SEASON 3 OPENER
FADE IN TO BLACK
THE VOICE OF FRANK BLACK :
"Look, he is coming with the clouds, and every eye will see him, even those who pierced him;
and all the peoples of the earth will mourn because of him."
Revelation 1:7
CUT TO BLACK
FADE IN (NO VOICE OVER)
"Two roads diverged in a yellow wood"
Robert Frost
TEASER
FADE IN
EXT. NIGHT : THE WOODS, A SMALL SPACE AMONG THE TREES
A CAMP FIRE IS BURNING
A FIGURE STANDS AT THE EDGE OF THE CIRCLE OF LIGHT, ITS BACK TO US
THE TREES STIR IN THE WIND
FIGURE (A MALE VOICE)
I tried to tell him, you know.
THE WIND MOANS
FIGURE
It seems like a long time ago, now, but I did tell him.
CUT TO : THE TREES MOVING IN THE WIND
CUT TO : CLOSE-UP ON THE YELLOW FLAMES OF THE FIRE
CUT TO : A SECOND FIGURE MOVES INTO THE FIRELIGHT, BUT ITS FACE REMAINS IN SHADOW
SECOND FIGURE
We _all_ tried to tell him. He never listened.
(SEEN FROM BEHIND) THE FIRST FIGURE STRIKES A MATCH, CUPS IT IN HIS HAND AGAINST THE WIND AND LIGHTS A CIGARETTE.
FIGURE
He'll have to listen now.
SECOND FIGURE
Yes. He really has no choice in the matter.
A THIRD FIGURE MOVES FORWARD INTO THE FIRELIGHT
WE RECOGNISE THE FACE OF AL PEPPER
AL PEPPER
They always have a choice. That's the bargain.
THE CAMERA SLOWLY ROTATES AROUND FROM THE BACK OF THE FIRST FIGURE TO REVEAL THE SMOKING VETERAN
SMOKING VETERAN
Yeah, but this guy's in deep. He can't say no this time.
AL PEPPER
Don't underestimate him. You know how important this is.
THE SECOND FIGURE MOVES INTO THE FIRELIGHT, REVEALING A MAN WITH LONG BROWN HAIR. HE WEARS A LEATHER JACKET AND A LARGE SILVER NECKLACE
SECOND FIGURE
He'll say yes like all the rest. In his hour of need, his friends have failed him.
Where is his precious Millennium Group now?
CLOSE-UP : YELLOW FIRELIGHT FLICKERS ON SECOND FIGURE'S FACE
SECOND FIGURE
He's weak. He can't stand on his own.
He no longer has any choice at all.
CUT TO : TREES MOVE AS THE WIND INCREASES
AL PEPPER
It's almost time.
SMOKING VETERAN
Yes.
CLOSE-UP : SECOND FIGURE'S FACE IS ILLUMINATED BY FIRELIGHT AS IT FLICKERS BETWEEN THE MALE FACE SEEN BEFORE AND THE FACE OF LUCY BUTLER
LUCY BUTLER (FEMALE VOICE)
I'm going to enjoy this.
AL PEPPER CLICKS HIS FINGERS AND THE FIRE GOES OUT INSTANTLY, PLUNGING THE SCENE IN TO SHADOW.
THE WIND MOANS
A SINGLE FIGURE LEAVES THE EMPTY CLEARING AND WALKS INTO THE WOODS
CUT TO :
INT : FRANK'S CABIN, NIGHT
FRANK IS LOOKING OUT OF THE CABIN WINDOW. HIS HAIR IS BLACK.
THERE IS A FLICKER OF MOVEMENT AMONG THE TREES, BUT NO SIGN OF CATHERINE.
HE LOOKS DOWN AT JORDAN ASLEEP AND MOVES TOWARDS THE DOOR.
EXTERNAL: FRANK'S CABIN, NIGHT
FRANK LEAVES THE CABIN AND RUNS INTO THE WOODS
FRANK (shouting, panicking)
Catherine! Catherine!
EXT : THE WOODS
FRANK CRASHES THROUGH UNDERGROWTH IN HIS HEADLONG RACE THROUGH THE WOODS, FALLING TO HIS KNEES.
VOICE (weakly, almost a whisper)
Frank!
FRANK
Catherine?
FRANK STARTS UP AGAIN, CRASHING THROUGH THE TREES, AND ENTERS A LARGE CLEARING.
CATHERINE LIES SLUMPED AGAINST A TREE. SHE IS BLEEDING FROM HER NOSE AND EYES AND HAS SEVERAL LESIONS ON HER FACE. LUCY BUTLER (IN HER FEMALE FORM) STANDS OVER HER, STROKING CATHERINE'S HAIR WITH ONE HAND.
FRANK STOPS IN HORROR.
CATHERINE (looking up weakly, barely moving)
Frank?
LUCY BUTLER
It's so good to see you again, Frank.
We really need to talk...
END TEASER
ACT ONE
CUT TO : EXT. NIGHT. AN OLD-FASHIONED CAR MAKES ITS WAY ALONG A ROAD IN THE WOODS
A NEW MOON IS HIGH IN THE SKY
TITLE READS : FEBRUARY 17 1941
CUT TO: INT. CAR
A MAN IS DRIVING. HE WEARS AN OLD-FASHIONED FEDORA
A WOMAN IS IN THE PASSENGER SEAT. SHE IS WEARING JEWELLERY AND A PEARL NECKLACE.
THEIR FACES REMAIN IN SHADOW AS THEY DRIVE.
WOMAN
Are we nearly there yet?
MAN (looking around at her)
It's not much farther now.
WOMAN
It's going to be nice to get away for a few days up here
I didn't tell anyone where we were going.
MAN (smiling)
It'll be our own little place in the woods.
And I managed to get it for a song.
Sometimes a man and his wife need somewhere that they can spend
a little time on their own.
CUT TO : EXT. NIGHT AS THE CAR TURNS ON TO A SMALLER ROAD IN THE WOODS AND PROCEEDS TOWARDS A SMALL LOG CABIN.
THE CABIN LOOKS QUITE NEW AND HAS BEEN PAINTED QUITE RECENTLY
A CLOUD PASSES IN FRONT OF THE MOON
THE CAR PULLS UP OUTSIDE THE CABIN
CUT TO : INT. CAR
MAN
Well, here we are. (pausing)
HE TURNS TO LOOK AT HIS COMPANION
I do love you, you know.
THE CLOUD MOVES ON AND MOONLIGHT ILLUMINATES THE WOMAN'S FACE
WE RECOGNISE FRANK'S MOTHER, LINDA BLACK
LINDA BLACK
I love you too, Henry.
CLOSE-UP ON THE FACE OF HENRY BLACK AS HE SMILES
CUT TO WHITE
CUT TO : EXT. NIGHT. THE CLEARING
FRANK MOVES FORWARDS TOWARDS LUCY AS SHE STANDS OVER CATHERINE
FRANK (frantic)
Leave her alone!
HE MOVES FORWARD CAUTIOUSLY
What have you done to her?
LUCY (stroking Catherine's hair)
Oh, Frank. I haven't done _anything_ to her.
You did this.
You and your silly little Group.
FRANK
Get off her!
HE MOVES FORWARDS AND KNEELS IN FRONT OF CATHERINE
TEARS COME INTO HIS EYES AS HE TOUCHES HER FACE
SHE STIRS AT HIS TOUCH
CATHERINE (whispering)
Frank? Where am I?
LUCY
She's still alive, Frank. You can still save her.
CATHERINE (weakly, confused)
Who's that? .... Frank? ..... Who is it?
LUCY (stroking Catherine's hair)
Oh, Catherine.
Don't you remember me? I left a kidney in your refrigerator once.
LUCY MAKES A MOVEMENT WITH HER HAND AND CATHERINE TWITCHES
FLASHBACK TO CATHERINE OPENING THE REFRIGERATOR IN THE YELLOW HOUSE TO FIND A HUMAN KIDNEY
CUT BACK TO :
CATHERINE TRIES TO LOOK UP AT LUCY, BUT IS BARELY ABLE TO MOVE
A FEW MOMENTS PASS BEFORE SHE SPEAKS
CATHERINE
I remember.
Frank told me about you.
You bitch.
LUCY GRABS A HANDFUL OF HAIR AND PULLS HARD
CATHERINE MOANS WITH PAIN
FRANK ROARS WITH RAGE AND STARTS TO HIS FEET
HE GRABS LUCY'S HAND
LUCY
So rude, Catherine. Tut tut.
Please let me go, Frank.
I'm the only one who can help you now.
FRANK LOOSENS HIS GRIP AND LETS GO AS LUCY ALSO LETS GO OF CATHERINE'S HAIR.
FRANK (desperate, tears are in his eyes)
What do you want?
Why can't you just leave us alone?
Can't you see she's dying?
LUCY
She doesn't have too long left.
You need to hurry up and decide.
FRANK (confused now)
What?
Decide what?
LUCY
Frank. You really haven't been listening, have you?
You can save her.
You can all go back to your little yellow house and play happy families again.
Just like it was before.
CUT TO : CLOSE-UP OF LUCY BUTLER'S FACE
LUCY
You just have to want it.
You just have to say yes.
CUT TO : WHITE
CUT TO : EXT. NIGHT, THE NEW CABIN IN THE WOODS
MOONLIGHT BATHES THE SCENE.
THE EMPTY CAR IS OUTSIDE THE CABIN
CUT TO : INT. NIGHT, INSIDE THE CABIN.
THE CABIN IS SPARSELY FURNISHED, BUT THERE IS A BED AND A DRESSER IN THE BEDROOM
LACE CURTAINS ARE DRAWN OVER A SMALL WINDOW
THE ROOM IS ILLUMINATED BY AN OIL LAMP ON A TABLE BY THE WINDOW
HENRY BLACK SITS ON THE BED. HIS TIE IS LOOSENED AND HIS FEDORA IS ON THE DRESSER. HIS COAT IS SLUNG OVER A CHAIR
THE CAMERA PANS DOWN TO SHOW A PAIR OF LADIES' SHOES ON THE FLOOR
HENRY TAKES OFF HIS SHOES AND SIGHS AS HE LIES BACK ON THE RIGHT SIDE OF THE BED.
HENRY (calling out)
This is the life! Relaxation!
LINDA (calling back, out of shot)
I'll just be a minute!
HENRY
Take your time, my dear!
Take your time!
LINDA BLACK APPEARS AT THE BATHROOM DOOR IN HER NIGHTDRESS
HENRY (sitting up)
Well, I say! Very stylish!
LINDA (coy)
The girl in the shop said it was the latest fashion.
Not quite from Paris, (she pauses and frowns before continuing)
But the latest style!
HENRY (smiling)
Well, you're so fashionable that I think you should come over here
so I can have a closer look at you.
LINDA BLACK GIGGLES SOFTLY
CUT TO: EXT. CABIN NIGHT. MOONLIGHT ILLUMINATES THE WOODS CLOSE TO THE CABIN.
THERE IS MOVEMENT IN THE TREES.
CUT TO : POINT OF VIEW, LOOKING BACK AT THE CABIN FROM THE TREES
WE SEE THE CABIN WINDOW FROM THE OUTSIDE. THE WINDOW IS ILLUMINATED FROM WITHIN.
CUT TO : INT CABIN
MRS BACK MOVES TOWARD THE LAMP.
LINDA (playful)
Maybe we should turn the light off.
HENRY (smiling)
You know, I think you're right.
SHE TURNS DOWN THE OIL LAMP AND IT GOES OUT.
SHE STANDS BY THE WINDOW AND DRAWS BACK THE CURTAIN.
SOMETHING GLINTS AND THERE IS A FLICKER OF MOVEMENT IN THE TREES
HENRY (he moves from the bed to stand beside her)
My dear? What is it?
HENRY PUTS HIS ARMS AROUND HER
THEY LOOKS OUT OF THE WINDOW TOGETHER BUT NOW ALL IS STILL
LINDA (distracted)
Oh, nothing, Henry.
The woods are just so lovely in the moonlight.
HENRY
And you are so lovely too.
SHE LETS THE CURTAIN FALL AND THEY KISS
HENRY
But now it's time for bed, my angel.
CUT TO : POINT OF VIEW, LOOKING BACK AT THE CABIN FROM THE TREES
THE WINDOW IS DARK.
FADE TO BLACK
END OF ACT ONE
ACT TWO
CUT TO WHITE
CUT TO : EXT. NIGHT. THE CLEARING
CATHERINE IS SLUMPED ON THE GROUND
FRANK FACES LUCY WITH TEARS IN HIS EYES
HE GLANCES AT CATHERINE AND SEES SHE IS STILL BREATHING
FRANK (enraged)
What do you want from me?
Why are you doing this?
LUCY (sympathetic)
Oh, Frank. I like you.
I'm here to help you.
I can make it all better.
FRANK (coldly)
But at what cost?
LUCY
It won't cost you anything.
You don't even have to do anything - just the opposite, in fact.
You just need to make a promise, that's all.
And then she'll live. And you'll all be safe.
FRANK
What promise?
LUCY
We just need to know that you'll stay out of what's coming.
We just want you to do nothing when the moment comes.
And then you'll be safe. You'll all be together and safe in your yellow house.
FRANK
What's coming? What's going to happen?
LUCY
You know I can't tell you, Frank, until you decide.
Once you promise, I can tell you everything.
Everything you've been dying to know.
Everything the Group would never tell you.
Come on, Frank...
FRANK (desperately)
I can't...
LUCY
Of course you can.
She's your wife. And she's dying.
If you don't promise, you'll never see her again.
It's easy. There's really no choice at all.
FRANK (screaming)
No!
LUCY
Oh come on, Frank. It's not that hard.
Your friend Cheryl made the right choice
FLASH CUT TO THE FACE OF CHERYL ANDREWS, HER FACE ETCHED WITH PAIN
CUT BACK TO :
LUCY
She knew it was the right choice (pause) - at the end.
They all do. The man who took Catherine last year.
He decided too. You killed him, didn't you?
You're learning, Frank.
FRANK (tears fill his eyes)
I'll never give you what you want.
LUCY
But you have to, Frank. There's no way out now.
We asked you nicely before, but now we've stopped kidding around.
Don't you remember?
LUCY'S FACE IS REPLACED BY THAT OF AL PEPPER AND THEN THE SMOKING VETERAN, BEFORE SWITCHING BACK TO LUCY
LUCY
You always had a choice before. Now you don't.
It's simple. Say yes or she dies.
FRANK (screaming)
No!
FRANK LEAPS FORWARD TO TEAR AT LUCY
LUCY PUSHES HIM BACK WITH APPARENT EASE AND HE FALLS TO THE FLOOR
LUCY
I can't kill you, Frank. There are rules.
But I can hurt you - badly. And I will.
You must remember what I did to Ephraim.
(pause)
And I can hurt Jordan.
(pause)
Think her without a mother, Frank.
What kind of a father would do that?
FRANK SOBS
LUCY
It's no use trying to fight, Frank.
I've gone to a lot of trouble to make this happen.
You can't win.
(pause)
Remember your friend Bletcher?
He begged for his life before I opened his neck.
FLASH CUT TO :
BOB BLETCHER'S BODY HANGING IN THE CELLAR
FRESH BLOOD IS RUNNING DOWN FROM HIS THROAT
HE MAKES A SLIGHT MOVEMENT
CUT BACK TO :
FRANK MAKES AN ANIMAL NOISE OF RAGE AS HE LIES ON THE GROUND
LUCY
You remember Mike Atkins? He squealed like a pig when I stuck him.
FLASHBACK TO :
MIKE ATKINS LIES IMPALED ON A HOTEL ROOM BED
HE LOOKS LIKE HE CAN'T BELIEVE WHAT HE'S SEEING
AL PEPPER SMILES
CUT BACK TO :
The Group wasn't there when he needed them, and they're not here now.
Don't make the same mistake he made. Give up and save yourself.
FRANK (looking up from the ground)
The Group...
LUCY
They won't save you now, Frank. They can't even save themselves from what's
coming. So many divisions and disagreements, they've lost sight of the goal.
They were so weak, so easy for us to manipulate.
Owls or Roosters, who's right? Cock-a-doodle-doo.
It's irrelevant. They're impotent.
Look at what they're doing to your friend Peter right now.
FLASH CUT TO :
INT. DARK ROOM. A BARELY CONSCIOUS PETER WATTS LIES ON A METAL TABLE UNDER A BARE LIGHTBULB. HE IS BLEEDING FROM A BULLET WOUND ON HIS LEFT SHOULDER.
A FIGURE IN SHADOW TURNS TO FACE PETER. THERE IS THE SOFT SOUND OF A METAL INSTRUMENT MOVING ON METAL.
CUT BACK TO :
LUCY
You see? They don't even trust him, in spite of his touching loyaty.
(pause)
They have no concept of what's coming.
(pause)
But I can tell you, Frank. You get to find out all the secrets.
And there'll be a place set aside for you and your family when the moment comes.
You'll survive.
FRANK (softly)
And Lara Means?
CUT TO :
INT. NIGHT. THE ASYLUM
LARA MEANS STRUGGLES AGAINST HER RESTRAINTS
SHE GAGS AS SALIVA ESCAPES FROM HER MOUTH
THERE IS A DARK BLOTCH ON HER LEFT CHEEK
CUT BACK TO :
LUCY
Oh, little mad Lara. So brave.
It looks like her "friend" finally sent her over the edge
Angels can be bad for your health, you know.
You saw her in the asylum, didn't you?
FRANK MOANS
CATHERINE'S FACE IS A DEATHLY GREY COLOUR.
SHE MOANS AS HER BREATHING BECOMES MORE SHALLOW.
SHE IS DYING.
LUCY
Time's up, Frank. I need your answer.
Yes or no?
CUT TO WHITE
END OF ACT TWO
ACT THREE
EXT. NIGHT. THE WOODS
POINT OF VIEW : DARKNESS. SOMEONE IS MOVING THROUGH THE TREES IN A HURRY.
THERE ARE SOUNDS OF MOVEMENT NEARBY
SHADOWS ARE SEEN MOVING THROUGH THE TREES.
CUT TO WHITE
CUT TO : EXT CABIN. NIGHT
POINT OF VIEW : LOOKING AT THE CABIN FROM THE WOODS
THE LIGHT IS OUT AND THE CABIN IS IN DARKNESS
CUT TO : INT CABIN NIGHT.
IT IS THE DEAD OF NIGHT.
MOONLIGHT FILTERS WEAKLY THROUGH THE LACE CURTAIN TO ILLUMINATE THE SLEEPING FORM OF HENRY BLACK. HE SNORES QUIETLY.
LINDA IS NOT ASLEEP. SHE IS SITTING UP IN BED, IN THE DARKNESS.
SHE GETS UP AND MOVES TO THE WINDOW.
SHE PULLS THE LACE ASIDE AND LOOKS OUT AT THE WOODS.
CUT TO : EXT CABIN. NIGHT
POINT OF VIEW : LOOKING AT THE CABIN FROM THE WOODS
WE SEE LINDA BLACK AT THE WINDOW, LOOKING OUT IN THE SEMI-DARKNESS
CUT TO : INT CABIN NIGHT
THERE IS A GLINT OF LIGHT BETWEEN THE TREES.
LINDA SQUINTS AT THE LIGHT AND MOVES FORWARDS TO GET A BETTER LOOK.
AS SHE STARES, THE LIGHT GROWS TO REVEAL THE FORM OF A MAN DRESSED IN WHITE STANDING AMONG THE TREES. AS SHE CONTINUES TO LOOK, THE LIGHT REVEALS THE WINGS ON THE FIGURE'S BACK.
CUT TO : EXT CABIN. NIGHT
POINT OF VIEW : LOOKING AT THE CABIN FROM THE WOODS
THE OUTSIDE OF THE CABIN IS ILLUMINATED BY THE BRIGHT LIGHT. LINDA BLACK IS STARING AT THE LIGHT.
CUT BACK TO : THE WOODS
THE ANGEL RAISES HIS LEFT HAND TO HER.
THE LIGHT SUDDENLY DISAPPEARS AND THE WOODS ARE DARK AGAIN.
CUT TO : CLOSE-UP ON LINDA BLACK
SHE LOOKS DAZED. ABSENTLY, SHE PLACES A HAND ON HER STOMACH.
SHE RETURNS TO BED.
HENRY BLACK STIRS
HENRY (sleepy)
Are you alright?
LINDA (dazed and confused)
Yes ... just a dream....
SHE TURNS AWAY FROM HIM AND PRETENDS TO SLEEP, BUT HER EYES REMAIN OPEN
CUT TO : EXT CABIN. NIGHT
POINT OF VIEW : LOOKING AT THE CABIN FROM THE WOODS
THE CABIN IS DARK AGAIN
A FEW MOMENTS PASS AND THE WIND BEGINS TO INCREASE.
CUT TO : THE WOODS
A FIGURE STEPS FROM THE WOODS AND STARTS TO WALK AWAY.
AS HE TURNS, WE RECOGNISE THE ANGEL SAMAEL.
HE WEARS AN OLD LEATHER JACKET. HE LOOKS PLEASED WITH HIMSELF.
FADE TO BLACK
CUT TO WHITE
CUT TO : EXT. NIGHT. THE WOODS
LUCY HAS STOOPED TO CRADLE CATHERINE'S HEAD
FRANK IS CROUCHED ON THE GROUND LIKE A WILD ANIMAL
LUCY
Is she still breathing? I hope so...
It's up to you, Frank.
FRANK
Why are you doing this to us?
Why am I so important to you?
LUCY
You have a gift, Frank.
Like Jordan has. And the others.
You're not the only one, you know.
FRANK (angry)
I will _never_ help you!
LUCY (patiently)
I'm not asking for your help, Frank.
Just your promise to do nothing when the time is here.
FRANK
"When good men do nothing, evil prospers"
LUCY
Empty words, Frank.
They mean nothing now.
FRANK LOOKS AT CATHERINE IN DESPERATION
SHE SEEMS TO STIR BRIEFLY AND LOOKS UP AT HIM
HER MOUTH IS BLEEDING
FRANK (sobbing)
I'm sorry, Catherine. I can't.
CATHERINE (barely audible)
I love you, Frank
FRANK
I love you too.
LUCY (incredulous)
You can't be serious, Frank.
You're not really going to let her die, are you?
After all these years together?
CATHERINE'S BODY SAGS
FRANK LUNGES AT LUCY
FRANK (shouting)
Go back to hell, you bitch!
FRANK KNOCKS LUCY BACK AND LASHES OUT AT HER
HE PUNCHES HER RIGHT IN THE FACE
THE CLEARING IS FILLED WITH A BRIGHT WHITE LIGHT AND A ROARING NOISE.
CUT TO : A WHITE ROOM, FILLED WITH LIGHT
FRANK STANDS ALONE FOR A FEW MOMENTS
THEN A FIGURE APPROACHES OUT OF THE LIGHT
WE RECOGNISE THE OLD MAN
THE OLD MAN
Hello, Franklin.
END OF ACT THREE
ACT FOUR
EXT. NIGHT. THE WOODS
POINT OF VIEW : DARKNESS. SOMEONE IS MOVING THROUGH THE TREES IN A HURRY.
THERE IS THE SOUND OF HEAVY BREATHING
THE POINT OF VIEW SHIFTS TO SHOW AN ARM WEARING A HEAVY JACKET OF SOME SORT.
MOVEMENT THROUGH THE DARKNESS AND THE HEAVY BREATHING CONTINUES.
CUT TO:
EXT. NIGHT. THE CLEARING.
LUCY IS DUSTING HERSELF OFF.
CATHERINE REMAINS SLUMPED, APPARENTLY DEAD.
THERE IS NO SIGN OF FRANK.
LUCY LOOKS UP AT A SUDDEN NOISE.
THE ANGEL SAMAEL STEPS OUT OF THE TREES AND INTO VIEW
SAMAEL
He will never give in to you. You have failed.
LUCY (laughing)
Failed? I don't think so. He chose to let her die.
You know what she is to him.
You know what lies ahead for him without her.
SAMAEL
He also knows. He refused your offer. Go.
LUCY
Who are you to command me?
SAMAEL
You should not have come to this place.
Now go.
HE RAISES HIS HAND
LUCY IS GONE
CUT TO WHITE
CUT TO : A WHITE ROOM, FILLED WITH LIGHT
FRANK STANDS FACING THE OLD MAN
HE IS CRYING
FRANK (disorientated)
Where I am?
THE OLD MAN
Your gift brought you here, Frank.
You know where this is.
FRANK LOOKS AROUND IN CONFUSION
FRANK
Where's Catherine?
THE OLD MAN
You'll see her again, don't worry.
(pause)
They tried to trick you into damning yourself, you know.
But you made the right choice.
FRANK (desolate)
What have I done? I let her die.
THE OLD MAN
Nothing ever really dies, Frank. You should know that.
When my family were killed, I was sure I'd never see them again.
(pause)
I was wrong (he smiles)
FRANK (not listening)
The Millennium Group could have stopped this.
THE OLD MAN (regretful)
They weren't ready for this. For the virus to come again.
We knew it would after '86. But we pretended we knew how to stop it.
We were wrong.
FRANK
All the prophecy and mystery - all a sham.
THE OLD MAN (nodding)
The Group is not what is once was, what it can be again.
Now, they squabble like children over who should take the blame.
FRANK
They've lost sight of the goal.
THE OLD MAN
Yes. Don't give up on them, Frank. They need you.
(pause)
There's someone you should see.
THE LIGHT INCREASES TO BLINDING LEVELS
WHEN IT FADES, THE OLD MAN IS GONE AND HENRY BLACK SHUFFLES INTO VIEW
HENRY
Hello, son.
FRANK (incredulous)
Dad?
HENRY
Yes. Look, son, I can't talk for long.
FRANK (tearful)
Dad? Is it really you?
HENRY
Yes, son. Your mother is here too. She was right, you know.
Angels. Goddamn angels.
(he pauses and shakes his head)
Don't make the same mistake I made, Frank.
After your mother was gone, our family fell apart. Don't let Catherine go.
FRANK (crying now)
It's too late - I lost her. I let her die.
HENRY
Nothing is ever completely lost, son.
(He scratches his chin, absently)
Not completely.
(He smiles)
Goodbye.
FRANK (sobbing)
Dad?
A BLINDING WHITE LIGHT FILLS THE ROOM
CUT TO : THE CLEARING
THE ANGEL SAMAEL LOOKS DOWN AT THE STILL FORM OF CATHERINE
HE LOOKS A LITTLE SAD
FRANK STIRS FROM WHERE HE IS LYING ON THE GROUND
HE SITS UP A LITTLE GROGGILY
SAMAEL
Hello again, Frank.
FRANK (he looks at Catherine)
Catherine? ..... (there is no response) .... Catherine?
(looking at Samael)
Who are you? Where's Lucy?
SAMAEL
That's not important.
I don't have much time.
It's painful for me to be here. Do you remember?
THE CAMERA PANS DOWN TO SHOW THAT HIS FEET DO NOT TOUCH THE GROUND.
FLASHBACK TO THE ANGEL SAMAEL IN THE INTERROGATION ROOM AT THE END OF 'POWERS, PRINCIPALITIES, THRONES AND DOMINIONS'
CUT BACK TO :
FRANK
Yes, I know you.
SAMAEL
Your life began in this place, Frank. I was here.
In another place, I would not have been able to intervene.
HE LOOKS DOWN SADLY AT CATHERINE
FRANK (desperate)
Catherine?
FRANK KNEELS DOWN AND CRADLES CATHERINE'S HEAD
THERE IS NO SIGN OF LIFE
FRANK (shouting)
No!
TEARS ARE RUNNING DOWN HIS FACE
HE SCREAMS WITH FURY
HE TURNS TO SAMAEL
FRANK (furious)
Where were you when I could have saved her?
I turned down their offer and now she's gone!
What have I done?
SAMAEL (calm, as if quoting)
Why should it be thought incredible by you that God can raise the dead?
FRANK LOOKS SHOCKED
SAMAEL
What is has been done can be undone.
(pause)
It will not be just as it was before, but she will live.
FRANK (incredulous)
Really?
SAMAEL
Yes.
(pause)
There is a price to be paid.
FRANK LOOKS DOWN AT CATHERINE
FRANK (quietly)
Anything.
SAMAEL
A little of your self must be given.
FRANK
My self - my gift? The visions?
SAMAEL
Yes. And also from your daughter.
FRANK
I agree.
SAMAEL
Good.
Bring Jordan here.
FRANK RUNS TO THE CABIN. JORDAN IS STILL ASLEEP. HE LIFTS HER UP.
JORDAN (sleepy)
Daddy, what's happening?
FRANK
Come on, sweetie, Mommy needs us.
THEY LEAVE THE CABIN.
FRANK STARTS TO RUN BACK TO THE CLEARING
HE STOPS SUDDENLY, AND REELS AS IF HE HAS BEEN STRUCK
FLASH CUT TO FRANK'S VISIONS OF:
CATHERINE PLAYING WITH JORDAN IN BED.
CATHERINE IN HER WEDDING DRESS.
CATHERINE DISCOVERING THAT HER NOSE IS BLEEDING.
CATHERINE ON THE PORCH OF THE YELLOW HOUSE. SHE LOOKS HAPPY.
CATHERINE CHAINED BY THE POLAROID MAN.
A SMILING CATHERINE TURNING TOWARDS US AS THE SUN CATCHES HER HAIR.
CATHERINE'S LOOK OF HORROR AS FRANK STABS THE POLAROID MAN.
CATHERINE WATCHING FRANK DRIVE AWAY AS HE LEAVES THE YELLOW HOUSE.
CATHERINE SITS IN A CHAIR. HER LIPS ARE MOVING BUT THERE IS NO SOUND.
CUT TO : STAGGERED BY THE FORCE OF HIS VISIONS, FRANK STUMBLES ONWARDS, CARRYING JORDAN
CUT TO: EXT. NIGHT. THE WOODS
POINT OF VIEW : DARKNESS. SOMEONE IS MOVING THROUGH THE TREES IN A HURRY.
THERE IS THE SOUND OF HEAVY BREATHING
WE SEE A TWO OR THREE OTHERS IN HEAVY BIOHAZARD SUITS.
ON ONE SHOULDER WE SEE AN OUROBOROS.
THEY ARE CARRYING A LARGE, LIGHTWEIGHT STRUCTURE OF SOME SORT
CUT TO : SAMAEL STANDS IN THE CLEARING, OVER CATHERINE
HE LOOKS AROUND ANXIOUSLY
HE SIGHS. HE LOOKS A LITTLE SAD.
SAMAEL (whispering)
I am the alpha and the omega, says the Lord God,
Who is, who was, who is to come, the Almighty.
AS FRANK APPROACHES, A BLINDING LIGHT FILLS THE CLEARING
FRANK FALLS TO HIS KNEES AND LETS JORDAN GO.
HIS HANDS CLUTCH AT HIS HEAD.
AS THE LIGHT INCREASES, HE IS LOST FROM VIEW.
FRANK (shouting)
Catherine?
JORDAN SCREAMS
CUT TO: EXT. NIGHT. THE WOODS
POINT OF VIEW : DARKNESS. SOMEONE IS MOVING THROUGH THE TREES IN A HURRY.
UP AHEAD, THE WOODS ARE FILLED WITH LIGHT FOR A FEW SECONDS
THEN THE LIGHT FADES AND THE WOODS ARE DARK
TEAM MEMBER ONE
I think I see something!
TEAM MEMBER TWO
Where?
TEAM MEMBER ONE
Up ahead! There!
THEY BURST INTO THE CLEARING. CATHERINE IS ALONE, SLUMPED AGAINST A TREE
THEY STOOP TO EXAMINE HER.
THERE IS NO SIGN OF ANYONE ELSE.
TEAM MEMBER ONE
Here's one of them!
TEAM MEMBER TWO
Quickly - where are the others?
THE FOUR TEAM MEMBERS SEARCH THE CLEARING AND MOVE TOWARDS THE CABIN.
CUT TO : BLINDING LIGHT
THE LIGHT FADES TO REVEAL FRANK AND JORDAN STANDING ALONE
FRANK LOOKS A LITTLE SMALLER, AND HIS HAIR IS WHITE
FRANK
Jordan?
JORDAN (close to tears)
Daddy? Where are we?
I'm scared.
LINDA BLACK EMERGES OUT OF LIGHT.
LINDA BLACK
Jordan?
JORDAN
Grandma?
FRANK
Mother? What is going on here?
LINDA BLACK TAKES JORDAN IN TO HER ARMS
LINDA BLACK (smiling)
Don't worry, Frank, the angels will take care of everything.
CUT TO : POINT OF VIEW, APPROACHING THE CABIN.
AS THE POINT OF VIEW REACHES THE DOOR, WE SEE THAT THE CABIN IS EMPTY.
THE OLD LACE CURTAIN FLUTTERS IN THE BREEZE.
TEAM MEMBER THREE
Where the hell are they? Watts said they'd be here!
TEAM MEMBER TWO
Well, they're not here now. Let's go.
We have the others to think about.
(pause)
This is a complete disaster.
TEAM MEMBER TWO LEAVES THE CABIN.
TEAM MEMBER THREE'S FACE IS OBSCURED BY HIS HELMET.
HE RIPS OFF THE OUROBOROS BADGE FROM HIS SHOULDER AND LEAVES IT ON THE FLOOR.
TEAM MEMBER THREE
This is who we are, Mr Black.
CUT TO : WHITE ROOM FILLED WITH LIGHT
FRANK
Where's Catherine?
LINDA BLACK
She'll be all right, Frank. They promised me.
A SHADOW PASSES OVER HER FACE
They promised.
BLINDING LIGHT OBSCURES ALL DETAIL
CUT TO : THE CLEARING
A LARGE CHAMBER IS BEING LIFTED BY THE FOUR TEAM MEMBERS
TEAM MEMBER FOUR
Let's get the hell out of here.
TEAM MEMBER THREE
We can't just leave them behind.
TEAM MEMBER ONE
We have our orders. Let's go.
This is who we are.
THEY LEAVE THE CLEARING.
CUT TO WHITE.
CUT TO EXT. CABIN. DAY
THE SUN IS RISING. ITS RAYS ILLUMINATE THE CABIN AND THE CLEARING.
THERE IS NO SIGN OF LIFE.
CUT TO EXT. CABIN. DAY
THE SUN IS NOW WELL UP IN THE SKY.
THE CAMERA MOVES TOWARDS THE CABIN DOOR.
AS IT ENTERS THE CABIN DOOR, WE PAN AROUND TO SEE
FRANK IS SITTING ON THE CABIN FLOOR, PROPPED AGAINST A WALL.
HIS HAIR IS WHITE.
HE LOOKS DAZED AND CONFUSED.
HIS EYES ARE UNFOCUSED
JORDAN IS ASLEEP
JORDAN AWAKES.
JORDAN
Where's mommy?
SHE GIGGLES LOUDLY
SHE RUNS OVER TO FRANK AND SITS ON HIS LAP.
SHE STROKES HIS WHITE HAIR.
HE STROKES HER HEAD ABSENTLY BUT DOES NOT LOOK AT HER.
CUT TO : STATIC FILLING THE SCREEN
FLASHCUT TO : LUCY BUTLER SMILING
CUT TO : STATIC FILLING THE SCREEN
END OF ACT FOUR
FADE TO BLACK
FADE IN :
TO BE CONTINUED IN 'EXEGESIS 2'