306 Skull and Bones
Written by Chip Johannessen & Ken Horton
Directed by Paul Shapiro
Edited by Peter B. Ellis
Air Date: 6 November 1998
[Transcribed by Emmett S. Land
Edited by Libby]
[A highway construction site on a dark rainy day. There is a dump truck backing up with its warning beeper blaring. Workers in hard hats are moving about doing their work. In the distance is a heavy duty CAT grader grading the path for the new highway. There is someone, probably the foreman, in a small truck pulling up behind the grader blowing his horn to get the attention of the grader operator. The foreman jumps out of his truck and runs toward the grader waving his arms.]
FOREMAN: Stop! Stop! Stop!
[The grader operator stops the grader.]
FOREMAN: You're way off!
[The grader operator opens the grader cab door.]
GRADER OPERATOR: What's up?
FOREMAN: This is already at grade! Just waiting for gravel.
[The grader operator gets out of the cab and looks around. The foreman looks down at a muddy hole in the ground and notices something odd.]
[The foreman and grader operator move closer. In the mud are parts of a human skeleton including a skull. Once they realize what it was, the two men look at each other in disbelief.]
[Through someone else's eyes: a white cloudy sky above some trees. Across the sky comes a human skull spinning toward us like a ball. When it comes down close to us, a softball glove reaches out and catches it. No longer looking through this guy's eyes, a boy takes the softball (it is no longer a skull) from his glove and throw it. Funky music is coming from a boom box and sounds of people enjoying a nice day at the park. The guy is sitting on a park bench watching people and periodically writing down words in a very cramped style in a journal.]
VOICE 1: Shut up, pig face, or I'll tell.
VOICE 2: Go ahead and tell. You'll still be fat and ugly.
[The guy looks up from his journal and sees what appears to be two woodchucks in the grass in front of him arguing. But, looking up further, he realizes that it is two girls on their bicycles who are arguing.]
GIRL 1: You'll still be a big stupidhead, big stupidhead.
GIRL 2: Take it back. I mean it. You're not my friend.
GIRL 1: Stupid.
[The guy slowly turns his head and looks at a large rock beside the park bench. Through his eyes: a skeleton hand come out of the dirt by the rock. He looks forward and blinks his eyes. Seconds later, he slowly looks back toward the rock and he sees the skeleton hand still there reaching upward. He quickly looks forward again, and then continues writing in his journal.]
[polaroid fade up]
[Fingus, Maine. As the camera pans over the highway construction site, there is radio dispatch chatter as police officers block off parts of the site with yellow crime scene tape. Peter Watts and the local sheriff walk through the scene.]
SHERIFF: Twelve years as sheriff, I never had a single unidentified body. Now they put this new federal highway through and suddenly we're rolling in them. Can't say I ever had a need to call the FBI out here before.
WATTS: Actually, I'm former FBI. I work with a private consortium called the Millennium Group. The FBI subcontracts out to us on certain kinds of cases.
[A police officer walks up and hands Watts some paperwork.]
POLICE OFFICER: Mr. Watts.
WATTS: Thank you.
SHERIFF: Not local, I can tell you that. I know everybody in this county, dead or alive. Nobody's missing.
WATTS: I'd like to get these remains undercover. A large tent will be fine. Also we're going to need power generators, phone lines.
SHERIFF: It's already on its way. Special Agent Baldwin made the same requests.
WATTS: That's good. I'm glad to see you got your bases covered.
[Two automobiles pull up. FBI Special Agents Barry Baldwin and Emma Hollis, along with their FBI team, gets out of the automobiles and walk towards Watts.]
WATTS: Barry Baldwin.
[Baldwin nods and he greets Watts with a handshake.]
WATTS: Peter Watts. We met briefly at Quantico. I was involved in that investigation with the downed airliner with the Millennium group.
BALDWIN: What are you doing out here, Peter?
[They walk across the highway construction site.]
WATTS: Sheer coincidence. A few of us were out here on something else and we got a call. Piece of luck.
[In an aerial view, parts of the highway construction site have been sectioned off and being searched for more human remains. Watts, Baldwin and Hollis are crouched down, examining the bones previously found.]
WATTS: We found only two skulls but pieces of three separate scapulas were unearthed along with duplicate metacarpal fragments which indicate there might be more to come.
BALDWIN: It's going to be hard to make any IDs with what we've got here.
WATTS: A lot of pieces, scattered fragments. The heavy equipment didn't help us. But then, I saw you do an amazing job IDing those crash victims with a whole lot less.
[Baldwin politely waves off Watts's compliment.]
HOLLIS: It's not just the teeth. The bones look stripped and clean. There are caustic burns here from acid or some kind of leaching agent.
BALDWIN: Probably potassium hydroxide.
WATTS: Yeah, that would be my guess, too.
HOLLIS: Maybe we should test the surrounding soil for potassium hydroxide. It could lead us to more bodies.
WATTS: Mm–hmm. Excuse me.
[Watts stands up and walks away.]
BALDWIN: [speaking to Hollis] That's a good man. He used to be Frank Black's partner in the Millennium Group.
[Hollis turns and looks at Watts as he briefly speaks to another Millennium Group member – Mabius – and then continues to walk out of view.]
[Quantico. Andy McClaren in his office as Frank Black knocks on the door and enters.]
McCLAREN: Frank, thanks for rushing in here. You, uh, heard about this thing up in Maine?
FRANK: Look, Andy, you don't want me on that case, that's your call. I'm not complaining.
McCLAREN: No. What are you talking about? I figured four agents up there is plenty.
FRANK: Peter Watts is up there representing the Millennium Group.
[Frank sits down in a chair across the desk from Andy.]
McCLAREN: Well, it's news to me, Frank. Really. Anyway, you're still wrong. I want you on this case. But working on a different angle. Down here.
[McClaren pulls several clear plastic evidence bags out of an envelope and gives it to Frank.]
McCLAREN: Fifteen years ago, a woman named Cynthia Paggett disappeared. I got this note describing her murder–– alleged murder. Precise location, what she was wearing, every last detail. But we could never find a body. In fact, we could never find any evidence of any crime. Now, everything in the note had already come out in the newspaper, including the fact that I was investigating, so, yeah, I figured crackpot. Let it go.
McCLAREN: I got five more notes that same year. Each one, like the first, just a name of someone who disappeared. Each of them, like the first, a matter of public record.
[Frank looks through the evidence which includes newspaper clippings with photos of those who disappeared.]
FRANK: Professional people. These are not your usual victims.
McCLAREN: I always felt we'd heard from the killer. There was zip evidence of any crime, legwork went nowhere. Anyway, the notes stopped, everything went away. But, check the writing.
[Frank looks closely at the writing of each letter.]
FRANK: The writing gets smaller with each correspondence.
McCLAREN: This arrived yesterday.
[McClaren hands Frank another letter inside a clear plastic evidence bag. It's a longer note than the previous ones, written in very cramped lettering.]
FRANK: Obsessive. He's a writer. That's what he does. There will be journals and diaries.
McCLAREN: The last two words. Take a look.
[McClaren gives Frank a magnifier so he can read the very small print. The last two words in the letter are, 'Fingus, Maine'. Once seeing these two words, Frank quickly looks back at McClaren.]
McCLAREN: The same guy, fifteen years later. He describes the burial site in a letter with the same postmark.
[The postmark is 'ARLINGTON, VA. 22203, NOV 05 1998'.]
FRANK: He's here.
McCLAREN: Find him, Frank.
[The highway construction site in Fingus, Maine. Another skeleton is being carefully unearthed and a photograph taken. Hollis is looking over the skeleton as Peter Watts approaches.]
WATTS: Agent Hollis, Baldwin says you found something. Another intact skeleton.
HOLLIS: It looks like a female but it's not going to do us much good. The teeth have all been removed. I was hoping we might find a piece of jewelry.
WATTS: We checked several soil samples. No traces of the leaching agents you were asking about.
HOLLIS: I don't think this was the original burial site. I think they were buried somewhere else then moved here so they'd be buried under the freeway forever. They were only discovered by accident. A guy on a grader moving dirt that was set to be covered. If we follow the route of the highway where they haven't graded yet, we might find a burial ground or even a murder site.
[Watts sighs and shakes his head no.]
WATTS: I had the same thought. I couriered three separate pieces of skeleton to a lab in Bangor before you all got here. Unfortunately, they found traces of a fungus that couldn't possibly have survived in this climate.
HOLLIS: What kind of fungus?
WATTS: Some variety of aspergillus that is fairly unique to central Florida. So, whoever moved these bodies here went to a whole lot of trouble. But it was a good thought, Agent Hollis.
[Hollis walks away. Watts looks as if he thinks Hollis needs to be convinced of his findings and follows her to a tent.]
WATTS: I'd be happy to show you those results, if you like.
HOLLIS: No. I'm sure you're right.
[Hollis walks to another table and writes the time on a clipboard, apparently getting ready to catalog some evidence. Watts sighs and follows her.]
WATTS: Okay, you have a bad impression of me and it's because of Frank Black.
HOLLIS: I don't have any impression of you.
WATTS: I was with the Bureau for almost twenty years. I've seen the politics. Frank is not immune.
HOLLIS: Is that some kind of advice?
WATTS: No, but I don't like to be maligned or have the people I work with spoken poorly of.
WATTS: I'm – for me, it's always been about the work.
[Someone carries in a tray with parts of the latest skeleton that was unearthed and puts it on the table. Hollis picks up the skull.]
HOLLIS: Look at this. Looks like a bullet hole.
WATTS: Point–blank, judging from the depression at the entry point.
HOLLIS: An execution wound. What's this?
[Hollis takes a brush and removes some of the dirt from the side of the skull.]
WATTS: Discoloration. Aspergillus?
HOLLIS: No. Look.
[Hollis takes a pointed instrument and removes a circular plug from the side of the skull.]
HOLLIS: There was a surgical procedure. To relieve pressure from a head injury. They plugged up the hole. How common can that be?
[Barry Baldwin enters the tent.]
BALDWIN: Buried treasure?
[Frank is on a cell phone talking to McClaren.]
FRANK: I'm at 471 East Maple. Uh... they described this as the first murder site.
McCLAREN: It was a restaurant. Crummy seafood.
FRANK: Well, it's a parking lot now. Maybe you could orient me.
McCLAREN: Oh, man, without the building... I remember the site was, uh, very hidden.
FRANK: Yeah. Well, there's nothing here now.
McCLAREN: Is there a retaining wall?
FRANK: How far down the wall?
McCLAREN: I don't know. About halfway. We ought to have some photos on this somewhere, shouldn't we?
[Frank looks along the retaining wall and notices something.]
FRANK: I'll get back to you, Andy.
[Frank hangs up the cell phone and walks toward the retaining wall. A man is looking through the blinds of his apartment window looking down at Frank. It is the same guy at McMillan Park earlier. Once Frank gets close to the retaining wall, he notices an eye painted on the wall. Upon seeing this eye, Frank gets a vision from his gift: quick flashes of a bloody hand; Cheryl Andrews being held down and shot in the back of the head; Frank looking in a mirror with blood dripping down it; large black rubber gloves and some saws and other cutting tools hanging on a wall; a hacksaw up against a bloody human limb; Frank spitting blood from his mouth; and a hammer, mallet, meat cleaver and other knives sitting on a table top. Once the vision stopped, Frank looks up and sees the guy looking down at him. The guy moves away from the window and Frank looks at the eye once again.]
[Frank is now inside the apartment building walking down a hallway. A dog starts barking. Frank passes up the first door he comes to and knocks on the second door. The guy slowly exits out of the first door and walks away from Frank.]
[The guy turns and looks at Frank and then runs.]
[Frank chases the guy down the stairs, out of the back of the building and down an alley. He catches up with the guy in the parking lot.]
[The guy stops, closes his eyes and raises his hands over his head as if he was under arrest. Frank walks around him. Both are breathing heavily.]
FRANK: What are you doing?
THE GUY: You said stop.
[Frank tugs downward on the guy's jacket wanting him to put his hands down and relax.]
FRANK: Come on.
[The guy puts his hands down with a confused look on his face.]
[We now see Frank and other FBI agents searching the guy's apartment. The guy is being held out in the hallway. Frank picks up a newspaper and sees an article, 'Grisly Find: Remains of 6 bodies found'. McClaren walks in.]
McCLAREN: I tell you, Frank, you caught yourself a weird one here.
FRANK: What did he say?
McCLAREN: Nothing. Not a word. He's wound up, jumpy. So there's nothing here.
FRANK: No. He was watching me. They have to be here. Journals, something.
[Frank grabs a handful of pens from a pencil cup and holds them up.]
FRANK: He's a writer.
[Frank slams the pens down on the desk out of frustration and looks out the door at the jumpy guy who looks about to cry. McClaren turns and walks out of the apartment, Frank sits in a chair and sighs. The guy is led away. We then see Frank walk out of the apartment into the hallway, closing the apartment door. He is the last to leave. He puts on his jacket and looks at the closed door. As he starts walking down the hallway, he notices a vent down by the floor. The vent is covered from the inside. So, Frank takes a pen from his shirt pocket and pushes the cover loose through the grate. He then sees intermittent light coming through the vent as if it was shining through a slow rotating fan. Frank goes back into the apartment and finds a hidden room through the back of a closet. In this hidden room he finds rows and rows of journals. Each journal was titled with a victim number and name.]
[fade to black]
[polaroid fade up]
[Fingus, Maine. Inside a tent Hollis is continuing her work. There are two skulls in a tray with a light shining down on them. Watts is bent over observing an FBI agent examining a skull and trying to rebuild an image of the victim on a computer.]
FBI AGENT: The skull is gracile, that is, smooth and delicate. It's almost certainly female. The palate has a caucasian aspect to it.
[The FBI agent types some data into the computer and some of the features of the victim are generated on the screen.]
FBI AGENT: She was probably of Northern European extraction. You see the pitting inside the brain case? That erosion there?
[The FBI agent points at the erosion.]
FBI AGENT: It's from an infection. That's why they had to drill the hole.
[The FBI agent types some more data into the computer and more of the victim's features are generated on the screen. Hollis walks over with a folder and looks at the image on the computer screen.]
WATTS: Welcome to the future, huh?
HOLLIS: Oh, my God, that's her.
HOLLIS: Cynthia Paggett. We cross–referenced medical records state by state down the eastern seaboard trying to ID the skull.
[Watts stands up straight.]
HOLLIS: Using the position of the hole and by matching the bore lines to a surgical drill bit used at Mass General in the early '80s, we narrowed it down to four possibilities. Including...
[Hollis pulls out a polaroid picture of Cynthia Paggett from the folder and hands it to Watts. Watts holds the picture up to the image on the computer screen. They both have the same distinctive facial features. Hollis smiles as she is amazed at the similarities.]
WATTS: Yeah, well... it's a place to start.
[Watts slaps the picture down on the folder Hollis is holding and walks away. He seems disturbed that Hollis has IDed one of the victims. Hollis looks confused at Watts's reaction. Baldwin walks into the tent and passes Watts on his way in.]
BALDWIN: Hollis, McClaren's on line one. He's got some kind of an update.
[Hollis walks over to Baldwin and attempts to show him the picture. But before she could say anything:]
BALDWIN: [low voice] What did you do to piss him off?
[Baldwin walks over and sits on the table and opens line one on the phone. Hollis joins him.]
BALDWIN: We're all here, sir.
McCLAREN: I understand you're close to making your first positive ID.
BALDWIN: Yes, sir.
HOLLIS: No. We've just got a confirmation on that, sir. A Cynthia Paggett.
[Hollis shows the picture to Baldwin.]
McCLAREN: Excellent. That's real good work.
BALDWIN: Thank you, sir.
[Watts moves into view still looking disturbed.]
McCLAREN: Just so you know, we have a suspect in custody.
BALDWIN: Did we get a confession?
McCLAREN: No. But we have a list of six victims we'd like you to work off.
[Watts makes eye contact with Mabius.]
McCLAREN: Uh, their names and supporting materials are being sent to you as we speak. Medical records should allow you to ID the skeletons absolutely.
HOLLIS: How many victims?
McCLAREN: Six, which I understand matches the body count.
BALDWIN: So, we're done. We can go home.
McCLAREN: Looks like. Good job, people.
[Watts once again makes eye contact with Mabius. This time Hollis notices.]
[Back in the jumpy guy's apartment, Frank is sitting and reading one of the journals. Something seems to give him an idea. He gets up and enters the hidden room to get another journal. He searches and finds one that is titled 'Victim 38 – Cheryl Andrews, M.D.'.]
[Frank is now back at Quantico in an interrogation room with the jumpy guy, whose name is Ed.]
FRANK: Where did you get this name? Victim 38? She was a friend of mine. Cheryl Andrews.
ED: M.D. Disappeared October 9, 1997.
[Frank walks closer and sits on the table.]
FRANK: What do you mean, 'disappeared'?
ED: [low voice] She did autopsies.
ED: [low voice] That's what killed her.
FRANK: What do you mean? What do you mean, Ed?
[Frank reaches for the journal on the table in front of Ed. Ed frantically grabs the journal and hugs it tightly against his chest.]
ED: They keep me safe. If they find them, they'll know I know.
FRANK: Who are 'they'? Have you seen them? Do you know their names?
[McClaren knocks on the interrogation room window and Frank acknowledges him.]
[Frank slowly reaches for the journal Ed is clutching.]
FRANK: Let me have it. It's okay.
[Ed puts his finger up to his lips (as someone does when they want you to be quiet) as Frank walks out of the interrogation room.]
McCLAREN: What are you doing, Frank?
FRANK: Interrogating a suspect.
McCLAREN: Yeah, well, we have procedures for that, you know? What's the book?
FRANK: He's not our killer, Andy.
McCLAREN: Come on, Frank, who are you kidding? I have never seen so much evidence against one man.
FRANK: He's just a witness. He witnessed the first murder from his window.
McCLAREN: What about all the others? We're talking about six bodies here. Six murders. He knows about all of them.
FRANK: He learned about them. Look at the victimology. It's people whose disappearance would be recorded in the newspaper: scientists, doctors, teachers.
McCLAREN: Yeah, well, there were no doctors, Frank. Not on the list he gave us. What is it you are not telling me, Frank.
FRANK: There are more bodies up there.
[Fingus, Maine. Hollis unplugs some equipment and various police officers moving about carrying boxes. A police officer approaches Hollis.]
POLICE OFFICER: There was one of your guys looking for a photo of that suspect you're holding. I don't have one. Maybe I should...
HOLLIS: One of our guys?
POLICE OFFICER: He was working with that Millennium fella.
[A nearby phone starts ringing. Hollis walks over and answers it.]
HOLLIS: Emma Hollis.
FRANK: There's a reason Peter Watts is there.
FRANK: Victim 38 is why he's there.
HOLLIS: What are you talking about? Victim 38? We've got six; we're done.
FRANK: No, you're not. Victim 38: Her name was Cheryl Andrews. She was a doctor. Peter Watts is there to find her remains and keep them a secret.
HOLLIS: From who?
FRANK: From me. I used to work with her in the Millennium Group.
HOLLIS: What do you want me to do?
FRANK: I'm sending you an e–mail.
[Hollis is sitting in front of a computer with her back to the tent door. She opens the e–mail from Frank and sees a picture of Cheryl Andrews with a note from Frank saying 'They Killed Her.' Mabius walks into the tent and sees what is on the computer screen over Hollis's shoulder. Hollis turns and looks at him and he walks back out of the tent. Hollis turns back to the computer screen and then looks at some of the skulls on a nearby table. Hollis walks out of the tent and starts following the planned route of the new highway (this is where she suggested to Watts they look before he told her the Florida fungus story). She sees the front wheels of a police car sunk into some loose mud. She walks in that direction. As she got close, her shoes sink into some loose mud. She takes a few more steps, puts on some examination gloves, kneels down, and starts digging with her hands. Watts comes up behind her. Hollis then unearths a human skull and holds it in her hands.]
WATTS: What'd you find?
[Hollis turns to Watts and looks startled. She then looks back at the skull.]
[fade to black]
[polaroid fade up]
[Still in Fingus, Maine, Hollis is looking over the remains of the victim she just found. An FBI agent is taking pictures. Baldwin walks up to Hollis.]
BALDWIN: It was a good find. We were packing up. What made you even think to look here, Hollis.
HOLLIS: I saw a depression in the soil, an irregularity. A piece of luck.
BALDWIN: You're not working on information that we're not privy to, are you?
HOLLIS: I heard from Quantico there might be more bodies.
BALDWIN: From Quantico?
HOLLIS: From Frank Black. I was under the impression it was breaking information. I am not working in secret, if that's what you're thinking, Barry.
[Baldwin looks pissed off as he turns and walks away.]
[Back at Quantico, Frank enters the interrogation room where Ed is being held. Frank relieves the officer guarding Ed.]
FRANK: Thank you.
[Frank closes the door once the officer is out of the room. He walks over and puts a journal and some pens on the table in front of Ed and sits down. Ed grabs the journal, opens it, and starts writing.]
FRANK: The victims they found buried in Maine, I'm reading here in your journal. They were programmers, scientists, doctors, uh, school test administrators with no apparent connection.
[Ed slightly snickers.]
FRANK: I need your help.
[Ed stops writing and closes the journal.]
ED: Then get me out of here. It's not safe.
FRANK: You're still a suspect until we find who did this. Cheryl Andrews. You said an autopsy killed her. What's the connection, Ed?
ED: Everything. Everything's connected. It's what all of them knew. It's who she was. Princeton undergrad, Harvard Medical School. Johns Hopkins Post Doc.
[As Ed is speaking, Hollis is using a computer doing research on Cheryl Andrews. Through public records, she finds the same information that Ed is speaking of.]
ED: Publications: 'The Effect of Electromagnetic Radiation on Human Brain Catabolism and Behavior'. And... 'Autopsy on John Doe!'.
[Cheryl Andrews doing the autopsy.]
ANDREWS: An enormous mass approximately 60, 6–0, centimeters anterior, slightly larger posterior.
[Andrews covers the microphone to make an 'off the record' comment to Peter Watts and Mabius.]
ANDREWS: Nothing approaching this scale has ever been reported.
[Andrews uncovers the microphone and continues the autopsy.]
ANDREWS: A cascading tumor precipitated by pulsed electromagnetic radiation.
[On her computer screen, Hollis sees that the John Doe autopsy was witnessed and signed by Peter Watts.]
ED: There are records of everything. It's all there. It's all there in plain sight. That's how I know.
FRANK: Know what?
FRANK: Know what? Secrets?
ED: No, no, no! No. There are no secrets! Not anymore, but you see, people can be erased. If a school test administrator finds thousands of I.Q. tests tampered with – gone. If witnesses in Oklahoma City report a halo effect five seconds before the explosion – gone. If five satellites explode on their launch pads and somebody asked why?! – gone. If a doctor doing an autopsy finds a mutation two weeks after a so–called radio installation goes online in Alaska...
FRANK: Cheryl Andrews.
ED: ...gone. She went to a conference in Germany to report what she found. She never made it.
[Hollis pulls up the arrest record of Cheryl Andrews (using an interagency link) where she was arrested for murder in Germany (refer to 'The Hand of Saint Sebastian' episode, season two. This is why she never made it to the conference). On Hollis's computer screen: 'Autorisieren Homer B. Pettey'.]
ED: They had her arrested and deported.
[Cheryl Andrews is at an airport showing her passport. The customs agent scans her passport number into a computer. It pulls up her criminal record where she was arrested in Germany with a note that says:
Refer to SD Processing
Authorization: Homer B. Pettey
AGENT: I'm going to have to ask you to step to the side, please, ma'am.
ANDREWS: I – I don't have anything to declare. Literally, all I have is my passport.
AGENT: Just go with the officer, please.
[Andrews is escorted away by an officer with a confused look on her face.]
ED: And that's the last I have on Cheryl Andrews. Frankfurt Airport.
[On Hollis's computer screen:
Department of State
Bureau of Intelligence and R [the rest is off the TV screen]
DO NOT PERMIT EGRESS.
Then Andrews is being thrown to the floor in a stairwell.]
ED: Arrested, deported – and then the record stops.
[Andrews gets shot in the back of the head.]
[It seems that Hollis has put the pieces together that the Millennium Group may have executed Cheryl Andrews. She looks at the skulls lined up on a nearby table. She calls Frank.]
FRANK: [answering phone] Hello?
HOLLIS: Homer B. Pettey–– Does that name mean anything to you?
HOLLIS: Cheryl Andrews was arrested in Germany and released before trial. It was authorized by Homer B. Pettey.
FRANK: You're hoping she's not up there among the bodies. They destroyed her because she got involved in something, saw something, knew something.
HOLLIS: Who, the Millennium Group?
[Frank remains silent. Watts enters the tent behind Hollis.]
HOLLIS: Is this how you live? Wondering if it will happen to you, to your daughter?
[Hollis turns and sees Watts standing there.]
FRANK: Hollis, watch your back.
[Hollis hangs up the phone.]
WATTS: I wish now we'd finished our conversation about Frank.
HOLLIS: What do you mean?
WATTS: You're a promising agent, Hollis. You're smart, capable. He's doing you a great disservice.
HOLLIS: He's not doing anything.
WATTS: Frank has had a lot of good years, but paranoid delusions reinforce themselves. Every new fact tends to confirm the fiction. I don't care if you're talking about space aliens or J.F.K. or the Millennium Group.
[Watts approaches Hollis and shows her a copy of a Omaha Gazette newspaper article, dated February 15, 1998, announcing the death of Cheryl Andrews. The title of the article was 'Local Doctor Passes'. It also shows a picture of her.]
WATTS: Cheryl Andrews was a valued comrade who died ten months ago at her home in Omaha. I was at the funeral, as were several other Group members. It was open casket. You can ask her family if you want to make that call. I don't know what else...
[Watts turns and walks out of the tent. Hollis looks dumbfounded.]
[fade to black]
[polaroid fade up]
[Hollis is in a library looking through newspaper archives on microfilm. She finds the exact same article that Watts gave her a copy of. As Hollis is turning off the microfilm reader, a librarian walks up behind her.]
LIBRARIAN: Did you find what you were looking for?
HOLLIS: I already had it.
[Hollis gets up and walks away.]
HOLLIS: Thank you.
[On her way out, Hollis notices some large posters with information about the new interstate highway being constructed. One of them looks like an aerial view of the path of the new highway titled 'EMINENT DOMAIN – WHO HAS TO MOVE?'. Among the list of names of those who need to move, Hollis sees the name 'Homer Pettey'.]
[Quantico. Frank and McClaren are looking through a corridor window at Ed who is sitting at a desk giving information to a guy writing on a clipboard.]
McCLAREN: You're telling me that he linked 43 disappearances by reading the newspaper?
FRANK: A lot of newspapers and magazines. Scientific periodicals, Internet newsgroups. He witnessed the murder and it shook him, changed his life. Since then, he's been obsessively recording everything about everyone he's come across. Making connections, building theories. One victim leading to the next.
McCLAREN: Can he ID the perpetrators?
FRANK: You know who that is, Andy. They'll kill him.
McCLAREN: You know what you're talking about, Frank? Mass murder. Bodies boiled down to skeletons.
FRANK: He's done his part. Don't make him testify.
McCLAREN: Well, I am not going to release him to his own recognizance. He's a nutcase. We'll never see him again. I'll put him in the Witness Protection Program.
[Ed makes eye contact with Frank and slowly shakes his head no as if he knows what Frank and McClaren are saying (maybe he can read lips).]
FRANK: Release him, Andy. He's safer on his own.
[Maine. Hollis is approaching an old rundown farm house. On the mailbox is the name 'Pettey' written in white paint. Hollis walks up on the porch.]
[Hollis pulls out her gun and approaches the front door which is ajar. She user her gun to knock on the door.]
HOLLIS: Anybody there? Mr. Pettey? FBI. Anyone here?
[Hollis pushes the door open and slowly enters the house. There is a bowl of cereal and spilled milk on the kitchen table. Hollis walks to an entrance way, blocked off with plastic, that leads to another room. But, she is then startled by a radio that starts playing the song 'Love Hurts' sung by Nazareth. She quickly turns around and walks toward the radio sitting on the back of the stove. She sees that it is plugged into an automatic timer.]
[Song lyrics: 'Love hurts... Love scars... Love wounds...']
[The stove is next to a doorway that leads to a bedroom. Hollis looks in and sees an unmade bed and notices some brutal looking instruments on top of a dresser.]
[Song lyrics: 'Almost... Any heart... Not tough... Or strong... Enough...']
[Hollis returns to the entrance way blocked off with plastic and enters.]
[Song lyrics: 'To take a lot of pain... Take a lot of pain... Love is like a cloud... Holds a lot of rain... Love hurts... Ooh, ooh, love hurts.']
[In this room is a tray with more brutal instruments and a metal stool off to the side. In the center of the room, there is a table of some sort with a yellow covering.]
[Song lyrics: 'I'm young... I know... But even so...']
[Hollis removes the yellow covering revealing a brutal looking medical table with stirrups.]
[Song lyrics: 'I know a thing... Or two... I learned... From you...']
[Hollis walks through this room and to a doorway that leads to another dark room.]
[Song lyrics: 'I really learned a lot... Really learned a lot... Love is like a flame... It burns you when it's hot...']
[In this room is a bloody handle of a water hose which is slowly dripping. Hollis shines her flashlight around.]
[Song lyrics: 'Love hurts... Ooh, ooh, love hurts...']
[There are more brutal instruments, most of them bloody (this is what we saw in Frank's vision earlier). There is a large metal meat hook, large rubber gloves, bloody saws, mallets, meat cleaver and knives. Blood is splattered on the walls.]
[Song lyrics: 'Some fools think of happiness... Blissfulness... Togetherness...']
[Hollis shines her flashlight on a bathtub filled with a bloody liquid. She begins to gag so she puts her hand over her mouth and stumbles out of the room.]
[Song lyrics: 'Some fools fool themselves, I guess... They're not foolin' me...']
[She returns to the kitchen to regain herself. Once in the kitchen, she notices a human skull that was not there before, sitting on the kitchen table next to the bowl of cereal.]
[Song lyrics: 'I know it isn't true... I know it isn't true... Love is just a lie... Made to make you blue...']
[She walks over to the skull. Peter Watts is standing in the doorway that leads into the house. Hollis quickly turns around and points her gun at Watts and cocks the trigger.]
[Song lyrics: 'Love hurts...']
WATTS: You've got this all wrong.
[Song lyrics: 'Ooh, ooh, ...']
HOLLIS: Is that her?
[Song lyrics: '... love hurts...']
[Watts walks toward Hollis. She does not shoot.]
HOLLIS: Is that her?!
[Watts grabs Hollis's gun. After a brief struggle, he manages to take it away from her.]
[Song lyrics: 'Ooh, ooh, love hurts...']
WATTS: You tell me. Did you find what you were looking for?
[Hollis looks at Watts, down at the skull, then back at Watts.]
[Song lyrics: (Lead guitar solo)]
[Back in Virginia, Ed is in Frank's automobile writing in a journal. Frank is driving him back to his apartment.]
ED: You know who they are, don't you?
FRANK: Yeah. I used to work for them.
[Ed shows Frank a page in the journal where he just drew a perfect drawing of the ouroboros.]
ED: Are they the government?
FRANK: Not exactly.
ED: Work for the government?
FRANK: Yes, sometimes.
[When they drive up to the back of Ed's apartment building, Frank sees a suspicious van parked in the alley.]
FRANK: Stay there. I mean it. Listen to me. Don't move.
[Frank gets out and walks up to the back of the van. Inside the van are three stacks of Ed's journals wrapped up in plastic. Frank enters Ed's dark apartment and walks toward the hidden room. Back outside, Ed looks inside the back of the van. When he sees his journals, he tries to open the van door, but it is locked. He walks back to Frank's automobile. Frank enters the hidden room. From behind, there is a gunshot. Frank falls to the floor and Mabius walks toward the hidden room with gun in hand. He points the gun directly at Frank's head. But before he shoots, he is distracted by the sound of the van's driver's side door window being shattered by a tire iron. Frank takes this opportunity and tackles Mabius to the floor at which time he loses his gun. Outside, Ed gets in the van and starts up the engine. Mabius gets up and goes for the gun. As he picks it up and turns around, Frank pushes him out the second floor window. Mabius lands on top of the van with his upper part cracking the windshield. As he pulls his upper part up, Ed sees Mabius's hand which appears to him to be only skeletal bones. Ed puts the van in gear and speeds off as Mabius rolls off the van and hits the road. As Frank looks out the window, Mabius slowly gets up and limps away.]
[Maine. The gruesome Pettey farmhouse is being bulldozed with a large backhoe to make room for the new highway. Hollis and Watts are observing the destruction. Watts is still holding Hollis's gun.]
WATTS: Whatever terrible thing happened to those victims saddens me as much as it does you.
HOLLIS: You know what happened to them.
WATTS: We live in a free and stable society. While all around us countries are collapsing in poverty, chaos, tyranny. That's no accident. It's not a matter of luck.
HOLLIS: 43 people are dead.
WATTS: 43 threats are now gone.
[Watts moves forward and faces Hollis. She looks at him in the eyes but periodically looks down at her gun in his hand.]
WATTS: There are forces at work today that could easily tear this country apart. Terrible weapons being developed, with us as their target. Who, Agent Hollis, is prepared to do what is necessary to assure our future?
[In the background, the farmhouse is pretty much demolished.]
WATTS: You'll see.
[Watts gives Hollis back her gun.]
WATTS: And then we'll talk.
[Hollis takes her gun and leaves as the human skull is being crushed to rubble underneath the track wheels of the backhoe.]
[Quantico. Baldwin is sat in a chair in McClaren's office while Hollis is stood leaning against the open doorway.]
BALDWIN: We've recovered a total of 42 victims.
McCLAREN: 43, I thought?
[Baldwin looks at his paperwork.]
BALDWIN: Uh, no, 42. Now, even if we definitively ID all of them, the process is going to take months, maybe years. The Millennium Group identified a fungus on the bones unique to central Florida. It's a variety of aspergillus.
[Hollis has a disgusted look on her face.]
BALDWIN: So at this point, I recommend that we shift our efforts southward.
McCLAREN: Do you have anything to add to that, Agent Hollis?
HOLLIS: No, sir. Excuse me.
[Hollis walks away. McClaren looks as if he suspects that she knows something more. Hollis grabs her jacket and shoulder bag. As she is leaving, she sees Frank.]
HOLLIS: Don't expect me to thank you, because I didn't want to know this.
FRANK: Know what exactly?
HOLLIS: The truth doesn't really matter, does it? Only what you can prove.
FRANK: Oh, the truth does matter, Agent Hollis. It does.
[Frank leaves and Hollis follows him out.]
[We then see Ed drawing an eye on a blank piece of paper. He puts it in an envelope addressed to:
He seals the envelope and drops it in a postal mailbox. He then crosses a street pushing a two wheeled cart stacked with the three stacks of journals still wrapped up in plastic. He looks over his shoulder to make sure he is not being followed.]
[fade to black]
Lance Henriksen (Frank Black)
Klea Scott (Emma Hollis)
Peter Outerbridge (Barry Baldwin)
Arye Gross (Ed)
Stephen E Miller (Andy McClaren)
CCH Pounder (Cheryl Andrews)
Terry O'Quinn (Peter Watts)
Bob Wilde (Mabius)
Jason Diablo (D.O.T. Foreman)
Rob Morton (D.O.T. Driver)
Mitchell Kosterman (Sheriff Walden)
Keir MacPherson (Technician)
Rob Freeman (Customs Officer)
Barbara Dyke (Librarian)
Music by Mark Snow
Editor: Peter B Ellis
Production Designer: Mark Freeborn
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 and Ken Horton
Directed by Paul Shapiro
Executive Producers: Michael Duggan and Chip Johannessen
Executive Producer: Chris Carter