M I L L E N N I U M "OWLS" Ep. # 2.14 [MLM-214 (5C14)] Written by Glen Morgan & James Wong Directed by Thomas J. Wright Edited by George R. Potter Transcribed by Dan Owen [ Second Season ] [Complete Transcript] U.S. Air Date: March 6, 1998 ===================================================================== TEASER EXT. DAMASCUS SKYLINE - NIGHT Damascus, Syria Above the dome of an ancient mosque, an octangal minaret rises into the dark cold sky of the Syrian desert. Silence; the city sleeps. But there is activity... EXT. MOSQUE - STEPS - NIGHT Sinani-yah Mosque. 01:23:34. Ancient steps lead to a mosque O.C. Before the stairs, leading away from the building 11th century cobblestone leads to 20th century asphalt. A European van pulls into the street, headlights off. The van's door slides open and a dozen men, all dressed in black, emerge quickly. Two men rush off urgently without flashlights and unarmed. They assume sentry positions. The rest of the team remove encases equipment. CLICK-CLACK! The latches on a case are unlocked, and the box opened. Inside various pieces of high-tech ground penetrating equipment are revealed. Radar devices. A video-monitor is also present. Gloved hands attach cables to the ground radar. As the equipment is positioned, FRANCOIS AMADOU watched intensely. He scans the area. The equipment is placed on the pavement and pulled along the ground just in front of the steps. A video-monitor shows the waves of radar information on screen. Amadous searched anxiously for a sign... The radar device continues its efforts... as the sentries keep watch. Suddenly the radar waves show an amomaly. Amadou raises his hand-- AMADOU Attendez! (subtitled) "Wait!" He checks the data, confirms his suspicion. He turns to the crew and nods. The sentries suddenly whip out Uzi machine guns, and disengage the safeties. Urgeny within the group mounts, people working quickly. Amadous is helped as he packs away the equipment. Two men produce a jackhammer from their parked van. The jackhammer pummels the cobblestones, breaking stones loose and forming piles of rubble. Amadou watches tensely. A human silhouette approaches the team. The sentries spin round to aim their weapons at the intruder. Amadou and his team look up. The intruder stops and raiseshis arms... this is ROBERT LeFUR. LEFUR Nous voila... (subtitled) "This is who we are." Amadou and his team return to work. LeFur consults documents of data as he moves towards the dig site. The sentries check the excavation's progress. As the jackhammer RATTLES loudly in the ground, one member scoops pieces of rubble away with his hands. LeFur raises a hand to stop the jackhammer's progress. It does so. Amadou and LeFur drop to the ground and begin digging with their hands. The sentries keep lookout... SENTRY Pas de sirene. Pas de police. (subtitled) "No sirens yet. No police." (a beat) Cela me rend plus nerveux. (subtitled) "That makes me even more nervous." Amadous, LeFur and three other men continue their dig... until they unearth a piece of petrified wood. Two men, Eastern Europeans, slowly step out of some shadows facing the mosque entrance. Amadous continues to dig with bloody fingertips. He grabs the wood. The two European assassins produce stainless steel Ruger mark II government target pistols... Amadou, with all his strength, pulls out a piece of wood from the ground. Amadous allows himself a few seconds to savour his find. He indicates to leave with a nod. The excavaters hustle back to their van, guarded by the sentries... The European assassins raise their weapons the the team. TWO SHOTS! Both sentries fall to the ground dead. The five excavaters wheel round in shock, producing their own guns from their jackets. Amadou rushes to the van with the wood. One of the assassins FIRES two more shots! Amadou is hit and falls to the floor, dropping the wood with a THUD! LeFur FIRES his weapon, covering fire as he rushes for the wood. The assassins retaliate, dashing for cover FIRING! One man is peppered with gunshots and falls to the floor. Two men make it into the parked van. LeFur grabs the board... and as he rises he spins to face the two assassins, fearless. He moves closer, treating the board as a shield across his chest - invincible. He marches towards the assassins bravely. From the van, the other team members watch LeFur's march... CREWMAN LeFur! NON! NON! ALLEZ A LA A VOITURE!! (subtitled) "LeFur! NO! NO! GET TO THE VAN!" They SHOOT at the two assassins. LeFur, gun now raised, marches onwards. The assassins watch in amazement at LeFur... and raise their Rugers. They pull their triggers, but their weapons jam! Stunned and afraid they panic, as LeFur marches up clutching the board -- he aims his own gun and - BANG! - redirects his second shot - BANG! LeFur stands triumphant over the dead assassins. Other dead bodies lay in the b.g. POLICE SIRENS wail in the distance. He hurries off back to the van, clutching the wood. He drags Amadou's body inside the van and the vehicle SCREECHES away before the door slides shut. INT. VAN - NIGHT LeFur puts down the wooden board and looks at dead Amadou, his chest covered with blood. LeFur feels for a pulse, but doesn't find one. The DRIVER cranes backwards to the excavation team-- DRIVER Son sang s'est repandu sur le bouis. (subtitled) "His blood spilled on the wood." LeFur aims a flashlight at the petrified wood. LeFUR Non. (a beat) Ce n'est-ce pas le sang d'Amadou. (subtitled) "It's not Amadou's blood." We see that the wood shows a hole towards the end. Brown blood stains circle the hole with streaks to the base. LeFur stares in amazement. LeFUR C'est le sang de Christ. (a beat) La tache de sa crucifixion. (subtitled) "It's the blood of Christ. The stain of His crucifixion." The relic sits in the vack of the van next to Amadou's lifeless body. FADE OUT. ACT I INT. FRANK'S HOUSE - AFTERNOON A child's workbook shows a line drawing of a dog. Underneath is a blank line. JORDAN BLACK's hand writes "Dog" in the space. JORDAN A dog. D-O-G. Jordan is sitting with her father, FRANK BLACK, at a table. Frank's pager sits on the table, too. FRANK Good! Okay, what's this? A picture of a cow is shown on the book. JORDAN A cow. C-O-W. Jordan writes it down. FRANK Good job! You're on a roll! The pager sits ominously on the table... FRANK Okay, and this? The next picture if of an owl. But the pager seems to be more important, resting on the table... JORDAN An owl. O-W? FRANK That's right. O-W...? The pager begins to vibrate, moving eerily. JORDAN L? Frank grabs the pager... FRANK Good! O-W-L. Owl. He checks the pager and looks puzzled, not recognizing the number. Frank stands and moves to the phone on his desk... FRANK Gonna have to trust you on the next one. JORDAN It's a pig, trust me. Frank checks the page and dials as Jordan writes in her workbook. The phone RINGS once but there is no response at the other end. FRANK Hello? I received a page, but I don't know who I'm calling. A tense VOICE replies: VOICE Roosters crow at the dawn, hoping to arouse the barnyard. But the owl knows... it is still late at night. (a beat) The foxes are about. The master sleeps. This... is who we are. CLICK. DIALTONE. CUT TO: EXT. INDUSTRIAL PARK - AFTERNOON The offices of "Aerotech Int." - clean, modest and modern. INT. AEROTECH OFFICE - AFTERNOON A pleasant woman in her mid-30's stand behind a pine table. She is reading a personnel file and dressed in business attire. This is Vice President of Personnel Relations, Seattle - CLEAR KNIGHT. We also notice a small watercolor of a landscape hanging on the back wall. MS. KNIGHT I'm new to the area, so when my supervisor brought up the idea I didn't know where to begin. So I took a shot and called your hospital. Ms. Knight moves towards a business couch. MS. KNIGHT You were referred to me by... Mr. Hudson and Dr. Thomson. They just think the world of you. She sits across from her "audience"; CATHERINE BLACK. CATHERINE That hospital deals with highly distressed, psychologically scarred people... which is why I'm a bit puzzled, Ms. Knight. MS. KNIGHT Clear. CATHERINE Beg your pardon? MS. KNIGHT My first name is Clear. CATHERINE Clear Knight. That's... pretty. MS. KNIGHT My parents were Hippies. CATHERINE Well, at least they didn't call you "Starry". MS. KNIGHT Only when they called my by my middle name. Catherine winces at her faux pas... CATHERINE Well... Clear, I'm puzzled because the focus of my work has been, primarily, victims of crime. MS. KNIGHT I know. I understand. And let me be Clear... ha ha... we're an overseas company which just won a small contract with Boeing. Most of our employees are new to Seattle, they're away from their friends, have new homes, and the rain, and all, so most of the problems you'll be helping them with will be nothing like the... intensity... of what you do day to day at the hospital. Catherine nods, understanding. CATHERINE It's great that you're willing to help them make that adjustment. MS. KNIGHT Thank you. Now, it would only be, who knows, a couple nights a week. By appointment. I'd like to hire a woman. You're perfect for us. (a beat) For you... I'd guess, it's something new. Low stress. The pay is good and... I understand you, and Jordan, could use a little extra income. Catherine looks slightly shocked at this, slightly embarassed. A short beat... CATHERINE Well... you really did your homework. MS. KNIGHT We only want... the kind of people we want... Catherine nods... yet there's something ominous to the last statement... CUT TO: INT. LARA'S MEANS APARTMENT - NIGHT LARA MEANS is working at her computer, surrounded by papers and crime scene photos. She wears a San Diego Chargers jersey, number "20", with 'MEANS' across the back. Her screen BEEPS! and shows the familiar Millennium Group ouroboros startup screen. Lara double-clicks her mouse. LARA Open the pod bay door, please, HAL. She waits a second... then the screen shows the words 'WELCOME, LARA, THERE ARE 672 DAYS REMAINING." Suddenly, the image fades and her computer is rebooted! Lara looks puzzled as she listens to her drive tower HUM... she looks back to the screen as a new image appears: within the ouroboros symbol is an early Pagan-like image of an owl. Underneath the image is written: 'HUSH. IT IS STILL THE MIDDLE OF THE NIGHT.' Not understanding, Lara stares - and her computer glitches again! After a few seconds a new window appears stating: 'A GENERAL DEFAULT HAS OCCURRED.THIS PROGRAM WILL BE SHUT DOWN.' The screen goes black. As Lara considers the malfunction, behind her a bright light begins to form... she senses and dreads the light, but turns to see the featurless image of a glowing angel a few metres away... the white light grows wider and wider... CUT TO: EXT. QUEEN ALIA INTERNATIONAL AIRPORT - DAY QUEEN ALIA INTERNATIONAL AIRPORT. AMMAN, JORDAN. 13:03:25 A Royal Jordanian Airlines Jet ROARS downwards and lands on the runway. INT. SECURITY AREA - AIRPORT - DAY A backpage is placed on a conveyor belt and carried into a security x-ray machine. A blanket roll, tied with twine, and a small case are also placed on the conveyor. Amongst other luggage is an old wooden crate tied with twine. One of the crate's panels appears to be a part of the crucifixion cross. LeFur is holding the crate. He now appears unkempt, with a few days stubble. Trying to appear normal he walks foward, attempting to gauge the response by the nearby security personnel. LeFur sees a French female traveller halted by the airport security men. She is carrying a bottle of water, and they wish her to drink from it for security reasons. Confused, the woman takes a sip... and she's allowed to pass. LeFur himself reaches the conveyor belt and places the crate down. The relic is carried into the x-ray machine. An awkward Security Officer gestures for LeFur to walk througn a metal detector archway. He passes through safely. The wooden crate reappears and slides down to join other luggage. LeFur casually takes the crate and walks away... SECURITY OFFICER (in Arabic) Istanna! LeFur turns to see the Officer wants him to return. SECURITY OFFICER Feyn intee yisehfir? (subtitled) "Where are you travelling?" He gestures for passport and tickets - LeFur hands them over. LeFUR Ana rayih Landan. yizoor 'akhooya. (subtitled) I'm going to London. Visit my brother. The officer keeps the paperwork. SECURITY OFFICER Yiftah! (subtitled) "Open it." As LeFur bends down to open the crate, we notice a leather bag slide down the ramp... and be retrieved by a man in his late-30's, HELMUT GUNSCHE. As he takes his bag, he looks up casually at the ceiling... Above him, a security camera watches; its red light blinking. Gunsche moves away with his leather bag. LeFur has opened the crate, allowing the officer to intrusively search inside... Gunsche takes up a position near a rest room, SIGHS. He checks his watch, and begins reading the sports page of a German newspaper. Meanwhile, the security guard continues to look inside LeFur's crate; it contains clothes, etc. The guard stops and removes a pager - he looks at LeFur accusingly. LeFUR Biteh 'akhooya. huwwa yiteeh. (subtitled) "It's my brothers. He lost it." Gunsche peers over his newspaper, then steps into the rest room... The security guard has handed the pager to LeFur... SECURITY OFFICER Yishtaghal. (subtitled) "Activate it." LeFur looks blankly at the pager. LeFUR Marafsh. (subtitled) "I don't know how." Impatiently, the security guard grabs the pager. He examines it before pushing a button. KABOOOOMMM! The device explodes, instantly killing LeFur and the security officer! CHAOS erupts in the security area! The small explosion sends travellers running for cover. In the confusion, Gunsche moves forward carrying a small device in his hand. He heads for the x-ray machine, aims the device at the security camera and presses a button... ... the security camera FIZZES and cuts power. Gunsche continues his stride, as security personnel SHOUT orders through the confusion... Expressionless Gunsche grabs the wooden crate and disappears into the crowds. CUT TO: EXT. A LARGE HOUSE - NIGHT Lake Ypoa. Paraguay. Silent and serene... the fortified house is situated at the lakeside, next to a dock. The SOUNDS of crickets and frogs in the surrounding woodland. Then, an old-fashioned phone RINGS. INT. A STUDY - AXMANN'S HOUSE - NIGHT A very dark area. A comfortable armchair is positioned next to a table. The RINGING phone sits on the table. AXMANN (O.C) Ja. GUNSCHE'S PHONE VOICE Wo liegt Rom? (subtitled) "Where does Rome lie?" AXMANN (O.C) Rom liegt am Tiber. (subtitled) "Rome lies on the Tiber." GUNSCHE'S PHONE VOICE Ich habe es gerade getan. (a beat) Und es sind in bestam Zustand. (subtitled) "I've done it. And it's in good condition." AXMANN (O.C) Das ist sehr gut. Danke schon. (subtitled) "That's very good. Thank you." The hand of the RUDOLF AXMANN is revealed; white-skinned, arthritic and criss- crossed with blue veins. On his left sleeve is a cuff link, showing an ancient Germanic rune symbol. AXMANN (O.C) Das ist sehr gut. He hangs up. CUT TO: EXT. WAREHOUSE - NIGHT An isolates building. Several cars are parked outside... another drives up to the location. It pulls to a stop. PETER WATTS steps out of his vehicle, intense. He moves towards the warehouse and KNOCKS on the door. The door opens revealing MR. JOHNSTON (mid-60's)... PETER Mr. Johnston. Johnston nods as Peter extends his hand... JOHNSTON Good to see you, Peter. ... their handshake is strange; their index, middle and ring fingers are extended - forming an 'M'. INT. WAREHOUSE - NIGHT The huge warehouse is vacant of any produce, etc. A solitary overhead light is the only illimunation. Half a dozen people are stood in the room. Amongst them are: MR. DEAN - African/American, mid-40's... and MS. KELCHER - early-50's... Everyone looks anxious. Peter and Johnston approach them, as they discuss things-- MR. JOHNSTON Hall? Eads? Dean shakes his head. MS. KELCHER It's pretty clear which side of the split they fall on. MR. DEAN Only twice in two thousand years has the Millennium Group been so divided. (a beat) But this is our darkest hour. PETER We knew it would happen as the time grew near. MR. JOHNSTON I never thought members would kill members. Peter reacts cautiously... PETER Wait... you think the Owls took the cross? Do you have proof they killed LeFur? MS. KELCHER Who else would know we'd finally found it? PETER We've been searching for the crucifixion cross for eight centuries. As have "others". They wouldn't have given up possession of it so easily. The group look suspicious of Peter... MR. DEAN Been a change in your idealogy... Watts? PETER Of course not. (a beat) But we're working against the hysteria caused by these times. We lose our entire purpose if we succumb to it. Peter looks at the assembled members... PETER Why would they do it now? MR. JOHNSTON I agree, if a theological Event does not occur in 672 days, then the Owls belief in a secular Millennium decades from now is correct. They would gain control of the Millennium Group in only 673 days. MS. KELCHER They believe the Roosters create hysteria crowing about the impending dawn; that our beliefs endanger the world. MR. DEAN They know our faith in the power of the cross. Taking it weakens us. (a beat) And in their possession, whether they believe it or not... makes them stronger. (a beat) Invincible. Peter SIGHS. PETER You know I believe the time is near. But I will not fight against my own... Unless there is proof. We have to begin our investigation. MR. JOHNSTON Our best people. PETER Maybe we should... "open the books." Everyone looks at Peter, shocked. MR. DEAN The Group is already unstable without initiating candidates who aren't ready. Who don't yet understand... or believe. PETER Frank Black. Lara Means. (a beat) They're ready. Their abilities could be of great use to us in this... an investigation that I hope will heal and bring Millennium back together. The gathered members are noncommittal. MS. KELCHER No, there is only one person who could do that. Who both, Roosters and Owls, respect. (a beat) And at this moment... is our only hope. Everyone nods, agreeing. MR. JOHNSTON He's never come down before. PETER I'll contact the Old Man. CUT TO: EXT. THE OLD MAN'S SHACK - NIGHT A light burns in the window of the shack... INT. THE OLD MAN'S SHACK - NIGHT A fireplace's light dances across a report on events in Damascus and Amman. A shadow moves across the report... and then across the shack's walls... stopping on a framed photograph of a young SS Officer beside Adolph Hitler. CUT TO: INT. PETER'S OFFICE - NIGHT Peter sits at his desk. O.C. his fax machine HUMS. Peter turns to see the incoming fax message... Peter reads the message, disappointedly. The message reads: 'IT IS NOT TIME'. The paper is dropped into a waste paper basket. CUT TO: EXT. THE OLD MAN'S SHACK - NIGHT The fire burns inside. Outside, the distant HOWLS and GROWLS of dogs can be heard filling the night air... FADE OUT. ACT II INT. FRANK'S HOUSE - NIGHT The owl in Jordan's workbook... as the page is closed. Jordan gathers her book and school supplies. Frank helps as he listens to Catherine... CATHERINE Aerotech's a South American company that just won their first big North American contract. They build throttle levers and igniter plugs for jet engines. Ms. Knight told me all about how they work. Frank looks at his watch... FRANK Jordan has school tomorrow. CATHERINE I'm sorry, I never expected the interview to go so long. We got to talking about our families. She wanted to know all about you and Jordan. Frank looks at her. CATHERINE Well, of course, I hid some stuff, but, overall, I felt like I could really open up to her. Frank nods, still helping Jordan. Catherine looks at him, half angry. CATHERINE It felt good to have someone to talk to. Frank rises, upset by her comment. He shys Jordan away while mouthing to Catherine, "not in front of her." Catherine SIGHS apologetically. CATHERINE Alright, cheap shot. Sort of. (a beat) I didn't anticipate wanting this job. I just went on the interview out of curiosity. But... it feels like it would be really good. Something different. FRANK (understands) Something that's yours. This statement hits Catherine... it makes so much sense. She nods. FRANK Then you should do it. It'll probably be good for you, too. Catherine smiles... then reaches out an gives her husband a hug. Frank's happy for her, feels guilty about himself... but finds it annoying she can't understand where he's at in his life... Frank looks to Jordan, who smiles happily. Frank pulls away from Catherine... FRANK Let me know if there's anything I can do to help. Catherine smiles/winces... CATHERINE Since you mentioned it... Frank looks tense. EXT. FRANK'S HOUSE - NIGHT Frank carries Jordan to Catherine's car. Jordan is fast asleep. Catherine unlocks the driver's door. CATHERINE Tuesday and Thursday nights, from about six to ten. Just for a couple of weeks until I can find a permanent sitter. FRANK Let Jordan stay over. I would like that. I'll take her to school. INT. CATHERINE'S CAR - NIGHT Frank places Jordan in the front passenger seat and buckles her seatbelt. A false sense of intimacy ensues between Frank and Catherine... CATHERINE Hmm, that almost felt like a family again for a second. Frank looks at her... smiles. He kisses Jordan on her forehead and backs away from the car, closing the door. EXT. FRANK'S HOUSE - NIGHT Catherine's car starts and reverses out of the driveway. She waves slightly at Frank, as he watches them drive off. Their car drives down the street... passing another vehicle. Frank winces from a flash of light. It came from inside a car... but Frank fails to pinpoint it... INT. FRANK'S HOUSE - NIGHT Frank enters and moves to the livingroom. He turns off the lights and the room goes black. He goes over to his desk and gets a small pair of binoculars, then moves to the front window... Frank kneels down, lifting the blinds secretively... and peers outside through the binoculars... EXT. FRANK'S STREET - NIGHT Through the binocular lenses, two dark figures are sat inside a car. Their vehicle is parked away from the house... but the driver is using his rear-view mirror to watch Frank's premises... INT. FRANK'S HOUSE - NIGHT Frank continues to watch... EXT. FRANK'S STREET - NIGHT The car suddenly drives away at speed. INT. FRANK'S HOUSE - NIGHT Frank lowers the binoculars... thinking to himself... CUT TO: EXT. UNIVERSITY LIBRARY - DAY John Hopkins School of Medicine. Baltimore, Maryland. A large building on campus grounds. INT. RESEARCH LIBRARY - DAY Deathly quiet. There are large amounts of bundled papers around, plus aisles of bookshelves. Lara Means is present, searching for something... she stops and pulls out a book from a shelf. Opens it. The book's title is: 'Physiological Causes and Psychological Effects of Religious Hallucinations. Jeffrey Eckerly, Phd. University of Wisconsin.' Lara doesn't know whether to read further... then, through the silence, FOOTSTEPS are heard O.C. They're descending a metal staircase. Lara seems oblivious to the noise. A metal door is slowly closed and then locked... Still unnoticing, Lara peruses the book before reading... MALE VOICE (O.C) Having doubts? This startles Lara! She looks up, but there's nobody in her aisle. MALE VOICE (O.C) Knowing you... I would have thought you had read every article and research paper on... "the subject". Lara searches each aisle, but cannot find anyone in the room. Then, she looks across the shelved books and sees a pair of eyes watching her behind some books... MALE VOICE (O.C) It's okay, Lara... we all have our doubts. (a beat) And we all have out certainties. Lara takes her book and walks away... MALE VOICE (O.C) I'm certain the Millennium is not imminent. Lara pauses at this. MALE VOICE (O.C) Others in the Millennium Group know this, as well. (a beat) The Owls have proof. (a beat) We've been developing the evidence since Galileo smuggled his work to Group members while under Church arrest. Lara's breathing is quicker now, anxious. She begins creeping towards the end of the aisle. MALE VOICE (O.C) An event will happen, Lara. The earth will change. But our prophecy is a secular, scientific understanding. In the way I can "prophesize" the sun will set tonight... and rise in the morning. Lara keeps moving, trying to find the mystery man. MALE VOICE (O.C) In the way Einstein's Theory of Relativity "prophesized" Black Holes decades before anyone could ever observe such phenomenon. Lara continues her movements... MALE VOICE (O.C) How many times in history has theological apocrypha created hysteria, been used to assume power, diverted focus from actual vital concerns? (a beat) How many times much "Ezekiel", "Mark:13" and "Revelation" be wrong? Lara is near the bookshelf's edge. MALE VOICE (O.C) Work with us, Lara... and we'll relieve you of your gift. (a beat) And prevent you from going insane. Lara turns the corner... LARA Is that... a prophecy? The mystery man is revealed: it's MR. JOHNSON, from the Roosters' earlier meeting. He stands before her enigmatically. FADE TO BLACK. FADE IN FROM BLACK: a computer monitor reveals the pagan-like Owls graphic encircled by the ouroboros: 'IT IS STILL DARK OF NIGHT.' INT. FRANK'S HOUSE - NIGHT Frank's hard drive tower casing is removed. A flashlight searched the interior. Frank's phone casing is removed, revealing the insides. Male hands examine the workings. An electronic surveillance detector glides around Frank's walls. LED lights fluctuate. EXT. FRANK'S HOUSE - NIGHT Frank's jeep pulls into the drive... Frank gets out with Jordan, and both move toward the front door... INT. FRANK'S HOUSE - NIGHT Someone opens the front window blind, staring out at the driveway. EXT. FRONT DOOR - NIGHT Frank insets his keys and opens the door. INT. FRANK'S HOUSE - NIGHT A dark figure stands close by. The front door swings open and Frank steps inside with his daughter. Frank senses a presence and stops. On instinct he moves in front of Jordan to protect her and looks at the dark figure present. A shaft of light passes the figures face - it's Peter Watts. PETER It's Watts. Frank eases slightly, then angers at the intrusive behaviour of his friend. He controls his anger for Jordan's benefit... FRANK (to Jordan) Honey, can you run up to your room? Jordan, a little scared, hesitates. Peter looks guilty for scaring her, but stands his ground. Frank comforts Jordan. FRANK I'll be right there. It's okay. He's... (challenging Peter) ... my friend. He reassures her and Jordan bounds upstairs. Frank quickly heads for Peter, angered. FRANK (angry, but hushed) I've had it with this. You are never to enter my house again, unless asked. PETER Your modem line's been tapped. (a beat) For our safety, I can only make contact unannounced. FRANK Did you see her expression?! I should be calling the police. Peter quickly points to the computer screen. PETER Why didn't you tell me about this? Frank looks at the computer, not following. PETER Are you with them? FRANK "Them?" I don't even know if I'm with you, because I don't know who or what you really are. PETER I want to tell you. At this time, I need for you to know. There's an investigation I need your involvement with. Lara Means has agreed to join me, even though... (a beat) ... the others disagree. It's not the time. Frank grows angrier, but Peter matches his tone. A slight hysteria ensues with their conversation: FRANK NO! The time is now, Peter! NOW! Frank stares demandingly. Peter stares back. FRANK This Group... Millennium... convinced me to return to a realm I never wanted to experience again for the safety of my family... my own sanity. (a beat) And yet, for those very same reasons, I agree to work with this group I believed was a criminal investigative consulting firm. I became devoted to this. I respected Millennium. I respected you. And even... came to respect myself. Peter is listening. FRANK (continuing) But then, there's hints and intimations. Passwords and candidacies. Centuries old origins; end of the world prophecies. Secrets and lies... PETER I've never lied to you. FRANK Millennium knew the identity of the man who had stalked my wife. You knew that for years and never told me. THAT... is lie! You knew I would kill him! You knew it would take me from my family. The VERY REASON I joined you. Peter becomes aggressive. PETER Don't get all righteous on me, Frank. YOU left your family. (a beat) But you didn't leave us. Peter now looks challenging... Frank is silent. PETER In the last year of your candidacy this group has shown you a plane of good and evil and prophetic direction that you have come to understand... and accept. Frank can't deny it. PETER Past and future events we understand can only be known by a select few. In order to steer the world through the crisis that is inevitable. FRANK "Steer?" Or "control?" PETER Can you imagine the effect conclusive evidence of "doomsday" would have on a world, in which, millions actually believe they've been abducted and experimented on by aliens with the knowledge and co-operation of government officials? A country that obsessed for decades on Elvis sightings? Roswell? FRANK That stuff is just as ludicrous as asking me to believe a handful of people, a secret society controls the destiny of millions. Peter keeps eye contact with Frank, as he pulls out a single United States of America dollar bill from his pocket. He turns it over. The symbol on the back is of 'The Great Seal'; an eye is inset within a floating triangle above a 13 step, 4 sided pyramid. PETER The image dates back to 15000 b.c. God, in the form of the Egyptian Amen-Re. The "ever present eye." "ANNUIT COEPTIS:" "The king sees." Watching the acts of His people in life, so they can be judged in Death. This is a Masonic Seal. A secret society. "NOVUS ORDO SECLORUM:" "A new Secular order." A long-standing dream of Freemasonry. It was said of the men who signed the Declaration of Independence there were enough Masons present to form a Masonic lodge. (a beat) And the Master of the Alexandria Lodge at the time... Peter turns the dollar bill back round to display the image of George Washington. Frank is only slightly unnerved... FRANK It's not enough. At least I have an idea of what those men were about, what they created. The fact is... I know nothing about the man standing in the darkness of my own house. (a beat) And until I know more... I want nothing to do with the Millennium Group... or you. Peter glares at Frank... then throws the dollar bill on Frank's desk. Peter looks at Frank once more, before moving off to the front door. Frank stands alone in the darkness. He goes to his computer and turns it off - the ouroboros disappears. Frank looks at the dollar bill on his desk... at The Great Seal... and the ever present eye.. FADE TO BLACK. ACT III INT. MILLENNIUM COMPUTER ROOM - DAY A computer screen is showing an image of the security area in Amman earlier. We see LeFur pass through the metal detector's archway. PETER (O.C) Robert LeFur, based in Paris but did exceptional work for us in the middle-East. The Holy Lands. Lara is with Peter, studying the image. LARA (annoyed) I examined his dossier, although... there were far too many censored lines to get a true psychological understanding of the victim... PETER (ignoring Lara) This is the crate. LARA The crate? (a beat) Peter, I need more information. If you want a profile on who committed this act, knowing what the suspect was after is half the distance to the goal line. PETER A piece of wood. LARA A piece of wood. O-kay. Like, an end table? Tony Gwynn's bat? PETER The cross of the cruxifixion. Lara is stunned. Silence. Peter moves to another computer terminal and clicks an icon. PETER Early in the 14th century, the Emperor Constantine allowed his mother, Helena, a Christian, to travel to Jerusalem in search of the cross. On the computer screen: an image of the Church of the Holy Sepulchre appears. PETER (O.C) (continuing) Beneath what is now the Church of the Holy Sepulchre, she found three crosses, two marked "thief" and one "Inri;" - "one to be mocked or humiliated." The computer screen images changes to an ancient image of Helena and the cross. PETER (O.C) Helena cut the cross into three pieces, sent one to Constantinople, one to Rome and one remained in Jerusalem. PETER (continuing) The first two pieces were lost. But the third was captured by the Muslims in the Crusades. The computer screen shows images of a huge Crusade battle. PETER (O.C) The Muslims were prepared to return the cross until Richard the Lionhearted slaughtered his Arab prisoners. PETER (continuing) Legend indicated Saladin had the cross buried beneath the steps of a mosque in Damascus as a way of bringing humiliation to the Christians. Peter points to the screen... PETER (O.C) Using the Geographic Information System... The screen shows satellite reconnaissance photographs. The image changes to ancient text, ca. 1280 a.d. PETER (O.C) Computer crytography of ancient Muslim text.... The image changes to the ground penetrating radar image seen in the teaser. PETER (O.C) (continuing) And ground penetrating radar... PETER (continuing) Under the tightest compartmentalized secrecy... what had been hidden for nearly eight centuries... The screen shows the crate sitting on the airpirt conveyor belt. Peter indicates the section of the crate that actually was the cross piece. PETER (O.C) (continuing) Last week... we found. Lara is astounded, yet still puzzled... PETER There is no image of any suspects. The security camera was subjected to an intense blast from a compact, ultrasonic device, shorting out the camera's electronics. This is a relatively high-tech, hard to get your hands on equipment. So the subject is not some opportunistic crook. Whoever did this is connected to a group that is well funded, organized and understands the magnitude. Lara gestures to interrupt... LARA I understand the magnitude but, here's my thing, Millennium spent a great deal of effort to discover this... for what purpose? Obviously you weren't about to display it in "The Millennium Group Believe It Or Not! Museum." I can't see you putting it up for auction or selling it to the Vatican... PETER The patriarch of Jerusalem carried the cross into battle before the Crusaders. For nearly a century, they did not suffer a single defeat, except when the cross was not present. The Muslim armies, to whom the cross had no significance, were victorious while it was in their possession. They were not defeated, until it was buried. Lara listens to Peter, only slightly skeptical now... PETER (continuing) Even the Nazis had the Vichy Government in Damascus searching for the cross, convinced of its mystical power. (a beat) Should a battle... Lara, should Armageddon occur. The cross must be in our possession. LARA Even if... some members... believe it is "still the middle of the night?" Peter is stunned. PETER The Owls have been hacking the Millennium mainframe. Sending you messages. Lara doesn't confirm anything. PETER A candidate, like you, is valuable to each side. LARA And Frank? Peter looks hurt. PETER Frank's a civilian now. Lara looks both surprised and disappointed at the news. They both look at each other intensely. LARA Peter... my guess is you're with others who suspect the Owls are responsible. Peter confirms this with his silence. LARA I don't believe they are. (a beat) The Owls believe in a secular Millennium event. To them, the cross means nothing. (a beat) If the Roosters were to ever prove the Owls were involved... all they would accomplish within the Millennium Group... is a civil war. Peter turns away; anxious and perhaps scared. PETER That everyone, everywhere... would lose. CUT TO: INT. AEROTECH OFFICE - NIGHT The watercolored landscape hangs on Ms. Knight's office wall. Clear Knight is working at her desk. Her door is slight ajar. A KNOCK breaks the silence as Catherine pokes her head round. CATHERINE Just on my way out. MS. KNIGHT First appointment? How did it go? CATHERINE Good. Can't talk about it, of course. MS. KNIGHT If it's one of our employees... I don't even *wanna* know! They both share a forced LAUGH. Catherine waves and quickly leaves. Ms. Knight turns back to her work... spookily we watch her work for a few seconds... but nothing happens. EXT. AEROTECH PARKING LOT - NIGHT Catherine opens her car door and gets inside. She turns the key in the ignition - nothing happens. The engine CLUNK-CLUNK-CLUNK's. Catherine tries again, to no avail. INT. AEROTECH - NIGHT Ms. Knight is still working at her desk. A KNOCK at the door again - she looks up to see Catherine in the doorway. CATHERINE Sorry to bother you. May I use your phone for a second? My car is dead; battery or something... MS. KNIGHT Need to call your husband? INT. GAS STATION - NIGHT A gas pump nozzle pumps fuel into a car... PETER (V.O) This is Watts. I briefed her. The person holding the gas pump is revealed to be Mr Johnston, standing beside his four door sedan. MR JOHNSTON And? The gas station is quite small and isolated... a black Mercedes creeps into the forecourt CRUNCHING gravel slowly... PETER (V.O) She knows about the object. The other driver gets out of his car... PETER (V.O) (continuing) I felt for the good of our goal... she had to know. Mr Johnston considers this... MR. JOHNSTON I think we can trust her. Johnston checks his watch, takes out the gas pump nozzle and slots it back on the pump. MR. JOHNSTON I'm on my way to the Capital. Johnston moves off... as black leather gloves reach for the pump's handle... MR. JOHNSTON See if some friends at "the Company" knows anything about what we're looking for. The left sleeve of the shirt is exposed - showing the same engraved Germanic ancient rune symbol on a cuff link. PETER (V.O) Drive safe. EXT. AEROTECH PARKING LOT - NIGHT Frank's jeep pulls up parallel to Catherine's car. He gets out, leaving Jordan inside. He opens the hood and looks inside - sniffs the air - then looks puzzled. CATHERINE (O.C) Is it the battery? Frank turns to see Catherine and Ms. Knight, carrying a briefcase. FRANK Smells like the entire electrical system has been... shorted out or something. MS. KNIGHT Hello, I'm Clear Knight, you must be Catherine's husband. Frank shakes her hand, studying her closely. MS. KNIGHT Is this Jordan?! You should come over and play with my little girl. (to Frank and Catherine) Maybe we should do that. The three of you come over some weekend for dinner? CATHERINE I think Frank and Carl would hit it off. MS. KNIGHT Let's do it. You need any help here, Frank? FRANK We'll have to leave the car. MS. KNIGHT No problem. Let's talk about these plans Thursday night, Catherine. She leaves to her car. CATHERINE Sure. Okay. Frank watches Ms. Knight walk away... something doesn't feel right about her. He SLAMS the hood of Catherine's car closed. EXT. FOREST ROAD - NIGHT A dark stretch of road. Headlights appear over the horizon... INT. MR. JOHNSTON'S CAR - NIGHT Johnston is driving alone. His radio is tuned to a talk station. CALLER (V.O) The important thing about cigars is they bind people together. HOST (V.O) That's an interesting point... MR. JOHNSTON No, it isn't. Johnston searches the radio stations for something more interesting... all he finds is static. After a few seconds the guitar strums of America's "Horse With No Name" fill the car... almost ominously.... AMERICA (V.O) On the first part of the journey/I was lookin' at all the life... EXT. FOREST ROAD - NIGHT Johnston's car travels down the road. INT. MR. JOHNSTON'S CAR - NIGHT Johnston drives with the song still playing. AMERICA (V.O) There was sand and hills and rings... ... headlights break the darkness behind Johnston's car. Another vehicle is approaching at speed. Johnston winces from the reflection of the car's lights. He adjusts his rear-view mirror. EXT. FOREST ROAD - NIGHT The Mercedes accelerates. INT. MR. JOHNSTON'S CAR - NIGHT AMERICA (V.O) I been through the desert on a horse with no name... Johnston doesn't seem concerned with the oncoming vehicle. EXT. FOREST ROAD - NIGHT The Mercedes speeds up to Johnston's car and glides out to pass... INT. MR. JOHNSTON'S CAR - NIGHT The ROAR of the Mercedes engine causes Johnston to check out his driver's side window... he sees Helmut Gunsche is driving the Mercedes; his eyes fixed straight ahead. The Mercedes passes at high speed. Then, Johnston's car BUZZES - and everything cuts power; dashboard lights, stereo, engine, everything! Johnston looks confused. He twists the ignition - nothing. With no alternative he guides his car to the side of the road... EXT. FOREST ROAD - NIGHT Johnston's car glides to a halt on the roadside. The hood POPS open. Johnston gets out with a flashlight and heads for the hood, ducking inside to examine the engine... Up the road, the Mercedes' tail-lights brighten, as it brakes... and turns round to approach Johnston's vehicle... Johnston is fiddling with wires, sniffing the engine's fumes. Behind him the Mercedes' lights approach. Johnston looks over his shoulder at the car. The Mercedes driver, unseen in the light's glare, flicks the highbeams on - Johnston is blinded-- JOHNSTON (annoyed) Thanks, I'm alright, thanks. I got my cell phone. Thanks. Johnston turns back to fiddle with the engine... only the radio appears to still work... AMERICA (V.O) After nine days, I let the horse run free 'cause the desert had turn to sea... Then the Mercedes headlights cut power. Darkness... apart from Johnston's flashlight beam. Johnston spins round, grabbing a .45 Glock 30 from his suit. He moves his flashlight across the Mercedes -- nobody inside. The flashlight is turned off as Johnston listens for a sign of attack. To Johnston's left a SOUND is heard - he spins round with his gun aimed. Behin him Gunsche appears, raising his arm... ... Johnston turns as Gunsche strikes him a blow with his arm, momentarily casuing his cuff link to glint in the moonlight; it showed the now familiar Germanic rune symbol. Johnston collapses to the floor. A rubber hose is tied around his neck and tightened... Gunsche tugs Johnston to the rear of the car by the hose... The gas tank cap is twisted off by Gunsche and an end of the hose inserted. Johnston is struggling. The tube's harness is relinquished and Johnston GAGS, dropping to the floor. He tries to get back up, but is kicked down by Gunsche. Gunsche places the other end of the hose in his mouth and sucks.... gas begins to flow from the hose. Gunsche kicks Johnston in the chest, about to force the hose into Johnston's mouth... The terrible scene unfolds, only Johnston's abandoned flashlight giving any illumination as we hear Johnston GARGLE... Gunsche working the hose down his throat... AMERICA (V.O) The desert is an ocean with its life underground and the perfect disguise above... Johnston loses consciousness. Gunsche steps back, standing over the body. INT. TRUNK - NIGHT Gunsche opens Johnston's trunk and places a plank of wood inside. EXT. FOREST ROAD - NIGHT Gunsche lights a cigarette, as the "Horse With No Name" comes to an end. He opens a lighter, raises a small flame and lights the cigarette. After taking one long inhale... Gunsche tosses the cigarette to the floor. The gas around Johnston's body ignites instantly... and snakes to the car... which ERUPTS in an EXPLOSION of flames. Gunsche cooly walks away and gets inside his Mercedes. The car turns away from the crime scene and speeds away. Johnston, his car and the crucifixion cross burns at the roadside... as America's song fades to a close. FADE OUT. ACT IV EXT. FRANK'S HOUSE - NIGHT Silence. INT. FRANK'S HOUSE - NIGHT Frank is at his computer. He double-clicks the ouroboros icon and the screen flashes. A window appears: 'CANNOT FIND PROGRAM. FILES NO LONGER EXISTS...' Frank is half-annoyed he instinctively wanted the Millennium Group's help. He searches for another icon, double-clicks it and his modem DIALS... On screen: 'NETCORP. CQ/DATABASE'. The screen shows an enquiry database. Frank types at his keyboard: 'Aerotech Industries AND Seattle AND South America." The screen indicates: 'SEARCHING'. Frank waits... then 'Aerotech: NOT FOUND.' appears. Frank is stunned and even more suspicious. EXT. IMPOUND YARD - DAY Johnston's car is burned and charred inside. Peter Watts is examining the vehicle, wearing latex gloves. He checks the interior carefully. He manages to pull the back seat out, but finds nothing. Next, he examines the trunk's lid - feeling for any strange markings. He finds none and uses a crowbar to prise open the trunk. It POPS open, and Peter looks sickened. Reaching inside, Peter pulls out what appears to be the cross of the crucifixion - half-melted into the lining. CUT TO: EXT. CATHERINE'S CAR - DAY Catherine's hood is SLAMMED shut. Frank is standing beside an Automobile Club tow trunk driver/mechanic. TOW TRUCK DRIVER (confused) Yeah, man, the whole electrical system is gone in one shot. Got me, what could cause that. Frank considers things, gazing towards Aerotech. TOW TRUCK DRIVER I'll have to tow it to a shop. Frank nods. FRANK Can you hook it up, I'll be right back. Frank walks towards the Aerotech offices.... INT. AEROTECH OFFICE - AFTERNOON Ms. Knights sips some coffee. She looks up as the door KNOCKS. Frank pokes his head round the door. FRANK Ms. Knight? Surpised and please, Ms. Knight stands from her desk. MS. KNIGHT Frank. Everything alright? Frank tries to conceal that fact he's surveying the office... FRANK Yeah, they're going to tow it. I just wanted to say "thanks" for helping out Catherine last night. She moves to him and clasps his hands, holding tighly for a lengthy time... MS. KNIGHT Anytime. We're so please to have... *both* of you in our family. Frank gently removes his hand, smiling. It's now revealed Ms. Knight wears a cuff link on her left sleeve; of the Germanic rune symbol. Ms. Knight stares at Frank, suggestively... then returns to her desk. MS. KNIGHT We've really got to get together. I have a meeting to run off to but if you need to use my phone, go right ahead. Frank notices the watercolor hanging on the wall. He has a vision: A swastika, formed by hundreds of torch-bearing people. They move in a slow circle at the infamous Nuremburg rally in Germany. Frank is stunned by the vision! Confused. CUT TO: INT. PATHOLOGY ROOM - DAY Bethesda Naval Hospital. Bethesda, Maryland. A black body bag rests on a medical table. A latex-gloved hand unzipped the bag... Peter Watts is watching, dressed in a white lab coat with Lara Means beside him. Two Millennium Group pathologists are preparing an autopsy. One speaks into a suspended microphone... PATHOLOGIST Millennium Group autopsy... Subject: Gordon Johnston... The pathology room door opens and Mrs. Kelcher enters, stops when she sees Lara... PETER Means is here at my request. I'm responsible. Ms. Kelcher doesn't like it. She looks at the charred body on the table. MS. KELCHER I'll be very honest, Peter. (a beat) I would have suspected you of working for the other side before I ever suspected Johnston. PETER This is the same room where President Kennedy's body was examined. (a beat) Everyone's trust died in this room. The door bursts open once more. Three people enter; MS. DAVIS, MR. OTTO and MR. PLUNKETT. All dressed in lab coats and prepared for an autopsy, clearly furious. Peter and Kelcher tense in anger as they enter... MS. KELCHER Get out. This is a Millennium Group investigation. MR. PLUNKETT We *are* the Millennium Group. MS. KELCHER Not as far as I'm concerned. MR. OTTO We demand to be involved in this autopsy. We will not accept your side's findings unless we are involved. PETER That a threat? MR. OTTO It's clear Johnston has been murdered. (a beat) If any evidence should indicate responsibility of either Owls or Roosters... I'm sure you know what's in danger. Silence. PETER The future... *of* the future. CUT TO: INT. OFFICE - DAY Pete is seated at a barren metal desk in an office at the Naval Hospital. In the background Otto (Owl)and a pathologist (Roosters) are discussing the autopsy in raised tones... PATHOLOGIST MR. OTTO How else could you explain I'm agreeing with you! his stomach flooded with You're failing to see my gasoline? point about the blunt trauma... Kelcher arrives and places a file on Peter's desk. MS. KELCHER These are preliminary reports of carbon-isotope dating on the wood found in the trunk. The carbon build up from the fire is making a precise dating of the wood nearly impossible. Peter nods frustratedly. He places the file to one side and continues with material he was examining: 'CASE #-AF5376. TIRE IMPRINT EVIDENCE: JOHNSTON, GORDON.' "Summation: INCONCLUSIVE." Annoyed, Peter strikes the file down on the table. A lab technician enters with a manilla envelope... LAB TECHNICIAN Mr. Watts? X-Ray and Ultraviolet imaging results on Mr. Johnston's body. Peter nods and the technician leaves. Peter opens the envelope and takes out some X-Ray and Ultraviolet images of Johnston's body. He flicks through until he sees an image of the skull. He takes a magnifying glass and studies the image; very faint on the image is the ancient Germanic rune symbol. Peter reacts, checks to see if anyone is watching... then slips the image into his briefcase - which he locks. Then he returns to other images to their manilla envelope. Peter reclines in his chair, thinking. He looks at a small cardboard box on the desk marked: 'Johnston, Gordon: Personal Effects.' Peter grabs the box. Rummaging through the various charred objects, he finds a burnt notebook. Peter snaps on latex gloves and searched through the books pages... searching. He finds something. His eyes go wide, shocked. Lara Means arrives and sits beside his desk. LARA Peter... I've been comparing this murder to LeFur's in Amann, I believe there are actually some connections... PETER Lara... Lara stops, noticing something has agitated Peter. PETER You are excused from the Millennium Group until further notice. Lara is shocked! LARA What? On what grounds? PETER I may contact you... or we may never contact you again. Lara is obviously furious. With hurtful eyes she stares at Peter... he finally looks up at her squarely. PETER Now get out of my sight. Lara pauses. She realises she won't get an explanation and moves off. Peter watches her leave. One of the notebook's pages can now be seen. It's partially burnt, but one section clearly reads: "Made contact with Lara Means..." - the rest burnt away. CUT TO: INT. FRANK'S HOUSE - NIGHT A number of Russian graphics fill Frank's computer screen. "Archive of the Federal Counter-Intelligence Service, Moscow, Russia." Frank moves the screen down to an index. Two words become prominent: "Adolph Hitler." Frank continues his search. Images of Hitler's fire-scorched uniform... his walking stick... his violin... then, a watercolor! Tensing at the sight, Frank moves the screen down -- various watercolors pass by until Frank find it: the same watercolor hanging in Ms. Knight's office! Behind Frank a car's headlights sweep across his front room. Frank gets out of his chair and moves quickly to the main window. He peers through the blinds... and sees two men parked in a car outside, watching his premises. Frank is furious and opens a nearby drawer. Inside is a gun box. Frank opens the lid and takes out the weapon... CUT TO: INT. OFFICE - DAY Peter stands near a fax machine. He dials and inserts a sheet of paper, pressing SEND. The paper is fed through... CUT TO: INT. THE OLD MAN'S SHACK - NIGHT Another fax machine ejects a sheet of paper in a holder. The OLD MAN takes the sheet and holds it up. He looks saddened, and frightened. The fax reads: 'Sir, do you know this?' Beneath is a drawing of the Germanic rune seen on Johnston's x-ray and the cuff links of Gunsche, Axmann and Ms. Knight. The Old Man puts the paper down. OLD MAN Now... it's time. He turns and begins preparing for a trip... CUT TO: EXT. FRANK'S HOUSE - NIGHT Frank, now in his leather jacket, storms across to the parked car. His gun is held down, concealed behind his leg.... The driver's door opens and a man begins to step out... Frank stops and aims his gun angrily... The driver is out of the car, arms rasied in surrender. Frank looks extremely annoyed... FRANK You looking for me? You must be, because no one else lives here. THE DRIVER Easy, Mr. Black... Frank is surprised to hear the Millennium Group's password. Reassuringly the Driver nods. Inside the car, the second man has a .45 Glock 30 handgun ready out of sight. He looks over his shoulder at Frank, and ROCKS the slide... CUT TO: BLACK. "TO BE CONTINUED..." FADE OUT. ===================================================================== The story concludes in "ROOSTERS" (part 2 of 2) ===================================================================== Ten Thirteen Productions in association with 20th Century Fox Television (R) A News Corporation Company Cast Lance Henriksen (Frank Black) Megan Gallagher (Catherine Black) Brittany Tiplady (Jordan Black) Terry O'Quinn (Peter Watts) Kristen Cloke (Lara Means) Kim Patton (Clear Knight) R.G. Armstrong (The Old Man) Malcolm Stewart (Mr. Johnston) Bob Dawson (Helmet Gunsche) Michael Tiernan (Millennium Group Driver) Brian Downey (Mr. Dean) Judith Maxie (Ms. Kelcher/Finley) John Juliani (Mr. Plunkett) Mark Holden (Francois Amadou) Bruno Verdoni (Robert LeFur) Gardiner Millar (Mr. Otto) Nino Caratozzolo (Sentry) Copyright (c) 1998 Twentieth Century Fox Film Corporation All Rights Reserved #5C14 Twentieth Century Fox Film Corporation is the author of this motion picture for purposes of copyright and other laws. The characters and names depicted in this photoplay are fictitious. Any similarity to actual persons, living or dead, is purely coincidental. Ownership of this motion picture is protected by copyright and other applicable laws, and any unauthorized duplication, distribution or exhibition of this motion picture could result in criminal prosecution as well as civil liability. ======================================================== Millennium Copyright and TM, 1998 FOX Broadcasting Company ======================================================== First Created: December 17, 1998 Last Updated: May 08, 2003