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Transcript of Millennium episode "Exegesis"

Presented below is an episode transcript of Exegesis 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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Exegesis - Transcript


Season:

3

MLM Code:

#MLM-302

Production Code:

3ABC02

Original Airdate:

1998-10-09



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302 Exegesis

[MLM–302 (3ABC02)]


Written by Chip Johannessen
Directed by Ralph Hemecker
Edited by James Coblentz
Air Date: 9 October 1998

[Transcribed by Libby]

[Thanks to David Marx and PROVO_SIX of TIWWA for identifying the drug names in this episode.]

 

[The following 'previously on' section was omitted from the DVD.

Voice over [Lance]: Previously on Millennium

Blonde stewardess firing gun.

Debris falling from aircraft.

Older woman: It has begun.

Newspaper headline: Airliner Goes Down In Sierras.

Frank [on phone]: I can't get this crash out of my mind. It's about the kids. I see it. That's why I need to get out there.

Crash site:

HOLLIS: The bomb went off in the aft lavatory. If she's going to crash the plane. She's not going to want to call attention to herself.

Frank discovers the cigarette butt in the wash basin waste pipe.

House exploding.

Frank talking to Mary in the hospital:

FRANK: This is a picture of my wife. She died too. For my little daughter, I need to know who killed her Mommy.

Frank opens the trapdoor in the destroyed house. The containers with the biohazard labels.

McClaren talking to Frank:

McCLAREN: A place crash. A house explosion. If they're all connected to you and Catherine, how come your daughter's still alive.

Young blonde woman on phone:

Woman: We're moving everybody.

Car crash on bridge.

Car falling.

[polaroid fade up]

[episode begins]

[Bridge site. The car is being hoisted up. There are police cars and an ambulance. A stretcher with the body of the woman is loaded into the ambulance next to her dead child.]

HOLLIS: Oh, god. Mother and daughter, again. What is this?
FRANK: Stay with the bodies.

[Hollis reluctantly climbs into the back of the ambulance. Frank goes over to the crashed car which has been hoisted up to the bridge. Water is dripping from it and on the road, floating in the water, is a butterfly. Frank picks it up, thoughtful.]

 

[Hospital. Mary, the badly burned woman from the house explosion becomes distressed, mumbling, then starts convulsing. Monitors show increased pulse rate and blood pressure. The monitor is beeping then sounds an alarm. Hospital staff rush in.]

NURSE: She's the woman from the house explosion. Head injuries.
NURSE: BP 180 over 100, rising. Heart rate 50, dropping.
DOCTOR: 50 Lasix, 50 Mannitol, IV push.

[A man in a civilian suit enters the room.]

MAN: What's going on?
DOCTOR: Sir! I need you out of here! Now!
MAN: FBI. She's in my custody.

[The monitors show heart rate and blood pressure increasing.]

DOCTOR: Stop the infusion!
DOCTOR: [to Agent] You! Grab her legs!

[The Agent does so.]

DOCTOR: Hundred phenobarb – now.

[Another man, Mabius, enters dressed in scrubs.]

[Mary calms down.]

NURSE: It's working. Blood pressure's coming down. She's settling out.

[Mary is now quiet and still. Mabius leaves.]

NURSE: What the hell just happened?

[main titles]

[A document with the details of Lillie Thom, the stewardess. Then the document is turned over to show a photograph of her, then a series of photographs and shots of the women and children – all with bright blue eyes.]

FRANK: [voice over] Ancient Greeks had oracles. A band of women blessed with the gift of future sight. But given the sublime possibility to know what tomorrow might bring, all the Greeks could think of to ask these seers was: What are our enemies up to. How can we wage war? What secret weapon can be used to control the future?

[fade to black]

[FBI briefing room.]

BALDWIN: OK, listen up, people. Contrary to our initial announcement, there is now little doubt that Flight 760 was brought down by a previously unknown group and not a lone flight attendant.
McCLAREN: We'll make a new announcement when and if we get a handle on who these people are. In the meantime, no leaks, is that clear?
BALDWIN: We're moving into very strange territory with this group. So far all the members appear to be relatives, may be sisters.
HOLLIS: And their daughters.

[The other agents look at her.]

HOLLIS: The two women on the plane, the woman hospitalized in the house explosion, and the woman who died in the car crash – all of them were with young girls. Their daughters. Mary, the woman in the hospital, is the key here and I'd like authorization to return there.
BALDWIN: You didn't have authorization to go there in the first place. Slide.

[New slide is shown.]

BALDWIN: As Agent Hollis has suggested, the scope of this case has expanded considerably – the two women responsible for the plane crash were in recent contact with the woman now hospitalized due to a gas explosion at her home. At the site of that explosion we discovered disturbing evidence of this group's intense interest in the viral outbreak that claimed the lives of seventy people in the northwest last spring. Slide.

[Another slide – boxes with biohazard labels.]

BALDWIN: They stole these level 4 containment caskets from the CDC before the outbreak, meaning this group is most likely responsible for that event as well.
FRANK: They're not who you think. They're not terrorists. Terrorism is being rained upon them. It was not an accidental gas explosion in that house. It was an attack. And the woman in the hospital, the lone survivor, alerted us. [To another agent]: Could you please put up the slide of the bridge?

[Baldwin looks pissed off. Slide showing bridge.]

FRANK: Her sister was forced off the road and a car parked at the end of that bridge drove off after witnessing the death of another mother and a daughter. Now, the plane, the house, the car, they're all an end game, a deliberate annihilation of these people. Right now we should be asking ourselves – why?
BALDWIN: Agent Hollis. Did you see this mystery car deliberately do anything, because I didn't read that in your report.

[Frank turns to Hollis who looks embarrassed and says nothing. Frank turns back to Baldwin.]

FRANK: They're not terrorists.

[Someone else asks a question and we see that Peter Watts has arrived.]

WATTS: What are they then?

[Frank doesn't have an answer.]

McCLAREN: OK, let's take ten, everybody.

[The meeting starts to break up and Frank leaves the room. McClaren calls after him.]

McCLAREN: Frank! Frank!

[The two meet up by McClaren's office.]

FRANK: What is Peter Watts doing here?
McCLAREN: He's consulting for the Millennium Group. What are you doing here? I sent you home.

[McClaren sits down sits down at his desk.]

McCLAREN: Now, I know you have some issues with the Millennium Group.

[Frank shuts the door.]

FRANK: You don't know them.
McCLAREN: Yes, I do. They're ex–FBI–family men, people you and I have worked together with for years. The Millennium Group consulted here way before you ever heard of them. We have a relationship with them like I have with you. Now this family or cult or whatever, seemed to be involved in the outbreak last spring. The Millennium Group investigated that outbreak.
FRANK: They caused it. They caused it, Andy.
McCLAREN: What are you talking about? That is just not true. And please, do me the favor of not repeating it outside this office – I've already got enough explaining to do.
FRANK: The Group killed my wife. [pause] Do you hear what I said? They are dangerous people.
McCLAREN: Frank. You lost Catherine. I can't pretend to know how that feels. I liked her. I liked what she did for you – she kept you sane. And that's the damn truth.

 

[An intubation tube is being inserted into the old woman by two young blonde women. The old woman is inside a crate inside an 'E–Z Move' rental truck. The two women put the lid on the crate, get out, shut the doors and drive the truck away down a track.]

 

[The hospital. The FBI agent guarding Mary is chatting with a nurse – saying that sometimes he has to make split–second decisions. He's standing with his back to Mary's room so he doesn't notice a man dressed in scrubs leaving the room. The man, Mabius, walks away and enters another room just as Hollis walks down the corridor past him. Hollis walks up to Mary's room but the Agent sees her.]

AGENT: Wait. Who are you?
HOLLIS: Hollis.

[She shows him her FBI badge.]

AGENT: No–one told me you were coming.
HOLLIS: I just want to talk to her a minute.
AGENT: Good luck. She hasn't moved since they sedated her four hours ago.

[Hollis looks at a monitor on the nurse's desk. It shows an empty bed. She rushes into the room. The Agent looks over at the monitor which now shows Hollis in the room.]

HOLLIS: Get a doctor! Right away!

[Hollis kneels down and to where Mary is lying on the floor on the other side of the bed and rolls her over.]

 

[Frank's house. It's night and there are lights on in the house. Frank drives up and notices the front door is open. He quickly goes into the house.]

FRANK: Jordan?

[He goes into the sitting room. Jordan's playthings are on a low table.]

FRANK: Jordan!

[Frank runs upstairs and into Jordan's bedroom.]

FRANK: Jordan!

[He goes back to the top of the stairs, just as Jordan comes in through the front door. He goes down the stairs, relieved.]

FRANK: Jordan. You're OK. You're OK.

[He picks her up.]

FRANK: I was worried about you, sweetheart.

[Jordan's grandparents, Justine and Tom, enter the house.]

JORDAN: We were just at the park.

[The phone rings. Tom goes to answer it. Frank puts Jordan down and holds Jordan's face in his hands.]

FRANK: You're OK?
JORDAN: Yeah.

[Jordan and Justine go into the sitting room. Frank sighs with relief.]

TOM: Take this. It's for you.

[Frank takes the phone.]

FRANK: Yeah.

[Hollis is still at the hospital. The scene intercuts between Hollis and Frank.]

HOLLIS: I'm sorry for calling. Really. But she's dead. Mary is.

[In the background, the FBI agent is looking pretty upset – as in, he knows he screwed up.]

HOLLIS: I'm looking at the security tape.

[The monitor shows the man in scrubs, Mabius, injecting something into Mary's arm. The date shown is 10/05/98 and the time 16:03.]

HOLLIS: Someone snuck in and infused her IV. I think I saw the guy leaving as I got here. If I'd been three minutes earlier, two minutes.
FRANK: What are you doing there in the first place?
HOLLIS: She is the one who knew what this was all about. Here's what I don't get. Her last act before she dies.

[The security tape shows Mary falling off the bed.]

HOLLIS: She turned off all the monitors like she didn't want anyone to hear the alarms. You think she wanted to die?
FRANK: Look, McClaren has made it pretty clear he wants me off the case. You're better off staying away from me.

[Frank ends the call.]

 

[In the hospital, Hollis goes back to Mary's room.]

FBI AGENT: In my own defense, all anyone said was keep her in custody. Nothing about attempts on her life.

[Hollis switches the monitors back on, then off.]

FBI AGENT: What are you looking for?
HOLLIS: I don't know. I keep asking myself – why turn off all the monitors? Why? Why shut off all the power?

[The Agent shakes his head – he doesn't know either.]

[Hollis reaches under the bed and pulls something out.]

HOLLIS: What time did it say on the security tape when she died?
FBI AGENT: A couple of minutes after four.

[Hollis has pulled out a digital clock radio which reads 5:12.]

HOLLIS: Then why is this set to 5:12?

 

[A road block. The road sign reads: Utah Department of Agriculture. Fruit Quarantine. Medfly Alert. Cars are being let through. An E–Z Move truck, driven by one of the blonde women, is stopped.]

MAN: Evening. Are you acquainted with the regulations on fruit transportation in this area?
WOMAN: Not really.

[Man looks over to the passenger seat.]

MAN: I guess not. I'll have to take that and ask you to pull over for inspection.

[The woman picks up and hands him the apple that was on the passenger seat. She drives the truck to a lighted area off the road and stops. Suddenly the lights are turned off and in her side mirror she sees men hurriedly removing the roadblock paraphernalia. She tries to drive off but other vehicles move in to block her. Shots ring out shattering the windshield and she slumps forward. Other men line up facing the side of the truck and open fire with machine guns. Mabius stands watching. Then Mabius walks over and opens the rear doors of the truck. It is empty.]

 

[At a gas station – another E–Z Move truck. The back doors are opened by a young blonde woman. The crate is there. She puts her hands on the crate.]

WOMAN: Mother! She's gone.

[A station employee comes round the back of the truck.]

MAN: Anything else?

[The woman collects herself and closes the doors.]

WOMAN: No, thank you.

[She gets back into the truck and drives off.]

[fade to black]

[polaroid fade up]

[Office. Hollis is on the phone. Her desk is covered with papers and the digital clock from Mary's hospital room. Most of the papers have black lines through the text.]

HOLLIS: Oh good, you're there. Sorry for bothering you. Does five–twelve mean anything to you?

[Frank is on his cellphone, driving his car.]

FRANK: No. It doesn't Agent Hollis.
HOLLIS: I wouldn't have called except – you know those cinders we found at the woman's house in Salt Lake City. The ones that looked like government documents? They are. The woman made over a hundred Freedom of Information requests five years ago.
FRANK: What's her interest?
HOLLIS: It's hard to tell. Someone's been very free with the marker here. Seems to be a government project called Grillflame.
FRANK: I'm not surprise they're not upfront about it. I think it's a project the CIA ran through the Stanton Research Institute.
HOLLIS: Yeah, it's right here – SRI.
FRANK: Yeah.
HOLLIS: Was Baldwin right? These women are anti–government crazies? Or is this worth following up?

[Frank is silent.]

HOLLIS: I just think we've got to get someone to talk here.
FRANK: Well, I know a guy at SRI. You talk to him. His name is Don Coty. He's still a professor there. Listen, I've got to go.

 

[Frank is driving his red Jeep. He stops outside a school. Jordan walks across the playground towards the car. Frank sees, in his wing mirror, Peter Watts get out of a nearby car. Frank walks over to Watts, angry.]

FRANK: Stay away from her!

[Jordan stops at the school gates, wary.]

WATTS: I was hoping that this place might be conducive –
FRANK: No. You were saying by being here that you know where she is.
WATTS: – might be conducive –
FRANK: And I'm warning you about something – I will kill you, I swear.
WATTS: Calm conversation, Frank. That's the only reason –
FRANK: Get out of here.
WATTS: You've got to stop making these accusations against the Millennium Group.
FRANK: Facts.
WATTS: It's going to blow up in your face.
FRANK: Are you threatening me again?
WATTS: I'm worried about you. Everybody is –
FRANK: Hey! Listen to me. Cut your losses.
WATTS: It's all in your head, Frank. You've been telling people that we deliberately caused an outbreak –
FRANK: We both know what happened. Don't even attempt –
WATTS: You're not hearing me, Frank. You've got to stop, please.
FRANK: I'm going to prove it. I'm going to be all over you. You'll always know where I am.

[Frank turns to look at Jordan.]

FRANK: Hey!

[She runs over to him.]

JORDAN: Hey, Dad.

[He picks her up.]

WATTS: Hiya, Jordan. How're you doing?

[Jordan turns her head away. Frank stares at Watts, who walks away.]

FRANK [to Jordan]: I want to spend the day with you.
JORDAN: Yeah!
FRANK: Just us.

[Watts gets into his car.]

PASSENGER: What does he know?
WATTS: Not much. Not yet.

[Watts starts the car. In the back seat is Mabius.]

 

STANTON UNIVERSITY
ARLINGTON, VIRGINIA

[Day. Outside a sixties–style building. Several students around. Inside the foyer is Emma Hollis. She checks her watch, looking around. A man enters the foyer from outside and approaches her.]

HOLLIS: Dr Coty?

[They shake hands.]

HOLLIS: Emma Hollis.

[He's maybe in his forties, fifties. Casually dressed in a green shirt, no tie – casual trousers and shoes. His hair is a little unkempt. He smiles at her.]

COTY: You sure don't look FBI.
HOLLIS: You don't look CIA.

[Music room. A young woman is playing the cello. Through a glass panel in the door can be seen Coty. He and Hollis are in the corridor outside. There is no sound reaching them from the music room.]

COTY: You know, they built this just for Grillflame.

[A view through the glass panel of the cellist.]

COTY: Totally soundproof. So they could concentrate.
HOLLIS: Who could concentrate?
COTY: The remote viewers. That's what the Pentagon called them. There were six at the height of the program. They'd settle into a couch in one of these rooms and just do it.
HOLLIS: Do what, Dr Coty?
COTY: Project themselves, outward, and then down at some pre–determined target which they would proceed through in their minds. Just like we're walking through this building right now.

[Hollis and Coty continue walking.]

HOLLIS: Project themselves – how? Are you saying psychically?

[Coty doesn't give a response.]

HOLLIS: Grillflame was not psychic spies.
COTY: Remote viewers.
HOLLIS: Wait – this is for real?
COTY: Didn't work every time. Mostly blew your mind. What we first learned about advanced Soviet weapons, typhoon subs, T72 tanks, microwave installations – all of it was first seen right here, in one of these rooms.
HOLLIS: Physically.

[Coty gestures her into one of the rooms. He closes the door.]

COTY: There was this one amazing viewer. Way beyond the rest. A woman. Always used this room. But she could float down a hallway seven thousand miles away. Into a meeting. Read the nametags and what was written on the board.

[Hollis has noticed a faint marking on the wall – the shape of an eye.]

COTY: Secretary of Defense swore she could see the future. All anyone wanted was more of what she had.
HOLLIS: Where is she now?
COTY: Who knows. Once you discover space and time don't matter, you can't really go home again, can you.
HOLLIS: What was her name?
COTY: Didn't use names. Just numbers.

[Hollis thinks.]

HOLLIS: Five Twelve.

[Coty looks a little surprised, maybe suspicious.]

HOLLIS: Did she have children, daughters?

[Coty now more serious.]

HOLLIS: Because that would be one way for them to get more of whatever they thought she had.
COTY: There were rumors.

 

[FBI Academy. A body bag containing the body of the blonde stewardess is zipped closed by Hollis.]

PATHOLOGIST: Plane crashes, house explosions, car wrecks. Lot of bad luck for one family.

[There are several tables, each with a body bag.]

HOLLIS: So they are all sisters.
PATHOLOGIST: Well, nothing for publication until the gene maps come back, but based on the blood workups I'd say half–sisters.
HOLLIS: Same mother.
PATHOLOGIST: Like I say, not for publication.
HOLLIS: They're half–sisters meaning four different fathers. But they're all the same age. How does that work? You'd have to fertilize in–vitro, placing the embryos in four different gestational carriers. Something like that?
PATHOLOGIST: It's not possible.
HOLLIS: Why?
PATHOLOGIST: We're talking thirty years ago. They were barely doing that stuff in cows back then.
HOLLIS: Someone was doing it.

[Hollis turns away to the table behind her, where a small body bag is lying. Baldwin enters the morgue.]

HOLLIS [quietly]: What about the children?
BALDWIN: What about them?

[She shakes her head.]

BALDWIN: McClaren's looking for you. You've been AWOL all day.
HOLLIS: Tell him I'll be right up.
BALDWIN: Oh, I'm sorry, Agent Hollis. Have you forgotten how this works? See, uh, I'm the investigator in charge, so you don't flit off without telling me about it and when I say McClaren is looking for you, you – sprint – toward – his – office.

[Hollis turns to the pathologist who gives her a look of sympathy.]

HOLLIS: Thank you.

[The pathologist nods and mouths "you're welcome" to her.]

 

[McClaren's office. McClaren is going through a folder of papers. Hollis and Baldwin approach. Hollis knocks on the door.]

McCLAREN: Hollis, sit down.

[Baldwin closes the door.]

McCLAREN: Where have you been?
HOLLIS: In the field, sir.
BALDWIN: On whose authority? Frank Black's?
HOLLIS: No. But I think what he's saying about this case is right.

[Baldwin shakes his head.]

McCLAREN: Now, this thing started out with a plane crash. Not exactly simple but at least you could get your head around it. Now it looks like we've got yet another sister very dead on arrival. Now I don't know what's going on.

[He opens the folder he's been looking at and hands it to Hollis.]

McCLAREN: I don't really think she did this to herself.

[Hollis and Baldwin look at the photograph in the file. It's a photo taken from outside the cab of the E–Z truck, a bullet hole in the windshield and the body of the young blonde driver slumped forward, blood spattered everywhere.]

McCLAREN: Baldwin. You keep working on the plane crash. Hollis, I want you to get on this.

[Baldwin doesn't look very happy.]

 

[Later. Hollis is sat at her desk – files and boxes stacked high. Frank is standing next to her, looking at a document.]

HOLLIS: Can you believe it? US Army, NSA, CIA, Joint Chiefs, all hanging on every word this woman, Five Twelve, uttered as she space–walked her way through East bloc military installations. I mean – spying. What were they thinking?
FRANK: That it was working.

[Another box is delivered.]

MAN: Agent Hollis?

[Frank takes the box for her.]

HOLLIS: Thank you.

[Frank puts the box on the desk and takes off the lid. Hollis takes out a video.]

HOLLIS: Here she is. Five Twelve.

[She puts the video in a VCR. There's a very brief glimpse of a title frame:

STANTON RESEARCH INSTITUTE
PROJECT: GRILLFLAME
DATE: 11.16.72
TIME: 9.00 A.M.
VIEWER: 512
TARGET: XL–3401
METHOD: SCANEX

The video is of a woman sitting in a swivel chair. On the wall behind her is the eye symbol.]

HOLLIS: Look at that. That's the room I was in. She's Five Twelve.

[Hollis is trying to make sense of what is going on.]

HOLLIS: The Pentagon wanted more of Five Twelve. And they tried to reproduce her, literally, with some weird experiment. Her daughters, targets now. And their daughters, all down in that morgue. That's what I think, anyway. But there's no mention of offspring in these documents.
FRANK: There wouldn't be. Maybe they're all sisters – the women and the girls.
HOLLIS: Grillflame stopped six years before the children were conceived.
FRANK: Maybe they didn't stop. Maybe they just went underground.
HOLLIS: Underground? Where?
FRANK: It's not a question of where, but why. Why kill them now?

[They both look at the video. The woman is saying: Tower. Fans.]

FRANK: You said her daughter was having a seizure in the hospital.
HOLLIS: I can show you the tape.

[She puts the tape from the hospital security monitor in another VCR. Frank compares the two videos. Five–Twelve is saying: Vent. Flowers. Mary is indistinct.]

FRANK: She's remote viewing from the hospital.
HOLLIS: Viewing what? Who does she think she's talking to?
FRANK: Five Twelve – where is she now?

 

[The wooden lid of the crate is pulled back revealing the older woman. The younger woman pulls out the intubation tube. The older woman coughs then sits up, sunlight on her face.]

YOUNGER WOMAN: Mother, are you all right?

[There are butterflies flying around in the sunshine.]

[fade to black]

[polaroid fade up]

[A video of Mary in the hospital bed. Hollis is trying to decipher what she's saying.]

HOLLIS: Square? Swear? I still can't hear it.

[Another monitor is showing a wave pattern of the video sound. The keyboard is being operated by a technician.]

HOLLIS: Square?

[Frank comes in.]

HOLLIS: I've contacted SRI. They said they needed at least twenty words from a remote viewer before they'd even try to pin down what they were describing. We've got eight words followed by a hundred milligrams of phenobarbitol. Assuming this leads us anywhere in the first place.

[Frank shows her the file he's brought with him.]

FRANK: Mildred Carson, in her forties, childless, needed a job.

[The document is a printed form with the details typed in:

U.S. GOVERNMENT
PERSONAL D–
LAST NAME: Carson ASN: 002
FIRST NAME: Mildred
Dept. Or Branch: Research
Section: 'Grillflame'
Permanent Home Address: #15, Hollins Way, Arlington
Date of Birth: 05 July 1928
Nearest Relative: Donald B. Carson]

FRANK: Her family was taken from her. Soon to be childless again.
HOLLIS: Think they're after her now?

[Frank shakes his head, as in: not sure.]

HOLLIS: Even if she is still alive, who could she possibly hurt?
FRANK: Something we're missing.

[He takes the folder from her and leaves, Hollis following.]

FRANK: How many bodies have been ID'ed from the plane crash?
HOLLIS: The last I saw, all but three or four.

[Frank checks a name bag on one of the body bags.]

FRANK: This woman appeared on the passenger manifest to be traveling with a child.

[He checks other tags.]

FRANK: Where is she? The little girl?
HOLLIS: They haven't found her yet.
FRANK: They never will. [pause] She's alive.
HOLLIS: No–one could have survived.
FRANK: [realizing] They took her off the plane. These women that have been hunted to extinction have done a horrible thing. They brought that plane down, sacrificing two of their own, to fake a death, to save a child. It's a smokescreen. The little girl, the old lady Five Twelve – they're all that's left.
HOLLIS: But who is doing this to them? You still haven't told me who.

[Frank frowns, doesn't answer.]

 

[Hollis is typing.]

HOLLIS: I'm cross–tabulating the words from the security tape with words used in actual remote viewing sessions. It'll tell us what targets these words have described before. I've sorted the targets by how well they match up with words on the tape, the words the woman in the hospital used – round, square, six, two. I matched them against real military installations.

[The screen shows the words across the top of the table:

round, square, six, two, warning, wings, tubes, fire, total correlation

and down the side of the table:

submarine, airfield, command center, tank, missile silo, naval yard, supply depot, microwave installation, intelligence center, helicopter, underground bunker, field hospital]

[Frank points to one – 'missile silo'.]

FRANK: What about this.
HOLLIS: Missile silo?
FRANK: Yeah, makes sense. Most are abandoned real estate now – you could do a lot worse if you were trying to disappear.
HOLLIS: Missile silo would be a great fit except –

[She points to the screen under the heading 'wings' where the correlation is zero.]

HOLLIS: No wings.
FRANK: There is a searchable database of satellite imagery of defunct military installations.

[Hollis uses the keyboard to switch databases. She access the SPIR database – Satellite Photo Image Repository.]

HOLLIS: If we narrow it down to silos then eight words should be plenty.

[The screen shows: Search returned one match. Please wait. Records in use.]

FRANK: What's this?
HOLLIS: Just locked out a second. Someone else is using the records.
FRANK: The Millennium Group.
HOLLIS: That's who you think is doing all this, isn't it?

[Frank doesn't answer.]

[Screen changes to show: Enhanced Satellite Image.]

HOLLIS: Look at that.

[The screen shows three distinct shapes, one square and two round. A legend reads: MX–162, Hardened silo, Elkins, West Virginia. Hollis points to the reference MX–162.]

HOLLIS: '162'. That's what she was saying.

[She grabs a pad and pen to write down the details.]

FRANK: They know where she is.

[He leaves. Hollis grabs her jacket and follows.]

 

[Day. Frank's jeep being driven down a rural road. Passes a sign: Notice. No Trespassing Beyond This Point By Authority of the U.S. Government.]

HOLLIS: If the woman in the hospital wanted us to know about this, why didn't she just say 'we're meeting at Mx–162. Check it out.'
FRANK: They didn't know where they were going. She was seeing it.
HOLLIS: Before it happened?

[Frank doesn't answer. The Jeep continues along a winding dirt road and draws up outside a concrete bunker. The door is half ajar. Concrete steps lead down. Frank goes down them, followed by Hollis. There's a door marked 'stairs' but it's locked. Frank pushes a button on the wall and elevator doors open.]

HOLLIS: We're not going in that without backup.
FRANK: Too late.

[He goes into the elevator.]

HOLLIS: Frank, it's basic procedure.

[He hits the button and, a little exasperated, Hollis rushes into the elevator just before the doors close.]

[From inside the elevator shaft, we see the elevator going down almost out of sight, then the counterweight rising up and out of shot.]

[Inside the elevator, still going down, on a look from Frank, Hollis readies herself by getting out her gun. The elevator stops, and flashlights in hand, they exit, Hollis first. There's a large area with pipework, dimly lit. They run and then duck behind a pillar as a figure is seen ahead.]

HOLLIS: We'll run the serpentine cross. Cover me.
FRANK: No weapon. Bureau procedure.

[Hollis is somewhat surprised that Frank isn't carrying a gun. Then she puts down her gun and flashlight and pulls out a gun from her ankle holster and gives it to Frank.]

FRANK: Huh!
HOLLIS: Now cover me.

[Hollis moves off to the next pillar.]

FRANK: You know, she wanted to be seen. She's trying to draw us away from the old woman. Let's split up. I'm gonna go left.

[He runs in that direction. Hollis continues down the wide corridor to where the figure seen earlier disappeared. She enters that area slowly and carefully.]

[Frank is on a staircase, going down. He checks carefully up and down, then proceeds downwards slowly.]

[Hollis still checking out the area when suddenly a door behind her opens, knocking her to the floor. She quickly gets to her feet.]

HOLLIS: Stop! FBI!

[She runs after the young blonde woman.]

[Frank has reached the bottom of the stairs into another area with pipework. His flashlight illuminates the older woman, Mildred Carson.]

[Hollis catches up the younger woman and grabs her, both falling to the floor at the bottom of a short flight of stairs.]

HOLLIS: Stop!

[There's the sound of machinery – the elevator.]

YOUNGER WOMAN: They're here to kill us.

[Hollis helps her up and they go back up the stairs.]

[fade to black]

[polaroid fade up]

[A view within the elevator shaft of the elevator going down again. Then two figures emerge into the area by the bottom of the elevator.]

HOLLIS: Stop! FBI!

[They fire at her. She ducks out of sight and the two men chase after her. They check out an inner area, but Hollis is now behind them.]

HOLLIS: FBI! Drop your weapons! I said drop them now!

[The men comply.]

MAN1: All I saw was the gun. I thought you were going to shoot.
HOLLIS: Move away from your weapons. Do it!

[They slowly walk towards her, hands raised.]

MAN1: Joe Howe. Millennium Group. Ex–Bureau. We're on the same side here.

[Hollis gets out a pair of handcuffs from her pocket and throws it over to them.]

HOLLIS: Snap 'em on. Down on the floor. There!

[She throws over another pair of handcuffs.]

HOLLIS: Both of you. Use the pipes. I want to hear the click.

[As the men do this, another figure appears off to the side, pointing a gun towards Hollis. There's the sound of the elevator again, and the figure turns to look. It's Mabius.]

 

[Frank and Mildred Carson go into the elevator.]

FRANK: Will you wait here till I get the others?

 

[Hollis calls to the younger woman.]

HOLLIS: Come on, let's go.

[The younger woman runs behind Hollis who follows her.]

 

[Frank turns away from Mildred, then sees a figure running towards him, firing.]

FRANK [to Mildred]: Get back.

[She and Frank move to the side of the elevator and the doors close and the elevator starts ascending. Mabius runs to the elevator and prises the door open. He fires at the machinery and the elevator stops. Mabius then runs for the stairs. Frank prises open the inner elevator doors, then the outer ones. The elevator has stopped between floors. Frank starts hauling himself out, but the malfunctioning elevator falls, trapping Frank. Mabius runs up to the stairs to the elevator, which begins now to move upwards, the doors closing, trapping Frank again and carrying him upwards to the top of the elevator opening. Frank desperately tries to free himself, doing so just in time. Mabius has reached the upper floor and fires at the elevator. Inside the elevator, Frank sinks to the floor. Then he hits the stop button and the elevator halts.]

FRANK [to Mildred]: Why does the Group want you dead? What have you seen?

[Mildred is silent.]

FRANK: I need an answer.
MILDRED: The men who built this place thought they could control the world because they had their fingers on the button. And now? No enemies, no wars, no need for them. But the men you knew can't accept that, can't stop. I see what they do in secret.

[Frank is still sitting on the floor. He takes her hand and looks up at her.]

FRANK: What are they doing?
MILDRED: They want the world to end.

[pause]

MILDRED: You see?
FRANK: No, I don't see. I don't see anything at all.

[She gently runs her fingers over his face.]

MILDRED: Now, see.

[Vision: Young blonde woman running in the missile silo, a white house with red roof, a bungalow with 'El Camino', a small church, Mildred's face, Frank and Catherine together smiling and Catherine saying "I'm so happy right now", Catherine saying "Go, Frank", Mildred again, a rural scene of green pastureland, an explosion, Jordan upset, Mildred's face again, Frank turning around to see Jordan running happily down the stairs holding a large paper butterfly. The vision ends and Frank rests his head against the wall.]

[Back in the main corridor, Hollis comes out with the young woman, checking behind her as they run to the elevator. The elevator opens and Frank is standing there alone. Hollis ushers in the young woman and hits the button.]

[Outside, Hollis, Frank, and the young woman emerge into the sunlight. A figure some distance away is watching the three. There are butterflies all around.]

HOLLIS: Frank – wings.
FRANK: Yeah.

[The figure watching them is Peter Watts. He carefully moves out of sight.]

 

[FBI Academy. Hollis goes to her desk. Baldwin is standing nearby, smiling. Hollis notices him.]

HOLLIS: What?
BALDWIN: Nothing.

[He walks away. Hollis then notices the young blonde woman in a nearby interview room. She rushes over, as Baldwin hovers in the background. McClaren intercepts her just as she reaches the door.]

McCLAREN: Hollis! Frank asked to do it alone.
HOLLIS: We were on this together.
McCLAREN: I think he's right. Read his report.
HOLLIS: His report?

[A cough attracts their attention. Baldwin is holding up a report. Hollis walks past him grabbing the report from his hand. As Hollis reads Frank's report, the young woman is signing a document. She slides it across the table.]

YOUNG WOMAN: My confession.
FRANK: Conspiracy to bring down an airliner. You're facing the death penalty, you know that?
YOUNG WOMAN: I already was. We all were. This thing we did, to save the child, not for ourselves, for the future.

[Frank sits back.]

YOUNG WOMAN: I'm sorry for what the Millennium Group did to your wife.

[Frank gets up to leave.]

YOUNG WOMAN: They won't let you go.

[Frank turns back.]

FRANK: I'm not going to let them win.

 

[Outside, Frank goes over to a stall selling toys and gifts.]

STALLHOLDER: What can I get you?
FRANK: A gift, for my seven year old daughter.
STALLHOLDER: I've got just the thing.

[He goes over to the side of the stall.]

[Frank's attention is caught by a young girl stacking up some large blue paper butterflies. The stallholder comes back holding a small object.]

STALLHOLDER: How about this?
FRANK: No, I'll have one of these.

[He takes one from the pile, the young girl smiles at him.

STALLHOLDER: Ok. Five dollars.

[Hollis comes up to Frank.]

HOLLIS: Where are they? I read the confession, and I read your report.

[Frank sighs and walks away, Hollis following.]

HOLLIS: Grillflame, the child, the elderly woman, the Millennium Group – no mention of any of them. It's a lie!
FRANK: That's why I didn't think your name should be on it.
HOLLIS: Why are you doing this? We were down there together. They were shooting at me. Where do you come from, not even telling me the truth.
FRANK: A thousand years ago, everyone thought the end was near. And yet a few years after the first Millennium, the world was covered with a robe of white churches.
HOLLIS: So I guess everyone was wrong.
FRANK: Well, maybe the end was near. But didn't happen. Maybe someone saw a different future.

[Frank walks off. Hollis calls after him.]

HOLLIS: That's no answer. What's that even mean?

 

[Frank's house. Jordan is playing on the stairs with the butterfly.]

FRANK: [voice over] We can see the future in tantalizing glimpses that vanish as quickly as they appear.

[Jordan stops at the bend in the stairs and looks down at Frank who turns to look up at her.]

FRANK: [voice over] A premonition.

[Jordan smiles and walks down the stairs to her father.]

FRANK: [voice over] Not what the future is, but that it is. Waiting for us.

[Jordan reaches Frank who has sat on the bottom stairs. She stands behind him, puts her hands round his neck and rests her head happily on top of his. Frank smiles.]

FRANK: [voice over] A reassuring thought.

[Jordan smiles. Frank caresses her (tiny) fingers.]

FRANK: [voice over] This sight's a burden for some.

[A circle–within–an–eye pendant is being lowered into a box.]

FRANK: [voice over] A duty. The clear view of something happening in this country that could never happen in this country.

[Mildred at an airport. She walks through the security machine.]

FRANK: [voice over] Of forces we believed could not gather here.

[Mildred takes the hand of a young blonde child.]

FRANK: [voice over] We sense the chaos. We worry.

[Mildred and the child walk along an open, raised walkway.]

FRANK: [voice over] We wait.

[Mildred and the child walk through a gateway.]

FRANK: [voice over] Who's going to see a different future?

[fade to black]

[end titles]

Starring:

Lance Henriksen (Frank Black)
Klea Scott (Emma Hollis)

Also Starring:

Brittany Tiplady (Jordan Black)

Guest Starring:

Peter Outerbridge (Barry Baldwin)
Stephen E Miller (Andy McClaren)
Kate Boyer (Attendant Woman)
Ken Pogue (Tom Miller)
Averie Maddox (Deena)
Maxine Miller (Justine Miller)
and
Terry O'Quinn (Peter Watts)

Co–Starring:

Doris Chilcott (Elderly Woman)
William Richert (Tom Coty)
Demetri Goritsas (Agent Dixon)

Featuring:

Barry W Levy (Millennium Group Member)
Tim Dixon (Forensic Doctor)
Ted Cole (Dr Thomas)
Frances Flanagan (Nurse)

Music by Mark Snow
Editor: James Coblentz
Production Designer: James Cordeiro
Director of Photography: Robert McLachlan
Executive Story Editors: Kay Reindl and Erin Maher
Production Manager: Kathy Gilroy–Sereda
Associate Producer: Jon–Michael Preece
Co–Producer: Julie Herlocker
Co–Producer: Patrick Harbinson
Co–Producer: Laurence Andries
Co–Producer: Michael R Perry
Co–Producer: Kathy Gilroy–Sereda
Co–Producer: Paul Rabwin
Consulting Producer: Daniel Sackheim
Producer: Thomas J Wright
Co–Executive Producer: Frank Spotnitz
Co–Executive Producer: Ken Horton
Co–Executive Producer: John Peter Kousakis
Written by Chip Johannessen
Directed by Ralph Hemecker

Executive Producers: Michael Duggan and Chip Johannessen
Executive Producer: Chris Carter