M I L L E N N I U M

"GEHENNA"

Ep. # 1.02  [MLM-101  (4C01)]

[ First Season ]  (Complete Transcript)

U.S. Air Date: November 01, 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 
=====================================================================


SAN FRANCISCO


[OPENING SCENE: Night. Several young men, in two cars drive to secluded
wooded area, with Cypress Hill rap music (from the Black Sunday CD) blaring
from their radios. Music continues throughout.]

  {Music: "Insane in the brain, in the brain! Insane
  in the brain, in the brain! Insane in the brain... "}

[When they arrive, one man gets out of the lead car and heads off to meet
with some other men.]

  {Music: "Like Louis Armstrong, plays the trumpet,
  I'll hit that bong & break ya off something soon! I
  got to get my props. Cops, come and try to snatch my
  crops! These pigs wanna blow my house down, head
  underground, to the next town... "}

[As the young man comes running back to the car, the driver turns to
his three passengers in the rear... ]

  Driver: "The Dark Prince returns."

[One of the men in the rear, sitting on the right, is drinking a beer.
He and the one sitting on the left, are rocking to the music. But the
middle one, seems nervous, frightened.]

  {Music: "They get mad when they come to raid my pad
  And I'm out in the night blue scad... "}

  Left Man: "Yes."

  {Music: "Yes, I'm the pirate, pilot of this ship... 
  ultraviolet dreams... "}

[The D.P. (Dark Prince) has returned with the drugs he has purchased.]

  D.P.: "Tickets to the horror show."

  {Music: "Hide from the red light beams. Now do you
  believe in the unseen?"}

[He hands a small folded packet to the driver. The driver holds the packet
up so that the rear passenger in the middle can see it.]

  {Music: "Look, but don't let your eyes strain. The
  next one of me is going insane... "}

[The D.P. walks around the car to get in again, then both cars drive off.
 
  {Music: "Insane in the membrane, insane in the brain!"}

[Still driving, the D.P. opens the packet to reveal a blotter of LSD. The
music is still Cypress Hill but now it's `I Wanna Get High' (same album).]

  {Music: High so high. I wanna get high so high.
  I want to get high... "}

[He tears off a dot and hands it to the edgy passenger sitting in the
rear.]

  D.P.: "Fetch the paper, Eedo."

  {Music: "... so high."}

[Eedo takes the bit of paper and chews it as the man on the left barks at
him.]

  {Music: "Well that's the funk elastic, the blunt I
  twist it. The slamified, boodified, funk on you desk,
  yes... "}

[Music continues in the background.]

[The cars continue until they reach an abandoned industrial plant. Both
cars begin to circle as we see someone else. We watch from his vantage
point high above. It is very dark, the only light visible is that from
the cars themselves and whatever is reflected on the wet street. The man
watches them with night-goggles.]

[Finally the cars stop. We see the man with the goggles head-on and then
we see through his goggles the cars down below.]

[All of the men, from both cars, get out and begin whooping and hollering,
taunting the man who has taken the LSD, as he staggers from the car. They
encircle him and as they begin barking at him, he hallucinates that their
heads become those of vicious dogs, each one barking and threatening him.]

[One of the men quietly speaks to him.]

  Man: "Hey, man. Run!"

  Eedo: "What?"

[Eedo by now is perspiring heavily and is confused by the drug.]

[All of the men, except Eedo, get back into the cars. As Eedo tries to get
into one of them, he finds the doors locked.]

  Eedo: "Hey!"

[The same man who offered Eedo the advice to run, just stares at him but
does not unlock the door, then he looks away from him.]

[Both cars begin circling him. Most of the occupants begin whooping at
him again, hanging out the car windows and waving their arms at him. Eedo
becomes even more disoriented until finally he runs off in one direction
into one of the buildings.]

[There is another view through the goggles from above as the man clearly
is following Eedo's actions.]

[Inside the building, there is a lot of water which is falling from above.
Eedo is standing in a large puddle of water and looks up watch it fall.]

[Through his hallucinations, he sees the man who has been watching him
from above, jump down on him but -- he sees instead some kind of creature
with wings and fangs descend upon him.]

[There are screams and growling throughout. What follows is a quick
succession of images: a bright white light, as the man jumps down on Eedo
(his POV); Eedo sees the face of a demon-like creature with fangs; is an
image of the man with his goggles still on, his face is partially obscured
by a bright white light which `morph' into his teeth; Eedo is seen writhing
in pain on the ground; rapid images of part of the creature's face, his
open mouth and fangs, all attacking Eedo; Eedo on the ground in pain; the
man with the goggles; the fangs; several images of the creature; Eedo still
moving; the man with the goggles awash in white light, striking, biting,
clenching his teeth; the fangs; more images of the creature; Eedo screaming;
the creature again; Eedo again, blood on his nose and mouth, his arm is
seen, then his right ear; the creature, his long fingernails outstretched,
ready to strike.]


[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 ---------


[Trademark music cue... ]


[Episode quote]


"I smell blood and
an era of prominent madmen"

W.H. Auden


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


[Episode credits roll during the next scene]


Terry O'Quinn (Peter Watts)
Brittany Tiplady (Jordan Black)

and

Bill Smitrovich (Lt. Bob Bletcher)

Guest Starring

Robin Gammell (Mike Atkins)
Chris Ellis (Jim Penseyres)
Sam Khouth (Dylan)

Music By Mark Snow
Editor: Stephen Mark
Production Designer: Sheila Haley
Director of Photography: Robert McLachlan
Associate Producer: Jon-Michael Preece
Consulting Producer: Ted Mann
Consulting Producers: James Wong & Glen Morgan
Co-Producer: Ken Dennis
Co-Producer: Chip Johannessen
Co-Producer: Frank Spotnitz
Co-Executive Producer: Jorge Zamacona
Co-Executive Producer: Ken Horton
Co-Executive Producer: John Peter Kousakis
Written By Chris Carter
Directed By David Nutter


[Day, outside the Black residence. Frank comes out of his house, skips down
the steps and walks round to the side of the house where a ladder stands
leaning up against it.]

[He climbs up with a pair of light bulbs in one hand. When he reaches the
top, he screws one into a light fixture. As he does so, neighbor Jack
Meredith walks up to greet him.]

  Jack: "Hi there, Frank!"

[Startled, Frank turns and looks down at him.]

  Jack: "Saw you working up there. Putting in a security
  light, eh?"

[He screws in the second bulb, then takes out a screwdriver to make some
minor adjustments to the fixture.]

  Frank: "The days are going to start getting shorter.
  It'll be nice for Catherine, if she comes home from
  work late."

  Jack: "Ooo! Your wife got the job!"

  Frank: "Yeah."

  Jack: "Ah, terrific! Yeah, uh, what is the name of
  what she does again?"

[Finished with his adjustments, he's begins come down the ladder.]

  Frank: "She's a clinical social worker."

  Jack: "Right." (laughs) "So, you got all the tools
  you need there, Frank?"

[Down on the ground again... ]

  Frank: "Yeah, I think I'm all squared away, Jack."

[Catherine comes out of the house.]

  Catherine: "Frank."

  Frank: "Yeah."

  Catherine: "Got a phone call."

[Frank heads for the door.]

  Catherine: (to Jack) "Hi."

  Jack: "Hi."

[Inside, Jordan is playing with Ben, the family pet dog. Ben is barking as
both of them ramble down the stairs.]

  Jordan: "Come on, Benny! Let's go outside!

[They both run past the door, Jordan still calling after the dog, as Frank
opens it, enters the house and picks up the phone on the table.]

  Frank: "Hello."

  {Peter: "Hello, Frank, it's Peter Watts."}

[POV does not leave Frank. Peter's voice is heard but he's never seen.]

  Frank: "Yes, Peter."

  {Peter: "Frank, I'm down in San Francisco."}

[Catherine enters the house. The door has been left wide open. She closes
the door.]

  {Peter: "I got what could be a multiple homicide here
  -- possibly something a little more involved."}

  Frank: "Do you want to send me the details?"

  {Peter: "I could do that, Frank, but the lack of
  detail has created a high level of concern. I really
  think we could use you here."}

  Frank: "Right. I'll make the arrangements."

[He hangs up the phone.]

  Catherine: "Was that someone from the Group?"

  Frank: "They've got something for me to look at
  down in San Francisco."

  Catherine: "Soon?"

  Frank: "Right after I finish wiring up that light."

[He heads back out the door.]

[NEXT SCENE: San Francisco. Day, a public park. Two police squad cars
are at the scene. An officer is interviewing a woman. Frank pulls up in
a rented car. Peter is talking with a number of local detectives.]

  Detective: "Well, we're set."

  Frank: "Peter."

  Peter: "Frank."

[They shake hands.]

  Peter: "How was the trip?"

  Frank: "Good. What do you got?"

[As they walk along, they pass a large row of red rose bushes, in full
bloom.]

  Peter: "Members of the gardening club noticed that
  ashes were being deposited in the park rose beds
  over the past few weeks. One of them notified the
  detectives this morning when she found this."

[They both crouch down as Peter pushes back a branch from a rose bush to
reveal a human ear on top of some ash deposited there. An ant is crawling
all over it.]

  Peter: "It appears to be adult. A good portion of
  the interior helix is still intact. I think we can
  get a nice impression of the remaining auricle.
  There's a lot of ashes that have been dumped around
  here, Frank."

[Frank thinks for a moment, then flashes quickly on some images.]

[He hears screams and sees: flames; someone is screaming behind a glass;
a bright white light; someone being burned alive behind a closed door; the
face of a man, his mouth wide open, teeth and face covered with blood; a
partially obstructed image of... the creature? End of vision.]

  Peter: "Local P.D. thought it might be a case of
  illegal crematory dumping... "

  Frank: (interrupts) "No, he... "

[Another vision: bits and pieces of many images, all blurred until... a
man, eyes wide with terror, his hand raised and placed on the glass and
more flames. End of vision.]

  Peter: "He's what, Frank?"

  Frank: "The killer knows the victim. He wants to
  watch him suffer."

  Peter: "I think there are multiple bodies here,
  multiple victims. What's he using, a crematory oven?"

[Yet another vision: a man screaming, his mouth and teeth covered with
blood; a close up of his mouth and teeth, again, covered with blood; his
eyes wide with fear and pain; a shot of the man, mouth wide open, screaming
behind the glass, mouth covered with blood, as the camera pulls back; his
hand finally falling from the glass. End of vision.]

  Frank: (whispers) "I think it's important to him
  that he burns them alive."

  Peter: (also whispers) "Why?"

  Frank: "I don't know."

[They both finally stand upright.]

[NEXT SCENE: Night, outside the Black residence. Inside, Jordan's bedroom.
Benny is licking Jordan's ear making the child giggle. Her mother enters
the room.]

  Catherine: "Okay, what's going on in here?"

  Jordan: "Benny's giving me kisses!"

  Catherine: "Well, there's *way* too much fun going
  on in here. Okay. Ben, bedtime, downstairs, bedtime."

[She lifts the dog off the bed and shoos him out of the room.]

  Catherine: "Thank you, thank you." (to Jordan)
  "And *you*... "

  Jordan: "Mommy, when is Daddy coming home?"

  Catherine: "I don't know, honey. I'm sure he'll
  be home soon. Maybe tomorrow."

  Jordan: "Is he working?"

  Catherine: "Yes."

  Jordan: "Catching the bad man?"

  Catherine: "If there's a bad man, I'm sure Daddy's
  going to catch him."

[Jordan smiles.]

  Catherine: "Now, I want you to close those eyes
  and count as high as you can, okay?"

  Jordan: " 'Kay."

[Catherine kisses her on the cheek as Jordan begins to count aloud.]

  Jordan: "One, two, three, four, five, six, seven,
  eight, nine, ten... "

[Catherine shuts off the lamp on Jordan's nightstand as Jordan continues
to count.]

  Jordan: "... eleven, twelve... "

[She notices the lights down below which Frank has just installed and
which are motion-sensitive, have turned on.]

  Jordan: "... thirteen, fourteen, fifteen... "

[She walks over to the window... ]

  Jordan: "... sixteen, seventeen, eighteen... "

[... reaches it and looks down below... ]

  Jordan: " ... nineteen, twenty-one, twenty-two,
  twenty-three, twenty-four... "

[... there is no movement down in the yard yet the lights are still on.
She pulls the shade down.]

  Jordan: "... twenty-five, twenty-six, twenty-seven,
  twenty-eight, twenty-nine... "

[In another room downstairs, Catherine walks to the window and looks up
at the light which finally goes off as she lowers the shade.]

[Just then the phone rings.]

  Catherine: "Hello."

  {Frank: "Hi, it's me."}

[Catherine lets out a deep sigh. POV shifts to Frank.]

  Frank: "What, what's wrong?"

[Frank is in the forensics lab in the San Francisco P.D. The camera cuts
back and forth between the two during their conversation. Frank walks
around the lab during the phone conversation.]

  Catherine: "Uh, nothing, I, um... I just got a
  little spooked by the new security light."

  Frank: "What happened? Are you all right?"

  {Catherine: "I'm fine. It just went on and... I'm
  sure it was just a cat or something."}

  Frank: "I- I'm sure it's nothing, honey. It's just
  an adjustment. You guys all locked up up there?"

[Behind him someone has entered the lab with several large boxes stacked
on a hand truck.]

  Catherine: "We're fine, Frank, really. It's a
  perfectly safe neighborhood."

[POV shifts to Frank at the lab as the other person who entered the lab
turns out to be Peter Watts.]

  Peter: "Frank."

[He gestures that he wants he to come over and meet the man with him.]

  Frank: (to Catherine) "I got to go. You want me
  to call you back?"

  Catherine: "No. Did you catch the bad man, Frank?"

  Frank: "No, but we will."

  Catherine: "I know."

  Frank: (whispers) "I love you."

[He hangs up the phone and walks over to Peter and the other man.]

  Peter: "Frank, this is Jim Penseyres. He worked at
  VICAP just after you left. I don't know if you ever
  met."

  Frank: "No, hi. What'd you find?"

[They shake hands.]

  Penseyres: "Excavation of the site is incomplete... "

[He digs into his jacket pocket for a box cutter, opens it and uses it
to cut open the topmost box of the pile still on the hand truck.]

  Penseyres: "... pending a problem with the parks
  department. But I think we were able to separate
  out most of what there was there in the plant beds.
  Thirty-nine pounds of carbonized human remains --
  roughly the equivalent of seven adults."

[Inside the box is an evidence bag filled with ashes which Penseyres rips
open. Frank stares into the ashes.]

[Frank has another brief vision: the same man, mouth and teeth covered
with blood, screaming, eyes wide with terror; a clearer image of the man,
same condition as described above with his hand and face pressed against
the glass but the door is more visible this time; camera zooms in and out
on his face, alternating with bright white flashes of light. End of vision.]

  Penseyres: "Dating is difficult but there appeared
  to be a defined stratum which would indicate more
  than one deposit."

  Frank: "What else?"

  Penseyres: "The remains are clean -- by that, I
  mean uniform, no large fragments. Apart from the
  partial ear... "

[He again stares into the box and... has another vision: a flash of white
light; the man screaming; black screen; the man screaming again, blood
visible from his nose, mouth, gums and neck, with his hand raised near his
head; he is bathed in the white light; several images of him again, his
face looks worse than before, he is clearly being burned alive, there are
burns around his right eye, his neck looks worse, more blood; there are
flames or that white light; and the man again looking straight out, as he
has throughout all of the visions, at whomever has put him inside that
room. There has also been the sound of a fire burning throughout End of
vision.]

  Penseyres: "... which would indicate extreme heat."

  Frank: "What kind of heat?"

  Penseyres: "Bone carbonizes at 1400 degrees, but
  I'd put this at 21- 2200."

  Frank: "What about the ear?"

  Penseyres: "It shouldn't have survived. I don't
  know how it did. But we pulled a mold and... "

[He pulls out a small box from his other pocket. It is the ear in some
formaldehyde.]

  Penseyres: "... something else, something just as
  lucky."

[He shows them the ear.]

  Penseyres: "The tissue contained traces of lysergic
  acid -- LSD -- also phosgene, a relatively uncommon
  gas best known as a by-product found at accident
  sites, most commonly chemical plants using carbon
  tetrachloride."

  Frank: "Dry-cleaning fluid."

  Penseyres: "Yeah. There was an accident at a big
  dry-cleaning facility here seven years ago. They've
  got a block of abandoned buildings near Pier 23."

[NEXT SCENE: Night. The abandoned dry-cleaning facility. The same one
where Eedo was brought to, left and attacked. Water streams down from the
missing roof portions above.]

[A car pulls up to the block of buildings. Using flashlights, Peter and
Frank search through one of the buildings.]

  Peter: "Not much left of anything."

  Frank: "No."

[But they continue to search.]

  Frank: "Do we know who owns these buildings?"

  Peter: "The city. They've been for sale for years."

[Frank comes upon the same large puddle of water where Eedo stood. It is
blood red from the rusted iron debris all around.]

[Frank looks into the puddle and... has another vision: a jumble of images,
none of which is clear; then finally the man, Eedo, as he was attacked on
the ground where Frank now stands; a quick succession of images, most of
which are blurred or flashes of white light, showing Eedo writhing in pain,
being repeatedly struck. End of vision.]

[Frank walks over a bit and looks up at where the water is streaming down
from a broken pipe near the ceiling. Peter joins him.]

  Peter: "I don't know, Frank. What do you think
  they'd be doing in here?"

[Staring at the pipe, he has another vision: he hears the creature growl
and snarl; he sees the mouth, teeth, fangs of the creature. Clearly he
has seen what Eedo saw through his LSD hallucination. End of vision.]

[Frank walks over to another part of the building.]

  Frank: "Maybe this is where the victims were subdued."

[Frank shines his flashlight on the ground and finds another puddle of
red liquid with human teeth in and near it.]

  Frank: "Peter."

[Close up on the teeth. One in particular, has a gold crown.]


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


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


FORENSICS LAB
SAN FRANCISCO HALL OF JUSTICE


[Close up of a pair of tweezers holding the tooth with the gold crown.
Peter is holding some of the teeth up under a lighted magnifying glass
so that both he and Frank can better see the objects.]

  Peter: "On the number 16 molar, there's a crown
  that's been done more recently than the other work."

  Frank: "Any indication how it was removed?"

  Peter: "From the scoring on the enamel it looks like
  some kind of crude metal tool."

[Again, another tooth is held under the magnifying glass... ]

  Peter: "There's a cuspid filling here that's pretty
  much state of the art. These other fillings are sub-
  standard compound amalgams... "

[He gets up and walks over to a light box where he has x-rays of the teeth
set up. Frank follows.]

  Peter: "... indicates something important."

  Frank: "They were done somewhere else."

  Peter: "There were two root canals here, which were
  done with a process known as N-2. They look different
  in the x-rays. You'll find this kind of work coming
  out of Eastern European countries, out of Russia. I
  think the poor general condition of the teeth would
  suggest the latter."

  Frank: "Who's running this through the records?"

  Peter: "Penseyres is working with the P.D. on it."

[The door opens behind them. Penseyres enters with another man, Mike
Atkins.]

  Penseyres: "Got a surprise for you guys."

  Peter: "Well, look who came down from the mountain!"

[Peter and the man shake hands.]

  Peter: "What are you doing here, Mike?"

  Mike: "Caught the same fish three days in a row --
  big brown, 5- 5 1/2 pounds, if he's an ounce."

[Penseyres and Peter exchange glances and smiles at the story.]

  Mike: "Figured the fish and I both needed the day
  off."

[He looks over to Frank, who had remained quiet and apart from it all but
then finally walks over to greet him.]

  Frank: "Hi, Mike."

  Mike: "Frank. Thanks for coming on such short notice."

  Frank: "Some case."

  Mike: "Yeah."

  Penseyres: "We just need a break on these dental
  records."

  Mike: "You have a second, Frank?"

[Frank nods and leaves with him.]

[They go for a walk outside of the building, across to a public park
where there is a water fountain. Mike pulls from his jacket pocket a
small yellow envelope and hands it to Frank.]

  Mike: "I never told anyone about these -- as you
  asked... "

[Frank removes the contents from the envelope. These are the same Polaroids
he received when he and his family first moved to Seattle -- photos of
Catherine and Jordan with a SEATTLE cab behind them at the curb; the two
of them shopping; in Catherine's car, etc.]

  Mike: "... but I want you to know I was very upset
  when I opened the package and saw them. I can only
  imagine how you must have felt."

  Frank: "Right."

  Mike: "I appreciate you confiding in me."

  Frank: "You're the reason I was even able to come
  back to work, Mike -- that I'm a member of the
  Group."

  Mike: "Does Catherine have any idea yet these new
  photos were taken?"

  Frank: (shakes his head) "I never like to keep
  anything from her but we've barely settled in."

  Mike: "I think you're right not to."

  Frank: "Is that your threat assessment?"

  Mike: "I think there's a low-risk potential in the
  photographer escalating from the stalking phase.
  Been three years since his first mailing and he's
  still keeping a safe distance. He doesn't want to
  be discovered."

  Frank: "Even though he has followed us to Seattle."

  Mike: "I would be more concerned if I thought this
  was really about Catherine or your daughter."

  Frank: "What do you mean?"

  Mike: "He sends the photos to you, Frank. The envelope
  has you name on it. What's the object of terrorism?"

  Frank: "Terror."

  Mike: "That's all he wants at this point."

  Frank: "Then he's a success. You got anything else,
  Mike?"

  Mike: "Film was purchased in the state of Washington.
  Beyond that, he's taken care not to contaminate the
  film or the package with anything I could pull."

  Frank: "You come all the way out here just to allay
  my fears, Mike?"

  Mike: "It would be the easiest thing in the world to
  go home, be with your family, Frank. But we need you
  here on this one. We need your abilities. I have a
  bad feeling about this case."

  Frank: "I think it is not like any other case I've
  ever seen before."

  Mike: "That would be my threat assessment."

[Both nod in agreement.]

[NEXT SCENE: A young man on the phone, tries to solicit a sale of some
product to a customer.]

  Bob: "Hi. My name's Bob Smith, and I hope you have
  a moment because I have a one-time offer on a new
  hair-care product I think you won't want to pass
  up."

[Another man walks past Bob as the camera slowly turns around him, always
keeping him in the foreground still speaking on the phone yet showing an
entire room filled with other young men, all doing exactly the same thing.]

  Bob: "Would you like to try our product -- absolutely
  free?" (short pause) "Well, terrific. I just need
  your name and address. Uh... and a credit card number
  for future purchases."

[The camera pans along the rows of tables, each with young men similar to
Bob, all speaking to prospective customers on their phones and writing
down the information received.]

[At the head of the room is a screen. Projected on it are the words:
`CREATE DESIRE']

[Another young man walks past several of the others on the phone, checking
their order forms briefly. He stops before the same young man who offered
Eedo the advice to run at the start of the episode. He's sitting there in
a daze, phone in hand, but not speaking. The man, the Dark Prince from
before, checks his order form.]

  D.P.: "No orders written?"

  Man: "Not yet."

[The D.P. replaces the order form and walks away. The man, still in a
daze, watches him as the person on the phone speaks up.]

  {Woman: "Hello? Is anybody there?"}

  Man: "Hi. My name is Bob Smith. I hope you have a
  moment."

[The screen now projects: `EVERYBODY WANTS BEAUTIFUL HAIR' ]

[NEXT SCENE: Peter, Penseyres and Frank are driving. Penseyres has managed
to identify someone through dental records. Frank is looking at several
items including his college ID: ]


    Petaluma                         [ Photo ]
    Community   
    College   

Eedo Bolow (signature)

883401-3948                             GROUP
Eedo Bolow

VALID ONE YEAR                Expires JUNE 95


  Penseyres: "The dental records matched a report from
  six months ago, filed by the kid's parents."

[Frank reads aloud portions of the rest, including the family history and
Eedo's rap sheet.]

  Frank: (to Peter) "Mother and father were naturalized
  citizens. Immigrated from Chechnya in 1990 when the
  son was 15. The kid had a nice rap sheet: B&E, minor
  assault, possession. Parents' address is... 13235
  Liberty Avenue."

[As Peter pulls up to the house, a police squad car is already at the
scene. One of the officers is talking to someone near the car.]

[Inside, the other officer is standing in the hallway as Peter and Frank
enter the house. The officer nods at both of them and points to the dining
room where Eedo's father is sitting, head bowed resting on his hand.]

  Frank: "Mr. Bolow?"

  Bolow: "Yes?"

  Frank: "I'm Frank Black, this is Peter Watts. Very
  sorry about your son."

[Bolow nods and sniffles.]

  Peter: "We're trying to find out how this might have
  happened to him."

  Bolow: "Six months you couldn't find Eedo and now you
  want me to help you?"

  Frank: "We're not from the police department, Mr.
  Bolow. We believe your son may be one of several
  victims."

  Bolow: "He wouldn't listen to us." (sighs) "Eedo had
  his own ideas... put in his head by these friends of
  his."

  Peter: "What friends, Mr. Bolow?"

  Bolow: "Driving those... German cars -- all he could
  talk about. Then one day Eedo comes home driving one
  too. Selling products nobody wants over the phone."

  Frank: "Do you know where he worked?"

  Bolow: "No, he said he couldn't tell us. He said he
  was going to be rich."

  Peter: "Had you heard from him recently?"

  Bolow: "Yeah, six months ago, he sent us a letter...
  a terrible letter. That's when we call the police.
  My wife was so ashamed, she wanted to burn it."

[He gets up and goes into the other room where his wife is sitting. They
both speak Russian as he asks her for the letter. She gives it to him. He
brings the envelope out to Frank and Peter, removes the letter from the
envelope and hands it to Frank. There are two handwritten pages.]

  Bolow: "It's in Russian. You want me to translate?"

  Frank: "We wouldn't want to put you or your wife
  through that right now. Thank you for letting us
  read it."

  Peter: "Mr. Bolow, it would be a big help if we
  could have a look at the envelope too."

[He hands it to Peter.]

  Peter: "Thank you."

[NEXT SCENE: The forensics lab. Peter, apparently fluent in Russian, goes
about translating the letter for Frank and Mike as they go over it, line
by line. A copy of the letter is projected onto a screen.]

  Peter: "The salutation is to his mother. He's
  disowning her. `I am cutting the ties that prevent
  my ascendance to a higher stage. My birthrights and
  my former worldly possessions have been... burned
  in a sacrificial fire... of my new faith.' "

  Mike: "Cult indoctrination."

  Peter: "There's a reference to fidelity and duty
  and burning in the fires of Gehenna: `If I should
  dishonor myself or my new brothers.' "

  Mike: " `Gehenna' is Hebrew for hell.

[Peter replaces the first page with the second and translating.]

  Peter: " `I have seen the all-powerful one... in
  the pouring red rain and I fear nothing... ' "

[Frank has a quick flash as Peter speaks: he sees Eedo with something
red (blood?) splattering his face; it begins to cover his face and hair.
End of vision.]

  Peter: " `... but his wrath and vengeance.' "

[Frank again sees Eedo: his face and head now soaked in blood.]

  Peter: " `The end is coming. The numbers have been
  miscalculated. 24 times 15 are 360, adjustable by... "

  Mike: (finishes for Peter) "286.1."

[Both Frank and Peter turn to look at Mike.]

  Mike: "There is a deliberate error in the Great
  Pyramid in Giza -- an architectural anomaly that
  some prophets have cited as an error in our
  calculation of the true calendar year. Some
  believe it sets the date of the apocalypse in
  1998."

[Penseyres enters the room, contributing to the conversation.]

  Penseyres: "Plan your investment strategy accordingly."

  Peter: (sigh) "He says the weak and the indolent shall
  perish. That he is with his new family now and he must
  renounce his parents just as he renounces his belief
  in anything but the power of the enterprise. And that
  the power of the enterprise resides in the hearts of
  the faithful."

[Peter shuts off the overhead projector.]

  Frank: "And in the ashes of the dead."

  Peter: "Somebody really got into this kid's head."

  Mike: "I'm not sure he's writing out of faith."

  Frank: "I think he's writing out of fear."

  Peter: "Could have been forced to write it."

  Mike: (shakes his head) "Too many intransitive verbs."

  Frank: "The imagery -- very powerful, very personal."

  Mike: "The use of the word `Gehenna' is strange.
  It's usage is archaic and found only in certain Old
  Testament translations."

  Peter: "Maybe he went to Hebrew school."

  Mike: "Somebody powerful got a hold on this kid,
  that's for sure."

  Frank: "Or some *thing*."

[NEXT SCENE: Night, the Black residence. The security lights turn on as
Catherine pulls up in her blue mini-van. She parks the car, gets out and
walks over to wake up a sleeping Jordan in the front seat.]

  Catherine: "Wake up, sweetie. We're home."

[She picks up and carries the child into the house.]

[Watching from across the street, a man's leg can be seen in the darkness,
as the security light goes out.]

[Inside, Ben is barking as Catherine comes down the stairs."

  Catherine: (to Ben) "You waiting for me?"

[The dog continues to bark near the door.]

  Catherine: "You want to go outside?"

[She bends down to pick up the day's mail. As she looks through it she is
startled by a man's silhouette visible through the leaded-glass front door.]


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


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


[The silhouette is still visible through the glass. Catherine is frozen,
not sure of what to do next when... ]

  Man: "Catherine?"

[The voice sounds familiar to her. He moves closer to the glass. His face
becomes recognizable.]

  Man: "Catherine, it's- it's Bob Bletcher."

  Catherine: "Bob?"

  Bletch: "Yeah."

[She opens the door, relieved. Ben barks again as Catherine tries to hold
him back.]

  Bletch: "Is everything okay?"

  Catherine: "Yeah. Actually, you scared me half to
  death."

  Bletch: "Oh, I'm sorry. I was, uh... well, Frank
  had given me a call, asking if I could stop by. I
  think he was a little worried about you and Jordan."

  Catherine: "Oh, I'm sorry. Thank you. Uh, we're
  fine. Really."

  Bletch: "You're sure?"

  Catherine: "Yeah. I just wasn't expecting anyone.
  Would you like to come in?"

  Bletch: "No, no, that's okay."

[He looks at his watch.]

  Bletch: "I- I know you got your little girl to put
  to bed."

  Catherine: "I'm going to put some coffee on, okay?"

[Catherine and Bletcher then are seen sitting at the dining room table,
drinking their coffee.]

  Catherine: "So, how much has he told you?"

  Bletch: "About his breakdown? Only a little bit more
  than I'd already heard. Told me about the Polaroids
  that someone took of you... and that after he found
  them, he couldn't leave the house. That he was afraid
  to leave you alone."

  Catherine: "He was paralyzed, Bob. Not by fear... by
  something much deeper. By understanding."

  Bletch: "Yeah, he talked about that. About being able
  to... see into the darkness. That he'd developed a
  kind of, uh, facility... to see what a killer sees."

  Catherine: "As well as you know him -- as long as
  you two worked together -- I don't think anyone can
  appreciate exactly what that must be like."

  Bletch: "No... but I'm sure you know better than
  anyone."

  Catherine: "I don't know how he was able to do it.
  I don't know how he ever went back to work."

  Bletch: "Well, he was approached by this Millennium
  Group."

  Catherine: "Yes, but... Frank went back to work
  because he *had* to. It's who he is. Sometimes I
  think of Frank as the catcher in the rye... standing
  at the edge of the cliff trying to save the world...
  but he can't change anything. All he can do is catch
  these horrible men before they kill again." (pause as
  Bletcher smiles) "And that's why I can never let him
  think that Jordan and I aren't perfectly safe in this
  perfect house and perfect world that he's tried to
  give us... " (short pause) "Because I know, if he ever
  thought differently... next time he'd never be able
  to leave."

[NEXT SCENE: Night. The two German-made cars (BMW?), which appeared at the
start of the episode, again have arrived at the abandoned dry-cleaning
plant.]

[Again loud rap music can be heard blaring from their car radios (Cypress
Hill -- `Hits From the Bong' again from Black Sunday).]

[They circle round and round till they finally come to a complete stop.
The occupants of both cars get out, including the second telemarketer `Bob
Smith' who is smiling broadly, obviously high on the same LSD Eedo had
taken prior to being brought to the area. `Bob' seems unaware of what's
happening to him.]

  {Music: "... the bubbling water is makin' it pure so
  I got ta take my hit and hold it. Just like Chong, I
  get the bowl and I reload it."}

[The others encircle him and begin taunting and whooping just as they did
with Eedo. This time they do not bark at him but screech and squawk as if
they were birds. Music continues throughout.]

  {Music: "Get my four-footer and bring it on... as I
  take hits from the bong."}

[The POV shifts to a green-tinged view through the night-goggles. The men
all run back into their cars, leaving `Bob' dazed and confused as they
circle around him just as they did with Eedo. Again, the POV shifts to
the man with the goggles who is watching the entire proceedings from high
above.]

[`Bob' again reacts as did Eedo, by running off into one of the buildings
while the cars continue to go around in circles, the young men all hanging
out from the car windows whooping and hollering at him as he runs.]

[`Bob' runs directly into someone's arms. Terrified, he screams. It turns
out to be Frank, who has been waiting quietly and unseen, in the building during all this. He tries to break free from Frank.]

  Frank: "It's all right. I'm not going to hurt you.
  It's okay."


SAN FRANCISCO
POLICE DEPARTMENT


[NEXT SCENE: Night, it is raining. Inside an interrogation room, Peter is
talking to `Bob' but not getting much from him. Penseyres is also present.
Mike watches and listens through a two-way mirror from the next room.]

  {Peter: "How long have you been in San Francisco?"}

  {`Bob': "I don't know anything."}

  {Peter: "Come on, what were you doing out there
  tonight?"}

[The door opens and Frank enters with two cups of coffee.]

  {`Bob': "My name is Bob Smith."}

  Frank: "Anything?"

  {Peter: "So you've said. Are you afraid of something,
  is that why you won't talk to me?"}

[Frank hands Mike one of the cups.]

  Mike: "Not yet. Only given his name as Bob Smith.
  He's saying that they're talking to a dead man."

[Mike turns and looks at Frank who contains to stare through the glass
at `Bob.']

  Mike: "What were you doing out there, Frank?"

  Frank: "Went back to satisfy a curiosity... about
  what happened out there that night."

  Mike: "And?"

  Frank: "I think I know what he's afraid of."

  Mike: "Then maybe you should talk to him."

[In the interrogation room, `Bob' sits with his back to Frank.]

  Frank: "You've seen it, haven't you? Seen the hideous
  face -- just like Eedo did. Seen the red rain falling
  in the face of the beast."

[`Bob' slowly turns to face Frank.]

  Frank: "I've seen it too. I know why you're afraid."

[Frank has more quick flashes of: Eedo on the ground, in torment, blood
covering his face; flashes of bright white light; more images of Eedo
screaming throwing his head from side to side, bathed in blood. Sound of
screams and gurgling throughout. End of vision.]

  Frank: "But you're safe from it now."

  `Bob': "No one is safe from it. You don't know what
  you're talking about."

[Peter, Mike and Penseyres are watching and listening from the other room.]

  Frank: "How can it touch you here? What could it
  do to you here?"

  `Bob': "You don't understand. It knows. It knows
  everything. It knows the numbers."

  Frank: "What numbers?"

  `Bob': "That's all there is -- phone numbers, serial
  numbers, card numbers. You and everybody else. That
  numbers are all we are. It knows your numbers and it
  knows you."

  Frank: "What does it want?"

  `Bob': "Obedience. Obedience and control."

  Frank: "In return for what?"

  `Bob': "To share in the power when the end comes.
  When the everlasting fires rage in the year of
  destiny. When the weak and the indolent perish."

[`Bob' has grown more and more upset and finally tears stream down his
cheeks.]

  `Bob': (crying) "They told me... we were going
  to be rich! That we were the chosen ones! That
  discipline was the way to our own salvation."

[POV shifts to Peter, Mike and Penseyres in the other room.]

  {`Bob': "That prosperity was power."}

[POV shifts back again to the interrogation room.]

  `Bob': And they said we could leave whenever we
  wanted. It was a lie."

[Frank again flashes on several quick images of: Eedo, trapped inside a
room, screaming at a small window, blood coming from his nose and mouth.
End of vision.]

  `Bob': "No one could leave and it made us turn on
  each other."

  Frank: "Did it kill Eedo Bolow?"

[`Bob' begins to look very frightened. He sees a quick succession of
images of the creature: horrific close ups of his body; his wings; his
teeth; several images of the man with the goggles; Eedo writhing on the
ground; the creature's fangs; again the man with the goggles and finally,
the creature again.]

[During these quick cuts, he has been looking at Frank. Once they are over,
he says... ]

  `Bob': (more calmly) "Yes. Because he was weak.
  Because he'd lost his discipline."

[`Bob' again briefly sees images of the creature and the man with the
goggles.]

  `Bob': "Just like the others did. Just like I did.
  Once you've lost your faith in discipline... it will
  devour you."

[One final quick series of images of: the creature's teeth; the man with
the goggles; the creature coming closer and closer; and of the full upper
torso and head of the creature.]

  `Bob': "Nothing can save you from it. You can't save
  me from it."

[He begins to tremble, every part of him shaking, his eyes roll back. He
begins to gag. Frank jumps up and grabs the young man by the arms.]

  Frank: "Hey!"

[The others, watching in the other room, rush out to see what they can do.]

[Frank lowers `Bob' to the floor and begins performing CPR, compressing
his chest with his hands.]

  Frank: "God... "

[He's frantically working on `Bob' when Peter, Mike and Penseyres enter
the room. Peter shoves a chair aside and kneels on the floor next to `Bob'
as Frank continues to work on him.]

  Mike: (to Penseyres) "Get a doctor!"

[Penseyres runs out the door.]

[Peter pulls back the man's head to clear the airway. He checks for a
pulse and finds none but Frank won't give up. He continues to compress the
dead man's chest. Peter shakes his head, knowing the effort to be futile,
yet Frank still won't concede defeat, even when Peter tries to stop him.]


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


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


[NEXT SCENE: Day, outside the police department at a small park. Frank
stands alone, stunned by the recent incident. Mike walks over to speak
with him.]

  Mike: "Go home, Frank. I think you should go home,
  see your family and get some rest."

  Frank: "That kid died of fright, Mike."

[They begin walking.]

  Mike: "He was so full of LSD, we'll never know what
  he died of."

  Frank: "He couldn't escape it -- whatever it was.
  What could be so powerful that you couldn't escape
  it?"

  Mike: "What you described in there last night --
  the face of the beast... "

  Frank: "I saw it, the day I arrived."

  Mike: "I've seen the face of evil, Frank. I've
  looked into its eyes, seen it staring back at me.
  The face has always been a man's face -- a human
  face. I've always believed that evil is born in
  a cold heart and a weak mind."

  Frank: "I have too."

[Long silent pause between them.]

[NEXT SCENE: Day, outside the Black residence. Frank is making some final
adjustments to the security lights. He then climbs down the ladder to find
his neighbor Jack Meredith there to greet him.]

  Jack: "Hi there, Frank. See you were gone for a few
  days, huh? Work?"

  Frank: "Hi, Jack. Yeah."

  Jack: "Working with that consultant group you
  mentioned?"

  Frank: "Yeah."

  Jack: "Yeah. Yeah, consulting -- that's one of those
  things you always wonder exactly what that means,
  you know?"

  Frank: "Well, basically, we're given a problem. We
  try to solve it."

  Jack: "Oh, I see. Yeah. So, did you solve the problem
  you were working on?"

  Frank: "No. No, I didn't. Couldn't even make sense
  of it."

[Inside, the Black bedroom, sometime later... Frank reads various passages
from the bible, still trying to make some sense of the events of the past
few days. (He reads from Ephesians, in particular, a note on Chapter 6,
Verse 16: `In addition to all this, take up the shield of faith, with which
you can extinguish all the flaming arrows of the evil one.') ]


The rulers of the darkness of this world
are contending for mastery over the bod-
ies and minds of all members of the hu-
man race.


[He turns to the Book of St. Matthew, Chapter 25. He runs his finger down
the page to this passage from Verse 41: ]


"Depart from Me,
ye cursed, into everlasting fire,
prepared for the
devil and his angels."


[There is a close up of the passage on the screen.]

[Frank continues to read as Catherine enters the room.]

  Catherine: "Did you want to say good-night to Jordan?"

  Frank: "Yeah."

[He closes the book. Catherine, seeing what it is, teases him.]

  Catherine: "I hear it's a real pot-boiler -- full of
  treachery, death, violence."

  Frank: "Yeah."

  Catherine: "Looking for moral guidance, or... just a
  little light bedtime reading?"

  Frank: "Just some answers, I guess. Something happened
  down in San Francisco."

  Catherine: "Anything you want to talk about?"

  Frank: "I'm just confused about something I thought
  I understood about evil. What it is, exactly."

  Catherine: "You mean, what causes it?"

  Frank: "It seems that the old biblical concept of
  the devil's influence has lost any currency."

  Catherine: "I just think the language has changed.
  I think science and psychology have given us a clearer
  idea of why people commit evil acts. I see it everyday
  -- abused kids become abusive adults."

  Frank: "So the true source of evil is us."

  Catherine: "You mean, are we all capable of it?"

  Frank: "Or is there something out there -- a force
  or a presence -- waiting... until it can create
  another murder, another rape, another holocaust."

  Catherine: "I think it's something that everyone who
  looks deeply at life wonders."

  Frank: "What would you tell a child? What would I
  tell Jordan?"

  Catherine: "Maybe you should just tell her good-night."

[Frank, who has been sitting on the edge of the bed, gets up and walks
over to Catherine and kisses her.]

[In Jordan's bedroom, she's fast asleep, uncovered and on her side by the
edge of the bed. Frank gently turns her so that she's on her back, then
covers her. He stands there for a moment smiling down on his child.]

[Frank then heads down to his basement office and turns on his Mac. The
on screen message reads: `Hello Frank... Starting up...']

[Then a PPP Dialog Box comes up on the screen: ]


> INIT MODEM
> OK
> DIALING

2:16        9x66  57600  N81


[As the modem dials in, Frank picks up a book and looks up the word
`Gehenna.' The definition reads as follows: ]


Gehenna /ge'hene/ n. 1 (in the New Testament) hell.
a place of burning, torment, or misery. [ecclesiastical
Latin via Greek from Hebrew ge hinnom `hell'
originally the valley of Hinnom near Jerusalem where
children were sacrificed.]


[When he's finally connected, a Search net query form appears on screen.
He types in: `Gehenna' and clicks on `Search' as his phone rings.]

[He pauses for a moment because it's after 2am. He picks up the phone... ]

  Frank: "Hello?"

  {Mike: "Frank? It's Mike Atkins. Sorry for calling
  so late."}

  Frank: "I'm up working anyway."

[POV shifts to Mike who is still at the forensics lab in San Francisco.
The camera alternates POV somewhat during their conversation.]

  Mike: "So am I."

  {Frank: "Where are you?"}

  Mike: "Still in San Francisco. We got our forensic
  data back on the dead boy earlier tonight. Found
  something we weren't expecting."

  {Frank: "What?"}

  Mike: "Kid's clothing and tissue showed traces of an
  insecticide used in the making of something called
  sarin."

  Frank: "Sarin gas."

  {Mike: "Which was used in the terrorist attack on
  the subway in Japan. The leader of the cult believed
  responsible is on trial for that attack as well as
  several other murders. Do you know how they say he
  disposed of his victims, Frank?"}

  Frank: "An industrial scale microwave."

[This triggers another vision for Frank. He sees: a hand clawing at a
window; Eedo screaming throughout, blood coming from his gums, covering
his mouth, his hand pounding repeatedly on the glass; Eedo finally weak
from the heat the microwave produces slumps down, only his hand still
visible on the glass, briefly before being consumed in flames. His screams
trail off at the end. End of vision.]

  Mike: "He'd amassed over a billion dollars. Been
  trying to buy weapons from the Russians. They think
  he may have even been trying to get the Ebola virus."

  Frank: "He wanted to bring on Armageddon."

[Frank looks at his computer screen. The results of his search have finally
been found.]

  {Mike: "Could it happen here, Frank?"}

[Frank doesn't respond because he's reading the results. Partial view on screen reads as follows: ]


Place of Darkness
     --http:///www.neoctiy...
     " content=" Scott's Guid...
     on Vampire, Mage, Chan...
     name="keywords" conte...

Gehenna
     --http://www.gehenna...
     may contain strange ic...
     cigarettes alcohol, nitr...
     and/or other things not...

Gehenna International, PTY
     -http://www.ghi.com/in...
     Gehenna International, r...
     New York, Monaco, San F...


  {Mike: "Frank?"}

  Frank: "Listen, Mike. I found something -- a business
  listing for Gehenna International."

[The camera pans across the screen which now reads: ]


Gehenna International, PTY
     -http://www.ghi.com/index.html (Score 89, Size 12K)
     Gehenna International, reg Cayman Islands. Industry chemical holdings.
     New York, Monaco, San Francisco, Tokyo, Sydney, Cairo. Storage plant.


  Frank: "It looks like an offshore holding company."

  Mike: "What does it hold?"

  Frank: "Industrial products... chemicals."

[As he scrolls down the screen to see the individual listings for the
plants, he finds the following listing, only partially visible on screen: ]


...International, PTY-San Francisco
...tp://www.ghi.com/sanfran.html
...enna International, reg Cayman Islands.
... York, Monaco, San Francisco, Tokyo, Syn...
...mical storage areas, contaminated mate...


  Frank: "They list one of their plants in San Francisco."

  Mike: "I'm on it."

[They both hang up. The moment Frank does, he has second thoughts. He then
picks up the phone and tries to call Mike back but no one answers. Mike
has already left the lab. Frustrated, Frank slams down the phone.]

[Upstairs in their bedroom, Catherine is in bed reading a book. As Frank
enters the room, he looks worried. He looks back toward the hall.]

  Catherine: "What?"

  Frank: "I don't know. I just have a very bad feeling
  about something."

[He walks over to the phone and dials a number.]

[Meanwhile, outside at the plant in San Francisco, it is raining heavily
as Mike drives up and parks.]

[Inside, Mike looks around with a flashlight. He walks through an storage
or records area with many stacked boxes. Then he enters a large room filled
with tables, chairs and phones where the telemarketing `Bob Smiths' earlier
were selling that hair-care product.]

[Projected on a screen at the head of the room now is the message:
`FACILITATE ENVY' which then clicks into: `WORK WILL SET YOU FREE.' ]

[As Mike turns, he notices an inverted dome in the ceiling -- the kind
used as a security measure in some places. He looks directly up at it. We
look through it down at him. The color is green -- identical to that of
the night-vision goggles. When Mike finally walks away, we see that the
POV has indeed belonged to the man with the goggles.]

[Mike continues through a warehouse area with row after row of shelving
up to the ceiling, each teaming with boxes, crates, barrels of various
materials. He comes upon some barrels labeled: `FLAMMABLE -- SODIUM
FLUORIDE' and some wooden crates marked: `66' inside of a triangle; some
Chinese characters; `11071-120/126'; and `REPUBLIC OF CHINA.']

[He pries open one of the crates with a crowbar, slashes open one of the
paper packages which contains an assault rifle and an ammo clip.]

[Outside, still raining, several police cars are rushing to the plant's
location -- the backup which Frank had called for earlier for Mike.]

[Inside, Mike continues till he finds a very large metal door with a small
glass window and a handle. An industrial scale microwave. The door is ajar.]

[He looks inside the chamber, pushes back the squeaking door and sees a
huge pile of ashes filling half the chamber. By the rear wall, some objects
can be seen half-buried in the ashes.]

[Mike steps closer for a better look at the objects which look like skull
fragments. As he bends down, the door behind him can be heard squeaking
again as someone slams it shut.]

[Mike runs to the door and begins pounding on the glass.]

  Mike: "Hey! Hey! Hey! Let me out! Hey! Hey!"

[The microwave has been turned on. He looks out of the glass and sees the
man with the goggles looking right back at him. He continues to pound on
the glass.]

  Mike: "Hey!"

[He claws at the glass with his fingers as the heat increases and begins
to overcome him.]

[A S.W.A.T. team enters the warehouse area and makes its way towards the
oven and Mike. Peter and Penseyres also run in that direction with several
other local detectives.]

[Mike collapes in the oven, falling out of sight below the window.]

[Both groups finally reach the oven.]

  Peter: (shouting) "Turn it off! Turn it off!"

[Peter and Penseyres pull open the door and Peter rushes inside to help
Mike.]

  Penseyres: "Get an ambulance! Go! Go!"

[As they try to remove Mike from the oven, there's a great deal of shouting
done by many on the scene.]

  1st Man: "Get him out!"

  2nd Man: "Clear the way! Make way! Move him out!
  Move away!"

[Fade to black. Then audio fade in... ]

  {Reporter: "San Francisco law enforcement agencies
  worked in tense cooperation in the roundup and arrest
  of what is being referred to as a death cult... "}

[ ...with a gradual video fade in of a television news broadcast showing
several young men, members of the cult following (the telemarketers) being
arrested.]

  {Reporter: " ...whose aim is believed to be nothing
  less than mass destruction."}

[On screen, also being arrested, is the man with the goggles, the leader
of the cult, as he is being put inside a car. Peter and Penseyres can be
seen walking behind him, talking. When they see the news camera, they back
off out of range.]

  {Reporter: "The suspected leader is a former chemical
  engineer named Ricardo Clement."}

[Frank is watching the news at the police station.]

  {Reporter: "He is being held under the suspicion
  of murder of at least one cult member. Authorities
  confiscated a large cache of biological and other
  weapons purchased on the global black market."}

[Frank turns and enters a room behind him. There, he can listen and watch
through a two-way mirror as Peter tries to question Clement in the next
room.]

  Peter: "How many boys died in there? How many kids
  did you send to their death? Ten? Twenty?"

[Clement does not react nor respond to any of the questions. He just sits
stone faced and unflinching. In frustration and anger, Peter shouts... ]

  Peter: "What the hell are you?!"

[No reaction. No response. Peter storms out of the room, slams the door
and walks over to join Frank who has not taken his eyes off Clement since
entering the room.]

  Peter: (sigh) "Nothing."

[Clement suddenly turns and stares directly at Frank through the mirror on
his own side.]

  Peter: "Absolutely nothing."

[Clement rises from his chair and walks over to the mirror and stands
exactly in front of Frank, looking directly at him, as if the mirror/glass
weren't there at all.]

[Frank has a last vision as Clement stands before him. He hears screams
throughout and sees several images of the creature's fangs and of the
creature himself. End of vision.] 

  Frank: "I think I know."

  Peter: "What?"

[Clement's gaze is fixed on Frank, unblinking.]

  Frank: "Who *he* is. I got to get out of here, Peter."

[He leaves the room.]

[FINAL SCENE: The hospital. Mike Atkins is in intensive care with numerous
machines and monitors hooked up to him. He is in an oxygen tent. Frank sits
by the bed, keeping vigil.]

[Penseyres opens the door to the room.]

  Penseyres: "Frank. Your wife's here."

[Frank leaves the room and walks with his wife as they talk.]

  Frank: "You didn't have to come."

  Catherine: "I wanted to be here. I wanted to be here
  with you, Frank. I know it's what you fear."

  Frank: "What?"

  Catherine: "Losing control -- having something like
  this happen to someone you care about."

  Frank: "He had serious internal cellular damage from
  the radiation, but the doctors say he'll pull through."

  Catherine: "I know, and he will. I know you know
  this. How many other lives you may have saved? How
  many people could have been hurt by those weapons?"

  Frank: "I know."

  Catherine: "You did what was important. You did what
  you set out to do, Frank. You caught the bad man."

  Frank: "I'm not so sure."

  Catherine: "Not sure of what?"

  Frank: "Not sure... not sure if the bad man can be
  caught."

[He pulls he close to him and they embrace.]


[The credit fades in from black... ]


Executive Producer: Chris Carter


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


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

  Voice Over: "When night falls, he creeps into your
  house."

  Frank: "He's here, I just know it."

  Voice Over: "If you can see him, it's already too
  late. Did you remember to lock your doors?"

  Giebelhouse: "He's heading right to you."

  S.W.A.T. Team: "Go! Go! Go! Go!"

  Bletch: "Frank!"

  Voice Over: "Millennium. Next Friday on Fox. Parental
  discretion advised."


[End titles roll]


Ten Thirteen Productions
in association with

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

Story Editor: Charles Holland

Co-Starring

Don MacKay (Jack Meredith)
George Josef (Mr. Bolow)
Stephen Holmes (Eedo)
Chris Bradford (Driver)
Henry Watson (Detective)
Don McWilliams (Park Guy)
[Nina Persachi] (Mrs. Bolow)

Los Angeles Casting by Rick Pagano/Debi Maniwiller, C.S.A.
Vancouver Casting by Coreen Mayrs
Original Casting by Randy Stone, C.S.A.
Production Manager: Kathy Gilroy-Sereda
First Assistant Director: Craig Matheson
Second Assistant Director: David Klohn
Set Decorator: Michael Webb 
Assistant Art Director: Barbara Wilson
Construction Coordinator: Clare Davis
Script Supervisor: Kimi Webber
Location Manager: Matthew Chipera
Hair Stylist: Brenda Gibson
Makeup Artist: Diane Pelletier
Special Effects Makeup: Lindala Makeup Effects, Inc.
Costume Designer: Diane Widas
Head Painter: Marko Lytviak
Sound Mixer: Patrick Ramsay
Camera Operators: Rod Pridy, Mike Wrinch
Gaffer: Barry Donlevy
Key Grip: R.K. Hill
Property Master: Kimberley Regent
Special Effects Coordinator: Bob Comer
Stunt Coordinator: Lou Bollo
Transportation Coordinator: Ken Marsden
Assistants to Chris Carter: Mary Astadourian, Joanne Service
Production Coordinator: Toni Pedersen
Post Production Supervisor: Julie Herlocker
Casting Associate - Los Angeles: Edye Blasco
Casting Associate - Vancouver: Heike Brandstatter
Post Production Sound: West Productions, Inc.
Supervising Sound Editor: Mark R. Crookston
Re-Recording Mixers: James G. Williams, Bryan Gladstone, Don MacDougall
Re-Recording Engineer: Walter Lavash
Scoring Mixer: Larold Rebhun
Music Editor: Jeff Charbonneau
Assistant Editors: Jim Thomson, Robert Hudson
Color Timer: Philip Azenzer
Visual Effects by Area 51
Visual Effects Supervisor: Glenn Campbell
Visual Effects Producer: Tim McHugh
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
Filmed on Location in British Columbia, Canada
Presented in Dolby Stereo TM where available

Copyright (c) 1996
Twentieth Century Fox Film Corporation
All Rights Reserved #4C01

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, 1996 -- FOX Broadcasting Company
========================================================

Last Updated: May 02, 1997
Copyright (c) 1997 -- Nightowl Productions
Webmaster: Maria Vitale -- E-mail: nightowl@nyct.net