310 Borrowed Time
Written by Chip Johannessen
Directed by Dwight Little
Edited by Chris Willingham A.C.E.
Air date: 15 January 1999
Edited by Libby]
[Hospital room – night. The steady beep of a monitor.]
[A Priest is looking down at a patient whom we cannot see. He glances at his watch: it reads 10:13. He picks up the amice, putting it around his neck. He picks up a prayer book and starts reading from 'The Ministry to the Sick'.]
PRIEST: Almighty Father, to whom alone belongs life and death, we know if thou wilt though canst even yet raise thy servant up.
[A train, moving through the night.]
PRIEST: If it shall be Thy pleasure to prolong her days here on earth ...
[Aboard the train. The Conductor looks his watch: 10:15. He goes back to his book, which is entitled 'The Gift'. Unbeknownst to the conductor, a hand reaches in and takes a set of keys hanging on the wall.]
[In the corridor is a 30–year–old man, Samiel, clad in a black leather jacket and black jeans. He has a cut on his lip. He flips through the keyring until he finds the one he wants.]
[In one of the compartments, a Businessman, a Young Woman, and a Mother and her Daughter, who is around Jordan's age, are the occupants. The adults read while the girl draws.]
BUSINESSMAN: [to the girl] So do you like this train?
YOUNG GIRL: [smiling] Yeah, a lot.
[Outside, the train suddenly switches to a different track, throwing everyone off to one side. The passengers shakily pick up their belongings.]
MOTHER: [to her daughter] Everything's okay, honey.
[In a rail traffic control center, several Operators are manning a display board that shows various trains and their locations as red blips on–screen. There's a beeping and a red blip begins blinking rapidly. The time on the switchboard reads: 10:16.]
OPERATOR #1: What the hell is 108 doing? We've got a situation here!
[He points to a red blip which has appeared on a branch line off the Baltimore to Washington DC main line. He reaches for a phone, while Operator #2 tracks the train's location.]
[On the train, the passengers settle. Samiel is in the corridor looking in to the compartment.]
[At the control center.]
OPERATOR #2: How'd this happen? That switch isn't supposed to move!
OPERATOR #1: Bridge 12 is still out – – I've got to get them off that track!
OPERATOR #2: [typing] They're not responding!
[The train. The wristwatch that Samiel is holding shows 10:20. Above the frame of the compartment door is a keyhole, he reaches up and locks it. Inside, the young girl is the only one that notices him. Their eyes meet for a moment – – Samiel smiles softly. Suddenly, the train crashes as the bridge collapses, and the front carriages fall into the water.]
[In the hospital room, the priest continues his ministrations.]
PRIEST: ... it shall be Thy pleasure to prolong her days here on earth, let her be an instrument of Thy glory. Through this holy anointing and the Lord in His love, heal you with the grace of the holy spirit. For in His infinite mercy, now receive you into those heavenly habitations.
[The priest dips his fingers in the bowl of holy water and moves toward the slumbering patient. It is Jordan Black. He touches her forehead.]
PRIEST: His humble servant, Jordan Black.
[Outside Jordan's school – day]
TWO DAYS EARLIER
[Frank and Jordan are outside, the school bell hasn't rung yet. Jordan looks a bit sickly. Frank puts a hand to her forehead.]
FRANK: You don't feel like you have a fever.
JORDAN: [pouting a little] But I am sick. And it's not fair to the other kids.
FRANK: [smiling] What is it? A test? Long division? Fishsticks?
JORDAN: I just don't feel well.
[The school bell rings. Frank looks at his watch: it's 8:25.]
FRANK: Well, Grandma and Grandpa are still on vacation.
JORDAN: You could stay home with me.
FRANK: There's nothing that I'd like better. I tell you what: if you're still feeling crummy by lunch, I'll come and get you.
JORDAN: [suddenly] Will we always be together?
FRANK: Of course.
FRANK: Well, nobody gets forever. [grinning ruefully] By the time you turn 13, it's gonna feel like an eternity.
[Jordan doesn't see the humor, the joke going over her head. She goes to her father for a hug.]
JORDAN: I love you.
FRANK: [teasing] You sure? I love you, too.
[As Frank leaves, Samiel appears from behind a tree and watches Jordan follow her classmates inside. Sensing someone, she turns and sees him. They stare at one another.]
[Park – Day]
WALL MEMORIAL PARK, FALLS CHURCH, VIRGINIA
[The area is filled with parkgoers. In particular, a mother is following her young son on a merry–go–round with her video camera.]
MOTHER: [to her son] Oh, that's wonderful, sweetie. Now give me a big smile! Around and around and around we go, where you stop, nobody knows.
[Just past the boy, a middle–aged woman, Gertrude Epstein, get up from a bench, clutching her throat and weaving. Still filming, the woman sees her and grabs her son.]
MOTHER: Come here, sweetie. Come on. Oh my god. Come here.
[They approach the woman, who collapses, making choking noises. The camera is still running because the mother didn't switch it off.]
MOTHER: Oh, no ... Somebody call 911!
[The mother kneels down by the woman's side. Other adults gather – one is Samiel who is holding a watch. Water begins bubbling from the woman's mouth. The mother puts down the camera as they watch in horror as the fluid increases, gushing out of the woman's mouth. The woman dies. An aerial view shows no sign of Samiel.]
[Hospital autopsy room. Hollis is briefing Frank.]
HOLLIS: We've got ourselves a weird one. A woman expired in a public park with a major release of body fluids. Centers for Disease Control got called in to evaluate the health hazard. They say the fluid isn't her own.
FRANK: Where'd it come from?
HOLLIS: That's what they're asking us.
[They stop at a window looking into the autopsy room. A young man wearing a yarmulke, the victim's son, is standing over his mother's draped body, his hands clasped in prayer.]
FRANK: Who's he?
HOLLIS: Her son. She was Jewish Orthodox, so he's fighting the autopsy. He says she's to be buried immediately within 24 hours of her death.
FRANK: They honor the dead.
HOLLIS: Maybe there's something he doesn't want us to discover.
[Frank has a vision of someone in turbulent water.]
FRANK: She drowned.
HOLLIS: On dry land without any water nearby, according to the CDC.
[They enter. The young man stops praying and looks up. A medical examiner comes over to him.]
YOUNG MAN: Are you from the FBI?
YOUNG MAN: [quietly insistent] Will you tell them this is not right, please? My mother was ready. At peace with her god. They have no right to interfere. No right.
FRANK: I'm very sorry.
[The young man leaves, conceding he has done all he can. The examiner pulls the sheet away from the victim. Frank buttons up his jacket.]
EXAMINER: Gertrude Epstein, 48–years–old. Died of a massive pulmonary edema, or so it seemed. But the water in her lungs had neither protein nor blood which you get with bodily fluids. So, basically, somebody pumped her full of water.
EXAMINER: You tell me. After the cause of death gets beyond a single cell, it's not my department.
HOLLIS: Her death was caught on videotape. Right before it happened, there was no one near her.
[Frank has another flash of unidentified people drowning. He turns to the examiner.]
FRANK: Had there been other victims? The same drowning circumstances?
EXAMINER: Not that we've heard about.
FRANK: I think you'll find there's others if you send a bulletin to local hospitals.
[Frank bends down, examining the victim's wrist, and sees the imprint of a watch.]
FRANK: Her watch. It's missing.
HOLLIS: Paramedics said it was gone when they picked her up.
[Train Station – Night]
[Samiel is holding the same wristwatch: it reads 8:55. He watches the mother and daughter board the train. They make their way to a compartment where the young girl notices Samiel standing on the platform watching. She smiles at him. He smiles back, then notices a Yuppie shoving his way rudely through the crowd to board the train, then reappears in the same compartment. Samiel looks perturbed at this. As the train pulls out, the girl smiles at Samiel who remains on the platform.]
[FBI Academy. Frank is watching the videotape of the victim dying in the park. The mother shouts: "Somebody call 911! " The tape is timed at 9:15 a.m. Hollis approaches, setting a thick folder next to Epstein's file.]
HOLLIS: CDC sent this over. There was another victim. Lisa Maher: dead on arrival at Mercy Hospital, six hours before this videotape was shot. Lungs full of mystery water, just like this one. Pretty thick medical history – – maybe it is some weird disease.
FRANK: [glancing through the file] Meningoencephalitis. She had it three years ago. It's a bacterial infection of the brain. Adults rarely survive it, at least not without brain damage.
[Hollis studies Frank closely, sensing that this is from experience. He sighs.]
FRANK: Jordan had a brush with it when we moved to Seattle. She was hospitalized with a raging fever. S day later, it just went away.
HOLLIS: Wow. But she's fine now?
FRANK: Yeah. We were very lucky.
HOLLIS: Well, the two victims have almost nothing in common. Gertrude Epstein had a masters in musicology, Lisa Maher dropped out in eighth grade.
FRANK: Maybe they do have something in common.
[He opens the file to a picture of a mangled car.]
HOLLIS: What's this?
FRANK: Gertrude Epstein, the woman in the park, three years ago had this car crash. She said it changed her life, that it was a kind of miracle.
[He holds up the file of both victims for emphasis.]
FRANK: This woman survived a car crash, the other a fatal disease. Both victims have cheated death before.
HOLLIS: [puzzled] 'Cheated death?' You really think that has some bearing?
FRANK: Yeah, I do. [pointing at the screen] I need to enhance the faces on this videotape. The killer may be there. Watching. [then, remembering something] I have to go.
[Jordan's bedroom – night. Jordan is asleep. Frank quietly comes in, places a thermometer in her ear and takes her temperature. Jordan stirs.]
FRANK: Shh. Just taking your temperature.
[It reads 98.6.]
FRANK: Go back to sleep, sweetie.
[He covers up his daughter protectively.]
[Train compartment. The young girl is pressed up against the glass window, looking into the hallway.]
[Apartment block – night. Samiel is walking along a corridor. He stops at an apartment door marked '302' and looks at the same wristwatch: 9:17. He simply pushes open the door and goes into the apartment. A man is asleep. Samiel approaches the bed and holds his palm a few inches above the man's face. Immediately, water begins bubbling from the man's mouth. Samiel looks almost regretful while quietly counts:]
SAMIEL: One ... two ... three ... four ... five ... six ... seven ... eight ...
[fade to black]
[polaroid fade up]
[The apartment. Police investigators are all over the crime scene. Hollis is listening to a handheld tape recorder. Frank enters.]
HOLLIS: It's the 911 call that came in late last night from this apartment. What do you think? Some kind of taunt? Why a 911 call for Victim #3?
FRANK: According to the landlord, this man was basically a shut–in. Without the call, the man wouldn't have been discovered for days, and then only by the smell. Calling 911 was an act of compassion.
HOLLIS: Compassionate homicide.
[Frank dons a pair of gloves and begins searching the apartment.]
FRANK: The woman in the park. He would've stuck around long enough to make sure she was taken care of. Any progress on the video?
HOLLIS: We've checked a few people out. So far they seem legit: joggers, parents with kids, parkgoers. You really think he's there?
FRANK: Of course I do.
HOLLIS: Frank, you said the first two victims 'cheated death', whatever that means. For what it's worth, this guy had no history of anything like that, in fact he barely had any history at all.
[Frank picks up a flyer that reads 'Remain in Light'.]
HOLLIS: 'Remain in Light'?
FRANK: A near–death experience group.
[Remain In Light meeting. Hollis shows the Group Coordinator a picture of the deceased man. In the next room, a group meeting is in progress.]
COORDINATOR: So Patrick's passed on.
HOLLIS: Patrick Varad.
COORDINATOR: Um, just Patrick. We go by first names here.
FRANK: Have these people all had near–death experiences?
COORDINATOR: Most. We're a support group for those who have, but we do get some hangers–on. People who are fascinated by life after death.
[Hollis shows the coordinator pictures of the witnesses from the park.]
HOLLIS: Could you take a look at these photos and tell me if any of them have been through here?
[In the next room, a Female Survivor is speaking to the group. Frank turns and stands in the doorway to listen.]
SURVIVOR: And that's when I heard those words: "It's not your time. It's not your time. " I mean, even now, just thinking about it, I'm amazed. My return to this world was a pure gift. There was no haggling, no pleading. Just the realization that life and death are out of our hands, not our decision. You know, I also realized something which seems so obvious to me now, that the force that gives us life in the first place. of course, it has a plan for what comes after! Nothing bad will happen. When it's my time, I'll go! It will be fine.
[Frank has a vision of Jordan, her eyes closed, gasping in fear. Frank is startled by this premonition. He absently turns back to the coordinator who hands the pictures back to Hollis before leaving.]
COORDINATOR: I'm sorry, I can't help you.
HOLLIS: [to Frank] Nothing with the photos.
FRANK: [not listening] What?
HOLLIS: Nothing with the photos. [concerned] Are you okay?
[A cell phone rings. Hollis pats her jacket, then gestures to Frank.]
HOLLIS: I think it's yours, Frank.
FRANK: [answering] Yeah?
WOMAN: [on phone] Is this Frank Black?
[Jordan's school. Jordan is perched on a lunch table with her teacher, waiting for Frank. She does appear genuinely ill.]
FRANK: Hey, Supergirl. You feelin' kinda crummy?
[Frank thanks the teacher and takes Jordan's hand.]
FRANK: I'm gonna whip you up some homemade chicken soup. That's the ticket.
JORDAN: You don't even know how.
FRANK: Yes, I do!
[Frank looks up and sees Samiel a distance away. Samiel raises his hand in a sort of wave and immediately, Jordan passes out. Frank brings her to his arms, alarmed.]
FRANK: Hey! Jordan!
[Samiel is now no longer to be seen.]
[Hospital hallway. Jordan is on a gurney with Frank by her side. Wheeling her into an exam room, medical personnel are barking orders: "Pulse is 30 and shallow. BP 132 over 40. Get a line in! " "What's her temperature? " "108! Re–setting! " A physician, Dr. Cantor, takes the lead.]
DR. CANTOR: What's her name?
FRANK: Jordan Black.
DR. CANTOR: Jordan? Can you tell me how you're feeling? [to Frank] When did this start?
FRANK: She was fine in school an hour ago.
NURSE: She's seizing!
DR. CANTOR: Okay, prepare a lumbar puncture tray. What's the temperature?
DR. CANTOR: Okay, we need to move her!
[Emergency room cubicle. Jordan is dressed in a hospital gown. Medical personnel prepare a steel tub filled with cold water and ice. They try to place Jordan in it, but she becomes frightened, understandably, and fights them.]
NURSE: We have to get her temperature down!
FRANK: You're hurting her!
DR. CANTOR: Get him out of here! Mr. Black, please ...
FRANK: You're hurting her! Stop it!
[He grabs Jordan from out of the water, but calms down after a moment, knowing it has to be done. He nods to the doctor.]
DR. CANTOR: Mr Black, please.
FRANK: All right, I understand.
[Still holding his daughter to his chest, his face flashes in pain with what he must do, then lowers her into the ice water. Jordan clutches him fearfully, thrashing.]
FRANK: I've got you. I'm here.
JORDAN: Daddy, help! Daddy! Don't! Daddy!
FRANK: I know, I know. I got you.
[He continues to hold Jordan in the water as she cries.]
[Train – Night]
TRENTON, NEW JERSEY
[The train is not moving. In the hallway outside of the compartment, the yuppie predictably berates the conductor.]
YUPPIE: You know this is exactly why nobody takes trains anymore: I could walk faster.
CONDUCTOR: Well, we're stopped, sir – –
YUPPIE: Is that your idea of a joke? You're supposed to get us from Point A to Point B on time – – that's your business! And let me tell you something, if I ran my business the way you ran your business – –
CONDUCTOR: The other engine will be here soon.
YUPPIE: Soon? You told me that two hours ago! What's your idea of 'soon'? A day, a week? You're wasting our lives here, that's what you're doing! You're wasting our lives!
[The yuppie stalks away. The mother and daughter share amused glances upon his departure, relieved. The Young Woman from the Teaser enters the compartment and smiles.]
YOUNG WOMAN: Excuse me, is that seat taken?
[Jordan's hospital room – night. Jordan is asleep. Frank stares worriedly. The doctor enters with a chart in her hand.]
DR. CANTOR: Her temperature's normal, and her basic signs have been stable for a while. I'd like to keep her for observation, but I think we're out of the woods.
FRANK: What's wrong with her?
DR. CANTOR: Well, she presented the classic symptoms for meningitis: fever, stiff neck, altered mental functioning. She was hospitalized with meningitis before?
FRANK: Yeah, in Seattle, I told you that. What's wrong with her?
DR. CANTOR: Nothing diagnostic. It's an FUO.
FRANK: An 'FUO'?
DR. CANTOR: I'm sorry: 'Fever of Unknown Origin.'
FRANK: You have no idea what's going on?
DR. CANTOR: In Seattle, the fever simply disappeared, just like now, except for one thing: in Seattle, there was an underlying infection – – meningitis. This time her white counts are normal, her labs came back clean. She has all the symptoms, but not the disease. [diplomatically] Which makes you wonder if it's all in her head. Mr. Black, I'd like to suggest a specialist. We have an excellent woman who works only with children.
[Frank suddenly has a vision of Samiel and someone in turbulent water. Samiel's voice: "One ... ". The vision ends and Frank takes a sharp breath. He goes to the window and looks down. He sees Samiel outside, staring back. Frank grabs his jacket.]
FRANK: It's not in her head. Someone is doing this to her. Stay here with her.
[Frank leaves. After a few moments, the puzzled doctor goes to the window and sees Frank emerging from the hospital: there is no one else outside.]
[Frank looks around the empty lot. He sees a wristwatch on a bench and picks it up. Sitting down, he turns the watch over in his hand and looks up at the night sky wearily.]
[fade to black]
[polaroid fade up]
[Outside Jordan's hospital room. Jordan is asleep. Frank is with a computer tech making a composite of Samiel. Hollis approaches.]
FRANK: Can you make the nose smaller?
[The tech types a few keys.]
FRANK: That's it! Let's print some out.
HOLLIS: Frank? How's Jordan?
FRANK: Stable. [pointing at the composite] This is the man.
HOLLIS: What man?
FRANK: I need a security detail. He was on the grounds last night.
[Hollis looks at Frank curiously.]
HOLLIS: [to tech] Can you give us a minute?
[The tech leaves.]
HOLLIS: Who is this guy?
FRANK: I saw him for the first time outside Jordan's school when she collapsed, then I saw him again last night outside her window. He's stalking her.
HOLLIS: 'Stalking her?' What are you talking about?
FRANK: Stalking her.
HOLLIS: You requisitioned, video equipment, a sketch artist – McClaren asked me why. I come down here and I find that Jordan's been hospitalized. [slightly hurt] You could've told me.
FRANK: I told you that Jordan had meningitis in Seattle – a condition that's normally fatal. It just disappeared.
HOLLIS: [concerned] Is it back?
FRANK: No. [turning to Jordan] She's one of them: like the three victims. Jordan could've died in those first days in Seattle – should have, like that woman in the park, like the 911 call. She is living on borrowed time. And now this man [pointing to the sketch] is after her.
[Hollis has never seen Frank this agitated before. She tries to reason with him.]
HOLLIS: Your daughter is sick. I know you're very worried, but it has nothing to do with this case.
FRANK: You're wrong.
HOLLIS: Frank, you see things even under normal circumstances – –
FRANK: Hey, wait a minute.
[He gives Hollis the wristwatch. There is an inscription on it.]
FRANK: This is not an apparition. Gertrude Epstein, 'G.P.E.', the woman who collapsed in the park. That's her watch. He had it. He left it.
[Hollis fingers the watch, unsure of what to believe. Frank takes a printout of the sketch and puts it in Hollis' hands.]
FRANK: You wanna help me? Find him. Somehow, he's in contact with the victims. And now he's after Jordan. Help me find him. I can't leave here, help me find him.
[Hollis nods hesitantly and takes the sketch.]
[Remain in Light meeting. Hollis shows the composite to the coordinator.]
COORDINATOR: He's not a regular, I know that.
HOLLIS: But has he ever come by?
COORDINATOR: Like I said, we get a lot of curiosity–seekers, hangers–on. Two hundred people attended our workshop last spring.
HOLLIS: [expression falling] That's okay, someone else thought he might've been here, that's all. Thanks.
[Hollis moves to leave, then stops. She looks up slowly, recognition in her eyes. Samiel is there. He turns to meet Hollis' stare. Samiel's voice: "One ... two ... ".]
[" ... three ... " It is a tape–recording of Samiel's voice. Hollis stops the tape and addresses her uncooperative and strangely smug detainee.]
HOLLIS: You were there.
HOLLIS: [holding up a photo of Victim #3] In the room, with this man when he died. That call that came in on 911. That's your voice on the tape.
[Frank is in the next room, watching through a one–way mirror.]
SAMIEL: That's not my voice.
HOLLIS: It sure sounds like it.
SAMIEL: Not to me.
HOLLIS: What is your name?
SAMIEL: It doesn't matter.
HOLLIS: [frustrated] Actually, it matters quite a bit!
SAMIEL: [mock surprise] You're angry.
HOLLIS: Why did you go to that encounter group, Remain in Light. Is that how you meet people?
SAMIEL: I met you there.
HOLLIS: I've circulated your picture up and down the east coast to survivor groups: one in Boston, one in Baltimore, one in Philadelphia. They've all seen you! Don't know your name, but they've all seen you.
SAMIEL: Is that a crime?
HOLLIS: Murder is a crime.
[There's a knock on the door. An agent comes in and hands Hollis the analysis of the audiotape. Samiel turns to look at the one–way mirror and winks. Still staring at Frank, he addresses Hollis:]
SAMIEL: It's not my voice, is it?
[She grabs the file and opens the door.]
HOLLIS: That's all for now.
[Samiel stands and stares at Frank through the mirror for a long moment. Hollis gestures impatiently.]
HOLLIS: Let's go.
[Outside, Frank comes out of the adjacent room, grabs Samiel and throws him hard against the wall. Hollis tries to stop Frank.]
FRANK: [fiercely] Stay away from my daughter!
HOLLIS: Frank, it's not him!
[Frank throws Samiel against the wall again.]
FRANK: Yes, it is! This is him!
[Hollis and other agents have to pull Frank away. Hollis shows Frank the voice analysis.]
HOLLIS: Look, it's not his voice on the 911 tape, it's not!
[Frank angrily slaps the file out of her hands, knocking the tape recorder on the ground. It comes on – Samiel's voice: " ... four ... five ... six ... seven ... eight ... nine ... ten. " Samiel dabs at his cut lip and smiles insolently at Frank.]
[Train compartment. The train is moving again. The young woman, the mother and daughter look up and notice water steadily dripping from the roof of the compartment.]
YOUNG WOMAN: Time to issue a flood warning.
MOTHER: It's just, uh, coming from nowhere. I think we should move.
[They gather their things. The Young Woman stands at the compartment door.]
YOUNG WOMAN: So, left? Right? [to the girl] What do you way?
YOUNG GIRL: Right.
[They check the next compartment.]
YOUNG WOMAN: All full.
[They enter the compartment after that, which is occupied by the Businessman.]
MOTHER: May we join you?
BUSINESSMAN: [pleasantly] Please.
[He stands and offers to help with their belongings.]
YOUNG WOMAN: Thank you, we had a little flooding next door.
[They all settle in their seats.]
[Outside Jordan's hospital room. Frank is studying the videotape from the park. Again, the mother's voice: "Somebody! Somebody call 911! " He freezes the frame: Samiel is in the background. Frank enhances the picture and sees that Samiel holding something in his hand. Hollis enters.]
HOLLIS: You wanna talk about it?
FRANK: You let him go, didn't you?
HOLLIS: We had no evidence, and that's not what I meant: you attacked him.
[Frank stares at the screen. She tries to get his attention.]
HOLLIS: You attacked a man in my custody – – forget that he's not pressing charges – – I am obligated to report it.
FRANK: So report it.
HOLLIS: [sighing] I won't. Of course, I won't. I am worried about you, okay? Who is he?
FRANK: I told you.
HOLLIS: No, you gave me a picture and said "Find him" and somehow I did.
FRANK: No, no, he found you. He's responsible for three deaths.
HOLLIS: We don't know that!
FRANK: [loudly] And now he's after Jordan!
HOLLIS: Frank! You thought it was his voice on the 911 tape, so did I, but we were wrong! You saw the report.
FRANK: Forget the report. [points to the screen] Look, he's right here. There he is, right here.
HOLLIS: It looks like him. On the tape, it sounded like him.
FRANK: He's in the park and look what he's got in his hand. He's holding a watch in his hand. The watch he took from the woman and left for me.
HOLLIS: It could be anything from anybody.
FRANK: But it's not. Look at it.
[Frank slows the videotape: Samiel is in one frame and gone the next.]
FRANK: He vanishes in one frame.
HOLLIS: So the tape was tampered with.
FRANK: But it hasn't been!
HOLLIS: Well, he can't just disappear. Where did he go?
FRANK: He's after Jordan.
[A monitor starts beeping rapidly. Jordan has gotten out of bed and is gasping for breath. Frank rushes to her side while Hollis runs out, calling for help.]
HOLLIS: Doctor! We need a doctor in here!
FRANK: Get a doctor! [to Jordan] Sweetheart?
[He picks up his daughter. Water begins streaming from Jordan's mouth.]
[The doctor places an oxygen mask over Jordan's mouth. Frank stands nearby.]
DR. CANTOR: Congested, but right now she's fine. To be honest with you, I'm a little confused. We can continue to treat her symptoms; in fact, she couldn't be in a better place for that.
FRANK: We're running out of time.
[Frank has a vision of Jordan thrashing, then of Samiel. The vision ends and he goes to the window. Samiel is standing outside again, looking up.]
DR. CANTOR: Mr. Black. Not facing what's happening to your daughter won't make her well. And saying that someone is doing this to her doesn't make those tough therapeutic decisions go away.
FRANK: Someone is after her.
[Outside the hospital. Frank runs directly to Samiel. This is as close to frantic as Frank has ever been.]
FRANK: Who are you? You were in the park when the woman died. You were there, and then you vanished, weren't you? [throws the wristwatch at him] What are you doing here? [raising his voice] Who are you?!
SAMIEL: [with a smirk] I can't explain.
FRANK: [deadly] Why are you stalking my daughter?
SAMIEL: [suddenly serious] She received a gift.
FRANK: A gift?
SAMIEL: Of additional time on earth – – just like the others. Now that time is finished. And there are those who need now what she needed then, to continue living.
FRANK: So you intend to kill my daughter – – to save them.
SAMIEL: Your wife died so that your daughter could live.
FRANK: She chose that.
SAMIEL: Did she?
SAMIEL: [softly] Where was the choice?
FRANK: You're talking about the only great thing that ever happened in my life, do you understand that?
[Samiel looks up at Jordan's window, Frank follows his gaze. The doctor appears in the window and looks down. Frank turns back to Samiel, but he is gone.]
[Jordan's hospital room – night. The priest is here, administering last rites. Outside the window, Frank is heading toward Jordan's room with Hollis not far behind.]
PRIEST: Almighty Father, to whom alone belongs life and death, we know if thou wilt though canst even yet raise thy servant up. If it shall be Thy pleasure to prolong her days here on earth, let her be an instrument of Thy glory. [dips his hand in the holy water] By this holy anointing – –
[Frank yanks the privacy curtain aside.]
FRANK: [in an angry whisper] What are you doing?
PRIEST: [trying to continue] The Lord in His – –
[Frank slams his prayer book shut and waves him out.]
FRANK: Shh! Don't do that.
HOLLIS: Frank ...
FRANK: Out! [to Hollis] What's he doing here?
PRIEST: [confused] I was called.
FRANK: [grabbing his arm] She's not going to die, get out!
[Hollis leads the priest outside quickly. Frank sits next to his Jordan's bed, gathering himself. His face flinches in pain as he reaches for his daughter's hand, the mere thought of her receiving the last rites too much for him.]
[Train station. The young girl is at the window, looking out as Samiel approaches the train.]
[Jordan's hospital room. Suddenly, the monitors start beeping. Frank looks up, alarmed. Hollis comes back in.]
[The doctor and nurse rush to Jordan's bedside with crash carts. The monitors show flatlines.]
DR. CANTOR: Mr Black, please.
HOLLIS: Come on, Frank. Let them do their job.
[Frank makes room for the medical team.]
NURSE: Her saturation's dropping.
DR. CANTOR: She's not moving any air. Set me up for a thoracentesis.
NURSE: Okay, pulse is down to 90!
[Train compartment. The young girl watches Samiel walk by outside her compartment.]
[Jordan's hospital room. The medical personnel have inserted a tube to extract liquid from Jordan's chest.]
DR. CANTOR: What's going on here?
NURSE: It's already full!
[The doctor taps on Jordan's chest.]
DR. CANTOR: She's solid water! Get me a chest tube now!
[As the medical personnel engage in life–saving procedures, Frank raises his head and pleads with God.]
FRANK: I tried ... oh, God, I tried to do everything You asked me to do – – without knowing why – – no expectations. Don't do this, I'm begging You, please, don't take her away from me. If somebody has to die, let it be me ... Are You listening to me?!
[Hollis tries but cannot comfort Frank.]
[The train Conductor's room. Again, the conductor looks at his watch: 10:15. Samiel steals the ring of keys.]
[The train compartment.]
BUSINESSMAN: So do you like this train?
YOUNG GIRL: Yeah, a lot.
[Outside, the train suddenly switches tracks and everyone is thrown off to one side of the compartment.]
[The railway control center.]
[Beeping and the red blip blinking rapidly.]
OPERATOR #1: What in the hell is 108 doing? We've got a situation here!
[Jordan's hospital room.]
NURSE: Where is it all coming from?
DR. CANTOR: I don't know: it's impossible!
[The tube from Jordan's chest to a container is vibrating from the amount and force of the liquid inside her. The container is filling rapidly.]
DR. CANTOR: Oh, my god, she's drowning!
[Samiel looks at the wristwatch (10:20) and locks the door while the young girl watches his movements. Their eyes meet ... and the train plunges into the river.]
[Jordan's hospital room]
NURSE: I can't keep her lungs drained!
[Another monitor starts beeping.]
NURSE: Respiratory arrest!
DR. CANTOR: V–tach, call the code!
[The three adults are lying prone. The young girl, seemingly unharmed, gets up and looks outside into the corridor which is rapidly filling with water. Samiel floats to the top; the water is pouring in unrelentingly. He takes a deep breath and swims down to the compartment. He and the young girl stare at one another. As Samiel swims away, the young girl watches him worriedly until he swims out of sight. Again, he goes up for air, struggling for breath, and heads back down.]
SAMIEL [V.O.]: "One ... two ... three ... four ... five ... "
[After a while, Samiel stops swimming and his body goes limp, sinking.]
SAMIEL [V.O.]: "... six ... seven ... eight ... nine ... ten. "
[Jordan's hospital room]
[The doctor charges up the paddles and moves to place them on Jordan's chest.]
DR. CANTOR: Clear!
FRANK: [stopping her] Wait!
[The monitor is showing life signs back to normal again. Jordan stirs and turns to her father.]
[Samiel's body is floating lifelessly. The young girl stares at him from inside the compartment, wide–eyed, shaking her head.]
[Jordan's hospital room]
JORDAN: [weakly] I saw ... Mommy ...
FRANK: [after a moment] Shh. [caresses her cheek] Rest, okay?
[Hollis steps outside Jordan's room, stunned by what she had just witnessed. She notices the hospital staff working an emergency: the young woman, the businessman, the mother and the young girl are wheeled in. A Paramedic is speaking into his radio.]
PARAMEDIC: Train car derailed into the Flint River. What a mess.
[Jordan's doctor is examining the young girl.]
DR. CANTOR: She's looking good. Let's get her into Exam One.
PARAMEDIC: [to the doctor] These four wouldn't have made it, but somehow their compartment door was jammed air–tight until we got there. It's the only thing that saved them.
DR. CANTOR: Lucky.
PARAMEDIC: Yeah. Except for that guy over there.
[He nods to a draped gurney along the wall. Something makes Hollis approach and pull back the sheet. It's Samiel. Looking down, she sees the wristwatch in his hand: it has stopped at 10:25.]
[Jordan's hospital room]
[Frank is lying on the bed next to Jordan. She wakes and prods her father.]
JORDAN: Dad? Dad?
[Frank stirs and turns to her.]
JORDAN: Mommy said she's fine. And she said to tell you she chose. She made the right choice. I don't know what that means.
FRANK: It means she loved you. Very, very, very much.
[Jordan smiles, and nestles back into her father's shoulder.]
[fade to black]
Lance Henriksen (Frank Black)
Klea Scott (Emma Hollis)
Brittany Tiplady (Jordan Black)
Eric Mabius (Samiel)
Amanda Topping (Dr Cantor)
Bill Dow (CDC Examiner)
Kim Hawthorne (Nurse)
Jenny–Lynn Hutcheson (Little Girl)
Aundrea MacDonald (Girl's Mother)
Tonjha Richardson (Business Woman)
Colin Murdock (Business Man)
Andrew Wheeler (Priest)
Tom Pickett (Train Conductor)
Nina Roman (Gertrude Epstein)
Paul Magel (Orthodox Son)
Robert Thurston (R.I.L. Director)
Kerry Sandomirsky (R.I.L. Woman)
David Pauls (Yuppie)
Ted Cole (Paramedic)v
Ben Derrick (Track Controller)
Ian Marsh (Track Controller)
Ingrid Tesch (Mom with camera)
Corey Sovin (Patrick Varad)
Music by Mark Snow
Editor: Chris Willingham A.C.E.
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
Executive Consultant: Michael Duggan
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 Dwight Little
Executive Producer: Chip Johannessen
Executive Producer: Chris Carter