week we found.

[Security camera image of the crate.]

WATTS: There is no image of the suspects. The security camera was subjected to an intense blast from a compact, ultrasonic device, which shorted out the camera's electronics. This is a fairly high-tech, hard-to-get-your-hands-on equipment. So our subject is not some opportunistic crook. Whoever did this is connected to a group that is well funded, well organized and understands the magnitude.

[Lara gestures to interrupt.]

LARA: Millennium spent a great deal of effort to discover this. For what purpose? I mean, obviously you weren't going to display it in "The Millennium Group Believe It Or Not! Museum." I can't imagine you putting it up for auction or selling it to the Vatican.
WATTS: The patriarch of Jerusalem carried the cross into battle before the Crusaders. For nearly a century, they did not suffer a single defeat, unless the cross was not present. The Muslim army, for whom the cross had no significance, was victorious as long as it was in their possession. They weren't defeated until it was buried. Even the Nazis had the Vichy Government in Damascus looking for the cross, convinced of its mystical power. Should a battle, should Armageddon occur, we must have the cross in our possession.
LARA: Even if some members believe it is "still the middle of the night?"

[Watts is stunned.]

WATTS: The Owls have hacked into the Millennium mainframe and been sending you messages, haven't they?

[Lara doesn't confirm anything.]

WATTS: A candidate, like you, is valuable to each side.
LARA: And Frank?
WATTS: Frank's a civilian now.

[Lara looks both surprised and disappointed at the news. They both look at each other intensely.]

LARA: My guess is that you're with others who suspect the Owls are responsible. I don't believe they are. The Owls believe in a secular millennium event. To them, the cross means nothing. If the Roosters were to prove the Owls were somehow involved, the only thing that they would accomplish within the Millennium Group is a civil war.

[Watts turns away; anxious and perhaps scared.]

WATTS: That everyone, everywhere would lose.

 

[Aerotech office – night. The watercolor landscape hangs on Ms. Knight's office wall. Clear Knight is working at her desk. Her door is slight ajar. A knock breaks the silence as Catherine pokes her head round.]

CATHERINE: Just on my way out.
MS. KNIGHT: First appointment? How did it go?
CATHERINE: Good. I can't talk about it, of course.
MS. KNIGHT: If it's one of our employees, I don't even want to know!

[They both share a forced laugh. Catherine waves and quickly leaves.]

 

[Aerotech parking lot – night. Catherine opens her car door and gets inside. She turns the key in the ignition but nothing happens, the engine doesn't even turn over. Catherine tries again, without success.]

 

[Aerotech – night. Ms. Knight is still working at her desk. A knock at the door again – she looks up to see Catherine in the doorway.]

CATHERINE: I'm sorry to bother you. Can I use the phone? My car's dead. It's the battery or something.
MS. KNIGHT: Need to call your husband?

 

[Gas station – night. A gas pump nozzle pumps fuel into a car.]

WATTS: (V.O) This is Watts. I briefed her.

[The person holding the gas pump is revealed to be Mr Johnston, standing beside his four door sedan, talking on his cellphone.]

MR. JOHNSTON: And?

[Another car pulls into the gas station on the other side of the gas pump.]

WATTS: (V.O) She now knows about the object. I felt, for the good of our goal, she had to know.

[Mr. Johnston considers this. The driver of the other car gets out.]

MR. JOHNSTON: I think we can trust her.

[Johnston checks his watch, takes out the gas pump nozzle and slots it back on the pump.]

MR. JOHNSTON: I'm on my way to the capital. See if our friends at "the Company" know anything about what we're looking for.

[The other driver picks up the gas pump nozzle. The left sleeve of his shirt is exposed – showing the same engraved lightning bolt symbol on a cuff link.]

WATTS: (V.O) Drive safe.

 

[Aerotech parking lot – night. Frank's jeep pulls up parallel to Catherine's car. He gets out, leaving Jordan inside. He opens the hood and looks inside – sniffs the air – then looks puzzled. Catherine and Clear Knight approach.]

CATHERINE: Hey. Is it the battery?

[Frank turns to see Catherine and Ms. Knight, carrying a briefcase.]

FRANK: It don't know. From the smell of it, you roasted the whole electrical system or something.
MS. KNIGHT: Hello, I'm Clear Knight. You must be Catherine's husband.

[Catherine realizes she didn't introduce them.]

CATHERINE: Oh, I'm sorry.
MS. KNIGHT: Is this Jordan?

[Jordan smiles and waves from the car.]

MS. KNIGHT: She should come over and play with my little girl. Maybe we should do that.
CATHERINE: Yeah, I think Frank and Carl would hit it off.
MS. KNIGHT: Let's do it. You need any help here, Frank?
FRANK: We'll have to leave this here.
MS. KNIGHT: No problem. Let's talk about these plans Thursday night, Catherine.
CATHERINE: Sure.

[Frank has closed the hood. Ms Knight nods to Frank and walks off. Catherine looks at Frank who is looking serious.]

 

[Forest road – night. A dark stretch of rain-soaked road. Headlights appear over the horizon. Johnston is driving alone. His radio is tuned to a talk station.]

CALLER: (V.O) The important thing about cigars is that they bind people together.
HOST: (V.O) That's an interesting point...
MR. JOHNSTON: No, it isn't.

[Johnston searches the radio stations for something more interesting. After a few seconds the guitar strums of America's "Horse With No Name" fill the car.]

AMERICA: (V.O) On the first part of the journey/I was lookin' at all the life...

[Johnston drives with the song still playing.]

AMERICA: (V.O) There was sand and hills and rings...

[Headlights break the darkness behind Johnston's car. Another vehicle is approaching at speed. Johnston winces from the reflection of the car's lights. He adjusts his rear-view mirror.]

AMERICA: (V.O) I been through the desert on a horse with no name...

[Johnston doesn't seem concerned with the oncoming vehicle. The Mercedes speeds up to Johnston's car and glides out to pass. The roar of the Mercedes engine causes Johnston to check out his driver's side window. He sees Helmut Gunsche is driving the Mercedes; his eyes fixed straight ahead. The Mercedes passes at high speed. Then, Johnston's car buzzes – and everything cuts power; dashboard lights, stereo, engine, everything. Johnston looks confused. He twists the ignition – nothing.]

[Johnston's car glides to a halt on the roadside. The hood pops open. Johnston gets out with a flashlight and heads for the hood, ducking inside to examine the engine. Up the road, the Mercedes' tail-lights brighten, as it brakes and turns round to approach Johnston's vehicle. Johnston is fiddling with wires, sniffing the engine's fumes.]

JOHNSTON: What the hell?

[Behind him, the Mercedes' lights approach. Johnston looks over his shoulder at the car. The Mercedes driver, unseen in the light's glare, flicks the highbeams on – Johnston is blinded.]

JOHNSTON: (annoyed) It's OK. I got my cell phone. Thanks.

[Johnston tugs on a connection and the radio comes back on.]

AMERICA: (V.O) After nine days, I let the horse run free 'cause the desert had turn to sea...

[Then the Mercedes headlights cut power. Darkness, apart from Johnston's flashlight beam. Johnston spins round, grabbing a .45 Glock 30 from his suit. He moves his flashlight across the Mercedes – nobody inside. The flashlight is turned off as Johnston listens for a sign of attack. To Johnston's left a sound is heard – he spins round with his gun aimed. Behind him Gunsche appears, raising his arm. Johnston turns as Gunsche strikes him a blow with his arm, momentarily causing his cuff link to glint in the moonlight; it showed the now familiar lightning bolt symbol. Johnston collapses to the floor. A rubber hose is tied around his neck and tightened. Gunsche tugs Johnston to the rear of the car by the hose. The gas tank cap is twisted off by Gunsche and an end of the hose inserted. Gunsche places the other end of the hose in his mouth and sucks. Gas begins to flow from the hose and Gunsche pours it over Johnston.]

AMERICA: (V.O) The desert is an ocean with its life underground and the perfect disguise above...

[Gunsche opens Johnston's trunk and places a plank of wood inside. He moves away from the car and lights a cigarette, as the "Horse With No Name" comes to an end. He opens a lighter, raises a small flame and lights the cigarette. After taking one long inhale Gunsche tosses the cigarette to the ground. The gas ignites instantly and snakes to Johnston's body which is engulfed in flames. Gunsche coolly walks away and gets inside his Mercedes. As he drives away, Johnston's car erupts in an explosion of flames.]

[fade to black]

[polaroid fade up]

[Frank's house. Frank is at his computer, searching on Netcorp.CQ internet databases. The screen shows an enquiry database. Frank types at his keyboard: 'Aerotech Industries AND Seattle AND South America." The screen indicates: 'SEARCHING'. Frank waits, then 'Aerotech: NOT FOUND.' appears. Frank is stunned and even more suspicious.]

 

[Impound yard – day. Johnston's car is burned and charred inside. Peter Watts is examining the vehicle, wearing latex gloves. He checks the interior carefully. He manages to pull the back seat out, but finds nothing. Next, he uses a crowbar to prise open the trunk. It pops open, and Watts looks sickened. Reaching inside, Watts pulls out what appears to be the cross of the crucifixion – half-melted into the lining.]

 

[Aerotech car park. A mechanic closes the hood of Catherine's car, while Frank stands by.]

MECHANIC: Yeah, man, the whole electrical system's gone in one shot. Got me, what could cause that. I'll have to tow it to a shop.

[Frank nods.]

FRANK: Hook it up, I'll be right back.

 

[Aerotech office. Frank has entered the main office and is directed to Clear Knight's office. Frank knocks on the door as he enters.]

FRANK: Ms. Knight?
MS. KNIGHT: Frank. Everything alright?

[She gets up with a smile.]

FRANK: Yeah, they're going to tow it. I just wanted to stop by to thank you for helping Catherine last night.

[They shake hands.]

MS. KNIGHT: Anytime. We're so pleased to have both of you in our family.

[She's wearing cufflinks with the same lightning bolt symbol.]

MS. KNIGHT: I have a meeting to run off to but if you need to use my phone, go right ahead.
FRANK: Thank you.

[She leaves the office. Frank walks towards her desk then has a brief vision of Nazi soldiers marching. He then sees the watercolor on the wall. He has a brief vision of Hitler.]

 

BETHESDA NAVAL HOSPITAL
BETHESDA, MARYLAND

[A black body bag rests on a medical table. A latex-gloved hand unzipped the bag. Peter Watts is watching with Lara Means beside him, both dressed in a white lab coat. A Millennium Group pathologist is preparing an autopsy. She speaks into a suspended microphone.]

PATHOLOGIST: Millennium Group autopsy. Subject: Gordon Johnston.
WATTS: (to Lara) You know, this is the room where President Kennedy's body was examined. Everyone's trust died in this room.

[Finley, dressed in scrubs and apron, enters. She looks intently at Watts.]

WATTS: Means is here at my request. I'm responsible.

[Finley briefly nods. She looks at the body.]

FINLEY: You know, Peter, I will be very honest with you.

[She sighs and looks back at Watts.]

FINLEY: I would have suspected you of working for the other side before I ever suspected Johnston.

[Watts smiles briefly. Suddenly, the door bursts open once more and three other white-coated people enter. Finley turns to them angrily.]

FINLEY: Get out! This is a Millennium Group investigation.
MR. PLUNKETT: We are the Millennium Group.
MR. OTTO: We demand to be involved in this autopsy. We will not accept your side's findings unless we are involved.
WATTS: Is that a threat?
MR. OTTO: It's clear Johnston has been murdered. If any evidence should indicate responsibility of either Owls or Roosters, I'm sure you know what's in danger.
WATTS: The future. Of the future.

 

[Pathology office. Watts is seated at a desk. In the background Otto (Owl) and the pathologist (Roosters) are discussing the autopsy in raised tones.]

PATHOLOGIST: How else could you explain his stomach flooded with gasoline?
MR. OTTO: I'm agreeing with you. You're failing to see my point about the blunt trauma.

[The two go back into the autopsy room. Finley enters the office, holding a file.]

FINLEY: Well, these are preliminary reports of carbon-isotope dating on the wood found in the trunk. But the carbon build up from the fire is making a precise dating of the wood nearly impossible.

[Watts closes the file he's been looking at and angrily slams it down on the desk. A lab technician enters with a manila envelope.]

LAB TECHNICIAN: Mr. Watts? X-Ray and ultraviolet imaging results on Mr. Johnston's body.

[Watts nods and the technician leaves. Watts opens the envelope and takes out some X-Ray and ultraviolet images of Johnston's body. He flicks through until he sees an image of the skull. He takes a magnifying glass and studies the image; very faint on the image are two diagonal parallel lines. Watts reacts, checks to see if anyone is watching, then slips the image into his briefcase, which he locks. He puts on surgical gloves, then takes out Johnston's diary from an evidence bag and leafs through it. The edges of the pages are charred. A door opens. Lara comes in from the autopsy room and sits down at the other side of the desk.]

LARA: Peter, I've been comparing this murder to Le Fur's in Amman and I believe that there are some connections.
WATTS: Lara. You are excused from the Millennium Group until further notice.

[Lara is shocked.]

LARA: What? On what grounds?

[Watts isn't looking at her.]

WATTS: I may contact you. Then we may never contact you again.

[Now he looks at her, with a cold stare.]

WATTS: Now get out of my sight.

[Lara slowly gets to her feet and walks away. Watts looks back at Johnston's diary – an entry reads: "made contact with Lara Means".]

 

[Frank's house – night. A number of Russian graphics fill Frank's computer screen. "Archive of the Federal Counter-Intelligence Service, Moscow, Russia." Frank is searching this site and brings up a page written in Cyrillic script with a name in western script: Adolf Hitler. Another page shows images of Hitler's fire-scorched uniform, his walking stick, his violin, then, a watercolor. Tensing at the sight, Frank moves the screen down – various watercolors pass by until Frank find it: the same watercolor hanging in Ms. Knight's office. Behind Frank a car's headlights sweep across his front room. Frank gets out of his chair and moves quickly to the main window. He peers through the blinds and sees two men parked in a car outside, watching his premises. Frank is furious and opens a nearby drawer. Inside is a gun.]

 

[Office – day. Watts stands near a fax machine. He dials and inserts a sheet of paper, pressing send. The paper is fed through.]

 

[The Old Man's shack – night. Another fax machine ejects a sheet of paper in a holder. The Old Man takes the sheet and holds it up. He looks saddened, and frightened. The fax reads: 'Sir, do you know this?' Beneath is a drawing of the two diagonal parallel lines Watts saw on the ultraviolet image of Johnston. The Old Man takes the paper over to the desk, picks up and pen and draws a line connecting the two diagonals – making the lightning bolt symbol.]

THE OLD MAN: Now it's time.

 

[Frank's house. Frank is holding his gun downwards as he walks determinedly down the driveway. He approaches the back of the car. The driver's door opens and a man steps out. Frank stops and aims his gun angrily.

FRANK: Hey.

[The driver raises his hands.]

FRANK: You looking for me? You must be, because I'm the only one that lives here.
DRIVER: Easy, Mr. Black. This is who we are.

[Frank is surprised to hear the Millennium Group's password. Reassuringly the Driver nods. Inside the car, the second man has a .45 Glock 30 handgun ready out of sight. He looks over his shoulder at Frank, and rocks the slide.]

[fade to black]

[end titles]

Starring:

Lance Henriksen (Frank Black)
Megan Gallagher (Catherine Black)

Also Starring:

Terry O'Quinn (Peter Watts)
Brittany Tiplady (Jordan Black)

Guest Starring:

Kristen Cloke (Lara Means)
Kimberley Patton (Clear Knight)
R.G. Armstrong (The Old Man)
Malcolm Stewart (Mr. Johnston)

Featuring:

Bob Dawson (Helmut Gunsche)
Michael Tiernan (Millennium Group Driver)
Brian Downey (Mr. Dean)
Judith Maxie (Finley)
John Juliani (Mr. Plunkett)
Mark Holden (Amadou)
Bruno Verdoni (Le Fur)
Gardiner Millar (Mr. Otto)

Uncredited:

Nino Caratozzolo (Sentry)
Philip Baker Hall (Group Elder (I))

Music by Mark Snow
Editor: George R Potter
Production Designer: Mark Freeborn
Director of Photography: Robert McLachlan
Executive Story Editor: Michael R Perry
Associate Producer: Julie Herlocker
Associate Producer: Kathy Gilroy-Sereda
Associate Producer: Jon-Michael Preece
Consulting Producer: Chip Johannessen
Consulting Producer: Darin Morgan
Co-Producer: Robert Moresco
Co-Producer: Paul Rabwin
Producer: Thomas J Wright
Co-Executive Producer: Ken Horton
Co-Executive Producer: John Peter Kousakis
Written by Glen Morgan & James Wong
Directed by Thomas J Wright

Executive Producers: James Wong & Glen Morgan
Executive Producer: Chris Carter



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