by Red Kettle
AUTHOR'S NOTES
I hope you find this script as enjoyable to read as I found it to write. A lot of the smaller details that I have used (just where was that virus developed? what about the El Nino phenomenon?) were gleaned from repeat viewing of past episodes, which was great fun. There are references to a lot of these past episodes in there, so keep an eye out for them. Observant readers will notice that the episode is set almost exactly one year ago.
The structure of the episode is quite complex and I have used multiple points of view and rapid cutting from one place to another to try and get a slightly cinematic feel. The main strand of the narrative takes the form of an extended monologue by one of our favourite characters, interrupted by flashbacks and cut scenes. It's quite a rough ride for him.
I have also taken the opportunity to use music within this script, for the first time. The recording of 'Parsifal' which I have listened to is the 1913 recording of the Berlin Philharmonic. The other piece of music is shorter and much more current. I hope you like it.
Please do let me know what you think of the script, good or bad, so that the next one will be even better. I make no apology for the scenes at the middle and end of Act One. If you are of a fragile or nervous disposition, this script may not be for you. But then again, if you are a nervous type, why are you watching Millennium anyway?
So, on to the main attraction. Ladies and gentlemen, I give you ... TEOTWAWKI2.
Enjoy. And may your God go with you.
Red Kettle
FADE IN TO BLACK
QUOTE
(VOICEOVER BY THE ORIGINAL OLD MAN)
When I looked for good
Then evil came unto me
When I waited for the light
Then came darkness.
FADE TO BLACK
TEASER
CUT TO: A HOSPITAL CORRIDOR.
CAPTION : 7 SEPTEMBER 1998
IN THE DISTANCE, WE CAN SEE A NURSE WALKING AWAY FROM US.
APART FROM THAT, THERE IS NO ACTIVITY.
SOMEWHERE A RADIO IS PLAYING MUSIC.
A VOICEOVER BY PETER WATTS BEGINS
AS HE SPEAKS, OUR VIEW BEGINS TO MOVE SLOWLY DOWN THE CORRIDOR.
PETER WATTS
So much has happened since then.
(pause)
So many have been lost. So much grief and suffering.
It's hard to see any purpose in it at all.
(pause)
We still don't understand everything that happened.
But we have to believe.
(pause)
_I_ have to believe.
That it's all moving in some direction.
That it's going to make sense in the end.
I can't see all the details now, but I have to have faith.
(pause)
I'm trying. I'm really trying.
THE CAMERA IS APPROACHING AN OPEN DOOR ON THE RIGHT
PETER WATTS
Some of us thought it was the end.
It was the end for a lot of people.
For a lot of us.
Some of those that were left couldn't go on.
(pause)
Ended it. Rather than face what comes next.
Surely it can't get any worse.
Not after this.
FLASHCUT TO: A STILL COLOR PHOTO
IT IS ILLUMINATED BY A LIGHT WHICH FLICKERS ALMOST IMPERCEPTIBLY.
THERE IS A QUIET FLAPPING NOISE, LIKE A FLAG FLAPPING IN THE WIND.
IT APPEARS TO BE A SCENE FROM A WEDDING.
SMILING GUESTS SURROUND THE HAPPY COUPLE.
THE BRIDEGROOM IS TALL AND THIN. HE HAS A THICK MOUSTACHE.
HE IS LOSING HIS DARK HAIR AT THE TEMPLES.
THE BRIDE LOOKS RADIANT AND IS SMILING BROADLY.
JUST AS WE RECOGNISE PETER AND BARBARA WATTS, WE :
CUT TO BLACK FOR A SECOND
CUT TO : THE HOSPITAL CORRIDOR
THE CAMERA MOVES INTO THE DOORWAY AND INTO THE ROOM.
AS IT PASSES THE DOOR, WE CAN SEE THERE IS A CARDBOARD LABEL WITH SOMETHING WRITTEN ON IT, STUCK TO THE FRONT OF THE DOOR. WE CAN'T SEE THE LETTERS CLEARLY.
PETER WATTS
Maybe you have the right idea.
Keeping down until the storm has passed.
Battening down the hatches.
(pause)
But we need you back. Things are happening again.
We need you for what lies ahead.
If we lose our faith, what hope is there for the others?
THE CAMERA ENTERS THE ROOM TO REVEAL PETER WATTS. HE IS SITTING ON A CHAIR BY A HOSPITAL BED. THE FIGURE IN THE BED REMAINS OFF-CAMERA.
PETER CONTINUES TO SPEAK ON-CAMERA.
PETER WATTS
He was wrong, you know.
The Old Man.
(pause)
He thought it was the end of the world.
In spite of the prophecies. In spite of the knowledge.
(pause)
He lost his way.
(pause)
Nothing was the same afterwards.
Nothing.
(pause)
I never expected it would be this hard.
It was the end of everything.
CUT TO : A BRIGHT, SUNLIT COLOR PHOTO
THIS ONE IS MORE RECENT.
AGAIN, THERE IS A QUIET FLAPPING NOISE.
PETER AND BARABARA WATTS AND THEIR THREE DAUGHTERS ARE STANDING OUTSIDE THEIR HOME.
PETER HAS LOST A LOT OF THE HAIR THAT HE USED TO HAVE.
BARBARA AND THE GIRLS ARE SMILING.
PETER HAS A FAINTLY QUIZZICAL LOOK ON HIS FACE.
CUT TO : BLACK FOR ANOTHER SECOND.
CUT TO : POINT OF VIEW FROM THE BED
THE LIGHT IS HAZY AND THE COLOURS ARE DISTORTED.
OUR VIEW IS UNFOCUSED AT THE EDGES
PETER WATTS' VOICE IS SLOW AND DISTORTED.
IT IS IMPOSSIBLE TO UNDERSTAND WHAT HE IS SAYING.
IN THE BACKGROUND, WE CAN HEAR MUSIC ON THE RADIO.
SOMEONE TURNS THE VOLUME UP.
IT SEEMS TO COME FROM A LONG WAY AWAY AND THE WORDS ARE INDISTINCT AT FIRST.
THE SOUND OF PETER'S VOICE GRADUALLY GROWS FAINTER AND THEN STOPS COMPLETELY, ALTHOUGH HIS LIPS CONTINUE TO MOVE.
THE MUSIC CONTINUES, GETTING LOUDER AND MORE DISTINCT.
(WE RECOGNISE THE TUNE 'IT'S THE END OF THE WORLD AS WE KNOW IT' BY R.E.M., PLAYING ON THE RADIO)
CUT TO : CLOSE UP ON PETER
HE STOPS TALKING AND PUTS HIS HEAD IN HIS HANDS.
HIS FACE IS ETCHED WITH PAIN AND DOUBT.
WE CAN HEAR THE WORDS OF THE SONG NOW.
SINGING:
It's the end of the world as we know it.
It's the end of the world as we know it.
CUT TO : CLOSE-UP ON PETER AS HE STARTS TO CRY
MUSIC :
It's the end of the world as we know it and I feel fine.
THE MUSIC FADES OUT AS THE SCREEN FADES TO BLACK
CUT TO TITLE SEQUENCE.
ACT ONE :
FADE IN TO BLACK
A VOICE
"And some of those understanding shall fall
To refine them
To purify them"
CUT TO BLACK :
CAPTION : 03:12 MAY 18 1998
DARKNESS.
THERE IS A SOUND OF SCUFFLING
WE PULL IN CLOSE ON A SPENT MATCH WHICH IS GLOWLY FEEBLY IN THE DARK.
SOMEONE GRUNTS.
SOMETHING GURGLES WETLY.
THE GLOW DIES AS THE MATCH IS SLOWLY EXTINGUISHED.
CUT TO: POINT OF VIEW FROM THE FLOOR.
WE ARE LOOKING UP AT A ROBED FIGURE STANDING IN FRONT OF A SET OF LARGE DOUBLE DOORS. A REDDISH LIGHT IS EMANATING FROM THE FIGURE, BUT ALL AROUND IS DARK. THE FACE OF THE FIGURE CANNOT BE SEEN CLEARLY. THE FIGURE HAS ONE HAND RAISED AS IF BECKONING. AFTER A SECOND, A DARK SHADOW MOVES ACROSS OUR VIEW AND THE FIGURE IS GONE.
CUT TO: THE CONFERENCE ROOM
THE ROOM IS IN DARKNESS, BUT THERE IS A LOT OF MOVEMENT AND NOISE
PEOPLE ARE MOVING AROUND
THE FIRST WOMAN IS SHOUTING
FIRST WOMAN
Everyone stay where you are!
Don't move!
Somebody get me a light!
SOMEONE PRODUCES A SMALL HANDHELD TORCH
THE LIGHT ILLUMINATES SEVERAL OF THE ELDERS STANDING IN THE SHADOWS.
PETER WATTS IS NEARBY.
FIRST WOMAN
What's happening? What happened to the power?
Mr Lott?
(pause)
Where's Lott?
PETER WATTS MOVES TOWARDS THE FIRST WOMAN
FIRST WOMAN
Don't move, Watts. This isn't finished yet.
(to the others)
Where is Mr Lott?
PALE MAN
He was here a minute ago. When the lights went off.
FIRST WOMAN
Well, where is he now?
PALE MAN
Perhaps he's gone to make sure the Old Man is alright.
(pause)
I'm sure this is just an electrical fault.
PETER WATTS
The Old Man is here? He's in the building?
PALE MAN
He wanted to be here.
(pause)
For the end.
PETER WATTS (moving to the door)
Where is he?
FIRST WOMAN
You're going nowhere, Watts.
PETER WATTS
Where is Lott?
(pause)
This may be some kind of attack.
We have to find the Old Man right now.
Where is he?
PALE MAN
I'll show you. Come on.
HE TAKES THE TORCH FROM THE FIRST WOMAN
THE PALE MAN AND PETER WATTS MOVE TOWARDS THE DOOR
CUT TO : A HALLWAY IN DARKNESS
OUR EYES SLOWLY ADJUST TO THE DARKNESS AND WE CAN MAKE OUT A FIGURE MAKING HIS WAY ALONG THE CORRIDOR. HIS ARMS ARE STRETCHED OUT, FEELING HIS WAY IN THE DARK.
AFTER A FEW SECONDS, A SECOND FIGURE APPROACHES. HE WALKS SLOWLY ALONG THE CORRIDOR AND SEEMS TO HAVE NO TROUBLE SEEING IN THE DARK.
THE SECOND FIGURE APPROACHES THE FIRST AND TOUCHES HIM ON THE SHOULDER.
THE DARKNESS AROUND THE TWO FIGURES SEEMS TO LESSEN AND WE CAN SEE A LITTLE BETTER.
THE FIRST FIGURE STOPS AND STIFFENS.
THE SECOND FIGURE LEANS IN CLOSE AND WHISPERS IN THE EAR OF THE FIRST FIGURE.
WE CANNOT HEAR WHAT IS SAID.
THE SECOND FIGURE SEEMS TO EMBRACE THE FIRST.
SOMETHING GLINTS IN THE DARKNESS.
THE FIRST FIGURE STAGGERS AND SAGS.
THE DARKNESS AROUND THE FIGURES SEEMS TO INTENSIFY.
CUT TO : THE CONFERENCE ROOM
THE FIRST WOMAN HAS FOUND ANOTHER SMALL TORCH
FIRST WOMAN
This is ridiculous.
We can't just sit here like children afraid of the dark.
Someone go check on the others. You check out the computer room.
I'll take the infirmary. Look for a mains power switch or a fuse box.
We have to get the power back on.
SEVERAL ELDERS MOVE TOWARDS THE DOOR
CUT TO : A HALLWAY
PETER WATTS IS CARRYING A TORCH
ITS WEAK LIGHT ILLUMINATES A SMALL AREA OF WALL AND FLOOR.
PETER WATTS
Which way is it? Where is he?
PALE MAN
This way. Follow me, Peter.
CUT TO : A HALLWAY
THE SECOND FIGURE SEEMS TO BE NUZZLING AT THE SIDE OF THE FIRST FIGURE'S HEAD, AS IF KISSING HIM.
THERE IS A GULPING NOISE.
NOISE AND A WEAK LIGHT ARE COMING FROM FURTHER DOWN THE CORRIDOR
THE SECOND FIGURE RESTS THE FIRST ONE AGAINST THE WALL GENTLY AND MOVES OFF INTO THE DARKNESS.
CUT TO : THE HALLWAY
PETER WATTS AND THE PALE MAN ARE WALKING SLOWLY UP THE CORRIDOR
THE TORCH DOES NOT GIVE OUT MUCH LIGHT, BUT AFTER A FEW SECONDS, IT PICKS OUT A FIGURE SLUMPED AGAINST THE WALL.
PETER AND THE PALE MAN APPROACH QUICKLY
CLOSE-UP ON MR LOTT
HE IS SPLUMPED AGAINST THE WALL
THE SKIN IS MISSING FROM THE LEFT HALF OF HIS FACE, AND THE EXPOSED FLESH GLISTENS IN THE TORCHLIGHT. HIS LEFT EYE IS GONE AND HIS LEFT EAR IS HANGING AT AN ODD ANGLE. HE IS TAKING RAGGED, SHALLOW BREATHS.
PETER WATTS
My God, it's Lott!
AS PETER STOOPS TO LOOK CLOSER, WE SEE THE HILT OF A KNIFE JUTTING FROM THE LEFT SIDE OF MR LOTT'S CHEST.
THE FLOOR IS SLIPPERY WITH BLOOD.
MR LOTT (very weak)
Peter? Peter? Is that you?
PETER WATTS (kneeling)
My God, Lott, what happened to you?
MR LOTT (getting weaker, gasping)
Peter, he told me things.
(he attempts a smile, but it's just a twisted grimace)
Things you wouldn't believe.
PETER WATTS (addressing the PALE MAN)
You stay with him. I'll go ahead.
Where is the Old Man?
THE PALE MAN
Keep going. Go right at the next corner and it's the second door on the right.
Big double doors.
He should be in there.
PETER WATTS
Right.
HE MOVES ON.
CUT TO : THE CORRIDOR OUTSIDE THE INFIRMARY
ALL IS IN DARKNESS.
THE FIRST WOMAN SHINES HER TORCH ON THE DOOR AS SHE PUSHES IT OPEN.
THE TORCH SHOWS A BODY LYING ON A TABLE
AS WE APPROACH WE SEE THE FAMILIAR FORM OF LARA MEANS
SHE IS BREATHING, BUT SEEMS TO BE UNCONSCIOUS.
THE FIRST WOMAN MOVES FORWARDS INTO THE ROOM.
FIRST WOMAN
(to Lara) Sorry, my dear.
We'll get the lights on again and then I'll sort you out.
Where is that damned doctor?
There should be some sort of fuse box in here.
(absently)
This floor is a bit sticky.
SHE MOVES FORWARDS TO A SWITCH BOX ON THE WALL
IT HAS OBVIOUSLY BEEN TAMPERED WITH
SWITCHES ARE HANGING LOOSE.
FIRST WOMAN (to herself)
This would seem to be the source of our problem.
Let's see.
SHE BEGINS TO FIDDLE WITH THE SWITCHES.
CUT TO : PETER'S TORCH ILLUMINATES A SET OF DOUBLE DOORS
ONE OF THEM IS SLIGHTLY AJAR
PETER WATTS
Sir? Are you there?
THERE IS NO RESPONSE.
PETER WATTS
Sir?
HE PUSHES AT THE DOOR
HE STEPS INTO THE OFFICE.
CUT TO : EXT. NIGHT
A LIMOUSINE IS WAITING AT THE SIDEWALK.
YAPONCHIK APPEARS FROM THE SHADOWS AND GETS IN.
CUT TO : INT. CAR.
YAPONCHIK LOOKS BACK, ALMOST REGRETFULLY.
HE WIPES HIS MOUTH WITH HIS SLEEVE.
YAPONCHIK
Etee. (subtitles : 'Go')
THE LIMOUSINE PULLS AWAY FROM THE KERB.
CUT TO : THE OLD MAN'S OFFICE
PETER'S TORCH IS HANGING LIMPLY AT HIS SIDE.
IT ILLUMINATES A PATCH OF BLOOD-SOAKED CARPET.
PETER SEEMS TO BE IN A STATE OF SHOCK.
CUT TO : OUTSIDE THE OFFICE.
THE PALE MAN STEPS INTO THE OFFICE, BEHIND PETER.
THE PALE MAN
Peter? Peter? Is he here? Is he alright?
PETER DOES NOT REPLY, BUT SIMPLY HANDS THE TORCH TO THE PALE MAN.
AS HE SHINES THE TORCH AROUND, WE CAN GET A SENSE OF THE CARNAGE IN THE ROOM.
SPATTERS OF BLOOD COAT THE WALLS AND FLOOR. THE OLD MAN HIMSELF IS SITTING IN HIS CHAIR. A LONG VERTICAL INCISON IS VISIBLE ON HIS ABDOMEN, AND HE HAS BEEN EVISCERATED. HIS ENTRAILS HAVE BEEN THROWN OVER THE BIBLE ON THE DESK. HIS THROAT HAS BEEN CUT AND HIS HEAD HANGS TO ONE SIDE. A OLD PIECE OF WOOD HAS BEEN NAILED HORIZONTALLY ACROSS HIS BACK, BETWEEN THE SHOULDER BLADES.
THE PALE MAN BEGINS TO WEEP
Eloi, eloi, lama sabachthani Oh Lord, why have you forsaken us?
CUT TO : THE INFIRMARY
THE FIRST WOMAN IS STILL FIDDLING WITH SWITCHES
THE FIRST WOMAN
Hmmm that should do it.
SHE PUSHES AT A SWITCH AND ALL THE LIGHTS COME ON.
SHE TURNS AND BEGINS TO SCREAM WHEN SHE SEES WHAT HAS BEEN DONE TO ANDERSON AND THE DOCTOR ON THE FLOOR. THE FLOOR IS AWASH WITH BLOOD WHICH IS JUST BEGINNING TO CONGEAL.
FLASHCUT TO : THE DOCTOR, CRUCIFIED ON THE GROUND.
FLASHCUT TO : ANDERSON, KNIVES IN HIS EYES.
LARA MEANS OPENS HER EYES AND STARES BLANKLY.
THE FIRST WOMAN CONTINUES TO SCREAM.
END OF ACT ONE.
ACT TWO
FADE IN FROM WHITE
INT. DAY. THE HOSPITAL ROOM
BRIGHT DAYLIGHT IS FILLING THE ROOM.
PETER WATTS IS STANDING BESIDE THE WINDOW.
HE IS TALKING TO SOMEONE OFF-CAMERA
PETER WATTS
That's how we found him. And Lott. And the others in the infirmary.
Six soldiers too.
(pause)
All gone.
In less than fifteen minutes.
(pause)
I can't forget what I saw when the lights came on again.
I've tried to put it out of my mind, but it won't go.
(pause)
No-one deserves to die like that. Slaughtered.
Some of the things that Lott said before the end
What was done to him
(pause)
I still can't sleep when I think of his face.
And The Old Man
HE TURNS FROM THE WINDOW AND PACES BACK AND FORTH.
HE RUNS A HAND OVER HIS HEAD.
PETER WATTS
It took us another thirty minutes to make sure the building was secure.
That's when we found the soldiers.
(pause)
We got the computer network back up again.
That's when we realised what had happened.
(pause)
There had been a co-ordinated attack on Group servers and archive sites.
They managed to get into our secure data. Level Blue.
Our servers were wide open for the best part of an hour.
(pause)
We lost a lot of important information.
A lot of data on the patterns we've been observing.
It was a big hit.
(pause)
From what we've been able to piece together, it looks like the attack originated from somewhere in Russia.
A server in Perm.
It was hard to tell.
Mr Lott gave us a name before he died.
CUT TO : THE INFIRMARY. INT. NIGHT.
MR LOTT IS LYING ON A TABLE
HIS FACE IS BANDAGED.
HIS BREATHING IS IRREGULAR
PETER WATTS STOOPS TO LISTEN TO HIM
MR LOTT (weak)
Peter? Is that you?
PETER WATTS
Yes.
MR LOTT (weak)
I'm sorry Peter. I may have misjudged you.
We were so sure, you know.
(he gasps for breath)
I have to tell you, Peter.
(pause)
He was asking about Frank Black.
PETER WATTS (leaning close)
Who was?
MR LOTT
He called himself Yaponchik.
(he coughs and gasps again)
He said he was coming soon.
MR LOTT'S BREATHING BECOMES MORE LABOURED AS HE FIGHTS FOR AIR.
PETER WATTS
Hold on, Lott.
Our people are on the way. Just hold on.
THE GASPING NOISES CONTINUE
CUT TO : INT. DAY. THE HOSPITAL ROOM
CLOSE-UP ON PETER WATTS
PETER WATTS
Yaponchik. The Bogeyman. The Devil. The Russian Anti-Christ.
He's supposed to be a myth, an old legend.
Something to frighten your children with.
(pause)
We came across a man calling himself Yaponchik in New York about 18 months ago.
We think it's the same man.
There's not much to go on from the security tape we had.
CUT TO: GRAINY SECURITY FOOTAGE
THERE IS A TIME-STAMP ON THE LOWER RIGHT CORNER.
WE SEE SEVERAL SOLDIERS STANDING IN A PARKING GARAGE.
IT APPEARS TO BE NIGHT.
WE SEE A SLIM MAN IN BLACK APPROACHING THE SOLDIERS.
THE SOLDIERS MOVE TOWARDS HIM.
THERE IS A CONFUSED STRUGGLE AS THE SOLDIERS ENCOUNTER THE FIGURE.
ONE BY ONE THE SOLDIERS FALL UNTIL ONLY THE SLIM FIGURE REMAINS.
THE FILM PAUSES AS THE SLIM FIGURE LOOKS UP AT THE CAMERA.
THE LIGHT CATCHES HIS FEATURES.
HE SEEMS TO SMILE SLIGHTLY.
THE TIME STAMP CONFIRMS THAT THE WHOLE INCIDENT WE HAVE WATCHED HAS TAKEN LESS THAN 60 SECONDS.
CUT TO : INT. DAY. THE HOSPITAL ROOM
PETER WATTS
It's hard to be sure.
It could be the same man as in New York.
(he pauses)
Things were pretty bad in there for a while.
Most people were still convinced the end was coming.
Even some of the Elders were waiting for the Last Trumpet.
I wanted to get back to Barbara and the girls, but there was no time.
(long pause)
PETER STARES AT THE FLOOR
Anyway.
When I checked with our people at the CDC,
I could see that it was all happening too fast.
A few of us took charge and got the place under control
until we could figure out what was happening.
We managed to get the Elders together again.
To decide.
CUT TO : INT NIGHT. THE CONFERENCE ROOM
SEVERAL OF THE ELDERS ARE AROUND THE TABLE.
PETER WATTS IS SEATED TOO.
SEVERAL PEOPLE ARE SHOUTING AT ONCE.
THE SUAVE MAN BANGS HIS FIST ON THE TABLE AND THE SHOUTING GRADUALLY SUBSIDES.
THE SUAVE MAN
That's enough! Have you forgotten who we are?
This is no time for us to attack one another.
(pause)
The Old Man is dead. Murdered. Lott is gone too. And the others.
PALE MAN
How do we know we're safe here? We should leave right now!
THE SUAVE MAN
Don't you realise what is happening out there? Don't you know what it's like?
We're staying here for now. We've checked the building and it's secure.
More of our people are arriving all the time.
THE FIRST WOMAN
How can we be sure that the time is not now?
We should be getting ready for the next step!
SWARTHY MAN
The time is _not_ now, my dear.
The Old Man believed it was, but he is gone.
You Roosters were mistaken.
THE FIRST WOMAN (becoming hysterical)
How do you know? Nothing has changed.
Perhaps the Owls are behind all of this!
THE SUAVE MAN (curtly)
Really. That's enough.
THE FIRST WOMAN
Who decided you would be the next Old Man? We are all equals here!
THE SUAVE MAN
That's right. And we will appoint the next Old Man when the time is right.
But not now.
Now we have decisions to take.
We have to decide if we should intervene in what's happening outside.
Peter, do you have the latest reports?
PETER WATTS (speaking quickly)
Our people in the CDC are reporting cases from most parts of the world now.
Current estimates suggest there already are over a million cases in the continental US.
We can expect that number to rise rapidly.
As you know, mortality will be close to one hundred per cent.
(pause)
There is no coordinated response from government yet.
Our people at the White House tell us that the President is panicking.
We'll probably have a state of martial law by morning.
THE SUAVE MAN
Has it gone epidemic yet?
PETER WATTS
No. Not yet.
THE SUAVE MAN
Do you think we have a realistic chance of stopping this?
Should we stop it?
PETER WATTS
It's impossible to be sure at the moment.
There is a chance that we're dealing with the fourth seal.
ALL THE ELDERS ARE QUIET
PETER WATTS
We knew about the earthquake, but the virus was a surprise.
And now we've been attacked directly.
I think something else might be going on here.
(pause)
I've seen our level blue files on the Marburg variant.
We know that the virus is a man-made agent. The Russians developed it.
I think we have to assume for the moment that this was a deliberate release.
A deliberate attempt to bring on the apocalypse. To force the end.
(pause)
The last time the virus was released, in the mid-west,
It 'vectored out' - mutated into an unstable form and became harmless.
I think that's our only chance now.
If we can stop the rate of spread,
We might buy enough time for the virus to become harmless.
(pause)
We can use our people in the CDC, the Bureau, the Company.
Use them to warn government agencies, get things moving.
Set up quarantine zones. Stop the spread.
We can give the CDC the information we have on the Marburg variant.
We might have a chance.
THE FIRST WOMAN
What if this is the apocalypse? What if this is the end?
PETER WATTS
Then nothing we can do will stop it anyway.
THE SUAVE MAN
Taking action might mean exposing the Group.
THE SWARTHY MAN
At this stage, I don't think we have a choice.
PALE MAN
I agree. If we're going to try and stop this thing, we have to do it now.
THE SUAVE MAN LOOKS AROUND THE TABLE. VARIOUS ELDERS ARE NODDING.
THE FIRST WOMAN IS NOT.
THE SUAVE MAN
So be it. This is who we are.
CUT TO : THE HOSPITAL ROOM
PETER WATTS IS SITTING IN THE CHAIR AGAIN.
PETER WATTS
So that's what we did.
We gave all our information on the Marburg variant to the CDC.
Our people alerted the agencies. Quickly and quietly.
We decided to help in any way we could.
And then we waited. Fearing it was too little too late.
(pause)
It was an awful night.
The reports kept coming in, the numbers rising.
CUT TO : POINT OF VIEW FROM THE BED.
OUR VIEW IS DISTORTED AS BEFORE, BUT LESS SO THIS TIME.
PETER WATTS IS TALKING FROM HIS SEAT.
HE IS LOOKING DIRECTLY AT US.
HIS VOICE SOUNDS LIKE IT IS COMING FROM A GREAT DISTANCE,
BUT IT SEEMS TO BE GETTING LOUDER AS HE SPEAKS.
PETER WATTS (earnest)
And then just after dawn, they brought her in.
They found Catherine.
And she was alive, Frank.
(pause)
She was alive.
CUT TO : THE HOSPITAL ROOM
PETER WATTS' POINT OF VIEW
FRANK BLACK IS LYING ON THE BED.
HIS HAIR IS WHITE.
HIS EYES LOOK DULL AND FLAT AND HIS FACE HAS A BLANK EXPRESSION.
HE DOES NOT REACT TO WHAT PETER HAS SAID.
END OF ACT TWO.
ACT THREE.
FADE IN FROM A WHITE SCREEN
PETER WATTS HAS PULLED THE CHAIR UP TO FRANK'S BED.
FRANK IS STILL STARING INTO SPACE.
PETER WATTS
She was in a bad way, Frank.
Obviously infected. I was sure she would die.
But she didn't. She just didn't.
She was unconscious for days, but she pulled through.
(pause)
It was incredible. We still haven't been able to figure it out.
There are only a handful of reports worldwide of people surviving without the vaccine.
(pause)
She was one of those few.
Not everyone was so lucky.
HE PAUSES AND LOOKS AT THE WINDOW.
A FEW SECONDS PASS BEFORE HE SPEAKS AGAIN.
PETER WATTS
You were right all along, Frank.
The Group knew what the virus was. What it was capable of.
What it might mean.
(pause)
I think the Old Man and Lott lost their way.
They were so confident after Odessa.
I think they thought that nothing would go wrong now.
It was just a matter of time.
When the outbreak started, they were sure it was the end.
So they did nothing. They just let it happen.
They forgot the balance.
HE TURNS BACK TO FRANK
PETER WATTS
By the time we decided to intervene it was too late, of course.
Too many had been infected.
(pause)
The next few weeks were a nightmare.
They declared a state of martial law.
It only made things worse. There were tens, hundreds of thousands dying every day.
People gathered together and sealed themselves off.
Strangers were shot on sight.
The government set up quarantine zones.
We helped them.
The military had orders to shoot to kill.
FLASHCUT TO A NIGHT-TIME SCENE
THERE ARE LARGE NUMBERS OF PEOPLE BEHIND A WIRE FENCE.
THERE ARE FLARES IN THE AIR.
THERE IS THE SOUND OF GUNFIRE.
PEOPLE ARE SCREAMING.
CUT BACK TO : THE HOSPITAL ROOM
PETER WATTS
I managed to get a team together to go back to the cabin again the day after we found Catherine.
That's how we found you and Jordan.
FLASHBACK TO : THE CABIN. EARLY MORNING.
JORDAN IS SITTING ON THE FLOOR.
JORDAN
Daddy, I'm hungry. Can we go home yet?
FRANK IS SILENT
JORDAN
Daddy, I wanna go home!
CUT TO : POINT OF VIEW, APPROACHING THE CABIN FROM THE OUTSIDE.
WE CAN SEE SEVERAL FIGURES IN HEAVY HAZ-MAT SUITS.
WE PASS FRANK'S CAR.
WE ENTER THE DOOR.
WE SEE JORDAN SITTING ON THE FLOOR.
SHE TURNS TOWARDS US.
FRANK IS STILL SLUMPED AGAINST THE WALL.
HIS EYES ARE GLAZED.
HE IS TURNING A SMALL FABRIC BADGE OVER AND OVER IN HIS HANDS
CUT TO : INT. THE CABIN
FOUR FIGURES ENTER THE CABIN.
JORDAN LOOKS FRIGHTENED AND BACKS AWAY.
THE FIRST FIGURE REMOVES HIS HELMET.
WE RECOGNISE PETER WATTS
PETER WATTS
Jordan, honey, are you OK?
JORDAN NODS
PETER GOES OVER TO FRANK
PETER WATTS
Frank? Are you OK?
WE CAN NOW SEE THAT FRANK IS TURNING AN OUROBOROS BADGE OVER AND OVER IN HIS HANDS.
PETER WATTS
Catherine's all right, Frank.
And Jordan will be all right too.
HE PAUSES FOR A MOMENT AND GRIMACES
PETER WATTS
Can you hear me?
FRANK
This.
(pause)
This.
HE HAS STOPPED TURNING THE BADGE OVER AND IS NOW POINTING AT THE OUROBOROS.
PETER
What is it?
FRANK (pointing at the badge more insistently)
This.
This.
This.
(pause)
This is who we are.
PETER
Frank?
FRANK (jabbing at the badge)
This. This. This. This. This is who we are. This. This.
A LOOK OF SHOCK COMES ACROSS PETER'S FACE.
CUT TO: THE HOSPITAL ROOM.
PETER IS STILL IN THE CHAIR BESIDE THE BED.
PETER WATTS
That was all you would say. This is who we are.
(pause)
We still don't know what happened to you, after all this time.
Catherine and Jordan can't remember.
And of course, you're not talking.
HE SMILES FOR A SECONND.
A FEW SECONDS PASS IN SILENCE.
PETER WATTS
It's my fault, Frank. What happened to you.
If you had joined the Group maybe it would have been different.
If I had guided you in a different direction.
I decided that Lara was ready for membership when you turned us down.
I thought she was strong enough.
I was wrong.
(pause)
We know that you gave Jordan Lara's vaccine.
I would have done the same thing if I could have.
If I had had the choice.
HE RUBS A HAND OVER HIS HEAD AGAIN.
PETER WATTS
Jordan is a good kid, Frank.
She's very special. She was able to sense what was coming.
If we make it, the Group will need her in the future.
(pause)
Lara made it, you know.
We don't think she'll ever recover.
Rolling dice. All day long.
It's all she does now.
I never thought it would end this way for her.
(pause)
I know you two were close. Because of your gift.
It was something I could never have shared with you.
(pause)
You had the gift, I had the faith.
Faith can move mountains, you know that, Frank?
PETER'S EYES ARE FILLING WITH TEARS
PETER WATTS (he continues tearfully)
It was all going wrong, Frank.
For days we watched the numbers rise.
Beyond anything we were prepared for.
What do you do with a million dead bodies? Two million? Ten million?
CUT TO : EXT. DAY. A RIVER
THE SURFACE OF THE WATER IS OBSCURED BY A MULTITUDE OF FLOATING BODIES.
FROM SOMEWHERE OFF-CAMERA THERE IS THE SOUND OF MACHINERY.
PERHAPS A MECHANICAL DIGGER.
CUT BACK TO : THE HOSPITAL ROOM.
PETER WATTS WIPES AT HIS EYES. HE IS STILL CRYING.
PETER WATTS
We lost Tyler, Frank.
(pause)
I couldn't save her.
I managed to get Barbara and the girls to a secure facility the day we found you.
I thought they were safe.
(pause)
Then Tyler started getting sick.
(pause)
I didn't know what to do.
I had to protect Barbara and the other girls. So I took her away.
(pause)
She went so quickly. She died in my arms, Frank.
I watched the light go out in her eyes.
(long pause)
Do you know what that's like, Frank?
PETER PUTS HIS HEAD IN HIS HANDS
A FEW SECONDS PASS
HE LOOKS UP AGAIN
PETER WATTS
I couldn't let Barbara see her.
(pause)
I know she can never forgive me for what I've done.
It's been four months and it's not getting any better.
(long pause)
I know you can't hear me, Frank.
I just can't make sense of it.
I always believed. Always. And still we lost Tyler.
You were always questioning. But Jordan and Catherine are OK.
I can't figure it out.
(pause)
I remember telling you why I had three daughters.
I remember when I told you that what we do affects our children.
Now I have only two daughters, Frank.
And it's my fault.
FADE TO WHITE
FADE SLOWLY IN FROM WHITE.
THE HOSPITAL ROOM.
SOME TIME HAS PASSED.
PETER'S EYES ARE RED BUT HE IS NO LONGER CRYING.
PETER WATTS
After the first week, I had seen things I hoped I'd never see.
So many dead. So much fear and terror.
The graves.
(pause)
It went epidemic, of course. We had always known it would.
Our people in the CDC started to lose count.
(pause)
But then the numbers started to stabilise.
It seemed to be slowing down.
We're still not sure why. Maybe the quarantine was working.
Maybe the virus itself was becoming harmless.
After a week, the numbers were falling.
And then it just gradually stopped. It just went away again.
And we don't know why.
(pause)
It took the best part of two months for society to start to function again.
For the government to re-assert itself.
Some areas are still under martial law.
(pause)
The total number of dead in the US was over forty million.
(pause)
One in six.
(pause)
We got off lightly.
In some countries it was closer to one in three.
South America, Africa, parts of Asia.
Decimated.
A real biblical plague, Frank.
(pause)
We figure the total number worldwide was somewhere over one _billion_.
One billion dead. About a quarter of global population dead in a month.
(pause)
I think it was the fourth seal after all.
(pause)
'When the lamb opened the fourth seal,
I looked and there before me was a pale horse.
And its rider was named death and hell followed with him.
They were given power over a fourth of the earth to kill
By sword, famine and plague and by the wild beasts of the earth.'
WE FOCUS ON PETER'S TORTURED FACE.
PETER WATTS
One in four.
FADE TO BLACK
TWENTY SECONDS PASS. THE SCREEN REMAINS DARK.
END OF ACT THREE.
ACT FOUR.
FADE IN AGAIN TO THE HOSPITAL ROOM.
WE SEE FROM FRANK'S POINT OF VIEW.
AGAIN, THE PICTURE IS DISTORTED.
PETER WATTS IS STANDING BY THE WINDOW IN SILENCE, STARING.
CUT TO : THE HOSPITAL ROOM
PETER TURNS SLOWLY TOWARDS FRANK.
PETER WATTS
The first Old Man knew how to keep the balance.
That's what he was doing out in that cabin for all those years.
Keeping away from the world.
Allowing his mind to clear so he could see the connections.
Studying the world from a distance. To keep it safe.
Infant mortality rates and animal attack statistics. The El Nino phenomenon.
Studying the patterns so that the Group could see what's coming.
That's how Mike Atkins found me at the FBI. And you.
The serial killers, the violent crime. It's all just part of a pattern.
Part of a pattern that can tell us something about the event that's coming.
(pause)
When we lost him, we lost our focus.
We were too confident.
And we paid for it.
(pause)
We forgot the lesson he taught us. About keeping the balance.
We won't forget again.
CUT TO : EXT. NIGHT. THE WOODS.
THE SUAVE MAN AND THE SWARTHY MAN EMERGE FROM THE WOODS.
WE SEE THE BURNED-OUT REMAINS OF AN OLD CABIN.
SCATTERED REMANTS OF JUNK ARE ALL AROUND.
THERE ARE LARGE GREY STONES STREWN ON THE GROUND.
THE SWARTHY MAN STOOPS TO PICK UP ONE OF THE GREY STONES.
HE TURNS IT OVER IN HIS HANDS. WE SEE AN OUROBOROS CARVED IN ONE SIDE.
HE TURNS TO THE SUAVE MAN.
THE SWARTHY MAN
The circle is broken, my friend.
CUT TO : THE HOSPITAL ROOM
PETER WATTS
We've been busy over the last four months.
Restoring the balance. Putting things right.
(pause)
What happened shook the Group, Frank.
We had always tried to prevent the end, but when the time came, some of the Roosters wanted it to happen.
To fulfil the prophecies.
(pause)
Most of them were shocked by what happened. By how close we came to the end.
So the Owls have regained control of the Group for the moment.
They think the virus was just a random event, something that we were lucky to survive.
And our faith in the prophecies has been shaken.
They didn't help us to foresee what happened.
(pause)
There are just over 500 days remaining until the millennium, Frank.
The Roosters believe that the fourth seal is just the beginning.
(pause)
The two factions are working together for the first time in a decade.
The Owls are examining the patterns again.
We are scouring the prophecies.
We have to know what's coming.
We can't make the same mistake again.
CLOSE UP ON PETER WATTS' FACE
PETER WATTS
We may also have a new enemy.
(pause)
We know the virus was engineered at a facility near Pechev.
Our network was attacked from Perm.
And Yaponchik may be the man who murdered the Old Man and Mr Lott.
(pause)
Something appears to be happening in Russia.
Rudolf Axmann thought he had destroyed all of his old enemies when The Wall came down and
the USSR fell apart.
We think maybe he was wrong.
CUT TO: EXT. NIGHT.
THE 'PRELUDE' FROM ACT ONE OF WAGNER'S 'PARSIFAL' BEGINS TO PLAY.
A CIRCLE OF TWELVE PEOPLE SURROUNDS TWO OPEN GRAVES.
EACH GRAVE HOLDS A SEATED FIGURE WRAPPED IN LINEN.
EACH PERSON IN THE CIRCLE HOLDS A CANDLE.
WE RECOGNISE THE SUAVE MAN, THE FIRST WOMAN AND THE SWARTHY MAN.
THE OTHER ELDERS ARE THERE ALSO. THE PALE MAN IS NOT THERE.
PARSIFAL IS PLAYING LOUDER.
THE SWARTHY MAN
The position in which life begins is that in which it ends
And that in which it will return.
CUT TO : EXT. NIGHT.
A MECHANICAL DIGGER IS PUSHING AT A MOUND OF BODIES.
AS WE GET CLOSER, WE CAN SEE INDIVIDUAL BODIES AS THEY ARE PUSHED INTO A LONG TRENCH.
THE SWARTHY MAN (VOICEOVER)
There is an end of wrong and death and hell and long wear of time and suffering
That faces the stain ingrown upon the soul .
CUT TO : THE CIRCLE OF PEOPLE
THE SWARTHY MAN
The cleansed spirit, long ages floating in the wandering winds and the rolling deeps of space
Renews itself and doth regain its dwelling.
CUT TO : EXT. NIGHT.
SEVERAL FIGURES IN PROTECTION SUITS ARE POURING LIQUID FROM JERRYCANS INTO A LONG TRENCH.
THE SWARTHY MAN (VOICEOVER)
Time calls and change commands both men and gods
And speeds us on,
We know not whither.
CUT TO : THE CIRCLE OF PEOPLE
THE SWARTHY MAN
The old earth smiles
Spring after spring
And the seeds burst forth again
CUT TO : EXT. NIGHT.
A FIGURE IN A PROTECTION SUIT AIMS A FLAMETHROWER AT THE TRENCH.
HE FIRES AND FLAMES ENGULF THE BODIES.
CUT TO : EXT. NIGHT
THICK, BLACK, OILY SMOKE RISES INTO THE AIR.
THE SWARTHY MAN (VOICEOVER)
And the dead renew themselves
And rise aloft and soar
Clothing themselves with change
CUT TO : THE CIRCLE OF PEOPLE
THE SWARTHY MAN
Until the last change be done.
THE 'PRELUDE' FROM 'PARSIFAL' SWELLS.
THE SWARTHY MAN HANDS HIS CANDLE TO THE SUAVE MAN.
HE TAKES A WOODEN STAFF IN ONE HAND AND WALKS SILENTLY AWAY FROM THE GRAVES.
CUT TO: THE WOODS
THE SWARTHY MAN STEPS OUT OF THE WOODS AND SURVEYS THE SCENE
THE CABIN HAS BEEN REBUILT AND THE OBELISKS FORM A CIRCLE ONCE MORE.
THERE IS A PLEASING AMOUNT OF JUNK SCATTERED AROUND.
THE SWARTHY MAN WALKS TOWARDS THE CABIN.
CUT TO: INT. THE CABIN.
THE SWARTHY MAN ENTERS. HE LOOKS AROUND SLOWLY.
HE GOES OVER TO AN OLD BOOKSHELF
WE SEE AN OLD PIECE OF WOOD HALF-HIDDEN BEHIND A ROW OF BOOKS.
WE CAN SEE A HOLE IN IT AND THERE ARE BLOODSTAINS.
THE SWARTHY MAN LOOKS AT THE WOOD BUT DOES NOT TOUCH IT.
THEN HE TURNS AND GOES TO THE TABLE.
THERE ARE SEVERAL DOCUMENTS ON THE TABLE.
HE SITS DOWN.
'PARSIFAL' PLAYS LOUDLY.
CUT TO : THE HOSPITAL ROOM (NO MUSIC)
PETER IS ON HIS FEET
HE IS PUTTING HIS COAT ON.
FRANK IS STILL LYING MOTIONLESS ON THE BED.
HE HAS NOT REACTED TO ANYTHING PETER HAS SAID.
PETER WATTS
I'm sorry I haven't been able to come very much before this.
The Group has been keeping me busy.
There's been a lot to do.
(pause)
I just wanted to come and talk to you.
CUT TO : FRANK'S POINT OF VIEW
THE VIEW IS LESS DISTORTED THAN BEFORE.
WE CAN HEAR PETER TALKING AS HE PUTS HIS COAT ON.
PETER WATTS
I know you can't hear me, but it helps me to talk.
I can't talk to Barbara any more.
(pause)
I know that it's partly my fault that you're like this.
(pause)
Anyway.
(pause)
I'll not be seeing you again for a few weeks.
I'm going to Perm.
So I'll see you when I'm back.
OK?
PETER LOOKS LONG AND HARD AT FRANK BUT SEES NO RESPONSE
HE SHRUGS A LITTLE AND WALKS TO THE DOOR.
HE TURNS BACK FOR A MOMENT AND THEN LEAVES.
CUT TO : THE HOSPITAL ROOM
FRANK IS LYING STILL ON THE BED.
A MUSCLE ON HIS FACE TWITCHES.
HE TAKES A LONG BREATH IN
IT LOOKS LIKE HE IS ABOUT TO GET UP OR SPEAK,
BUT AT THE LAST MINUTE HIS BODY RELAXES AND HE BREATHES OUT.
HE LIES STILL AGAIN.
FADE TO BLACK
CUT TO: THE HOSPITAL CORRIDOR
PETER IS WALKING
WE SEE A FIGURE APPROACHING FROM THE DISTANCE
AS SHE APPROACHES, WE RECOGNISE CATHERINE.
SHE HAS LOST SOME WEIGHT AND LOOKS PALE.
SHE SMILES SLIGHTLY WHEN SHE SEES PETER AND STOPS TO TALK TO HIM.
CATHERINE
Hi Peter.
PETER WATTS
Hi.
CATHERINE
How is he?
PETER WATTS
I tried talking to him again, but he was just the same.
It's more for my benefit, I suppose. It helps me to talk about everything that's happened.
It's good to get it off my chest.
CATHERINE
It's been hard on everyone.
THEY ARE SILENT FOR A FEW SECONDS
PETER WATTS
He hasn't spoken in four months now, Catherine. I don't know if he's ever coming back.
CATHERINE DOES NOT REPLY.
PETER WATTS
How's Jordan?
CATHERINE
Oh, she's fine. She's nearly back to normal again.
She wants to see him, but I won't let her.
Not yet.
She has enough bad dreams at the moment without seeing Frank.
PETER WATTS
I suspect she knows anyway. She's a bright kid.
CATHERINE
Yeah. How are Barbara and the girls?
PETER SCOWLS
PETER WATTS
Fine. We're all doing fine
CATHERINE (realising)
I'm sorry, Peter I didn't mean
PETER WATTS
That's OK.
Look, I have to be going anyway.
CATHERINE
All right.
PETER TURNS TO GO.
CATHERINE
Peter?
HE TURNS BACK TO FACE HER.
CATHERINE
I never got a chance to thank you for everything you did for us.
I know that we never really got on before all of this, but all three of us owe you our lives.
(pause)
Thank you.
You're a good man.
And you're a good friend to Frank.
PETER LOOKS EMBARRASSED
PETER WATTS
That's OK, Catherine.
HE LOOKS UNCOMFORTABLE
PETER WATTS
I'd better be going.
CATHERINE
Yeah. Well, I hope we see you soon.
PETER WATTS
OK
HE LEAVES
CATHERINE WALKS ON DOWN THE CORRIDOR TO THE HOSPITAL ROOM.
CUT TO : THE HOSPITAL ROOM
FRANK IS STILL LYING ON THE BED.
HE HAS NOT MOVED.
CATHERINE COMES INTO THE ROOM, AND TAKES HER COAT OFF.
SHE SITS DOWN.
CATHERINE
Hi, hon. How are you today?
SHE KISSES HIM ON THE FOREHEAD.
SHE STARTS FIDDLING WITH HIS PILLOWS AND STRAIGHTENING THE BED.
SHE TALKS TO HIM WHILE SHE DOES THIS.
CATHERINE
They say you can't hear us, Frank, but I think maybe you can.
So I'm gonna talk anyway. OK?
(pause)
OK.
(pause)
I saw Peter outside. He said he was talking to you. Do you remember?
(she pauses, but there is no response)
OK, well, Jordan says hi.
She made you a picture.
SHE PULLS A PICTURE FROM HER BAG.
CUT TO : FRANK'S POINT OF VIEW.
IT'S STILL SLIGHTLY DISTORTED.
WE FOCUS ON JORDAN'S DRAWING.
IT SHOWS A BIG YELLOW HOUSE WITH THREE FIGURES STANDING TO ONE SIDE.
WE FOCUS ON CATHERINE AS SHE CONTINUES TO TALK.
CATHERINE
And I brought you some flowers too.
They were hard to find.
Flowers aren't really a priority at the moment, I guess.
(pause)
I'd better find some water to put them in.
I wonder if there's a vase anywhere here.
SHE LOOKS AROUND THE ROOM.
CATHERINE
Nope. Looks like I'll have to go ask a nurse.
I'll just be a minute.
SHE SETS THE FLOWERS DOWN AND LEAVES THE ROOM
CUT TO: HOSPITAL CORRIDOR
CATHERINE IS WALKING TOWARDS THE NURSES' OFFICE.
SHE PASSES THE RADIO WHICH IS NOW PLAYING QUIETLY.
WE CAN HEAR THE 'PRELUDE' FROM ACT ONE OF WAGNER'S 'PARSIFAL'.
IT HAS ALREADY STARTED.
CUT TO : FRANK'S POINT OF VIEW
WE CAN HEAR 'PARSIFAL' IN THE BACKGROUND.
THE VIEW IS MORE DISTORTED THAN BEFORE AND THE LIGHT HAS A STRANGE QUALITY.
THE ROOM IS EMPTY AND QUIET FOR A FEW SECONDS.
THEN THERE IS THE SOUND OF FOOTSTEPS IN THE CORRIDOR
THEY GET LOUDER AND SEEM TO STOP AT THE DOOR.
THERE IS NO NOISE AT ALL FOR A FEW SECONDS.
WE CAN SEE THE DOORWAY BUT NO-ONE IS THERE.
SLOWLY, FRANK BLACK STEPS INTO THE DOORWAY.
HIS HAIR IS BLACK AND HE IS WEARING HIS OLD BLACK LEATHER JACKET.
HE LOOKS STRAIGHT AT US. HE LOOKS A LITTLE SAD.
HE TAKES A STEP INTO THE ROOM.
CUT TO BLACK FOR A SECOND.
CUT BACK TO THE DOORWAY.
IT IS NOW EMPTY.
CUT TO THE CORRIDOR.
'PARSIFAL' CONTINUES.
CATHERINE IS SEVERAL METRES DOWN THE CORRIDOR.
WE CAN SEE SHE IS CLOSE TO THE NURSES' OFFICE.
SHE IS STANDING VERY STILL.
HER FACE HAS A BLANK, EMPTY LOOK.
CUT TO : FRANK'S DISTORTED VIEW. THE EMPTY DOORWAY.
CUT TO : BLACK AND WHITE. AN EMPTY DOORWAY
A VOICE SAYS
It's time, Frank. Time to get up.
HENRY BLACK STEPS INTO VIEW, STANDING IN THE DOOR.
HENRY BLACK
You can't lie in bed all day, young man. Rise and shine.
CUT TO : A YOUNG FRANK BLACK, IN BED, LOOKING SLEEPILY AT HIS FATHER.
WE FOCUS ON HIS FACE FOR A FEW SECONDS.
CUT TO THE CORRIDOR. COLOR AGAIN.
CATHERINE IS STANDING WHERE WE LEFT HER.
HER LIPS ARE MOVING BUT THERE IS NO SOUND.
CUT TO : FRANK'S DISTORTED VIEW. THE EMPTY DOORWAY
THERE IS SILENCE FOR A FEW SECONDS.
'PARSIFAL' CONTINUES
A SECOND VOICE SAYS
He's right, Franklin.
WE RECOGNISE THE VOICE OF THE FIRST OLD MAN
THE OLD MAN
You've paid the price.
It's time to rejoin the fight
You're needed. You're part of the balance.
FRANK'S POINT OF VIEW STILL SHOWS THE DOORWAY TO BE EMPTY.
A FEW SECONDS PASS
A THIRD VOICE SAYS
Yes. Arise.
A BRIGHT LIGHT SHINES INTO THE ROOM, THROUGH THE DOORWAY. IT SEEMS MORE INTENSE THAN THE SUNLIGHT OUTSIDE.
IT LASTS FOR A SECOND OR TWO AND IS THEN GONE.
OUR VIEW SEEMS TO BE SUDDENLY SHARPER AND THE DISTORTION IS GONE.
OUR VIEW OF THE EMPTY DOORWAY REMAINS FOR A FEW SECONDS.
WE HEAR THE SOUND OF FOOTSTEPS IN THE CORRIDOR, MOVING AWAY.
CUT TO : THE HOSPITAL CORRIDOR
'PARSIFAL' CONTINUES.
A NURSE LEAVES THE NURSES' OFFICE AND ENTERS THE CORRIDOR.
SHE TURNS TO SEE CATHERINE STANDING IN THE MIDDLE OF THE CORRIDOR.
OVER CATHERINE'S SHOULDER, WE CAN SEE A FIGURE WALKING AWAY, FARTHER UP THE CORRIDOR.
AS WE APPROACH CATHERINE, WE SEE THAT HER LIPS ARE STILL MOVING.
SHE SEEMS TO BE MUMBLING SOMETHING VERY QUIETLY, BUT WE STILL CANNOT HEAR THE WORDS.
NURSE
Can I help you? Are you OK?
THE FIGURE BEHIND CATHERINE REACHES THE FAR END OF THE CORRIDOR AND DISAPPEARS FROM SIGHT.
CATHERINE'S BODY JOLTS AND SHE SEEMS TO COME ALIVE AGAIN.
CATHERINE
What?
(pause)
Sorry. Where am I?
THE NURSE LOOKS PUZZLED.
CUT TO : THE CORRIDOR AGAIN.
CATHERINE IS COMING BACK TO FRANK'S ROOM.
SHE IS CARRYING A VASE.
SHE RE-ENTERS THE ROOM.
CUT TO : FRANK'S HOSPITAL ROOM
CATHERINE CARRIES THE VASE INTO THE ROOM
SHE SETS IT DOWN, AND PUTS THE FLOWERS INTO IT.
SHE BEGINS TO ARRANGE THEM.
FRANK IS STILL LYING ON THE BED.
HIS HAIR IS STILL WHITE.
SEVERAL SECONDS PASS.
IN THE BACKGROUND, THE 'PRELUDE' TO 'PARSIFAL' IS REACHING ITS CLIMAX.
FRANK (hoarsely)
Catherine?
SHE DOES NOT HEAR.
FRANK BLACK (a little louder)
Catherine? Cath?
SHE TURNS. A LOOK OF WONDER AND DELIGHT SPREADS ACROSS HER FACE.
CATHERINE
Frank?
FRANK BLACK (hoarse)
Am I dead?
(he swallows)
Is this heaven?
CATHERINE DROPS THE FLOWERS AND RUNS TO THE BED
CATHERINE
No! You're fine!
I thought I had lost you!
SHE IS CRYING.
FRANK
I thought you were dead.
CATHERINE
No, I'm fine!
FRANK
What happened?
CATHERINE
It doesn't matter, Frank.
SHE HUGS HIM
CATHERINE
It doesn't matter.
I've got you back again.
(pause)
I've got you back.
THEY EMBRACE ON THE BED.
THE CAMERA PULLS BACK TO THE DOOR.
THERE ARE FLOWERS ON THE FLOOR.
THE END.