M I L L E N N I U M

"LAMENTATION"

Ep. # 1.18  [MLM-117  (4C17)]

[ Part 1 of 2 ]

[ First Season ]  (Complete Transcript)

U.S. Air Date: April 18, 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 
=====================================================================


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


[OPENING SCENE: A hospital corridor. The doors automatically swing open
as two armed FBI agents lead a team of nurses, orderlies and the patient
on a gurney on the way to the operating room. Covering the rear are two
equally-armed federal marshals.]

[As the procession reaches its destination, the patient is taken inside
as one of the marshals stands guard outside.]

[Inside the O.R., the nurses prep the patient. He is lying on his right
side as part of his back is disinfected and shaved for surgery. The
surgeon is Dr. Willmore.]

  Patient: "You're going to enjoy cutting me, I can
  just tell."

  Willmore: "Difference is you're going to wake up, doc...
  unlike those women you cut."

  Patient: (to the nurse prepping him) "Do you hate me?"

  Nurse: "I'm just doing my job."

  Patient: "Hmmm... could you do me a favor? I've
  got an itch down past my iliac crest and as my hands
  are cuffed... "

[He licks his lips, smiling at her as she just ignores him and finishes
shaving him.]

  Patient: "I think there are far too many people here
  with sharp objects who find me detestable."

  Willmore: "You're in good hands, doc."

[The surgeon nods, giving the anesthetist the go-ahead to begin putting
the patient under.]

[The patient's heart beat can be heard on a monitor in the background.
The pulse quickens as the patient begins to feel the effects of the
anesthesia.]

[As he looks around the room, he sees all of the nurses, without their
surgical masks on, draped in white gowns and glowing white light -- each
with their throats slashed. As the last one leans in over him... the screen
fades to white.]


SECURITY WARD
10:54 PM


[NEXT SCENE: Another hospital corridor, sometime after the surgery. A
federal marshal sits reading a newspaper outside of the patient's locked
room, a loaded weapon leans against the wall by his chair.]

[A nurse with long dark hair walks down the corridor towards the marshal.
She is carrying a tray.]

  Marshal: "Hi. Need to get in there?"

  Nurse: "Yes."

[He rises, keys in hand, to unlock the door for the nurse.]

  Marshal: "He's still supposed to be under a good two
  or three hours but you should be careful nonetheless.
  You know what he did to those nurses from Cedar Falls.

[He opens the door and the nurse enters the room.]

  Marshal: "I'm not trying to scare you. You're going to
  be fine. He's cuffed to the bed. You just holler if
  you need me."

[He closes the door, looking briefly through the small round window before
sitting down again.]

[Camera pulls in and lingers for a few seconds at the small window showing
the nurse just standing at the foot of the patient's bed. Then cuts back to
the corridor view of the agent reading the paper.]

[A metallic noise is heard from the room as if something has fallen. The
marshal hears it, stands, checks both ends of the corridor for movement,
then approaches the patient's room.]

[He peers through the window and sees that the curtains have been drawn
around the bed. He unlocks (?) the door, picks up his weapon and cautiously
enters the room.]

  Marshal: "Nurse?"

[He slowly walks up to the curtained bed.]

  Marshal: "Nurse? You okay?"

[He tries to peek through the opening in the curtain but he's struck
from behind -- a blow to the head from a fire extinguisher by the patient
dressed in the nurse's uniform complete with a long wig.]

[On the ground, the marshal is struck twice more to the face and head until
he is out cold.]

[The camera pans up from the prone marshal to the empty bed, revealing a
pool of blood and discarded IVs.]


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


M I L L E N N I U M


wait


worry


starring

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


created by Chris Carter


who cares?


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


[Trademark music cue... ]


[Episode quote]


"Every man before he dies
shall see the Devil."

English Proverb, 1560


[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)
Stephen James Lang (Det. Giebelhouse)

and

Bill Smitrovich (Lt. Bob Bletcher)

Guest Starring

Alex Diakun (Dr. Ephraim Fabricant)
Sarah-Jane Redmond (Lucy Butler)
Michael David Simms (Special Agent Tom Babich)

Music by Mark Snow
Editor: Chris Willingham, A.C.E.
Production Designer: Mark Freeborn
Director of Photography: Robert McLachlan
Associate Producer: Jon-Michael Preece
Consulting Producer: Ted Mann
Co-Producer: Ken Dennis
Co-Producer: Robert Moresco
Producer: Chip Johannessen
Co-Executive Producer: Frank Spotnitz
Co-Executive Producer: Ken Horton
Co-Executive Producer: John Peter Kousakis
Written by Chris Carter
Directed by Winrich Kolbe


MOUNT BAKER
NORTH CASCADES, WASHINGTON


[NEXT SCENE: A beautiful vista of snow-capped mountains and trees.]

[Frank Black, with snowshoes, jogs up to a crest ahead of Bob Bletcher,
who walks up to join him. Both are heavily clothed against the cold, and
are wearing backpacks and sunglasses. Frank stops and removes one glove
and then his glasses to better enjoy the view.]

  Bletch: "What'd I tell you, huh?"

[Bletcher is breathing is a bit more labored than Frank's.]

  Bletch: "It's like standing on the edge of the world."

  Frank: "Oh, yeah."

  Bletch: "My dad used to take me to the same spot. I
  come here once or twice a year. It's the only thing
  in my life that never changes. Heh, just a little
  harder than it used to be."

  Frank: "The air... the exercise... " (laughs)

  Bletch: "Oh, yeah. Feels like you're a... million
  miles from nowhere."

[Frank's beeper buzzes. He looks at it.]

  Bletch: "Something important?"

  Frank: "Yes, it is." (sighs deeply)

[He turns to head back down, pausing to touch Bletcher's shoulder.]


FBI TRAINING ACADEMY
QUANTICO, VIRGINIA


[NEXT SCENE: Frank walks down a corridor at the Academy until he reaches
the Behavioral Sciences Unit. He opens and enters a stairwell overlooking
a large conference room.]

[The room is barren except for a large U-shaped table, a podium in one
corner and a large projection screen with the patient's photo prominently
displayed. BSU agents are seated all around the table as Special Agent Tom
Babich calls over to Frank and walks over to meet him.]

  Babich: "Frank, come on in. Everyone, this is Frank
  Black. I'm sure all of you are familiar with his
  with this unit and with his profile of Dr. Ephraim
  Fabricant."

  Frank: "How did he escape?"

  Babich: "We're still putting the facts together. You
  were aware that he was removed from prison to donate
  a kidney to his sister?"

  Frank: "Yes. Was the kidney removed?"

  Babich: "He was five hours post-op. His anesthetic
  should have lasted eight. I've got four doctors who
  say there's no way he could have walked out of that
  hospital room let alone break a federal marshal's
  jaw and crush his skull."

  Frank: "Did the marshal survive?"

  Babich: "He's touch and go."

  Agent Cuevas: "What do you think Fabricant wants?"

  Frank: "Wants?"

  Cuevas: "Freedom? To avoid reincarceration?"

  Frank: "If you'd read my profile on him you'd know
  that freedom to him is only the freedom to kill."

  Agent Pierce: "His operation would make him a much
  diminished man."

  Babich: "Apparently not. After what he did to that
  marshal... "

  Frank: "Dr. Fabricant wouldn't have left him alive."

  Cuevas: "He had short minutes in which to
  execute his escape. You saying he would've stopped
  to check?"

  Frank: "I know this man. I know what drives him.
  Dr. Fabricant told me as a boy he used to slit the
  stomachs of neighborhood cats, turn them loose, just
  to see how long they'd live. After med school, as a
  resident, he would respond to no-code patients just
  to see how they died. He said the medical profession
  had but one interest for him -- the knowledge and
  the opportunity to rend death from life. His appetite
  for death eventually became overwhelming, ending in
  the murder/torture of the five nurses in Cedar Falls.
  It has been six years since he has touched, tasted
  or indulged his interests. He would have not let so
  easy an opportunity get away."

  Pierce: "Someone helped him to escape."

  Frank: "Someone who understood the disproportion of
  his needs -- possibly someone who... shared in it.
  This man should never have been allowed one minute
  out of his cell, never been allowed human contact
  again."

  Cuevas: "That chance was passed up."

  Frank: "I'm not here to discuss what might have been.
  I'm here to help catch him, just the way I helped
  catch him once before."

[Long pause and silence follows until... ]
[Frank heads up a flight of stairs as two agents, one male, tall and fair,
the other, short and red-haired, descend. They look remarkably like Fox
Mulder and Dana Scully.]

[Peter Watts calls out to Frank from behind him.]

  Peter: "Frank."

  Frank: "Peter, what are you doing here?"

  Peter: "I knew that you'd get the call on this and
  I anticipated what it would do to you."

  Frank: "I'm fine."

  Peter: "Yeah? They really gave it to you, didn't they,
  about Fabricant? About how you made sure he wouldn't
  go to the chamber?"

  Frank: "He would be dead, Peter, with no prospect of
  ever killing again."

  Peter: "Frank, you can't let them lay all this on
  you. Your motives were right. You wanted to study
  him, tap his mind. We learned a lot from him. He
  was an asset to behavioral science. The judge agreed
  with you."

  Frank: "Was it worth one life, Peter?"

  Peter: "I don't want either one of us to have to
  answer that question. That's why I'm here."

  Frank: "Thank you."

  Peter: "That's not necessary."

[NEXT SCENE: Fabricant awakens wherever he's been taken to. He reaches
over and touches his surgical scar, then the IV tube in his neck as he
looks up to see the various monitors and instruments he's hooked up to.]

[The same woman who had posed as a nurse at the hospital enters the room
with a syringe and a small bottle. She sits by his side as she prepares an
injection for Fabricant.]

  Fabricant: "You've got me on hemodialysis. Is there
  renal failure?"

[She doesn't respond but slaps his arm to find a vein and inserts the
needle.]

  Fabricant: "You take good care of me, sweetness. I've
  got a WHOLE lot of life left in me."

[He goes under thanks to the injection.]


GOOD SAMARITAN MEDICAL CENTER
ARLINGTON, VIRGINIA


[NEXT SCENE: An intensive care unit room. Frank approaches a desk outside
the room to speak with a nurse there.]

  Frank: "Miss Fabricant?"

[The nurse points to a room across from them where Sondra Fabricant lies
resting after her kidney transplant operation. Frank enters.]

  Frank: "Miss Fabricant?"

[She opens her eyes as Frank sits down beside the bed.]

  Frank: "How are you feeling?"

  Sondra: "Sore. Very sore. Are you Frank Black?"

  Frank: "I'm here about your brother."

  Sondra: "Is it true... that he escaped and put a
  man in a coma?"

  Frank: "Yes."

  Sondra: "Dear God! And here I lie... "

  Frank: "Did he ever talk to you about a plan? Did
  he ever intimate anything to you?"

  Sondra: "Ephraim wanted me to live. That's all
  he said, over and over. He wanted me to have the
  transplant more than I did."

[Peter taps at the window to get Frank's attention. Frank goes out into
the corridor to join him.]

  Peter: "Fabricant had a pen-friend in prison -- a
  woman."

  Frank: "They were tight?"

  Peter: "According to prison communications, they
  exchanged vows on the Internet a year ago."

  Frank: "You have an address?"

[Peter nods and they leave.]


FREDERICKSBURG, VIRGINIA


[NEXT SCENE: Night, outside the home of Fabricant's wife. Frank and Peter
walk up to the front door. Someone inside the house pulls back a curtain
and watches as they approach. They knock and the same dark-haired woman
we've seen before opens the door. She is wearing a dark robe.]

  Peter: "Lucy Butler?"

  Lucy: "Yes?"

  Peter: "I'm Peter Watts. This is Frank Black. We'd
  like to speak with you."

  Lucy: "Are you the Frank Black that Ephraim speaks
  about?"

  Frank: "I would assume."

[She moves away from the door to let them enter.]

  Lucy: "I wasn't expecting visitors."

[They follow Lucy into the living room.]

  Peter: "Did we catch you working?"

  Lucy: "No."

  Peter: "I saw the computer on."

[Lucy's laptop computer lies on a desk across the room. There is a lit
candle by the computer.]

  Lucy: "I was in a chat room. I... spend a lot of
  time there."

[Frank pulls up a chair and sits across from Lucy.]

  Frank: "You must have some idea why we're here."

  Lucy: "Yes. The police spoke with me earlier. I told
  them the night Ephraim escaped I was at home."

  Frank: "You have no idea how much danger you're in."

  Lucy: "Ephraim doesn't want to hurt anyone."

  Frank: "Whatever your relationship with Dr. Fabricant...
  Lucy, whatever you might believe him to be... he is
  single-minded, unrepentant about what he did and what
  he is incapable of preventing himself from doing again."

  Lucy: "You don't speak very well of him... and he
  speaks so highly of you."

  Peter: "Lucy, it's important that we- "

  Frank: (interrupts) "It's all right, Peter. The man
  you call your husband is alive because we believed
  an understanding of his pathology would help us to
  catch other human predators -- men who act without
  conscience on irresistible impulses."

  Lucy: "I know what he did, Mr. Black, and I know
  what he's capable of doing. The soul expresses itself
  in so many amazing ways, especially when there's a
  comprehension of extremes. Ephraim said that you and
  he share that ability."

  Frank: "He should be in jail, Lucy."

  Lucy: "He's given life to his sister. That's an act
  of redemption, isn't it? An act of conscience?"

  Peter: "He used it as an opportunity to escape and
  now a man is in the hospital in critical condition."

  Lucy: "Did Ephraim do it?"

[Long pause.]

  Peter: "There might have been someone else."

  Frank: "What do you think he wants, Lucy?"

  Lucy: "I think he wants the only other act of
  redemption he's capable of. I would think that
  you... of all people, Mr. Black, would understand
  this."

  Frank: "He wants to have a child."

[Lucy's computer begins to `ding' signaling... ]

  Lucy: "E-mail."

[She goes to her computer to read the mail.]

  Lucy: "I think you should look at this."

[They both walk over to look at the screen. Peter reads aloud. The
screen reads as follows: ]


You have mail.

Message 1/1

To:Lbutler.4887

Thy mother is like a vine in thy blood,
planted by the waters. She was fruitful
and full of branches by reason of many
waters.

\\


  Peter: " `Thy mother is like a vine in thy blood,
  planted by the waters. She was fruitful and full
  of branches by reason of many waters.' "

  Frank: "It's from the bible."

  Lucy: "Mm-hmm."

  Peter: "Do you know what it means?"

  Frank: "Do you have a bible?"

[She gets it for Frank who leafs through the book. Upon finding it... ]

  Frank: "I need to use the phone."

[He hands the open book to Peter as he picks up the phone and dials.]

  Peter: "Ezekiel."

  Frank: "Ezekiel, Chapter 19, Verse 10."

  Peter: "1910 Ezekiel. Your home address."

  Frank: (into the phone) "Catherine?"

[Camera cuts back and forth between the two during their conversation.]

  Catherine: "Frank, what's wrong?"

  Frank: "Are you all right?"

  Catherine: "Yes, we're fine."

  Frank: "Where's Jordan?"

  Catherine: "She's right here with me. Frank, what
  happened?"

  Frank: (sighs) "Nothing. Nothing happened."

  Catherine: "Frank, I know the sound of your voice."

  Frank: "Have you picked up the mail this morning?"

  Catherine: "Yes."

  Frank: "Has anything come addressed to me in a plain
  envelope?"

  Catherine: "Yes, actually something did. I've- I've
  got it right here."

[She walks over to the table where Jordan is playing with her doll to
get the envelope.]

  Catherine: "Do you want me to open it?"

[Frank sighs heavily but doesn't respond.]

  Catherine: "Frank?"

  Frank: "Yes, but away from Jordan."

[She takes the envelope and walks away from Jordan.]

  Jordan: "Mommy, what is it?"

  Catherine: "Uh, it's a letter to Daddy."

  Jordan: "From who?"

[Catherine ignores her and tears open one end of the yellow envelope
which is similar in appearance to the envelope which arrived just after
their move to Seattle. There is nothing except for a postmark and a
printed mailing address on the front of the envelope.]

[Inside are several Polaroids.]

  Frank: "Catherine? What is it?"

  Catherine: "Polaroids."

  Frank: "Of what?"

  Catherine: "An asian man in judge's robes."

[Frank hangs up the phone.]

  Frank: "Judge Park. He's dead."


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


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


5:16 AM


[NEXT SCENE: The morgue. Judge Park's body is placed on the examination
table.]

  Pathologist: "Do you know this guy?"

  Frank: "Yes. He was a judge -- a good and honest
  man who didn't deserve this."

  Pathologist: (into a tape recorder) "The victim is
  an asian male -- age: 56, weight: 155, height: 5
  feet 10 inches, occupation: federal judge. Medical
  records indicate good health. Eyes are clear. No
  pooling of blood in the cranium. No signs of stroke
  or trauma to the body. No clear cause of death in
  the preliminary exam."

[He shuts off the recorder and places it down beside a tray of surgical
instruments. Picks up a scalpel and returns to the body. He begins
making some incisions as Frank walks over to speak with Peter.]

  Peter: "Cause of death?"

[Frank shakes his head.]

  Peter: "You think it's Fabricant?

  Frank: "You know it is, Peter."

  Peter: "This took planning, Frank -- perfect
  execution, pardon the pun. He's got to have help."

  Frank: "I went through most of his correspondence.
  Unless an elaborate code is in use, I found no
  evidence of a plot."

  Peter: "His wife... you think it's her?"

  Frank: "They wrote some of the most beautiful love
  letters you'll ever read."

  Peter: "They say genius is the ability to hold two
  contradictory thoughts in your mind at the same time.
  What do you call a man who holds two contradictory
  personalities?"

  Frank: "The Devil."

  Peter: "What about the Polaroids? You think he knew
  the effect they would have on you? That you'd been
  terrorized by someone sending them before?"

  Frank: (shakes his head) "I don't know. He might've.
  I'm not going to give it a chance."

  Peter: "You can't go home. Fabricant's here; he's
  not there. And you're the man who knows him. You
  know how to catch him."

  Frank: "He's mocking me, Peter."

  Peter: "No, he respects you. He's playing a game."

  Frank: "What if he wins?"

[Frank sighs. Peter hands him an envelope.]

  Peter: "You're too good at this."

[Frank opens the envelope and removes its contents. Inside are large
photographs of the Judge Park crime scene. The top photo is of the
judge's body carefully positioned on the floor of his office. Frank
looks at the photo, recognizes the meaning of the pose and looks at
Peter.]

  Peter: "You picked it up right off. Took me 45
  minutes."

[NEXT SCENE: The Behavioral Sciences Unit at Quantico. The main room
is darkened as the crime scene photos which Peter had shown Frank are
displayed on the projection screen. The other agents are again present
as are Frank and Peter.]

  Frank: "The body's been staged by the killer. The
  arms have been placed at angles representing the
  hands on a clock."

[Frank uses a laser beam as a pointer.]

  Frank: "Two and seventeen. This is confirmed by the
  victim's watch and clock -- 2:17. A time which does
  not correspond with the estimated time of death."

  Babich: "Then what IS `2-17?' "

  Peter: "We think it's a biblical reference. Judges,
  Chapter 2, Verse 17: `And yet they would not harken
  unto their judges but they went a-whoring after other
  gods and bowed themselves unto them.' "

  Pierce: "What's he trying to say?"

  Frank: "It's about what we do in Behavioral Science.
  The arrogance of trying to learn the nature of evil
  and stop it by studying it."

  Peter: "This is the second bible verse we've seen
  on this case. They're being sent as a taunt to
  Frank."

  Babich: "Like the Polaroids."

  Cuevas: "And the other biblical reference?"

  Peter: " `Thy mother is as a vine in thy blood,
  planted by the waters. She was fruitful and full
  of branches by reason of many waters.' "

  Frank: "The killer is saying that evil begets
  itself. Fabricant told the woman he married in
  prison that he wanted to have a child."

  Pierce: "They removed the wrong organ."

  Frank: "Cause of death was cyanide poisoning. The
  killer had to have access to the judge's chamber
  because poison was in the tea and to stage the body.
  This couldn't have been done by Dr. Fabricant."

  Babich: "Then who's he working with?"

[No one responds.]

[NEXT SCENE: A moaning can be heard. Someone is in obvious pain. The
camera pans down from the ceiling past the light to the dialysis machine
and finally to the source of the moan: Dr. Fabricant.]

[He is having great difficulty breathing and is in great pain as the dark-
aired woman, Lucy, removes the surgical staples from his incision. From his
visible distress, it is clear there has been no local anesthetic used.]

[Close-up of the incision as Lucy removes yet another of the staples
while Fabricant grimaces and moans from the pain.]


10:00 AM


[Lucy's house. There's a knock; someone's at the door. Lucy comes down the
stairs and is wearing the same dark robe.]

[As she opens the door, we see Frank, Peter and several police detectives.]

  Peter: "Lucy, you're going to have to get dressed.
  We have a warrant to search your house."

  Lucy: "What are you searching for?"

  Frank: "Evidence."

  Lucy: "Of what?"

  Frank: "Your connection to the murder of a federal
  judge and the escape of Dr. Ephraim Fabricant."

[She again moves away from the door to allow the others to enter the
house.]

  Peter: "You're going to be placed under arrest, Lucy,
  to answer some questions."

  Lucy: "Can't you ask them here?"

  Frank: "The man who was assaulted during Dr.
  Fabricant's escape was hospitalized in a coma. This
  morning he regained consciousness."

  Lucy: "Has he given a description of who helped
  Ephraim?"

  Peter: "Yes."

[Long pause as Lucy looks from Frank to Peter and back again. Generally,
she addresses most of her conversation to Frank.]

  Lucy: "Was it a woman?"

  Frank: "Why do you ask?"

  Lucy: "The way you were looking at me."

  Frank: "Lucy, there's a lot of things you didn't
  tell us about your personal history."

  Lucy: "You never asked me."

  Frank: "You worked for several years as a visiting
  nurse?"

  Lucy: "Was it a nurse that helped Ephraim escape?"

  Peter: "We think it was."

  Lucy: "But you're not sure."

  Frank: "Something else about your past has come to
  light. You had a child. A son."

  Lucy: "Yes, he died four years ago."

  Peter: "You were tried for his murder."

  Lucy: (snaps at Peter) "I was found innocent."

  Frank: "He died of cyanide poisoning -- the same
  thing the federal judge that tried Fabricant died
  of."

  Lucy: "Why won't you call him my husband?"

  Peter: "Legally, he's not your husband."

  Lucy: (snaps again at Peter) "Legally, I'm not guilty."
  (again to Frank) "You ask me to tell the truth... you
  won't tell it yourselves."

  Peter: "About what?"

  Lucy: "The man you say was in a coma -- the marshal.
  He hasn't given a description at all."

[Meanwhile, some of the detectives have been poking around some of the
rooms on the first floor. One of them knocks over a bottle in the kitchen.]

  Lucy: "Isn't this against the law?"

  Frank: "Isn't what against the law?"

  Lucy: "Well, how did you get a warrant? If you lied
  to the judge, doesn't that constitute an unlawful
  act?"

  Peter: (interrupts) "Dr. Fabricant, your husband,
  was removed from post-op under very dangerous
  conditions. Wouldn't you like to help us find him?"

  Lucy: "Instead of suing you for entrapment and
  invasion of privacy?"

[End of search. They next turn up at the hospital to check on the marshal's
condition. Dr. Willmore, Fabricant's surgeon, is present.]

  Willmore: "We thought we had some response to questions
  -- some facial movement. But in fact his brain activity
  has actually diminished."

  Peter: "Chance of recovery?"

  Willmore: "Well, we can't ever predict these things.
  One day he could just wake up or he could just stop
  breathing. You haven't been able to find him yet,
  have you? Dr. Fabricant?"

  Frank: "No."

  Willmore: "Without proper medical care I think he could
  be dead... or near to it."

[The phone rings. The doctor answers it.]

  Willmore: "Hello? Frank Black? Yes. It's for you."

[He hands the phone to Frank.]

  Frank: "Hello?"

  Catherine: "Frank."

[Camera alternates between the two again during their conversation.]

[Thunder can be heard and lightening flashes seen throughout during
Catherine's part of the conversation, as a storm develops in Seattle.]

  Frank: "What's wrong?"

  Catherine: "Uh, nothing. You called me."

  Frank: "I called you?"

  Catherine: "No. A- a woman called and said that
  you'd been trying to reach me. She told me that
  you were at the hospital."

  Frank: "A woman?"

  Catherine: "She said that you found the man that you
  were looking for."

[At the hospital, a nurse comes rushing in.]

  Nurse: "You better come see this!"

  Frank: (to Peter) "Something going on here."

[The surgeon runs to see what has happened.]

  Frank: (to Catherine) "Hi, can I call you back?"

  Catherine: "Yeah, sure."

[They both hang up and Peter and Frank hurry to catch up with the others.]

[In the hospital corridor, several doctors and nurses are trying to help
a patient at the far end of the corridor. The patient is Dr. Fabricant.]

  Willmore: "Dr. Fabricant!" (shouts) "Get me a saline IV,
  stat!"

  Nurse: "Right away!"

  Willmore: "Let's go. Get him up. Get him on here."

[They lift him up onto a gurney. They begin wheeling the patient toward
an emergency room. Frank walks alongside of Fabricant. Frank looks down
at Fabricant. His hands are covered in blood as is his surgical gown.
The surgeon lifts up the gown to examine what's underneath.]

  Willmore: "We're going to need a dialysis setup."

  Frank: "What?"

  Willmore: "Someone took out his other kidney. Come on!
  Come on!"

[Frank drops back to join Peter who had been following along the journey
down the corridor.]

{NEXT SCENE: The Black home. The tea kettle whistles as Catherine is
reading a book. The storm continues as thunder can be heard in the
background.]

[As she rises to shut off the kettle, the lights go out throughout the
house. Lightening flashes illuminate the room as she turns off the gas
and removes the kettle from the burner.]

[In the darkness she notices the refrigerator door has been left slightly
open. A light from within can be seen.]

[She walks over to it, opens the door wide and looks inside. There is a
flashlight resting on a plate with something on it. It is a bloodied
kidney -- Dr. Fabricant's. Finally recognizing what it is, she backs away
from the object.]


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


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


[Still thunder and lightning as Jordan can be heard calling from above.]

  Jordan: "Mommy!"

  Catherine: "Jordan!"

[She runs to the stairs off of the kitchen.]

  Jordan: "Mommy!"

  Catherine: "Jordan!"

[As she begins to climb, she sees a figure at the top of the stairs. The
outline of the figure is of someone with long hair. Lightning flashes
reveal the person's face -- a man's.]

  Catherine: "Who are you?"

[The man doesn't respond.]

  Catherine: "Jordan?"

[Catherine turns and runs back down the stairs.]

[She opens the basement door and runs down to Frank's office. She goes to
Frank file cabinet, where he keeps his gun. The padlock, normally kept
locked, has been left open. She removes it and searches for the gun. She
finds the holster, but it's empty.]

[Frantic, she reaches for one of Frank's phones. She picks up the receiver
but cannot get a dial tone. She tries the other phone -- same result. She
thinks for a moment, then gets an idea.]

[Meanwhile, at the hospital, the surgeon is trying to save Fabricant's
life.]

  Willmore: "We've had an acute abdomen and a nicked
  bowel. Potassium is critical and his creatinine is
  through the roof. I want him on a full course of
  antibiotics and a morphine drip. And that dialysis
  better be oiled and lubed... "

[Frank and Peter can be seen in the O.R.'s observation area above the
surgical theater.]

  Willmore: (looking up to Frank and Peter) "... Because
  right now it's the only kidney he's got."

[After the surgery, the surgeon leaves the scrub room and talks with Frank
and Peter.]

  Willmore: "I'd say it couldn't happen to a nicer guy
  but taking out anybody's remaining kidney without
  anesthetic is truly sadistic."

  Frank: "Without anesthetic?"

  Willmore: "Yeah, he was literally blind from the pain.
  And it's not because this was done without skill."

[There is an armed federal marshal outside of the operating room. The
doors open and Fabricant is wheeled out into the corridor past the three
of them.]

  Willmore: "The excision was done by someone who knew
  and how to stop the bleeding."

  Peter: "A doctor?"

  Willmore: "Well, a second-year med student could do
  it. In fact, you could probably get the information
  on the Internet these days."

  Frank: "A nurse?"

  Willmore: "If she spent any time around an O.R., yeah.
  It's someone who knows their way around a hospital,
  I can tell you that."

  Frank: "What do you mean?"

  Willmore: "Well, there was a sick little joke."

[He reaches into his pocket for something.]

  Willmore: "A. Nephric. `Anephric' is a term that means
  `without kidneys.' "

[He hands Frank a hospital I.D. bracelet. It reads: ]


03-10-52  45M  MED
A. NEPHRIC
DR. D. WILLMORE
206 555 1130  39871


  Willmore: "It looks like our bracelet but somebody's
  changed all the information."

[Frank looks at the bracelet, then at Peter, then runs down the corridor
to find a pay phone. Peter hurries after him. Frank picks up the receiver
and dials the operator. He hands Peter the bracelet.]

  Operator: "Telegrid long distance operator."

  Frank: "Operator, I'd like to make a long distance,
  person-to-person collect call to Catherine Black.
  It's two oh six, five fifty-five, eleven thirty. It's
  an emergency, please." (to Peter) "It's got my phone
  number on there."

  Operator: "I'm sorry, sir. That number does-"

[Frank slams down the phone in frustration. Then picks it up again,
dials the operator again and... ]

  Operator: "Telegrid long distance operator."

[Meanwhile, at the Black home, the lights are still out as Catherine
continues to try and find Jordan.]

[She makes her way back to the rear stairs and no longer sees the man
at the top so she begins to slowly climb up to the child's bedroom. The
lightning and thunder continue.]

  Catherine: "Jordan?"

[There is no reply. She begins to run up the stairs and continues to call
her daughter's name.]

[She runs through the hallway... ]

[... finally reaches the bedroom... ]

[... but the child's bed is empty. She frantically looks around the room. 
Then runs back downstairs, continuing to search for Jordan.]

[She turns and screams as she runs into Bletcher.]

  Bletch: "Catherine, it's okay."

  Catherine: "Jordan... "

  Bletch: "We've got her. She's right outside. Come on."

[Back at the hospital, the phone rings at the nurse's station and Frank
picks it up.]

  Frank: "Yeah."

  Bletch: "They're safe, Frank."

[Camera cuts back and forth between the two during their conversation.]

[Giebelhouse has Jordan in his arms. Catherine rushes to her little girl.]

  Jordan: "Mommy!"

  Catherine: "Jordan! Are you okay?"

  Giebelhouse: "She's just scared is all."

[Catherine takes her into her arms as Bletcher continues to speak with
Frank on the phone.]

  Bletch: "No, they're here with us. Everything seems
  okay."

  Catherine: "There's someone in the house, Bob. A man.
  I saw him upstairs."

  Frank: "What did she say, Bob?"

  Bletch: "Uh, looks like somebody turned the power off
  to your house, Frank. The rest of the neighborhood
  seems okay."

  Frank: "Did she say someone was in the house?"

  Bletch: "Giebelhouse is with Catherine and Jordan.
  I'm going to have a look around."

  Frank: "Bob... "

  Bletch: "Now, Frank, everything's under control here.
  I've got your number. I'll call you right back."

[He disconnects his cell phone.]

[At the hospital... ]

  Frank: "He hung up."

  Peter: "What's happening there?"

  Frank: "Someone's in my house."

[At Frank's house... ]

[Bletcher readies his gun and cautiously enters the house. He makes his
way to the rear stairs. Thunder and lightning continue.]

[He hears a sound and looks up to see... ]

[A figure at the top of the stairs. He immediately points his weapon at
the figure.]

  Bletch: "All right, come on down here!"

[The figure slowly begins to climb down the stairs. Lightning flashes
and reveals the person's face -- it's Lucy Butler.]

[Bletcher seems frozen. He doesn't seem able to move or speak. The figure
before him transforms into a horrific devilish vision in red complete with
fangs, wings and pointed ears. It interchanges with Lucy several times as
she continues to climb down closer to where Bletcher is standing, gun
still in hand. He is clearly trembling, terrified.]

[Outside, Giebelhouse opens the car door for Catherine and Jordan to
sit inside. Catherine, still carrying Jordan, places her on the seat
next to her, in the rear of the car. Giebelhouse gets into the front.]

  Catherine: "Here you go, sweetie."

[Giebelhouse calls dispatch from the car radio.]

  Giebelhouse: "This is Detective Giebelhouse requesting
  backup at 1910 Ezekiel."

  Dispatcher: "I'll get a unit on the way. Nature of
  the call?"

  Giebelhouse: "It's a break-in, possibly burglary."

  Catherine: "He may have Frank's gun."

  Giebelhouse: (into the mike) "There's a possible armed
  suspect."

[He replaces the mike, grabs a flashlight, gets out of the car, shuts
the door and heads for the house.]

  Dispatcher: "Ten-four. Any units in the vicinity of
  one-nine-one-zero Ezekiel -- backup officers on the
  scene."

[Giebelhouse reaches the house, opens the front door and enters. He checks
out the living room... ]

  Giebelhouse: "Hey, Bletch!"

[No response. No movement of any kind. Except for thunder and lightning.]

[Giebelhouse goes up the main stairs by the front door. He checks out each
room and finds nothing.]

  Giebelhouse: "Bob?"

[Outside, a patrol car has pulled up.]

  Jordan: "What's happening, Mommy?"

  Catherine: "Shhh."

[The two patrolmen approach the front door as Catherine watches from the
car with Jordan sitting in her lap.]

[Inside, Giebelhouse, flashlight in hand, is seen at the top of the rear
stairs, where the satanic vision had enthralled Bletcher moments before.
He climbs down the stairs and slowly walks toward the basement door.]

[He turns the knob and... ]

[Ben, the family pet dog, comes tearing out past the spooked detective. He
continues to move forward into the basement.]

[Back at the hospital, the phone rings again at the nurse's station. Frank
picks it up.]

  Frank: "Hello."

[There is no response but heavy breathing can be heard.]

  Frank: "Who is this?"

[Still no response -- this time only silence.]

  Frank: "Who's on the line?"

[Back at the Black house... ]

[Giebelhouse reaches the bottom of the stairs and walks toward Frank's
office. He continues to search when he hears Frank's voice on the phone
on Frank's desk.]

  {Frank: "Bob?"}

[The receiver is lying on the desk. Giebelhouse puts down his flashlight
and picks it the receiver.]

  Giebelhouse: "Who's this? Frank?"

[Camera cuts back and forth between the two during their conversation.]

  Frank: "Giebelhouse, what's going on there?"

  Giebelhouse: "I don't know."

  Frank: "Where's Bletcher?"

  Giebelhouse: "Didn't he call you?"

[He cradles the phone with his shoulder as he picks up his flashlight
again and continues to look around the basement. He looks at a corner
of the room and then up. He drops the phone.]

  Giebelhouse: "Oh, my God."

  Frank: "Giebelhouse."

  Giebelhouse: "Oh, my God."

[He moves closer to what he's seen at the far end of the room. The soles
of some work boots can be seen suspended far above the ground.]

[The flashlight and the camera slowly pan upwards to reveal Bletcher's
body hanging from the rafters of the unfinished basement. Blood can be
seen covering his chest. His face is not yet visible.]

  Giebelhouse: "Bob? Oh, my God."

[The camera continues upward to finally reveal Bletcher's face. His throat
has been slashed. His tie has been cut off, bits of it remain visible
under the shirt collar.]

  Giebelhouse: "Holy mother of God."


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


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


8:12 AM


[Outside, the Seattle Public Safety Building.]

[Inside, the detectives' squad room.]

[Giebelhouse walks up to Bletcher's office. He pauses at the glass door
with: `Lt. Robert Bletcher, Homicide' painted on it before opening and
entering the room. Catherine is sitting on the couch inside. Jordan is
asleep with her head on her mother's lap.]

  Giebelhouse: "You got a call coming through."

[He picks up the phone and places it closer to Catherine so as to not
disturb the sleeping child. He hands her the receiver.]

  Catherine: "Thank you."

[He nods and leaves the office.]

  Catherine: "Frank."

[Frank is still in Virginia, in the empty BSU room at the Academy. He
looks very tired, barely able to keep his eyes open.]

  Frank: "How's Jordan?"

[Camera cuts back and forth between the two during their conversation.]

  Catherine: "She's fine. She's right here, sleeping."

  Frank: "Does she know anything?"

  Catherine: "She's a sensitive kid. She knows she didn't 
  sleep in her bed last night. But I haven't told her
  anything."

  Frank: "I'm coming home."

  Catherine: "I'm going to need some time, Frank. I
  can't go back to the house just yet."

[The BSU room. Peter enters and stands at the top of the stairs. Frank
turns to look at him, then returns to his phone conversation with his
wife.]

  Frank: "I understand." (whispers) "I'll call you back."

[He hangs up the phone.]

  Peter: "I got you a flight."

  Frank: "Thank you."

  Peter: "He's asked to see you."

[Frank stares up at Peter.]

[NEXT SCENE: Fabricant's hospital room. Frank and Peter enter the room,
led by the armed federal marshal guarding the door. He exits and returns
to his post. Fabricant is hooked up to a dialysis machine and has several
tubes and IVs running into him. He looks very weak. His hands are cuffed
to the guard rails of his bed.]

  Fabricant: "Hello, Frank. You're mad at me. I
  understand."

[Frank, barely able to contain his anger, approaches the bed, leans over
Fabricant, grabbing hold of the guard rails by the side of the bed.]

  Frank: "What do you understand?"

  Fabricant: "All your mercy and good intentions, have
  brought you no return."

  Frank: "You're dying now."

  Fabricant: "Yes."

[Frank nods.]

  Fabricant: "But not of old age as I'd hoped."

  Frank: "Who is she?"

  Fabricant: "She?"

  Frank: "Lucy Butler."

  Fabricant: "You had me commuted so you might learn
  the nature of evil. I can tell you now."

[He reaches up his right hand to grab the lapel of Frank's jacket. He
pulls Frank closer to him.]

  Fabricant: "You think I'm evil, Frank? You don't know
  what that is. It's greater than we are -- you and me."

  Frank: "Who did this to you?"

  Fabricant: "The base sum of all evil... The sleep of
  reason... The Devil's liege... "

  Frank: (shouts) "Who was in my house?!"

  Fabricant: "It knows you, Frank. It feeds off your
  passion."

  Frank: (shouts) "Who killed my friend?!"

  Peter: "Let's go, Frank."

[Peter tries to pull Frank away from Fabricant. Frank's shouting has
caused the marshal to enter and stand guard inside the room, to the rear
by the door.]

  Fabricant: "Everything you hold sacred... "

[Frank pulls himself away from Fabricant's grasp and backs away from
the bed in disgust.]

  Fabricant: "Frank."

[Frank and Peter leave the room.]

  Fabricant: "Run." (more weakly) "Run."


SEATTLE PUBLIC SAFETY BUILDING
4:00 PM


[Using a light box, Giebelhouse shows Frank a number of prints lifted from
his house.]

  Giebelhouse: "We've got three sets of prints we can't
  I.D."

[He tosses down three photos of where the prints were taken from.]

  Giebelhouse: "Here... here... and here."

  Frank: "What about the murder weapon?"

  Giebelhouse: "Something the killer brought with him.
  We haven't been able to specify an exact style but...
  from the wounds... "

[He walks over to get an envelope which he places before Frank.]

  Giebelhouse: "From the wounds, we believe it was a
  hunting-style knife."

[As Frank is about to remove the contents of the envelope, Giebelhouse
is visibly upset and... ]

  Giebelhouse: "I got to get out of here for a minute."

[... leaves the room.]

[Frank removes the photos from the envelope. They are crime scene photos
of Bletcher hanging from the rafters of Frank's basement.]

[The first photo is a full-shot of the corner of the unfinished corner of
Frank's basement with Bletcher's body hanging high up on the rafters. The
second, is a close-up of Bletcher's upper torso and head with an evidence
tag labeled `B' near his head.]

[Giebelhouse returns to the room.]

  Giebelhouse: "Frank. Lucy Butler, that the name?"

  Frank: "Yeah, why?"

  Giebelhouse: "We just arrested her on an outstanding
  traffic violation."

  Frank: "Where? Here? In Seattle?"

  Giebelhouse: "Yeah."

[They both leave to go see Lucy.]

[Giebelhouse leads Frank into an interrogation room where Lucy is sitting
on the table with her back to the door. Giebelhouse remains in the room, 
and as Frank enters... ]

  Lucy: (without turning) "Hi."

[She stands up from the table, still with her back to Frank.]

  Frank: "You were in my house!"

[She finally turns and faces Frank.]

  Lucy: "When was that?"

  Frank: "You think you're going to get away with this,
  but you won't."

  Lucy: "Do I fit the description of somebody you're
  looking for, Frank? Someone that was in your house."

  Frank: "We have your fingerprints."

  Lucy: "I think that you're going to be disappointed,
  Frank."

[She leans across the table.]

  Lucy: "I'm not the person you think I am."

  Frank: "Who are you?"

[She smiles but doesn't answer. She moves back and stands upright again.
More serious, she finally offers a response.]

  Lucy: "I'm the widow of Dr. Ephraim Fabricant."

[Another detective enters the room and whispers into Giebelhouse's ear.
He in turn... ]

  Giebelhouse: (whispers) "Frank."

[... and pulls him out of the room. As Giebelhouse closes the door... ]

  Giebelhouse: "We got no match on the prints, Frank.
  She pays her traffic fines, we got nothing to hold
  her on. Unless there's something else?"

  Frank: "No, there won't be."

  Giebelhouse: "What do you want me to tell her?"

  Frank: "There's nothing she doesn't already know."

[He turns and walks away through a crowd of officers, all standing around
in stunned silence in the hallway, each turning to look at him as he
passes.]

[NEXT SCENE: Outside the Black residence. Inside, the Black bedroom.]

  Catherine: "What do we do, Frank?"

  Frank: "You're angry with me."

  Catherine: "It's not anger. I don't know what it is."

  Frank: "It's who I am."

  Catherine: "We were kidding each other. We were
  kidding ourselves thinking that we could come here
  and escape anything."

  Frank: "It's not true."

  Catherine: "It is, Frank. You can't talk it away.
  You can't ask me to pretend or make believe. You
  can't make what happened in this house just go away."

  Frank: "You know I love you more than anything in the
  world." (pause) "I don't know what to do."

  Catherine: "I love you too. But it's not about that.
  It's about things that happen to us that don't happen
  to other people."

  Frank: "I know."

[He reaches over and tries to comfort her by rubbing her shoulder. She
lowers her head towards him and he rubs her neck.]

[FINAL SCENE: Mount Baker -- revisited. The same gorgeous scenery which
Bletcher introduced to his friend Frank at the start of the episode,
Frank now introduces to his daughter, Jordan, whom he is carrying on
his back, in addition to his backpack which he has resting on his chest.]

  Jordan: "Daddy?"

  Frank: (out of breath) "Yeah?"

  Jordan: "Are you tired?"

  Frank: "Yeah."

  Jordan: "Do you need to rest?"

  Frank: "Yeah."

[He continues to walk until he reaches the same crest he climbed with
Bletcher.]

  Jordan: "How come we came so far?"

[He sits down in the snow and Jordan tumbles down behind him. He removes
the backpack from his arms. He reaches around to his right to pick up the
child... ]

  Frank: "Here."

[... but she crawls around to his left instead. He grabs her and scoops
her up on his lap.]

  Frank: "I wanted you to see the view. Look."

[She looks around and turns to her father.]

  Jordan: "I like it."

  Frank: "It's the one thing in life that will never
  change. Look."


[The credit fades in from black... ]


Executive Producer: Chris Carter


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


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

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

  Frank: "You've come to me before."

  Voice Over: "What if our one hope for the future
  made a pact with the Devil himself?"

  Man: "Join me."

  Voice Over: "An all-new Millennium."

  Man: "I can wait, Frank. Your situation may not
  allow you that luxury."

  Voice Over: "Next Friday at 9, 8 central, on Fox.
  Parental discretion advised."


[End titles roll]


Ten Thirteen Productions
in association with

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

Co-Starring

Andrew Airlie (Dr. Willmore)
David MacKay (Pathologist)
Kurt Max Runte (Federal Marshal)
Jane Perry (Agent Pierce)
Nino Caratozzolo (Agent Cuevas)
[Lee Van Paassen] (Sondra Fabricant)

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: Jack Hardy
Second Assistant Director: David Klohn
Set Decorator: Louise Roper
Art Director: James Steuart
Construction Coordinator: Mike Rennison
Script Supervisor: Beth Mercer
Location Manager: Matthew Chipera
Hair Stylist: Brenda Gibson
Makeup Artist: Carolyn Stewart
Special Makeup Effects: Lindala Makeup Effects, Inc.
Costume Designer: Diane Widas
Head Painter: Jenny Seinen
Sound Mixer: Patrick Ramsay
Camera Operators: Trig Singer, 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: Isabel Johnson
Post-Production Supervisor: Denise Pleune
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
Re-Recording Engineer: Steven Coker
Scoring Mixer: Larold Rebhun
Music Editor: Jeff Charbonneau
Assistant Editors: Jim Thomson, Robert Hudson
On-Line Editor: Rob Williams
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 #4C17

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: April 20, 1997
Copyright (c) 1997 -- Nightowl Productions
Webmaster: Maria Vitale -- E-mail: nightowl@nyct.net