Millennium 3ABC03: “TEOTWAWKI”
The Millennial Abyss | Episodes | Season Three
“TEOTWAWKI” (3ABC03)
Written by Chris Carter & Frank Spotnitz
Directed by Thomas J. Wright
Edited by Peter B. Ellis
Aired October 16, 1998
Summary
Frank Black’s investigation into a deadly shooting spree at a high school is mysteriously tied to an influential group of private citizens setting its own agenda for the year 2000.
Synopsis
Students gather inside the gymnasium of Redland High School to celebrate the school's victory at the state academic championships. Amongst the student body are cheerleaders Tammy Meador and Kathy McNew, who encourage their classmates to join them in some rousing cheers. Watching Tammy from afar is Carlton King, an odd, gawky teenager. Carlton lays a book near Tammy's pom-poms, then walks towards some nearby doors. Shortly thereafter, Brant Carmody, another student reluctant to join in the celebration, exits the gymnasium. As the school principal announces that ComLogic Computers has donated a system worth over two million dollars, gunfire rings out. Three students, including Tammy Meador, are killed in the melee.
Agents Baldwin and Hollis are assigned to investigate the case. They meet with Giebelhouse, who is still a detective working for the Seattle Police Department. Giebelhouse explains that the shooter, whose identity is still unknown, opened fire from underneath the bleachers. As the murder weapon was recovered, it is hoped that the registration number will provide clues. While searching the gym, Emma comes upon the book that Carlton left near Tammy's pom poms. She decides not to tell the other investigators about the discovery. Later, Giebelhouse contacts McClaren and requests Frank's assistance.
Emma tells Baldwin that other students described Brant Carmody as non-communicative. A record check also reveals that Brant was twice arrested for assault and battery. And it is also determined that the teenager is the son of a very wealthy computer executive. When the agents arrive at the Carmody's front door, shots ring out. Brant's father, Chris, announces that his son shot himself. The agents are unable to revive the boy. Back at Quantico, Baldwin concludes that Brant fired upon his classmates and then committed suicide. But Frank has his doubts. He points out several holes in Baldwin's investigation, including his failure to test either of Brant's parents for powder burns. After the meeting, Frank asks McClaren to send him to the high school so he can perform some detective work of his own. As Frank packs his suitcase, he receives a surprise visit from Emma. She shows him the book she discovered at the gym. The book contains prayers from the Dark Ages, and is inscribed with the name "Skylark." Frank realizes the shooter left it behind as a warning to Tammy Meador.
Meanwhile, Chris Carmody, computer technology czar Jock Hauser, Principal Kalmer and Carlton King's father, Gary, meet in a field in the countryside, where they practice firing their guns at figures of human beings. Jock accuses Chris of telling his son about the group's secret. Chris admits to this, stating that he did so at the insistence of his wife.
Frank and Emma question cheerleader Kathy McNew, who had been dating Brant Carmody. She explains that Brant spoke often of the end of the world, and how society will collapse come the year 2000. Later, as Frank inspects the room where Brant's body was found, he is struck by a series of internal visions. He concludes that Brant was the shooter inside the gymnasium. But he also believes that Brant's death was not a suicide.
Emma searches Brant's computer files and discovers a threatening email message composed by Skylark. Emma contacts an Internet service provider to determine Skylark's real identity. Shortly thereafter, Kalmer, Jock Hauser and Gary King meet at a rural warehouse when they learn that the FBI has identified Skylark as Carlton King.
Emma, Frank and Geibelhouse search the King family's credit card records. They discover purchases for such items as gas generators and non-perishable food, along with assault rifles. They also determine that Gary King co-owns 14,000 acres of desert land in eastern Washington State. Frank concludes that the group to which Gary belongs is preparing for complete technology failure in the year 2000, and has erected a self-sufficient compound to protect their families from harm.
Carlton King leads Emma and Frank to the rural warehouse. Gunshots ring out, and Emma returns fire. During the confusion, Emma calls out Frank's name but Frank does not respond. Rifle in hand, Gary King seeks out Frank. But Carlton stands between the two men. Frank convinces Gary to surrender. Later, Chris Carmody is charged with murdering his own son. Chris explains that he killed Brant because his wife and daughters would have remained behind (away from the safety of the compound) if his son had been sentenced to jail for murdering his classmates.
Later, Frank tells Emma that he did not bring his revolver with him to the warehouse, as he was relying on her experience as an agent for protection. He also states that if man is going to survive a technology failure, it is humanity — not food and ammunition — that will save the day.
Starring
Lance Henriksen as Frank Black
Brittany Tiplady as Jordan Black
Klea Scott as Emma Hollis
Peter Outerbridge as Barry Baldwin
Stephen E. Miller as Andy McClaren
Stephen James Lang as Detective Giebelhouse
Guest Starring
Robert Wisden as Chris Carmody
Jeremy Guilbaut as Brant Carmody
Hilary Strang as Mrs. Carmody
Andrew Johnston as Principal Kalmer
Eric Keenleyside as Gary King
Sasha McLean as Tammy Meador
Laurie Murdoch as Jock Hauser
Michelle Skalnik as Kathy McNew
Keith Gordey as Software Engineer
Production Credits
Production #6C03
Music by Mark Snow
Production Designer Mark Freeborn
Director of Photography Robert McLachlan
Associate Producer Jon-Michael Preece
Co-Producer Robert Moresco
Co-Producer Paul Rabwin
Producer Thomas J. Wright
Co-Executive Producer Ken Horton
Co-Executive Producer John Peter Kousakis
Executive Producer Chip Johannessen
Executive Producer Michael Duggan
Executive Producer Chris Carter
Location
Book Excerpt
“This need for validation or desire to belong, whether it be with the Cosa Nostra, the Freemasons, the Hell’s Angels, or an urban gang, is always a defining factor. These groups often attain new members as a counter to the breakdown of family, out of a need to belong, a need for security, or for mutual benefit. The underlying reasons for membership are familiar.”
—Gordon Roberts
Back to Frank Black
REVIEWS
“Scott's presence is bracing. Her Hollis is a novice who idolizes Black and is all alert sensitivity whenever he's around; Scott captures perfectly the way young adepts try to soak up everything about their heroes. And Black is, appropriately, unnerved and grumpy about her eagle-eyed attentiveness; they make for a nicely awkward pair whose relationship can only grow more complicated and interesting.”
—Ken Tucker
Entertainment Weekly
“While the dreaded 'computer scare' turned out to be nothing to worry about—and I can safely admit/brag that I didn't buy one ounce of bottled water—the forward-thinking mindset of Millennium carried a strong sense of urgency and dread that made it a true product of the era (though again, viewed in hindsight, it still holds up very well). The scope of the entire series was still several years ahead of its time at this point, hiding in the shadow of our beloved Agents Mulder and Scully, ready to make paranoid freaks out of us all.”
—Randy Miller III
DVD Talk
“Millennium was always at its very best when tapping into the roiling Zeitgeist of the 1990s... 'Teotwawki' (or The End of the World as We Know It) seemed to tie the 1990s school shooting epidemic (pre-Columbine) with the Y2K Bug, and then postulate a youth generation that had lost hope for a better future... 'Teotwawki' asks what might happen to kids living in that scenario of 'advanced knowledge of the end,' when disaster is speeding at them—and our modern technological society too—like a runaway freight train. It’s a powerful hour.”
—John Kenneth Muir
Reflections on Film and Television