M I L L E N N I U M
"522666"
Ep. # 1.05 [MLM-105 (4C05)]
[ First Season ] (Complete Transcript)
U.S. Air Date: November 22, 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 white... ]
WASHINGTON, D.C.
WEDNESDAY, 11:46 PM EST
[OPENING SCENE: Inside a crowded pub. "I Must Not Think Bad Thoughts" by
X [from the More Fun in the New World CD] is playing in the background as
various patrons sit at the bar, tables or booths -- laughing, talking and
enjoying their drinks. Waitresses move about taking orders and delivering
drinks.]
{Music: "I must not think bad thoughts. I must not
think bad thoughts. I must not think bad thoughts."}
Waitress: (to the bartender) "I'll be right back for
the pint of stout, okay?"
[She walks away from the bar with a pint of beer on a tray. The camera moves
through the pub past crowded tables and booths. It finally reaches the rear
of the pub where a man sits alone in a very large booth.]
{Music: "The facts we hate, we'll never meet walking
down the road, everybody yelling hurry up --, Hurry
up! The food cooks poorly and everyone goes hungry
-- I must not think bad thoughts. What is this world
coming to? Both sides are right and both sides murder.
I give up! Why can't they?"}
[The man is smoking a cigarette and watching the people in the pub --
couples talking, waitresses with their customers.]
{Music: "I must not think bad thoughts. I must not
think bad thoughts."}
[As he's watching them, he envisions an explosion occurring in the pub.]
[{He sees: shock waves hitting the people, wind blowing through their hair,
their bodies being shoved by the impact from the force of the blast. He
hears their screams. He hears explosion after explosion and sees a bright
light illuminating the patrons as they are thrown back from each impact.}]
[He wipes his eye, as if some debris from his imaginary explosions have
found their way there as a waitress with a British accent tries to get his
attention.]
Waitress: "Sir? Sir? Do you know if you're party's
going to show? 'Cause at night we like to reserve
these booths for four people or more."
[He doesn't reply, instead, he gets up from the booth, walks past her and
goes to a pay phone. A different song is now playing in the background.]
{Music: " ...and I live like I live... 'cause I ain't
got nothing left to give. And I take what I take... "}
[The man reaches the phone, picks up the receiver and presses: `9-1-1.']
{Operator: "Emergency Operator -- may I have your
name?"}
[The man remains silent but presses: `5-2-2-6-6-6' then hangs up the phone.]
[At a parking garage, we see the bomber standing beside a car, smoking
another cigarette. He is looking at the pub which is across the street from
the garage -- it's name: The Queen's Arms.]
[He calmly smokes his cigarette watching some people standing by the door
of the pub. He looks at his watch. It reads: `TR 11:59.' It also has a
counter which reads: 00'37" and is ticking off down to zero and midnight.]
[He tosses down his half-smoked cigarette and crushes it with his shoe. Two
other stubs are already there having been smoked earlier.]
[He readies himself for the impact and sees some new patrons arrive in a
mini van. He again looks at his watch. It reads: 00'20" and continues to
tick down to zero. His belt bucket can be heard as it is undone.]
[He feels a preview of the blast from the bomb in his mind as hears the
roar of the noise from the explosion before it actually happens. He again
envisions the patrons as he did when he was inside the pub: the impact from
the blast as they scream and are physically shoved from the force of the
shock waves.]
[The mini van which had delivered the people to the pub then pulls away.]
[The bomber shuts his eyes tight and braces himself for the anticipated
impact.]
[A couple of seconds later an explosion rips through the pub and the blast
sends shattered bits of glass and other debris everywhere, knocking him
backwards to the ground.]
SEATTLE, WASHINGTON
WEDNESDAY, 9:35 PM PST
[NEXT SCENE: The Black residence, the Blacks' bedroom. Frank lies back in
bed, watching TV, clicking his remote control through various channels.]
{Man #1: "We're headed into overtime, Rockets and
Sonics tied at 80."}
[Click.]
{Man #2: " ...calls it one of the best new shows of
the season. Sundays, after football."}
[Click.]
{Man #3: "This is feed is live from the Embassy Row
District in the nation's capital."}
[The TV screen is finally seen. A news broadcast shows the aftermath of
the explosion at the pub. `Washington, D.C. LIVE' has been superimposed
in the upper left hand corner of the screen and it remains throughout the
newscast. Sirens can be heard wailing in the background as several firemen
and rescue workers try to remove victims from the wreckage.]
{Man #3: "At about ten minutes after midnight, an
explosion ripped through The Queen's Arms, a popular
pub frequented by British diplomats."}
[Frank leans forward and watches the news footage. A man can be seen
holding an IV bottle as a paramedic tends to one of the victims.]
{Man #3: "Witnesses reported seeing a fireball that
literally blew out the front of the pub sending lethal
projectiles, shards of glass and splintered wood
flying blocks away."}
[Frank gets up, walks over to the closet and picks up a travel bag as the
news report continues in the background.]
{Man #3: "Authorities in the D.C. area responding
quickly to the tragedy. The first emergency vehicle
arrived at the scene less than two minutes after the
explosion."}
[Catherine enters the bedroom and watches as her husband pack the bag with
some clothes.]
{Man #3: "The number of victims have taxed the
resources of the nearest emergency rooms. Hospitals
in the D. C. area... "}
[Frank's beeper can be seen on top of the dresser -- its screen is dark and
blank.]
Catherine: "They haven't called you."
Frank: "They will."
[Frank pauses from his packing and looks at the TV screen again.]
{Man #3: " ...some have been helicoptered as far as
15 miles away. Authorities have yet to determine a
cause for the explosion."}
[Frank's beeper begins beeping. Catherine picks it up and looks at it. It
reads: `2000 21:37.']
{Man #3: "Of course, when an event like this occurs
in the nation's capital, the possibility of a terrorist
attack cannot be dismissed. The number of casualties
has now been confirmed to 13 dead, 20 in critical
condition."}
[She walks over and stands beside Frank, handing him the beeper. Scenes on
the TV continue as more victims are pulled from the building and attended
to by paramedics.]
{Man #3: "The F.B.I. and the A.T.F. have been notified
and are joining... "}
[Frank looks at the beeper, then continues packing his clothes.]
Catherine: "How long will you be away?"
Frank: "Until we're certain it won't happen again."
{Man #3: "Police and heroic rescue volunteers are
working feverishly to save any victims still trapped
in the rubble."}
[The bomber can be seen kneeling on the ground beside a female victim from
the explosion. A female officer is behind both of them, trying to help the
woman.]
{Man: (shouts) "Yo, can we get a medic?!"}
[He then rises and walks off screen to look for help for the woman.]
[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 ---------
[Episode quote]
"I am responsible for everything...
except my very responsibility."
Jean-Paul Satre
[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)
Guest Starring
Sam Anderson (Agent Jack Pierson)
Robert Lewis (Agent Sullivan)
and
Joe Chrest (Raymond Dees)
Music by Mark Snow
Editor: Chris Willingham A.C.E.
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 Glen Morgan & James Wong
Directed by David Nutter
JOINT TASK FORCE HEADQUARTERS
WASHINGTON, D.C.
THURSDAY, 9:23 AM EST
[NEXT SCENE: Frank arrives and meets with Peter Watts as they both head
towards a meeting of various federal law enforcement agency members. Both
are wearing ID tags clipped to their jackets. Frank is carrying his bag
with him, obviously having gone straight to the federal building from the
airport.]
Frank: "I read the reports on the plane. Anything new?"
Peter: "Conclusive evidence through vapor trace analysis
that it *was* a bomb. RDX residue, probably Semtex. Other
than that, nothing."
Frank: "What agencies are involved?"
Peter: "Name it. The Bureau, A.T.F., D.C. Metro. No
egos. People just want to get it done. Jack Pierson's
heading the task force."
[They arrive at the conference room. A hand-written sign is on the door:
`DEAD EYE DICKS ONLY.' They open the door and walk down a flight of stairs.]
[Phones can be heard ringing. Several agents are busy at various desks and
tables set up in the room. Along the walls, some maps are on display and
various electronic equipment can be seen such as a TV, VCR and an audio
reel-to-reel recorder. All of the agents and detectives in the room also
are wearing ID tags. Some are wearing A.T.F. jackets.]
[As Agent Pierson begins the briefing, most of those present take notes.]
Pierson: "At 12:20 AM, *The Washington Post* received
the first call claiming responsibility. It was made
from a pay phone at 28th and Lincoln, west district.
Forensics is examining the booth for prints."
[Pierson sits on the edge of the table with the audio reel-to-reel recorder
and presses the 'PLAY' button of the machine. The recording of the phone
call can be heard as Frank and Peter make their way through the crowd of
agents and stand within eyesight of Pierson. He nods hello to Frank, who
nods in return.]
[The voice of the first recording is of a male who seems anxious, speaks
rapidly and bears no distinctive accent.]
{Man #1: "Take heed, agents of ZOG. Tonight's hellfire
is only the beginning. Our capital's been designated
a kill zone as prophesied in the Turner diaries. The
covenant of ZOG will be overthrown. True Americans
have renounced this bastard son of freedom and justice.
Repent! Abolish the I.R.S.! The people will prevail!"}
[Pierson presses the `STOP' button on the machine.]
[The voice of the second recording is also of a male. He has a marked Middle
Eastern or Arabic accent and speaks slowly with great emphasis placed on
each word.]
Pierson: "We're in the process of going through the
N.S.T.L. Agent Mills... "
Mills: "No intelligence reports of increased militia
activities."
Frank: "An English pub is an unlikely target."
Pierson: "This next call is scarier. Received 23
minutes after the incident."
[He presses the `PLAY' button again.]
{Man #2: "Tonight, at ten after midnight, the A.N.O.
claims 13 lives as payment for the continuing
oppression of our people. Withdraw your support for
the Zionists."}
Peter: "A.N.O. -- Abu Nidal Organization. Maybe the
Fatah Revolutionary Council feels left out of the
peace talks."
Frank: "There's a time discrepancy."
Pierson: "For the media, we established the time of
the blast at ten minutes after midnight. In actuality,
detonation was dead-on at twelve. This next call,
received ten minutes prior. It's a code, similar to
I.R.A. bomb alerts used in England."
[He presses the `PLAY' a third time.]
[Six tones can be heard on the tape.]
[Pierson stops the machine again.]
Pierson: "Those tones correspond to the numbers:
`5-2-2-6-6-6.'"
[Frank walks over to the table, takes a pencil and looks at a telephone
dial.]
ABC DEF
1 2 3 DIAL
GHI JKL MNO LAST
4 5 6 VOL
UP^
PRS TUV WXY SAVE
7 8 9 VOL
ONV
PGM
* 0 # FTR
Peter: "The Queen's Arms is a hangout for British
Embassy employees. The State Department is giving
us a background on the victims."
[Frank writes down the numbers then the corresponding letters above it
which spell out the bomber's message: ]
5 2 2 6 6 6
K A B O O M
[Frank holds up the pad and shows it to Peter and the others.]
THURSDAY, 10:13 AM EST
[NEXT SCENE: Frank, Peter and some of the others are inside the charred
Queen's Arms, looking through the rubble with flashlights. Garbled radio
transmissions can be heard in the background.]
[Frank kneels down and looks at some debris. It triggers two brief visions.]
[{He sees the victims exactly as the bomber did, prior to the explosion: the
full impact of the shock wave hitting the victims. He hears their screams.}]
[Frank turns his head and see two more brief visions.]
[{He sees: bright lights illuminating the victims. He hears the sound of the
explosion and their screams again as he sees them being pushed by the force
of the shock wave.}]
[Pierson walks up behind Frank and shines the flashlight on the ground near
him.]
Pierson: "That's the seat of the explosion. If you'd
been sitting in that booth at the moment of detonation
your flesh would have been... Kleenex."
[A member of the Bomb Squad enters the area.]
Bomb Squad: "Agent Pierson?"
Pierson: "Yeah."
Bomb Squad: "Found this approximately 200 yards down
the street."
[He hands Pierson something inside of a plastic evidence bag.]
Pierson: "Part of the detonator."
Bomb Squad: "Whoever built it didn't take any chances."
Peter: "Chances?"
Bomb Squad: "See these wires? Three too many. Built-in
redundancy so if the first system failed there'd be
two backups."
[Pierson sighs.]
Frank: "May I?"
[He takes from the bomb squad leader another plastic evidence bag he has
been holding in his hand. He holds it up and shines the flashlight on it.
It is a combination lock, the kind with three rolling tumblers with numbers
on them.]
Frank: "Briefcase. Probably placed beneath the booth."
[Peter takes the bag from Frank, looks at it and reads a word engraved above
the tumblers.]
Peter: "Egyptian make."
Frank: "The bomb was professional -- placement was not.
A waitress could have found it. A customer kicking it
would have discovered it."
Peter: "I'll check it out. Cover our bases."
[They exit the building. Outside, several other officers, detectives and
agents are on the scene, as are some members of the press.]
Woman: "Agent Pierson?"
Pierson: "Yeah."
Woman: "*Nightline*'s covering the bombing tonight."
[Frank looks at the exterior of the pub, its sign, a coat of arms above the
words: `QUEEN'S ARMS' has been partially knocked off its position and is now
barely still attached to the building front. He turns away from the two as
they speak. His attention is focused on the parking garage building across
the street. He then sees several images, in quick succession.]
[{He sees: the pub, intact, prior to the explosion, from the same vantage
point the bomber had; a partial view of the `PARKING' sign from the garage;
again the pub before the destruction; the pub with a bright yellow light
coming from its interior as the bomb exploded; again the partial view of
the `PARKING' sign, also being flooded with that same yellow flash of light;
the blast itself and it ripped through the front of the pub and out onto the
street -- flames engulfed in a yellow haze, debris being shot out in every
direction; then finally a blank screen. Sound of explosions throughout.}]
[Frank shields the sun from his eyes with his hand as he continues to look
over at the parking garage.]
Woman: "Koppel wants a representative to explain the
psychology of someone who could shred 13 complete
strangers."
Pierson: "Frank?"
Frank: "I have a job."
[He crosses the street and walks toward the parking garage.]
THURSDAY, 10:56 AM EST
[Frank can be seen walking on one of the upper levels of the parking garage.
Pierson is following him. Bits of broken glass and debris from the explosion
littered the ground.]
[He walks over to the side of the parking level where the bomber had stood
watching the pub prior to and during the explosion. He looks down on the
scene below. The entire area is cordoned off. A police van blocks one side
of the sidewalk. Two squad cars block access to the front of the building.
Officers are on the scene, still looking through the rubble.]
[He turns and sees five cigarette butts on the ground. He crouches down next
to them. Pierson walks over, pulls on a rubber glove, bends down and picks
one up.]
Pierson: "I.R.A. -- British brand."
Frank: "British pub. He was in it."
Pierson: "He?"
[Frank nods.]
Pierson: "You feel we're not dealing with foreign
co-conspirators?"
Frank: "Political terrorists would be far from the
scene. He was here... watching."
[Frank then looks to his right at a trash can standing by a support column.
They both rise and walk over to it. Frank moves some papers at the top of
the pile. Pierson with gloves now on both his hands, then picks up a folded
napkin from the trash can. It is from the pub with the coat of arms printed
on it. He unfolds it and looks at its contents.]
Pierson: (repulsed) "Ugh. He was here all right. My
own preference is to imagine girls who wouldn't date
me."
Frank: "He was excited... anticipating what was about
to happen... and at midnight last night he got his
release."
THURSDAY, 11:25 AM EST
[NEXT SCENE: The bomber's residence. A wide assortment of sophisticated
electronic equipment occupy a couple of tables: a reel-to-reel audio
recorder, several wide-band scanners, and police band receivers. Various
radio transmissions from the night before can be heard playing on the reel-
to-reel machine.]
{Woman #1: "Emergency Operator -- may I have your
name?"}
[He is sitting near the equipment. He is reliving the memory of the bomb
explosion and has several quick flashbacks -- all the while he is panting
heavily, sexually aroused by the destruction he has caused.]
[{He sees: the bomb blast just at detonation, bursting forth from the pub,
from his vantage point at the parking garage; several of the patrons from
the pub as he saw them while he was still inside -- being struck by the
shock waves from the explosion; a bright white light; two more patrons being
hit by the shock waves. Sounds of explosion and screams throughout.}]
[There is a close up of Dees' face, his eyes, as he listens to the tape and
becomes more excited.]
{Woman #2: "There has been an explosion at The Queen's
Arms -- 424 37th St. All units respond."}
[He continues to pant, moaning slightly. The camera pans across the table
past the other equipment and reveals the tools of a bomber's trade: plastic
explosives, tape, various tools, wires... ]
[{He sees: a bright white light which fills the screen and turns into a red-
tinged one resembling blood; several victims from the explosion receiving
emergency medical treatment at the scene, each shown in quick succession;
the same red-tinged screen; a quick blurred images moving across other
victims from the blast and again the red-tinged screen. Sounds of screams
and a rumble or roar throughout.}]
{Man #1: "Send all available units to The Queen's
Arms."}
[His panting becomes more rapid and heavier. The camera continue to pan
over to another table where sticks of dynamite taped together can be seen
as well as some detonators, radio remote control transmitter, other tools
and smaller items and a briefcase, already packed with explosives, some
wires are partially attached to the explosives and the case itself -- his
next bomb in the making.]
{Man #2: "Setting up a perimeter on 37th between
Franklin and Cedar... "}
{Woman #3: "All units respond, code three."
[{He sees: the same red-tinged screen; several vague, indiscernible images;
then some different people, in an office setting, also experiencing the same
blast from shock wave as did the patrons from the pub; several of them are
screaming; a white-gloved has can be seen extended and raised upright; then
an explosion and sparks from a fire as some desks and office equipment are
blown to pieces. Sounds of screams and a rumble throughout.}]
{Woman #3: "All hospitals in the area have been
put on alert. Standing by."}
[His face is shown again -- now much more calm. His breathing has returned
to normal as he continues with the assemblage of the bomb.]
[NEXT SCENE: Back at the Joint Task Force Headquarters. Peter and Agent
Pierson return to see what has been learned so far.]
Pierson: "All right, it's five after one -- time for
the noon meeting. Let's hear it."
Agent Takahashi: "Got a partial serial on what we believe
is the receiver casing. Checking manufacturers to
determine location of purchase."
[Pierson nods and takes a number of his messages from another agent, quickly
looks through them.]
Pierson: "Briefcase."
Peter: "Egyptian make, however, this particular latch
is used on three different brands and ten models so
there's thousands of them out there, but we're checking
local stores for recent sales."
Officer Riley: "This is a list of the morning canvas.
Updates on the hour."
[He hands out sheets of paper to everyone.]
Pierson: "Hmmm. Caller's prints."
Riley: "Full index. Partial thumb from the phone
booth. Running it through N.C.I.C., C.P.I.C. and
Interpol."
Pierson: "Well, that's a start. The device we're
recovering is highly sophisticated with a built-in
backup system so we now know this guy has expert
knowledge of both electronics and explosives."
Agent Mills: "This *guy*?"
[Pierson looks at Frank.]
Pierson: "We now believe an individual set off the
detonation, witnessing the aftermath last night from
a nearby vantage point. And we fully expect him to
obsessively follow this investigation."
Agent Takahashi: "You mean, in the press?"
Frank: "Closer. From his home. The bomb was complex,
intricate -- perhaps overly so. I believe this trait
extends to his obsessions. Expect to find an array
of eavesdropping devices -- scanners, cell phone
cloners, R.F. receivers... He's listening to every
transmission we make. It's his way of inserting
himself into the chaos -- the chaos he creates."
Pierson: "And that's why we're changing the protocol.
All communication regarding this investigation will
be conducted through hard line only. No one is to use
their cellular phone... except Frank Black."
THURSDAY, 5:32 PM EST
[Again we are in the bomber's home. He is using a TELE COMM Scanner to pick
up and monitor various transmissions, confirming exactly what Frank said he
would be doing.]
{Woman: "Then Alison said she heard it was a bomb.
And I told her, `I just pray that it was a gas leak.'"}
[A number of conversations can be heard garbled and overlapping. He then
turns the frequency dial and it scans through radio band waves and beyond
into cellular phone lines, picking up snippets of conversation until we hear
Frank's somewhat garbled voice. It draws the bomber's attention.]
{Frank: "You got a confirmation on that? Did we get
a vapor trace analysis?"}
{Pierson: "It was positive. Semtex. Probably stolen
from the military."}
[He moves over to the scanner to try and fine tune the frequency. The
conversation can now be heard clearly.]
{Frank: "Have the National Guard Armory check its
inventory."}
[Having isolated the transmission, he listens to the conversation.]
{Pierson: "Riley and Johnson are looking into Fort
McNair and Boling Air Force Base. I'll check the
Washington Boat Yard."}
{Frank: "Call you in an hour. I think we're getting
close."}
[Conversation over, a dial tone can be heard as he sits back in his chair
and notes what he has found... ]
FREQUENCY: 840.630
CELL DATA DISPLAY: 202-555-1367
[Cell Location:] C 3633 142
[Elsewhere in the city, Pierson can be seen exiting an outdoor phone booth.
He walks towards a car where Frank is waiting, sitting in the driver's seat,
cell phone in hand. He puts the phone down on the dashboard. Pierson leans
on the open passenger window to speak with Frank.]
Pierson: "How long do we chum for him?"
Frank: "For as long as it takes. I'm going to try
a different cell site."
[Pierson nods and begins to walk away when Frank's cell phone rings. Frank
picks it up.]
Frank: "Yeah."
[No one speaks.]
Frank: "Hello?"
[Tones can be heard -- the same ones mentioned earlier are pressed again:
`5-2-2-6-6-6,' then the phone is hung up and a dial tone is heard. Frank
closes the cell phone's antenna.]
Frank: "Contact."
[Back at the bomber's home, he does the same with his cell phone. As he puts
the phone down on the table, he has a quick vision: ]
[{He sees: himself; then a flash of yellow light as he sees himself again,
touching his face -- the flashes seems like flames which are surrounding
him.}]
--------- commercial segment ---------
[Trademark music cue as the scene fades in from white... ]
THURSDAY, 8:16 PM EST
[NEXT SCENE: Back at the Joint Task Force Headquarters. Frank, Peter and
the other agents have prepare an elaborate trace on Frank's cell phone.
Agent Sullivan explains their plans. Agent Pierson is also present.]
[Sullivan sits at a table before some equipment. Two other tables have been
arranged around him in a U-shaped configuration. Another agent mans some
other equipment behind Sullivan at a second table. The third table is bare
except for some headphones and Frank's cell phone. Frank, Peter, Pierson
and another agent are standing by this third table.]
Agent Sullivan: "The instant your finger hits the
`SEND' button, we're on to it. We've got every piece
of equipment invented at our disposal. Court orders
have been signed. Phone company's on board. All we
need to do is keep him on line."
Peter: "How long?"
Sullivan: "Depends. If he's calling from a land
line... "
Frank: (interrupts) "He'll use a cloned cell phone."
Sullivan: "Right, absolutely. And if he's smart... "
Frank: (interrupts again) "He is."
Sullivan: " ...he'll use several, in rotation."
Pierson: "If he changes signals, it'll be impossible
to trace."
Sullivan: "No, not impossible. Very hard to trace,
not impossible. If we can lock on to the signature
frequency of his phone we can use RF-call trace,
which is only a ten-second delay from real time to
track cell sites, cell faces, hand-offs, signal
strengths -- then we can start to close in the circle,
pinpoint his location. The key is keeping him online
until we lock in."
Frank: "All we have to do is wait."
[Frank removes his jacket, walks over and drops down into a chair off to
one side. He sighs, exhausted. Peter walks over to talk with him.]
Peter: "How long have you been up?"
[He sighs again and looks at his watch.]
Frank: "For 37 hours. Can't sleep on a plane."
[Frank's cell phone rings.]
Sullivan: "Whoa."
[He turns on a reel-to-reel audio recorder and his other equipment. Peter
and Pierson pick up headphones and put them close to their ears so they can
hear the conversation. Frank picks up the cell phone, pauses a moment to
give everyone time to get ready, then presses the `SEND' button on the
phone. As he does, Sullivan puts his own headphone up to his ear, then he
presses a two-minute timer which starts counts downward from `2:00.']
[Frank pauses and speaks as slowly as possible, in order to buy them as
much time as he can for the trace.]
Frank: "Yeah."
[No verbal response, only the same tones are heard again: `5-2-2-6-6-6.']
Frank: "Who is this?"
{Bomber: (singingly) "Hello."}
Frank: "Who *is* this?"
[Perspective shifts to Dees who is calling from his home. He's using his
watch again to time the length of the phone conversation. The watch face
reads: `TR 8:19 01'45".' It continues to tick downwards towards zero.]
Bomber: (pause) "A star."
[Frank shuts off the phone. Peter looks at him. Sullivan shuts off the
recorder and the counter, also looking at Frank as he sits down at the
table with the cell phone before him, waiting. The phone rings again. Again
the machines are turned on. Frank picks up the phone and hits `SEND.' The
timer is set again at 2 minutes.]
Frank: "Yeah."
[Camera alternates between the two during their conversation. Dees also has
reset the timer on his watch: TR 8:19 01'54",' and ticking downwards.]
Bomber: "Well, that was rude. I thought you'd want to
talk to me."
Frank: (feigning annoyance) "Who the hell *is* this?"
Bomber: "The one you've been working so hard to find."
Frank: (pause) "Prove it."
Bomber: "RDX. C-4. Homemade. Underneath the booth, in
the back."
[Frank looks up at Pierson, who is standing beside him, and nods.]
Frank: "Okay, look, I want to help you."
Bomber: "You want to stop me, don't you? You do your
job, you'll be famous. A real star."
[He looks at his watch. The timer reads: `01'01"' and continues to tick
downwards.]
Bomber: "Isn't that right... star?"
Frank: (exhales) "All I want to do is communicate.
That way we can help each other. First, I need a
name. What do I call you?"
Bomber: "I already gave you *my* name."
[Frank looks up at Peter.]
Frank: "Kaboom? What kind of name is that? Sounds
like that little guy on *The Flintstones*."
[Dees again looks at his watch. It reads: `TR 8:20 00'13"' and ticks down
to `00'11"' when Dees hangs up the phone, ending the conversation. A dial
tone can be heard. Frank has a small smile as he too shuts off the phone.
Sullivan shuts off the recorder again and stops the timer at: `0:04.']
Peter: "Lost it."
Sullivan: "That was `Kazoo,' by the way."
Pierson: "Frank, you believe the, uh, tone was
appropriate?"
Frank: "He enjoys the sport. He'll call back."
Peter: "He knew what he was doing. He gave us less
than two minutes."
Sullivan: "We did get a frequency and sector grid."
Pierson: "Unleash the hounds."
THURSDAY, 9:35 PM EST
[In a back alley, two black vans stand waiting. Peter, Frank, Sullivan,
Pierson and a handful of other agents head for the vans which are equipped
with various surveillance and tracking machines.]
Peter: (to Sullivan) "I know the Rock Creek area.
Might be best if Agent Nolan, Agent Takahashi and
I take the northwest corner and head south."
Sullivan: "Okay. We'll take the Mill Creek Cemetery
and move north. Once we confirm the suspect's
signature frequency, we'll lock-on and triangulate
to pinpoint his location."
Peter: "Right."
[Frank and Pierson get into the first van with Sullivan. Both vans move
out into the city. The Capitol building can be seen illuminated against the
city skyline.]
FRIDAY, 2:15 AM EST
[The vans reach their starting locations and check in with each other.]
Peter: "Charlie One, this is Charlie Two. We're in
position at 1300 Lincoln at Carolina."
Sullivan: "Copy, Charlie Two."
[The phone rings. Sullivan begins his trace and sets the timer at `2:00.'
Frank picks up the phone and presses `SEND.' He hears the same six tones
again.]
Frank: "Yeah."
[The bomber hangs up and a dial tone can be heard. Frank shuts off the
phone.]
Pierson: (sighs) "Every 15 minutes for the last
three hours straight."
[Sullivan shuts the trace down and resets the timer which had reached:
`1:45.']
Frank: (to Sullivan) "Is there any way to confirm
that these phone calls are coming from the same
location?"
Sullivan: "No. Duration of the calls is way too
short."
Frank: (sighs) "It's calculated to burn us out.
He's planning something for today."
FRIDAY, 4:24 AM EST
[Elsewhere in the city, the bomber stands across the street from an office
in another parking garage, smoking a cigarette. The offices all have their
lights on but are obviously empty due to the hour. The bomber has a very
brief vision as he looks at the building.]
[{He sees and hears: an explosion; a brief red then white flash of light.}]
[Back in the first van, Frank's eyes grow heavy with sleep. Pierson is
napping and Sullivan is nodding off as the phone rings again. Sullivan goes
about setting things up again. Pierson wakes up, rubbing his eyes as Frank
checks his watch.]
Frank: "5:17. A break in the pattern."
[He presses the `SEND' button.]
Frank: "Yeah."
{Catherine: "Frank, it's Catherine."}
[Camera alternates between the two throughout the scene.]
Catherine: "I'm so worried. You haven't called."
Frank: "I have to call you back."
Catherine: "Frank, wait. Jordan... "
[Frank disconnects and a dial tone can be heard. Catherine is seen sitting
up in bed. She puts the phone back in its cradle on the nightstand beside
the bed.]
[In the van, Frank picks up another phone and calls his wife back. The
phone rings. Jordan can be seen in bed next to her. Catherine answers the
phone.]
Catherine: "Hello?"
Frank: "Catherine, I'm so sorry. You can't call me
on my cell phone. It's being monitored."
Catherine: "Monitored? Frank, what's going on? I
know that you can't tell me the specifics, but...
are you all right? Jordan had a nightmare about
you."
[Frank's cell phone rings again. He puts down the phone with Catherine still
on the line and picks up the cell phone.]
Catherine: "Frank?"
[Sullivan sets things in motion again as Frank looks to him for the okay to
answer the phone. The timer starts ticking down from `2:00' again. He then
presses `SEND.']
Frank: "Yeah."
[Again the six tones can be heard.]
Frank: "Yeah."
[Camera alternates between the two during their conversation. The bomber
can be seen in his car, on the move.]
Bomber: "Getting any sleep, Frank? Shouldn't let it
keep you from calling Catherine."
Frank: "You must be pretty tired yourself."
[Catherine can be seen listening to the conversation through the open line.]
Bomber: "No rest for the weary."
[One of the machine's screens reads: `236°' with an arrow pointing east-
west and `043°' with an arrow pointing north-south. Beneath the first signal
bearing, the number `67' appears. Beneath the second, `54.']
[Another readout shows a fluctuating bar graph. Above it reads: `SIGNAL
STRENGTH,' two arrows, one points down, the other up and a box reading:
`1X.']
[Sullivan gives Pierson, who is in the driver's seat, a thumbs-up sign. He
then starts the engine and begins driving the van.]
Frank: "All work and no play makes a dull boy."
[Sullivan speaks into a small microphone built into his headset and feeds
the coordinates he's receiving to Peter in the other van.]
Sullivan: (whispers) "Charlie Two, this is Charlie
One. Signature frequency is: 8-3-5-5-6-1-2 point
6-7."
[Peter can be seen in the second van. Agent Nolan is manning the equipment
as Peter types in the numbers on a laptop computer in front of him.]
Peter: "Copy, Charlie One. On the way."
[He signals the driver, Agent Takahashi, to move towards those coordinates.]
[Camera alternates between Peter's van, Frank's van, the bomber's car and
Catherine throughout the rest of the scene.]
Bomber: "What I do is not work, Frank. It's art. My
palette is fire, glass and blood. It's a fleeting
art. It lasts only a fraction of a second, but the
effect is profound, permanent... "
[Frank checks the counter. It reads: `00:01:26' and continues ticking down.]
Bomber: " ...and if you're lucky, you happen to look
in the right direction at the right time, you might
get to see my creation."
Frank: "When?"
Bomber: "Later. Today."
[In the second van... ]
Agent Nolan: (to Peter) "Got him."
Peter: (into his mike) "Charlie One, just read a hand
off. Cell 67 to cell 54. He's traveling. Strength of
the signal indicates southeast."
[A close up of Peter's laptop computer screen can be seen. It is mapping
the signal frequencies and tracking the movement of the signal.]
[Back to the first van... ]
Sullivan: (to Pierson) "He's in a car. Turn left,
now."
[Pierson turns left at the next intersection and continues driving in that
direction.]
Bomber: "I touch people in a deep, lasting way. A
life-altering way."
Frank: "You're really a very important man."
Bomber: "Well, thank you, sirrah. I'm glad you see
that. Do you know precisely what happens at the
moment of detonation? Shock waves moving faster than
the speed of sound, pressure of over 500 pounds per
square inch and this is all unleashed by me, Frank.
It moves so fast that a vacuum is formed behind it,
sucking back all the air that's been forced out by
the blast."
[Throughout the bomber's speech, various screens and display are seen.
The timer ticks down to `0:54;' Peter laptop computer screen continues to
map and follow the signal frequency; another device monitors the suspect's
voice and displays it as a series of red lights which fluctuates as his
voice is heard coming through a speaker. Sullivan makes some adjustments
to try and fine tune the signal.]
Bomber: "So, you see, Frank, a glass splinter will
literally turn itself around, go back and penetrate
anything that's in its path. I just don't know
anything that has the power to stop that."
[Both vans keeping moving closer to locking down the bomber's location.]
Bomber: "My art brings out the truth. People are
either vic-TORS or vic-TIMS. My explosion strips
every hypocrisy, every pretension sheltered in the
human heart and exposes the naked soul."
[Frank gestures at Sullivan with his hand, trying to find out if he still
needs to keep the bomber talking.]
Sullivan: (whispers) "More time."
[The bomber is about to shut off his cell phone when... ]
Frank: "I feel your work is about waiting, anticipating
the moment, the terror created."
[He has the bomber's attention... as well as Catherine's.]
Frank: "Playing so long on the mind, the fantasy becomes
dull. The only moment worth a damn... the only arousal,
is the moment of fire. Feel the heat upon your face.
The impact upon your chest. The screams. The sirens.
It is the moment of creation."
[Sullivan speaks into his mike to Peter.]
Sullivan: (whispers) "Charlie Two, lock on to 835567.
Help me find him."
[In the second van... another shot of Peter's laptop computer screen. It
shows a blow up a the street they're on with two lines denoting both vans'
locations and the suspect's signal that they're following. ]
Peter: "Signal is real strong in cell 46 -- that's
two block northwest of your present location."
[Back to the first van... ]
Sullivan: (to Pierson): "Turn right on Illinois."
[The van makes the turn as the bomber responds to Frank's comments.]
Bomber: "You're an artist too, Frank."
Sullivan: (whispers to Frank) "Oh, he's close."
Bomber: "At nine o'clock this morning, I hope you'll
appreciate my work."
[The timer reads: `0:06' and ticks down to `0:05' as the bomber hangs up
the phone and a dial tone can be heard. The timer continues to tick down
to zero, then beeps.]
Sullivan: "Lost the signal."
Frank: "Give me that number."
[Frank dials the number. It rings. We see the bomber sitting in his car,
now parked somewhere. He is looking intently at a napkin in his hands. His
belt and jeans are undone. He does not answer the phone.]
[Back to the first van... ]
Frank: "He won't bite."
[Frank gives up, shutting off his cell phone. Catherine then hangs up her
own phone. As Frank puts down the cell phone next to the van's phone, he
realizes he has left Catherine on the line throughout the episode with the
bomber. He picks up the phone but only hears a dial tone. He shuts his eyes
for a moment.]
[As one of the vans drives past an alley, the pass the bomber who sits in
the dark in his car, staring straight ahead.]
Pierson: "Somewhere out here is a bomb."
Frank: "And we got about three hours to find it."
[The camera flies over the city at night and fades into... ]
--------- commercial segment ---------
[Trademark music cue as the scene fades in from white... ]
[NEXT SCENE: Morning. Various law enforcement personnel are gathered around
as a blow up of a street map of the Mt. Vernon Square area is rolled out.
Pierson gives a rundown of what they've learned so far.]
Pierson: "Using the data from the suspect's cellular
phone activities, we've extrapolated the probable path
of his vehicle prior to 5:17 AM when he contacted us."
[He draws a wide red circle just north of the square.]
FRIDAY, 6:37 AM EST
Pierson: "It puts him near this two-block area of
shops and businesses that might fit his pattern of
attack. Red team will be searching the northwest
section of Columbia to 13th. Blue team will start
at Franklin and Fifth, move west to Marion Avenue.
We are looking for any suspicious packages. Building
managers, business owners have been notified. They
will help us to determine if anything looks out of
place, if there's been any sign of a break-in. We've
informed our search teams: `if they see anything
that might be a bomb, do not be a hero. Note the
location and alert the bomb squad.'"
[Frank checks his watch.]
Frank: "We got two and a half hours."
Pierson: "Let's go."
[The officers and agents move out to their appointed search areas as Frank
walks over to one side, placing his head in his hand, completely exhausted
from over two days' lack of sleep. He then sits on a parked car. Peter
walks over to join him.]
Peter: "Frank, you don't look too good."
Frank: "I'm all right. I'll get some sleep after
we find him."
Peter: "Well, at least we've determined the search
area."
Frank: "It's not enough, Pete -- all this manpower.
I feel I could save so many lives if I understood
what he wants."
Peter: "We all heard him, Frank. It's the thrill.
Sexual transference."
Frank: "It's more. His thrills wear out quickly. First,
he alerts the authorities there's a bomb. After a
day he needs more. So he contacts *us*? Taunts us to
the point of near capture? What will he do to increase
his excitement?"
Peter: "What if it's some kind of god complex? He
talked about his creation, about controlling people."
Frank: "What I can't get out of my head is when he
stated I'd be famous when I caught him. A `star.'
It lies in there, somehow."
FRIDAY, 8:27 AM EST
[Exterior of the same office building the bomber stood watching from the
parking garage across the street in the early morning hours. Inside, the
day's work is under way. Phones are ringing. People are moving about from
desk to desk. An elevator dings and opens its doors, its passengers exit
it and walk into the reception area of the office.]
Man: (to the receptionist) "What a nightmare. Traffic
was backed up to Fourth Street. It took almost an hour
to move five blocks."
Receptionist: "There was a bomb scare."
Man: "Giving every nut with a phone the power to shut
down business."
[He picks up, looks at his messages, walks over to his desk, places his
briefcase on the desk and sits in his chair. The camera pans down below
his desk and over to the wall where another briefcase sits.]
[As other employees go about their work, we see a building maintenance
worker, wearing coveralls, checking his watch. It is the same watch the
bomber has been using. It reads: `TR 8:29 14'57".' The maintenance worker
is the bomber. He looks around at the people in the office. He envisions
them during a bomb blast.]
[{He sees: shock waves impacting on some of them; superimposition of his
own eye as he's watching them; himself in black and white, turning his head
to look at others in the room; another man with the full force of the shock
wave slamming against his chest; quick cuts of partial views of others;
himself again, still in black and white, with his eyes closed; a flash of
light; two women with wind from the blast blowing through their hair, then
bathed in a blindingly bright white light; close up of one of the women,
the receptionist; himself again, this time in color, eyes closed; then he
sees himself in street clothes, bathed in a somewhat bright light, turning
and smiling; the light becomes more bright, flashes of light on his face,
he stands with his head thrown back, eyes closed, look of enjoyment on his
face; the screen fills with a red glow resembling blood; he sees himself
still with his eyes closed, in street closed, a smile on his face; another
bright light. Sounds of screams throughout.}]
[The bomber opens his eyes now that his visions are over.]
[Outside, a police car drives through a search area. A number of other
squad cars line the street. Two officers replace a barricade to restrict
traffic to that street as they continue searching the buildings. Some radio
chatter can be heard in the background. An ATF agent walks by with a dog.]
[Frank walks out of the building and out onto the sidewalk, looking around
him. Across the street, he spots a parking garage. He runs towards it.]
[Inside the garage, Frank runs up the ramps to the upper levels. He runs
around a bit, checks his watch which reads about a quarter to nine, then
runs to the side of the parking structure to look out at the street. He
then looks down at the ground and finds two cigarette butts. He picks one
of them up. It has a British emblem on it. These are the same brand of
cigarettes they found after The Queen's Arms bombing. He turns and sees the
office building across the street. The same office building where the bomber
is dressed as a maintenance worker. He takes out his cell phone and dials
in a number.]
Frank: "Jack, this is Frank. Send the bomb squad to
2300 Oglethorpe, north of the parking structure on
Maryland."
[He begins running through the garage on his way out of the structure and
out towards the office building.]
[Meanwhile, the bomber is looking at his watch which reads: `TR 8:44' and
it is counting down from `00'16"' to `00'13"' as he keeps his finger on one
of the buttons beneath the watch face. He looks over to the briefcase over
by the wall behind the desk shown earlier.]
[Back in the parking garage, Frank is still running, making his way out of
the building when...
Frank: (on the phone) "You have 15 minutes -- plenty
of time to eva- "
[ ...an explosion occurs behind him, throwing him to the ground and tossing
his cell phone away from him.]
[In the office building, debris from a small explosion has ripped through
a desk, scattering debris and smoke throughout the office seen earlier.
Alarms go off, people are coughing, some are crying and screaming. But the
briefcase by the wall behind the desk remains intact. The main explosion
has not occurred yet.]
[In the garage, car alarms are blaring due to the loud noise of the blast
as Frank tries to gather himself. He looks at his watch and see that it
still reads a quarter to nine. Police sirens can be heard as they rush to
the scene. Then Frank's cell phone begins ringing. Frank crawls over to the
phone, picks it up and presses `SEND.']
{Bomber: "Just warming up. Hmph. Third floor."}
[Frank rushes to his feet.]
[Inside the office building, alarms are still sounding as people make their
way down darkened, smoke-filled flights of stairs. Some people are coughing
and screaming as Frank moves through them on his way up to the third floor.]
Man: "Get out of here! Come on, move!"
[One man is seated on the steps. Frank climbs up past him then tells a guard
to... ]
Frank: "Help him!"
[He then shouts at the others in the stairwell.]
Frank: "There's a bomb! Keep moving. There may be
another bomb."
[He finally reaches the third floor and tries to get the remaining people
there to leave.]
Frank: "Go! Go!"
[A man rushes up trying to get past Frank and knocks him to the ground.
Down on the floor, Frank looks around and spots the briefcase by the wall.
He tries to get up and move towards it when another man jumps on top of him
and pins him to the ground... ]
Man: "Get back!"
[ ...just as the bomb explodes. It rips through a couple of desks sending
more debris and smoke into the air. Frank tries to raise his head which is
cut on the forehead. The man speaks to him. His face cannot be clearly seen
through the smoke. It is also covered with soot but he resembles the bomber.]
Bomber: "It's all right. I'll get you out of here
alive."
[Frank passes out. The bomber then bends to try and carry Frank out of the
building. Smoke fills the screen then fades in from white to... ]
[NEXT SCENE: The hospital. Frank is in bed, hooked up to a monitor and his
pulse can be heard beeping in the background. The screen shows that his
pulse rate is jumping from `68' to `73' to `81' to `88.' His blood pressure
is `130 / 57.' The beeping gets faster as his pulse continues to quicken.]
FRIDAY, 2:22 PM EST
[He is having a nightmare and sees several images. He hears screams through-
out.]
[{He sees: a flash of bright white light; several people from the office
building as they were hit by shock waves during the bomb blast, including
the two women exactly as the bomber saw them with wind blowing through their
hair; Jordan, first, normal and happy, then frightened.}]
[{He next sees: Catherine, as she looks normally, then terrified; a blast
as from an explosion illuminates her from the right; a blindingly bright
white light bleaches out Jordan's image.}]
Catherine: "Frank?"
[{He then sees: Jordan turn, smiling, putting out her arms towards him and
a flash of bright white light; Catherine's face, a look of worry mixed with
fear. He hears Jordan screaming `Daddy!'}]
[{And finally, he sees: himself, turning to face front, his face bathed in
a bright white light, a close up of his wincing right eye; Catherine's face
again, frightened; several images of Jordan's face, awash in the bright
white light which becomes even brighter, then fades to normal with a sudden
brief blast of bright light again.}]
[His pulse is still quite fast due to the anxiety of the nightmare.]
Catherine: "Frank?"
[He slowly opens his eyes and his pulse begins to slow down to normal as he
sees Catherine sitting on the bed beside him.]
Catherine: "We had such a bad connection on the phone,
thought I'd connect with you in person."
[Frank smiles weakly and nods his head. He closes his eyes briefly.]
Frank: "Jordan?"
Catherine: "Amy has her for the weekend. When I got
the call I got so scared. I heard you that night...
Frank... on the phone. Dr. Bowman says you have a...
mild concussion. But... it's not your body healing
that worries me. It's your spirit. You should know
that for every dark soul that you connect with, there
is a bright one. The man that pulled you out of the
building."
[Frank doesn't react.]
Catherine: "He came by to see how you were."
[Frank seems puzzled.]
Frank: "I... don't remember."
Catherine: "He's been on every channel this morning."
[She picks up the remote control, turns and aims it at the TV set, clicking
through various programs on different channels.]
{Man #1: " ...49-year-old unidentified man went berserk
last night... "}
[Click.]
[The TV screen shows a talk show with the hostess standing in the middle of
the audience and two guests, a male and female, up on the stage talking.]
{Man #2: " ...total commitment, I mean, all the
time?"}
{Woman: "Total commitment."}
[Click.]
Catherine: "His name is Raymond Dees."
{Reporter: "What was your reaction when you saw what
you thought was a bomb?"}
[The TV screen shows a couple of reporters trying to interview Dees, the
bomber, whom the screen credits as: `Raymond Dees Hero' in the lower left
hand corner. The upper left hand corner reads: `LIVE Recorded Earlier' and
a station logo for Channel 6 is in the lower right hand corner. One of the
reporters' microphones has a station ID tag: `NEWS 10.' The other reporter's tag reads: `WJPK6.']
{Dees: "I had a flash of fear like everybody else
but I kept my head because I knew I had to get
everybody out of there."}
{Reporter: "What would you like to say to whoever
did this?"}
[Frank is paying close attention to Dees.]
{Dees: "What I'd like to say, I won't out of respect
for the people out there."}
[Frank sits up in bed and stares at the TV screen as Dees speaks.]
{Dees: "But, I would like him to know that we're
not just victims and we *will* find him."}
{Reporter: "How does it feel to be a star?"}
[The camera moves in for a close up of the Dees' face on the TV screen.]
{Dees: "I just did what anybody else in my place
would have done."}
Frank: "Kaboom."
--------- commercial segment ---------
[Trademark music cue as the scene fades in from white... ]
FRIDAY, 11:32 PM EST
[NEXT SCENE: Back at the Joint Task Force Headquarters. Frank runs a video
tape of the news coverage of the bomb scene at The Queen's Arms pub on a TV
monitor for Pierson and the others. He fast forwards through the tape till
he reaches the part where Raymond Dees is seen trying to get help for one
of the victims. He then freeze-frames the video on Dees.]
Pierson: "You want to bring him in because he was a
hero -- twice?"
Frank: "That's him, I know it."
Pierson: "Frank... after Centennial Park, there is
no way that I could bring this guy in without more
evidence."
Frank: "The bomber has expert knowledge in explosive
devices. He knew exactly what and how much to use to
create the effect he wants."
[Another agent brings over a fax and hands it to Peter.]
Frank: "There were two explosions today -- neither
one of which matched the lethal intensity of The
Queen's Arms bombing."
Pierson: "It was lethal enough to kill five people."
Frank: "But not so destructive a person couldn't
survive inside of it. Especially if he knew when
and how the force would dissipate. Raymond Dees is
a maintenance worker in that building. He has the
knowledge and the opportunity to place those devices
where it would best suit him. He watched the first
bombing from a distance. He believed that watching
the chaos which he created would be the thrill, but
he needed more -- to smell it, to touch it, to
participate in the aftermath, but that wasn't enough
either."
Peter: "So, today he placed himself *within* his
created chaos."
Frank: "It wasn't enough to watch others. He needed
to watch himself. *A real star*."
Pierson: "Are you saying he killed 18 people so he
could be on *Good Morning America*?"
Frank: "Killing wasn't the motive. It was a by-product
of his obsession."
[Peter shows Frank the paper.]
Peter: "I ran a check on Raymond Dees. He served a
stint in the military -- Middle East, explosives
specialist."
[Frank pushes the sheet of paper towards Pierson who takes a look at it. It
reads as follows: ]
{ Army Emblem } US ARMY EXPLOSIVE DIVISION
DATE/TIME
12 / 10 / 85 / 12:37 COMMANDING OFFICER
DAY MO YEAR TIME WRIGHT, T.J.
NAME: DEES RAYMOND
SERIAL # 98470
RANK OFFICER
INSTALLATION EGYPT { PHOTO }
MEDICAL OFFICER: DR. SAMUEL REED
DATE: 12/10/85
MEDICAL EVALUATION
{Handwritten and illegible}
[He looks at Frank and Peter but doesn't say anything.]
[NEXT SCENE: Several members of a SWAT team break down the door to Dees'
apartment and beginning checking the rooms, one by one.]
SWAT #1: "Exit clear."
{Radio: "Red Team confirm, uh, status transmission."}
SWAT #2: "Clear!"
SATURDAY, 1:13 AM EST
[Then Pierson, Peter and Frank enter the apartment.]
SWAT #1: "Anything back there?"
SWAT #3: "Nothing."
{Radio: "Uh, Blue Team Leader, we are in position on
the main floor."}
SWAT #2: "Bedroom clear, sir."
Frank: "He left in a hurry."
[Some of the members begin searching through items in the rooms. Another
member comes up a flight of stairs from below them. Yet another addresses
Pierson.]
SWAT #4: "Nothing down there."
SWAT #5: "Agent Pierson, you should come in here,
sir. There's something I think you should see."
[He leads the trio into another room filled with electronic equipment --
the same room Dees had been using to listen to police and rescue radio
transmissions during the first bombing and when listening to Frank and
Pierson during their staged phone conversation.]
SWAT #5: "This was all on when we came in."
[Frank walks up to the TELE COMM receiver and looks at it.]
Frank: "He's still listening to us."
[On the display, is a cell phone number: `202-555-1367.' Beneath it is the
cell location: `C3633 142.']
Frank: "That's my cell phone number."
[Frank looks at Pierson, turns and hits the `REWIND' button on the reel-to-
reel audio machine to his right, then presses the `PLAY' button.]
{Man #1: "One-Baker-Six, what's your 20?"}
{Man #2: "10-87 at 2-7-3 Lamont Avenue, over."}
Frank: "He knew we were coming. Could be anywhere
by now."
Pierson: "At least half of America knows what he
looks like."
Peter: "Looking at these materials, it's very
possible he made another one."
[Frank nods, then sighs. He needs to brace himself on the table with his
hands, still weak from the recent explosions.]
Pierson: "Hey, Frank, you should still be in the
hospital. Get the hell out of here. We'll let
forensics go through all this evidence. We'll meet
tomorrow."
[Frank looks to Peter, nods. Peter nods in return.]
Pierson: "Go home."
[Outside, one of the agents drives Frank to a parking lot where Frank has
his rental car. He steps out from the car.]
Frank: "Thank you."
[He waves to the driver, then heads for his car as the agent drives off.
He reaches his car, unlocks the door and sits inside. He fastens his seat
belt and is about to start his car when the phone rings. He reaches into
his pocket for his cell phone, opens it and presses the `SEND' button.]
Frank: "Yeah."
[The same six tones are pressed once again.]
[Perspective shifts back to Dees' home and the room with all the equipment.
Peter hears the call being made to Frank's cell phone.]
{Frank: "Raymond? Where are you?"}
[Back to the parking lot. A car's headlights are turned on. Dees sits in
his car across the parking lot off to Frank's left. Frank turns to look in
the direction of Dees' car as the lights are turned off.]
Dees: "Been waiting on you, Frank."
[Back at Dees' home, Pierson and Peter move into action, realizing that
Frank is in danger. They run outside of Dees' house and inform the other
agents of what they've learned.]
Pierson: "We have a situation at the parking lot.
Block off the access -- nobody goes in or out. I
want sharpshooters, now!"
[Back at the parking lot... ]
Dees: "I know, Frank. You probably feel like I feel."
[Frank decides not to keep turning to look at Dees' car. He repositions his
rear view mirror so that it reflects it instead.]
Dees: "You can't move and you're just waiting. You
know it's going to end, but you don't know how."
[Dees can be seen sitting in his car, looking and smirking as he talks on
the phone to Frank. He raises his right hand up to the steering wheel, in
it is a remote control switch with a button. He presses a switch and a red
light turns on. He keeps his finger on the button as he rests the device on
the wheel, pointing in Frank's direction.]
Dees: "I know."
[Peter and Pierson arrive in a car with two sharpshooters. Pierson gives
them final instructions as they exit the car and move off into position.]
Pierson: "The suspect is a man we believe has killed
18 people. You get there, you get a clean shot, you
take it. Let's go."
Man: "Got it."
[Perspective alternates between Frank and Dees and the others throughout
the remainder of the scene.]
Frank: "Raymond, do you know precisely what happens
at the moment of detonation?"
Dees: "You know I do."
Frank: "No, you don't. The moment this bomb, you
lose your power, you lose your control. Raymond,
you're a hero. A star. Are you going to throw that
all awa-?"
Dees: (interrupts) "No!" (pause) "You're trying to
take it away from me. I'm getting it back. And I'll
be very clear about something. People will know who
I am."
[The first sniper moves into position and reports in to Pierson by radio.]
[We see through the scope of his rifle which has a night-vision lens. We
can see Dees' head and left hand holding the cell phone to his ear.]
Sniper #1: "Got a clean profile... "
[He then moves his rifle over and spots the remote switch in Dees' right
hand on the steering wheel which we see through the scope.]
Sniper #1: "Wait. He's holding a transmitter in his
hand. A muscle spasm might set it off."
Pierson: "Then go for the medulla oblongata shot.
Take him out."
[The sniper moves to find a new position.]
Dees: "Frank?"
Frank: "What?"
Dees: "I've seen it. The moment before. Their faces.
They're terrified because they don't understand --
unlike you, Frank. They don't understand what it is
to give yourself over to chaos. But you understand.
You've seen it too. I can tell."
[The sniper has arrives at his new position. He looks through the scope and
finds that... ]
Sniper #1: "B-pillar's blocking my shot. You're
going to have to take it, Alpha-2."
Sniper #2: "Ten-four."
[The second sniper is seen in another location. He looks through the scope
of his rifle, resting his trigger finger on the trigger guard.]
Dees: "It's time... Frank."
Frank: "Raymond, no."
[Frank looks at the reflection of Dees' car in the mirror. The transmitter's
red light can be seen.]
[The sniper moves his finger off the guard and onto the trigger itself.]
Frank: "Raymond... "
[Dees moves his finger as if ready to press the button.]
[The sniper takes his shot, shattering the rear window and entering the
back of Raymond Dees' head. He slumps forward in his seat, head against
the steering wheel. The hand which had been holding the transmitter opens,
dropping the device onto the floor. The bullet exits the front windshield.]
[At the moment the shot is fired, Frank jumps at the sound and drops his
cell phone. He looks over at Dees' car and let out a deep sigh, then rests
his head back against the car seat.]
[Later that night, the bomb squad has just finished checking both cars for
explosives.]
Peter: "Frank. We checked it over twice. No sign of
explosives in either car."
Frank: "He told me he knew how it was going to end.
He controlled the whole thing right from the start,
including the method of his execution. He was right,
he got it all back and we helped him. People *are*
going to know his name."
[The press is out in full force as they get ready to report on Raymond Dees'
death. A news van from WJPK, Channel 6 is on the scene. A reporter prepares
to give a live report. Others rush to film footage in front of Dees' car.]
Reporter: "Are we on yet? Are we on? Okay. Okay,
I'm running."
Tech: "We're up. Go. go."
[Frank and Peter walk past all of this and step over yellow police `DO NOT
CROSS' tape.]
Reporter: "And the violence that began 75 hours ago
ends in violence tonight as the suspect, Raymond
Patrick Dees, was shot and killed by police sharp-
shooters."
[Frank and Peter walk past Dees' car. He can be seen still seated in the
car. A white sheet has been placed over his body and covering his head. The
film crew from WFTN is shooting the footage.]
Reporter: "The alleged bomber, a maintenance worker
in the Hadden Tower, the site of this morning's
bombing... "
[The scene dissolves from a live shot to an image on a TV screen as it airs
live as part of a TV news broadcast with the reporter continuing with his
coverage of the shooting. The screen shows a close up of Dees slumped over
the steering wheel with the white sheet covering his head and the bullet
hole that has shattered the windshield. The screen has the station logo:
`WFTN LIVE 8' in the lower right hand corner. The words: `Raymond Dees' in
the lower left hand corner.]
Reporter: " ...was heralded as a hero as he pulled
victims out of the blast area and into safety."
[The image on the TV screen changes to one of a close up of Dees as he was
interviewed on TV following the explosion at the office building.]
Reporter: "With his death, the reasons behind the
bombings may never be known."
[Camera zooms in for an extreme close up as it fades to black.]
[The credit fades in from black... ]
Executive Producer: Chris Carter
--------- commercial segment ---------
[PREVIEW of next week's Millennium -- no image description]
Voice Over: "Millennium has exposed the darkest side
of human nature, uncovered strange phenomenon, but
it's nothing compared to where it will take you in
the future."
Dennis Hoffman: "Seven planets align, catastrophic
earth changes... "
Frank: "You mean prophecy."
Peter: "Death by hydrostatic shock. His internal
organs were destroyed by the shock wave."
Frank: "I came down here looking for a man I've
chased before but... something else is going on."
Trooper: "Get a stretcher over here!"
Frank: "Anyone left that gets in their way is going
to die."
Woman: "What does he want?"
Frank: "He doesn't want anything. He's insane."
Voice Over: "Millennium. Fridays at 9, 8 central.
Parent 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
Hiro Kanagawa (Agent Takahashi)
William MacDonald (Agent Nolan)
Roger Barnes (Agent Smith)
Deryl Hayes (Officer Mark Stanton)
Mike Killeen (Reporter #2)
[Ed Striedinger] (Agent Mills)
[Claudine Grant] (Agent Wallace)
[Peter Bryant] (Officer Riley)
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: Erik Gerlund
Art Director: Roxanne Methot
Construction Coordinator: Clare Davis
Script Supervisor: Beth Mercer
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
2nd Unit Director of Photography: Les Erskine
Property Master: Kimberley Regent
Special Effects Coordinator: Bob Comer
Stunt Coordinator: Lou Bollo
Transportation Coordinator: James Perenseff
Extras Casting: Lisa Ratke
Assistants to Chris Carter: Mary Astadourian, Joanne Service
Production Coordinator: Toni Pedersen
Casting Associate - Los Angeles: Alfred Gomez
Casting Associate - Vancouver: Heike Brandstatter
Post Production Supervisor: Julie Herlocker
Post Production Sound: West Productions, Inc.
Supervising Sound Editor: Mark R. Crookston
Re-Recording Mixers: James G. Williams, Bryan Gladstone, Don MacDougall
Scoring Mixer: Larold Rebhun
Music Editor: Jeff Charbonneau
Assistant Editors: Jim Thomson, Robert Hudson
DaVinci Colorist: Philip Azenzer
On-Line Editor: Bob Minshall
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 Labs
Telecine by Gastown Post
Electronic Assembly by Encore Video
Cameras and Lenses by Clairmont Camera
Vehicles Provided by Chrysler
Filmed on Location in British Columbia, Canada
Presented in Dolby Surround TM where available
Copyright (c) 1996
Twentieth Century Fox Film Corporation
All Rights Reserved #4C05
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: June 26, 1997
Copyright (c) 1997 -- Nightowl Productions
Webmaster: Maria Vitale -- E-mail: nightowl@nyct.net