M I L L E N N I U M

"PILOT"

Ep. # 1.01  [MLM-100  (4C79)]

[ First Season ]  (Complete Transcript)

[ Final Version ]

U.S. Air Date: October 25, 1996 

=====================================================================
Disclaimer: This transcript was made from a personal video copy
and is presented for Fair Use only to Millennium fans. All of the
characters and scripts are the properties of Chris Carter, 1013
Productions, Fox Broadcasting Company and their respective authors.
No copyright infringement is intended nor implied by the distribution
of this document. It is solely meant for entertainment purposes only.

-- Maria Vitale 
=====================================================================


[Trademark music cue as the scene fades in from black... ]


DOWNTOWN SEATTLE
FEBRUARY 2, 1996


[OPENING SCENE: Daytime. Outside, it is raining. A man with a ball cap is
seen walking through an alley toward the Ruby Tip, a peep show.]

[Inside, a girl leaving work, walking down a narrow corridor with private
booths on either side and various customers exiting or entering the booths.
At one end of the corridor is the man with the cap. In his hand is a stack
of quarters. The girl walks past him and enters the dressing room. He looks
up as she passes by.]

  Girl: "I'm off."

[There's an attendant by the door, Sammy.]

  Sammy: "Yep."

[She opens the door to leave. As she does, another girl, Tuesday, enters
to begin her shift.]

  Tuesday: "I'm here."

  Sammy: "All righty."

[Finishing her shift, another girl, Calamity, wearing black panties and
adjusting a skimpy black bra enters the dressing room and heads for a pay
phone to call her daughter's sitter.]

[Tuesday begins changing her clothes to go to work.]

  Tuesday: "How's it going?"

  Calamity: "Okay. I want to make sure the baby-sitter
  hasn't left yet."

[She dials the number and waits.]

  Calamity: (sighs) "That weird French guy's back."

  Tuesday: "With the portraits?"

  Calamity: "Yeah." (to her daughter on the phone)
  "Hi, honey? It's Mommy. Is Cindy still there?
  Okay, let me talk to her."

[Tuesday goes to work. She's wearing a red bra and panties. She enters
a small room where several other girls are already dancing before small
windows where men have paid quarters for timed sessions where they can
watch the girls dance and strip. The windows before them close with a
shutter when the session is over.]

[She begins dancing, gyrating to the music that's piped into the room. The
music is White Zombie's `More Human Than Human' (from the Astro-Creep: 2000
CD). It continues very loud throughout.]

  {Music: "Yeah... I am the Astro-Creep, a demolition
  style hell American freak. Yeah... I am the crawling
  dead - a phantom in a box, shadow in your head... "}

[Behind one of the windows is the man with the cap. She dances before
him and sees that he's holding up a small piece of paper with writing
on it.]

  {Music: "Yeah... Into a psychic war, I tear myself
  apart and I eat it some more. Yeah... Scratch off
  the broken skin - tear into my heart, let me do it
  again. Yeah... Yeah... Yeah... Yeah..."}

[She moves closer to the window, crouches down and begins removing
her bra as the shutter comes down.]

[Back in the dressing room, the boss comes to give Calamity some news. She
has already changed into her clothes to go home. The music is muffled in
the dressing room.]

  {Music: "Yeah... More human than human. More human
  than human."}

  Sammy: "You got a private."

  Calamity: "I'm off."

  Sammy: "It's 200 bucks for ten minutes."

[She considers the money and accepts. She returns to the room, dressed
again in the skimpy outfit and dances for the man, known as The Frenchman.
She dances for him, tries to fulfill his fantasies. The music is Nine Inch
Nails' `Piggy' (from the The Downward Spiral CD). It continues throughout.]

  {Music: "Hey, pig... yeah, you."}

  Calamity: "Tell me what you want. Do you like me?"

  {Music: "Hey pig piggy pig pig pig... "}

[The Frenchman shuts his eyes hard, then opens them again. His "fantasies"
begin.]

  Calamity: "Tell me what you want."

  {Music: " ...all of my fears came true."}

  Frenchman: "I want to see you dance on the blood-
  dimmed tide."

[{He sees the wall behind the girl begin to bleed from the ceiling down to
the floor.}]

  Calamity: "You like to watch my body."

  Frenchman: "Where the ceremony of innocence is
  drowned."

  Calamity: "I know you like it. Don't be shy."

  Frenchman: "This is the second death."

[{He sees blood drip down the girl's forehead. The blood begins to pour
down the walls.}]

  Frenchman: "The abominable and the fornicators. This
  is the second death."

  Calamity: "Tell me what you want."

  Frenchman: "You'll have your part in the lake. The
  great plague in the maritime city."

[{He sees the room drenched in blood.}]

  Frenchman: "You'll have your part in the lake which
  burns with fire... and brimstone."

[{He see fire behind the girl, surrounding her, engulfing her.}]

  Calamity: (whispers) "I know you like it. I know you like
  it. Tell me what you want."

  {Music: "Nothing can stop me now."}

[He shuts his eyes once more and as he opens them tears run down his
cheeks.]


[FADE to black... Logo fade in... Music and main titles roll]


M I L L E N N I U M


wait

worry


starring

Lance Henriksen (Frank Black)
Megan Gallagher (Catherine Black)

created by Chris Carter


who cares?


--------- commercial segment ---------


[OPENING SCENE: Seattle, Washington. It is a beautiful sunny day. Frank
Black drives his family to their new home. His wife Catherine and their
daughter Jordan are by his side in his red Jeep Cherokee. Catherine has
her eyes covered with her hands, her daughter sits on her lap. Frank looks
over to his wife.]

  Frank: "I think someone's peeking."

  Jordan: "No peeking, Mommy."

  Catherine: "Okay. You tell me when, Jordan."

[Frank turns into the driveway just past a moving van with their furniture.
The car still has Maryland plates: 424580M.]

[Frank undoes Jordan's seat belt. She turns to her father to see if she
can tell her mother to open her eyes and look at their new home. He gestures
for her to not give away his secret, then nods for the surprise to finally
be shared with his wife.]

  Jordan: "Okay, Mommy, you can look now."

  Catherine: "Oh, Frank, you had it painted!"

[He picks up Jordan from her lap and places her on his. As Catherine gets
out of the car, Jordan gives her father a playful lick on the tip of his
nose.]

  Catherine: "It's so beautiful."

  Jordan: "Is this our new house, Daddy?"

  Frank: "Our new yellow house."

  Catherine: "Come here."

[She picks up her daughter and hugs her.]

[The movers have begun taking things into the house. Frank carries a box
filled with books when Catherine calls to him from upstairs.]

  Catherine: "Frank? Can you come here? There's
  something up here."

[He climbs the stairs to join her.]

  Frank: "Catherine? What is it?"

[She goes to him, embraces and kisses him.]

  Catherine: "I'm so happy right now. I think this
  move was the right thing. I really do, Frank."

  Frank: "I do too. It feels like home."

[They stand in front of a window on the second floor, holding each other.]

[Later on, as the empty moving van leaves and Frank goes to pick up his
newspaper off the front lawn, he meets his new next-door neighbor.]

  Man: "Hello there! Hi! I'm, uh, I'm Jack
  Meredith. Guess we're going to be neighbors."

  Frank: "Nice to meet you. Frank Black."

[They shake hands.]

  Jack: "Hi ya, Frank. So, where are you folks from?"

  Frank: "Well, we've been in Washington, D.C. for
  the past ten years. But my wife and I are both from
  here in Seattle."

  Jack: "So... what brings you back here?"

  Frank: (laughs) "I want to come home and put some
  roots down."

  Jack: "Oh, well, that makes sense. What, uh, what
  kind of work do you do, Frank?"

  Frank: "Well, I do some consulting."

  Jack: "Oh, good. Can we, uh, can we invite you folks
  over for dinner this week? I see you have a little
  girl."

  Frank: "Thank you. I'll talk to my wife."

  Jack: "Good."

[Frank turns and walks back toward his home.]

  Jack: "Hey, say Frank! You couldn't have picked a
  nicer place to come back to."

[He gives Frank a thumbs-up gesture and heads toward his own home as does
Frank.]

[On his steps, Frank removes the newspaper from its plastic bag and glances
at the front page. He stops on a news story about the girl from the peep
show. He is disturbed by the story. The headline reads as follows: ]


Mother Found Murdered in Home
5-year-old Daughter
Hid from Slayer


[Episode credits roll during the next scene]


Guest Starring

Bill Smitrovich (Lt. Bob Bletcher)
Terry O'Quinn (Peter Watts)
Paul Dillon (The Frenchman)
Brittany Tiplady (Jordan Black)
Stephen E. Miller (Det. Roger Kamm)
Stephen J. Lang (Det. Bob Geibelhouse)
Kate Luyben (Tuesday)
April Telek (Calamity)

Music By Mark Snow
Edited By Stephen Mark
Production Designer: Gary Wissner
Director of Photography: Peter Wunstorf
Supervising Producer: John Peter Kousakis
Co-Executive Producer: David Nutter
Written By Chris Carter
Directed By David Nutter


SEATTLE PUBLIC SAFETY BUILDING


[NEXT SCENE: Outside, it is raining. Inside, Frank steps off an elevator
and walks toward Lt. Bob Bletcher's office.]

[Just outside the glass-paneled door, he stands listening and watching the
detectives, and his old friend, talk inside the office. The name painted on
the door is: `Lt. Robert Bletcher, Homicide.']

  Bletch: "How old was this kid?"

  Det. Kamm: "Seventeen."

  Bletch: "Seventeen years old. This guy's got no
  other priors?"

  Kamm: "Nothing at all."

[Frank opens the door and then knocks. Bletcher looks up, then tosses down
on the desk the file he'd been holding.]

  Bletch: "Think I've just seen a ghost."

  Frank: "Hey, Bletch."

  Bletch: (chuckles) "Hey, what are you doing here,
  Frank?"

[They shake hands.]

  Frank: "We moved back to Seattle."

  Bletch: "You and Catherine."

  Frank: "Yeah. Missed the weather."

  Bletch: (laughs) (to the detectives) "Hey, this is
  Frank Black. Used to work homicide here before he
  became a big star at the F.B.I."

  Det. Geibelhouse: "You're the guy that caught the
  guy... the serial murderer who ate his victims. What's
  his name -- Piggett?"

  Frank: (nods) "Leon Cole Piggett.

  Geibelhouse: "I was always curious, how'd he prepare
  them?"

  Frank: "In a skillet... with potatoes and onions."

  Geibelhouse: "Ooo, man!"

  Frank: (to Bletcher) "Got a minute?"

  Bletch: "Yeah, sure."

[They go for a walk and talk around the squad room.]

  Frank: "How's work?"

  Bletch: "Oh, homicide rate's at a record low. Only
  34 last year."

  Frank: "Congratulations."

  Bletch: "Uh, I'd like to take all the credit but
  the truth is we've got some damn fine paramedics."

  Frank: "How about this woman two days ago, the one
  with the little girl?"

  Bletch: "She was a stripper, worked the peep show.
  Somebody obviously wanted more than a peep."

  Frank: "You're keeping the details from the press."

  Bletch: "It was bloody and cruel."

  Frank: "How's the little girl?"

  Bletch: "She's in custody down in D.S.H.S."

  Frank: "She witness the murder?"

  Bletch: "No, she didn't. Are you down here looking
  for work, Frank?"

  Frank: "Sexual homicide -- that's what I did for ten
  years, Bletch."

  Bletch: "Yeah, and I hear it pushed you into early
  retirement."

  Frank: "Any chance you could take me down to see the
  body?"

[Bletcher does take him down to the morgue. There they are joined by the
pathologist, Curt Massey, who shows them the woman's body.]

  Massey: "She went down fighting, I can tell
  you that. Blunt trauma. Ante-mortem impact abrasions
  on her upper torso. She was a strong woman. Took
  some work to subdue her. Mind you, her killer was
  no weakling either."

[With a glove in his hand, he reaches over to pull the zipper back so
that he can reveal the woman's body but Frank prevents him from doing so
by placing his hand over the pathologist's.]

[Being near the body triggers a series of brief visions for Frank.]

[{The first: He hears her screaming and someone attacking her.}]

[{The second: Silence but he sees her lying on the floor, covered with
blood.}]

  Frank: "He severed her head."

  Pathologist: "That's no mean task, let me tell
  you."

  Frank: "What was the position of the body when
  they found her?"

[The pathologist looks to Bletcher who nods consent to release the
information.]

[Frank sees this next vision as the Massey describes her position.]

  Massey: "She was on her back with her arms
  crossed over her chest."

[{The third: Silence. She is lying on the bed but this time he also
sees the killer's hands as he places her arms crossed over her chest.
The bedroom is in disarray, blood on the bed cover and on her neck.}]

  Frank: "You didn't find the murder weapon. But
  it was something he took from the crime scene."

  Bletch: "A carving knife was missing from a
  kitchen set."

  Frank: "She was clothed."

[{The fourth: Silence. The dead girl again, on the floor, her clothes
undisturbed, blood on her neck.}]

  Frank: "There was no evidence of sexual assault."

  Bletch: "What else?"

  Frank: "He cut off her fingers."

  Massey: "The man with the x-ray eyes."

  Frank: "What did Hair and Fiber turn up?"

  Bletch: "Maybe you should tell me."

[Frank just stares at him.]

  Bletch: "Two head hairs from a black male."

[Frank doesn't say a word but just walks away.]

  Massey: "How's he do that?"

  Bletch: "I don't know. Lucky guesser."

[He follows after Frank. Frank opens the door to the stairs as Bletcher
catches up with him.]

  Bletch: "Frank!"

[They both beginning climbing up the stairs.]

  Bletch: "You obviously just didn't come down
  here to say hi. What are you doing here?"

  Frank: "I've seen this M.O. before. I know
  the patterns and the profile."

  Bletch: "So what's the profile?"

  Frank: "He'll kill again."

  Bletch: "She was a working girl, a target."

  Frank: "That's not why he chose her."

  Bletch: "Why did he choose her?"

  Frank: "I don't know yet. I'm working with a
  consulting group. These guys have a lot of
  experience with this sort of thing. They could
  take a look."

  Bletch: "I've got three detectives assigned to
  this. What do I tell them?"

  Frank: "That the killer's going to be hard to
  catch. They could use some luck or some help."

[He turns and leaves.]

[NEXT SCENE: The Ruby Tip peep show. The same room as before where the
girls are dancing for their customers in the booths.]

[Frank arrives, his jacket is soaked from the rain. Walks down the narrow
corridor where a man is mopping the floor.]

[Outside one of the private booths is a Polaroid of a girl. Handwritten
at the bottom of the photo is: 'Tuesday.' Frank enters the booth. A blond
girl seen earlier, Tuesday, is wearing skimpy red lingerie pulls back a
curtain as music begins. The music is Portishead's `Roads' (from the Dummy
CD). It continues throughout. ]

  Tuesday: "Hi. You caught me. I was just thinking
  something nasty."

  Frank: "Just want to talk."

  Tuesday: (begins dancing) "Talk to me. Tell me
  what you want."

[Frank holds up to the glass the newspaper clipping of the dead girl.]

  {Music: "Ooh, can't anybody see... "}

  Frank: "You knew her, didn't you?"

[She stops dancing, folds her arms and becomes more self-conscious.]

  {Music: "We've got a war to fight... "}

  Tuesday: "This isn't an interrogation booth."

[Frank takes down the clipping.]

  Frank: "I'm not a cop."

  {Music: "Love will find a way... "}

  Tuesday: "I've already given my statement."

  Frank: "I might be able to figure out who
  killed her."

  {Music: "Regardless of what they say... "}

  Tuesday: "Yeah? How?"

  Frank: "Tell me about her."

  {Music: "How can it feel this wrong?"}

[Music continues throughout.]

  Tuesday: "Her name was Calamity. She didn't hook.
  She didn't do drugs. She just danced for the money
  so she could raise her little girl. There isn't much
  else to know."

  Frank: "Any fans? Any freaks?"

  Tuesday: "If you didn't notice, the clientele here
  isn't exactly the picture of moral rectitude.
  They'd applaud, but it takes both hands."

  Frank: "Can you think of any reason someone
  might have killed her?"

  Tuesday: "A reason? Men don't need reasons... all
  they need is an excuse."

[This triggers another vision for Frank. He sees the dead girl as the
killer did, surrounded by flames.]

  Frank: "I'm sorry. Thanks for your time."

[He starts to leave.]

  Tuesday: "There's a guy... "

[Frank stops and returns to the window.]

  Tuesday: "He holds up poetry to the window."

  Frank: "What does it say?"

  Tuesday: "I don't know. It's in French. We call
  him `The Frenchman.' "

  Frank: "He ever solicit anyone?"

  Tuesday: (shakes her head) "No, but he paid her
  for a private."

  Frank: "Do they have a camera here?"

[She silently nods toward the camera's location in the booth.]

  Tuesday: "Don't tell them I told you."

[The camera's red light can be seen from the rear as Frank looks directly
at it from his POV.]

[NEXT SCENE: Night. It is a cruising area for gay men to meet and solicit
sex. The Frenchman is driving through the area.]

[Then he can be seen walking through a wooded area, again frequented by
gay men.]

[The Frenchman envisions that the men all have their eyes and mouths sewn
shut, yet he hears whispering, mumbling. He begins breathing heavily. He
finally leaves the area and goes back to his car.]

[He places his head on the steering wheel when a young man approaches the
car. He knocks on the window, then walks around the front of the car to get
into the passenger seat. As he does, The Frenchman starts the engine and
they drive off together.]

[He later pulls up under a traffic bridge. He opens the passenger side
door and drags the young man's body out toward the rear of the car. He
drops him down on the ground. Blood can be seen on the man's chest. He
opens the trunk and stuffs the man's body inside it. Then with a bloody
hand, shuts the trunk.]


--------- commercial segment ---------


[Trademark music cue as the scene fades in from white... ]


[SETTING: The Black residence. Outside, bright sunny day. Children can seen
riding their bikes. Inside, Frank and Catherine's bedroom. Jordan is reading
the newspaper with her father, whispering so as to not wake her mother who
is sleeping next to them. They're looking to buy a new pet, a dog.]

  Jordan: "What's a boxer?"

  Frank: "It's a big dog. It looks sort of like... "

[He squishes the tip of nose down and lets out a grunt to try and mimic the
dog for Jordan, as Catherine, who has been pretending to be asleep, smiles
but tries to hold back a laugh.]

  Jordan: "I don't think so."

  Catherine: "What about a basset hound?"

  Frank: "There's too many big ears in this house
  already."

  Catherine: (laughs) "Now we know why Daddy's
  face looks like a boxer."

[Catherine pokes jabs at Frank's face while Jordan grabs his lips and
playfully squeezes them. The phone rings. Frank answers it. Catherine and
Jordan begin playing with each other.]

  Frank: "Hello?"

  Bletch: "Frank, it's Bob Bletcher. We found
  a body. I think you might want to come take a
  look."

[Catherine becomes distracted, listening to Frank's phone conversation.]

  Frank: "Yeah, I think so."

  Bletch: "Off of 90 on Snoqualmie. You'll see
  the circus."

  Frank: "Right, I'll be there."

[NEXT SCENE: A wooded area. Dozens of officers are there. Some are surveying
the area, others photographing the crime scene, still others are just trying
to keep the area clear of curiosity seekers. Lots of radio chatter in the
background.]

  Surveyor: "Mark that."

  1st Officer: (Into a radio) "That's affirmative.
  Six units on scene, do you copy?"

  Detective: "... Park Ranger... "

[An officer tries to prevent Frank, who has just driven up in his Jeep, from
entering the area.]

  2nd Officer: "I can't let you go down there."

  Bletch: "It's all right, officer. Thank you."

[He and Frank walk down a slope.]

  Bletch: "Looks like I called you all the way
  out here a little hastily."

  Frank: "What is it?"

  Bletch: "A body, male. It was charred so badly
  we couldn't tell the sex."

  Frank: "Somebody set it on fire?"

  Bletch: "Either before or after it had been
  decapitated. Can't tell yet."

[A charred hand is the only thing visible. The rest of the body has been
covered with black plastic by the police.]

  Bletch: "Whoever killed him, did it somewhere
  else, then brought him out here. Looks like he
  parked up on top of the road and pushed him
  down the hill."

  Geibelhouse: (to Frank) "I suppose you're going
  to want to see the body."

  Frank: "No, that's okay."

[He begins walking around the area, then looks further down the hill. He
has three brief visions of the dead man screaming, ablaze in flames, moving
slowly through the thinly wooded area below.]

  Bletch: "Frank... "

  Frank: "It's the same killer."

[He begins walking further down the hill, toward the spot he `saw' the man
on fire.]

  Bletch: "What?"

  Frank: "He did it here. The victim was set afire
  here in the woods. How far to the river?"

  Bletch: "Four miles."

  Frank: "That's where they came from."

[NEXT SCENE: The wooded area near the river. A massive search is underway,
including several ground teams and a helicopter.]

  Chopper Pilot: "This is Air Mobile One to Base.
  Yeah, we're looking for something near the river."

  Radio: "Roger, Mobile One."

[The chopper flies over the area. Several officers can be seen walking along
the riverbanks and surrounding areas.]

  Bletch: (Into his radio) "Copy that."

[Off in a distance a detective shouts at the others.]

  Detective: "Over here!"

[Several officers clear away dried leaves to reveal what they've found.
Frank, Bletch and the others run over to see.]

  1st Officer: "Weird."

  2nd Officer: "What is it, Jake?"

  1st Officer: "We found it."

[As they wipe away the rest of the leaves, they see that they've discovered
a coffin. On the lid is carved the word: `PESTE.' Before they can open the
lid... ]

  Frank: (sighs) "It's empty."

[They open the coffin and see that it is indeed empty. A puddle of blood can
be seen at one end. Frank turns and looks at Bletcher before walking away
from the area.]

[NEXT SCENE: Seattle. It is pouring rain. Frank is driving Bletcher back to
town in his Jeep.]

  Bletch: "Your associate was down in pathology
  looking at the body this morning. A guy named
  Watts?"

  Frank: "I haven't spoken to him yet."

  Bletch: "A couple of my detectives did. He
  told them he was part of something called The
  Millennium Group."

  Frank: "Yeah."

  Bletch: "Is that who you're doing this consulting
  for?"

  Frank: "Mm-hmm."

  Bletch: "So who are they?"

  Frank: "Just some guys who used to work in law
  enforcement."

  Bletch: "F.B.I.?"

  Frank: "Some of them."

  Bletch: "My guys want to know why you're here,
  Frank. I still don't know what to tell them."

  Frank: "I'm here because I have a wife and a
  kid and I want them to live in a place where
  they can feel safe."

[Frank pulls the car over to the curb. Bletcher opens the door and steps out
into the rain. Before shutting the door, he asks... ]

  Bletch: "How do you do it, Frank?"

  Frank: "Lucky guesser."

[Bletcher laughs. Frank continues his drive home.]

[By the time he finally arrives home, it is late at night. The rain has
stopped and Frank begins to walks toward his front door when he hears
someone call out to him from behind.]

  Man: "Frank!"

[He walks over to meet the man who has been sitting in his car, waiting for
him to come home.]

  Man: "I'm Peter Watts, from the Group."

[He hands Frank an envelope.]

  Watts: "I would have faxed you, but I wanted
  to introduce myself."

  Frank: "I heard you were down looking at the
  body. Did you find anything?"

  Watts: "A few things slipped by. One salient
  oversight... "

  Catherine: (calling out to him)
  "Frank?"

  Frank: "I'll be right in, Catherine."

[She looks at him and then shuts the door.]

  Watts: "There was severe blunt trauma to the
  body so it was easy to miss, but inside the
  victim's left thigh, I found a needle puncture."

  Frank: "From what, a syringe?"

  Watts: "Maybe. There was no evidence of anything
  administered in the adipose and surrounding
  tissue. I know they think the killer's a black
  male."

  Frank: (shakes his head) "I've already ruled
  that out."

  Watts: "The deseverance of the head and the
  fingers was done with skill, precision. You
  know why."

  Frank: "The killer was covering his tracks. The
  victim may have scratched or bitten him. He may
  not have gone down there to kill her."

  Watts: "The kitchen knife was convenient but he
  knew what he was doing. And with real sangfroid,
  judging by his tidy cleanup."

  Frank: "What does the Group think?"

  Watts: "That your instincts were right. The killer's
  being compelled by an extraneous stress. He's out
  of control."

  Frank: "Anything else?"

  Watts: "That you're the right man for this. All
  our resources will be available to you."

[Frank nods and Watts heads back toward his car.]

[Up in their bedroom, Frank enters quietly as Catherine lies in bed, still
awake, waiting for him to return.]

  Catherine: "Who was that?"

  Frank: "His name is Watts. He had some information
  for me."

  Catherine: "He sat out there for over an hour.
  He could have come to the door."

  Frank: "I don't think he wanted to impose."

  Catherine: "I can handle imposition, Frank.
  What I can't handle is secrecy."

  Frank: "I don't keep secrets, Catherine. I'll
  tell you anything you want."

  Catherine: "You think you're protecting me but
  you make it worse, Frank. You can't shut the
  world out for me. You can't ask me to pretend
  that I don't know what you do."

  Frank: "Everyone pretends. We all make believe.
  These men I help catch... make us."

  Catherine: "We're raising a daughter, Frank.
  The real world starts to seep in. You can't
  stop it."

  Frank: "I want you to make believe that I can."

[She kisses him on the forehead.]

[Later on, Frank goes down to his basement office. He looks at the contents
of the envelope Peter Watts has brought him. There is a micro-cassette audio
tape, several Polaroids and a sheet of paper. Frank also has a copy of the
video tape from the private session the dead girl had for The Frenchman.]

[Frank watches the video tape. The music in the background is `Piggy,' by
Nine Inch Nails. The tape shows The Frenchman in the booth, watching the
dead girl dance. He is speaking but his words are inaudible thanks to the
pulsating rhythms of the music.]

  {Music: "Hey pig piggy pig pig pig. All of my
  fears... "}

[Frank rewinds the tape, in an effort to write down what was said by The
Frenchman.]

  {Music: "... pig, pig. All of my fears came
  true."}

[Frank begins writing some words down: ]


BLOOD ___________ TIDE


[Rewinds the tape.]

  {Music: "... pig, pig... "}

  {Frenchman: (whispering) "I want to see you
  dance... "}

[Frank writes: ]


BLOOD RIMMED TIDE


  {Music: "All of my... "}

[More whispering by The Frenchman, as segments of the tape keep repeating
because Frank is trying to make out the words.]

  {Music: "All of my fears came true."}

[Frank writes: ]


BLOOD DIMMED TIDE

WHERE THE AIR AND

MONEY OF INNOCENCE

... CEREMONY

IS DOWN (strike out)


  {Music: "Black and blue and broken bones you
  left me here... "}

[Frank writes: ]


... OF INNOCENCE

... DROWNED


[Frank looks up at a board where he has pinned the Polaroids of the murder
victim. He looks at the black-and-blue bruises on the girl's body.]

  {Music: "My little piggy needed something new."}

[And at the needle mark on her thigh. Music continues.]

[Frank then looks at the Polaroids taken of the empty coffin the police
found in the woods near the river.]

  {Music: "Nothing can stop me now 'cause I don't
  care any more."}

[Frank looks at two photos of the coffin lid with the word: `PESTE' carved
into it.]

  {Music: "Nothing can stop me now 'cause I don't
  care any more."}

[The lyric keeps repeats twice as Frank puts the photos into his scanner,
then stops, picks up that day's newspaper, still in its plastic delivery
bag.]

  {Music: "Nothing can stop me now 'cause I just
  don't... "}

[Removing it from the plastic and unfolding it, one of the headlines
reads: ]


Police Move to Clean Up Cruising in Park


[Frank looks closely at the accompanying photo. There are several police
detectives standing under an overpass. A word is written above there heads
on the overpass: `PESTE.']

  {Music: "Hey pig, nothing's turning... "}

[NEXT SCENE: Night. Frank drives to the same area as in the newspaper photo
and finds the overpass with the graffiti. It is written in yellow paint.]

[A number of gay men are cruising the park. Frank walks along the path. A
couple of young men turn to look at him as he continues walking.]

[He then has the same visions which The Frenchman did: he sees each man
before him with their eyes and mouths sewn shut. He hears muffled voices
whispering. As another couple of men walk near Frank, he sees their eyes
and mouths the same as before. They turn to stare at him and then the vision
ends. They appear normal again as they pass by him.]

[Frank recovers from the visions and looks up to see a man in a ball cap
walking in his direction. The man stops, looks at Frank. Frank knows that
he is The Frenchman. The man realizing that Frank knows who he is, turns
and starts to run through the woods. Frank gives chase.]

[The Frenchman shoves a young man out of his way, throwing him to the
ground. He continues to run with Frank pursuing him. There are lights in
the distance. The Frenchman is running in that direction. Frank follows.]

[Frank loses him for a moment, then hearing a car horn, realizes he's at
an onramp to a bridge and runs up toward it.]

[The Frenchman can be seen  is running between the lanes of traffic as
Frank jumps over the barrier onto the bridge. Frank runs after him. A car
swerves to miss The Frenchman as he runs around the front of the car. The
car now blocks a lane completely and two other cars collide because of the
obstruction. The Frenchman climbs over another car that has swerved before
him, blocking his path. All the while Frank tries to catch up with the man.]

[Cars horns beep as many of the motorists begin shouting at one another.
None of this slows down Frank nor The Frenchman who continues to climb over
cars in his way.]

[The Frenchman moves off to the left side of the overpass and as Frank
tries to run across lanes, a car has to slam on the brakes in order to
avoid hitting him. Frank loses his footing just inches from the stopped
car. Stands and walks slowly trying to see where The Frenchman has gone
but he's lost him.]

[Traffic is a mess. Cars are blocking all lanes. Horns are blaring. Many
motorists are outside of their vehicles. Frank rushes through the throng to
look for The Frenchman but he can't find him anywhere.]

  Motorist: "He jumped!"

[Frank runs toward the motorist.]

  Frank: "Where?"

[The man points to a spot on the bridge.]

  Motorist: "Off the side!"

[Frank runs toward the area, jumping over the pedestrian barrier and walks
to the side of the bridge. He looks out over the water below but can see
nothing except for the wake left behind by a passing boat.]

[As he walks away, the camera pans down to where The Frenchman is hiding,
hanging onto some cables below the bridge. He looks down at another passing
boat below him.]


--------- commercial segment ---------


[Trademark music cue as the scene fades in from black... ]


[NEXT SCENE: The police station. Frank gives a briefing to the assembled
detectives assigned to the case, at least a couple of dozen men and at least
one woman. Behind him is a chalkboard and a TV set with a VCR set up to play
the video tape from The Ruby Tip peep show. There is a freeze-frame of The
Frenchman on the TV monitor.]

  Frank: "The dancers call him `The Frenchman'
  because he held poems up to the windows written
  in French. I was able to enhance the picture
  and the audio off the original."

[Frank presses the PLAY button.]

  {Frenchman: "I want to see you dance on the
  blood-dimmed tide. The ceremony of innocence
  is drowned."}

  Bletch: "What does it mean?"

[Frank pauses the tape again.]

  Frank: "It's from a poem called `The Second
  Coming' by William Butler Yeats. `Things fall
  apart, the center cannot hold. Mere anarchy is
  loosed upon the world. The blood-dimmed tide
  is loosed.' He's writing about the Apocalypse."

[Frank again presses the PLAY button.]

  {Frenchman: "This is the second death. The
  abominable and the fornicators. This is the
  second death."}

  Geibelhouse: "The second death?"

  Kamm: "It's from the Bible."

  {Frenchman: "You'll have your part in the
  lake. The great plague in the maritime city.
  You'll have your part in the lake which burns
  with fire and brimstone."}

[Frank stops the tape.]

  Frank: "That's from Revelations. Death and Hell
  were cast into the lake of fire. `The abominable
  and the fornicators.' "

  Geibelhouse: "So what's he trying to say?"

  Bletch: "He's preaching."


THE GREAT PLAGUE IN THE
MARITIME CITY WILL NOT STOP

UNTIL DEATH IS AVENGED BY THE
BLOOD OF A JUST MAN

TAKEN AND CONDEMNED FOR NO CRIME

THE GREAT LADY IS OUTRAGED
BY THE PRETENSE


  Frank: "He's prophesizing."

[On the chalkboard behind Frank, is written in white is the following: ]

  Geibelhouse: "The end of the world?"

  Frank: "The great plague in the maritime city."

[Frank turns toward the chalkboard, picks up a yellow chalk and writes the
word `PESTE' above the word `PLAGUE.']

  Frank: " `La grand peste en la cit  maritime.'
  `Peste.' The word written on the lid of the
  buried coffin. It's from Nostradamus, the 16th-
  century apocalyptic poet."

  Bletch: "So you think the killer is fulfilling
  the prophecy."

  Frank: " `The great plague in the maritime city
  will not stop until death is avenged by the
  blood of a just man. The great lady is outraged
  by the pretense.' Seattle, the maritime city.
  AIDS, the great plague. Death avenged by a just
  man, taken and condemned for no crime."

  Kamm: "So, the killer thinks he's righteous,
  a just man."

  Bletch: "Who's the great lady... and why is she
  outraged?"

  Frank: "The killer is confused about his
  sexuality. He feels guilt, quite possibly from
  his mother. So he goes to peep shows to try to
  feel something toward women but all he feels
  is anger -- anger that fuels his psychosis,
  that distorts and twists his view of reality."
                                      
  Geibelhouse: "Twists it to fit some screwy
  French poetry?"

  Frank: "The killer doesn't see the world the
  way like everyone else."

  Bletch: "How does he see it?"

  Frank: "Differently."

  Geibelhouse: "Wait a second... You say this
  guy is angry at women, that he cruises boys
  but then he kills this John Doe we found
  burned in the forest... How does that work?"

  Frank: "He's very confused."

  Geibelhouse: "Undoubtedly."

  Frank: "His way of dealing with it is by
  fulfilling a prophecy."

  Geibelhouse: "I don't buy it."

  Kamm: "Uh, it's a good story but I've got
  to agree. Evidence just doesn't support it."

[Frank looks from the Kamm to Bletcher.]

  Bletch: "The hairs we pulled off the female
  victim came from a black male."

  Frank: "There's only been on incident of a black
  male serial killer. Statistically, it's improbable."

  Geibelhouse: "So we just throw out the evidence."

  Frank: "Those hairs could have been planted or
  picked up before the murder."

  Geibelhouse: (to Bletcher) "We're not the F.B.I.
  We got limited resources. We go chasing after
  the wrong guy we could end up with more victims.
  I don't think we have time to waste, do you?"

[Several of the detectives turn to look at Bletcher, waiting for him
to reach a decision.]

  Bletch: "No."

[Frank has been looking at Bletcher along with the detectives. Once he
made his decision, Frank turns and removes the tape from the VCR. He
walks through the room, hands Bletcher the tape... ]

  Frank: "Got to get home to my family."

[... and leaves.]

[He drives his Jeep through the garage heading for exit when he's stopped
by Bletcher, who stands in front of his car in the pouring rain.]

  Bletch: "Tell me why I'm wrong. Why should I
  listen to you?"

  Frank: "You're in a hard spot, Bob. You got a
  department to run."

  Bletch: "Tell me how you know. Why are you so
  sure? You see it... or something."

  Frank: "It's complicated, Bletch."

  Bletch: "What do you see?"

  Frank: "I see what the killer sees."

  Bletch: "What, like a psychic?"

  Frank: "No. I put myself in his head. I become
  the thing we fear the most."

  Bletch: "How?"

  Frank: "I become capability. I become the horror
  -- what we know we can become only in our heart
  of darkness. It's my gift. It's my curse. That's
  why I retired."

  Bletch: "What the hell are you doing, Frank.
  Get out. Leave it alone."

  Frank: "I tried."

  Bletch: "What brought you back?"

  Frank: "Some other time, Bletch."

[Frank drives off towards his home.]

[He pulls up in front of his house, runs toward the door through the rain
and finds that the front door has been left open. Fearing the worst, he
enters, calling out for his wife... ]

  Frank: "Catherine?"

[No response.]

[He runs up to his daughter's bedroom, pushes open the door and finds no
one there. Becoming more frightened, he again calls out... ]

  Frank: "Catherine!"

[No one is home. Frantic, he runs outside and is met by his neighbor, Jack
Meridith.]

  Jack: "Frank! Hey, Frank!"

  Frank: "Have you seen Catherine or my daughter?"

  Jack: "I was just coming over to leave you a
  note. She couldn't reach you."

  Frank: "What happened?"

  Jack: "Well, your little girl, she had some
  kind of seizure."

[At the hospital, Frank hurries over to a nurse to ask about his child.
Catherine sees him as he arrives.]

  Frank: "My daughter Jordan Black was brought
  in... "

[She heads toward him.]

  Nurse: "Jordan... Black... "

[Frank looks up and sees Catherine and walks over to meet her. Together
they walk down the hall to Jordan's room.]

  Frank: "What happened?"

  Catherine: "I found her on the floor in the
  bathroom. She'd passed out and hit her head.
  They're running tests."

  Frank: "Where is she?"

  Catherine: "Sleeping. They sedated her. She's
  got a very high fever."

[They finally arrive at her room.]

  Catherine: "They're pretty sure it's just a
  very bad flu reaction. They're calling in a
  specialist."

[A nurse is attending Jordan, fixing her blanket, wiping the perspiration
from her forehead. Frank stands near the bed and looks at his daughter.]

  Frank: "Why isn't he here yet?"

  Catherine: "He's on his way."

  Frank: "So fragile."

[Later that night, Frank and Catherine both are asleep in Jordan's room
when a nurse comes in to take some blood from Jordan.]

[Frank wakes to see the nurse place a syringe into Jordan's IV line and
draw out blood. He then begins to stare at the syringe, making an important
connection in the case.]

[Catherine wakes to find Frank staring at Jordan and becomes concerned.]

  Catherine: "What is it, Frank?"

  Frank: "He's taking blood."

  Catherine: "Who?"

  Frank: "The killer. He's got more bodies, buried
  alive."

[He looks at her, not knowing what he should do. He waits for her to make
the decision for him.]

  Catherine: "Go, Frank. It's okay."

[He leaves.]


--------- commercial segment ---------


[Trademark music cue as the scene fades in from black... ]


[It is very late at night and it has stopped raining. Another search is
underway in the same woods as before.]

  Radio: "We covered the area a mile north down
  to the river -- nothing."

  Bletch: "Copy." (to Frank) "I'm going to call
  this off, Frank. We can come back during the
  light of day."

  Frank: "They could be dead by then."

[Frank keeps searching, keeps moving forward even when he gets to the
river's edge.]

[He enters the water.]

  Bletch: "Frank!"

[Continues without responding.]

  1st Detective: "We're not going in the water!"

  2nd Detective: "You've got to be kidding!"

  Bletch: "Frank, you'll freeze to death! Frank!"

[Frank does not respond but continues toward the other side.]

  Bletch: "Ah, damn!"

[Bletcher removes his overcoat and hands it to Geibelhouse.]

  Bletch: "Here."

[He begins wading through the water after Frank. The other detectives
remain on shore but they all turn their flashlights in Frank's direction.]

  Bletch: "Oh! Oh... oh... it's a good thing I
  already got a family!"

[On the other side of the embankment, Frank and Bletcher continue to
search for more coffins and buried bodies. Bletcher steps on something
that sounds hollow.]

  Bletch: "Frank!"

[Frank runs over to join him and together they wipe off the leaves which
cover the coffin. From inside they can hear a muffled cry.]

  Bletch: "Oh, God! Come on!"

[Frantically they hurry to try and remove the lid. Wiping away the last
of the leaves they find another message carved into the lid: `LA GRANDE
DAME.']

  Bletch: "Jeez!"

[There are more muffled screams from within the coffin as they find that
the coffin lid is screwed on. They try to pull it open by its air holes
but cannot. They begin unscrewing the lid but soon lose patience with
that and finally tear open the lid.]

[Inside they find a man, his eyes and mouth have been sewn shut. His
wrists also appear to be sewn. He continues to cry, trying to scream,
desperately.]

  Bletch: (to the detectives) "Hey! Get paramedics
  over here! Get the paramedics over here, right
  away! Paramedics!"

[The other detectives begin running across the water to join them.]

[Frank and Bletcher help the man out of the coffin. He is still crying,
screaming. Frank holds the man in his arms, trying to comfort him. He
has removed his leather jacket and placed it over the man's shoulders.]

[Bletcher looks inside of the coffin and notices a plastic bag. Lifting
it, he sees that it is the severed head of the first victim, Calamity.
Across her forehead is carved the word: `MYSTERY.']

[The man is crying uncontrollably in Frank's arms.]

  Frank: (to Bletch) "There may be others."

  Bletch: (to the detectives) "Come on, spread
  out!"

[The detectives move out, searching while Frank continues to hold the man
who finally begins to calm down.]

[NEXT SCENE: The police station, Bletcher's office. Bletcher is on the
phone.]

  Bletch: "Right. Yeah. Mm-hmm."

[Geibelhouse brings Frank a cup of coffee.]

  Frank: "Thanks."

  Geibelhouse: "They found two more coffins. Both
  of them were empty."

[Bletcher gets off the phone.]

  Bletch: "He just gave us a description of the
  suspect. White male, early 30s, wearing a ball
  cap. He was taking blood from the victim."

  Geibelhouse: "I'll put it out on the air." (leaves)

  Frank: "The killer's passing judgment. He's
  probably testing the blood, carrying out his
  death sentences on the afflicted. Check in 
  with any medical facility that handles blood."

  Bletch: "We got the word out to the labs."

  Frank: "I got to call Catherine."

  Bletch: "Uh, here."

[He hands him his phone.]

  Bletch: "18 years, Frank. 18 years I don't
  think I've ever seen anything as terrifying
  as what I saw tonight."

  Frank: "You ever see your kid lying on a bed
  in an emergency ward?"

[Frank dials the number but it's busy.]

  Bletch: "Made sense to me out there... what
  it does to you... why you quit."

[Frank hangs up the phone and sits on the edge of the desk.]

  Frank: (sighs) "The cruelty... the unspeakable
  crimes. It all becomes... numbing, depersonalized,
  common."

  Bletch: "What was it then?"

  Frank: "I was on a serial case in Minnesota.
  The killer's name was Ed Cuffle. He would choose
  a neighborhood and he would go up to a door.
  If he found it unlocked he would consider that
  an invitation to go in and kill anybody home.
  He would take Polaroids of his victims which
  he would send to the police. Took us months,
  but we caught him. He's serving triple life
  sentences."

  Bletch: "And that was it."

  Frank: "A year later, I reach into my mailbox
  and I take out the mail and there's a letter
  addressed to me -- no return. Inside are Polaroids
  of Catherine at the supermarket... Catherine at
  the school... Suddenly the psychic novocaine
  wore off. The numbness became paralyzing fear."

  Bletch: "You ever find who sent them?"

  Frank: "No. But I couldn't leave the house.
  Why should I go to work when I can't even
  protect my own family? My little girl was a
  miracle. We weren't supposed to be able to
  conceive. I couldn't let her out of my sight."

  Bletch: "But you beat it. How?"

  Frank: "I was approached by a group of men
  who helped me understand the nature of my
  facility... my gift."

  Bletch: "This Millennium Group. They really
  believe all that stuff? Nostradamus and
  Revelations? The destruction of the world?

  Frank: "They believe we can't just sit back
  and hope for a happy ending."

[Bletcher nods and finally leaves Frank alone in the office to make his
call to Catherine. He picks up the phone, dials and gets a busy signal
again. He stops the tone, holding down the receiver with his finger and
the phone rings.]

  Frank: "Bob Bletcher's office."

  Man: "Bob?"

  Frank: "He just stepped out."

  Man: "Can you give him some information for
  me? It's urgent."

  Frank: "Let me get a pen. Shoot."

  Man: "Tell him we think we tracked down those
  blood samples he's looking for. They were sent
  to a lab the Seattle P.D. uses downtown."

  Frank: "Where were they sent from?"

  Man: "Ah, that's just it. They were sent through
  the same channel -- intra-office."

[Frank hangs up the phone and searches through the empty police station
for Bletcher.]

  Frank: "Bob... Bob?"

[He takes a service elevator down to the morgue. He finds someone at work
there.]

  Frank: "Excuse me, I'm looking for the pathologist."

  Man: "Sorry. He's not here."

[Frank notices something odd about the man. He'd been walking around the
lab nervously, trying not to look directly at Frank or to let him do the
same. But now he sense something more.]

[He moves closer to the man who keeps his back to Frank.]

[It triggers some of the same visions he's had before. He hears her scream
throughout. He sees: the dancer surrounded by flames; the girl being
attacked by the killer with the kitchen knife; the girl's head in the
plastic bag which they found in the coffin and the bloodied murder scene
after the girl's death in her home.]

[Visions over, he continues to stare directly at the man, knowing him to
be The Frenchman. The man finally turns around to face Frank and suddenly
recognizes him from his chase earlier.]

[Grabbing a knife, he becomes aggressive towards Frank, as Frank moves
backwards, away from the man. Between them lies a body on a stretcher.]

  Frenchman: "Who are you to condemn me? They're
  the guilty. I took responsibility. You see them
  out there where Satan has them all... "

[Frank shoves the stretcher towards The Frenchman, trying to pin him.]

  Frank: "Drop the knife!"

  Frenchman: "The great plague!"

  Frank: "Then we'll talk!"

  Frenchman: "They don't ask who takes
  responsibility!"

[He slashes at Frank with the knife and pushes the stretcher over on its
side. It knocks Frank down onto the floor and he's trapped by the weight
of the corpse on top of him.]

  Frenchman: "This is prophecy! The final judgment
  and victory! This is the way it ends! But you
  know that. You can see it -- just like I do. You
  know the end is coming!" (shouts) "The thousand
  years is over!"

[He thrusts his knife at Frank who manages to pull up the corpse in front
of him which absorbs the blow. As The Frenchman struggles to pull the knife
out of the corpse, Frank finally frees himself of the weight and crawls
backwards toward a column as The Frenchman advances on him.]

  Frenchman: "But you think you're the one to stop
  it! You think it can stop it!"

[A gun shot rings out just as The Frenchman raises his knife to stab Frank.
He collapses to the ground, dropping his knife. Bletcher can be seen, gun
in his out-stretched right hand, approaching. The Frenchman lies mortally
wounded on the ground. With his dying breath, he says... ]

  Frenchman: "You can't stop it."

[The man exhales and dies. Bletcher finally lowers his gun.]

[FINAL SCENE: The Black residence. Outside, Frank Black arrives home.
Inside, Frank sneaks in, hiding behind the door frame.]

  Frank: (whispering) "Catherine."

  Catherine: "Oh, I'm glad you're home. I'm going
  to be late for my interview."

[Frank still hides himself behind the door frame.]

  Catherine: "What are you doing?"

  Frank: "Where's Jordan?"

  Catherine: "She's up in her room. What are you
  doing, Frank?"

[He finally enters the room. He has something hidden inside of his jacket.
It's a puppy, for Jordan. Laughing, he shows it to Catherine.]

  Catherine: "Oh, my God!"

[Frank hands her the puppy.]

  Catherine: (cuddles the puppy) "Oh... ooo... "

[Up in Jordan's bedroom, she is in bed, with her eyes shut tight, fingers
crossed half covering her eyes, trying to sneak a peek at the surprise.]

  Catherine: "I think someone's trying to peek."

  Jordan: "What is it!? What is it!?"

[Frank places the whimpering puppy on Jordan's lap.]

  Jordan: "Oh, Daddy, what's his name?"

  Frank: "He doesn't have a name yet."

  Jordan: "Can I name him?"

  Frank: "Well he's your puppy, isn't he?"

[The puppy starts licking Jordan's face and climbing all over her.]

  Jordan: "Oh, I love him so much!"

[Downstairs, the mail has just been pushed through the mail slot and falls
to the ground. Frank picks up the mail, removes the rubber band holding the
bundle together and looks through it. Various bills, junk mail and finally
a large yellow envelope, with no return address, as follows: ]

0404   **WS   R004 CAR RT SORT
FRANK BLACK
1910 EZEKIEL DRIVE
SEATTLE, WA
98924


[Frank tears open one end of the envelope, reaches inside feeling the
contents with his fingertips as he hears Catherine come down the stairs.
He freezes.]

  Catherine: "I think you've already got a mess to
  clean up up there."

  Frank: "Right."

[She opens door to leave.]

  Catherine: "Wish me luck."

[He doesn't respond but just stares at her, a look of concern on his face.
She notices that something is wrong.]

  Catherine: "What?"

  Frank: "Nothing."

[He kisses her.]

  Frank: "Be careful, okay?"

[She smiles at him, turns and goes to her car. The car door can be heard
opening and closing, then the car engine starting... as Frank removes the
contents of the envelope. They are Polaroids of Catherine and Jordan in
Catherine's blue mini-van. The last photo is of them in a supermarket
parking lot. Directly behind them is a Seattle taxi cab. Frank turns and
looks off to his right.]


[The credit fades in from black... ]


Executive Producer: Chris Carter


---------  commercial segment  ---------


[PREVIEW of next week's Millennium -- no image description]

  Voice Over: "He looks like the perfect father."

  Joe Bangs: "'Bout everybody's bedtime."

  Voice Over: "But his terrifying secret... "

  Frank: "He felt safe, that he wouldn't be
  discovered."

  Voice Over: "... is about to become his family's
  worst nightmare."

  Catherine: "Somebody's going to die."

  Voice Over: "Daddy's home."

  Bletch: "Stop the car!"

  Voice Over: "Millennium. Next Friday on Fox."


[End titles roll]


Ten Thirteen Productions
in association with

20th Century Fox Television (R)
A News Corporation Company

Co-Starring

Don MacKay (Jack Meredith)
Mike Puttonen (Pathologist Curt Massey)
Jarred Blancard (Young Man at Ruby Tip -- "Sammy")

Featuring

Jim Thorburn (Coffin Man)
Kimm Wakefield (Young Woman)
John Destry (Driver on Bridge)
Liza Huget (Nurse)
Jim Filippone (Chopper Pilot)

Casting by Randy Stone, C.S.A.
Vancouver Casting by Lynne Carrow, C.S.A., Coreen Mayrs
Production Manager: Brent O'Connor
First Assistant Director: Jack Hardy
Second Assistant Directors: Ehud Ellman, Mark Currie
Visual Effects Producer: Mat Beck
Set Decorator: Dominique Fauqet-Lemaitre
Assistant Art Director: Doug Byggdin
Script Supervisor: Jon-Michael Preece
Costume Designer: Diane Widas
Costume Supervisor: Sandra Watson
Location Manager: Bruce L. Brownstein
Key Hairstylist: Michael Pachal
Key Makeup: Diane Pelletier
Special Effects Makeup: Toby Lindala
Extras Casting: Lisa Ratke
Casting Associate - Vancouver: Heike Brandstatter
Casting Associate - Los Angeles: Jan Lipsky
Gaffer: Chris Meakes
Key Grip: Nick Kuchera
Special Effects: David Gauthier
1st Assistant Effectsman: Tom Blacklock
Construction Coordinator: Craig Henderson
Head Scenic Artist: Barry Kootchin
Sound Mixer: Patrick Ramsay
A-Camera Operator/Steadicam: Rod Pridy
Focus Puller: Jun Hosoi
B-Camera Operator: Greg Middleton
Boom Operator: Graham Crowell
Associate Producer: Stephen Mark
Visual Effects Consultant: Spot-Welders
Music Editor: Jeff Charbonneau
Property Master: Neil McLeod
Stunt Coordinator: J.J. Makaro
Production Coordinator: Jill Christensen
Assistant Production Coordinator: Shari Slattery
Transportation Coordinator: Ian "Moss" Urquhart
Assistants to Chris Carter: Mary Astadourian, Joanne Service
Assistant Editor: Laura Rosow
Scoring Mixer: Larold Rebhun
Color Timer: Philip Azenzer
On-Line Editor: Bob Minshall
Post Production Coordinator: West Productions, Inc.
Supervising Sound Editors: Thierry J. Couturier. Dave Rawlinson
Re-Recording Mixers: David John West, MPSE, Nello Torri, Douglas E. Turner
Re-Recording Engineer: Eric Clopein
Main Title Sequence by Ramsey McDaniel/Storm Media
Processing by Gastown Film Labs
Telecine by Gastown Post
Electronic Assembly by Encore Video
Camera and Lenses by Clairmont Camera
Presented in Dolby Stereo TM where available
Filmed on location in British Columbia, Canada

Copyright (c) 1996
Twentieth Century Fox Film Corporation
All Rights Reserved #4C79

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, 1997 -- FOX Broadcasting Company
========================================================

Last Updated: May 24, 1997
Copyright (c) 1997 -- Nightowl Productions
Webmaster: Maria Vitale -- E-mail: nightowl@nyct.net