M I L L E N N I U M

"WIDE OPEN"

Ep. # 1.09  [MLM-108  (4C08)]

[ First Season ]  (Complete Transcript)

U.S. Air Date: January 03, 1997

=====================================================================
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 
=====================================================================


SEATTLE, WASHINGTON


[OPENING SCENE: Day, outside, a light rain is falling. A number of kids
are playing football in a quiet suburban neighborhood. There is no cars
parked on either side of the street so the kids are free to play in the
street. The homes all have finely-trimmed lawns.]

[A car slowly moves along the street towards the kids. The windshield
wipers are on because of the rain. The man inside, Cutter, watches the
kids and proceeds slowly. They finally see him.]

  Kid: (to the others) "Get out of the way. There's a
  car."

[The kids move off to either side to let the car pass. Cutter looks at the
boys as he does, then he turns left at the next corner. He's driving a gray
Ford, tag #: `776-GDN  Washington'.]

[This new street has some vehicles parked on it and on his left, a realtor
`FOR SALE' sign is on display on the lawn of one of the houses. There are
green flags stuck into the lawn and an arrow banner declaring an `OPEN
HOUSE'. Cutter turns his head to look at the house.]

[Inside the house, the realtor, Beverly Bunn, is talking to a couple. One
of them has a brochure in her hand.]

  Beverly: "So, why don't you two take your time and
  walk around, see the house."

[She hands the man her card.]

  Beverly: "If you have any questions, please don't
  hesitate to ask, okay? Thank you."

[She spots Cutter who has entered the house and walks over to him.]

  Beverly: "Hi, how are you, sir? Come on in. There's
  some information on the table over here about the
  property. And if I could just get you to sign in,
  that would be great. Thanks."

  Cutter: "Thank you."

[The realtor returns to the couple and leads them into another room.]

  {Beverly: "Right on over to the right here is the
  kitchen. Why don't you take a look inside."}

[Cutter walks over to the table where there are a number of brochures
and a guest book. The realtor can be heard talking in the background with
the couple as he signs the book as: `John Allworth.' The excerpt from the
book reads: ]


ABRAHAM LINCOLN
CATHY MORTON
JUSTIN McLEAN
B Barsby
John Allworth


[Cutter walks through the house on his own. He goes into a child's bedroom.
Stuffed toys, a picture of a clown and a large dollhouse can be seen. Beside
the dollhouse are a large framed picture and a closet. He walks over to the
closet. Hanging on the door is a measuring chart for the growth progress of
a child. He opens the door.]

[Inside, we see a wardrobe, neatly arranged and various dolls and toys on
the shelves.]

[Cutter then has several brief visions. Sounds of screams throughout.]

[{He sees: himself as a small child, hiding in an alcove, a large air vent
with the panel removed, screaming.}]

[He looks at a stuffed brown bear on one of the shelves.]

[{He sees: himself as a child again, still inside the air vent, screaming
and looking up at a man standing before him; then some quick images of the
panel.}]

[He looks at a Raggedy Ann doll on another shelf.]

[{He sees: the child still screaming as the panel is replaced with the
child still inside, sealing him in; the child looks up and sees the sides
of the aluminum duct; then screaming again with the silhouette of the man
behind him through the panel. End of vision.}]

[He continues to stare at the closet when he hears the realtor comes up
the stairs with the couple and come towards the bedroom. He turns... ]

  Beverly: "Well, as you can see, you really do have a
  lot of space to work with. Now, this is the second
  upstairs bedroom. This family has just the one little
  girl. Isn't it charming?"

[The bedroom closet door can be seen, closed but not quite shut. Cutter is
hiding inside.]

  Beverly: "Oh, you have to see the master bedroom."

[The walk towards the other room, but she can still be heard in the
background.]

  {Beverly: "The hardwood floors are all original... "}

[Later that night, the rain has stopped. The realtor's sign can be clearly
seen now. It reads: ]


FOR SALE

EMERALD
SHORE
R E A L T Y

For Information Call:

BEVERLY BUNN
555-0153


[The realtor is speaking with the owners, Mary Kay and John Highsmith,
about the day's turnout as their little girl, Patricia, runs through the
house and starts running up the stairs.]

  Beverly: "So, I think we have some real prospects.
  I had one couple that seemed very interested."

  Mary Kay: (to Patricia) "No running on the stairs,
  honey."

  Patricia: "Okay, Mama."

[But she resumes running up the stairs.]

  Beverly: "So, I wouldn't be surprised if we generate
  an offer."

[John can be heard in the background as Patricia reaches her bedroom... ]

  {John: "Well, I think the price we're asking is
  reasonable."}

[ ...she opens the door and enters the dark room, turns on a lamp, then
walks to her closet, pulls open the door. A full-length mirror is attached
to the inside of the closet door. The girl looks around, reaches for a
large stuffed white bear on a shelf above her. She then shuts the door.]

[Later that same night, the Highsmiths' security pad can be seen. It
reads: `READY - - - - -' and a green light can be seen as Joseph begins
entering the code to arm the system: `1-5-9-9-5-5-6... ']

[His wife comes up behind him.]

  Mary Kay: "You coming up?"

  John: "Yeah, I'm just going to go over those figures
  again.'

[She heads up the stairs as he finishes the sequence. The pad reads:
`- - ARMED - - -' and the green light is replaced by a red one. The pad
then reads: `ALL SECURE'.]

[Upstairs, Mary Kay has put Patricia to bed, and sits on the bed saying
good night to her. The white bear is near the bed.]

  Mary Kay: "Good night, sweetheart."

  Patricia: "Good night, Mommy."

  Mary Kay: "I love you. Sleep well."

[She kisses her daughter twice on the forehead.]

[She then stands up, looking down at her daughter as she starts to fall
asleep but we see Cutter standing behind her. He has come out from his
hiding place in the closet.]

[Downstairs, we see John with a calculator and various pieces of papers,
working on some figures.]

[Mary Kay's voice can be heard calling out from above.]

  Mary Kay: "John!"

  John: "Be right there."

  Mary Kay: (shouts) "John!"

  John: "Mary Kay?"

  Mary Kay: (screams) "JOHN!!"

[He runs up the stairs... ]

  John: "Mary Kay? Mary Kay?"

[ ...as he passes the security pad it still reads: `- - ARMED - - -' and
`ALL SECURE'.]


[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]


"His children are far from safety;
They shall be crushed at the gate
Without a rescuer."

Job 5:4


[Scene fades in from white... ]


[Episode credits roll during the next scene]


Brittany Tiplady (Jordan Black)

and

Bill Smitrovich (Lt. Bob Bletcher)

Guest Starring

Glynn Turman (James Glen)
Stephen James Lang (Det. Bob Giebelhouse)
Pablo Coffey (Cutter)

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 Charles D. Holland
Directed by James Charleston


[NEXT SCENE: The Highsmith residence, the following morning. Several police
cars line the driveway, lights still flashing, as Frank pulls up to the
curb in his red Jeep Cherokee. It is raining and thunder can be heard.]

[Frank gets out of his car, pauses before the realtor's `FOR SALE' sign,
then walks around the yellow police tape and enters the house.]

[Inside, he puts on surgical booties over his shoes, buttons up his coat
and enters the living room.]

[A forensics tech is still checking for prints. On the carpeted floor of
the living room, the Highsmiths' bodies have been covered with a white
sheet. Two bloodstains can be seen. Behind them is the fireplace. The
decorative screen has fallen over, presumably during the struggle the
night before.]

[Lt. Bletcher comes down the stairs, also wearing the booties over his
shoes.]

  Frank: "Hi, Bob."

  Bletch: "Did you see it on the news?"

  Frank: "Yeah. Came down to see what I didn't see."

  Bletch: "Young couple, bludgeoned, dragged downstairs,
  murdered with an antique hatchet. No sign of forced
  entry. Nothing broken. Nothing rifled or stolen...
  except... "

[Frank crouches down beside the bodies. Bletcher joins him.]

  Bletch: " ...their little girl is missing."

  Frank: "What?"

  Bletch: "Yeah, that wasn't on the news either."

[Giebelhouse has entered the room, in his hand is the bloodied hatchet,
used in the murders, in a plastic evidence bag.]

  Giebelhouse: "Five thousand dollar alarm system."

[He hands Frank the hatchet.]

  Giebelhouse: "Should have saved themselves the dough
  and gotten a rottweiler."

[As Frank touches and looks at the hatchet, he has a vision.]

[{He sees: the hatchet; a view looking out from the duct at a man standing
with the vent's panel in his hands; blurred images of the struggle between
John Highsmith and the killer; a terrified Highsmith on the living room
floor; again the view from the duct and the man standing with the panel;
close up of the attack on Highsmith, the killer touching his throat with
a rubber-gloved hand; some obscured images; close up of Highsmith's head
and face, less frightened now, more angry, blood visible on his neck as the
killer holds Highsmith's chin turning it to one side, then his expression
changes to fear and pain. Sounds of pleas and screams throughout. End of
vision.}]

  Frank: "What was the response time?"

  Bletch: "Well, the alarm company said they were here
  in a little over five minutes. We're checking that
  out."

[Bletcher stands. Frank hands the hatchet back to Giebelhouse. He stands
as well.]

  Frank: "House was for sale."

  Bletch: "Yeah, they had an Open House yesterday. We've
  got the real estate lady coming down."

[Frank walks around the bodies, then pauses before speaking.]

  Frank: "The killing was premeditated. The killer most
  probably came to the Open House and hid someplace
  until the family returned. He would have set the
  alarm off when he left."

  Bletch: "What about the little girl?"

[Frank shakes his head and sighs. He looks down at the bodies once more,
then turns away. He sees something ahead of him and walks toward it. It is
Patricia's stuffed white bear laying at the foot of the stairs. He picks it
up and sits down on the steps.]

[As he holds and looks at the bear, he hears someone whimpering near by.
To his right stands a table against the wall. Behind it is a vent with a
wooden panel.]

[Frank puts down the bear, walks over to the table, pushes it aside, kneels
down in front of the panel and looks through the slots. He turns around to
Bletcher.]

  Frank: "I need a screwdriver, right now."

  Bletch: "Yeah, here."

[He reaches into his pocket and hands it to Frank who then unscrews the
panel and removes it revealing... ]

[ ...Patricia Highsmith, sits, holding onto her knees, whimpering, rocking
back and forth and in extreme shock.]

  Giebelhouse: "Holy God."

  Bletch: "Get the E.R.T. Get them in here, now!"

[Giebelhouse leaves as Frank tries to coax the girl out of the vent. As
he reaches to touch her, she tries to move away from him, terrified.]

  Frank: (softly) "No, no, no. Nobody's going to hurt
  you, sweetheart. Come here. Let me help you."

[She finally allows him to reach in and carry her out of the vent.]

  Frank: "Everything is going to be all right."

[He places her on his lap as he sits on the floor, cradling her, trying to
comfort her.]

  Frank: "Nobody's going to hurt you. We're here to
  help you."

[He strokes her hair.]

[Later, at a hospital, Bletcher stands by Patricia's bed as she sleeps.
Frank is also present. Then Catherine arrives.]

  Catherine: "How is she?"

  Frank: "All indications is she's going to be fine.
  Her fluids are very low but there's no evidence of
  any physical harm -- other than extreme shock."

  Catherine: "I just... "

  Bletch: "Yeah, I know."

[Patricia awakens and is frightened by Bletcher who is still standing close
to her bed. She tries to move in her bed. Catherine tries to calm her.]

  Catherine: "It's okay. Everything's okay, sweetheart.
  You're in a safe place. No one's going to hurt you
  here."

[Patricia looks up at Bletcher who tries to give her a reassuring smile
but she's still trembling.]

  Catherine: (to Bletcher and Frank) "Can one of you
  get the nurse?"

  Frank: "Yeah, sure."

[He leaves. Catherine then takes Bletcher aside to speak with him.]

  Catherine: "You can't expect too much, Bob."

  Bletch: "What do you mean?"

  Catherine: "I know you're going to want to talk to
  her. I know you're going to want to know what she
  saw."

  Bletch: "We have no other witnesses."

  Catherine: "What's she been through -- no one, child
  or adult, should have to experience. If she's asked
  to talk about it, it's like asking her to relive it."

  Bletch: "I don't have to tell you that this guy is
  out there somewhere. He murdered these people in cold
  blood, Catherine."

  Catherine: "You can't push her, Bob. She's got to do
  this in her own time... if at all."

  Bletch: "We've already got a department shrink on
  call to work this."

  Catherine: "I'm asking you, please don't let the
  department make a mistake trying to leapfrog on this.
  It's already something that this little girl's going
  to have to live with for the rest of her life."

[Bletcher doesn't answer but looks over at the still quivering little girl.]

[NEXT SCENE: Day, it is raining. Outside, the Seattle Public Safety
Building.]

[Inside, one of the conference rooms in the Seattle P.D. A detective (??
-- or Millennium Group member ??) James Glen rundowns what they have on
the guest book from the Open House. Present are several other detectives,
including:  Bletcher, Giebelhouse and Frank. A page from the guest book can
be seen projected onto a screen. Some of the hand-written names are: ]


R. Bell
Fran Stall
Rob Stall
ABRAHAM LINCOLN
CATHY MORTON
JUSTIN McLEAN
B Barsby
John Allworth
Jill Bridge
ELVIS PRESLEY
Sheila Soles
MUHAMMED ALI


  Glen: "Abraham Lincoln, Elvis and Muhammed Ali,
  all signed the guest book at the Open House. In my
  professional, none are viable suspects."

  Bletch: "Think we'll put an A.P.B. on Elvis, just
  in case."

  Frank: "Did you find anything useful?"

  Glen: "One name. It's interesting that it appeared
  two weeks earlier at the first Open House they held
  there."

  Frank: "He was casing."

[There is a close up of the name `John Allworth'.]

  Glen: "`John Allworth.' The signature... centrifugal,
  vertical lines, forward expansion. The strokes...
  forceful, measured, alternating cursive and print.
  This man's signature's probably been the same since
  he was old enough to sign it."

  Frank: "What does that tell you?"

  Glen: "That the signer is deliberate. He has focus,
  but that this is to contain his rage or his anger --
  that he can be explosive, prone to outburst or
  violence."

  Giebelhouse: "No kidding."

  Bletch: "Even if this is the guy, it's obviously an
  alias. The address he left has got to be a phony."

  Glen: "Higher probability, but not a certainty."

  Frank: "If he's not John Allworth maybe it's somebody
  he knows or somebody that knows him. The man we're
  looking for is a risk taker, but a deliberate man,
  as James said. He left the child for a reason. He
  signed his name `John Allworth' for a reason. We'll
  catch him if we can find out what that reason is."


BEACON HILL DISTRICT


[NEXT SCENE: Day, outside a rundown apartment building in a seedy part of
Seattle. Garbage is strewn down by the external staircase. A police siren
can be heard wailing off in the distance and some neighbors can be heard
arguing in one of the apartments.]

[Inside, Giebelhouse knocks on the door of an apartment that was listed
with the name `John Allworth' in the Open House guest book: # 440.]

  Giebelhouse: "Mr. Allworth?"

[No response. He knocks again, then turns to a uniformed officer who is
with him.]

  Giebelhouse: "Hey, see if the manager lives in the
  building."

[The officer nods and leaves.]

  Giebelhouse: "Fat chance of that."

[He then moves on to the next door, #444, and knocks on that. The door is
opened by an elderly man, Mr. Marcelli.]

  Marcelli: "Yes, what?"

[Giebelhouse holds up his badge and identification.]

  Giebelhouse: "I'm Detective Giebelhouse, with the
  Seattle Police Department, sir. Are you the resident
  here?"

  Marcelli: "Yes."

  Giebelhouse: "Do you know your next door neighbor,
  Mr. John Allworth?"

  Marcelli: "Who?"

  Giebelhouse: "John Allworth. He lives next door."

  Marcelli: "He does?"

  Giebelhouse: "Do you know the guy that lives right
  over here?"

  Marcelli: "No. So, what's the big deal?"

  Giebelhouse: "We're trying to locate Mr. John
  Allworth... "

[POV shifts to that of a apartment across the hall. Cutter is watching
Giebelhouse through a peephole as he speaks with Mr. Marcelli.]

  {Giebelhouse: " ...the man who lives next door. It's
  part of an investigation."}

  {Marcelli: "I don't know anything about that."}

[He shuts the door.]

  {Giebelhouse: "Well, thanks."}

[He walks over and knocks on Cutter's door. A heartbeat and breathing can be
heard. Receiving no response, Giebelhouse tries to peer into the peephole
but does not see the bright blue eye staring right back at him. Giving up,
Giebelhouse moves on to the next apartment as Cutter moves back and away
from the peephole.]


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


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


[NEXT SCENE: The same conference room at the Seattle P.D. A page from a
different Open House guest book is projected onto a screen. It reads: `ROCKY
POINT REAL ESTATE' and has a list of names, addresses and signatures. This
time only Bletcher, Giebelhouse and Frank are present.]

  Glen: "There were 4900 Open Houses in King County
  over the last six months. Graphological analysis
  matches the perpetrator's signature to at least
  37 sign-in registers, using the name: John Allworth,
  Travis Bickle and Rudyard Holmbast."

  Giebelhouse: "Rudyard Holmbast?"

  Glen: "That's correct."

  Giebelhouse: "So what? You want us to go out and knock
  on his door too?"

  Frank: "There are over 30 houses he didn't choose for
  one reason or another. Find those reasons, find the
  pattern, and you move closer to the killer -- to what
  is going on in his head."

  Bletch: "Come on, Frank. I mean, what if it was just
  random? What if, uh, what if this guy just chose his
  victims because they were the most convenient?"

  Frank: "Then that will tell us something about him
  too."


  Bletch: "I think we're wasting our time with this
  approach, Frank."

  Frank: "You don't have much else to go on at this
  point."

  Bletch: "We've got the little girl."

[Frank stares at him but does not respond.]


REYNOLDS MEMORIAL HOSPITAL
CHILDREN'S PSYCHIATRIC UNIT


[Patricia and Catherine are drawing pictures with crayons. Patricia's are
a mass of confusion, heavily scribbled and hidden images under layers of
crayon strokes. A P.A. system page can be heard.]

  {P.A.: "Dr. Levinson, Metabolic Unit. Dr. Levinson,
  Metabolic Unit."}

[Catherine looks over to see what Patricia is drawing.]

  Catherine: "That's very good, Patricia."

[The girl doesn't respond.]

  Catherine: "Is that a face in there? Kind of hid it
  in there, didn't you? That's very clever of you."

[Still no response.]

  Catherine: "You want to see what I brought you?"

[Patricia looks up from her coloring as Catherine reaches into her briefcase
and removes a pink bow clip.]

  Catherine: "It's for your hair. It's from a girl who's
  almost the same age as you. Her name is Jordan and
  when I told her about you, she asked me if your hair
  was pretty and I told her it was long and straight
  and beautiful and she was so jealous because she has
  curly hair and she wants it to be straight. I bet you
  want curly hair, don't you?"

[Patricia offers a slight smile.]

  Catherine: "Can I put this in your hair, Patricia?"

[The girl neither objects nor consents so Catherine puts it on her anyway.]

  Catherine: "Oh, that's very pretty."

  Patricia: "I want to go home."

  Catherine: "I know you do. I'm sorry but you have to
  stay here. It's just because everybody wants you to
  be safe, okay?"

[No response again.]

  Catherine: "I think we should do some more crayons.
  I'm going to draw a picture of a pretty little girl
  with a pink bow. What about you?"

[Patricia just stares at her.]

[NEXT SCENE: Day, outside the Highsmith residence.]

[Inside, Bletcher and Frank return to the crime scene.]

  Bletch: "What are we going to find that an army of
  techs missed?"

  Frank: "Maybe nothing."

[Frank heads up the stairs. Bletcher tosses down the yellow police tape
which had sealed the front entrance and follows him up the stairs.]

[They enter the child's bedroom. The painting beside the dollhouse is
askew. Bletcher looks at the dollhouse while Frank looks at the disheveled
bed. The lamp on a nightstand has been knocked over. This triggers two
quick visions for Frank.]

[{The first: several images of Patricia in bed screaming.}]

[{The second: several images of the child screaming again, then partially
obscured by a sheet as she struggles. He hears her scream throughout. End
of visions.}]

[Frank then looks over at a dresser with a lamp, a small doll and a TV on
top. The lamp has fallen on its side and there are several cable wires
lying on the dresser top next to the TV. He walks over and rights the lamp.
He then picks up the cable which is still attached to the TV. He holds it
up for Bletcher to see.]

  Frank: "Looks like the killer could've taken something."

  Bletch: "A VCR?"

  Frank: "Could be."

  Bletch: "That's cat burglar stuff, Frank."

  Frank: "Maybe not."

[They walk out to the hallway. Bletcher checks a small door in one of the
walls, opens it and peers inside before shutting it. Frank opens an armoire
and finds a box which contained a new camcorder. The box is open. He hands
it to Bletcher who looks inside.]

  Bletch: "It's empty."

  Frank: "Yeah."

[NEXT SCENE: Cutter's apartment. Tens of thousands of newspapers lie in
jumbled stacks throughout the apartment. Some rest against a wall, climbing
to six foot or more. Others form a division along the center of the room,
going up at least three feet high. Some others block off a door.]

[The camera pans across and travels around the piles of newspaper to where
Cutter sits watching a videotape he has made of the torture and murder of
the Highsmiths. He sits before a huge radiator that is beneath two large
windows.]

[The audio of the tape can be heard throughout. Screams from Mary Kay and
John Highsmith as they pleaded for their lives.]

  {John: "Please, let her go!"}

  {Mary Kay: "My baby!"}

  {John: "Please, let her go!"}

  {Mary Kay: "My baby!"}

[Mary Kay screams.]

  {John: "Please!"}

[Mary Kay screams again.]

  {John: "Please, let her go!"}

  {Mary Kay: "My baby!"}

[She screams.]

  {John: "Please!"}

[And screams again.]

[Then the VCR display panel can be seen recording. Cutter has been making a
copy of the videotape.]

[The tape ends, Cutter rises to stop the VCR. He ejects the tape from the
machine and removes the breakout tab to prevent accidental erasure of the
tape. As he walks away, the TV can be seen, set to channel 3, snow filling
the screen.]

[NEXT SCENE: Several days later. Day, inside the Emerald Shore Realty
office. There is an ad in the window with a picture of Seattle's Space
Needle which reads: `Killer Views -- Killer Price$' A mailman brings the
morning mail to Beverly Bunn. There is the chatter of other real estate
agents talking on the phone in the background.]

  Mailman: "Hi. How are you today?"

  Beverly: "Hey, How're you doing? I think I'm pretty
  good and getting better."

  Mailman: "Can't beat that with a stick, huh?"

  Beverly: (laughs) "Thanks. You have a good day."

  Mailman: "Thanks. See you tomorrow."

[He leaves and she looks through her mail which includes several smaller
envelopes and a yellow mailer. She opens the mailer first, removing a
videotape from the envelope. She rises, walks over and inserts it into a
VCR. Turns on the TV set, picks up the remote control, returns to her desk
and sits down again. She presses the `PLAY' button on the remote control.]

[We see an upside down view of someone walking through the Highsmith house.
Initially the tape is silent. Then the pleas and screams of the Highsmiths
can be heard as well as the images of them in the living room, now right
side up: Mary Kay lying on the floor with her arms bound behind her back;
John sitting upright in a chair before the fireplace, hands and feet bound
together by a rope.]

  {John: We'll give you anything you want!"}

[Mary Kay cries and mumbles her own pleas.]

  {John: "Oh, God, please, let her go!"}

[The scene shifts to the Seattle P.D., where Giebelhouse, Bletcher and
Frank are watching the same tape which the realtor has brought to them.]

[The screams from Mary Kay continue. Then the Highsmiths can be seen again,
now John has been thrown to the ground, leaning against a couch, yet still
bound to the chair he is sitting in and Mary Kay is sitting up on the floor,
her head turned, still crying, as Cutter steps before the camera with the
hatchet in his right hand. The tape ends and the machine is shut off.]

  Bletch: (to Frank) "Why send it to the realtor?"

  Frank: "To terrify her, possibly. Or to punish her,
  as he punished the family, for some twisted, imaginary
  crime."

  Bletch: "The clock is ticking, isn't it?"

  Frank: (nods) "Yes."

  Bletch: "Word's gonna get out."

  Frank: "That might be what he wants, Bletch. And
  whatever you can do not to give him what he wants,
  the better chance you have of drawing him into the
  open and catching him."

  Bletch: (nods) "You and me, uh... we keep beating
  around the bush about this little girl."

  Frank: "Can't do it, Bob."

[Frank shakes his head, knocks the table with his fist, then leaves the
room.]

[NEXT SCENE: Day, another street in a suburban area. A man can be seen
walking along a sidewalk covered with fallen dried leaves. It is Cutter.
He pauses before a realtor's `FOR SALE' sign on a lawn. It reads: ]


LINDA LEE HILL
PROPERTIES

FOR SALE

PAUL GRINNELL
PH. (206) 555-0122


[Cutter turns his head to look at the house and rehearses his lines: ]

  Cutter: "Hi, there. How are you?"

[He continues repeating the lines as he begins walking towards the front
door for the Open House.]

[Inside, he's approached by the realtor who speaks before Cutter has a
chance to do so.]

  Realtor: "Hi, there. How are you?"

  Cutter: "Fine. How are you?"

  Realtor: "Good, good. Come on in. We have wine and
  cheese, if you'd like. Please feel free to look
  around."

[He hands Cutter a brochure.]

  Cutter: "I was hoping you might, you know... give me
  the tour."

  Realtor: "Oh, certainly, oh, by all means. Why don't
  we start with the upstairs."

  Cutter: "Can I ask you first, this house has an alarm
  system, doesn't it?"

  Realtor: "Oh, a very sophisticated system. The very
  best. You see that motion detector there? Those are
  installed in every room in the house. If you have
  valuable art work or anything you want to protect,
  the system uses a wireless link to a private home
  security company."

[They stand before the detector located in the foyer of the house.]

  Cutter: "Can you demonstrate it for me."

  Realtor: "Sure. If I can remember how."

[Cutter looks up at the detector, its blinking red light, and has a vision.]

[{He sees: himself as a child again, screaming, mouth open, eyes wide with
terror; the man's silhouette is before him, holding something in his hands,
a large red `X' and he seems to be wearing a cap on his head;  the red `X'
becomes larger and zooms closer till it fills the screen; then there is an
`X' painted in blood on some ceramic floor tiles which also zooms in till
it fills the screen and is bathed in a bright white light; Cutter, as a boy,
can be seen screaming again, the man's hand reaching out to touch him; the
red `X' again with a white light on the left and a dark silhouette marking
the man behind it; then the light is turned off, the outline of the `X' and
the man's silhouette remain; several images of Cutter, the boy, screaming,
in bed or on a couch, bathed in a bright yellow light; a blurred image of
the red `X'; then another, this time the blood forming the `X' is dripping,
causing streaks; again it dissolves into the original red `X' with the light
and silhouette behind it and the light goes out again. The boy can be heard
screaming throughout. End of vision.}]


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


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


[NEXT SCENE: Day, the same house, following the most recent murder. Bletcher
and several other officers are on the scene. The house is dark as Bletcher
shines his flashlight on the motion detector in the foyer, its red light
still blinking. Frank enters the house. Radio chatter can be heard in the
background.]

  Bletch: "State of the art alarm system, the son of a
  bitch walked right past it."

  Frank: "How?"

  Bletch: "I don't know. It wasn't even set off this
  time. My guys tripped it when they got the 911 call."

  Frank: "You got a 911 call?"

  Bletch: "Yeah, report of a break-in."

  Frank: "You hear it?"

  Bletch: "No, not yet. Why?"

  Frank: "Chances are, you got a recording of the
  killer's voice."

[Frank walks out the front door and looks at the security keypad. Bletcher
follows him.]

  Frank: "You might want to run this keypad for prints."

  Bletch: "Yeah. Hold on a sec. You think he *knew* the
  alarm code?"

  Frank: "Unless the system wasn't activated."

  Bletch: "Woman died with the panic switch in her hand.
  He shot her point-blank with a 12-gauge, Frank."

  Frank: "Could have been staged, Bletch. Probably was."

  Bletch: "So, he, uh, kills her, then he calls 911.
  Victim's divorced. There's no children living at home.
  We have a whole new pattern here, Frank."

  Frank: (nods) "Did you find the murder weapon?"

  Bletch: "No, not yet."

  Frank: "He takes chances but everything's considered...
  as if scripted, planned -- what to leave, what to
  take, what he wants us to see, what he wants others
  to see. He's leaving a record of the events -- videos,
  911 calls, witnesses."

[Bletcher turns to examine the keypad with his flashlight and sighs as
Frank stares down at the `WELCOME' mat. He lifts it and finds a red `X' that
has been painted in blood on the ceramic floor tile, just as in Cutter's
vision earlier. Bletcher looks from Frank down to the `X.']

[Meanwhile, at the Children's Psychiatric Unit, Patricia continues drawing
pictures with Catherine by her side. Another P.A. page can be heard.]

  {P.A.: "Dr. Ruben, Psychiatric Unit. Dr. Ruben,
  Psychiatric Unit."}

  Catherine: "What are you making there, Patricia?
  What is that?"

[The little girl doesn't answer but pushes the drawing before Catherine.
She looks at them. Both are confused drawings with lots of scribbling but
some figures can be clearly seen. In the first, a large red `X' is buried
in a mass of scribblings with the figure of a human lying on the ground and
two other figures, one large and one small, standing off in the background.
The second, shows the figure of a man with a large red `X' across his chest
and several smaller figures near the bottom of the drawing.]

  Catherine: "I don't know what that is. Are these
  children here?"

[She points to the smaller figures in the second drawing. Patricia nods her
head quickly with her eyes shut.]

  Catherine: "Are they your friends?"

[The little girl again nods quickly.]

  Catherine: "I'll bet your friends are going to be
  so happy when they see you."

  Patricia: "I want my mommy and my daddy."

[Catherine doesn't speak but just strokes the girl's hair.]

[Later, at the Black residence, Frank is in his basement office, viewing
a copy of Cutter's videotape on his computer. Mary Kay's screams and John's
plead are repeated again as the tape ends. Frank removes his eyeglasses and
sits back in his chair, exhausted. He rubs his eyes and face, shuts his
eyes for a moment, placing his hands in a prayer position against his lips.
He then opens his eyes again. He catches something that he's missed on
previous viewings of the tape. He replaces his eyeglasses looks closely at
the screen.]

[He hits several keys on the keyboard to zoom in on a particular area of
the screen -- the portion at the very beginning which was shot upside down
as Cutter walked through the house with the camcorder. Frank continues to
zoom in until he sees an image, zooms in on it further, then inverts it so
that it is right side up. There is an image of Cutter's face reflected in
the glass panel of a door. Frank presses a on his printer to get a hard
copy of the image.]

[His phone rings. He answers it.]

  Frank: "Hello."

  Bletch: "Frank, it's Bob. Just got off the phone with
  one of our Bunco guys. That video camera that was
  stolen from the crime scene?"

[Perspective alternatives between the two throughout their conversation.]

  Frank: "Yeah."

  Bletch: "Turned up in a pawn shop in Bellingham.
  I've got the owner downtown right now working with
  our identikit artist."

  Frank: "I may be able to help you out there, Bletch."

  Bletch: "What do you mean?"

  Frank: "I just pulled something off the videotape.
  The Millennium Group has someone that can probably
  clean it up for us. We may have a portrait."

  Bletch: "A face?"

  Frank: "Yeah."

[Long pause.]

  Bletch: "You still adamant about not showing anything
  to the little girl, Frank?"

[Frank pauses, does not respond and lowers the phone away from his mouth.]

  Bletch: "Frank?"

  Frank: "I'm considering it, Bob."

[He hangs up the phone. The printer finally produces the image. Frank takes
it and looks at both it and the image on his computer screen.]

[Upstairs, Catherine and Jordan have arrived home. Bennie rushes to greet
Jordan as Frank enters the kitchen to do the same.]

  Jordan: "Hi, Ben!"

[She looks up and sees her father.]

  Jordan: "Daddy's home!"

  Frank: "Hey, Pumpkin Pie. How are you?"

[He picks her up and holds her in his arms.]

  Jordan: "Good."

  Frank: "How was your day?"

  Jordan: "Good."

  Frank: "Yeah? You want to tell me about it?"

  Jordan: "Sure."

  Frank: "Hmmm... "

  Catherine: "First, we're going to go upstairs and
  take a bath and get those little piggies of hers
  all cleaned up."

[She plays with Jordan's fingers.]

  Frank: "Little piggies. How'd those little piggies
  get so dirty?"

[Jordan presses her nose against her father's.]

  Jordan: "At school."

[Frank and Catherine laugh as he puts Jordan back down on the floor.]

  Frank: "I'll be up in a little bit."

  Jordan: "Okay."

[She runs off to go upstairs.]

  Frank: "Hi."

  Catherine: "Hi. Got something to show you."

[She reaches into her briefcase and removes some drawings, handing them
to Frank, who pauses to kiss her on the cheek first before looking at
them.]

  Frank: "Jordan's?"

  Catherine: "No, they're Patricia's."

[There are several drawings. The first is of a large sad face. The second,
of two smaller figures lying on the ground, the color red on their torsos,
and of a larger man standing beside them with a large red `X' across his
chest. Both have dark scribbles surrounding the figures.]

  Catherine: "I dropped Jordan at day-care and spent
  most of the morning with her."

  Frank: "Did you talk to her about these?"

  Catherine: "As much as I could. She started asking
  about her parents. I think they're significant though,
  Frank."

  Frank: "They are. We found that the man we're looking
  for left a red `X' just like these at the second crime
  scene."

  Catherine: "How would Patricia know?"

  Frank: "I don't know. Maybe it was something he was
  wearing." (pauses) "We've made some progress too."

[He reaches for the laser printer image of Cutter that he'd brought with
him from his office and shows it to Catherine.]

  Frank: "It's a picture to work with, an image to work
  from."

  Catherine: "You want my permission."

  Frank: "I do. I don't think they're going to be as
  courteous."

  Catherine: (sighs) "I can't stop them, Frank, but my
  feelings are the same."

  Frank: "What if you showed it to her?"

  Catherine: "What is she going to say?"

  Frank: "Maybe she knows him. Maybe it's a neighbor."

[He pauses, turns away from Catherine, looks at another of Patricia's
drawings, that of the school children and the man with the large red `X'
across his chest.]

  Frank: "Someone the family comes into contact with."

  Catherine: "I'll do it, Frank, if you think it's the
  only way."

[Frank has a brief vision.]

[He sees: the same large red `X' Cutter saw, dripping in blood; an extreme
close up of the dripping blood; the other large red `X' which Cutter saw
in his own vision; then Patricia, huddled as Frank had found her in the air
vent, zoom in on her as she watches the killer through the panel; Patricia's
POV as the killer walks over to her with the panel in his hands, then as he
replaces it, sealing her inside; then Cutter as a boy, screaming inside of
another air vent, zoom in on him as he continues to scream in terror; then
from his POV, as a previous killer sealed him in the vent with the panel;
and finally a tight close up of Patricia's right eye and face. A child's
scream is heard throughout. End of vision.}]

  Frank: "No."

[He pauses again, then turns back to face Catherine.]

  Frank: "That's what he wants."

  Catherine: "What are you talking about?"

  Frank: "That's what he's wanted all along -- for us
  to use the child."

[He walks over and picks up the phone, dials a number and... ]

  Frank: (to Catherine) "It's so clear from the clues
  -- the video, the audiotape... bringing those to her
  would be an obvious tact. He wants her to relive it.
  Probably something that he's relived all his life."

[ ...waits as the phone rings until Bletcher picks up. He's heard but not
seen during the conversation.]

  {Bletch: "Bletcher."}

  Frank: "Yeah, Bob, it's me. I want to talk to you.
  I want to talk to your men. I don't want anybody
  going down to see that little girl. Can I have your
  promise on that?"

  {Bletch: "Why, Frank? She's the key."}

  Frank: "Yeah, I know she's the key, just not the way
  we thought."

[NEXT SCENE: Day, another suburban neighborhood. A Seattle police car pulls
up to an intersection where another police car is already parked across the
street from a school. A crossing guard sits in a chair near the parked car.
He is wearing a red reflector vest with a large yellow `X' across the back.
Children can be heard in the background. The officer from the first car is
wearing rubber gloves and carefully removes a shotgun from a garbage can.
The other officer joins him.]

  2nd Officer: "What have you got?"

  1st Officer: "Shotgun dumped in the garbage. 12-gauge.
  Specks of blood on the stock and barrel."

  2nd Officer: "Who found it?"

[The officer turns to nod towards some children across the street by a
STOP sign where another officer is interviewing them.]

  1st Officer: "A group of school kids over there. It
  was called in by that crossing guard."

[He points to the man seated in the chair near the curb. The officer then
walks over to interview the crossing guard.]

  2nd Officer: "Excuse me, sir. Can I speak with you?"

[The man stands, turns and we see that he is Cutter.]

  Cutter: "Yes, of course. Right after I help these
  kids to safety."

[He walks out to the middle of the street holding a STOP sign for uncoming
traffic as he waves the children across.]

[Meanwhile, the police have identified the picture in the photo, located
his address and are breaking down the door to his apartment. A SWAT team
enters first, checking each of the rooms, making their way through the
piles of newspapers. They shout out orders and respond with what they've
found.]

  1st SWAT: "Go! Go! Go! Go!"

  2nd SWAT: "Check the other side!"

[Bletcher and Giebelhouse are also present as they knock over some of the
piles, kick down more doors and look through all of the rooms.]

  3rd SWAT: "Talk to me!"

  1st SWAT: "Go! Go! Go!"

  3rd SWAT: "Talk to me!"

  2nd SWAT: "Place is deserted!"

  3rd SWAT: "Call it out! Call it out!"

  2nd SWAT: "Place is clear!"

  Bletch: "All right, let's get the tech guys in here.
  Turn this place inside out."

[There are dozens of videotapes piled around the TV, even stacked on top
of the set.]

  Bletch: (to Giebelhouse) "I want all these video
  cassettes cataloged and packed off to my office
  A.S.A.P."

[Later that night, outside the Public Safety Building.]

[Inside, Frank and Bletcher discuss Cutter. Giebelhouse is also present.]

  Bletch: "You think he's long gone?"

  Frank: "Not the city. He left us the shotgun to lead
  us to his apartment to prove we couldn't find him."

  Bletch: "Damn. Two hours earlier, the officer that
  took his report would have seen his picture."

  Frank: "He's running now."

  Bletch: "Where?"

  Frank: "To gloat... to figure out his next move...
  to show us how clever he is."

  Bletch: "I don't care how clever he is. We put his
  picture in the paper, this guy won't be able to cross
  the street without starting a parade."

  Frank: "You make him too famous and he's going to
  disappear on us altogether."

  Giebelhouse: "Then what?"

  Frank: "You've got five days till Saturday. Five days
  to anticipate how he'll up the ante."

  Bletch: "You think he's got the eggs to hit another
  family?"

  Frank: "He's teaching us a lesson... about our
  pretensions to safety... about how vulnerable we
  are."

  Giebelhouse: "The guy's working as a crossing guard.
  For God's sake."

  Frank: "He wanted that little girl to relive his
  nightmares. How do you increase the stakes?"

  Bletch: "By making us all relive it."

[NEXT SCENE: Another night, outside the Black residence. Frank sits alone
on his front steps. A car passes then Catherine comes outside to join him.]

  Catherine: "I couldn't find you."

  Frank: "Sorry, I needed some air."

  Catherine: "Share some air with me?"

  Frank: (laughs) "You're pretty cheeky, aren't you?"

  Catherine: (smiles) "That's me." (pause) "You thinking?" 

  Frank: "Yeah... thinking about my parents, my
  grandparents -- forty or fifty years ago... they
  never locked their doors, day or night. We seem to
  have accepted it so... gracefully, so naturally --
  the security systems. We've allowed ourselves to
  become almost besieged by our own fear."

  Catherine: "If you're not afraid, you're living in
  denial. The world's changed."

  Frank: "Yeah, I know. Can't turn it back. But we
  wonder... " (sighs) " ...where are we headed from
  here?"

[NEXT SCENE: Night, it is raining. Cutter is driving in his car along a
street. He pulls over to the curb, rolls down his window and looks at a
realtor sign. It reads: ]


IVY MEADOWS

Designer Family Homes
Secure Comfort
Life Styles


[He then rolls up his window again and drives off.]


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


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


[NEXT SCENE: Day. Opens on the emblem for a private security company which
protects yet another suburban neighborhood. It reads: `SCYLA -- ARMED
PATROLS SECURITY' with an eagle and two pistols completing the emblem. The
car slowly drives down a street where some children are riding their bikes.
A woman then walks past a house with blue flags stuck in its lawn. A couple
can be seen entering the house. The realtor sign reads as follows: ]


OPEN HOUSE

Gemini Bros.
REALTY

New Listing

FOR SALE
LOU BOLLO
555-0177


[As the couple enters, they are met by a realtor who is just coming down
the stairs.]

  Realtor: "Hi. Welcome to Ivy Meadows. Well, I'll give
  you one of our brochures and... shall we start in the
  kitchen? Right this way. We have, um, state of the art
  equipment in here and... "

[Giebelhouse is present. He is pretending to be a visitor to the Open House
but he has a radio link with Bletcher who is hiding with Frank and several
other officers in a locked room within the house. He reports in on the two
who have just started their tour of the house. Perspective alternates from
Giebelhouse to the other room, whenever they are in radio contact.]

  Giebelhouse: "Nothing, boss. Just lookie-loos."

  Bletch: "Yeah, make yourself at home, pal. I could
  be a long day."

  Giebelhouse: "Be real easy, let me tell ya."

  Frank: (to Bletcher) "Have any of the other houses
  checked in?"

  Bletch: "No. Either he got a whiff of us or he beat
  it out of town." (sighs) "I really don't think this
  is going to happen, Frank."

[Then the front door opens and Cutter enters the house. This time he is
wearing eyeglasses as a disguise. Giebelhouse is in the other room but
spots Cutter when he comes in. He keeps an eye on Cutter through his
reflection in a mirror while he calls it in to Bletcher.]

  Giebelhouse: "Entryway, white male, tall, glasses."

  Bletch: "Our guy?"

  Giebelhouse: "I can't tell for sure."

  Frank: (whispers to Bletcher) "Give him lots of space."

  Bletch: "Yeah, don't crowd him."

  Giebelhouse: "Yep."

[The realtor leaves the other couple and walks over to greet Cutter.]

  Realtor: "Hello, sir. Welcome to Ivy Meadows."

  Cutter: "May I ask you a few questions?"

  Realtor: "Certainly."

  Cutter: "Is this the model unit?"

  Realtor: "Yes, it is, but the contractor and his family
  are living here currently."

  Cutter: "Oh... it hardly seems lived-in at all."

  Giebelhouse: (to Bletcher) "If it is him, he's heading
  right to you."

[Bletcher draws his weapon and Frank stands ready to unlock the door.]

  Cutter: "Is this how you get to the garage?"

  Realtor: "Yes, uh, straight ahead. Just adjacent to the
  washroom there."

[Giebelhouse follows them at a discrete distance. The two turn a corner and
Cutter reaches for a doorknob, trying to open the locked door to the room
where Bletcher, Frank and the others are hiding.]

  Realtor: "The owners locked their cat in. I don't have
  a key. I'm sorry."

[Giebelhouse stops in his tracks, looks over to Cutter who clearly spots
him. Giebelhouse moves off to another part of the house.]

  Cutter: (smiles to the realtor) "That's okay. I'd like
  to see the upstairs."

  Realtor: "Right this way."

[She leads him up the stairs.]

  Realtor: "You'll love the upstairs. The master
  bedroom is just to die for. We've got twin sinks and
  a whirlpool bath, large walk-in closets in all the
  rooms and... and a gorgeous view... "

  Giebelhouse: (to Bletcher) "Olly, olly, oxen... he's
  going upstairs."

  Bletcher: "Let's go."

[Bletcher, Frank, Giebelhouse and the other detectives, all quietly climb
the stairs to try and surprise Cutter. When they get there however... ]

  Giebelhouse: (to the realtor) "Where's the guy that
  was with you?"

  Realtor: "He's using the bathroom."

[Giebelhouse checks out the master bathroom. It is empty. We can see an
open window located over the bathtub, reflected in a large mirror over the
twin sinks. Giebelhouse steps into the tub to look outside as Bletcher and
Frank enter the bathroom.]

  Bletch: (to the other detectives) "Check the bedrooms,
  all the closets."

  Frank: "He's gone."

[Later that night, Bletcher and his men are still at the house. Bletcher is
speaking to someone on a patrol car's radio.]

  Bletch: "Yeah, we're about finished up here."

  {Radio: "Were you able to find a vehicle?"}

  Bletch: "No, no, we didn't find a vehicle. He may
  have arrived on foot -- same way he left."

  {Radio: "Roger that. Are we going to be able to
  reach you?"}

  Bletch: "Yeah, I'll be on the radio if you need me."

  {Radio: "Good. Over."}

  Bletch: "Out."

[He drops the mike inside the patrol car and walks over to where Frank is
standing, checking his watch for the time.]

  Bletch: "This guy booked it, Frank."

  Frank: "I don't think so."

  Bletch: "We've been looking for five and a half hours,
  Frank. I'm telling ya, he's gone with the wind."

  Frank: "He's here, I just know it. Get the blue-and-
  whites out of here, clear everybody out. Then you and
  I go for a walk."

[Bletcher takes a radio out of his pocket.]

  Bletch: "Giebelhouse?"

  {Giebelhouse: "Yeah?"}

  Bletch: "Let everybody go home."

  {Giebelhouse: "Okay."}

[Bletcher turns and starts telling the officers around him to do the same.]

  Bletch: "Okay, let's go. Come on, back to your cars.
  We're out of here. Wrap it up. Wrap it up, guys."

[Sometime later that night, after all the vehicles have left, Bletcher and
Frank walk through the neighborhood alone, looking for any sign that is out
of the ordinary with any of the houses.]

[As Frank walks past one of the houses, we can see him through the window
from inside the house, as though someone were watching him. As he continues
to walk around the house, he hears a dog barking and moves closer to check
it out. A german shepherd has been locked out of his house. He is up on his
hind legs, whimpering and trying to get inside. Frank calls out quietly to
Bletcher.]

  Frank: "Bletch."

  Bletch: "What is it?"

  Frank: "The dog."

[It can be heard softly barking and still whimpering. When it sees Bletcher
and Frank, it turns and barks more loudly at them. Bletcher nods to Frank,
then walks over to the dog to try and distract it.]

  Bletch: "Some candy, fella, huh? Want some candy?"

[Frank keeps an eye on Bletcher and the dog as he walks to the rear of the
house. Bletcher digs into his pocket for some candy.]

  Bletch: "Hey, hey, hey, hey. What's that all about?
  Hey, that's a boy. Hey, hey. Here you go, here you
  go."

[Frank opens a gate and enters the patio.]

  Bletch: "Okay."

[He reaches for his gun and runs to the rear to catch up with Frank.]

[Frank has found an open door and enters the house, leaving the.]

[Bletcher walks through the gate, the dog running up behind him.]

[Frank spots a security pad in the room. It reads: `Door Ajar -- Section
Five.' He flips the panel open to look at it but the alarm has not been
triggered, nor has it been set. Above the security pad, is a photo of the
family, that lives in the house: husband, wife and their young son. This
triggers another vision for him.]

[{He sees: several blurred images; the couple asleep in their bed; Cutter
as a boy again screaming in the air vent as the killer places the panel
and seals him in; the couple awake, frightened, the wife screaming; several
blurred images of the wife screaming. Sounds of their screams throughout.
End of vision.}]

[Bletch finally reaches the wide open door and enters the house.]

[Frank carefully climbs the stairs in the darkened house. When he reaches
the third floor, he hears muffled whimpering come from one of the bedrooms.
He cautiously advances, following the sounds, pushes open a door and finds
the couple, bound and gagged, on top of a bed beneath a window.]

[He enters the room, looks down at them, both are mumbling through their
gags. He looks up at the window and sees Cutter's reflection in the glass.
Cutter has a long section of pipe in his hands. Frank quickly turns around
but is struck across the face with the pipe and falls to the floor. Frank
tries to get up but Cutter takes another swing at him. Frank tries to cover
himself and is struck again on the shoulder and a third time in the ribs.]

[Then Cutter runs from the room without the pipe. The dog had been waiting
in the darkness. It growls and goes after Cutter who has turned to face it.
The dog climbs up on its hind legs again and pushes Cutter over a railing
and down two flights to the ground floor below.]

[Cutter screams as he falls, breaking through a glass table top before
hitting the tile floor.]

[Bletcher, who had been searching the basement, runs up the stairs to the
ground floor after hearing the noise.]

  Bletch: "Frank!"

[Frank manages to stagger out to the railing where the dog had just pushed
Cutter.]

[The dog comes down to check on Cutter, sniffing him. He is still alive but
bleeding badly.]

  Bletch: "You okay, Frank?"

[Frank is badly out of breath and in pain.]

  Frank: "Yeah."

[Bletcher looks down at Cutter, blood coming from his head, cuts visible
on his face, gasping.]

  Bletch: "I guess, uh... one of us ought to call the
  paramedics."

  Frank: "Do you remember the number?"

[Bletcher pauses and looks down at Cutter again.]

  Bletch: "Not offhand."

  Frank: "I'll call."

[FINAL SCENE: The hospital. Frank sits alone waiting in the hallway, then
Bletcher walks over to join him. A P.A. page can be heard.]

  {P.A.: "Pediatrics Nurse Turner, to 395. Pediatrics
  Nurse Turner, to 395."}

  Bletch: "Heard the little girl's going to a foster
  home."

  Frank: "Yeah. Catherine checked it out. She's keeping
  progress, making sure... Patricia going to get the
  care she needs."

[Bletcher nods, sighs, then finally sits down beside Frank.]

  Bletch: "Kids... they survive."

  Frank: "Yeah. The monstrous exceptions."

  Bletch: "Hmmm... that guy we caught... his parents
  shipped him out. Watched his aunt and uncle tortured
  by some farmhand. Tragedy begets itself."

  Frank: "Till the circle's broken."

  Bletch: "Makes you wonder... "

  Frank: "Killers aren't born, Bletch."

[Then he sees Jordan and Patricia coming out of the unit, hand in hand.
Patricia is carrying her stuffed white bear. Frank gets up and walks over
to meet them as Jordan points to him and tells Patricia... ]

  Jordan: "There's my daddy."

[Frank smiles at them and gets down on his knees in front of them.]

  Frank: "Couple of angels. Where's mommy, Jordan?"

  Jordan: "She's still back over there."

[She points behind them over to the unit where Patricia had been staying.]

  Frank: "Oh."

[He stands up, then walks around the girls, standing behind them. He looks
to Bletcher.]

  Bletch: "It's okay. I'll put the kids in the car,
  Frank."

  Frank: (whispers to the girls) "Go ahead."

[He gently pushes them towards Bletcher, who then takes them by the hand.]

  Bletch: "Ladies?"

[They begin walking down the corridor.]

  Bletch: (to Patricia) "That's a nice teddy bear."

  Patricia: "Thanks."

[Frank walks back to the unit to look for Catherine. He finds her alone
in a room, crying. A hospital ID at the foot of the bed reads: `Patricia
HIGHSMITH  ID# 29712.' Frank stands by the doorway until Catherine notices
his presence and turns. Then he enters, holds her hand and embraces her.
They leave the room with their arms around each other's waists.]

[Several of Patricia's drawings have been taped on the glass of the room.
They all are of the horrors she has witnessed of her parents' murders.]


[The credit fades in from black... ]


Executive Producer: Chris Carter


[PREVIEW -- no image description]

  Voice Over: "This Sunday at 9, 8 central... catch a
  special presentation of Millennium. Stayed tuned for
  scenes from future episodes, after these messages."


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


[PREVIEW of upcoming episodes -- 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... 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."


[End titles roll]


Ten Thirteen Productions
in association with

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

Story Editor: Charles Holland

Co-Starring

Nevada Ash (Patricia Highsmith)
Eileen Kenney (Beverly Bunn)
Sandra Ferens (Mary Kay Highsmith)
David Neale (John [Joseph] Highsmith)
Roger R. Cross (Officer Shaw)
[Carter Kagume] (ICU Nurse)
[Ernie Prentice] (Mr. Marcelli)
[Colin McCarlie] (Harry Marlowe)
[Mandy McKeen] (Jane Marlowe)
[Cindy Lee] (Riley Farnsworth)
[Ian Carson-Huggins] (Young Boy Cutter)

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: Jerald Schoenroth
Set Decorator: Erik Gerlund
Art Director: Roxanne Methot
Construction Coordinator: Clare Davis
Script Supervisor: Kimi Webber
Location Manager: Danny McWilliams
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: Brian Smith
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
Post Production Supervisor: Julie Herlocker
Casting Associate - Los Angeles: Alfred Gomez
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
Scoring Mixer: Larold Rebhun
Music Editor: Jeff Charbonneau
Assistant Editors: Robert Hudson, Jim Thomson
On-Line Editor: Rob Minshall
DaVinci Colorist: 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 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) 1997
Twentieth Century Fox Film Corporation
All Rights Reserved #4C08

Twentieth Century Fox Film Corporation is the author of this motion
picture for purposes of copyright and other laws. 

The characters and names depicted in this photoplay are fictitious. Any
similarity to actual persons, living or dead, is purely coincidental.

Ownership of this motion picture is protected by copyright and other
applicable laws, and any unauthorized duplication, distribution or 
exhibition of this motion picture could result in criminal prosecution
as well as civil liability.

========================================================
Millennium
Copyright and TM, 1997 -- FOX Broadcasting Company
========================================================

Last Updated: May 27, 1997
Copyright (c) 1997 -- Nightowl Productions
Webmaster: Maria Vitale -- E-mail: nightowl@nyct.net