EPISODE TITLE
ŅThe InnocentsÓ (version 2)


SEASON 3 OPENER

FADE IN TO BLACK 

THE VOICE OF FRANK BLACK :

ŅLook, 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.Ó

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
			HeÕll 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. ThatÕs the bargain.

THE CAMERA SLOWLY ROTATES AROUND FROM THE BACK OF THE FIRST FIGURE TO REVEAL THE SMOKING VETERAN

					SMOKING VETERAN
			Yeah, but this guyÕs in deep. He canÕt say no this time.

					AL PEPPER
			DonÕt 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
			HeÕll 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 FIGUREÕS FACE

					SECOND FIGURE
			
			HeÕs weak. He canÕt stand on his own.
			He no longer has any choice at all.

CUT TO : TREES MOVE AS THE WIND INCREASES

					AL PEPPER
			ItÕs almost time.

					SMOKING VETERAN
			Yes.

CLOSE-UP : SECOND FIGUREÕS FACE IS ILLUMINATED BY FIRELIGHT AS IT FLICKERS BETWEEN THE MALE FACE SEEN BEFORE AND THE FACE OF LUCY BUTLER
					
					LUCY BUTLER (FEMALE VOICE)
			IÕm 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 : FRANKÕS 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: FRANKÕS 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 CATHERINEÕS HAIR WITH ONE HAND.

FRANK STOPS IN HORROR.

					CATHERINE (looking up weakly, barely moving)
			Frank?

					LUCY BUTLER
			ItÕs 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)
			ItÕs not much farther now.
	
					WOMAN
			ItÕs going to be nice to get away for a few days up here
			I didnÕt tell anyone where we were going.

					MAN (smiling)
			ItÕll 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 WOMANÕS FACE
WE RECOGNISE FRANKÕS 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 CatherineÕs hair)
			Oh, Frank. I havenÕt 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
			SheÕs still alive, Frank. You can still save her.

					CATHERINE (weakly, confused)
			WhoÕs that? ....  Frank? ..... Who is it?

					LUCY (stroking CatherineÕs hair)
			Oh,  Catherine. 
			DonÕt 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 LUCYÕS HAND

					LUCY
			So rude, Catherine. Tut tut. 
			Please let me go, Frank.
			IÕm the only one who can help you now.

FRANK LOOSENS HIS GRIP AND LETS GO AS LUCY ALSO LETS GO OF CATHERINEÕS HAIR.

					FRANK (desperate, tears are in his eyes)
			What do you want?
			Why canÕt you just leave us alone?
			CanÕt you see sheÕs dying?

					LUCY
			She doesnÕt have too long left.
			You need to hurry up and decide.

					FRANK (confused now)
			What?
			Decide what?


					LUCY
			Frank. You really havenÕt 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 BUTLERÕS 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 LADIESÕ 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)
			IÕll 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, youÕre 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 youÕre 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 itÕs 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.
			IÕm here to help you.
			I can make it all better.

					FRANK (coldly)
			But at what cost?

					LUCY
			It wonÕt cost you anything. 
			You donÕt even have to do anything - just the opposite, in fact.
			You just need to make a promise, thatÕs all.
			And then sheÕll live.  And youÕll all be safe.

					FRANK
			What promise?

					LUCY
			We just need to know that youÕll stay out of whatÕs coming.
			We just want you to do nothing when the moment comes.
			And then youÕll be safe. YouÕll all be together and safe in your yellow house.

					FRANK 
			WhatÕs coming?  WhatÕs going to happen?

					LUCY
			You know I canÕt tell you, Frank, until you decide.
			Once you promise, I can tell you everything.
			Everything youÕve been dying to know. 
			Everything the Group would never tell you.
			Come on, Frank...

					FRANK (desperately)
			I canÕt...

					LUCY
			Of course you can.
			SheÕs your wife. And sheÕs dying. 
			If you donÕt promise, youÕll never see her again.
			ItÕs easy. ThereÕs really no choice at all.

					FRANK (screaming)
			No!

					LUCY
			Oh come on, Frank. ItÕs 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, didnÕt you?
			YouÕre learning, Frank.

					FRANK (tears fill his eyes)
			IÕll never give you what you want.

					LUCY
			But you have to, Frank. ThereÕs no way out now.
			We asked you nicely before, but now weÕve stopped kidding around.
			DonÕt you remember? 

LUCYÕS 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 donÕt.
			ItÕs 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 canÕt 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
			ItÕs no use trying to fight,  Frank. 
			IÕve gone to a lot of trouble to make this happen.
			You canÕt win. 
			(pause)
			 Remember your friend Bletcher? 
			He begged for his life before I opened his neck. 

FLASH CUT TO :
BOB BLETCHERÕS 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 CANÕT BELIEVE WHAT HEÕS SEEING
AL PEPPER SMILES

CUT BACK TO :
			The Group wasnÕt there when he needed them, and theyÕre not here now.
			DonÕt make the same mistake he made. Give up and save yourself.

					FRANK (looking up from the ground)
			The Group...

					LUCY
			They wonÕt save you now, Frank. They canÕt even save themselves from whatÕs 
			coming. So many divisions and disagreements, theyÕve lost sight of the goal.
			They were so weak, so easy for us to manipulate.
			Owls or Roosters, whoÕs right? Cock-a-doodle-doo.
			ItÕs irrelevant.  TheyÕre impotent. 
			Look at what theyÕre 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 HAS BEEN BADLY BEATEN. 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 donÕt even trust him, in spite of his touching loyaty.
			(pause)
			They have no concept of whatÕs coming. 
			(pause)
			But I can tell you, Frank. You get to find out all the secrets.
			And thereÕll be a place set aside for you and your family when the moment comes.
			YouÕll 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 ŅfriendÓ finally sent her over the edge
			Angels can be bad for your health, you know.
			You saw her in the asylum, didnÕt you? 

FRANK MOANS 
CATHERINEÕS FACE IS A DEATHLY GREY COLOUR.
SHE MOANS AS HER BREATHING BECOMES MORE SHALLOW.
SHE IS DYING.

					LUCY
			TimeÕs 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 FIGUREÕS 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 CATHERINEÕS HEAD
FRANK IS CROUCHED ON THE GROUND LIKE A WILD ANIMAL

					LUCY
			Is she still breathing? I hope so...
			ItÕs 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.
			YouÕre not the only one, you know.

					FRANK (angry)
			I will _never_ help you!

					LUCY (patience)
			IÕm not asking for your help, Frank.	
			Just your promise to do nothing when the time is here.

					FRANK
			ŅWhen good men do nothing, evil prospersÓ

					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)
			IÕm sorry, Catherine.  I canÕt.

					CATHERINE (barely audible)
			I love you, Frank

					FRANK
			I love you too.

					LUCY (incredulous)
			You canÕt be serious, Frank.
			YouÕre not really going to let her die, are you? 
			After all these years together?

CATHERINEÕS 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 donÕt 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
			WhereÕs Catherine?

					THE OLD MAN
			YouÕll see her again, donÕt 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 IÕd 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 werenÕt ready for this. For the virus to come again.
			We knew it would after Ō86. 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
			TheyÕve lost sight of the goal.

					THE OLD MAN
			Yes. DonÕt give up on them, Frank. They need you.
			(pause)
			ThereÕs 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 canÕt 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)
			DonÕt make the same mistake I made, Frank. 
			After your mother was gone, our family fell apart. DonÕt let Catherine go.

					FRANK (crying now)
			ItÕs 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? WhereÕs Lucy?
		
					SAMAEL
			ThatÕs not important. 
			I donÕt have much time.
			ItÕs 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 ŌPOWERS, PRINCIPALITIES, THRONES AND DOMINIONSÕ

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 CATHERINEÕS 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 sheÕs 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, whatÕs 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 FRANKÕS 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.

CATHERINEÕS 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
			HereÕs one of them!
			
					TEAM MEMBER TWO
			Get her into the chamber right away.
			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? 
			IÕm 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)
			DonÕt 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 theyÕd be here!
			
					TEAM MEMBER TWO
			Well, theyÕre not here now. LetÕs go. 
			We have the others to think about.
			(pause)
			This is a complete disaster.

TEAM MEMBER TWO LEAVES THE CABIN.

TEAM MEMBER THREEÕS 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
			WhereÕs Catherine?

					LINDA BLACK
			SheÕll 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
			LetÕs get the hell out of here.
			
					TEAM MEMBER THREE
			We canÕt just leave them behind. 

					TEAM MEMBER ONE
			We have our orders. LetÕs 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
				WhereÕs 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